Nile Rodgers

Exclusive: Nile Rodgers On Shooting Videos For Daft Punk, Collaborating With David Guetta, Avicii

“Can I call you right back? I just had an idea,” Nile Rodgers says in a relentless game of phone tag with VIBE. The 60-year-old producer/guitar hero is in the studio all day, almost every day and must lay down whatever new sonic concoction he’s thought up before he forgets it. Although VIBE’s Summer 2013 cover robots Daft Punk ,along with Pharrell, pegged Rodgers to collaborate on three tracks for Random Access Memories, they started out using samples from his first major group, Chic, on their debut album Homework. As Rodgers says, “I didn’t really understand it until I got the album and heard all the samples that were very Chic-inspired.”

Cut to today and Rodgers is gearing up to drop a new Chic dedication album and has collaborations lined up with David Guetta, Chase & Status, Brett Ratner and Avicii. Then there’s the next video off RAM, “Lose Yourself to Dance,” which could drop at any moment—as per the mysterious nature of Daft Punk. Here, VIBE speaks with the Grammy-winning producer/artist/composer on his future projects and beyond.

VIBE: The next single off Random Access Memories that you’re on is “Lose Yourself To Dance.” What was it like shooting the music video with Daft Punk and Pharrell?
Nile Rodgers: We had a great time. Now for me, it was a little bit tricky because I had to fly in from Europe. I was on tour, so I flew in and they did the video shoot around my schedule. I literally got off the stage, went right to the airport, flew out to L.A. and as soon as the plane landed was on the set.

Was this for shooting “Get Lucky” or “Lose Yourself To Dance?”
Both. So we were shooting like crazy until it was time for me to leave. It was shot and reshot, and you can see all the extras lying on the floor because everybody was exhausted. Then when I left and the plane landed, the limo took me directly to the hall where I did a concert.

What do you do when you’re drained of creativity?
That doesn’t really happen. I have a strange, I wouldn’t call it an affliction or malady because it actually helps me, where I can think of music all the time. Like when you called, the reason why I was so excited was because I had an idea that, to me, was great and it made a huge difference in this new record.

What was the idea behind the record and who was it for?
I’m working with this English drum and bass dubstep group Chase & Status. We were working on some stuff, and I just said to them, like ‘Guys, I’m going to turn this shit into some commercial stuff,’ and they said ‘No, it’s cool, it’s nice.’ When they hear this thing tomorrow, they’re going to flip out. It’s really great.

What else are you working on at the moment?
I’m working on two or three tracks right now with David Guetta. It’s crazy, unbelievable. I get all excited. I’m like a kid, working on all these records with Guetta. It’s so good, it’s scary, and when David called me, I gave him the big idea and he became just as childish as me.

How do you stay on top of all the new music of today?
I just love music. Like today, I took on three epic jobs. I got a phone call from Brett Ratner who’s working this big project for Vanity Fair. He says they’re doing 10 directors and each director is a decade. So Brett said he was going to take the '70s and called me up asking if I could score [the film] for him. And I was like ‘Sure Brett, of course. I love you man, I’d do anything.’ So, I’m going to do that for him. I got crazy new stuff with Avicii. I love Avicii.

Are you digging Avicii's new "country-step" sound?
Hell yeah! I probably have the next single. It will be the one with Adam Lambert. I wrote that song. I love that shit. That’s how he and I first met. He played "Wake Me Up" for me and I said to him, ‘Tim, let me tell you something. That shit’s going to be huge.' What you’re doing is you’re pushing the envelope so when you think about it, what you’ve just done is probably one of the most intelligent. People won’t get it right away. The thing that makes America different, as far as being a fragmented music market, is that we have this thing called "country" that’s so big, it makes a massive impact on pop. It’s really only country that has something like that. Think about this: if a record really connects, your audience is going to expand five-fold.’

And Avicii’s “Wake Me Up” shot to number one real quick.
It’s great. When he played it for me, I was sitting there with my mouth hanging open. Now I have to top this shit. It was a great way to start working, and now he and I love each other. Every time we’re in the studio, we come up with something great.

What about you? Are you going to write anything just for yourself?
Yeah, I’m going to do a Chic record. I think it’s going to be great. Honestly, in my heart, I’m going to try to make the best record I’ve ever made in my life.

