Chuck Brown | We Got This
Chuck Brown | We Got This
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Chuck Brown is to “Go-Go” what James Brown is to “funk” – the ‘godfather.’ Chuck’s official website (http://www.windmeupchuck.com) confirms this assertion of Brown’s importance in the movement. On 2010’s double album We Got This (triple disc including the DVD), Chuck Brown presents a set of songs that shows ‘the godfather of go-go’ has still got it. The first disc of the set features five brand new studio songs, which includes guest spots from renowned bassist Marcus Miller, and R&B standouts Ledisi and Jill Scott. The second disc, arguably the more interesting of the two, is a live disc encompassing a plethora of styles including jazz, contemporary R&B, and hip-hop. While Brown’s vocals aren’t “notable” per say throughout the discs, the funky grooves and clever orchestrations – carried out by an incredibly tight backing band – always make We Got This worth the while. After all, isn’t funk music focused on the soulfulness of the groove? And let’s not forget that Mr. Brown is seventy four and probably possesses more soul and more ‘swagger’ than any of us could ever hope to possess!
Examining the studio disc, it brings nothing ‘revolutionary’ to the picture, but there are some enjoyable cuts. Opening cut “All For You,” featuring bassist Marcus Miller features nice production work, accentuated by Miller’s virtuous bass playing. As always, Brown goes for a ‘call and response’ method, which is very effective and typical of Brown and funk music. “Funky Stuff,” featuring Ledisi is equally solid, featuring great vocals by Ledisi. Brown sounds better here, perhaps strengthened through his duet partner Ledisi and the vocal mixing. “Jingle Jangle’s” most noteworthy moment maybe the constant repetitions (in the form of response) of “we got this” as the cut is slightly less satisfactory than previous cuts. The groove becomes a bit indulgent, lasting just the slightest bit too long. “LOVE,” featuring Jill Scott and Miller once again on bass, maybe the best cut, featuring catchy horn riffs and a strong vocal performances from Scott and Brown. Closing cut “Señorita” embodies the Latin style fantastically, altering the groove slightly from previous cuts.
The live disc eclipses the studio disc because there is a greater authenticity given the live setting of the recording. On the live set, Brown graces the listener with twenty-two energized cuts, that never fail in regard to possessing an addictive groove. Even as the groove at times grows over indulgent, the musicianship never falters.
“Wind Me Up!” opens up the album with the audience chanting “Wind Me up Chuck,” setting the tone for the energy of this live disc. Vocally, Brown is hard to decipher at times and has some slightly off-pitch moments, but his assertiveness atones for technical errors. “Rappaz R.N. Dainja (Instrumental)” shows off the prodigiousness of the band, despite it’s over-repetitiveness. The cut is followed by shorter cuts “We The People” (more of an interlude) and “Funky Beat.” “I’m Your Man” is the next full length cut, approaching seven minutes in length. Again, the focus is on the music more than Brown’s vocals, but the horn orchestrations are brilliant, the organ soulful, and the guitar funky.
Brown dives into jazz, including cuts “It Don’t Mean A Thing,” “Midnight Sun,” “Moody’s Mood for Love,” “Woody Woodpecker,” and “Harlem Nocturne.” Of the jazz cuts, “Midnight Sun” is the best, finding Brown scatting and embodying the singing style perfectly. “Moody’s Mood For Love” is notable as well, despite being the slightest bit too lengthy.
Following a jazz detour, Brown switches things up even more, focusing on contemporary R&B. “Ego” and “Single Ladies (Put A Ring On It)” add vocalist Cherie Mitchell covering Beyoncé, an unlikely turn for Brown. Both tracks end up being standouts without eclipsing the original performance by Beyoncé; the funky horns are a great touch. A series of brief cuts (some merely interludes) appear on the album, often one right after another. The cuts prove to play part in yet another stylistic turn – hip-hop. Notable cuts include “Do You Know What Time It Is?,” featuring White Boy and Little Benny and “Cat in the Hat (featuring Little Benny).”
Penultimate cut “Chuck Baby,” featuring KK is a standout cut, featuring a more distinctive groove than most cuts. “Bustin’ Loose”contrasts the tempo of “Chuck Baby” with a quicker speed to close the album.
Essentially, We Got This is a solid album, but not an album without its flaws. Avid Chuck Brown fans will be more than pleased with the overabundance of material offered with this album while more casual ones may find themselves overwhelmed in ‘funk.‘ Nonetheless, this album is worthy of a couple of spins, if for nothing else but the sheer genius of the band.