Thursday, 4 June 2015
336 Hello Chaka Khan - I'm Every Woman
Chart entered : 2 December 1978
Chart peak : 11 ( 8 in remixed form in 1989 )
Number of hits : 13
Ms Khan was born Yvette Stevens to a Catholic family in Chicago in 1953. She became Chaka Karifi during a teenage flirtation with the Black Panthers. After dropping out of school she did some singing with a group called Lyfe that included her future husband Hassan Khan. She also had a brief spell as part of a group called Goliath , formed from the remnants of Baby Huey and the Babysitters in 1970. She was rescued from local obscurity by her friend Paulette McWilliams the singer with a soul band called Rufus who had decided to quit and recommended that Chaka replace her in 1972.
Her first recording with the group was the single "Slip'n'Slide" in March 1973 , a frantic gospel soul number written by keyboard player Rob Stockert ( hence the bonkers piano break ). Chaka is restricted to the gospel backing vocals. She took the lead on the next two singles "Whoever's Thrilling You" , a slow brewing sultry number written by Allen Toussaint and "Feel Good " a Stevie Wonder-ish funk number. Both made an impression on the R &B chart but didn't help sales of the parent album "Rufus".
Their breakthrough came with the next single "Tell Me Something Good", a Stevie Wonder song released in May 1974. The backing sounds like Nutbush City Limits played at half-speed with added Heil talk box interjections but Chaka works up a steam with her Arethra Franklin like vocal. It reached number 3 in the charts and won a Grammy. Chaka was now a star and the next single "You Got The Love" was credited to "Rufus featuring Chaka Khan". It was written by Chaka herself in partnership with Ray Parker Junior and is a gritty urban funk number. It reached number 11 and the success of these two singles helped the parent album "Rags To Rufus" become their highest charting LP.
Their next single in February 1975 was "Once You Get Started" written by Gavin Christopher, another funk number with frantic guitar and Chaka given herself free range to wail all over the track. It reached number 10. The softer Philly-flavoured "Please Pardon Me" written by Brenda Russell reached number 48. The album "Rufusized" reached number 7. In December 1975 the mellow soul of "Sweet Thing" written by Chaka and guitarist Tony Malden got to number five .
Thereafter their chart positions fell away somewhat. Although their next album "Rufus featuring Chaka Khan" also reached number 7 the tuneless funk number "Dance Wit Me " stalled at number 39 and their stodgy version of "Jive Talkin" missed out altogether. The first single from the next album ("Ask Rufus "which reached number 12 ) the not particularly commercial loose funk number "At Midnight" got to number 30. The mellow jazzy "Hollywood" reached number 32 but the spiky "Everlasting Love " missed out.
By this time tension between the group and their star frontwoman was escalating . Drummer Andreas Fischer had been involved in a physical fight with Chaka's new husband Richard Holland during the album sessions and he quit the group at the end of the tour. The first single from the next album ( "Street Player" , number 14 ) the thoughtful soul of "Stay" which Chaka sings in a lower register for the most part got to number 38 but the rather bland "Blue Love" didn't make the Top 100.
Chaka then announced that she had a solo deal with Warner Brothers although she had no intention of quitting the group. Her first solo activity was providing some uncredited vocals on Quincy Jones's single "Stuff Like That ( a UK number 34 hit in July 1978 ). Also singing on the single were Ashford and Simpson who provided Chaka with this song for her debut LP.
"I'm Every Woman" heralded a more disco direction for the solo Chaka with a dramatic string arrangement from Arif Mardin and up front Chic dance beat. Chaka declares herself a Superwoman with a vocal performance to match, aided by Cissy Houston whose daughter would later cover the song. Its success was helped by a memorable video featuring five distinctively dressed Chakas grooving together , one of them locked in a desperate battle to stop her left boob escaping. Despite her track record it was a smaller hit in the US peaking at 21.
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A good song, and Chaka certainly gives it some steel, but I can't help but feel it would have benefited enormously from the subtle touches the Chic Organisation would have brought to the party. When it came to this kind of music, they had the template down expertly.
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