Funk - Knowledge (XXG)

3677:, Nikki A. Greene notes that Davis' provocative and controversial style helped her rise to popularity in the 1970s as she focused on sexually motivated, self-empowered subject matter. Furthermore, this affected the young artist's ability to draw large audiences and commercial success. Greene also notes that Davis was never made an official spokesperson or champion for the civil rights and feminist movements of the time, although more recently her work has become a symbol of sexual liberation for women of color. Davis' song "If I'm In Luck I Just Might Get Picked Up", on her self-titled debut album, sparked controversy, and was banned by the Detroit 3670:. As cultural critic Cheryl Keyes explains in her essay "She Was Too Black for Rock and Too Hard for Soul: (Re)discovering the Musical Career of Betty Mabry Davis", most of the scholarship around funk has focused on the cultural work of men. She states that "Betty Davis is an artist whose name has gone unheralded as a pioneer in the annals of funk and rock. Most writing on these musical genres has traditionally placed male artists like Jimi Hendrix, George Clinton (of Parliament-Funkadelic), and bassist Larry Graham as trendsetters in the shaping of a rock music sensibility." 1968:'s adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything. But 'give me a New Orleans beat' – you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming." Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s." Concerning the various funk motifs, Stewart states that this model "...is different from a 2847: 1478: 7028: 1915:, 16th beat drum patterns, and syncopated guitar riffs. The main guitar ostinatos for "Ain't it Funky" (c. late 1960s) are an example of Brown's refinement of New Orleans funk— an irresistibly danceable riff, stripped down to its rhythmic essence. On "Ain't it Funky" the tonal structure is barebones. Brown's innovations led to him and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as " 6647: 770: 7016: 3697: 1945: 1090: 1608:

common. A quartet would be set up the same as a standard horn trio, but with an extra trumpet, sax, or (less frequently) trombone player. Quintets would either be a trio of saxes (typically alto/tenor/baritone, or tenor/tenor/baritone) with a trumpet and a trombone, or a pair each of trumpets and saxes with one trombone. With six instruments, the horn section would usually be two trumpets, three saxes, and a trombone.

3766:, and other funk and R&B artists, but according to Emily Lordi, " Davis is seldom listed among Janelle Monáe's many influences, and certainly the younger singer's high-tech concepts, virtuosic performances, and meticulously produced songs are far removed from Davis's proto-punk aesthetic. But... like Davis, she also is closely linked with a visionary male mentor (Prince). The title of Monáe's 2013 album, 1998: 1571: 906:, in that in a funk band, the group would typically "feel" when to change, by "jamming" and "grooving", even in the studio recording stage, which might only be based on the skeleton framework for each song. Funk uses "collective improvisation", in which musicians at rehearsals would have what was metaphorically a musical "conversation", an approach which extended to the onstage performances. 2628: 920: 1816:

had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. "Please, Please, Please" (1956), "Bewildered" (1961), "I Don't Mind" (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming." Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in the years after World

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could now accommodate possible 16 note placements." Specifically, by having the guitar and drums play in "motoring" sixteenth-note rhythms, it created the opportunity for the other instruments to play "more syncopated, broken-up style", which facilitated a move to more "liberated" basslines. Together, these "interlocking parts" created a "hypnotic" and "danceable feel".

3220: 757: 1192:. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted. 1128:, that are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk. Payne states that funk can be thought of as "rock played in a more syncopated manner", particularly with the bass drum, which plays syncopated eighth-note and sixteenth-note patterns that were innovated by drummer Clive Williams (with 3624: 1835: 801:

chords (e.g., F9); and minor sixth chords (e.g., C minor 6). The six-ninth chord is used in funk (e.g., F 6/9); it is a major chord with an added sixth and ninth. In funk, minor seventh chords are more common than minor triads because minor triads were found to be too thin-sounding. Some of the best known and most skillful soloists in funk have

3723:' 'blew the lid off of the standards of sexual innuendo and skyrocketed the group's star status,' the band's 'glittery image slipped into the disco undertow and was ultimately wasted as the trio broke up in search of solo status" (Vincent, 1996, 192). Many female artists who are considered to be in the genre of funk, also share songs in the 646:, remembered as either "Funky Butt" or "Buddy Bolden's Blues", with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played. As late as the 1950s and early 1960s, when 3715:, he analyzes the impact of Labelle but only in limited sections. Royster criticizes Vincent's analysis of the group, stating: "It is a shame, then, that Vincent gives such minimal attention to Labelle's performances in his study. This reflects, unfortunately, a still consistent sexism that shapes the evaluation of funk music. In 1983:, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat. 2275: 1927:" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns ... 1750:) in virtually all early twentieth century African-American music ... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African time lines." 1696:

