We Are Family

We. Are. Family! This kept my foot tapping. Disco funk, baby! 7/10 Quite Likeable

(Wo)man, Groovy.

Very groovy.

Really good stuff so funky I guess you call this disco but it's so fun the vocals are fun to listen to the music is so funky particularly the guitar parts hadn't heard this before but liked it

The highs are definitely high here, excellent vocals and love the palm muting guitar and funky bass. But there's a lot of unremarkable stuff that just didnt click with me, and too much repetition at times. One of those albums where the hits carry it, dont know if the whole thing is essential

Groovy and soulful. Unfortunately, this just didn’t stand out all that much to me. Top tracks: He’s the Greatest Dancer, Easier to Love

Fun sound and album. Enjoyed the listen as well as reading about the recording process and influence from Chic. Already knew We Are Family, but also found I enjoyed Lost In Music and He’s The Greatest Dancer.

Absolute feel good music.

Into it! Groovy for a work day (complimentary)

Man, what a blast. It’s fun, makes you want to move and has some big classics on the track list. Easy. 5/5

Groovy! Funky! Soulful vocals! Everything you could want from a record like this. Some great classic disco bolstered by its classy production and infectious rhythms. Definitely an album to revisit when I'm feeling under the weather, to force my body to move and my mind to wander to lighter things.

Highest possible 4 - lots of great hits. Genuine party record

We Are Family sounds more like a mixtape made up of all the best songs from the era, rather than an album, it’s a truly weighty, impressive collection of huge singles with a fantastic vibe.

Sister Sledge scraping a low 4, the hits are great, Thinking of You is an all timer, and the album tracks are fine

Perfectly cromulent.

Not one of my favorite funk albums on the list, but certainly a good one. It's not the album's fault but it *does* bug me however that I had to really dig to find the full album cut of the title track. The radio edit is just insubstantial. I wouldn't say it's one of my favorite funk singles, but said title track is an incredibly iconic song, and it *is* still a ton of fun. Everything else here ranges from groovy to a real standout, but there's certainly nothing unpleasant. I guess my biggest complaint is that Sister Sledge can't match the highs, or honestly the thematic depth of my favorite funk albums (although I'm open to the possibility that I've missed something). But in a vacuum, there's definitely nothing wrong with We Are Family. It's enjoyable, and energetic, and easy to listen to, while having a sense of identity and even some real hits. Solid stuff!

Disco heaven

Some very fun disco. Beautiful singing and harmonies. I would happily wash dishes to this album.

Eh

I expected this to be good, knew it would be important but figured this would be not for me. I was wrong it is very for me

Big in the disco age.

2 stars It’s not bad. I enjoyed hearing the track that gave us “Gettin Jiggy With It.” But they all go on for too long and many of the tracks are just a bit generic. Can’t see giving this album another listen.

It’s good for the type music it is, just isn’t my cup of tea.

Late 70's early disco/R&B album, and it sounds exactly as you would expect. The title track is somewhat standout due to it's place in popular culture, but otherwise completely forgettable and bland. Overall not bad and an okay vibe at times, but not something I would ever think to return to. 5/10.

Disco? Hard pass.

