Kool & The Gang’s period of being produced by Brazilian jazz funk Eumir Deodato represented the third stage of their musical evolution. The Jersey band started out with their heavy jazz funk style of such albums as Wild & Peaceful and Spirit Of The Boogie. Than they made a series of albums that reflected a growing disco funk vibe from Open Sesame on through their first Deodato production in 1979’s Ladies Night. After that, the band embraced a more post disco/boogie funk oriented sound with radio friendly pop elements. By the mid 80’s, the band were basically radio friendly dance pop.
Dealing with K&TG as album artists in the early 80’s was a daunting task for me,having long accepted them as a singles act during that era. One day while looking through the cutout CD bins at a record store called Strawberries in the mid 90’s, I came across a K&TG album from 1982 entitled As One. I recognized the song “Big Fun” on it. And was happy to be able to hear it on the car CD player on the way home. The very first song that played upon popping it in helped me to really understand K&TG’s 80’s funk variant very well. And the name of this particular song was “Street Kids”.
George Brown’s drum kickoff begins the song before he puts himself into an in the pocket dance friendly beat for the remainder of the song. Deodato’s bubbling synth bass then proceeds to play call and respond to a two note synth-likely an OBX played by Ronald Bell. On the chorus, JT Taylor’s falsetto vocals play to the tune of Charles Smith’s liquid rhythm guitar-along with the bands powerful and melodic horn charts. There’s a B section with a sustained orchestral synth plays in the back round. This repeats somewhat later in the song as an extension of the chorus,which fades the song out in the end.
“Street Kids” is, to me, a superb example of Kool & The Gang adapting their sound for the post disco/boogie era. The horns,guitars and drums are still all the way live. But orchestral and bass elements are now electronic. The lyrics about street kids who “like to play Captain Video” and “doing the motor roller” go right with it. And the groove itself is squarely in the classic funk framework-right in the pocket and right on the one. JT Taylor has a tremendous vocal showcase here. You get his usual smooth tenor, his breathier falsetto and even his rapping. Part of a strong post disco reboot for this iconic funk band.
Linx were a a Brit funk/soul/disco group with a rather short lived career. It was a six member band featuring keyboardist Bob Carter, drummer Andy Duncan, guitarist Canute Edwards, bassist Peter Martin,backup vocalist Junior Giscombe and lead singer David Grant. The group split up in early 1983-after Junior had left to begin a solo career and Grant was about to do the same. After a moderately successful solo career, Grant became a successful backing singer for people such as Rick Astley and The Lighthouse Family. He later became a judge on the UK TV show Pop Idol with his second wife Carrie.
Linx recorded two albums during 1981, the first of which I picked up four years ago on vinyl. Their major hit on it was “Intuition”, a Caribbean flavored post disco number became popular to its accompanying music video being played so often on the British music program Top Of The Pops. And all due to a technicians strike. The overall album is a superb example of how the post disco/boogie funk sound thrived,prospered and evolved along with new romantic/synth pop during the early 80’s. One fine example of this was the song “Together We Can Shine”.
A dance beat begins the song with a pulsing Fender Rhodes and a bluesy funk rhythm guitar break. As the main song kicks in, Martin’s slap bass line kicks in heavy. The dance beat becomes more steady. Carter adds spacey synthesizer flourishes-which become very high pitched on the choruses along with the melodic, liquid rhythm guitar bubbling right along. On the bridge of the song, the vocals of the refrain move aside for Carter’s piano solo before Grant’s vocals return. Before the fading refrain, the song breaks off into a percussive Brazilian funk breakdown.
Musically speaking, “Together We Can Shine” showcases the vitality and diversity within the UK post disco/boogie scene. Many American groups/ soloists emerging from that were primarily disco and funk based from the get go. In terms of Linx, its a different story. Bob Carter and Canute Edwards play in a manner very indicative of jazz oriented instrumentalists. Bassist “Sketch” Martin and drummer Andy Duncan have a strong Brazilian funk flavor to their playing. So this song is a superb example of the post disco sound coming from a diverse level of musicianship from the sound of things.
Airto Moreira is someone whom I recently covered here. Since his official birthday is Saturday, decided to pay tribute to a song by him that I just couldn’t resist. The origins of the album the 1976 Airto album Promises Of The Sun in my collection comes from the budget vinyl crate digging days. Just learned about Airto from his work on Miles Davis’s album from the early 70’s. And his solo albums were popping up on a lot of these crate digging exercises. The cover art depicting Airto in the middle of a ritualistic chant drew me to thinking this album would have a tribal musical content. And it actually did.
