Chicapah Boz Scaggs is the musical equivalent of the hero of the children’s tale, “The Little Engine that Could.” Over a ten year period he cut 6 albums for 3 different labels but still couldn’t seem to get over the hump and into the mainstream. That tells you that either (A) he was amazingly immune to the effects of repeated disappointments or (B) he was incredibly talented at convincing the record company suits that if they’d just keep the faith a little longer they’d surely hit the jackpot with his next LP or (C) a combination of both. In ‘72 he ditched his own band and started using studio cats and, while his sound did become more polished and refined, neither the “My Time” nor “Slow Dancer” LPs exactly tore up the charts. But sometimes persistence does pay off. In March of 1976 he released “Silk Degrees” and he at last drilled into the mother lode. He’d always had an inimitable singing style that made him very attractive to the masses but his Achilles heel was the mediocrity found in his songwriting, something that showed drastic improvement on this disc. After a decade of frustration he finally found himself in the right place at the right time with the right material and the result was an album that outsold all of his previous records put together.

As a struggling musician in that era I can tell you that every producer worth his salt in those days would point to albums like “Silk Degrees” and emphasize that they were an exemplary example of how to vastly improve your chances of manufacturing a hit record. It all started with the drums, they would say, and when it came to laying down a strong foundation Jeff Porcaro was one of the experts. His indelible footprints are all over this project from top to bottom and it’s hard to imagine the songs, fine as they are, having the impact they do without his contributions. I just wanted to point that out from the get go so that those of you who’ve never listened to “Silk Degrees” would pay special attention to Jeff. If you have aspirations to be a respected studio session drummer, this is how it’s done.

Boz draws back the curtain with the boisterous, lively “What Can I Say?” Here he took all the best elements of the disco craze and light jazz, and then wisely blended them together with a pinch of funky R&B tossed in to create a sound that fit the times perfectly. Its smooth, catchy mien also does a good job of setting the classy tone for the rest of the album. “Georgia” rides upon a straight-as-an-arrow rock beat that drives this tune forward through a well-designed progression that carries you on an exciting journey. The Stones-ish approach he cops for Allen Toussaint’s “Jump Street” could’ve been an imitative disaster yet it succeeds in fitting in just right at this juncture by keeping the listener on his/her toes. David Paich’s honky-tonk piano and Les Dudek’s slide guitar work elevate the track and the clever false ending adds a welcome levity to the proceedings. A bouncy shuffle cruises underneath “What Do You Want the Girl To Do,” a Motown-like R&B number possessing a great feel. Scaggs’ thoughtful attention given to the backing choral arrangement pays big dividends as the large voices give it a bright sheen. A sleepy Rhodes piano intro paints the backdrop for “Harbor Lights,” a jazzy ballad where Boz’ crooning ability is right at home. The song suffers a bit from predictability until the final segment when the band suddenly breaks into a spicy samba.

Next up is the classic “Lowdown.” Talk about a perfect storm of atmospheric conditions and trendy influences, this tune had “hit” written all over it from its inception. The brilliantly-placed bridge chords boosted by sharp, brassy horns compliment the scat-like verses sublimely and the end result is a track hard to resist. And few did as it streaked up into the Top 5 on the singles chart. This one put Scaggs on the map. He follows that impressive offering with “It’s Over” but it’s a letdown because in this instance Boz leans too far over the boundary of good taste and ventures into the ghost town known as Discoville. As pop as Pepsi, this one comes off as contrived. A reggae vibe sets “Love Me Tomorrow” apart from the others. Its intelligent arrangement and clever employment of punchy but tactful percussion grants this song the edge that it needs. On “Lido Shuffle” Jeff Porcaro’s energetic drums and the tune’s intriguing structure hold your interest consistently and the upbeat, joyful aura that surrounds it is highly infectious. He concludes things with “We’re All Alone,” one of those lush pop ballads that knows what its job is and does it with maximum efficiency. Boz’ emoting voice is up to the task as the track steadily builds to a passionate crescendo before drifting off into the ether.

As is the case with so many albums that gained widespread appeal, many of the cuts on “Silk Degrees” have been overplayed for so long that they’ve lost their individual identities and have been consigned into the ongoing, featureless soundtrack of everyday life. I invite you to do as I did in preparing to pen this review and listen to it with new, unbiased ears. The musicianship is immaculate, the songwriting is mature and rarely condescending and it flows easily like a spring-fed river. This was Boz Scaggs’ moment of triumph, his acme and he never came close to duplicating it. He mixed west coast R&B sensibilities with a slick jazz mentality to present to the record-buying public a delicious brand of sophisticated funk as well as any ever have on this disc and he is to be commended for it. Sometimes, if you’re bull-headed enough to never cry “uncle,” you get it right.