The Gap Band Albums (14)
'Y2K: Funkin' Till 2000 Comz'
Release Date 5/25/1999
Tracks 12
Label Crash
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What The Critics Say
While Funkin' Til 2000 Comz is a solid record, it doesn't offer any groundbreaking material -- but that shouldn't bother Gap fans at all. The Wilson brothers are still going strong on this 1999 release, which includes guest stars Snoop Dogg, DJ Quik, Kurupt, and Casey Wilson on the title track -- a worthy attempt at coupling old-school funk with '90s rappers. The album feels slightly uneven -- some songs are quite reminiscent of the Gap Band's funk and soul of years past, while other cuts are set comfortably in the late-'90s R&B sound. Overall, the album works despite this compromise -- the band doesn't sound stuck in one era, and the music doesn't seem forced or trendy. Either way, the Gap Band has made a smooth segue into the millennium -- which is quite an accomplishment for a group that's been making music since 1967. ~ Gina Boldman, All Music Guide
'Ain't Nothing But a Party'
Release Date 5/2/1995
Tracks 12
Label Raging Bull
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What The Critics Say
Ain't Nothing But a Party demonstrates that the Gap Band still are formidable, powerful musicians nearly 20 years after their first record. However, that technical skill isn't enough to make the album a compelling listen. Though they play very well, the group has a difficult time coming up with engaging grooves or memorable songs. The overly slick production doesn't help matters, either. Combined, the meandering playing and the polished production makes Ain't Nothing But a Party one of the least funky records the Gap Band ever released. ~ David Jehnzen, All Music Guide
What The Critics Say
This album is far from the Gap Band's chart-busting albums of the '70s and '80s. The title track is an inspirational ballad. The two most notable numbers are dance-oriented: "Come into My Life" and "I Can Make You Dance." The former is midtempo and the latter is aggressively uptempo. While Charlie Wilson's vocals are still in tact, the material is no challenge to the gifted singer. Moreover, the album lacks that bite, the roar and the excitement that's associated with a Gap Band project. "Gap's Jam" and "Based on GAP" are primarily rap efforts featuring lesser known rapper Almighty Gee. As his delivery is precise, it does little to elevate this album. No singles charted from this album. ~ Craig Lytle, All Music Guide
'The Gap Band VIII'
Release Date 1/1/1989
Tracks 9
Label Total Experience
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What The Critics Say
The centerpiece of Gap Band VIII is Charlie Wilson's exuberant performance and scintillating scatting "Everybody Get Funky Get Loose" -- released on single under the title "Zibble Zibble (Get the Money)" it made it into the R&B Top 20. Oddly, neither of these tracks are included on any of the band's widely known greatest-hits sets. Gap Band VIII broke the R&B Top 30. ~ Ed Hogan, All Music Guide
What The Critics Say
Long after its popularity had declined, the Gap Band was having an impact on the Afro-American music scene. The end of the 1980s found the funksters being sampled frequently by hip-hoppers, and it was hard to miss their tremendous influence on the extremely popular new jack swing outfit Guy. The Gap Band itself, however, had started to go downhill both commercially and creatively in the mid-'80s. When the Wilson brothers signed with Capitol in 1989, optimists were hoping to see them return to the top, but sadly, much of the old magic was gone. Round Trip isn't terrible, and tunes ranging from the seductive "We Can Make It Alright" to the hard funk of "It's Our Duty" and the single "Addicted to Your Love" are fairly decent. But play this high-tech recording alongside 1979's Gap Band 2 or 1980's Gap Band 3, and it becomes obvious that the Gapsters were long past their prime. While those classics burned and exploded, Round Trip merely simmers. ~ Alex Henderson, All Music Guide
'The Gap Band VI'
Release Date 1/1/1985
Tracks 10
Label Total Experience
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What The Critics Say
As the Gap Band's star power rose, they continued to dominate the R&B charts, even when their material didn't necessarily earn that honor. This is certainly the case with their 1984 LP, Gap Band VI, which patters across a set that is surely slick, and wonderfully sophisticated at times, but ultimately lacks the punch and fire listeners had come to expect from their earlier material. Even the guest vocals of fiery Brides of Funkenstein diva Dawn Silva couldn't add a spark. With quiet storm balladeering tempering pop, the most interesting song on the album, "Video Junkie," saw the band open with a snippet from the "Dragnet" theme -- the Art of Noise wouldn't electronically co-opt the song until 1987 -- before zeroing in on some of the decade's more lithesome electronic antics, including synth drums and flashy guitar licks. It's surprising the song didn't chart. That honor went instead to "Beep a Freak." The song has some nice funk elements, and does highlight the '80s version of the cell phone, but it's just too sluggish to ever really catch fire. Elsewhere, two short, Eastern-inflected instrumental interludes preface the closing "The Sun Don't Shine Everyday." It's an elegant song that, while occasionally sounding like the Gap Band, looked toward Bill Withers' "Ain't No Sunshine" for inspiration. It is nevertheless one of their better ballads, quietly allowing empty space to carry emotion as surely as the vocals do. With several outstanding moments, then, Gap Band VI surely earned its number one spot, with the filler simply filling in as passable pop. ~ Amy Hanson, All Music Guide
