THE GAP BAND-THE GAP BAND VI.

dereksmusicblog ♦ October 21, 2012 ♦ 1 Comment

THE GAP BAND-THE GAP BAND VI.

One of the most successful funk bands of the late-seventies and early eighties were The Gap Band. They enjoyed released fifteen studio albums during a twenty-five year period. Their career started with their 1974 debut Magician’s Holiday, while 1999s Y2k: Funkin’ Till 2000 Comz was their finale. The most successful period of The Gap Band’s career was between 1979 and 1984. During that period, two of The Gap Band’s albums were certified gold and two platinum. As if that’s not impressive enough, three of The Gap Band’s albums reached number one in the US R&B Charts. The last of The Gap Band’s number one US R&B albums was The Gap Band VI, released in 1984. This brought to an end a hugely successful five year period, where it seemed The Gap Band could do no wrong. They’d been riding the crest of the funkiest waves and The Gap Band VI, which was recently rereleased by BBR Records is seen as the end of an era for The Gap Band. Before I tell you about the music on The Gap Band VI, I’ll tell you about the most successful period of The Gap Band’s career.

When The Gap Band released their debut album Magician’s Holiday on Shelter Records in 1974, the success they’d go on to enjoy must have seemed light years away. It failed to chart and it would be a further three years before The Gap Band released their sophomore album. By the time The Gap Band released their sophomore album The Gap Band, it was on a new label, Tattoo Records. Like their debut album, it failed to chart on its released in 1977. Two years later, when The Gap Band released their third album, not only were they signed to a major label, but their fortunes had changed.

By the time The Gap Band released their third album in 1979, they were now signed to the Mercury label. The first of four albums The Gap Band released for The Gap Band was The Gap Band. It reached number seventy-seven in the US Billboard 200 and number ten in the US R&B Charts. This was just the start of a five-year period where The Gap Band could do no wrong. During this period, critical acclaim and commercial success were ever-present.

Later in 1979, The Gap Band released their second album of the year, The Gap Band II. Not only did it reach number forty-two in the US Billboard 200 and number three in the US R&B Charts, but gave it gave The Gap Band their first gold album. A year later, in 1980 The Gap Band III was released, and reached number sixteen in the US Billboard 200 and number one in the US R&B Charts. This gave The Gap Band their first platinum album and was the last album they released for Mercury. Next stop for The Gap Band was a label that specialized  in funk music, Total Experience. 

After a two-year gap, The Gap Band released their first album for Total Experience in 1982. The Gap Band IV reached fourteen in the US Billboard 200 and number one in the US R&B Charts. This meant platinum album number two for The Gap Band. 1983 saw The Gap Band V: Jammin,’ which didn’t quite match the success of its predecessor. Having said that, it still reached number twenty-eight in the US Billboard 200 and number two in the US R&B Charts and was certified gold. There would be just one more Gap Band album before this run of commercially successful and critically acclaimed albums came to a halt. This was The Gap Band VI.

For what would become The Gap Band VI the three Wilson brothers Charlie, Ronnie and Robert set about writing the ten tracks along with the group of musicians they collaborated with. Charlie wrote Disrespect and cowrote two other tracks, Video Junkie and Beep-A-Freak. He cowrote Video Junkie with Demetrius Johnson, Rudy Taylor and executive producer Lonnie Simmons, while Lonnie, Rudy and Charlie cowrote Beep A Freak. Of the other seven tracks, Oliver Scott penned Weak Spot and Don’t You Leave Me. Lonnie Simmons and Rudy Taylor cowrote The Sun Don’t Shine Everyday trilogy plus I Believe. These ten tracks that became The Gap Band VI.

On The Gap Band VI, Charlie Wilson sang lead vocal, and like his brother Ronnie, played keyboards and percussion. Robert Wilson played bass, guitar and percussion. Among the musicians joining The Gap Band, were Oliver Scott, Rudy Taylor, Lonnie Simmons and Jimmy Hamilton. They were also joined by backing vocalists, including Pennye Ford. Lonnie Simmons produced The Gap Band VI, with Charlie Wilson and Oliver Scott both co-producing tracks. Once The Gap Band VI was completed, it was ready for release in December 1984.

Before the release of The Gap Band VI, Beep A Freak was released in November 1984. Although it only reached number 103 in the US Billboard 100, it headed all the way to number two in the US R&B Charts. When The Gap Band VI was released in December 1984, it went one better than Beep A Freak. The Gap Band VI reached number fifty-eight in the US Billboard 200 and number one in the US R&B Charts. Even though The Gap Band VI reached number one in the US R&B Charts, it sold fewer copies than it’s predecessor. This meant no gold disc number three. On the release of I found My Baby in February 1985, it reached number eight in the US R&B Charts. Four months later, the Charlie Wilson penned Disrespect was released in June 1985, but only reached number eighteen in the US R&B Charts. So The Gap Band VI didn’t match the success of The Gap Band’s four previous albums. However, does the music match the quality of music on The Gap Band VI match the quality of their four previous albums?

Opening The Gap Band VI is The Sun Don’t Shine Everyday Instrument Interlude where thunderous drums give way to Eastern sounds, cinematic strings and this broody, uber-dramatic one-minute track ensures The Gap Band have your undivided attention.

Video Junkie mixes sounds that are reminiscent of eighties video games and collide with sci-fi sounds. A cascading vocal is accompanied by synths as drums crack and an eighties sounding arrangement unfolds. This is funk, but with an eighties twist. Drums drive the arrangement along, while synths and searing guitars join Charlie’s melodramatic vocal. As space-age sounds reverberate from the arrangement, you’re back in the eighties, reminded of lo-fi video games like Pacman and Tetris. Later, keyboards add warmth, before brittle keyboards and crisp drums add layers of contrast. For six minutes, The Gap Band transport you back to eighties, evoking memories of the music and the games that helped defined part of a decade.