Are there any people you’re going to bring on to sing or are you going to use old recordings?
It’s a combination of all of that. I know Daft Punk’s going to work on one joint, Guetta’s definitely working on this thing we’re writing together – it’s killer, it’s crazy. According to Nicky Romero, this is the best beat they’ve ever worked on.

How is Nicky Romero involved?
I walked into the studio and my guitar was coming back from the repair shop. I opened up my case and just started trying out my guitar when all of a sudden a bass line came out. I started playing the riff over and over again, and Nicky was sitting on the couch, and I said ‘Get the engineer! Record this shit or I’ll never remember.’ Then we started going crazy. Everybody was running around going nuts. So, I just recorded it quickly. Nicky had a laptop with him. I was practicing so that when the engineer came in, I then played it and had it down. Now Nicky already had the sample in his computer, so he got inspired and wrote a beat on top of it. That’s the great thing about EDM is that it reflects the life that I’ve always had. The only records I do are the records that I want to do, and I’ve been fortunate enough that almost every record I’ve done is with someone like Daft Punk or someone I met at a club. With RAM, they didn’t even have a record deal, which is very similar to my situation with David Bowie in "Let’s Dance." He didn’t have a record deal. I’m not answering to any label. I’m just dealing with the artists.

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Lennox McLendon

Music Sermon: The One Minute Hit - When TV Theme Songs Were Lit

The idea of sitting around the TV for appointment television is an archaic concept. Multiple devices with screens for everyone in your home plus the control of streaming has changed how we consume nearly everything except sports, award shows, and Game of Thrones (until tonight). But the children of the 80s very much remember when TV watching was still an event, cable was basic, and the networks reigned supreme. Back in that era of genuine primetime programming, our favorite TV shows came paired with 30-second to one-minute themes. But not just a random little ditty to open the show; these were genuine mini-songs. Verses, chorus, hook, and maybe even a reprise for the end credits.

Now, a drive for more advertising inventory coupled with shorter attention spans has rendered the true theme song a rarity; but in the cases where they do still exist, the songs continue to be a key part of experiencing the show (again, like Thrones). The theme song draws you into the world of the show, it sets the tone, and it stays with you after. And the theme song game wasn’t a space like the commercial jingle game where only folks in the game know who the players are. The theme show business has its own OGs, but there are also names we know well - acclaimed producers, artists and musicians who helped create TV music magic. As such, there’s also a lot of hidden music history and connections behind some of these joints. I have watched an inordinate amount of television consistently throughout my life - you will pry my cable cord out of my cold, dead hands - and I consider myself an expert on the TV theme song. I offer you my list of some of the most soulful, slappin’ and impactful examples of the majesty of TV theme songs from yesteryear.

Sanford & Son

There is literally no music space Quincy Jones hasn’t conquered, including television. Q was in movie scoring land when Norman Lear’s partner Bud Yorkin came to him about composing a theme for their new show, Sanford and Son. “He said, 'I'd like you to write the theme for it.' I said, 'Who's in it?' And he said Redd Foxx,” Quincy told Billboard. “I said, 'Man, you can't put Redd Foxx on national TV!” I had worked with Redd Foxx 30 years before that at the Apollo. We used to do the Chitlin Circuit. I used to write this music for him to come out with.”

Q composed “The Street Beater” without even watching the Sanford and Son pilot. “I wrote that in about 20 minutes,” he said in an interview about his work in television. “I just wrote what he looked like. It sounds just like him, doesn’t it?” The funky, rag tag, backwoods bluesy song was the perfect musical accompaniment for Fred’s surveying his junkyard as Lamont’s truck rolled up, “It was raggedy, just like Foxx.”

Good Times

Norman Lear was the goat of working-class American storytelling on screen, but his shows also had some of the most iconic theme songs – “Those Were the Days” for Archie Bunker, “One Day at a Time” has great lyrics if you pay attention, he even had Donny Hathaway singing about pre-Golden Girls Bea Arthor for Maude. TV producers often used the same writing and production teams for their shows' themes, and Lear often tapped the husband and wife team of Alan and Marylin Bergman, who got their break co-writing with Quincy on “In the Heat of the Night.”