'Gap Band V: Jammin''
Release Date 1/1/1983
Tracks 11
Label Total Experience
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What The Critics Say
The Gap Band had given themselves some big shoes to fill in the wake of their 1982 The Gap Band IV LP. It had, of course, spawned "You Dropped a Bomb on Me" -- one of the defining songs of the decade and indeed of the contemporary funk genre. But with aplomb and finesse, the band returned the next year with The Gap Band V: Jammin' and only just missed its predecessor's number one chart position. From the opening instrumental "Where Are We Going," The Gap Band V: Jammin' is a slick, smooth set dominated by some archetypal Gap Band classics. "Shake a Leg" is very typically Gap Band, with a superbly circular rhythm punctuated by bright horns. And, of course, Charlie Wilson's vocals always keep it all together. "I'm Ready if You're Ready," meanwhile, utilizes handclapping to keep the flow and is a sweet R&B-flavored song. "Party Train," a number three R&B hit, sails the rails hard, complete with sound effects as Wilson calls "all aboard." Full and textured, this song is a dark little groover, leaden without any weight at all and completed with a Motown-esque subversion deep within the mix. It's the ultimate kicker for the dancefloor. Guest vocalist Stevie Wonder is a sublime treat on the LP's closer, "Someday," a tribute to Dr. Martin Luther King that showcases the band in a role not often associated with them -- socially aware. Up-tempo without the over-the-top grooviness which punctuates much of the Gap Band's output, it is pure inspiration and a moving moment to be sure. ~ Amy Hanson, All Music Guide
What The Critics Say
When Gap Band III came out in 1980, the Wilson Brothers were widely regarded as true heavyweights in the funk field. Many funk experts will tell you that creatively, they were right up there with the likes of Cameo, Rick James, the Isley Brothers, and the Bar-Kays in the early '80s. Over the years, The Gap Band III (which was the group's fifth album, not its third) has often been described as the ultimate Gap Band album -- and it's hard to disagree with that assertion. Produced by Lonnie Simmons, this exceptional album boasts three of the Wilson Brothers' biggest radio hits: "Burn Rubber on Me" (a funk classic), the Parliament-minded "Humpin'," and the quiet storm slow jam "Yearning for Your Love." But The Gap Band III is also full of gems that weren't big radio hits, including "Gash Gash Gash" (another funk classic), the perky, Earth, Wind & Fire-ish "Are You Living" and the ballad "Nothin' Comes to Sleepers." There isn't a dull moment on The Gap Band III, which is excellent from start to finish and is essential listening for funk addicts. ~ Alex Henderson, All Music Guide
What The Critics Say
The Gap Band II has often been described as the Wilson Brothers' second album, but truth be told, it was their fourth. However, the vast majority of fans that they acquired with 1979's The Gap Band never heard the little-known albums they had recorded in 1974 and 1975. So even though that 1979 breakthrough wasn't really their debut album, it was the first Gap Band album that enjoyed a great deal of attention -- arguably, that self-titled album was to the Wilson Brothers what Meet the Beatles was to John Lennon, Paul McCartney, George Harrison, and Ringo Starr. And with the gold The Gap Band II, they continued to forge ahead commercially and creatively. Produced by Lonnie Simmons, this excellent album boasts five-star funk gems like "Party Lights," "Steppin' (Out)," "Who Do You Call," and the Parliament-minded hit "I Don't Believe You Want to Get Up and Dance (Oops)." George Clinton and the Ohio Players are both strong influences on the funk tracks, while Earth, Wind & Fire's influence asserts itself on the smooth quiet storm slow jam "No Hiding Place." But the Gap Band never sounds like it is going out of its way to emulate any of its influences; in fact, the Wilson Brothers are recognizable and distinctive regardless of who is influencing a particular song. Even when they make a surprising, totally unexpected detour into pop/rock/soft rock on "The Boys Are Back in Town," they're recognizable as the Gap Band. Not to be confused with the Thin Lizzy smash, this congenial tune wouldn't have been out of place on a Billy Joel, Elton John, or Chicago album. But R&B, not pop/rock, was the Gap Band's forte, and Gap Band II is a funk/soul album first and foremost. It is also among the Wilson Brothers' most essential releases. ~ Alex Henderson, All Music Guide
