Released in 1978, C'est Chic is the second studio album from the disco, funk, and R&B masters. While many were, and are still, wowed by their original self-titled release from 1977, it never truly resonated with me. Something was missing, yet I can’t explain what. That may sound deliberately obtuse, but C'est Chic, in retrospect, is a masterpiece that not only plays like a greatest hits compilation but is amongst the very best that disco, funk, and R&B have to offer. 

Music lovers of eras long past will likely concur that part of the appeal, outside of the music, is the album artwork. In this case, however, C'est Chic was presented with drastically different album artwork, track listings, and even an album name change to Très Chic when released in Europe. While these variations can be frustrating, I’ve often found them fascinating as they offer an inside look into the trendsetters, or certainly those who thought they were, within a specific region. Yet, I can’t get past how Chic’s European cover art was so incredibly different and completely unrelated to Chic. Atlantic Records Europe, what were you thinking? 

Thankfully, since then, common sense has prevailed and the worldwide releases of C'est Chic now feature the original artwork that is as iconic as the music contained within. While I still wouldn’t declare it their most appealing album cover, for Risqué holds that rank, there’s just something about it that works. Perhaps it’s that it reminds me of the cassette era when the LP-sized artwork would be reformatted for the smaller canvas and in many cases was left intact with a song selection printed under the artwork. I’m sure many people detested those covers and while pre-recorded cassette artwork was an opportunity to experiment with different creative styles, I often appreciated the simpler layout, as seeing the songs would often trigger interest in playing the album. 

Of course, as it pertains to music streaming, artwork replication isn’t of the utmost importance; a shame considering the technology exists and the now somewhat defunct iTunes LP offered one extraordinary example of how such a melding of the old and new could be achieved. However, what Apple Music lacks in artwork presentation, it makes up for in sonic prowess. 

Delivered to music lovers in Hi-Res Lossless and Dolby Atmos, the Apple Digital Master for C'est Chic has to be heard to be believed. Admittedly, I haven’t had the privilege of hearing a physical counterpart, but we all know that when music sounds as good as this album does, and when it resonates with your soul, the format is a secondary concern. 

That said, even via Apple Music, one must choose their preferred format and while I had always thought that the original stereo mix of C'est Chic couldn’t get any better, I listened to the Dolby Atmos mix and was thoroughly impressed. It’s warmer, fuller, and more immersive; all buzzwords we’d often associate with the analogue sound of vinyl. It’s as if C'est Chic was always meant to be heard in surround sound. Yet, it isn’t so different from the stereo mix that long-time fans will revolt for it’s complementary to the original release. It just sounds livelier. 

Surround sound fans will likely recognise the name, Steven Wilson, for good reason as the Porcupine Tree founder is one of the world’s foremost authorities when it comes to discrete surround mixes and we’re incredibly fortunate that he’s worked his magic on this very release for it is that good.  

So the question comes down to which version I prefer listening to. Well, on my main surround sound system it will forever be the Atmos mix. On all other non-atmos stereo-based systems, the original Hi-Res Lossless stereo mix will be my go-to for appreciating C'est Chic. The bottom line is that both present a thoroughly enjoyable listening experience and when music sounds this good, again, format isn’t a major concern. Let’s just be thankful that both exist and are made available on Apple Music.

Chic Cheer starts with a faux live audience feel and while it isn’t the greatest start to the album, particularly within the first few seconds, it is true to the style of the era. When the audience backing subsides, and the song comes into its own, we’re met with a rhythm that is intoxicating and gets you prepared for the album ahead. While you’re unlikely to seek Chic Cheer out on its own, as the album opener, it’s perfect.

Le Freak is Chic 101. As their most popular disco-styled tune, with plenty of funk, it’s so well-known that it has become synonymous with disco culture and requires no further introduction or fanfare. Simply put it on, turn the volume up, and get yourself to the dance floor.

Savior Faire slows the tempo with a symphonic pop-styled instrumental tune with a little jazz added for good measure. Nile Rodgers’ guitar tracking is simply exquisite and the overall recording is utterly magnificent, with a perfect mix (both stereo and surround) and soundstage, culminating in one of my all-time favourite Chic songs.

Happy Man brings us back to the dance floor for this upbeat tune; a great song!

I Want Your Love is one of the best songs Chic ever recorded and Alfa Anderson’s lead vocal, on this particular tune, is stunning and perfectly suited to the recording. Truth be told, I could listen to Anderson all day long. It amazes me that she wasn’t more successful within the music industry, but the recordings she has made are truly a gift to music lovers the world over. 

At Last I Am Free is another vocal masterpiece with an out-of-this-world harmony that is simply beautiful. While I don’t care too much for the verses, the chorus is where At Last I Am Free truly shines. Absolutely magical!

Sometimes You Win is an incredible disco tune that will compel your body to move involuntarily as it connects to your soul and allows for a form of musical expression that has to be experienced firsthand to be fully appreciated.

(Funny) Bone reintroduces the faux audience technique and while I mentioned that that aspect wasn’t the greatest start to the album, I also would have preferred it to have been excluded during the opening of (Funny) Bone. Logically, had it been included in only the closing moments of this song, I would have been much happier with that decision for it would offer a greater sense of closure to the faux live performance Chic was likely aiming for. Nevertheless, (Funny) Bone is a solid closer and encourages me to play the record again. 

While I consider C'est Chic to be an otherwise perfect album, I’d love to hear a mix that omits all the faux audience elements in both the opening and closing tunes, for I can’t help but wonder if it wouldn’t make the album a stronger piece of musical art. Of course, if this occurred C'est Chic would no longer be C'est Chic and that is a thought I’d prefer not to even think of for what I consider are flaws, are fundamental to the album experience. 

Some albums define a generation, even a genre, and C'est Chic is one such release that sounds as fresh today as it did when it was released in 1978. It’s a classic album that humanity will be gleefully enjoying till the end of time.