But as I said before, don’t let the TV theme song credits fool you, the Bergmans are two-time Academy Awards winners and in the Songwriters Hall of Fame. That’s the kind of talent behind Good Times.

The Good Times theme is a negro spiritual (there’s a Hammond B3 organ in it; issa spiritual), and singers Jim Gilstrap, from Stevie Wonder’s backing group, Wonderlove; and Somara “Blinky” Williams, a former original member of the Church of God in Christ (COGIC) Singers along with Andrae Crouch and famed session player Billy Preston, put some extra oil on it.

You don’t believe me when I say this is worship music? Watch this.

I really wanna know what the Bergmans knew about hanging in a chow line, though. I’m not even sure I knew that was the lyric before Dave Chappelle told us.

The Jeffersons

Before we move on from Lear sitcoms we have to pay respect to the best black TV theme song of all time. And before you argue with me, let’s please look at the stats: a 35-person choir, stomping and clapping - even double clapping! - mention of fish fry, and a reprise over the end credits with hummin’ like your big mama used to do while she was cookin’ on Sundays. Winner.

Even though it’s one of the best-known sitcom theme songs ever, what’s lesser known is that another Lear alum was behind it – Ja’net Dubois, aka Good Times’ Wilona Woods, co-wrote and sang the theme. Also, the male voice that joins her in the bridge isn’t Sherman Hemsley (although it really sounds like it could be him) but career backup singer Oren Waters.

Ja’net, who was a singer as well as actress, ran into Lear on the CBS lot one day and shared that she wanted to display her talent beyond acting. Lear partnered her with Jeff Barry to work on the aspirational Jefferson’s theme. Jeff had pop hits under his belt as part of producer Phil Spector’s stable; he wrote “River Deep - Mountain High.” He also wrote “One Day at a Time,” and later “Without Us,” Deniece Williams and Johnny Mathis’ yacht-rocky theme for Family Ties.

Dubois later told Jet magazine she pulled from her own experience once she’d “made it” with Good Times. “I moved my whole family. I bought (my mother) a house, bought her a mink coat. I did everything, retired her. I did everything I ever promised her.” And you can feel Ja’net’s testimony coming through as that moving van makes its way across the Queensboro bridge and up the East Side.

Amen

Sherman Hemsley had the good fortune of being associated with two entries in the Praise Songs of TV (I just made that up) category. Amen’s “Shine on Me” is not only a rousing bop, it’s a forreal and actual gospel song. The theme was written, produced and played by the father of modern gospel, Andraé Crouch, and sung by gospel legend Vanessa Bell Armstrong. Sister Vanessa was backed in the TV version by the choir from Crouch’s First Memorial COGIC church. She later did her own version, but it didn’t have quite the same oomph when slowed down a little and without the full voices of a choir behind her.

Sigh… Imagine a time when a sitcom about a deacon in the black church with a whole gospel theme song was a primetime network hit. Also shout out to “There’s No Place Like Home” from 227, which preceded Amen on Saturday nights.

The Cosby Show

We’re going to set everything about Bill Cosby the man aside for a minute to talk about the show and its music. Agreed? Amen.

The Cosby Show has to be in this conversation, because over the course of the show’s history, the theme song and opening sequence became a hallmark of the series’ greatness, and it’s a prime example of theme songs being deeper than just something to play over opening credits. Every season, a new adaptation of “Kiss Me,” the theme written by Cosby and Stu Gardner (who also co-wrote the themes for A Different World and Living Single), opened the show. The opening sequence featured a Huxtable family dance showcase, changing as the kids grew and the cast core cast added, and sometimes subtracted. We were as anxious for the Cosby season premiere to see the new intro as we were to see the show itself.

Season 3 is when it started getting crunk, with a little Latin action. Auntie Phylicia was gettin’ it.

In Season 4 (my least favorite), “Don’t Worry, Be Happy” mania had made its way to the Huxtable family with Bobby McPheren’s rendition and a bit of a roaring ‘20s (and for the sake of the show location, we’ll say Harlem Renaissance) feel. Elvin’s first year in the sequence, Denise’s first year out.

Season 5 was a production. Literally, it was staged like a Broadway production. By now, the show was known for exposing diasporic art and culture and the people behind it to the world whenever possible, and that was the intention here as well, on the low.