Funk was formed through a mixture of various music genres that were popular among African Americans in the mid-20th century. Musicologist Anne Danielsen wrote that funk might be placed in the lineage of rhythm and blues, jazz, and soul. Sociologist Darby E. Southgate wrote that funk is "an amalgam of

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recordings, funk songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the bassline is most prominent in the songs, with the bass playing the "hook" of the song. Early funk basslines used syncopation (typically syncopated eighth notes), but with the addition

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is the reason artists like Davis do not get the same recognition as their male counterparts: "I blame what I call respectability politics as part of the reason the funk-rock some of the women from the '70s aren't better known. Despite the importance of their music and presence, many of the funk-rock

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subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices . Most important of these were James Brown and the drummers and arrangers he employed. Brown's early repertoire

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films, which depicted "African-American men and women standing their ground and fighting for what was right". Both funk and Blaxploitation films addressed issues faced by Blacks and told stories from a Black perspective. Another link between 1970s funk and Blaxploitation films is that many of these

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The lyrics in funk music addressed issues faced by the African American community in the United States during the 1970s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed the Black working class. Funk songs by The Ohio Players, Earth,

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Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and vernacular". For example, funk songs included expressions such as "shake your money maker", "funk yourself right out" and "move your boogie body". Another example is the

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In the 1970s, funk used many of the same vocal styles that were used in African-American music in the 1960s, including singing influences from blues, gospel, jazz and doo-wop. Like these other African-American styles, funk used "ells, shouts, hollers, moans, humming, and melodic riffs", along with

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The instruments in funk horn sections varied. If there were two horn players, it could be trumpet and sax, trumpet and trombone, or two saxes. A standard horn trio would consist of trumpet, sax, and trombone, but trios of one trumpet with two saxes, or two trumpets with one sax, were also fairly

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arrangements with groups of brass instruments are often used in funk songs. Funk horn sections could include saxophone (often tenor sax), trumpet, trombone, and for larger horn sections, such as quintets and sextets, a baritone sax. Horn sections played "rhythmic and syncopated" parts, often with

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is a form of funky Cuban popular dance music. By 1990, several Cuban bands had incorporated elements of funk and hip-hop into their arrangements, and expanded upon the instrumentation of the traditional conjunto with an American drum set, saxophones and a two-keyboard format. Timba bands like La

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Boogie is an electronic music mainly influenced by funk and post-disco. The minimalist approach of boogie, consisting of synthesizers and keyboards, helped to establish electro and house music. Boogie, unlike electro, emphasizes the slapping techniques of bass guitar but also bass synthesizers.

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In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn parts on a synthesizer with brass patches; however, choosing an authentic-sounding synthesizer and brass patch is important. In the 2010s, with micro-MIDI synths, it may even have been possible to have

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was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible. The innovation of funk was that by using slower tempos (surely influenced by the revival of blues at early 60s), funk "created space for further rhythmic subdivision, so a bar of 4/4

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jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. Some examples of chords used in funk are minor eleventh chords (e.g., F minor 11th); dominant seventh with added sharp ninth and a suspended fourth (e.g., C7 (#9) sus 4); dominant ninth

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In funk, guitarists often mix playing chords of a short duration (nicknamed "stabs") with faster rhythms and riffs. Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes. Chord extensions are favored, such as ninth chords. Typically, funk uses "two

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Kevin Moore: "There are two common ways that the three-side is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm. By the 1940s a trend toward the use of what

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future. In his article "Janelle Monáe and Afro-sonic Feminist Funk", Matthew Valnes writes that Monae's involvement in the funk genre is juxtaposed with the traditional view of funk as a male-centered genre. Valnes acknowledges that funk is male-dominated, but provides insight to the societal

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song "Fight the Power" (1975) has a political message. Parliament's song "Chocolate City" (1975) metaphorically refers to Washington, D.C., and other US cities that have a mainly Black population, and it draws attention to the potential power that Black voters wield and suggests that a Black

1231:" (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not the pattern of pitches. The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body 3568:. It incorporates multi-layered and melodic synthesizers, slow hypnotic grooves, a deep bass, background female vocals, the extensive sampling of P-Funk tunes, and a high-pitched portamento saw wave synthesizer lead. Unlike other earlier rap acts that also utilized funk samples (such as 2951:

was heavily influenced by funk. While Phish's funk was traditional in the sense that it often accented beat 1 of the 4/4 time signature, it was also highly exploratory and involved building jams towards energetic peaks before transitioning into highly composed progressive rock and roll.