Early disco i think. Not bad

There are albums whose commercial success is so overwhelming that it becomes difficult to hear them as albums at all. Their most famous songs detach themselves from their original context and become permanent fixtures of popular culture, appearing at weddings, parties, sporting events and, in the case of We Are Family, even the pre-show entertainment of a gloriously ridiculous Céline Dion musical. Four of its eight tracks became substantial hits, and all four remain instantly recognisable. Encountering the record in its entirety feels initially like listening to a greatest-hits compilation. The remarkable discovery is that the familiar songs are merely the most conspicuous evidence of an extraordinary achievement in songwriting. I’ll make a potentially contentious assertion at the outset. This is Chic, but better. That isn’t intended as a dismissal of Chic’s own recordings. Nile Rodgers, Bernard Edwards and Tony Thompson had already established one of the most sophisticated and immediately recognisable instrumental languages in popular music. Their arrangements combined exceptional rhythmic discipline with harmonic ingenuity, orchestral elegance and a remarkably economical approach to composition. Edwards’ bass lines were melodic constructions in their own right, Rodgers’ guitar supplied both rhythmic precision and contrapuntal invention, and Thompson’s drumming provided the apparently immovable foundation upon which everything else could move. Yet Chic’s vocals, however beautifully arranged, tended towards a collective identity. Their lushness was part of the architecture. Individual vocal personalities were less important than the way voices fitted into the complete instrumental design. Sister Sledge brought something different. Four accomplished singers from Philadelphia, with distinct voices, considerable ensemble experience and an established musical relationship, they possessed qualities that couldn’t simply be manufactured at a mixing desk. Kathy, Joni, Debbie and Kim could blend without becoming anonymous. Their collective singing retained the character of the individuals involved. What makes We Are Family so extraordinary is the way Rodgers and Edwards recognised and exploited those possibilities. They wrote every song on the album. This is worth emphasising because the material sounds so completely suited to its performers that one might reasonably assume the producers had been presented with a collection of compositions specifically developed for the group. Instead, the producers themselves supplied the songs, demonstrating an almost uncanny understanding of how four particular singers might inhabit them. The result is a meeting of two musical traditions: the immaculate instrumental precision of New York disco and the expressive vocal inheritance of Philadelphia soul. These weren’t mutually exclusive worlds, of course. Disco owed an enormous debt to Philadelphia, and the two traditions shared much of their musical vocabulary. But their encounter here produces something that neither Chic nor Sister Sledge had quite achieved independently. The opening He’s the Greatest Dancer makes the case immediately. The rhythm section has an extraordinary elasticity, an almost rubbery bounce that distinguishes it from the more rigidly architectural impression sometimes created by Chic’s own recordings. Edwards’ bass is magnificent, but Rodgers’ guitar is particularly revealing. Beyond the familiar clipped rhythmic chords, he introduces a prominent monophonic melodic figure that dances above the rhythm section, giving the arrangement an additional dimension of movement. Its return during the fade provides a satisfying sense of structural completion. Meanwhile, Kathy Sledge inhabits the lyric with a deliciously conspiratorial purr. The song is an exceptionally well-observed nightclub narrative, and she doesn’t merely describe its central character. She becomes the woman watching him, increasingly captivated by his appearance and movement. Her little interjections transform the performance into something approaching musical theatre. There is a character, a setting, a developing emotional response and a singer who understands precisely how to communicate them. This is already more than an exceptionally well-produced dance record. It is a piece of dramatic songwriting. Lost in Music extends the argument. Its chord progression is almost obvious, but not quite. The harmony follows a course that feels natural without becoming entirely predictable, introducing just enough surprise to sustain repeated listening. Rodgers’ guitar becomes almost a fifth vocalist, responding to the sisters’ phrasing with little rhythmic and melodic comments. He isn’t simply accompanying the singing; he is participating in its conversation. The sisters’ unison passages are particularly beautiful. Their voices combine without losing their individual timbres, producing a collective sound with an unusual degree of personality. And the lyric, celebrating the abandonment of self-consciousness through music, is perfectly served by the arrangement. I found myself singing along without the slightest embarrassment. The song makes its argument by producing the very experience it describes. This is music that moves the mind and the arse. Then Somebody Loves Me reveals another dimension of Rodgers and Edwards’ abilities. It is a lovely soul ballad, largely abandoning the recognisable Chic dance vocabulary in favour of emotional expression. Kathy’s performance recalls the tradition of great Black female soul singers, particularly Diana