#MWE April 2023
Do you have a few moments free to hear about the gospel of Brit funk?
April’s Theme Week+ (so denoted now because I’m sprinkling titles throughout the month, in addition to devoting the month’s second full week to the theme) centered on Brit funk (10-16), a very specific (both sound- and time-wise) moment in Black British music. It led to the likes of Loose Ends and Soul II Soul, but I wouldn’t call either artist Brit funk by any means - not enough jazz influence in their music, and both came too late. Much like Yacht Rock, while the limbs of Brit funk and its forebearers may stretch wide, what’s truly Brit funk is, I think, quite particular. Start with Hi-Tension, Light of the World, and Incognito’s debut.
4/17’s twofer is thanks to a chart fact brought up in Tom Breihan’s The Number Ones column on Nelly Furtado’s “Promiscuous,” while 19, 22, and 26 are thanks to suggestions from a FB thread. Pick Hits: Public Universal Friend’s astonishing sophomore album, boygenius (as good as you’ve likely heard), the Exkursions (read my review and listen; it’s streaming), Marta & Tricky, Marty Robbins’s 1959 classic. Musts to Avoid: Peter Gruziden (less freaky than junky) and Junior.
Coming up for May: a Theme Week+ of debut albums, new records by Mya Byrne, Yves Tumor, and ther, a mother-daughter twofer, a Wham!-related twofer, and more more more queer country (and music by queer artists, generally).
& coming up for June, Pride Month in the U.S., an entire month of albums by queers.
Jaimee Harris, Boomerang Town (2023): Striking country/folk w/stripped down arr, which spotlights Harris’s consistently astonishing lyrics & melodies, as it should be. Only her 2nd LP! Fans of the Chicks, Mary Chapin Carpenter should be all over this.
Jett Holden, Necromancer EP (2021): A quick 10 min of hard country blues that makes me want a lot more, w/2 superb originals (title track refers to his trying to bring back an ex-lover) & a jaw-dropping cover of Spice Girls’ “Say You’ll Be There.” He’s the real deal.
Taco, After Eight (1982): If you know Taco, it’s thanks to his weirdo take on Irving Berlin’s “Puttin’ on the Ritz.” His debut is more of that vibe, though only 6 of 11 songs are American songbook covers gone synthpop - that’s the problem, it should’ve been all of ‘em.
boygenius, the record (2023): Baker-Bridgers-Dacus collectively kill. CSN is obv analogue b/c of folkieness; harmonies will break yr heart. Songwriting consistently stunning, rockers rock (“Satanist”!), prod choices always smart. Only negative is the sequencing.
4b. Julien Baker, Little Oblivions (2021): Her voice! The way it sounds like she’s about to crack, my god; that accentuates her gut-punch lyrics, too. Indie rock vibe here pairs so well with these songs. But why’s a 43-min LP feel overlong? (Secret weapon: her guitar.)Linx, Intuition (1981): This Brit funk duo weren’t quite; their bright R&B sound is more straightfwd, occ mixed w/ a little new wave (“I Won’t Forget,” “Rise and Shine” which could almost be Spandau Ballet), steel drums (title track), glossy funk (“Throw Away the Key”).
Public Universal Friend, Chrysalis (2023): Spooky, intense folk, w/ a well-oiled, in-sync band fronted by the incredible presence (her vox are more than just singing) of Jody Galadriel Friend. These songs about her coming out/journey as a trans woman are v powerful.
Freeez, Southern Freeez (1981): John Rocca’s band has a lotta funk in ‘em - a lotta jazz, too. Listen to the way “Easy,” “Sunset,” “Flying High” percolate & swing. & that popping, neck-snapping bass! Heavy on the instr, which is just fine; most of these don’t need vox.
Autumn Nicholas, Shades of Beige EP (2020): I like their voice a lot & the way it’s prod here, but these arr are often a little too precious, & some of these lyrics could use some work (one cites “home screens”). But there’s a lot of promise. Stripped-back #s are best.
The Exkursions (1971): *This* is certainly something: the debut, sole LP by a heavy blues-rock Jesus music power trio (note the year) reminiscent of Hendrix (!), Iron Butterfly (!!), Vanilla Fudge (!!!). Recorded indie, self-prod, w/good tunes, sung & played great.
Light of the World, Round Trip (1980): As an early marker of the nascent genre of Brit funk, this is more disco-driven than much of what came after. Chic is the best analogue, in that the instrumentalism on display is absurdly high. & “London Town”! *chef’s kiss*.
10b. Incognito, Jazz Funk (1981): “Bluey” Maunick (ex-Light of the World) combined ‘70s jazz fusion & then-new Brit funk to essentially create a new genre, acid jazz. This largely instr debut has all the hallmarks of their sound straight out of the gate, and it grooves.Atmosfear, En Trance (1981): More like straight up jazz fusion than Brit funk (check out “Duende” and “Interplay”), but w/ some occ squiggly synth lines and chanted, largely unison vox. It doesn’t *do* a lot necessarily, but has fun jogging in place. Great horn charts.
Junior, Ji (1982): “Mama Used to Say” may seem the biggest Brit funk-era hit (& is great), but the truth is that Junior’s debut isn’t actually of the genre. This is more a straight-ahead R&B LP, & sadly a limp one at that. Even 2nd single “Too Late” just sits there.
