Acclaimed Chicago singer-songwriter-pianist Neal Francis has consistently championed the idea of timelessness in his music. His compositions strike a balance between tarnished analog recordings, classic songwriting, and expansive tributes to past influences, infused with just enough abstraction to push his sound forward. ‘Return To Zero’, Francis’ first album in over three years, elevates his nostalgic palette to more jazz-influenced and colorful terrains; blending intricate guitar riffs and uplifting harmonies with spirited grooves that draw from the remnants of disco, funk, and ‘70s arena rock.
The newest member of our Foundations club, Neal Francis delves into his collection for a thoughtfully chosen selection of albums that have influenced his musical journey and growth.
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Funkadelic – Let’s Take It To The Stage
This was the first Funkadelic album I ever acquired, marking my musical awakening. I likely bought it around the age of 16 or 17, coinciding with my initial experiences with marijuana, and it became the soundtrack to my days of skipping school with friends. Similar to Sly Stone, George Clinton was skilled at blending rock, pop, and funk. However, compared to much of the Sly and Stevie music I was into at that time, Funkadelic had a more intense party atmosphere that really intrigued me (I hadn’t yet explored Sly’s ‘There’s a Riot Goin’ On’).
The opening track, ‘Good to Your Earhole’, caught my attention immediately. It’s a confident statement, smashing through with an irresistible dance rhythm, while Eddie Hazel layers a laid-back, Hendrix-like guitar solo atop the mix. All the elements that define Funkadelic are at their peak on this album: playful nursery rhymes, electrified Doo-wop refreshes from Clinton's earlier Parliament sound (‘Be My Beach’), heavy guitar riffs (‘No Head, No Backstage Pass’), and the essential Bernie Worrell keyboard exploration (‘Atmosphere’). Recently, I’ve been trying to learn guitar licks from this record. I fully expect to cherish this LP for many more decades.
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Harry Nilsson – Nilsson Sings Newman
I remember very distinctly the first time I came across this album. It was over ten years ago on Christmas Eve while I was at a bar called Skylark in Chicago's Pilsen neighborhood. The street outside was snowy and peaceful. This record was playing, and it struck an emotional chord with me in that moment that I'll always remember. I felt sad yet grateful for the beer in my hand, capturing the bittersweet essence of songs like ‘I’ll Be Home’, ‘Dayton Ohio 1903’, and ‘So Long Dad’. While I had been a Randy Newman fan for some time, I had yet to discover Harry Nilsson, and this album introduced me to his music.
The sound of this album is simply remarkable. The warm tones of the grand piano provide a rich foundation beneath the lush layers of Harry Nilsson’s vocals. Newman’s piano work on this record may seem deceptively simple. His arrangements are minimalist, yet elegantly voiced and reminiscent of Scott Joplin. Nilsson’s vocal arrangements create a perfect counterbalance, as his impressive range fills the space, functioning as a one-man orchestra. The entire album feels like a whisper from a distant past, a poignant memory. ‘Nilsson Sings Newman’ remains a perfect record for moments of reflection and tears.
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The Who – Tommy
When I was seven, my dad showcased this record along with about 50 other LPs from his collection, teaching me how to use his turntable. This was sparked by a late night spent watching TV, where we stumbled upon the 1975 film adaptation of ‘Tommy’. I still recall his excitement at seeing it on screen, especially with all the celebrity cameos (Tina Turner, Eric Clapton, Elton John, Jack Nicholson). It conveyed to me that something incredibly cool was happening in that moment. I fell in love with the album, and after purchasing my own copy on CD, I could perform the entire thing on piano by the age of 12.
Around that time, I played one of my first gigs at a family friend’s wedding during the cocktail hour. I quietly began playing some songs from ‘Tommy’, and one of the dads approached me, asking, “Are you playing what I think you’re playing?” Before long, a group of middle-aged men had gathered, trying to sing along, and I recall they tipped me quite generously. I think I played the entire album for them that night.
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Stevie Wonder – Songs In The Key of Life
This was another of the 50 albums my dad pulled for me. I remember starting to jam along to this record in second or third grade. I would obsessively replay side two over and over, from ‘I Wish’ to ‘Ordinary Pain’. This album, along with ‘Innervisions’,
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Renowned Chicago singer-songwriter-pianist Neal Francis has consistently advocated for maintaining a sense of timelessness in his music: his creations resonate with the perfect blend.