Ross and Randy Crawford. She has something of Ross’s ability to impose a distinctive personality upon a composition without overwhelming its underlying structure. Hearing this, the subsequent collaboration with Diana Ross seems almost inevitable. One can readily imagine somebody in her organisation hearing the record and wondering why these two songwriters weren’t producing material for her. The point isn’t simply that Rodgers and Edwards could reproduce their disco sound with different singers. They could write convincing songs in quite different idioms, adapting their compositional intelligence to the strengths of the performers. Thinking of You returns to the dancefloor, but its apparent simplicity conceals a magnificent network of instrumental relationships. The interplay between Rodgers’ guitar and the bongos is particularly delightful. Edwards’ bass is astonishingly inventive, constantly introducing melodic and rhythmic movement without demanding the foreground. The sisters’ voices seem to drape themselves around the arrangement, simultaneously participating in and floating above its rhythmic complexity. There is a remarkable absence of competition between the musicians. Everybody has something interesting to contribute, yet nobody obstructs anybody else. The result is music of considerable complexity that feels entirely effortless. And then comes the title track, where the album’s achievement becomes almost architectural. We Are Family is disco gospel. The bright, bouncing piano, handclaps and exuberant ensemble singing immediately establish the connection, but the most interesting feature is the construction of the vocal arrangement. Kathy functions as the preacher, her sisters as the choir. Yet this isn’t simply conventional call-and-response, with a soloist delivering statements and an ensemble offering enthusiastic confirmation. The interjections actually organise the argument of the verses. Short, emphatic phrases from the sisters introduce successive subjects, which Kathy then develops. The ensemble announces a proposition; the lead singer elaborates upon it; the collective subsequently affirms the resulting principle. The arrangement progresses through these rhetorical stages before the chorus becomes an expression of communal conviction. During listening, the structure suggested an absurd but remarkably accurate analogy: songwriting PowerPoint. The interjections function almost like headings on successive slides, introducing the next subject before the lead vocal expands upon it. Except this is a presentation in which the audience is dancing and the supporting singers are actively participating in the argument. As the song develops, the relationship between preacher and choir becomes increasingly fluid. The ensemble sustains the collective declaration while Kathy adds exhortations and summations. The performance moves from exposition to affirmation and finally to celebration. The sophistication is remarkable because the musical structure enacts the lyrical subject. Four individual personalities join together to express solidarity and mutual support. The sisters don’t merely sing about family; the relationships between their voices make the experience of belonging audible. This is the point at which the argument about songwriting and performing agency becomes especially important. Rodgers and Edwards have constructed an exceptionally sophisticated composition, but its success depends upon the singers understanding and exploiting the dramatic opportunities it provides. The written material establishes the architecture. Sister Sledge make it a living performance. The remaining three tracks might reasonably have been expected to provide a gradual descent from the album’s extraordinary concentration of hits. Instead, they reveal further dimensions of the partnership’s abilities. Easier to Love is a fascinating piece of slow disco, with Joni taking the lead. Its verses contain a rapidly repeated sequence of minor-seventh chords, moving through Dm7, Gm7 and Cm7, with a chromatic variation that returns the harmony towards its starting point. The repeated upward movement produces something approaching the perceptual effect of a Shepard tone: the sensation of continually climbing without ever reaching a destination. The effect is strangely agitating. The harmony keeps moving, yet seems unable to escape its own circular behaviour. And this is where the relationship between music and lyric becomes particularly interesting. Joni is singing about conflict, antagonism and the destructive tendency to perpetuate disagreements. The verse’s insistent harmonic movement seems to embody that behaviour, continually escalating without making meaningful progress. The chorus introduces a contrasting progression as the lyric advocates choosing love rather than conflict. The harmonic language changes as the argument moves towards reconciliation. There is a broader dimension to the song, too. Its appeal for peace can be understood both domestically and internationally. The patterns of escalation that damage personal relationships can also operate between communities and nations. The music’s circular agitation and subsequent release give that argument an additional expressive dimension. Whether every harmonic implication was consciously planned is impossible to establish from listening alone, but the relationship between the musical and lyrical structures is compelling. It is another example of Rodgers and Edwards producing songwriting of considerably greater sophistication than their reputation as disco hitmakers might suggest. You’re