New York’s Chic created arguably the defining sounds of the disco era. Between them, guitarist Nile Rodgers, bass player Bernard Edwards and drummer Tony Thompson were a unique musical engine room that would provide the basis for some of the biggest artists in the world.
Released in August 1978, the album built on the success of Chic’s self-titled debut album of the previous year, and with the turbocharge provided by lead single ‘Le Freak’, the album cemented the band’s reputation as a musical force to be reckoned with. The LP reached number 4 on the US album charts and topped the R&B album charts for 11 weeks, reaching platinum status while ascending to number two in the UK album charts. The success of ‘Le Freak’ – particularly in the US, where it sold more than seven million copies and was the best-selling 7” single in the history of Atlantic Records – virtually guaranteed high sales of the album.
Other staple songs from the Chic canon, such as ‘Chic Cheer’ and ‘I Want Your Love’, reveal the quality of the album, which clocks in at just over 41 minutes.
This is the album that signaled Edwards’ first recorded use of a Music Man Stingray, the bass with which he will always be associated, despite his well-recorded use of Fender Precision and Jazz basses for Chic’s first album. Something about his tone – usually achieved with flatwounds – sits in your brain.
Live, he usually used Ampeg amplification and the usual 8x10 ‘fridge’ around this time, while for recording purposes, he tended to plug directly into the desk. According to one lifelong fan, John Taylor of Duran Duran, Edwards rarely worried about the technical aspects of his equipment – he was more concerned with the groove and the music. And rightly so.
‘Chic Cheer’, is quintessential Chic, with a thick, pulsing bassline, played with plenty of space for groove and dynamics. It’s littered with tasty fills but never overplayed. Likewise, Rodgers’ guitar part is sparse apart from the occasional embellishment, while Thompson’s drum part consists of sixteenth hi-hat patterns and a ‘four on the floor’ bass drum with the occasional snare. The vocals are used equally sparingly. Using only these simple ingredients, the band construct a four-and-a-half-minute song and maintain a monster groove.
Then comes the monster hit. ‘Le Freak’ really needs no introduction; a staple of disco dancefloors the world over and a guaranteed floor-filler. A signature guitar part from Rodgers underpins the constantly moving bassline, the chorus merely utilizing a bass push on the A chord… Why clutter the chorus when simplicity has an even greater effect? And then we’re rewarded with a solo of pure groove genius from Edwards, that no doubt had bass players smiling from ear to ear when they first heard the track 40 years ago. It’s a repeating figure over A and D chords with a minor change of pulse after each full cycle – nectar from the gods for any bassist.
‘Savoir Faire’ is an instrumental with lush strings, a selection of solos from Rodgers and a fine, groove-laden bassline driving the song along, providing a canvas for the guitarist to exert some of his jazz-influenced leanings. ‘Happy Man’ is classic Chic, with piano and key layers, rock-steady drumming from Thompson, minimal guitar and a funkalicious bassline that combines simplicity with rapid-fire fills.
‘I Want Your Love’ is instantly recognizable, with Rodgers’ chugging guitar pattern and one of Edwards’ tastiest basslines – it’s simple but totally effective. ‘Sometimes You Win’ is a great example of the bassist’s choice of phrasing, while ‘(Funny) Bone’ is another instrumental displaying Chic’s groove chops. It completes what is a textbook album for anyone wishing to inject some toe-tapping bass grooves into their repertoire
