Customer Reviews

Sunlight (Dig)

5 star:		(3)
4 star:		(2)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

Not a typical Herbie album for one BIG reason - "vocals" by Herbie himself. Why quotes? He used a voice-encoder, or "vocoder" (NOT "vocorder"). Invented by Bell Laboratories in the early 60's, this "effect" was first popularized by Wendy Carlos on her early 70's soundtrack to A Clockwork Orange, most notably in her electronic realization of Beethoven's 9th. A bit later it was used by Kraftwerk on "Autobahn" and Man Machine. A vocoder takes an input signal, such as a synthesizer (but can be anything) and filters it using a second input signal, such as a human voice. The input signal is "shaped" to the charactersitics of the second signal. This second signal can be mixed with the original (Moby did this a lot on "Play") or removed so only the filtered original is heard. This is what Herbie did here. Of course when you use a synth you don't have any of the problems associated with bad singing, like wavering pitch.
Now to set things straight: Peter Frampton never used one, he used a device referred to as a "Pig", where a tube channels the sound of the instrument acoustically to the mouth where it is then "shaped" and picked up by the microphone. This effect was also used by Jeff Beck on "She's a Woman" from Blow By Blow and on the phenomenal live album he made with Jan Hammer. It was also used by BT Express on the Function At the Junction album (how's that for an obscure ref?). Also, Cher had nothing to do with her vocoded voice on "Believe". Cher had recorded a demo of this song and an independent (and then unknown) producer used the effect on her voice, then took the track to Cher who loved it. The tune became a big smash, and for the next year every Backstreet Bumbiters and the N*Sphincs recording used him, making that producer an overnight success (can't recall the name). The process used for Believe was a very-labour intensive process of isolating just certain places in the vocal performance where she changes notes, then taking her voice out and inserting the vocoded line for just the split second of the note transition. Takes hours and hours to do.
This album was an experiment in styles from Herbie, and from the picture of his setup on the back cover it is obvious he had major enthusiasm for electronic instruments. He created a sound on the new Sennheiser vocoder that approximated his voice and wrote a few funky tunes he could "sing" on. For that alone this album is a novelty. And for the funky disco suit he's wearing, complete with medallion.
The album is actually quite good, though the tunes are a bit cliche lyrically. But you still have all the great players like Harvey Mason and Paul Jackson, Mtume, Jaco Pastorious etc etc so the music kicks no matter what. When Herbie kicks in with a solo it's pure joy as always. Even though the songs are designed to be danceable, the writing is still first-rate with lots that rewards. It's also amazing to hear these great musicians doing their best to realize Herbie's vision, even though it's not really what they were used to playing. Very professional. When Herbie had a minor hit with this album, he moved into a more commercial feel and started using guitar players like Ray Parker Jr and other musicians who came from the funk and Motown schools, like Melvin Ragin ("Wah Wah" Watson), and I believe one or both are on this album. Just keep an open mind, remembering that Herbie is an explorer, and here he's expressing something that he never quite repeated. Not a failed experiment or anything, just a unique moment in his musical development: Herbie as vocalist.

The beginning of Hancocks obsession wih vocoderized singing
starts on the monster "I Thought It Was You"-a pop early electro
funk number along with it's tital track counter tune."No Means
Yes" is a decent instrumental funk-fusion number while the
closer "Good Question" blasts back to avante-acoustic jazz smack
in the heart of VSOP territory.And theres a throwaway pop ballad
in "Come Running To Me.Trouble is-those arn't highlites;that's
the entire ALBUM-literally!Other then that,enjoy!

Although I have slightly more love for his acoustic period and his early works like Takin' Off, Maiden Voyage and Speak Like a Child (best chronicled on The Best of Herbie Hancock: The Blue Note Years), I'm also very much a fan of Herbie Hancock's electronic period. Once he discovered moogs, polyphonic synthesizers, ARPs, vocoders and the like, jazz-funk was never the same again. He had his eye firmly on the streets as evidenced by "I Thought It Was You", which was a huge crossover hit back then but he ensured I wasn't totally dismayed and disappointed by providing innovative and exciting jazz numbers like "Sunlight", with that fabulous sax solo by Bennie Maupin, "Come Running To Me" and "No Means Yes". Though I have nothing against the vocoder per se, it's what Hancock does with his electric piano improvisations on these songs here that I love most of all. The album features talents like Melvin Wah Wah Watson, Ray Parker, Jr, Jaco Pastorius, Leon Ndudu Chandler, Harvey Mason, Tony Williams and Bill Summers. A true classic.