a Friend to Me gives Debbie an opportunity to demonstrate a different vocal personality. Her singing is relatively unornamented, almost conversational, and the effect is wonderfully intimate. Beneath that apparent simplicity, however, the verses contain some delightful passing chords and unexpected harmonic transitions. There is something almost Prince-like about the willingness to introduce sophisticated harmonic colour without interrupting the accessibility of the song. One can imagine a young Prince Rogers Nelson hearing these changes and recognising their possibilities. That isn’t a claim of direct influence, merely an observation about a shared compositional instinct: the ability to make an unusual chord sound entirely natural within an otherwise straightforward piece of popular music. Finally, One More Time provides an unexpectedly adventurous conclusion. Its introduction establishes a melodic expectation that the vocal entrance subtly confounds. The hook arrives somewhere other than the most obvious destination, producing a small but satisfying moment of surprise. More striking is the production. Kim’s voice and the accompanying piano possess a curious wavering quality, almost as though a rapid chorus effect has been applied to them. The sound seems to arrive from underwater, with an otherworldly instability quite unlike the immaculate separation that characterises much of the preceding album. Rodgers’ guitar solo is similarly drenched in modulation and reverb, introducing an almost psychedelic atmosphere. It is a curious departure for a record that has otherwise made such a virtue of sonic cleanliness. Yet it demonstrates that the partnership’s imagination extends beyond the disciplined precision of its established sound. Even at the conclusion, the album is revealing another possible direction. Taken together, these eight tracks constitute an extraordinary demonstration of compositional versatility. There is character-based storytelling, sophisticated dance music, intimate soul balladry, communal gospel drama, harmonic representations of conflict and reconciliation, and even a brief excursion into psychedelic production. Yet the album never feels like a collection of exercises in different styles. Its coherence comes from the relationship between the songwriters, musicians and singers. That relationship also provides a useful challenge to assumptions about vocal groups working with powerful producers. The fact that Rodgers and Edwards wrote the material doesn’t reduce Sister Sledge to interchangeable interpreters. Authorship, production control and performing agency are different things. A singer can make a decisive artistic contribution without receiving a songwriting credit, just as a songwriter can exercise considerable creativity by constructing material around another performer’s particular abilities. The extraordinary accomplishment here is that the songs repeatedly create opportunities for the sisters to exercise their individual and collective musical intelligence. The album consequently marks a significant development in the careers of Rodgers and Edwards. Chic had established a recognisable musical language. We Are Family demonstrated that this language could be adapted and expanded through collaboration with performers possessing their own artistic identities. This is Chic the band becoming Chic the Organisation. The subsequent work with Diana Ross, Blondie and eventually David Bowie becomes easier to understand in that context. The connection with Blondie was already developing around the same period, so the album shouldn’t be treated as the sole cause of everything that followed. Nevertheless, it provided an exceptionally persuasive demonstration of what Rodgers and Edwards could accomplish beyond their own group. We Are Family was the shop window. Other artists could see what was possible. Its commercial success was enormous, but reducing its significance to four hit singles would miss the more interesting achievement. The record demonstrates how exceptional songwriting can engage with performers rather than simply provide them with material. Rodgers and Edwards exercise enormous creative control, yet the result never feels like Chic performing behind four interchangeable vocalists. It feels unmistakably like Sister Sledge. And that, ultimately, is why I find it a more complete realisation of the Chic musical vocabulary than some of Chic’s own albums. The instrumental sophistication remains, but it has acquired additional dramatic, emotional and expressive possibilities through the personalities of the singers. There is a generosity to the creative achievement. Rodgers and Edwards demonstrate their abilities not by monopolising attention, but by creating opportunities for other musicians to excel. Sister Sledge respond by bringing qualities to the compositions that the writers couldn’t have supplied themselves. The result is an album in which commercial ambition and artistic intelligence are not competing objectives. Its enormous accessibility is inseparable from the sophistication of its construction. Every arrangement seems designed to communicate as effectively as possible, while rewarding closer attention with further discoveries. Four huge singles, eight superb compositions, four distinctive singers and one of the most accomplished songwriting partnerships in popular music operating at an extraordinary level of invention. I began by suggesting that this was Chic, but better. Having listened to the entire record, I see no reason to withdraw the claim. It’s an absolute tour de force.

