Tag Archives: Spandau Ballet

Anatomy of THE Groove 7/25/2014: “Get Into My Groove” by Incognito

Following the post disco freeze out of most soul and funk music in the early 80’s? It would seem that the British music scene really kept the progression of that level of instrumental and melodic eloquence continuing. It can be heard in funk oriented bands of the new wave era such as Englands Spandau Ballet,Heaven 17,Level 42,Duran Duran and,on the rockier side of it The Clash and former Sex Pistol John Lydon’s Public Image Ltd. There was also a strong multi racial jazz based end of this scene that would emerge with Matt Bianco, which originally featured their very soulful lead singer Basia,Sade and Jean Paul Maunik’s Incognito. After a one off recording in the early 80’s,the band didn’t re-emerge again until the 90’s. During this time Incognito helped pioneer with acid jazz fusion of American jazz/funk and house music. At the very end of the decade in 1999,they released their album ‘No Time Like The Future’-featuring the song that really got me deeply into their music entitled “Get Into My Groove”.

Kicking off with a counting down type snare drum,the song goes into what is basically a contemporary hip-hop/soul drum machine rhythm with some beautifully orchestrated,cinematic soul strings. Shortly after these spirited horn charts kick in,along with two prominant bass lines in a wah wah fueled electric solo and a walking Moog synth bass one. After a brief vocalese scat from Jamiroquai front man Jason Kay,Wonderlove alumni Maysa Leak comes in for the lead vocal. She is talking about someone,a politician maybe, who is willing to preach about the woes of the world while taking no specific actions to correct them-asking “tell me how do you change the world if you haven’t got the nerve”. On the melodically ascending chorus Maysa asks this invidual to come and feel her groove,step into her shoes and that to “get into my mind,you gotta get into my groove”. After a consoling and very jazzy bridge,the song repeats that chorus with variations to the songs conclusion.

On a personal level? I feel that the post Columbine/pre (alleged) Y2K world of 1999,one defined by a great deal of paranoia and lack of hope,was in need of “people music” with a message perhaps more so than any other time in history. In America people such as Erykah Badu were beginning to deliver an Afrofuturist musical vibration of their own. But this combination of a former Stevie Wonder singer,along with a British acid jazz band also featuring backup vocals from…the lead singer of the biggest crossover act of the British acid jazz funk scene in America made a bold statement (to me anyway) that the humanistic message of the funk/jazz spectrum was every bit as alive as the music was. And this was sophistifunk at that. Yes rhythmically it actually did incorporate some of the mechanized hip-hop/soul rhythm. Yet the arrangement-with elegantly produced live strings,horns and bass synthesizers gave it that flavor of a fully formed futurist groove,modeled on the EWF/Roy Ayers musical attitude to lead the way into the new millennium.

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Filed under 1990s, Acid Jazz, Disco, Funk, Hip-Hop, Incognito, Jamiroquai, Maysa, Stevie Wonder

Anatomy of THE Groove 5/2/14 Andre’s Pick: “I Will” by Kenny Thomas

One of those fascinating coincidences in the history of soul and funk music is the tendency of the British music scene to fill in significant gaps when the music is experiencing a low popularity and audience in the United States. Funk oriented new wave era groups such as Level 42,Heaven 17,Duran Duran and Spandau Ballet provided this during the US post disco radio freeze out. Some maintained this style through mid decade even. Sade,Simply Red,George Michael and Soul II Soul continued this tradition later in the decade. Aside from American adoration’s such as Prince and Talking Heads,the popularity of funky soul grooves seemed to be in a strange holding pattern on this end of the pond. In the mid 1990’s onward through the post 9/11 world? This pattern came back in play-with 2006-08 being the height of this ethic. Years after his debut in 1991,English soul/funk artist Kenny Thomas emerged in 2006 with a song that showcased this impulse entitled “I Will”.

Starting off with a fan faring drum roll and a plast of joyful,gospel inspired horns the song gets started with thickly grooving mix of high stepping drums,highly melodic electric piano chords and the fantastically vital horn section providing the life force that keeps the entire song alive. With a chunky bass/guitar interactive holding the keyboard riffs all together, Kenny himself sings lyrics with the same level of joy expressed in the horn parts and melody revolving around the most optimistic outlook on newfound romance that one could possibly ask. On the refrains,the melody changes to include a few minor chords but when going back into the main theme of the song,the melody rises up into the major chord as Kenny declares “I WILL” on the chorus. His voice-a passionate cross between Teddy Pendergrass,Michael McDonald and Heatwave’s Keith Wilder,provides an almost ideal reflection of the songs overall joyousness.

From my own personal observations, the era in which this song was recorded was not among the happiest or secure time for the planet Earth, A never ending war on terror was going on,people were divided even more than they were in the 1960’s and that 90’s era cynicism prevented a great deal of action from occurring to counter this. Music was in a great need for empathy over apathy,release instead of tension. And for those who followed the music of Kenny Thomas (which I unfortunately wasn’t at the time),this song in particular provided just what a proverbial Dr. Funkenstein might want. Its another one of those songs defined by a hybrid sound-in this case a mixture of the Chi-town funk of Earth Wind & Fire and the sleek West Coast style of late 70’s Doobie Brothers and Steely Dan. Also there’s a strong element of Phil Collins’ early 80’s Brit-funk approach as well. This song is a perfect example of,on a purely musical level of what Mick Jagger sang in 1969: you can’t always get what you want,but sometimes you just might find that you get what you need.

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Filed under Funk, Late 70's Funk, Neo Soul, New Wave, Radio, Soul, UK