Prince was an artist whose musical conceptualization helped me personally to view sexuality as an act of love,rather than as a profane taboo. Considering his classic soul music struggle between spiritual and carnal pleasures,that may be hard for some people to believe. But as far as that aspect of Prince’s talent,it really began to reach its peak in the mid/late 80’s. A period that I feel represents Prince’s creative peak as a musician. Prince was also on the cusp of becoming a 30 something during this period as well. This represented another stage in Prince’s emotional maturity.
Sign O The Times was the Prince album that illustrated this stage of his maturity most fully. Because of the time frame in which I heard it,the 1987 album reminds me of a long period during the 90’s that wasn’t paying attention to Prince’s new music. There is one memory from a rainy afternoon in 1994 when I was driving home with my parents from Strawberries Records. They had the radio on and this Prince song came on with a very deep and strange sound at the beginning. They shut it off before I knew what it was. When I finally heard Sign O The Times,I realized that song was “If I Was Your Girlfriend”.
That “strange sound” I mentioned begins the song over a three note LINN drum hit. Actually sounds like revving an amp’d up electric guitar at its very lowest notes. Then a thick slap bass pop breaks into the refrain of the song. Its a very slow beat accompanied by a trumpet like synth brass solo while foreboding layers of synth strings play along in the back round. On the refrains,Prince sings in a sped up falsetto along with mainly the drum and bass line of the song. Toward the end of the song,the bass line gets somewhat more intricate as Prince raps frantically with some operatic orchestration before the song stops.
Its taken me too long to realize that this is one of Prince true funk classics. The slap bass pretty much carries the entire song-one that TLC would also cover around the first time I first hear…well the intro anyway. Lyrically,this song finds Prince exploring a sexual double standard. His asking a lover if she’d undress in front of him if they were anything but lovers. Even saying by the end “we don’t have to make babies to make love/we don’t have to make love to have an orgasm”. Prince taking on romantic insecurity in this funky musical way was a major step in his evolution as a human being.
Filed under 'Sign 'O The Times', 1987, Funk, guitar, Linn Drum, Minneapolis, Minneapolis Sound, Prince, sexual revolution, slap bass, synth brass, synthesizers
During the mid to late 1970’s, the Montreal native Gino Vannelli was Canada’s musical answer to Steely Dan basically. With a strongly grooving progressive jazz sound in tow, Gino and his keyboardist brother Joe had signed their group to Herb Alpert’s A&M Records about a decade into the labels inception. It was also time when new record labels were far more open to more creatively minded artists. So Gino and company were able to really stretch out in terms of making music that was both instrumentally meaningful and commercially successful.
I personally discovered Gino’s music about 8-9 years ago. And quite by accident, as it came from a music recommendation based on my own browsing habits on Amazon.com. It wasn’t long before I was ordering used copies of his 70’s albums on CD from there. One that made quite an impact on me was his third album from 1975 entitled Storm At Sunup. It was a concept album dealing with a male 20 something coming of age during the post 60’s sexual revolution. The second song on the album called “Mama Coco” was the one which really blew me away!
A metallic synthesizer bursts into a mix of Afro-funk percussion accompanied by electronics playing a classical opera melodic theme. It drives right into a righteous rhythm with round,burbling Moog bass and Fender Rhodes electric piano playing the songs bluesy melody. On the refrains,one of which features a deep vocalese on the talk box, the song suddenly goes into a swinging Brazilian jazz mode before returning to the original chorus. Another refrain hard rocking bridge with a screaming guitar and electric piano solo before ebbing out.
In terms of funk, this song covers all the bases beautifully. It has the blend of European classical and soulful modern electronics, the Afrocentric jazzy instrumental attitude as well as the progressive rock arrangements of the time. It’s a wonderful groove stew. Thematically Gino is wittily making a point about the exoticism black women can provide in the mind of a free and single young white men. Even pointing out to Mama Coco that he’s “just a male Caucasian/I’m virgin to your kind”. It’s one of many examples of fine funk Gino threw down in this era.
Filed under 1970's, Afro-Cuban rhythm, Afrocentrism, Amazon.com, bass synthesizer, Brazilian Jazz, Canada, concept albums, electric piano, Fender Rhodes, Gino Vannelli, Herb Alpert, jazz funk, Montreal, Moog, percussion, sexual revolution, Steely Dan, Uncategorized