Да хз Какое то сток диско 1 трек слышал Поют хорошо, но не боле

Contains some of their best remembered songs. Definitely their moment in the sun

Soon as I saw this was the next album, the chorus of the title song began to blare in my head. Music generates memory, and that song goes way back. I’ve never heard this album from start to finish, even though I have some of these songs on various disco compilations. “Greatest Dancer” has a hot guitar kick and a fun chorus. “Lost in Music” yes, that’s what music does, loses us in the memories of our past, real and remembered. Beautiful love song in “Somebody Loves Me”. Another great guitar groove that the bass supports with a walking line in “Thinking of You”. Rodgers & Edwards production writing and playing governor a Chic vibe, but the Sisters Sledge bring great vocals that take it to another level. “Easy to Love” is another groove, smooth and sensual. Ends strong with “One More Time” which has a strange but strong guitar solo. There’s a clear reggae link in the guitar chording on all of this.

The problem with albums like this is the tit track is the best song and it’s 2026 so you can’t get into the rest o

Chouette bon mood

Absolute vibes

Getting jiggy with it!

Wish i was at a drag brunch. Still classiic

Not disco enough for me

Great opener - no wonder Will Smith sampled it. Great disco album.

- super chilliger Basssound - Discofeeling at its best - werd ich noch öfter hören - muss diese basslines spielen

It’s a banger of an album. Some really good and catchy songs. Great production.

Just the right amount of funk, not too disco, it was WAY better than I thought it would be.

Iconic title track and the rest of it was a lot more enjoyable than I though it was gonna be. Funky and well-done throughout.

gives "genre-defining" energy? every dance track here is pretty much golden, when it slows down it doesn't hit as hard. that little strummy guitar treatment that's spread around the album is such ear candy. one more hit would bump up the score tho. favorite song is Lost in Music. very strong 3

Rating: 8/10 Front to back fun and groovy soul music. Glad I listened to this full album finally, it's not just the hits, the whole thing feels like a genre classic. Even the slower moments were good so it had a minimum floor of being enjoyable, and the pop disco throughout was a joy. Could be underrating this personally

So fluid and joyful. Had a blast with this one.

Amazing album. Ironically I think we are family is my least favourite track on it.

1979 R&B, disco

Im not typically into disco, but it's nice to see some variety on this list for a change. All the songs are about 60 to 90 seconds too long but maybe that's because they're intended to be dance songs.

love it

It's 3.5

This was bad … how they nominated we are family for a grammy is a mystery to me

Funky & groovy AF.

What’s not to like here? Nile Rodger’s hands are all over this and it’s lovely - sexy, joyful, and highlighted by a classic tune.

somebody loves me is een leuk nummer 4/5

- That was fun - smooth, melodic, poppy disco. - The hits on here that everyone knows are still great. - Maybe a bit uneven, but nothing is really bad on this album. - Vocals and basslines are the standout instrumentally for me.

This was fun. I imagine I'll listen to it again some time

Very pleasant, with some high moments, but a lot of the tracks blend into each other in my eyes.

We are family is a classic but im not the biggest fan of the album… A bit too much slow disco for me.

This is basically the Sledge Sisters singing on a Chic album. The music is funky and fun and the harmonies are tight, but I am taking away points because they didn't write any of it. Niles Rodgers and Bernard Edwards made a great Chic album, fun for parties and clubs not something I will be revisiting though.

7 puntos

#276/1001 🇺🇸 After a horrible run of albums this is a real treat. I've never heard the full album but there are 4 bona-fide disco classics here that i have heard a million times. The rest of the album is made up of more laidback ballads which are still enjoyable in their right. Best Tracks: He's the Greatest Dancer, Lost in Music, Thinking of You, We Are Family.

Maybe I don't hate disco. Maybe I just hate CHIC.

groovy and fun

Disco funk, this was good fun that didn’t quite grab me at first like some other albums, but more and more I heard those familiar classics that get your booty shaking. Not mad at it, you vibed when you heard it, and would boogy again to it