The set design was a little South Pacific-esque, and costumes had a Caribbean flair reminiscent of some Alvin Ailey American Dance Theater pieces - appropriate since the movement was choreographed by Ailey great (and Boomerang’s off the chain creative director) Geoffrey Holder. Cosby’s high school classmate James DePriest, one of the first internationally recognized African American orchestral conductors, arranged the music, played by the Oregon Symphony orchestra. It was sweeping and gorgeous and I remember it being kind of a big deal. Second season with no Denise in the credits. I think she had left Hillman and gone Africa by this point. Or something.

Season 6 is my favorite. It was a party. The entire family was getting it in to a jam session take on the theme remixed with Junior Walker and the All Stars’ “Shotgun.” Even though the opening was set in front of the Apollo marquee, this was the Motown sequence. “Shotgun,” was a massive crossover hit, produced by Berry Gordy, and featured Motown’s famed session players, the Funk Brothers on instrumentals.

Welcome back, Denise. And hi, Martin and Olivia. Theo and Vanessa were hitting. that. heaux.

Ok, actually, Season 8 is my least favorite. Least favorite season, theme song, opening sequence, all of it. Here, I think, it’s clear that the show was past its prime. This jazzmatazz intro didn’t feel super fresh or creative, and Theo was trying to hit b-boy moves, and cousin Pam clearly wasn’t comfortable, and Vanessa looked like she just got engaged to a 40-year old ninja named Dabnis, and Clair still had her coat on because she couldn’t be bothered.

But on the cultural side, it was still in theme. The mural was created by kids at Harlem’s Creative Arts Workshop, although a legal dispute over art clearances kept this visual from being used as originally intended in Season 7. On the horn is Lester Bowie, a trumpeter known for his free jazz style.

A Different World

Obviously, we were paying a visit to Hillman next. “A Different World” is one of the best theme songs of all time – for Seasons 2 through 5 (also one of the best shows of all time – for Seasons 2 through 5).

Dawn Lewis, aka Jaleesa, co-wrote the song with Stu Gardner. She was originally supposed to sing it, as well, until whoever hired her to write the song realized she was also in the cast, and whoever cast her as Jaleesa realized she also wrote the song. The collective powers that be thought Dawn singing the theme would center her too much when the show was about Lisa Bonet, so they went to Al Green. Yes, the Reverend Al Green. A version of the “Different World” theme song sung by Al Green exists out there in the world somewhere, and I now have a life mission to hear it. Producers didn’t like it, though. They decided to go with a female voice, and pegged folk and blues singer Phoebe Snow.

As the show went into its second season, producers decided to take a similar approach as The Cosby Show and flip the theme every season with different artists and styles. Then Aretha Franklin recorded her version, and that idea was dead, because why would you ever ask someone else to sing behind Aretha. Debbie Allen, who had just stepped in as the show’s executive producer (Aunt Debbie brought A Different World out of the middling fare of its first season to the strong, black and relevant show we remember it as, but that’s a different Sermon) called Auntie Re personally, and then brought her whole team from Detroit to LA on a bus (because Auntie Re wasn’t gonna fly, chile). Then, TV history was made.

“I just know that she came in and hit it,” Allen told Vulture. “It wasn’t like she had to do ten takes, that’s what I know. She just hit it. That’s what I remember and then we all kind of hung out and had food together, you know — she loved our show which is why she did it.”

I’m low key surprised Aretha agreed to do the song since her ex-husband, Glynn Turman, joined the cast in Season 2 and she’s petty like that, but she also watched a lot of television and was a fan. When most think of A Different World, they’re thinking of seasons two and beyond. That iconic montage we’ve see recreated in tribute again and again, from SportsCenter to Grown’ish Season 2 promos. Nobody references car washes and hanging out outside of….a barn, I think? Where they at a farm for the Season 1 opening sequence? (You can tell some white people put that together – no shots).

Finally, the last season of A Different World was sort of “Different World: The Next Generation,” so they went in a new direction for the theme with a very non-Boyz II Men sounding Boyz II Men (I thought it was Take 6 for the longest), but Seasons 2 through 5 still reign supreme.

