The format of “Float On” – each Floater steps forward, makes his pitch, retires beckoning – doesn’t just anticipate Blind Date, it’s also a basic formula for early group hip-hop: every member trying to outdo the last. For my money, the winning Floater here is surely Larry, largely for his magnificently self-confident use of the third-person. But your floatage may vary, and really there’s only one way to sort this one out:
I’ll leave the comments box to speculate on the real motivations behind each of these preferences.
“Float On” stands up to more listens than you’d imagine, though still not enough to get it beyond ‘kind of charming’. The audacious novelty concept wears out, as novelties do, but the good-natured, bubbling music does exactly what it says on the title. How true a portrayal of seductive Seventies Man this was I have no idea, but “Float On” is amazingly evocative of a perceived era, one built up in the childish imagination by old menswear adverts and past-your-bedtime TV shows, half-understood. Amiably preposterous.