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Anatomy of THE Groove: “Can You Feel It” by The Jacksons

The Jackson’s were already prepping for their second album self written and produced in June of 1979-just when the finishing touches to Michael Jackson’s Off The Wall album were being completed. It made sense then that musicians such as Michael Boddicker, Jerry Hey and Paulinho Da Costa played strong instrumental roles between both albums. The Jackson’s Triumph  album turned out to be no mere extension of MJ’s swiftly developing solo music. It was one of the most truly collaborative albums they made together. With Michael, Randy and Jackie Jackson being its creative triad.

Each member of the family played a different part. Michael and Jackie contributed much in the way of songwriting. While Randy did the same with more instrumental touches as well. The brothers fully flowered independence earned them their most successful album in nearly a decade-both in terms of critical acclaim and commercial status. I’ve had a decades long relationship with Triumph now. And had actually grown up on a truly epic video to very musically like song that turned out to be the opening track of the album. The name of this song, of course, was “Can You Feel It”.

An enormous adult choir sings the songs chorus acapella for the intro. This is arranged masterfully by the talented vocalist/vocal coach Stephanie Spruill . The horns kick into the disco march that makes up for the refrain of the song. And also its central rhythm as well. Ollie Brown holds down the 4/4 beat to perfection. Nathan Watts and Ronnie Foster play a conjoined, clomping bass line. The string and horn melodies go right into Randy’s vocal intro. On the chorus, another drum is added for funkier sound. Along with David Williams chunky, reverbed guitar while Michael sang lead. With flourishes of synths and a choral bridge, the orchestration fades the song out.

Musically “Can You Feel It” starts Triumph off in a manner that would follow it through the entire album. That is showcasing disco’s roots in the cinematic soul/funk of the early 70’s. All wrapped up with a more electronic boogie/post disco twist. As for the songs Utopian message? Its tempting to view its plea that “we’re all the same/ the blood inside of me is inside of you” as being Michael and Randy being a bit removed from earlier civil rights struggles generationally. Yet the general message of seeing racial difference as positive is at its core. And its all pushed forward by a dynamic musical offering.

 

 

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Anatomy of THE Groove: “Sunset Driver” by Michael Jackson

Michael Jackson began the sessions for Off The Wall, his first solo album produced by Quincy Jones, with the idea that he wanted to separate his adult solo career from what he’d been doing with his brothers. This was a concept he’d already pursued on their previous album Destiny from one year earlier. Talking with my friend Henrique, the then current sound of Barry White interested MJ in 1979-his album The Man and its emphasis on live horns and strings. That is the direction he pursued on the finished album. Early on in the sessions however, the music MJ and Quincy were making was slightly different.

Of course, instrumentally the same West Lake studio crew that worked on this album also played on the Brothers Johnson’s Light Up The Night. That album was recorded during the same time as  Off The Wall, but was released in 1980. So musicians such as Greg Phillinganes, Paulinho Da Costa, Jerry Hey, Rod Temperton and Toto’s Jeff Porcoro likely switched off from one album session to another. Since  Light Up The Night has a more electronic flavor to its grooves, it doesn’t surprise me too much that an early song from the Off The Wall sessions has a similar flavor. And it was called “Sunset Driver”.

The intro features what sound like higher pitched synth horns followed along closely by the drum-beat by beat. The drums then settle into a straight up disco friendly dance beat pounding away. The melody is led by a thick polyphonic synthesizer, with a pumping synth bass underneath it. Chucking right along with it is a scratching wah wah guitar. On the refrains of the songs, the string arrangements ascend and descend with MJ’s vocals. On the choruses, the strings sustain along with the lead synth. On the bridge, the lead synth goes into a more descending pattern before an extended chorus fades out the song.

Upon hearing it shortly following MJ’s passing eight summers ago, “Sunset Driver” emerged as an unreleased song I had trouble placing into MJ’s vast recorded catalog. Its a lot closer to the post disco/boogie funk of a Brothers Johnson song such as “This Had To Be”. Especially with the synthesizer being a far more significant element than it had been on the final cut of Off The Wall. Still with MJ’s dialog near the end of the song saying “that’s it Jerry,that’s nice”, its clear now that this shows MJ in a different and cutting edge electronic dance/funk flavor at the beginning of his adult solo career.

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Anatomy of THE Groove: “Joy” by Isaac Hayes

Isaac Hays, born in Covington, Tennessee in 1942 was raised by his grandparents. He was encouraged to finish high school several years after dropping out due to the encouragement of his teachers. After turning down musical scholarships from several universities, Hayes began performing in the late 50’s as a teenager. By the mid 1960’s, he and David Porter became one of the major songwriting partners at Stax. Especially for the duo Sam & Dave. His solo debut Presenting Isaac Hayes wasn’t a big success in 1968. But its jazzier orientation pointed in a vital new direction for his music.