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As funk emerged from soul, the vocals in funk share soul's approach; however, funk vocals tend to be "more punctuated, energetic, rhythmically percussive and less embellished" with ornaments, and the vocal lines tend to resemble horn parts and have "pushed" rhythms. Funk bands such as

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Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists. Horn sections would "punctuate" the lyrics by playing in the spaces between vocals, using "short staccato rhythmic blast". Notable funk horn players included

1474:" by James Brown included "double-voice" along with "yells, shouts and screams". Funk singers used a "black aesthetic" to perform that made use of "colorful and lively exchange of gestures, facial expressions, body posture, and vocal phrases" to create an engaging performance. 1121:. A key part of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach. Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk. 966:

bass. Slapping and popping uses a mixture of thumb-slapped low notes (also called "thumped") and finger "popped" (or plucked) high notes, allowing the bass to have a drum-like rhythmic role, which became a distinctive element of funk. Notable slap and funky players include

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James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows. By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.

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had a song entitled "Fopp" which referred to "Fopp me right, don't you fopp me wrong/We'll be foppin' all night long...". Some funk songs used made-up words which suggested that they were "writing lyrics in a constant haze of marijuana smoke", such as Parliament's

2997:, Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on 840:

and a complex, driving rhythmic feel. Even though some funk songs are mainly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic passing chords. For example, the verse section of

753:. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, and made it its own. New Orleans funk, as it was called, gained international acclaim largely because James Brown's rhythm section used it to great effect. 2940:

developed a live sound called "cow funk" (a.k.a. "space funk"), which consisted of extended danceable deep bass grooves, and often emphasized heavy "wah" pedal and other psychedelic effects from the guitar player and layered Clavinet from the keyboard player.

1496:" (1978) is about the challenges that Blacks overcame during the 1960s civil rights movement, and it includes an exhortation for Blacks in the 1970s to capitalize on the new "social and political opportunities" that had become available in the 1970s. The 1800:(Malcolm John "Mac" Rebennack Jr.), the Professor "put funk into music ... Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans." In his "Mardi Gras in New Orleans", the pianist employs the 1078:(as they can lessen the groove). Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove. These playing techniques are supplemented by a set-up for the drum kit that often includes muffled 1820:

played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes."

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polyrhythms" – a tradition evident in African-American work songs and chants. Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.

3549: 1555:", which includes words such as "bioaquadooloop". The mainstream white listener base was often not able to understand funk's lyrical messages, which contributed to funk's lack of popular music chart success with white audiences during the 1970s. 734:, funk has a "central dance beat that's slower, sexier and more syncopated than disco", and funk rhythm section musicians add more "subtextures", complexity and "personality" onto the main beat than a programmed synth-based disco ensemble. 3681:. Maureen Mahan, a musicologist and anthropologist, examines Davis' impact on the music industry and the American public in her article "They Say She's Different: Race, Gender, Genre, and the Liberated Black Femininity of Betty Davis". 730:, so it has a strong "rhythmic role". The sound of funk is as much based on the "spaces between the notes" as the notes that are played; as such, rests between notes are important. While there are rhythmic similarities between funk and 2484:, but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production. 2713:, its influence continued to spread. Artists like Steve Arrington and Cameo still received major airplay and had huge global followings. Rock bands began adopting elements of funk into their sound, creating new combinations of " 781: 2769:

spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and current funk-inspired artists like

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Electro funk is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the

1301:'s improvised, wah-wah infused solos. Ernie Isley was tutored at an early age by Hendrix, when Hendrix was a part of the Isley Brothers backing band and temporarily lived in the Isleys' household. Funk guitarists use the 666:"was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable." The style later evolved into a rather hard-driving, insistent rhythm, implying a more 4487: 3073:, for instance, is part of a scene which combined the elements of digital music made with computers, synthesizers, and samples with analog instruments, sounds, and improvisational and compositional elements of funk. 1578:

typically include saxophones and trumpets. Larger horn sections often add a second instrument for one of the saxes or trumpets, and a trombone or bari sax may also be used. Pictured is the Earth, Wind and Fire horn