Different Strokes

On to a different show about different worlds. Remember I mentioned OGs in the theme song game? One of them was Alan Thicke. Yes, Robin Thicke’s daddy was not only lovable TV dad Jason Seaver, but also a professional theme writer. Thicke penned the tracks for a couple of sitcoms, including Facts of Life (with Robin’s mama Gloria Loring on vocals), but his thing was game shows. Your grandma has Alan to thank for the “Wheel of Fortune” theme. He not only wrote but sang “Diff’rent Strokes” (sounding a little like his son), and I mean, the song is perfect. The opening, the harmony build in the second verse, the bridge, the breakdown “…and together we’ll be fine, ‘cause it takes…,” the hum at the end of the closing credits version. You can tell from this one-minute jamalam that Robin got his blue-eyed soul honestly.

Speaking of the Chappelle Show again (there’s a Chappelle reference for everything in life), Dave closes out his famous White People Can’t Dance episode (Season 2, Episode 3) with a spirited performance of “Diff’rent Strokes,” going into a “Facts of Life” vamp, backed by Questlove and John Mayer.

The Fresh Prince of Bel-Air and Living Single

I’m putting these two together because they’re two of the last examples of the explanatory theme song for black prime time television.

The Quincy Jones-produced Fresh Prince theme tells us Will’s entire back story and the premise of the show – a ‘90s hip-hop answer to the Gilligan’s Island theme.

Living Single’s theme conveyed the high energy city life the four upwardly mobile friends were navigating, with emphasis from Queen Latifah’s sing-rapping about her homegirls standing on her left and her right, and the legendary dancing silhouette that is Big Lez.

Both shows, songs, and visuals have become representative of the hip hop generation’s takeover of ‘90s black television and ‘90s black culture, and both continue to hold up amazing well 25 years later.

We haven’t even touched on the soulful ‘70s themes that became hit singles, like “Welcome Back Kotter” (my joint) or “Angela” from Taxi, or sketch show theme songs like Heavy D for In Living Color (or TLC for “All That,” for y’all younger folks), or the cartoon smashes. There are gems galore to be mined, all containing shining bits of nostalgia and callbacks to a simpler time. These songs often resonate with us even more strongly than our favorite singles from the era because they were a constant for years instead of months. And thanks to networks later devoting blocks of time to classic TV reruns like Nick at Night and TV Land, many of these shows – and theme songs – have been introduced to a new generation.

We’ve focused mostly on black TV shows, but there are a few theme songs that cross cultural, generational and international boundaries. When the Golden Girls premiered in 1985, the series featured a remake of the 1978 song “Thank You for Being a Friend,” and it has lived in all our hearts ever since. So much so, that a member of the black church delegation gave the song a proper remix a couple of years ago. Let this be a reminder that great TV theme songs were not only catchy songs that stuck in our heads for decades, but also impetrated universal lessons about life, love, and friendship.

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#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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8 Best Samples From Megan Thee Stallion, Tyler The Creator And DJ Khaled's Projects

Megan Thee Stallion, DJ Khaled and Tyler, The Creator have more in common than just a release date. The artists also know a thing or two about thoughtful sampling.

Their projects, which all happen to be some of their best efforts, find inspiration from 70s soul and deep 90s underground jams. Jackson 5, Jay-Z and Sizzla were sampled on DJ Khaled's previous release Grateful, but with Father of Asahd, the producer and proud dad jumps back into the crates. This time around, modern hits are used like Ms. Lauryn Hill's "To Zion" and Outkast's "Ms. Jackson."

Megan Thee Stallion's samples also prove her rhymes aren't the only thing fans should pay close attention to.

Check out some of our favorite samples from this week's releases below.

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Megan Thee Stallion- Fever 

1. "Hood Rat S**t"

Sample: Latarian Milton's Viral Video (2013)

Plucked from the wonderful world of viral videos, Megan uses the then 7-year-old's mischevious joy ride to accurately describe how she rolls with her crew.

