{"id":9608,"date":"2025-06-28T19:00:00","date_gmt":"2025-06-28T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/chic-the-locked-grin-of-the-groove-2\/"},"modified":"2026-11-09T07:14:40","modified_gmt":"2026-11-09T06:14:40","slug":"chic-the-locked-grin-of-the-groove-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/chic-the-locked-grin-of-the-groove-2\/","title":{"rendered":"Chic &#8211; La sonrisa encerrada del groove"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Nile Rodgers, Bernard Edwards, Studio 54<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Chic se form\u00f3 en Nueva York en 1976 en torno al guitarrista Nile Rodgers y el bajista Bernard Edwards, dos m\u00fasicos que hab\u00edan pasado a\u00f1os en el circuito de sesiones de la ciudad antes de decidir que lo que o\u00edan en los clubs merec\u00eda un marco musical serio. Tony Thompson se uni\u00f3 a la bater\u00eda; Norma Jean Wright cant\u00f3 como voz principal inicialmente, luego Alfa Anderson y Luci Martin asumieron las partes vocales. El grupo firm\u00f3 con Atlantic Records en 1977.<\/p>\n<p style=\"text-align: justify;\">&#8216;Dance Dance Dance (Yowsah Yowsah Yowsah)&#8217; irrumpi\u00f3 ese mismo a\u00f1o. &#8216;Everybody Dance&#8217; sigui\u00f3, y luego &#8216;Le Freak&#8217; en 1978, que se convirti\u00f3 en uno de los singles m\u00e1s vendidos de la historia de Atlantic Records. Se dice que el tema naci\u00f3 de una Nochevieja en la que Rodgers y Edwards fueron rechazados en la puerta del Studio 54, la frustraci\u00f3n convertida en el riff del single. &#8216;Good Times&#8217; (1979), construida sobre una l\u00ednea de bajo tan precisamente elaborada que se convirti\u00f3 en fundacional para la primera ola del hip-hop, complet\u00f3 lo que fue posiblemente la serie de \u00e9xitos de pista de baile m\u00e1s concentrada de la \u00e9poca.<\/p>\n<p style=\"text-align: justify;\">El ritmo de Chic merece que se lo desarme en el disco. Las l\u00edneas de bajo de Edwards no solo rellenan espacio. Llevan los acordes de cada tema mientras la bater\u00eda marca el tiempo, y la guitarra r\u00edtmica de Rodgers se encaja con el bajo. Otros grupos disco de ese per\u00edodo rara vez manten\u00edan las dos partes tan ajustadas. Las producciones son limpias: cuerdas y metales arreglados seg\u00fan las especificaciones de Rodgers y Edwards, percusi\u00f3n seca, voces superpuestas que apoyan el groove en lugar de competir con \u00e9l. La mezcla prioriza la claridad de los medios, por eso estos discos funcionan igual de bien en peque\u00f1os altavoces que en grandes salas.<\/p>\n<p style=\"text-align: justify;\">La historia de origen del Studio 54 ilustra algo real sobre la posici\u00f3n del grupo. Chic no era un producto puro del establishment disco: Rodgers escuchaba jazz, a Gil Scott-Heron, a Roxy Music, y esos discos aparecen en los colores de los acordes y en la negativa a dejar que los arreglos se vuelvan predecibles. El grupo compart\u00eda la pista de baile con Donna Summer y los Bee Gees pero ven\u00eda musicalmente de un lugar diferente, m\u00e1s cercano al jazz-funk que al disco pop recto.<\/p>\n<p style=\"text-align: justify;\">Las producciones extendieron el alcance del grupo mucho m\u00e1s all\u00e1 de sus propios discos. Rodgers y Edwards produjeron &#8216;We Are Family&#8217; y &#8216;He&#8217;s the Greatest Dancer&#8217; para Sister Sledge en 1979. &#8216;Upside Down&#8217; e &#8216;I&#8217;m Coming Out&#8217; para Diana Ross siguieron en 1980. En 1983, Let&#8217;s Dance de Bowie le dio a Rodgers un cr\u00e9dito de producci\u00f3n rock que cambi\u00f3 c\u00f3mo la industria musical en general lo percib\u00eda. &#8216;Like a Virgin&#8217; de Madonna (1984) vino despu\u00e9s: a mediados de los ochenta, Rodgers era uno de los productores m\u00e1s solicitados del pop, sin importar el g\u00e9nero.