Mick Jagger had been a longtime loyalist to the Rolling Stones from the early 60’s all the way up through the early 80’s. In 1983, the iconic rock ‘n roll band signed to CBS Records. One clause in this deal was the opportunity for all of its members to pursue solo projects without the band. Jagger was the first one to seize this opportunity during 1984. Keith Richards erupted in anger at Jagger during this time,publically accusing him of breaking allegiance to the Stones in a feud that took the rest of the decade to resolve. But Jagger’s solo career continued onward. As did his presence in the Rolling Stones.
She’s The Boss, Jagger’s first solo album,had a very different focus from what The Rolling Stones had done before. Whereas their albums featured the core band,production and a guest singer or musician here or there, this solo recording featured 32 musicians across its nine cuts. That’s somewhat more in keeping with the way the soul and funk albums were recorded at the time rather than rock. And in keeping with Jagger’s musical vision. That approach to the recording also spilled over into the sound of the music. And an excellent example of this is the title song.
A drum machine fanfare and deep digitized voice transition directly into Sly Dunbar and Robbie Shakespeare’s stuttering,tight bass and snare heavy drum interaction. Jeff Beck provides a rocking rhythm guitar over this-playing a higher chorded version of Shakespeare’s bass line directly over it. Jagger raps/talk sings the lyrics in his classic bluesy style during the refrains and choruses of the songs,featuring a heavier guitar sustain. Jeff Beck takes some harder rocking solos during the coarse of the song as well before the basic refrain fades it all out.
“She’s The Boss” is a very busy song,both in terms of style and instrumentation. Wally Badarou and Guy Fletcher’s synths,along with the percussion of Anton Fier and Aiyb Dieng’s talking drum provide extra textural and rhythmic bedding for this song. Stylistically, its a song that that blends a funk/reggae/rock mixture of approaches-all put together via producer Bill Laswell. Lyrically, it extends on “Emotional Rescue” by the Stones. Musically, that fact its a fuller affair stays in keeping with Jagger and the Stones keeping up with the progressions of black American music they had genuine love for.
Grace Jones is someone who feels a bit like a creative soul sister to me. Despite the 32 year age difference,we were both born on the same day of the year. As Tauruses, both of us very much contradict our supposed astrological traits. It’s kind of fun to think about the fact that both Grace Jones and myself revel in being somewhat daring. Yet both of us exact strong control over how said daring is projected. So far,she’s really made her controlled sense of performance art really function well for her. That’s made her something of a cultural icon for Afrocentricity from the beginning to the middle of the 1980’s.
Jones recorded three albums during between 1980 and 1982 for Chris Blackwell’s Compass Point studios. All would feature the production and instrumental talents of dub reggae pioneers Sly Dunbar and Robbie Shakespeare. These albums all fashioned a funky,pan ethnic type of new wave dance/rock music. Her final album of this triad was called Living My Life. In many ways,it was the most fully realized of her albums in terms embracing different strains of Afrocentric musicality. And it all started off with a song that really summed this sound up in “My Jamaican Guy”.
Wally Badarou starts out with a synthesizer solo deep in the Asiatic pentatonic scale. Dunbar then comes in with the 8 beat,break heavy jazzy funk/reggae skank throughout the song. On the refrain there are two more layers of keyboard-one is a lower and more bluesy one,the other of is a higher pitched synth brass/horn chart type riff. Shakespeare’s bass and guitarists Barry Reynonds stay in chunky,syncopated interplay throughout-all the while a round,hiccuping electronic pulse adds a percussive thump. After a bridge that reduces the song back to the drum,the chorus lets the song come to a hand clapping stop.
Instrumentally speaking,this might be the most thoroughly pan ethnic funk jam of 1982. It’s got the Asian style melody,the stripped down dub funk drumming as well as the equally drum like bass/guitar interplay. Everything from Grace and Sly & Robbie’s grunts and calls to the electronic hiccups make this song one big sea of rhythm and movement along with it’s deep reggae melody and lyrics. The “laid back,not layed back” Jamaican guy Jones sings about turned out to be Tyrone Downie of Bob Marley’s Wailers. And this all makes up for one of the best examples of where the funky groove took Miss Grace Jones.
Filed under 1980's, Afrocentrism, Barry Reynolds, Chris Blackwell, Compass Point, drums, Funk Bass, Grace Jones, naked funk, pentatonic scale, rhythm guitar, Robbie Shakespeare, Sly & Robbie, Sly Dunbar, synthesizers, Uncategorized
Grace Jones’ breakthrough album Nighclubbing is celebrating it’s 35 anniversary today. This album came along at a very significant time in the black musical spectrum. In 1981, America was deep in the throws of a radio freeze out of any uptempo music played by black artists. Meanwhile the synth dance/pop scene in England was gobbling up the funk and disco genres that the US was now rejecting. Into that mix came a group of Caribbean based artists who would help usher in a new fusion of world music sounds into that brew. Among them were Eddy Grant and Grace Jones.