During a period where I was still actually making a lot of mix tapes, there was one song from this particular album that got my attention. Its title was hard to translate. But it apparently refers to anyone who came from another state to participate in the development of the city of Brasilia, the federal capital of Brazil. So when it comes to increased knowledge of this songs place in Airto’s musical history, its good history on this song that ends the second side of the vinyl edition of Promises Of The Sun. The name of this particular song is “Candango”.
Airto starts off the song with swinging march-one that evolves into a percussion laden Brazilian swing with Airto chanting-likely in Portuguese. On the first part of the song it showcases Rhodes player Hugo Fattorusa,guitarist Toninho Horta and bassist Novelli playing to Airto’s melodically spirited scat singing. This breaks for a moment with Rhodes-before the second part of this verse goes into a much bluesier, psychedelic part of the song. Here Horta’s guitar plays a rockier solo with Airto’s chants and scatting blending together in this cavalcade of sound before the first verse closes the song out.
“Candango” is a song that,even after all these years, has an idiosyncratic air about it that still delights me to this day. Its a sandwiched type of song really. The middle is this psychedelic jazz/rock/blues explosion of Fender Rhodes,guitar and bass. But they are bookended with this swinging Brazilian jazz style melody that still retains Airto’s unique creative air throughout. Its a strong reminder of how much Airto and another fellow collaborator in the late George Duke had in common: both loving to compose music with abrupt changes in sound. For me at least, “Candango” is one of Airto’s top compositions.
Earth Wind & Fire’s 1977 album All ‘N All is about to celebrate its 40th anniversary this coming autumn. Today however, wanted to pick one particular song from this iconic album to talk about. And for a very special reason. Raised in Kentucky, Johnny Graham started out playing the trumpet as a child. And moved to guitar as a teenager. While touring with the new birth, Graham got contacted by Maurice White. Apparently some of the New Birth members had told White how great a guitarist Graham was. And White wanted Graham as one of his guitarists in his rebooted edition of Earth Wind & Fire.
That reboot edition of EWF debuting on Head To The Sky became basically the bands classic 70’s line up. Graham, who turns 66 today, provided a strong amplified blues flavor to EWF during its salad days. And his guitar solos on songs such as “That’s The Way Of The World” essentially added that musical element of earthiness present in their name. Another such solo turned up on the song that closes the first side of the original LP of the All ‘N All album. And a song that’s become album cut by many admirers of the band. The name of the song is “Love’s Holiday”.
A thick,cymbal heavy drum count comes in with the Phenix Horns playing a beautifully jazzy unison horn chart. Than Al McKay and Verdine White’s bass/guitar interaction comes in with the Ralph Johnson’s drum clipping along at approximately 72 beats per minutes The horns, including a muted trumpet play an accessorizing part along with very faint strings in the back round. And especially on the climbing B-section to the chorus, Philip and Maurice’s sing right along with them. Graham’s guitar solo comes in on the closing refrain-playing call and response with Maurice White’s vocalese.
“Love’s Holiday” is an example of that literal “slow jam” that EWF had been perfecting during their years with Charles Stepney and beyond. It would extend from songs like “Devotion” up through “Be My Love” from the early 80’s. By the time of this song in 1977, the band and its many musical collaborators had this densely arranged jazzy funk/soul sound down to a science. Comedian Steve Harvey even singled out this particular song as an example of what “real music” sounded like. Its one of the most melodically and harmonically beautiful ballads to emerge out of the funk era in the 1970’s.
Fat Larry’s Band are a name that goes back to the pre internet days of reading the few funk/soul review books (now torn to bits in my collection from many page turnings) in the late 90’s and early aughts. The Philly natives got lost in the transition of my own crate digging to such a degree, there are presently no LP’s or CD’s of theirs in my collection. Thanks to the presence of YouTube and social media in general,was able to listen to some of the music made by the late singer/drummer “Fat” Larry James,who was born today in 1949 and passed on 30 years ago this December 5th.
In their decade as a recording entity, Fat Larry’s Band recorded nine albums starting in 1976. Their first album to chart was 1982’s Breakin’ Out. As one of many late 70’s funk bands to survive the disco backlash and continue on innovating the boogie/post disco sound, Fat Larry’s Band not only had their only (mid way in the charts) R&B hit album in 82, but also one of their biggest charting hits. It was part of the soundtrack CD to the 2002 video game Grand Theft Auto: Vice City. The name of this particular song, and the one being discussed today, is “Act Like You Know”.