By that time, Stax was in trouble. Otis Redding had died with most of the original Bar Kays in a plane crash. And Atlantic Records had absorbed most of their back catalog. As a label functioning with no music, label owner Al Bell decided to have its remaining artists to record 27 new albums to give Stax new content. Hayes’s sophomore album Hot Buttered Soul was the most successful in 1969. Its extended, jazzy and psychedelic treatments of his own songs and interpretations became his signature sound. Even through his record breaking 1971 soundtrack for Shaft.

With Shaft, Hayes had basically created the production template for the disco era. That was elongated dance songs with heavy string and horn orchestration’s. As the disco era arrived in earnest, Hayes mid to late 70’s albums swam right along with the tide his earlier 70’s works had initiated. Not to mention his continuing soundtrack work for movies like Truck Turner and Three Tough Guys. As similar artists like Barry White ascended to popularity, some of Hayes’ albums got lost on the musical public. One of them was an album with an amazing title song entitled “Joy”.

A 7 hit drum beat (with plenty of hi hat around the middle) starts off the song at an approximately 80 BPM’s-which continues throughout the rest of the song. Then the snaky bass and distant seeming wah wah guitar accents chime in. From there, the strings rise up in volume right into the song-spiraling horn charts in the back round. A sustained organ swirl also joins the mix. A bluesy fuzz guitar plays to Hayes’s vocals. On the b section of the chorus, the melody gets a bit higher key with the orchestration.  The song fades out with a long,grunting extended refrain.

At almost 16 minutes, “Joy” is one of those early 70’s funk operas. It actually reminds me a little bit of Barry White’s “I’m Gonna Love You Just A Little More Baby” from the same year. Its among the faster of Hayes’ usual extended ballad approach of the earlier 70s. Still, Hayes’ distinctive psychedelic and jazz tones keep this distinct as cinematic soul/funk was becoming more the mainstream at the time. And its for that reason that its actually one of my favorite Hayes’ solo numbers along with “Theme From Shaft”, “Groove-A-Thon” and his epic version of “Walk On By”.

 

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Anatomy of THE Groove: “Love’s Holiday” by Earth Wind & Fire

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.

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Anatomy of THE Groove: “Act Like You Know” by Fat Larry’s Band

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.

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Anatomy of THE Groove: “Freddie’s Dead” by Curtis Mayfield

Superfly is a film I’ve never seen. Nor have the soundtrack to. One of the oddest omissions in my collection. The reason having the album never seemed a priority to own is because my father had the 2 CD special edition in the early aughts. A set complete with radio spots for the album from Curtis himself. And it was played to death. So there was a lot of exposure to the music from this 1972 classic soundtrack for the Gordon Parks Jr’s drug scene related epic staring Ron O’Neal as the dealer Priest-so as I understand a character planning on retirement after a final “sweet” drug deal.

Apparently Mayfield wasn’t particularly pleased by Parks’ movie after seeing a screening during the film scoring process.  He was said to have described it as an “infomercial for cocaine”. Being the socially conscious man that Mayfield was? He decided to write a series of songs that not only ran thematically counter to the film. But also added depth based on different perspectives of Superfly‘s seemingly pro crime themes. The film itself can be debated. But what cannot be so easily is how Mayfield fleshed out one particular “flunky” pusher from the film in one of its classics called “Freddie’s Dead”.

Tyrone McCullen’s ultra funky drums start of the song accompanying Mayfield’s lead melody on a punchy fuzz guitar,with a layer of wah wah in the back round. As the song comes into itself,that bluesy melody the song starts out of with the countering orchestral strings,dreamy glockenspiel and big band horn charts accentuating the melody. All along with Henry Gibson’s percussion. Especially as the song jumps up a chord on the chorus. As the song progress,muted horns and psychedelic guitars and all, a bridge with a bass/string/percussion delay goes into extended chorus fading out the song.

“Freddie’s Dead” is one of those masterpieces of early 70’s cinematic funk for what became known as the “blacksploitation” genre of cinema at the time. It was famously covered by the ska/funk band Fishbone 16 years after the original due to its iconic status. Heard only as an instrumental in the movie, it gives a seemingly minor character an identity of people having “misused him,ripped him off and abused him”. Curtis then advises “Freddie’s on the corner now,so you wanna be a junkie wow,remember Freddie’s dead” in a beautiful example of funk working cinematically to help heal society’s ills.