I remember reading some savage reviews from critics back then, especially those from the more purist camps, who probably missed the acoustic stuff I referred to earlier. Either that or they presumed a jazz musician had no right making being experimental and innovative. I just thought the dude was awesome. I still do.

That said, I do concede that it's possible to take an idea too far. Hancock continued his electro-funky trend with 1979's Feets, Don't Fail Me Now, (which gave me the delights that are "You Bet Your Love", the hypnotic ballad "Trust Me" and the incredibly funky "Honey From The Jar". I also liked the Ray Parker, Jr-esque tune, "Ready Or Not") but overall, I liked this album rather less than I did "Sunlight". Things went further downhill in my opinion with 1980's Monster. The only two tracks I could really get into on that, unfortunately, were "Stars In Your Eyes" and the truly beautiful "Making Love". I can even take "Saturday Night" at a pinch but that's only if I take the charitable view of this being just an r&b/soul album with jazz influences, as opposed to the other way round.

Mr Hancock finally cast all pretensions of being a jazz performer aside and took his turn on the Rod Temperton bandwagon with 1982's Lite Me Up and eventually found his chart nirvana with the massive 1983 hit "Rockit" from his album Future Shock.

I don't want to be misunderstood. I adore Herbie Hancock and get enjoyment from all the albums I've mentioned here, (especially "Feets Don't Fail Me Now" and "Lite Me Up"). I think he's one of the most creative jazz musicians I've ever heard. I just wish sometimes that he had stayed in "Sunlight" mode. I think it's on this album that he got the balance between jazz and funk just right.

This is true porno 70's jazz. Do NOT expect his Miles Davis style in this CD. Yet do not expect HeadHunters either. More mellow, smooth sounds in this album.

There is a review saying its no good. Its good. Just not his style. If you are reviewing something here I think you need to be a little more subjective rather than what you like.

He is a brilliant artist, branching out to a different style he (HH) had previously not explored and did well.

The first three songs on this album are Herbie's attempt at pop-dom. "I Thought It Was You" is the best of the three - and it's not all that good, completely wearing out its welcome eight minutes after it begins. I actually shelved this album, considering it a total loss. A few years later, I listened to the last two tracks. "No Means Yes" is an agreeable instrumental - no big deal, but better than the vocal tracks. Then came "Good Question". This salsa-flavored jazz number features the biggest workout I've ever heard from Tony Williams AND Herbie Hancock. Fantastic! Someone put "Good Question" on a compilation, quick, and send this album to oblivion!

...Roger/Zappheads mostly know about the vocoder-- essentially it digitallizes the voice to give that whiney robotic feel. Stevie used it, Peter Frampton used it, Stanley Clark used it, Teddy Riley uses it...you can hear it used on anyone from Jodeci to Cher to Mary Mary. Shortly after it was popularised by Frampton on his live album, Stevie did pick it up, and keyboardist Herbie Hancock did too--who was the first of the two is a mystery, at least to me. Anyway, it seems as if Herbie laid the groundwork for Zapp with this quick issue from Columbia, circa 1976...a year or so after "Headhunters" w/ that monster cut "Chameleon". This album, "Sunlight" is classic Herbie, and indeed, a true rarity...don't let the dance influenced tracks bother you. Hancock and group were truly innovating back then...get it for some funky jazz and to see how a mastermind works....

As an HH great fan I was very disapointed when I fist played this record on my sound system. Today I use it as a fresh soundtrack when my grandma pays a visit. Love songs, clap-you-hands-baby choruses ... this is really NOT the funky HH I love. Actually, last song is really killing, seems to be paste on the rest (different style, different personnel). Let's go back to my Headhunterz records !

At some point Hancock began segregating rather than integrating his varied musical interests, relegating his keyboard solo work to the background on his r&b/dance records--this 1977 album heads in that direction. I never got into Hancock's dated vocoder vocals on the title cut and I THOUGHT IT WAS YOU; they carry all the warmth and nuance of a robot (personal opinion: I prefer electronically-altered vocals to be used in place of an instrument, not a vocalist). Furthermore, these two tunes have little to say--one really appreciates the wry wordplay of the likes of Sly Stone even more after hearing the trite lyrics heard here, sung over increasingly stale variations of the Headhunters-era groove. Here and there you get a decent solo by Herbie, but at this point Hancock's jazz/funk fusion had mostly become less compelling and more predictable. Bottom line: only the last track is up to his high standards.

While they may provide amazon shoppers with "helpful" information, maybe certain reviewers should find something else to do. Write some books on stuff you know so much about. Does it get you off to look at your own reviews and see how many people find it helpful? Why the quotes around "helpful"? Well, I was too busy trying to decide how pathetic these hipsters are to be enlightened by the lengthy reviews.
I love run-on sentences!!