The song opens with Larry’s slow dragging,high key drum stomp with Larry La Bes’s shuffling,complex bass line providing the intro. The song then kicks into heavy gear with a a bouncing,high pitched bent synth squiggle and a liquid rhythm guitar-all along with the percussive kick on the drum’s rhythm. On the choruses, a melodic horn/string arrangement accent the choral vocals. On the bridge of the song, the drum/bass interaction of the intro is accompanied by a mildly Afro beat style horn chart. A talk sung outro to that goes into another refrain/chorus exchange that fades out the song.
“Act Like You Know” is one of those funk songs that has a very familiar opening. Certainly was to me-especially having never heard the song. As such, it has one of those hooks that a funk audience could respond very well and easily to. Its also very much out of the 70’s style of funk too. The boogie synth is a decorative element with the horns,drum and bass line remain the instrumental starts of the show. Larry’s smooth lead is also served well by the sweet harmonies that come along on the chorus. As a whole, the song showcased the live instrumental vitality of the post disco/boogie era.
Vernon Burch is a musical figure who is relatively obscure to me. Born in Washington DC, Burch is a guitarist whom its hard to find a great deal of personal information about. What could be found out about him was that he played with The Bar Kays during the time they recorded their Do You See What I See? album in 1972. He embarked on hissolo career starting in 1975-at first at United Artists and Columbia. He finally signed to Casablanca subsidiary Chocolate City in 1978,best known at the time as the label for funk stalwarts Cameo.
This was the disco era. And Burch’s place in music history was cemented in funk. In 1979,he released his second album for the label entitled Get Up. On the album he had arrangement help from Tom Tom 84 and funk icon Fred Wesley of the JB’s and P-Funk. Wesley arranged the horns on three of the songs on this disco funk album. While pursuing some of its songs on YouTube,one of these Fred Wesley arranged tunes leaped right out at me-for a number of different reasons both musical and otherwise. The name of the song is “Sammy-Joanne (One Half Woman,One Half Man)”.
A hard hitting disco beat from non other than James Gadson starts the song-along with a ticking keyboard from Michael Thompson. Burch’s rumbling,rocking guitar provides a string orchestra like effect as the intro slides into the main song-along with David N. Shields slap bass. As a descending synth and descending horns enter into it, the drum/ rhythm guitar/Clavinet/slap bass interaction all lock in for the refrain of the song. The stripped down bass/drum/synth sound of the intro provides the chorus. A bluesy guitar solo from Burch on the bridge extends into an extended,fading refrain.
“Sammy-Joanne” is a hard driving stomper- a perfect example of a funk song functioning as disco. What surprised me in the song is how it focused on a healthier and perhaps less hedonistic aspect of the disco era. The Sammy-Joanne character in the song is a hermaphrodite who finds acceptance and love as an implied transgender’ disco dancer. The character is celebrated,not made fun of and hated. And with gender related matters being a strangely controversial matter in 2017, this 1979 song celebrates sexual difference with some of the most funkified disco-dance music possible.
Brian Auger has been, much like Americans Art Blakey and Norman Connors, a great assembler and cultivator of talent during the 60’s and 70’s in his native England. His first band was The Steampacket in 1965,which included a young and then unknown Rod Stewart. As a session musician and famed player of the Hammond B-3 organ, Auger worked with everyone from Tony Williams to Jimi Hendrix. Formed in 1970, his Oblivion Express represented when Auger became such a talent cultivator. In particular with members of what became the Average White Band.
For the first six years of the 70’s, Brian Auger’s Oblivion Express released on album every year. The last of this series of albums released prior to 1977 was the 1975 album Reinforcements. Seen it on vinyl once,never picked it up and have come to regret it. This album helped to cultivate the guitar/percussion/vocal talents of soon to be Santana band member Alex Ligertwood as well. Being a jazz-funk innovator, this would seem to be an album based upon online listening that delved very strongly into funkiness. And one of its finest examples is the opening song entitled “Brain Damage”.
Ligertwood’s rhythm guitar,and soon percussion provides the intro the song. Auger himself comes in on electric piano along with bassist Clive Chaman’s thundering,jazzy line. Dave Dowle’s drums come into the arrangement-along with the biting lead guitar of Jack Mills. The refrains A section is a thick funky grind with a heavy Moog synthesizer providing the melody,while the B section goes into a heavier electric piano part. As this pattern continues, the B sections often serve as forums for solos. First for Auger’s electric piano,than his organ and Mills’ guitar before fading out on the main melody.
