Mirage/Atlantic Records, released March 1983
New York City, autumn 1982. The Big Apple music scene is in a period of transition. New Wave and No Wave have been replaced by Mutant Disco and Punk/Funk, Madonna is planning her assault on the charts in dance studios and rehearsal rooms around Manhattan, major record labels are flirting with the harmolodic jazz/rock/funk of James Blood Ulmer, Miles Davis’s comeback is getting into its stride despite his continuing ill health and Hip-Hop is flourishing into a fully-fledged movement.
Meanwhile, Nile Rodgers is reaching a crossroads. Confidence is low; his band Chic have seemingly become passé (a very Chic word) with recent albums Tongue In Chic and Take It Off failing to set the charts alight. They are still seen as a disco act even though their music increasingly embraces jazz, funk, R’n’B and even early hip-hop.
The good news is that Rodgers has been given the green light to make his first solo album. But Adventures In The Land Of The Good Groove is not the record Chic fans are expecting from him. No female singers are featured (apart from a brief appearance by ex-Supremes/Labelle vocalist Sarah Dash) and the Chic rhythm section Bernard Edwards and Tony Thompson only appear on three tracks out of eight.
The album sounds far more stripped down than Chic, relying heavily on early drum machines, Rodgers’ guitar playing and his surprisingly effective, relatively downbeat vocals. Lyrically, the album focuses on debauched NYC nightlife rather than the faded glamour of the Chic aesthetic.
But there are many treats inside. I loved this album from the day my dad played it to me in the mid-’80s. I came to it completely fresh; I’d never heard Chic before. But I possibly recognised something of Nile’s soundworld from Bowie’s Let’s Dance album which everyone dug.
I think of Rodgers as something akin to the Thelonious Monk of funk – he’s almost gregarious in his desire to entertain (to paraphrase Gary Giddins). He took the James Brown rhythm method and added jazz harmony and contemporary technology to create some of the great music of the ’80s.
‘Rock Bottom’ puts dark lyrics to a burning funk/rock groove complete with one of Edwards’ finest basslines and a raucous Rodgers guitar solo that gives Stevie Ray Vaughan a run for his money (and pre-empts Vaughan’s playing on Let’s Dance).
‘My Love Song For You’ is the aforementioned duet with Sarah Dash, a classic Rodgers slow-burn ballad with jazzy chord changes, some almost Ellingtonian piano by Raymond Jones and a tantalising middle eight. The title track, ‘Yum Yum’, ‘Most Down’ and ‘Get Her Crazy’ are glorious Afro-funk chants with inventive back-up vocals by the Simms brothers and some typically slamming Rodgers guitar.
Adventures In The Land Of The Good Groove is a fascinating companion piece to Let’s Dance, though Rodgers claims in his book ‘Le Freak’ that on completion he immediately knew it was a ‘flop’, neither commercial nor innovative enough to make an impact. Bowie disagreed. Smash Hits magazine did too; they gave it a 10/10 review!
Certainly it may seem uncommercial compared to Chic smashes like ‘Good Times’ and ‘Le Freak’ but tracks like ‘Yum Yum’ and ‘Most Down’ surely wouldn’t have sounded out of place on the Black stations of the early ’80s that were playing Prince, The Time or Zapp.
Nile released one more solo album in the ’80s, the intermittently effective B-Movie Matinee, but it lacked the minimalist power of the underrated AITLOTGG. It’s long overdue a reassessment.