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb11017&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790075966984{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">El rechazo antidisco de 1979 cort\u00f3 de ra\u00edz la carrera comercial de Chic, como ocurri\u00f3 con la mayor\u00eda de los artistas asociados al g\u00e9nero. Risque (1979) y Real People (1980) rindieron por debajo de los a\u00f1os pico, y el grupo se disolvi\u00f3 en 1983. Edwards muri\u00f3 en 1996 tras un concierto en Tokio. Rodgers reform\u00f3 versiones de Chic para giras y continu\u00f3 grabando, logrando finalmente devolver al grupo a la atenci\u00f3n general en los a\u00f1os 2010 con colaboraciones que incluyen a Pharrell Williams en &#8216;Get Lucky&#8217; y m\u00e1s tarde a Dua Lipa.<\/p>\n<p style=\"text-align: justify;\">Una mirada a los contempor\u00e1neos muestra d\u00f3nde se situaba Chic. Los Bee Gees llevaban canciones de cantautor al disco. Earth, Wind and Fire usaba un vocabulario de jazz y soul m\u00e1s profundo. Donna Summer y Giorgio Moroder empujaban las producciones hacia lo electr\u00f3nico. Chic era el m\u00e1s preciso del grupo. La secci\u00f3n r\u00edtmica se quedaba ajustada, los arreglos se quedaban limpios, y el bajo y la guitarra, Bernard Edwards y Nile Rodgers, eran el centro del disco. La l\u00ednea de bajo de &#8216;Good Times&#8217; aparece en &#8216;Another One Bites the Dust&#8217; de Queen, en &#8216;Rapper&#8217;s Delight&#8217; de Sugarhill Gang, y en decenas de discos posteriores.<\/p>\n<p style=\"text-align: justify;\">Empiece con C&#8217;est Chic para &#8216;Le Freak&#8217; y &#8216;I Want Your Love&#8217;. Risque contiene &#8216;Good Times&#8217;. El box set Chic Organization cubre las producciones para Sister Sledge junto a las grabaciones propias del grupo. Para el trabajo posterior de Rodgers, Let&#8217;s Dance de Bowie conecta directamente el per\u00edodo disco con el pop de gran p\u00fablico de los ochenta. Estos discos siguen sonando limpios, en un altavoz peque\u00f1o como en una sala grande. Las partes encajan, del bajo a la guitarra y a las voces, y las producciones no amontonan capas de m\u00e1s.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Chic ancl\u00f3 el disco en una rejilla de bajo y guitarra a trav\u00e9s de Nile Rodgers y Bernard Edwards, del rechazo en Studio 54 hasta Good Times y m\u00e1s all\u00e1.<\/p>\n","protected":false},"author":1,"featured_media":9603,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[299,301],"tags":[1113,427],"class_list":["post-9608","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-chic-es","tag-discofunk-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Chic - La sonrisa encerrada del groove - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Chic ancl\u00f3 el disco en una rejilla de bajo y guitarra a trav\u00e9s de Nile Rodgers y Bernard Edwards, del rechazo en Studio 54 hasta Good Times y m\u00e1s all\u00e1.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chic - La sonrisa encerrada del groove - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Chic ancl\u00f3 el disco en una rejilla de bajo y guitarra a trav\u00e9s de Nile Rodgers y Bernard Edwards, del rechazo en Studio 54 hasta Good Times y m\u00e1s all\u00e1.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2025-06-28T17:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-09T06:14:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/chic.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/chic-the-locked-grin-of-the-groove-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/chic-the-locked-grin-of-the-groove-2\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"Chic &#8211; 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