WE ARE FAMILY. Groovy groovy tunes

Confession, I am not, have never been and never will be a fan of disco. It's tedious drivel for cokeheads.. And dont get me started on Nile Rogers, that repetitive strumming rhythm guitar thing used on every disco tune ever must have sounded fresh at some point, but it's well past its sell by date by 1979...I dont know whethrr Nile actually came up with it but he certainly fucking uses it on everything he does, usually accompanied by the shit eating grin of a grifter who can't believe they're getting away with it, again! So I wish I could say I go into this with a completely open mind, but I can't, I will however try to give it a fair hearing. I know the first track and I hate it. I have no urge to hear it again, skip. I also know the second tune, this isnt so annoying but, oh look there's that strummy guitarr again, so perhaps it is. Track 3 awful. Was everything on this record released as a single ? Cue annoying guitar part, the bass player is good on this one, it almost makes the song interesting, almost. Oh look another disco smash. With the SAME FUCKING GUITAR PART!!!! One man, one session, 10,000 royalty cheques, no wonder he's grinning. I'm going to sound like Richard Wilson here (am past the Meldrew point so it is allowed) "I Don't Believe It" There it is again, its starting to spoil an otherwise entirely ignorable record. This record is one song played at 12 different tempos. Joking aside (I wasn t joking) putting 2 of those songs on the same album 3 times each is fucking desperate and I refuse to listen to them more than once. 2 Stars because ot was at least twice as good ss yesterday's but still an unpleasant listen and utterly naff.

Ahhhhh listening to this album after enduring Justin “Wanker” Timberlake’s effort was like heavenly ointment to a damaged soul. Confession: I absolutely LOVE disco. It’s easily my favourite dance music genre. So when I saw this album had not one but FOUR undeniable disco all-time classics in He’s The Greatest Dancer, Lost In Music, Thinking Of You and We Are Family I was obviously going to be a fan. The true test was whether the songs I wasn’t familiar were decent. And it was a mixed bag. I really liked You’re Friend To Me, never heard it before but I definitely will again. The other songs were more average / forgettable, which is the only reason this gets a 4 and not higher. Overall though I loved this and it has me wanting a 70s night out. Bravo Sisters!

This was a fantastic "Greatest Hits of the 70s" compilation, which is weird as i didn't think Greatest Hits albums were on the list. I particularly enjoyed the Sister Sledge songs

Pre-listening: Know the hits and little else. Best: He’s the Greatest Dance Runner-up: Thinking of You Third: We Are Family Post-listening: I wish we had more groups like this who valued harmony and sharing spotlight. As a millennial, we saw flashes of it but none could last (TLC, Destiny’s Child). Sister Sledge have a way about them that is still envious today with an ability to make songs fun without sacrificing meaning. The whole album has songs that, fast or slow, help us feel emotional and that’s the goal that local artist have started to miss with music; how does the song make you feel. For that, we need to appreciate artists like Sledge that give us that on every track and not just sparingly. Rating: 7/10 Stars: 3/5

Well, I think I love disco music, sorry (assuming that's what this is). It's like funk music made for dancing; What's not to love? I'm sure to you old heads would say It sounds like a dumbed-down version of its more soulful predecessors or whatever, blah blah blah, but I say: listen to that bass. Really, just the bass and rhythm guitar playing steal the show for me. The average track length runs pretty long, but I imagine they are the perfect length for dancing. also, I think this album was better than the CHIC album.

The retroactive Nile Rodgers/Bernard Edwards education process continues. Other than their truly excellent guitar/bass interaction (which is reason enough for me to be glad to listen to this album), the rest of the album is, for me, pretty shallow, and musically uninteresting, which explains why, prior to this, I never listened very carefully to this album, or even to the 4 songs that were hits. It occurs to me, though, that the primary purpose of at least the more upbeat songs on this album is not to listen but to dance, so perhaps it's a little unfair to judge this based on the music in isolation, so to speak. Anyway, tempted to just say 5 for Rodgers/Edwards, a low 2 for everything else. And/but, since the really excellent guitar and bass work is only on the more upbeat numbers (tracks 1, 2, 4, and 5), that's only half of the album. (As a reminder, I'm only listening to the original tracks - so 8 songs, here.) So, I think I'll give this one a low 3, and/but that's based VERY heavily on the excellent work of Rodgers and Edwards, primarily on the upbeat tracks (1, 2, 4, 5).

I'm enjoying the musical history tour. These albums are worth listening to for the Edwards and Rodgers bass and guitar alone. That said, I don't think this music "hits" like it did when it came out. It's also clearly for dancing purposes rather than just listening, and unfortunately I'm rating for listening quality, not dance-ability.

