Derek Frank, Let The Games Begin [www.dfrank.net]

The trendsters say the ’80s are hot right now, but Los Angeles sideman vet Derek Frank is having none of that on his supergroovy debut album Let The Games Begin. Right from the bass-anddrums- only downbeat of disc opener “Breakout,” it’s an unapologetic, bassdrenched homage to everything cool about rhythm sections from the ’70s, and Frank’s ’63 Fender P-Bass (strung with flats, of course) is the star of the show, in front of the mix and carving fiercely. Games isn’t stuck in that era’s rut, either; there’s just enough modernity sprinkled about to avoid easy caricature, and today’s thumb stylists will appreciate the Marcus-influenced slapmelody approach to the Hall & Oates classic “I Can’t Go For That (No Can Do).” But make no mistake—this is mostly a smorgasbord of vintage keys, unison horn lines, and filter-soaked funky bass that’s designed to make the booty move while the disco ball spins. Somewhere, the Brand New Heavi
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The trendsters say the ’80s are hot right now, but Los Angeles sideman vet Derek Frank is having none of that on his supergroovy debut album Let The Games Begin. Right from the bass-anddrums- only downbeat of disc opener “Breakout,” it’s an unapologetic, bassdrenched homage to everything cool about rhythm sections from the ’70s, and Frank’s ’63 Fender P-Bass (strung with flats, of course) is the star of the show, in front of the mix and carving fiercely. Games isn’t stuck in that era’s rut, either; there’s just enough modernity sprinkled about to avoid easy caricature, and today’s thumb stylists will appreciate the Marcus-influenced slapmelody approach to the Hall & Oates classic “I Can’t Go For That (No Can Do).” But make no mistake—this is mostly a smorgasbord of vintage keys, unison horn lines, and filter-soaked funky bass that’s designed to make the booty move while the disco ball spins. Somewhere, the Brand New Heavies and Jamiroquai are nodding their heads in approval.

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