Album #1: The Brothers Johnson - "Light Up the Night"
A funkified R&B journey into the future-past.
For the inaugural Big Dig post, I’ve selected Light Up the Night, the fourth album by The Brothers Johnson, comprised of brothers George and Louis, known as “Lightnin’ Licks” and “Thunder Thumbs” respectively. Great nicknames, right? I’m choosing this 1980 funk/R&B record because it was produced by the late great Quincy Jones, who died earlier this month at 91.
Sometimes, you can just look at an album and know it will be good. This is one of those albums. I absolutely love this album’s cover art. Lightnin’ Licks and Thunder Thumbs gaze out at us against a galactic backdrop, standing on a curved highway leading down to a futuristic city. Thunder Thumbs, the bassist and synth player, holds a pink spotlight, shining it on his brother. On the back, we get a closer look at this future city, which is brightly illuminated by a pair of hands (the Brothers’?). I’m ready to be taken on a spacey, futuristic journey. Are you?
I encourage you to read my review as you listen, but do it however works best for you.
The album clocks in at 38:20. You can listen using the links below:
Side A
Track 1 - “Stomp”
This is instantly good. No build-up, no intro, just immediate funky grooves.
An insistently danceable bassline serves as the spine of this track. Think disco with a heavy dose of funk: the rhythm and guitar are played simultaneously, adding a crisp syncopation to the grove. Strings and horns introduce and then add color to the vamp, which is repeated throughout the song.
The Brothers Johnson know what they’re doing: laying down a tight groove with defined downbeats that force the listener to clap their hands or tap a foot in time to the beat. Stomp all night! I like it. Stomp is a funny word, but also a powerful word. This isn’t just an exhortation to dance; it’s a call to dance like you mean it. And the brothers leave nothing to chance. The bridge implores us to “ Stomp, step down in it, put your foot where you feel the fit. Stomp, you don’t want to quit; put your heel where you’re feelin’ it.” Thanks for the instructions, guys!
Slap bass solo. Come on! This is awesome. Then the whispered, urgent break. This song is upbeat, kind of sexy, and the funk doesn’t quit.
Quincy Jones’ fingerprints are all over this album already. Looking at the back cover again, I scan the list of instruments. Euphonium? Trombone? Flugelhorn?! Nice. This is no low-key, small-time operation. This is maximalist music glued together by Quincy, the ultimate compressor module. Great opening tune.
Track 2 - “Light Up the Night”
The groove is back, but it’s spacier this time. The Brothers Johnson love their strings, this time layered over a more classically funky bass-heavy beat punctuated by synthesized chimes and non-rhythmic and dissonant keys that give this groove a futuristic energy.
They’re building a vibe on this one that gives way to a lush horn line and electric guitar solos. The lyrics are fun but spooky, with bass and soprano passing the melody back and forth for most of the track.
Interestingly, the title track is the second track. That feels rare to me, but if you can think of any other examples, drop them in the comments. “Light Up the Night” is a real soundscape. Nice bassline. Fun lyrics. We’re not just stomping. We’re stomping with a higher purpose. To light up the night!
Track 3 - “You Make Me Wanna Wiggle”
Great track name. This one is a little smoother, but the same familiar sounds are floating back in. The fat bass and synth, the bright horn punches, the soulful guitar, bass, and trumpet solos punctuating the endless groove.
Quincy Jones lays down a deliciously polished groove that the Brothers Johnson skate on until the end with simple lyrics and a gritty guitar solo. The track feels more like the opening tune to a cop drama set in 1980s Los Angeles than a dance floor cut like “Stomp” or “Light Up the Night.” The song works, but it’s a little cheesy.
As a hobby, I’ve been getting into sound design and synthesis, and this track made me curious about the synths used on the album. George Johnson plays a Prophet 5, the first polyphonic synth with programmable memory. I also saw on the list of personnel that a guy named Steve Porcaro was responsible for “synthesizer programming.” I looked him up and saw that he’s this guy, a legend in the synth world (and the source of many great synth memes):
Track 4 - “Treasure”`
Ballad time. I usually find myself tuning out during songs like this. I don’t hate it, but my body misses the funk of the first three tracks.