Weak Spot sees the tempo drop, with The Gap Band revealing another side to their music. This brassy ballad with a real soulful side would’ve been a really radio-friendly single. Drums pound, stabs of growling horns and synths combine with Charlie’s heartfelt vocal. The track has an innovative sound, mixing funk, soul and eighties electronica. Throughout the track, the arrangement is busy, with space at a premium. Constant stabs of blazing horns add funk, while the drums and synths give the track its electronic sound. Charlie’s vocal is soulfulness personified and showed, that although best known as a funk band, by 1984, The Gap Band could release some killer slices of soul.

The Sun Don’t Shine Everyday Instrument Interlude is the second part of what’s a trilogy of tracks. It’s a tantalizing taste of what might have been, with forty beautiful seconds of tender, beautiful music. Just harpsichord, piano and bass are responsible for this. If only this track had been developed, it could’ve been something really special, rather just than a mere tantalizing taste of what might have been.

I Believe is another of the Lonnie Simmons and Rudy Taylor compositions. It sees another change of style, with rocky guitars, bluesy horns and piano combining with Eastern sounds. They give way to Charlie’s vocal. It’s heartfelt, impassioned and one of his best on The Gap Band VI. Gone are the synths and eighties drums, replaced by a group that seamlessly fuses blues, rock and soul. To do this, it’s the rhythm section, guitars, punchy horns and piano that combine with Charlie. Again, this is a missed opportunity, as this would’ve been a real radio-friendly song and maybe a hit single. One thing I can say for certain, is it’s one of the real highlights of The Gap Band VI.

I Found My Baby was written by Raymond Calhoun and sees slow, spacey drums joined by piano and synths, before The Gap Band’s massed vocals enter. Charlie’s vocal is accompanied by an arrangement that’s got a slight hip hop sound, with the drums and synths responsible for this. A piano is key to the track, while the backing vocalists accompany Charlie’s tender vocal. Stabs of keyboards replace his vocal, before the backing vocalists return and then, when Charlie’s vocal becomes a powerful, joyous vamp. When combined with the backing vocalists, piano and hip hop influenced beat, the result is an irresistibly, catchy track that worms its way into your psyche.

Beep A Freak gave The Gap Band a number two single in the US R&B Charts. It has more in common with Video Junkie and sees synths, crunchy drums and flourishes of keyboards combine with backing vocals. Chiming guitars drift in and out, as Charlie raps his way through the track, before his usual style returns. Here, hip hop, eighties electronica and funk unite as one, on a track that could’ve only been made in one decade…the eighties. Having said that, it’s stood the test of time and is a compelling demonstration of how The Gap Band’s music was evolving.

Oliver Scott who wrote Weak Spot also wrote Don’t You Leave Me. To a backdrop of synths, sound effects, percussion and rhythm section Charlie shrieks and yelps his way through the introduction. Then his vocal changes, becoming much more tender. Briefly, there are similarities with Paul Simon. Soon his vocal grows in power and passion, while melodic synths and keyboards create a jazzy backdrop for the crisp drums and percussion that accompany him. It doesn’t take long to realize that this is another highlight of The Gap Band VI, where they fuse genres as Charlie unleashes an impassioned vocal tour de force.

Disrespect is another track where genres melt into one. Hip hop, R&B, eighties electronica, Latin and funk unite. Hip hop is the first influence, after a quick nod to Woody Woodpecker. Whistles, percussion and synths see Latin and eighties electronica while, the rhythm section, synths and Charlie’s cheerleader style vocal fuses funk and R&B. Soon, a real melting pot of music unfolds and with Charlie and Lonnie Simmons producing the track, they bring everything together, resulting in a funky fusion of music, that’s impossible not succumb to soon. Quickly, your hips are swaying and your hands are in the air. 

Closing The Gap Band VI is The Sun Don’t Shine Everyday. This is the third part in this trilogy, with this version the vocal version. There’s a real understated sound to the track, just percussion, guitars and percussion, before backing vocalists, who sound like a choir of angels sweeping in. Charlie’s vocal is tender and thoughtful, full of sadness and emotion. Just a piano, percussion, rhythm section and backing vocalists accompany him. They create a very beautiful, moving and understated sound that quite simply is one of the most beautiful songs The Gap Band would ever record.

The Gap Band VI was the last of The Gap Band’s run of commercially successful and critically acclaimed albums. This brought to an end, a run of success that was almost unrivaled for a funk band. While other funk band’s popularity started to wane, The Gap Band’s music evolved and drew inspiration from other popular musical genres. During The Gap Band VI, they fuse hip hop, R&B, eighties electronica and Latin music with funk and soul. With such a melting pot of music, people who might not necessary be fans of funk music per se, became fans of The Gap Band. However, after two gold and platinum albums The Gap Band VI wasn’t as commercially successful. Back then, this might have been seen as a blip, but it was something more worrying. After The Gap Band VI, the run of commercially successful and critically acclaimed albums dried up. Their next album The Gap Band VII reached just number 159 in the US Billboard 200 and number six in the US R&B Charts. That was as good as it got for The Gap Band. They never ever recaptured the success they enjoyed between The Gap Band II and The Gap Band VI. For this reason, The Gap Band VI which was recently rereleased by BBR Records marked the end of an era for The Gap Band, when they were one of the most successful funk bands of all time. Standout Tracks: Weak Spot, I Believe, Don’t You Leave Me and The Sun Don’t Shine Everyday (Vocal).

THE GAP BAND-THE GAP BAND VI.