2604:" followed in 1983. Michael Jackson was also influenced by electro-funk. In 1980, techno-funk music used the TR-808 programmable drum machine, while Kraftwerk's sound influenced later electro-funk artists such as 606:

meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt". Even though in white culture, the term

3774:, but it also implicitly cites the coterie of women that inspired Hendrix himself: that group, called the Cosmic Ladies or Electric Ladies, was together led by Hendrix's lover Devon Wilson and Betty Davis." 619:, while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance. 2895:(considered the progenitor of the G-funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelia: "Back in the 70s that's all people were doing: getting high, wearing 4922:

Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 55–56

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 51–52

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was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "

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Wind & Fire, and James Brown raised issues faced by lower-income Blacks in their song lyrics, such as poor "economic conditions and themes of poor inner-city life in the black communities".

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Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 56-57

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notes along with the major third above the root. Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval.

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 69

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 68

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 62

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 72

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 66

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 36

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 29

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 57

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 26

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 65

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 21

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 75

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 51

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 53

2144:" in 1971. Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. 1172:

In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch", in which the guitar strings are pressed lightly against the

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 6

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Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 5

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Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48

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sounds are often done by funk drummers with a single pedal, an approach which "accents the second note... deadens the drumhead's resonance", which gives a short, muffled bass drum sound.

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Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs. Funk synthesizer bass, most often a

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genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club circuit in England during the mid-1970s. Similar genres include

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sold about 11.5 million units worldwide and remains the best-selling funk album in history. Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as

2129:, released 1970, is considered a milestone in funk. Throughout the 1970s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience. 2115:

was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971. Also from the West Coast area, more specifically

2825:—carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday—with the exception of Jamiroquai, whose album 5926: 1979:

In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat ... Simple as that, really." According to

6201: 4495: 2032:. The two groups shared members and are often referred to collectively as "Parliament-Funkadelic". The breakout popularity of Parliament-Funkadelic gave rise to the term " 1418:", "Loose Booty"); acoustic piano ("Funky Dollar Bill", "Jimmy's Got a Little Bit of Bitch in Him"); clavinet ("Joyful Process", "Up for the Down Stroke", "Red Hot Mama"); 2040:, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or 1552: 445:

fostered more eclectic examples of the genre beginning in the late 1960s. Other musical groups developed Brown's innovations during the 1970s and the 1980s, including

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genres; Labelle falls into this category of women who are split among genres due to a critical view of music theory and the history of sexism in the United States.

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Like other styles of African-American musical expression including jazz, soul music and R&B, funk music accompanied many protest movements during and after the

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volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by

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From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as

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and narration of stories (like the African oral tradition approach). The call and response in funk can be between the lead singer and the band members who act as

3719:, Vincent's analysis of Labelle is brief—sharing a single paragraph with the Pointer Sisters in his three-page sub chapter, 'Funky Women.' He writes that while ' 1684:, which wore "matching suits" and "neat haircuts" to appeal to white mainstream audiences, funk bands adopted an "African spirit" in their outfits and style. 2049:

Following the work of Jimi Hendrix in the late 1960s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing

1632: 2689:, who all found their biggest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact; however, pop artists from 6635: 2341:

music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of

2069:. In the following years, groups such as Clinton's Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work. 1321:, another P-Funk guitarist, was able to play Hazel's virtuosic solo on "Maggot Brain", using a solo approach that added in string bends and Hendrix-style 954: 7063: 1415: 2036:", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including 5678: 2521:, and the horns that remained were given simplified lines, and few horn solos were given to soloists. The classic electric keyboards of funk, like the 4073: 1870:

that typified African-American music. Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-

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demonstrate the wide range of keyboards used in funk, as they include the Hammond organ ("Funky Woman", "Hit It and Quit It", "Wars of Armageddon");

1924: 1596:. Notable funk horn sections including the Phoenix Horns (with Earth, Wind & Fire), the Horny Horns (with Parliament), the Memphis Horns (with 1176:

and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the

3162:. The bass and drum rhythms are influenced by funk music but with more intensity, while the guitar can be funk- or rock-influenced, usually with 2137: 837: 3216:

in which "oblivion was to be attained not through rising above the body, rather through immersion in the physical, self loss through animalism."

