Bootsy Collins — 艺术家 (10)
丝绸索尼克之夜 [音乐] 豆瓣
7.5 (74 个评分) Bruno Mars / Anderson .Paak 类型: 放克/灵歌/R&B
发布日期 2021年11月12日 出版发行: Aftermath Entertainment / Atlantic Recording Corporation
Bruno Mars and Anderson .Paak were already hard at work on what would become An Evening With Silk Sonic when the pandemic shut down live music in early 2020, but they weren’t going to let that stop them from delivering a concert experience to their fans. “All of a sudden, my shows get canceled, Andy's shows get canceled,” Mars told Ebro Darden during their R&B Now interview. “This fear of ‘we’ll never be able to play live again’ comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.”
It began with the project’s lead single, “Leave the Door Open,” a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of An Evening With Silk Sonic, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth “Babyface” Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. “We just wanted it to feel special,” Mars says. “Instead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.” Below, the pair talk through some of the tracks that make An Evening With Silk Sonic an experience fans won’t soon forget.
“Leave the Door Open”
Bruno Mars: “Me and Andy come from the school of performing and playing live instruments. We wrote ‘Leave the Door Open’ and it was just one of those songs like, dang, I can’t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it—to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.”
“Fly as Me”
Anderson .Paak: “‘Fly as Me’ is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.”
Mars: “Andy goes behind the drum set one day and says, ‘The groove gotta be like this,’ and starts playing his groove. D’Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.’ And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.”
“After Last Night” (with Thundercat & Bootsy Collins)
Mars: “That one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It’s just one of them songs—everything was built to be played live, so that song is one of those we can keep going for 10 minutes.”
“Smokin Out the Window”
Mars: “‘Smokin Out the Window’ was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak’s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I’m the best! Tell me I’m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I’m out, what we doing tomorrow?'”
“Put On a Smile”
Mars: “I had a song that I played for Andy and I said, ‘What do you think about this?’ and he said, ‘It sucks.’ I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don’t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, ’cause he’ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.”
“Skate”
Mars: “It's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'”
The Power of the One [音乐] 豆瓣
Bootsy Collins 类型: 放克/灵歌/R&B
发布日期 2020年10月23日 出版发行: SWEETWATER SOUNDS
William Earl "Bootsy" Collins (born October 26, 1951) is an American musician, singer and songwriter.
Christmas Is 4 Ever [音乐] 豆瓣
Bootsy Collins 类型: 放克/灵歌/R&B
发布日期 2006年10月31日 出版发行: Shout Factory
深度放克是一种朦胧地录制方克乐曲的形式。基本上也只有狂热的收藏家和乐迷们会对它感兴趣。就好像南方灵魂乐(也叫深度灵魂乐),深度方克可以唤起方克音乐中那种强烈的,只属于美国黑人文化的韵味。它同时也给人感觉像是仅仅属于唱片收藏家的压箱宝底。它可以是清唱或者纯乐器演奏,但其精髓在于韵律、抑扬和音符本身,而不是写歌的过程。深度方克鲜于做形式上的革新,而基本上只从像James Brown或者the Meters这样的方克乐大师中才能体现其价值;或是根据作曲家们对于音乐认知度的差异,进入更加爵士味,更加即兴的领域。一些深度方克的歌曲曾经在大唱片公司的发碟中出现过,但被混搭并埋没在其它曲风中了。它们中的另一些歌曲则在发行量可怜的独立唱片制作中被筛选出了局。但不管是哪种情况,深度方克代表的是方克乐的根基。就好像是六十年代的那些美国地下乐队在车库里狂热地录制他们所喜爱的英伦或者迷幻乐。它们中的一些是神作,一些算是好歌,当然也有使人过耳即忘的。美国人对于深度方克的旧情复燃是跟说嘻哈的兴起息息相关的。由于当时的人们贪婪地寻找那些可以用来录制深度方克的新鲜或者稀有的“母版”歌曲,甚至是那种英国北部的灵魂乐俱乐部内所特有的味道,都被挖掘出来了。受益于这种“淘金运动”,美国人在不经意间发现了一些珍贵的乡村爵士乐和偏甜的灵魂乐中具有代表性的老碟。当这种运动达到变态的巅峰时,深度方克的收藏家们甚至都已经不在乎藏品的真实价值了,而只看重绝版或者发行量的稀少,从而享受于涉猎此种唱片的过程。这其实挺容易办到的,因为世人甚至连他们收集的这些曲目听都没有听过。结果呢,就有些收藏家和DJ们为了一些着实普通的唱片却付出了高昂的代价。虽然正宗的深度方克是单曲发行的,但诸如Goldmine、 BBE和Stones Throw这样的唱片行以及Scottish DJ Keb Darge这样的编辑也在极大的程度上帮助这种以单曲发行为主的深度方克最终走向CD的时代立下了汗马功劳。
专辑介绍:
by Steve Leggett
It should probably come as no surprise that Bootsy Collins completely blows up the concept of what a Christmas album should be on Christmas Is 4 Ever as he deconstructs, reassembles and totally funks up several holiday standards in what might be the best Christmas dance party album ever made. "Jingle Bells," "Winter Wonderland" and "Rudolph the Red-Nosed Reindeer" end up filtered through Collins'
P-Funk
zone into tracks called "Jingle Belz," "WinterFunkyLand" and "Boot-Off," respectively, while Chucky the Funky Reindeer shows up in the careening "Sleigh Ride" (which features some whack fiddle from
Charlie Daniels
), and the whole affair bounces, bubbles and pulses like a holiday lava lamp set at hyper speed, full of call-outs and vocal asides. It's one impressive energetic bundle of holiday cheer.
Snoop Dogg
guests on "Happy Holidaze."
Bobby Womack
handles the lead vocal on the title track. Meanwhile Bootsy stomps through this cartoon neon landscape like some ultra jolly hip-hop Santa, spreading glad tidings and good will to all and making sure everyone keeps their feet moving. This is some Christmas groove. Grandma might even like it.