“Give me the pleasure / That comes with the treasure / Of love.” Those lyrics! I miss the subtle eroticism of older R&B. That’s brilliant language. Now it’s like, “Face down, ass up, that’s the way we like to—”
“Treasure that good thing we share.” So simple — and actually sweet. I could imagine this song playing at a 1980s prom.
Well, that’s side one. I’m sitting on my couch in near-total silence, hearing the faint sounds of kids playing at the park across the street through an open window. It’s all feeling kind of sublime. Great start.
Not to get all “vinyl is better” on you (I don’t necessarily think that, by the way), but the break between sides is an underrated aspect of this type of listening. I usually think of the whole “tactile” aspect of the hobby as the thing that makes it appealing, but the forced intermission is a cool detail I never really considered before. It’s definitely re-creatable on Spotify. Go to Wikipedia and see which song is the last track on the A-side. After it plays, pause the album. Just take a break. See if anything hits you. Or don’t!
Let’s blast on over to the B-side and see if the grooves continue.'
Side B
Track 1 - “This Had to Be”
We’re back, baby! The bass is fatter than ever, and there are some weirdo synth sounds in the mix, too. Even funkier than side one so far. You can just see Thunder Thumbs’ stank face.
“I’m livin’ my life for me.” I just checked the back of the record, and I think that’s Michael Jackson doing background vocals! “She took the car / But I hold the key.” Very confusing metaphor, but I’m somehow down with it.
Track 2 - “All About the Heaven”
Starting slow, like the A-side closing track, “Treasure.” Gentle. So smooth. It’s almost giving me a bossa nova vibe. Is that way off base? Some serious R&B energy here. Not loving this one so far. Guess I just got spoiled by the funk. There’s a moment when I catch the wave of this song and float a little bit. But it never really grabs me. If this were a live concert, this would be my cue to head to the bathroom.
Some nice vinyl crackle going on right now.
Track 3 - “Smilin’ on Ya”
I’m just not loving the B-side thus far. Another slower jam. Wait…there’s a pretty sweet trumpet line right now. They’ve got my attention, but it sounds like elevator music! Curious to see what the vocals are like. Here comes that trumpet again. Really pure, clean tone. I’m becoming aware of that slap bass again. Has it been there the whole time? The funk is creeping back in. Whoa. This is a ride. Amazing synth solo with some soulful pitch bends and virtuosic playing. I guess this track is an instrumental! I actually love that. This is not some lightweight R&B album — it’s proper space jazz!
Track 4 - “Closer to the One That You Love”
There’s Lightnin’ Licks’ sweet voice right away setting the mood. This side is much slower and smoother. The funk is definitely in there, but the Brothers seem to be leaning more into the R&B side of things now. Yet another fat bassline running underneath everything, though. Variations on a theme. Funky walking bass, strings, horns, and synths. Classic Quincy Jones sonic palate. I’m vibing out right now, even though this style isn’t always my cup of tea it has all of the components I love. It’s that toe-tapping syncopation. I live for the funk, I die for the funk.
Track 5 - “Celebrations”
Very different sound. Treble funk. Flute flowing into spacey analog synth goodness. The synth and horns play off each other nicely. It’s a musical dialogue and here come the Brothers to join the discussion. This song is really highlighting the synth.
The groove is back! I feel like a wanderer in the desert, staggering to an oasis. Confirmed by some excellent syncopated scatting and arguably some of the funkiest bass yet. Loving this flute. Now I understand why Andre 3000 doesn’t rap anymore. Long live the flautist!
Triumphant closing track. Great album.
Now it’s your turn! Listen however you listen, but, if you have the time or can make the time, I’d encourage you to find a comfortable seat and devote your attention to the music. Then, share your thoughts in the comments!
I want to build this into something that brings a lot of people into conversation with each other about good music. Each comment you make is a step in that direction. Sound off on the whole vibe, or focus on a particular track. Whatever you’re feeling when you hear the music, we want to know.