1258:, keyboards and other instruments. Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and 366:

new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes

6291: 5593: 5347: 5253: 4059: 3975: 5176: 1062:

Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of

1038:

effects, which are used to create the "classic fuzz tone that sounds like old school Funk records". Other effects that are used include the

953: 760:

Simple kick and snare funk motif. The kick first sounds two onbeats, which are then answered by two offbeats. The snare sounds the backbeat.

1773:

pattern and related two-celled figures in songs such as "Carnival Day" (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949).

1705: 750: 2959: 1854:. Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and 1656: 1504:

The political themes of funk songs and the aiming of the messages to a Black audience echoed the new image of Blacks that was created in

836:(often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7) during all or part of a song, with 860:, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the 7058: 3742:

have opened the doors for more scholarship and analysis on the female impact on the funk music genre. Monáe's style bends concepts of

1385: 5936: 4251:

Stewart, Alexander (2000: 293), "Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music",

7073: 6378: 6359: 6338: 5902: 5872: 5836: 5718: 5068: 4322: 4124: 3905: 2665:

Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes,

2577:

and pop style of bass playing were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from suggestive

1688:

and Parliament are known for their imaginative costumes and "freedom of dress", which included bedsheets acting as robes and capes.

5157:

Lessons in listening – Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White.

1777:

reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of

5797: 7083: 2999: 1254:

were widely used for their cutting treble tone. The mids are often cut by guitarists to help the guitar sound different from the

6143: 5059:"Rhythm and blues influenced by Afro-Cuban music first surfaced in New Orleans." Campbell, Michael, and James Brody (2007: 83). 1567:"offbeat phrases" that emphasize "rhythmic displacement". Funk song introductions are an important place for horn arrangements. 681:

continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term

7068: 7006: 6628: 5485: 5431: 5047: 2108: 1774: 1542:

In the 1970s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and

6265: 2662:. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes. 1664:

another instrumentalist play the keyboard brass parts, thus enabling the keyboardist to continue to comp throughout the song.

7103: 6409: 5561: 5276: 5098: 3247: 2013: 2001: 1812: 1685: 822: 718:

of a funk band—the electric bass, drums, electric guitar and keyboards--is the heartbeat of the funk sound. Pictured here is

5460: 4460: 2975: 2245: 952: 5742: 5627: 5132: 2546: 2503: 2249: 1901: 1847: 874: 4753: 1961: 1708:, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel, blues, and "body rhythms" ( 1585: 1124:

Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music,

2596:" in 1982. Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the 2362: 1793: 1228: 1030:

effect that creates a "gooey, slurpy, quacky, and syrupy" sound) and imitate keyboard synthesizer bass tones (e.g., the

5892: 5336:

Planet Rock – The Album (Liner notes). Afrika Bambaataa & the Soul Sonic Force. Tommy Boy Records. 1986. TBLP 1007.

3750:, and self-expression in a manner similar to the way some male pioneers in funk broke boundaries. Her albums center on 5770: 5089:

Peñalosa calls the 'offbeat/onbeat motif.' Today, the offbeat/onbeat motif method is much more common." Moore (2011).

2840: 1349: 1211:

The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the

1169:

in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible.

5516: 3419: 2213: 4684: 4658: 2614:

was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album

2412:, who was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat". 1792:

One of Longhair's great contributions was his particular approach of adopting two-celled, clave-based patterns into

1441:, was used because it could create layered sounds and new electronic tones that were not feasible on electric bass. 6621: 2982:

builds upon the New Orleans tradition of funk, with their gritty, low-ended grooves and soulful four-part vocals.

2464:

music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong

2221: 1389: 1309:

effect is often used in funk and R&B guitar playing for its filter sweeping sound effect, an example being the

1110: 670:. This early form of the music set the pattern for later musicians. The music was identified as slow, sexy, loose, 658:, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, 5243: 4559: 2012:

A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by

832:

Unlike bebop jazz, with its complex, rapid-fire chord changes, funk often uses a static single-chord or two-chord

3324:, area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as 2827: 2278: 2133: 1493: 1451: 1263: 1162: 5242:

Maultsby, Portia K. (2009). "Dayton Street Funk: The Layering of Musical Identities". In Scott, Derek B. (ed.).