 

 

 

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In Full Bloom Approaches 40: Rose Royce Do Their Dance On This Sophomore Success

 

Rose Royce had a massive hit right out of the box with their 1976 soundtrack to the motion picture Car Wash. In fact, it marked the beginning of funk functioning for the disco scene. And Rose Royce retained their crown for the rest of the 70’s as part of the funkiest royalty of the disco era funk bands. Between Norman Whitfield’s productions on them and the very strong caliber of the band themselves, it all made it possible for their second album, 1977’s In Full Bloom to retain the hit status of its predecessor. Here’s an Amazon.com review I did about the album seven years ago.


Rose Royce made it clear on this album that not only was their life after Car Wash for them and producer Norman Whitfield but that they fully intended to forge ahead with their sound. By the time the 70’s was at it’s midpoint synthesizers and electronics had become an enormous part of funk music,especially in the hands of people such as Stevie Wonder and Billy Preston.

While that had come into play to a certain degree on previously,the fact that Rose Royce were one of the few bands ever to debut on a soundtrack recording meant that they were going to save certain types of experimentation for their next album,if any. Turns out they were so big from the start a sophomore set was almost guaranteed. So it was basically on this album that Rose Royce…well basically became Rose Royce as it were.

While very even keel in terms of fast and slow songs,this album is primarily devoted to funk. It showcased that this was what they intended to base their sound in. But right away the bands unique sense of reinventing their influences within their groove became apparent when they unconventionally opened this album with the ballad “Wishing On A Star”. It’s one of the finest crafted slow numbers they ever did and deservedly one of their classic songs. “Ooh Boy” and “You’re My World,Girl” are the two other ballads here.

And the most soulful of them too,very much in the spirit of Chicago and Philly styles of 70’s soul balladry. On the funk numbers,needless to say it really comes to a head. On “Do Your Dance” and “It Makes You Feel Like Dancin” represent Rose Royce’s signature funk sounds where every part of the band became a purely rhythmic element-chugging like a freight train with the percussion,synthesizers,bass,guitar and cosmic vocal harmonies. It’s very much a futurist concept to how modern hip-hop producers such as Timbaland and The Neptunes approach their style of funk as well.

“You Can’t Please Everybody”,”Love,More Love” and “Funk Factory” are potent reminders of their more straight ahead,horn based danced funk sound they already showcased on their debut. Weather on cosmic electronic/space harmony based funk to chunky,hardcore brassy grooves and ballads this outfit proved to be one that had it all,could do it all and did it all when it came down to it. Gwen Dickey proved the master of funky femininity,wrapping her very girlish but very confident voice.

Even though she would come to represent some interpersonal issues within the band in the coming years,at this point she was very much part of the “funk factory” the band were starting to become. One wonders,if things had been different if Whitefield records could have had Rose Royce be part of a movement that would do for funk what Motown had done for R&B. They were very innovative and experimental in their genre of music. But also were very commercially viable. In many ways that style seemed to end with them rather than begin with it as Ricky Vincent’s “united funk” era was coming to an end with albums such as this. But still,the deed was done.


In Full Bloom represented something very important for the all important 1976-77 period of disco era funk. Just as much as it represented that potential unexplored direction at Motown (through Norman Whitfield while he was still there) as well. One element is the bands combination of thick slap bass lines combined with heavily rounded Moog bass. That gave the grooves an enormous and up front bottom to work with-along with the wah wah guitars,strings and the sweet voice of Gwen Dickey. As such, it might very well be one of the most important disco era funk albums of its day.

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Anatomy of THE Groove: “Skatin'” by Deodato

Deodato was one of the first major artists I had a experiences with during my early crate digging exercises. So much so that looking back, I wonder if the people in charge of stocking their 50 cent-$1 used vinyl bins had any idea who Eumir Deodato was. The history of this artist is something I thoroughly addressed last year with an overview of his 1978 song “Area Code 808”. This year, wanted to share a song connected to a one of these crate digging sessions that occurred in the early 2000’s. One that really taught me how to better scope out vinyl.

About 14 years ago, I was visiting the city of Portland Maine with my family. We found a new shop there-one we often still visit to this day. Its called Strange Maine. They sell old video games,books,movies and used vinyl. On the first visit,the store had a sizable jazz section. Flipping through it, I came across a 1980 Deodato album called Night Cruiser. Upon turning it over, the back cover proclaimed it featured a sax solo from Khalis Bayyan. Which made sense since Deodato was producing Kool & The Gang at the time. The song on the album that leaped out at me upon hearing it is called “Skatin'”.

A slow dragging 4/4 beat starts off the song with a flange filtered slap bass line and processed Fender Rhodes as the intro. The high pitched rhythm guitar joins in halfway through-with the scaling up strings getting into the main chorus. This showcases the rhythm section of the intro with a horn like synthesizer playing the leads. On the refrain,an ascending synth bass provides the backup to a melodic trumpet solo and string synthesizer.  As each chorus goes on,the lead synth becomes more bell like in tone. Even the pitch of the song goes up on the last chorus before it fades out.

