Tag Archives: Pops Popwell

Anatomy of THE Groove: “Area Code 808” by Deodato

Eumir Deodato de Almeida, generally referred to as merely Deodato,is probably the finest jazz/funk keyboardists to emerge from the Brazilian scene in the 1970’s. This Rio native was a natural prodigy-almost mastering the piano,Accordion and even arrangement skills before he began recording bossa nova based albums starting at age 17. Far as I was concerned,Deodato was the producer who helped popularize Kool & The Gang’s 80’s funk sound on songs such as “Big Fun” and “Get Down On It”. As my own adolescence continued,it became more and more clear just how amazing Deodato was as his own artist.

There was a period about 12-15 years ago where it seemed like Deodato albums were turning up everywhere I went. And somehow I wound up buying them every time too. My first exposure to him came with my father playing me Deodato’s version of “Also Sparch Zarathustra”,the theme from one of my favorite sci fi films 2001: A Space Odyssey. It wasn’t long before I picked up an inexpensive copy of his 1972 album Deodato 2 from one of my mom’s co-workers at the time who also distributed CD’s to record stores-and was selling the leftovers at a discount price.

Deodato himself recorded on a number of different labels during the height of his career. This had a lot to do with the fact he often switched between his original style of bossa nova/Brazilian jazz onto jazz-funk approach that showcased his arrangement talents and electric piano playing. Between then and the late 80’s,Deodato moved from CTI,MCA and finally to Warner Brothers-where he remained up to 1989. His Warner Bros. debut was 1978’s Love Island. Picked up the now hard to find Wounded Bird CD up while traveling with my ex over a decade ago. It blew me away right off with it’s opener “Area Code 808”.

A very theatrical Moog bass sustain starts out the album before a growling,rocking rhythm guitar crunch comes in. Gradually a marching funky shuffle rhythm,cascading strings and Deodato’s bluesy Fender Rhodes solo comes in. On the opening chorus,Deodato duets with himself playing two synth horn lines-accenting one another very much like a trumpet and saxophone. Pops Popwell plays a counterpoint bass line,even a slap  bass one accenting every horn-like chord of Deodato’s. Ray Gomez plays a blistering bluesy rock guitar solo in front of some ultra funky chicken scratch rhythm guitar on the second refrain.

The most amazing thing about this song is what happens during the second refrain,which sustains itself for the remainder of the song. The string play the melody that leads directly from Gomez’s guitar solo into Deodato accenting the two rhythm guitar licks and bass line with his Fender Rhodes piano. After this both the strings and woodwinds play a theme that leads back to Deodato playing a stomping riff on the acoustic piano. The arrangement then takes the rhythm guitar into playing another,more elaborate riff before the woodwinds and hi hats take over just as the song begins to fade.

Deodato has made some of the strongest jazz/funk of his era-not doubting that. There is just something about “Area Code 808” that strikes out from the Love Island album as being especially grooving. Harvey Mason delivering a drum part that’s in a similar family to James Brown’s “Funky President” helps out a lot. Deodato’s synth horn and Rhodes soloing really add something spicier to the live string and horn arrangements. In that way,it has a foot in the past,present and future for cinematic jazz funk of it’s day. The groove is ultra funkified. And a major musical triumph for Deodato.

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Filed under 1970's, Brazilian Jazz, chicken scratch guitar, drums, Eumir Deodato, Fender Rhodes, Funk Bass, Harvey Mason, horns, jazz funk, Moog bass, Pops Popwell, Ray Gomez, rhythm guitar, strings, synthesizers, Uncategorized

Anatomy of THE Groove: “Rock Steady” by Aretha Franklin

Aretha Franklin,having turned 74 today,has been alive during one of the most significant musical periods in terms of soul’s transition towards rhythm-towards funk.Her signature song at Atlantic was a version of Otis Redding’s “Respect”,which really showcased how the Southern soul style she embraced was edging towards that funky timing. Now Aretha has had some amazing uptempo songs,many of which were major hits,over her time as a recording artist. And they’ve all showcased how despite understandings to the contrary, that uptempo music can be just as timeless as balladry. Of course as with any artist,there were peaks and valleys for her. Some of those peaks were also pretty high ones.

Focusing to a degree on gospel soul/R&B ballads during the early 70’s,Aretha was becoming very well aware that the musical tide was shifting towards the more uptempo sound she’d pioneered in the late 60’s. So at some point in 1970-early 71 Aretha had a basic piano sketch of a groove that she presented to some of the new musicians she was working with. They were drummer Bernard “Pretty” Purdie,future Stuff guitarist Cornell Duperee and electric bass extraordinaire Chuckrh Rainey. This trio allowed for this song to be built directly from the rhythm up and become huge early 70’s hit for her. The name of the groove was “Rock Steady”.

Pops Popwell and Dr.John provide a hot Brazilian percussion accent to the bluesy organ of Donny Hathaway. From here Purdie’s drums really get going within this bed of percussion shaking along. Cornell get’s his James Brown rhythm guitar going on in a serious way in the center of this groove while Rainey’s bass is patted in with the sound of a deep, pulsating heart. On the choruses,Aretha’s vocals are echoed along with the backup harmonies from the Sweethearts Of Soul. Each refrain is buffeted by the very jazzy Afro pop charts from The Memphis horns. On the bridge,Purdie provides a percussive drum back that’s now one of the most famous in history before the song fades out.

There are times where the funkiness of a groove has to be discovered by listening closely. “Rock Steady” is not one of those grooves. It’s a song that demands moving and heavy booty shaking. With it’s strong Afro-Latin horn and percussion vibe,this is actually one of the songs that help inaugurate the “united funk” era of the early/mid 70’s.  Everyone playing in on this song act in the manner of JB as one rhythm machine. The song construction is so advanced,it thickens the whole sound. Aretha even lets us know to “call this song exactly what it is” before declaring it “a funky and lowdown feeling”. So as with Wilson Pickett’s “Funky Broadway”,this  groove really assumes it’s funkiness proudly.

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Filed under 1970's, Aretha Franklin, Atlantic Records, Bernard Pretty Purdie, Chuck Rainey, Cornell Dupree, Donny Hathaway, Dr.John, drum breaks, drums, Funk, Funk Bass, horns, Memphis Horns, organ, percussion, Pops Powell, rhythm guitar, Uncategorized