2. "Pimpin"

Sample: DJ Zirk & Tha 2 Thick Family featuring 8Ball & MJG and Kilo-g  "Azz Out" (1996) 

There's something to be said about Megan's very clever samples. The chorus to the late 90s underground gem stems from southern legends like Tennesee's 8Ball and MJG along with NOLA's own Kilo-g. Megan grabs a few bars from the track and puts her own twist on them for the chorus: "Stick 'em up, stick 'em up, raise 'em up, raise 'em up Drop it off in his fucking face just to saw it off/Gotta get my a** ate, gotta make that a** shake/Gotta swipe this ni**a card so much they had to call the bank"

3. "Simon Says" featuring Juicy J 

Samples: Billy Paul, "Me And Mrs. Jones" (1972), "Looking For Tha Chewin,'" DJ Paul (Ft. 8Ball, DJ Zirk, Kilo-G, Kingpin Skinny Pimp & MJG) (1992)

Another variation of the aforementioned track is also heard on her collaboration with southern legend Juicy J. The soft intro by way of Bill Paul's "Me and Mrs. Jones" also offers a soulful touch to the track.

DJ Khaled- Father of Asahd

4. "Holy Mountian" featuring Buju Banton, Sizzla, Mavado and 070 Shake) 

Sample: "One Spliff a Day," Billy Boyo (1981) 

Boyo's legendary riddim has been used by a bevy of artists including SiR and Wiz Khalifa but Khaled's curation of the track with some of the biggest names in reggae takes it to another level. It also doesn't hurt that his longtime friend and icon Banton opens the album.

5. "Just Us" featuring SZA 

Sample: "Ms. Jackson," Outkast (2001) 

This sample definitely raises the eyebrows, but the careful loop paired with SZA's sing-rap flow makes it worth a listen.

6. "Holy Ground" featuring Buju Banton 

Samples: "To Zion," Ms. Lauryn Hill and Carlos Santana (1999) 

Grand opening, grand closing. Banton closes out the album with soul-baring lyrics and a thoughtful sample to match. Carlos Santana's chords from the original track give the song a sentimental feel along with Banton's lyrics about mass incarceration, cultural warfare and spiritual freedom.

Tyler, The Creator- IGOR

7. "A BOY IS A GUN" 

Samples: "Bound," Ponderosa Twins Plus One (1971) 

Tyler might have gotten inspiration to sample this song from Kanye West (Bound 2), but his take is smooth and subtle as he navigates through love and heartbreak.

8. "ARE WE STILL FRIENDS" featuring Pharell Williams 

Samples: "Dream," Al Green (1977) 

Underneath IGOR's tough exterior lies a gentle soul. The placement of Al Green's "Dream," on the latter end of the album takes the listener on a starry love high. Pharrell and Tyler allow the sample to act as a skeleton for the song as they point out how to keep love alive.

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John Johnson III

Megan Thee Stallion Helps DTLR Celebrate Fashion's Past, Present and Future

Fashion retailer DTLR has always curated the best of streetwear, with their latest fashion show proving the evolution is real and influential.

The fourth annual show took place in Atlanta this spring under a theme titled, "Genesis."  The event took place in Atlanta, GA, with hosts Yung Joc and DTLR's Radio's Tiara LaNiece. DTLR's Apprelle Norton, David Storey and KeJuan McGee curated the event to take their guests "on a journey through the past, present and future of fashion, featuring the latest from top leading brands such as Nike, Puma, Adidas, Levis, Champion, Reebok, Fila, Black Pyramid, New Balance, Tommy Hilfiger, Staple, Hustle Gang, Akoo, Ethika, Odd Sox, and many more."

In addition to presenting some of the hottest looks out, the event also welcomed performances from VIBE NEXT Alumna Megan Thee Stallion. Appearances from the the "Big Ol Freak" rapper was an added effort on DTLR's Vice President of Marketing, Shawn Caesar's part to make the fashion show more of an "experience."

"We wanted to add more of an 'experience' feel to the show this year," Caesar said in a press release. "[We wanted]  to encourage more engagement and interaction from our attendees, and to aid in creating more memories and reasons to stay connected to the DTLR brand long-term."

DTLR is quickly becoming a part of a class of successful upcoming brands. The brand has more than 240 stores in 19 states and Washington D.C. and it manages to combine fashion, sports, entertainment, sports, and community empowerment into one; all while providing their customers with elite footwear, apparel and accessories to match.

See photos from the event below.

 

 

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