976: 4523: 3443: 3171: 2794: 2758: 2374: 2290: 1896:. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, " 1185: 1012: 438: 390:, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with 5826: 3606:-based structure, they are created intuitively, without a conscious intent of aligning the various parts to a 2955: 1344:

A range of keyboard instruments are used in funk. Acoustic piano is used in funk, including in "September" by

2989:

collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco,

2905:

and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".

7098: 7093: 7088: 7032: 3938: 3930: 3689: 3435: 3271: 3051:, in keeping with their tendency to explore a variety of rockish styles, incorporated funk into their song " 2850: 2790: 2298: 2217: 2205: 1905: 1482: 1411: 1133: 685:

in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings's

394:

playing interlocking grooves that create a "hypnotic" and "danceable" feel. It uses the same richly colored

6007:"She Was too Black for Rock and too hard for Soul: (Re)discovering the Musical Career of Betty Mabry Davis" 5949:

Black-funk-metal pioneers return in righteous form when black-rock warriors Living Colour broke up in 1995,

4958: 4070: 3951: 2929:. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks. 2192:, became an innovator in the field of psychedelic soul, creating hits with a newer, funkier sound for many 7078: 6651: 6520: 3061:. Prince, with his later albums, gave a rebirth to the funk sound with songs like "The Everlasting Now", " 2947: 2866: 2624:", resulted in James becoming a star, and paved the way for the future direction of explicitness in funk. 2378: 2164:", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the 2149: 1701: 1639: 1531: 1477: 1427: 1286: 928: 818: 569: 336: 326: 3647: 3175: 3123:

elements. Its earliest incarnation was heard in the late '60s through the mid-'70s by musicians such as

2726: 2465: 2286: 2197: 2005: 1724: 1515: 1407: 842: 442: 32: 6535: 3693:

females represented the aggressive behavior and sexuality that many people were not comfortable with."

3286:) who embraced black dance music styles such as disco and funk. The artists of the late 1970s New York 2294: 1866:—with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the 1463: 697:: "street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction." 462: 5378: 3150:

Many instruments may be incorporated into funk rock, but the overall sound is defined by a definitive

2846: 1161:

and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create a "

7020: 6789: 5622: 4174: 3595: 3439: 3380: 3090: 3057: 2923:", sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release 2616: 2209: 2082: 1345: 1083: 4433: 3594:

Charanga Habanera or Bamboleo often have horns or other instruments playing short parts of tunes by

3564:

and funk. It is generally considered to have been invented by West Coast rappers and made famous by

2502:, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by 6942: 6874: 6662: 5409: 4211: 3263: 3163: 2906: 2734: 2706: 2647: 2534: 2518: 2453: 2241: 2116: 1897: 1526: 1521: 1381: 1247: 1177: 152: 6117: 5590: 5355: 4054:

Donald M. Marquis: In Search of Buddy Bolden, Louisiana State University Press, 2005, pp. 108–111

1305:

sound effect along with muting the notes to create a percussive sound for their guitar riffs. The

6947: 6402: 6171: 6073: 6065: 6026: 5802: 4718: 2762: 2593: 2542: 2157: 1965: 1766: 1753:

In the late 1940s this changed somewhat when the two-celled time line structure was brought into

1539:

use of "bad" in the song "Super Bad" (1970), which black listeners knew meant "good" or "great".

1423: 1294: 1246:

effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound,

1243: 1071: 846: 371: 103: 5226: 3655: 3140: 2382: 2173: 2161: 1314: 1137: 4094: 2404:

Funk music was also exported to Africa, and it melded with African singing and rhythms to form

2401:". Even with the arrival of disco, funk became increasingly popular well into the early 1980s. 552:, a form of funky Cuban dance music; and funk jam. It is also the main influence of Washington 6678: 6484: 6374: 6355: 6334: 6247: 6163: 5898: 5868: 5832: 5714: 5249: 5094: 5064: 4371: 4318: 4120: 4114: 4055: 3971: 3901: 3599: 3489: 3477: 3473: 3376: 3345: 3299: 3295: 3167: 3082: 3062: 2990: 2874: 2822: 2746: 2738: 2643: 2631: 2601: 2314: 2253: 2017: 1973: 1855: 1754: 1426:", "Aqua Boogie", "Knee Deep", "Let's Take It to the Stage"); and ARP string ensemble synth (" 1400:

and "Love the One You're With" (with Aretha Franklin singing and Billy Preston on keyboards).