“Brain Damage” is a hefty jazz funk jam of the finest sort-very solo based and full of instrumental excitement. Not to mention its confident strut. The A-section of the main melody has a bass/guitar/drum/percussion interaction that reminds me somewhat of mid/late 70’s P-Funk to some degree. At the same time, its the instrumental soloing (all of which is very clear and beautiful) that relates it to the jazz/funk fusion sound of that period so strongly. Brian Auger is someone I’ll personally have to be checking out more of in the future. Simply based on hearing music like this from him.
Phoebe Snow is a native New Yorker who went from an artistic family who raised her in Teaneck, New Jersey to her college years of gigging from one Greenwich Village nightclub to another. She released her self titled debut album in 1974-having her biggest hit with “Poetry Man”. Her sound was somewhat unique-a mix of folk,rock,funk,soul and blues that suited her distinctive,bluesy growl that could also spread across several octaves. Her decision to give up music to care for her child born with severe brain damage halted her career after the early 80’s. But she never totally disappeared.
Her selfless parenting didn’t stop Snow (born Phoebe Taub) from performing the theme song for the first season of the sitcom A Different World. And released a few more studio albums before her death of a cerebral hemorrhage in 2011. Her third album It Looks Like Snow was her second for Columbia Records. On it she interpreted a song that was one of the last major Temptations hits before leaving Motown. It was co-written by P-Funk’s Eddie Hazel along with Jeffrey Bowen. Its an amazing groove for sure. But in 1976 for her third album, Phoebe Snow offered us her own take on “Shakey Ground”.
The hard groove wah wah guitar riff and metronomic drum count in begin the song as on the original. Yet the straight up,acoustically textured blues guitar riffing before the main groove starts adds a totally different flavor to it all. After all of this, there is the layers of guitar: rhythm and wah wah along with an accenting Clavinet. And of course the horns playing the changes. On the instrumental bridge, the bluesy guitar from the intro (likely played by Snow herself) takes a full on solo. That’s before Snow’s vocals take the chorus on an extended musical journey before it fades out.
There’s not much point in me comparing Phoebe Snow and The Tempt’s versions of “Shakey Ground”. Each are hard funk monster jams in their own right. Its the little things that really make the difference on Snow’s. Her super bluesy guitar riffs and solos give it a slightly more old timey flavor. And her jazzy,growling and sometimes unpredictable vocals give the song an emotional vibe on par with the strongest end of the mid 70’s female perspective. When thinking of what would’ve been Snow’s 67th birthday, this song somehow seemed exactly the right one to overview from a funk/soul perspective.
Peter Brown’s early history in his native Illinois (in the Chicago area to be more exact) almost seemed set up for him to be a major musical player in the future. His mother was artistically and musically talented enough to give him music lessons from an early age. His father’s career as a electronic engineering inspired young Brown’s interest on the technical end of music. He provided his son with different tape records. By the time he was an adult, Brown became a pioneer of the ARP synthesizer. Even becoming a spokesman for the instrument for a time.
Brown was fortunate enough to begin his musical career during the 70’s-when the psychedelic stew,funk and later disco era made for a much more diverse variety of popular music in America. Brown ended up with the Miami based TK label. There he met his first circle of musical cohorts-including his first producer Cory Wade. In 1977 Brown released a 12 inch single that would go on to become the first gold single in history. It would be included in another version on this debut album A Fantasy Love Affair a year later. It was called “Do You Wanna Get Funky With Me”.
A low,thundering burst of ARP synth bass and a higher textural tone begin the song over a pounding 4/4 disco beat. Then the main groove of the song comes in. The four on the floor beat is accented by spicy percussion,a slow rhythm and a thick bass popping/wah wah rhythm guitar interaction on the refrain. The choruses bring back the higher pitched ARP. On the bridge,the percussion is a slow Brazilian grind with a bumping synth bass,female vocal and synth brass accents. This groove holds together for 3 whole minutes until the refrain/chorus goes up in key to fade out the entire song.
“Do You Wanna Get Funky With Me” is one of the best examples I’ve heard of what my friend Henrique calls “funk functioning as disco”. The 4/4 dance beat is locked down tight for sure. The percussion also has a hard driving Latin vibe. And the synth/guitar/bass interaction-along with Brown and his backup singers screams, are out of the school of straight up hard funk. The use of synthesizers for the brass section over a hard funk groove reminds me of a less condensed version of Prince’s late 70’s sound as well. Major record that I’m happy to have had the pleasure of recently hearing for the first time.