Jamaican reggae producers/musicians Sly Dunbar and Robbie Shakespeare had produced Jones’ 1980 album Warm Leatherette at Chris Blackwell’s Compass Point studios in Nassau. So the same group of people and musicians were involved in the creation of the followup. As an album, Nightclubbing could be best described as an early precursor of the pop/world fusion sound that artists such as Peter Gabriel would pioneer mid decade. The array of styles on this album had a creative and commercial level of success in different areas of the world-not just the US and UK. One standout song on the album for me is “Feel Up”.
This extended mix of the song begins with a melodic pan flute-after which Dunbar’s bass drum comes in with Shakespeare’s thumping bass line. As the song builds, Shakespeare adds an addition layer of funkified slap bass along with a deep,percussive rhythm guitar along with genuine percussion. Wally Badarou’s quiet,high pitched synthesizer accents Jones’ vocal refrains. Towards the middle of the song,her vocals give way to rhythmic breathing and popping . Her choruses of vocalizing the title heavy with echoplex make up the entire structure of this song as it fades out.
This is the one song Grace Jones herself wrote for this album. What’s so amazing about it is that it sums up not only the album,but the whole of Jones’s musical side. As an actress model,Jones brings out a strong mixture of African percussion rhythms,Jamaican and American funk bass lines. This entire song functions musically as layers of drums and bass-even the guitar. It also brings out Jones’ unique vocal conceptualization-acting out the rhythm of the song theatrically with her voice rather than simply interpreting the melody. So on this song,Grace Jones grew some serious funk of her own.
Filed under 1980's, Afro Funk, Chris Blackwell, Compass Point, drums, Funk Bass, Grace Jones, percussion, rhythm guitar, Robbie Shakespeare, slap bass, Sly & Robbie, Sly Dunbar, synthesizer, Uncategorized, Wally Badarou, world fusion
Out of the many bands to come of the UK post punk/new wave era,Level 42 were probably the most significant on a purely musical level. American funk,R&B and disco-dance music were an important element of early 80’s new wave in Europe. But Level 42,led by electric bassist/one time drummer Mark King and keyboardist Mike Lindup,came straight of a strong jazz-funk/fusion underground that was still thriving in Europe during the late 1970’s and early 80’s. Their style celebrated strong musicianship over the flamboyant rock ‘n roll authenticity of the UK punk scene-full of raw,angry emotion. Still this devotion to musical eloquence had it’s shortcomings for Level 42.
While the band were critically acclaimed on their first few albums from 1981 and 1982? Their label Polydor,interestingly enough the same label James Brown had been on during his funk heyday in the early 70’s, were looking at Level 42 as consistent hit makers. And having met them while on tour,the band developed a strong musical report with Earth Wind & Fire’s bassist Verdine White and the bands keyboardist Larry Dunn. Both of them were very able at creating funk music that was melodic and commercially popular. And it was agreed they would produce Level 42’s fourth album in 1983. That album was called Standing In The Light. And it was likely best personified musically by it’s title song.
Starting off with a light breeze of drum cymbal-seemingly carrying a wind of bassy synth orchestration on it,the song quickly emerges with an economical slow funk beat accompanied by an equally economical,minor chord electric bass line from King. After a jazzy guitar solo takes over Lindup’s,or possibly unofficial fifth member Wally Badarou’s ethereal synthesizer harmonies King’s lead vocals kick on. On the chorus,the instrumentation suddenly enters into a sunnier end of the minor chord with Lindup’s falsetto vocals. There’s a bridge in the middle of the song where the keyboard plays a progressive jazz fusion styled ascending two-chord solo which includes a jazz oriented vocal refrain from King and Lindup’s vocal harmonies. After this the song goes through one more chorus of the same one with which it started.
Musically influenced to a great degree by the electronic oriented pop/funk hybrids emerging from Compass Point around this time,this song is musically representative of the type of stripped down funk that emerged from the post funk environment. Yet also comes from a reverence for the modal style of fusion pioneer Miles Davis-whom Mike Lindup musically admired and who had a huge influence on his compositional style.It’s the nature of the music and lyrical mixture on this song that speaks most to me on the other hand. This song tells the story of a young man whose approach to music comes from imagination and creativity,and many around him want to subsidize that with their own personal tastes,needs and requirements.
As the chorus grows happier,this inner creativity becomes an inner light he’s standing in as he asks for people not to “shadow the genius”. It’s a poetic,intelligent yet plain spoken statement for creative autonomy and freedom of expression-coming from a decade where supposedly such ideas were totally limited. And to me,it’s one of the most significant rallying cries to creative musicians from this point onward. Considering that two key members of Earth Wind & Fire produced this album,it’s not surprising that Level 42 felt a bit freer to write music with a message as their sound became more outreaching to the public. And if I could personally thank all parties for their participation in this song and it’s message personally? I’d be more than honored.