Sep 28, 2018 4 min read

The cover of the new Chic album might be familiar. Does anyone else vaguely recognize the image of two models gazing seductively into the camera fiddling about with whistles? For those old enough to know, it’s the promise of boogie.

A similar magazine cover-inspired photo graced the debut album of Chic in 1977 and co-creator Nile Rodgers signals his intent to go back to his roots and yet update his sound by reinterpreting that old cover for “It’s About Time,” the cheekily titled first Chic album since 1992.

If you doubted Rodgers wants to get down in 2018, just look at some of the song titles – “Do You Wanna Party,” “Dance With Me,” “I Dance My Dance” and “Boogie All Night.”

Rodgers has invited a bunch of well-known singers – including Lady Gaga, Elton John, Hailee Steinfeld and Craig David – and added elements of hip-hop to craft a bubbly, infectious album that seems old and new at the same time.

The first song – “Till the World Falls,” co-written by Anderson .Paak – is a welcome hit of pure Rodgers, employing his trademark funky, choppy guitar work that fueled such disco hits as “Le Freak” and “Good Times.” The new song clocks in at over five minutes but it should be three times that length for the sheer happiness it delivers. “The world has gone mad,” the lyrics go, “we might be safer on the dance floor.”

In these days when EDM is all over the pop charts, Rodgers’ blast of disco-funk fits perfectly. But it’s about time a younger generation drank directly from the original spring: Rodgers – along with Chic’s late bass player Bernard Edwards – were pioneers of boogie. When disco peaked, Rodgers helped make hits for Madonna, David Bowie, Duran Duran and, lately, Daft Punk.

Other standouts on the new album include “Sober” featuring David and Stefflon Don, which has a New Jack Swing vibe; “Dance With Me” featuring a perfectly cast Steinfeld; and “Do You Wanna Party” with LunchMoney Lewis adding fun, tipsy raps.

But there are stumbles, including the mostly instrumental, vocoder mess “State of Mine (It’s About Time),” featuring jazz multi-instrumentalist Philippe Saisse. It’s just overcooked Muzak and sounds like being trapped in an elevator in an airport Marriott in 1981.

And – this hurts even more – two of Rodgers’ highest-profile collaborations fall flat, like three-day old Champagne. “Queen,” inspired by Diana Ross and featuring John and Emeli Sande, is a plodding, pointless slow jam. And Gaga’s cover of the old Chic hit, “I Want Your Love,” is too reverential to the original.

Joe Bonamassa

There are a few months left in the year, so though “Redemption” is his third album of 2018 – after a strong collaboration with Beth Hart and a double live album of covers of tunes by British legends like Eric Clapton, Cream, Jeff Beck and Led Zeppelin – it’s possible Joe Bonamassa still has a release or two in his bag.

Should he end his annual output here, however, Bonamassa will be going out in style. “Redemption” displays his customary diversity of blues-rock forms and his superior six-string chops, but the album also rocks a little harder, is enhanced by a lively horn section and even shows some vulnerability.

Without getting too specific, Bonamassa has talked about going through an unexpected rough patch. Song titles include “Evil Mama,” “Deep In the Blues Again” and “Self-Inflicted Wounds,” and he even sings the line, “She gave me grief/And a whole lot of blues.” Another lyric focuses on causing pain after hooking up with a face in the crowd. It’s not hard to guess the story line.

Making room for a pair of guitarists to join him on a few songs may also be part of the redemptive process, or maybe it’s the noticeable effort to add some deeper soul to his vocals, but Bonamassa sounds closer to a man who’s diagnosed his blues and has the cure at hand than one who’s letting it all get him down.

You won’t hear anyone credit – or blame- Bonamassa with reinventing the wheel but, by recalibrating his skills, “Redemption” rolls along with enough power and panache to stand as one of the most convincing vehicles of his musical vision.