“Skatin'” is a song that truly plays up to both Deodato’s talents as both a funky musician and a cinematic,melodic arranger. This was a mixture that extended from the blacksploitation soundtrack to the extended disco mix. Its surely a disco era song if there ever was one. At the same time,the groove is slowed down to give it a deeply funkified crawl. And the fact that the song is as driven as much by a punched up slap bass as well as string and horn orchestrations makes this as strutting a jazz funk jam as The Crusaders “Street Life” in a way. Very much an unsung musical treasure from Deodato.

 

 

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Anatomy of THE Groove: “I’m Back For More” by The Tavares

The Tavares are a group I’ve seen albums by in so many budget vinyl bins over the years, I didn’t have much context of their significance in the soul/R&B/funk world. Perhaps on their records being so common in Maine is a matter of geography.  This New England based group from New Bedford, Massachusetts got their start as different incarnations of The Turnpikes. Along the way,that group attracted future musicians such as Aerosmith’s drummer Joey Kramer and P-Funk/Talking Heads icon the late,great Bernie Worrell. By 1973, the five Tavares brothers alone signed to Capitol for a succession of R&B smashes.

One member of the group Butch Taveres is turning 69 this year. And so far,the only music I am all that aware of them for is their participation in the blockbuster Saturday Night Fever soundtrack-in that case covering The Bee Gee’s composition “More Than A Woman”. For some reason,always associated the singing siblings as being primarily based in slow jam ballads and Philly style disco songs. But just yesterday,I learned they had a far funkier side that showed up on the final song of their 1979 album Madam Butterfly entitled “I’m Back For More”.

A slow shuffling drum,bluesy filtered Fender Rhodes piano and a snarling,jazzy bass walk accompanies the harmonies of the Tavares along with horn and string accents on the intro alone. During the refrains of the song,its the drums,Rhodes and strings that carry the song along with the groups close and often jazzy harmonies. On the earlier bars of each refrain statement,the drum kicks up a bit more than shuffles. On the latter choruses,a wah wah guitar joins the musical mix. On the final choruses,the horn charts take presidents with the groups call and response exchanges as it fades out.

“I’m Back For More” brings to mind the feeling of three songs that define the funkiest side of the disco era for me. It has the rhythmic and horn/string cadence of Donna Summer’s “Love To Love You Baby”,the jazzy keyboards and swagger of Edgar Winter’s “Do What” from 1979 and a melodic element similar to Toto’s “Georgie Porgy” from a year earlier. Its the type of song that bridges disco,funk and classic harmony vocal based 70’s soul with such a strutting,funky yet laid back kind of groove. Cannot think of a better song to pay tribute to Butch Tavares with,personally.

 

 

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Anatomy Of THE Groove: “Games People Play” by The Spinners

The Spinners were a Detroit band who at one point were actually co credited with the name of their home city-the Detroit Spinners. Also as the Motown Spinners at times because original members Billy Henderson, Henry Fambrough, the late Bobby Smith and Pervis Jackson recorded a number of singles for the famous Detroit label. Their biggest hit on the label was of course “Its A Shame”,sung by GC Cameron. Cameron was succeeded by the late Phillipe Wynn. Wynn was part of a three lead singer lineup of the band at Atlantic Records-for a series of albums produced by Philly maestro Thom Bell.

That period of the Spinner’s recording from 1973-1976 was their most commercially successful. While they’d go on to make some superb records after that,its that early/mid 70’s period that defines them in the public consciousness. Pervis Jackson was one of the three lead singers of the band. Though he passed away from cancer in 2008, his bass vocals were a key part of their five part vocal harmonies. There was one time where his vocals became more the star of the show. And that was on another huge smash hit for them from their 1975 Pick Of The Litter album called “Games People Play”.

A spacious drum thump starts out the song. A high pitched rhythm guitar,filtered piano and close knit bass line provide the basic melody along with accompanying horn lines. A string riser segues into that intro extended out into the refrain of the song. A second statement of the song extends out into a different chord-focusing on the horns and strings playing along with the lead vocals,which include female guest singer Evette L.Benton. The chorus of the song finds the groups vocal harmonies singing the the melodic string and horn orchestration. Its on this chorus that the song fades out.

“Games People Play” is one of my very favorite Spinners song. Its some of the finest produced mid tempo cinematic soul of the mid 70’s Especially the vocal exchanges. For Pervis Jackson’s part,his moment on this song occurs during the beginning of the third refrain where his bass voice sings “12:45”. As I understand it, that lyrical phrase became his nickname for a time. The end result is one of the best vocally oriented musical studio soul sounds of its era. Thom Bell was a master of highly musical vocal productions. And this is one of many fine examples of this from the Spinners during the 70’s.

 

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