1393: 1251: 1054:, can double a note an octave above and below to create a "futuristic and fat low-end sound". 1018:

Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic

958:

This funky bassline includes percussive slapping, rhythmic ghost notes, and glissando effects.

826: 525: 446: 5981: 6799: 6749: 6494: 6239: 6155: 6057: 6018: 3739: 3732: 3700: 3509: 3427: 3341: 3329: 3321: 3283: 3251: 3205: 2920: 2862: 2806: 2589: 2574: 2461: 2346: 2265: 2189: 2185: 2165: 2086: 2029: 1762: 1547: 1471: 1322: 1141: 963: 774: 769: 557: 545: 407: 355: 331: 293: 177: 93: 6091: 3868: 2891:

Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon.

693:

as a way to theorize sexuality, culture, and western hegemony within the many locations of

6844: 5986: 5602: 5597: 4077: 3917: 3747: 3291: 3279: 3159: 3070: 2994: 2967: 2810: 2690: 2639: 2578: 2398: 2330: 2229: 2177: 2125: 1892:

guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy

1681: 1649: 1601: 1543: 1510: 1318: 1306: 968: 857: 474: 5379:"Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine" 1165:, intertwined pocket." If a band only has one guitarist, this effect may be recreated by 962:

Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and

5679:"The Floozies Talk Improvisation In Funktronica, Red Rocks & Karl Denson's Avocados" 4776: 1089: 6869: 3822: 3720: 3708: 3635: 3603: 3573: 3431: 3423: 3415: 3357: 3267: 3209: 3116: 3052: 2882: 2783: 2766: 2722: 2710: 2659: 2449: 2302: 2285:

The 1970s were the era of highest mainstream visibility for funk music. In addition to

2120: 2090: 1920: 1843: 1801: 1770: 1505: 1497: 1403: 1357: 1310: 1106: 1000: 996: 988: 885: 793: 715: 529: 494: 395: 391: 375: 172: 5861: 5650: 3696: 1796:(R&B). Longhair's rhythmic approach became a basic template of funk. According to 991:. While slap and funky is important, some influential bassists who play funk, such as 584:

initially referred (and still refers) to a strong odor. It is originally derived from

7053: 7047: 6824: 6764: 6703: 6646: 6395: 6328: 6175: 6077: 6030: 6006: 5931: 5747: 5576: 5546: 3531: 3518: 3513: 3501: 3485: 3333: 3259: 3255: 3223: 3024: 2925: 2910: 2858: 2814: 2754: 2742: 2730: 2702: 2570: 2558: 2554: 2550: 2493: 2473: 2370: 2334: 2310: 2233: 2103: 2098: 1851: 1782: 1735: 1467: 1377: 1361: 1353: 1302: 1158: 992: 936: 903: 880: 810: 565: 502: 383: 157: 132: 6179: 6045: 5439: 4043:

Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification

2899:, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album 2498:

In the 1980s, largely as a reaction against what was seen as the over-indulgence of

999:), did not use the approach, and instead used a typical fingerstyle method based on 6829: 6683: 6525: 5775: 4099: 3751: 3607: 3557: 3481: 3465: 3392: 3219: 3124: 3086: 3016: 2979: 2670: 2592:

developed electro-funk, a minimalist machine-driven style of funk with his single "

2566: 2530: 2507: 2445: 2393:'s "Le Freak" conspicuously include riffs and rhythms derived from funk. In 1976, 2358: 2354: 2318: 2306: 2169: 2058: 1997: 1980: 1969: 1928: 1863: 1747: 1713: 1673: 1593: 1575: 1570: 1563: 1455: 1298: 1282: 1267: 1255: 1200: 1075: 1051: 1023: 1008: 984: 980: 890: 833: 814: 746: 643: 506: 486: 482: 466: 458: 454: 450: 418: 147: 6540: 5306: 2107:, featuring his distinctive organ over a blazing horn section. Meanwhile, on the 1262:, sustain is not sought out by funk rhythm guitarists. Funk rhythm guitarists use 5284: 3965: 3754:

concepts, centering on elements of female and black empowerment and visions of a

3512:

approach to songwriting. A primary example is the all-African-American rock band

2669:

and other electronic technologies to continue to craft funk hits. These included

1976:) in that it is not an exact pattern, but more of a loose organizing principle." 817:

are among the most notable musicians in the funk music genre, having worked with

6924: 6849: 6723: 6577: 6557: 6552: 6545: 6530: 6464: 6230:

Valnes, Matthew (September 2017). "Janelle Monáe and Afro-Sonic Feminist Funk".