Disco didn't die in 1979, it hadn't even hit it's stride yet.

Disco should be acknowledged on this list, and Nile Roger's contributions as well.

Really enjoyed a nice bit of cheese. I'd own it for the cheesy factor, but wouldn't hunt for it

Perfectly good. The world is better for having this album in it.

Net zo glad als de nylon kleding uit 1979

Amazing album.

This was a nice listen. There's plenty of funky grooves in here and big hits, as well as some slower tracks that work well. 3.5 rounded down.

3 seems fair

Overall: 5/10 Not bad, but I didn't get a lot out of this one. It kind of sounded like a parody of disco at times. The title track is still pretty fun, but there's not much else to sink my teeth into. Fav Song: We Are Family

*73 Så fredag. Så flamboyant. Let og crispy 4'er.

Og med ét blev man en diskopige - wow jeg ELSKEDE det her.

Det er stadig ikke min genre. Men det er Nile Rodgers på øksen, og det fungerer altid ret godt. Light 3'er, tror jeg. 2.9

Har egentlig ikke noget i mod disko, men det er måske ikke lige det, jeg hører mest af derhjemme, men det er sgu ret fedt det her. Det hjælper måske lidt, at det var fredag, da jeg hørte det første gang, og at det får mig til at tænke på Jackie Brown (hvilket er en god ting i min bog), men det rammer et eller andet. Mistænker til gengæld også, det er et af den slags albums, hvor man helst skal være lidt i stemning til det i forvejen, Men nu var det tilfældigvis fredag, så den får sgu 4 stjerner.

A funky disco album with the big tube We are Family. Quite listenable.

Good Disco sound!

Tremenda vibra, temones

Sister Sledge have some bangers! Who would have known? The title track has fallen into the "cheesy hit" category which is somewhat unfortunate. But the rest of the album is really solid and listenable. Favourites: Somebody Loves Me Thinking Of You Easier to Love

Fun! I love the song "We Are Family". Overall an enjoyable experience, although I wasn't as into the slower songs.

Great album. Found out they were from Philly so that put it over the edge

Somehow We Are Family was my least favorite song on the album (compliment). This is definitely the best album I’ve listened to from this list so far. I wanted to play every single song on repeats just to enjoy it more. It starts off high and fun and gets deeper and mellower for a whole listening experience.

I just wasn’t feeling these looooong songs.

Fun, great listen.

What an album! The grooves are undeniable. If they don’t move you, you might be dead. But I also love the slower joints/ballads on this album; Somebody Loves Me, You’re a Friend to Me…still got groove. I’ve got so much I wanna say about this album, but shoutout to the Sledge sisters, and of course shoutout Nile Rodgers and Bernard Edwards (RIP)

This gets a 4 not only because it's a good album, but as a major fuck you to all the people who hate disco. Disco slaps.

I thought I hated all disco and disco-related music. Turns out that the best of the genre is really good! See CHIC below. This is also great. You put it on and next thing you know your foot is tapping and your arms are flapping! I am giving it a four, but that does not mean I now like disco!!

The titular track and a couple nice grooves are present here. Not really my bag though.

Disco is rad, actually. We Are Family is an all-time great, and getting to hear Lost in Music, He's the Greatest Dancer, and Thinking of You for the first time was a great experience. The remixes were fine but definitely of their 1995 remaster era. I can see why people got burned out of the genre at the time but getting a little here and there today is great.

I enjoyed it more than I expected. Disco is a genre I really struggle with, but the disco side here is tempered by solid funk / soul roots, great instrumentals and sexy vocals that make it pleasant enough for a casual listen. As usually with disco, it's lyrically shallow (the first track is an entire song about a man who's hot because he dances well and wears expensive clothes...), but at least it's not plain silly like some other bands can be. Will I come back to it ? Maybe, maybe not. But I certainly did have a good time listening to this with my morning coffee. 6/10

Mixed feeling, solide musicians, groovy funk (that have been mixed and remixed), So it can be pleasant but I am allergic to R&B moaning...