Hi-Tension (1978): Primary touchstones seem to be K&TG and EWF, but there’s a UK twist, & not only in “British Hustle.” This is a landmark b/c it drew the blueprint for Brit funk, w/ more jazz than US funk, & a cooler (less heated) vibe. These cats knew their stuff.
Imagination, Body Talk (1981): *Slinky*, thanks esp to Jolley & Swain’s prod. Killer debut from one of the rare largely vox-driven Brit funk groups; lead Leee John’s falsetto stuns. Even w/ mostly slower tempos, this feels v proto-house, thanks to prominence of pianos.
Beggar & Co., Monument (1981): 3 members of LOTW branched off to form this trio, & the first ⅔ of their debut is solid, slick Brit funk - “(Somebody) Help Me Out” is tight as anything. But then there are (gasp) bad ballads & mediocre midtempos. End after track 7.
The Brit Funk Association, Lifted (2020): Ex- Beggar & Co., Hi-Tension, Incognito folx joined up in the 2010s to make some new tunes, not just nostalgia. As comfortable as worn-in sneakers, this does all you want of classic Brit funk. Bright, summery, blissed out.
Nelly Furtado, Loose (2006): Mostly pretty great, snappy pop, as the Timbaland/Furtado combo is a strong one - they clearly enjoy their creative relationship. 2 of 3 weakest trax are at the end, co-writes w/ Rick Nowels (ick) and Chris Martin (ick).
17b. Cassie (2006): Her voice is wispy almost to the point of nothingness, yet feels like the right foil for these v mid-’00s R&B tracks. Ryan Leslie’s fairly limited palette (he had a hand in penning/prod each one) does just enough. & “Me & U” is superb post-Aaliyah.
Brittany Ann Tranbaugh, Quarter Life Crisis Haircut EP (2022): 5 lovely folk songs, mostly about Tranbaugh’s youth as a young lesbian, that get me *right here* -> <3. Closely mic’d vox (smart) increase the intensity. “Space Cadet,” roughly re brain stuff, is a wow.
Marty Robbins, Gunfighter Ballads and Trail Songs (1959): Quasi-concept LP of Western (as opposed to country) songs - rec’d in an 8-hr session! - succeeds thanks to Robbins’s rich voice & superb singing (2 diff things), Don Lee’s smartly simple prod, & superlative songs.
I-Level (1983): V much Brit funk lite; some of their smooth sole LP even presages later ABC. That said, the likes of “Give Me” (that bassline!) and “Teacher” are much funkier than they have any right to be, and Sam Jones has an easy-on-the-ears, pleasing voice.
The Kentucky Gentlemen, Vol. 1 EP (2022): Why is it that this Black queer take (it matters!) on contempo country is >>> the bullshit on the radio? Similar musical elements, but these twin brothers make it work - & they can SING, & their lyrics are smart *and sexy*!
Diahann Carroll, Fun Life (1961): I’d no idea she was a singer! But the way Carroll takes to these songs shows she was no joke. Her voice light but substantial & pure, she wisely glides over these classy, well-arr standards by Gershwin, Berlin, Lerner et al. w/ finesse.
Honey Dijon, Black Girl Magic (2022): An album of almost wall-to-wall Black [queer flag emoji]/[trans flag emoji] joy still feels, & is, revolutionary; this primarily deep house LP matters deeply. Dijon keeps the vibe deep, dreamy, & dancefloor-ready, while her guests provide the vocal fire.
Omar Apollo, Ivory (2022): Modern queer pop kid covers a lot of ground on his debut LP, mostly well: “Evergreen” is Frank Ocean-y slow dance, “Tamagotchi” and “Highlight” bilingual trap, “Archetype” a little Steve Lacy. His voice has a real ache which hits me hard.
The Braxtons, Braxton Family Christmas (2015): Reality show tie-in, yes, but at least it’s by a bunch of women who can really sing. The downside is that they’re mostly oversingers, so it’s lots of runs and melisma over just-average R&B prod. Toni sounds great tho.
Dusty Springfield, Dusty in Memphis (1969): “Soaring Memphis soul w/ strings” is the obv logline, & it’s fine, but doesn’t knock me out. Some of these songs don’t always serve her the best; it gets a bit samey for me. I prefer the less-belty side of her voice, as well.
Miko Marks & the Resurrectors, Race Records EP (2021): Marks’s big, full voice recalls Wynonna, w/ a Raitt-ish knack for singing others’ songs on this Americana-roots covers EP. Able backup helps her take on the likes of Nelson, Carter Family, even CCR. No duds here.
Shakatak, Night Birds (1982): Thanks to the era + pair of top 15 UK singles from this soph LP, Shakatak occ get lumped in w/ Brit funk, but they’re more tasteful fusion-leaning-into-smooth jazz than anything else. Formula of light jazzy arr + occ femme vox works well.
Marta & Tricky, When It’s Going Wrong (2023): 9 songs in 19 min, yet it feels like a proper album, not an EP. Credit to Tricky, who’s crafted a claustrophobic, airless atmosphere that perfectly fits Marta’s high, pinched voice. He knows how to pick collaborators, huh?
Peter Gruziden, The Unicorn (1974): Self-made LP of weirdo country by an openly queer, mentally ill outsider artist is… something else, that’s for sure. Thing is, it’s not actually v good, or entertaining, unless you want weirdness for its own sake, which I don’t.