3991: 3763: 3667: 3663: 3659: 3634:

Despite funk's popularity in modern music, few people have examined the work of

3610:. Timba incorporates funk motifs into an overt and intentional clave structure. 3561: 3527: 3497: 3411: 3325: 3213: 3201: 3151: 3136: 3132: 3128: 3066: 3020: 2915: 2901: 2832: 2775: 2674: 2666: 2627: 2621: 2515: 2511: 2481: 2431: 2390: 2342: 2237: 2201: 2153: 2078: 2042: 1911:

Brown's style of funk was based on interlocking, contrapuntal parts: syncopated

1889: 1859: 1778: 1739: 1597: 1589: 1365: 1337: 1290: 1274: 1259: 1236: 1232: 1224: 1212: 1204: 1189: 1181: 1173: 1166: 1094: 1063: 1043: 972: 945: 919: 869: 861: 853: 806: 727: 663: 659: 623: 541: 514: 498: 434: 430: 422: 414: 403: 351: 273: 187: 73: 4017: 3410:

were commonly implemented to transform the vocals. The pioneering electro band

1333: 710: 68: 6919: 6899: 6774: 6769: 6688: 6592: 6582: 6572: 6457: 6432: 5655: 3728: 3639: 3627: 3548: 3523: 3455: 3372: 3239: 3191: 3144: 3120: 3048: 3044: 3036: 3008: 2878: 2802: 2718: 2651: 2611: 2538: 2522: 2457: 2394: 2386: 2366: 2322: 2240:

also adopted funk beats for some of their biggest hits in the 1970s, such as "

2145: 2094: 2062: 2021: 1948: 1916: 1893: 1758: 1743: 1717: 1709: 1616: 1397: 1278: 1216: 1195: 1114: 1067: 1019: 719: 655: 594: 533: 521: 303: 288: 263: 248: 142: 88: 6251: 6167: 1676:, platform shoes, hoop earring, Afros , leather vests,... beaded necklaces", 6989: 6984: 6974: 6969: 6964: 6562: 6510: 6479: 6452: 6447: 6442: 6437: 3823:"What Is Swamp Rock? A look at this Southern mix of country, funk, and soul" 3344:. As such, it is primarily a dance music with an emphasis on live audience 3303: 3243: 3235: 3196:

The term "avant-funk" has been used to describe acts who combined funk with

3102: 3004: 2986: 2836: 2818: 2798: 2714: 2686: 2655: 2634:

was an influential multi-instrumentalist, bandleader, singer and songwriter.

2605: 2585: 2562: 2477: 2435: 2427: 2421: 2409: 2326: 2225: 2050: 1811:

The syncopated, but straight subdivision feel of Cuban music (as opposed to

1672:

Funk bands in the 1970s adopted Afro-American fashion and style, including "

1369: 1227:, longtime guitarist for James Brown, developed this technique. On Brown's " 1180:. Earliest examples of that technic used on rhythm and blues is listened on 1079: 1035: 865: 738: 561: 478: 426: 283: 268: 258: 253: 238: 215: 192: 182: 167: 137: 5894:

Crosstown Traffic: Jimi Hendrix & The Post-War Rock 'N' Roll Revolution

5699:

Presence and pleasure: the funk grooves of James Brown and Parliament, p. 4

4359:

The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco

4346:

The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco

3686:

What Are You Doing Here: A Black Woman's Life and Liberation in Heavy Metal

2913:", as their second full-length release is also titled. DU's first release, 2077:

Other musical groups picked up on the rhythms and vocal style developed by

1746:, and there was a "very specific absence of asymmetric time-line patterns ( 1223:, with a rhythmically melodic feel that fell deep in the pocket. Guitarist 6159: 6061: 6022: 5156: 4488:"Electro-Harmonix Bass Blogger, Bass Metaphors and Bass Micro Synthesizer" 2985:

Since the mid-1990s the nu-funk or funk revivalist scene, centered on the

17: 6879: 6515: 6349: 6266:"Janelle Monáe's body of work is a masterpiece of modern science fiction" 5404: 5382: 5311: 4376: 3783: 3755: 3552:

Dr. Dre (pictured in 2011) was one of the influential creators of G-funk.

3522:. During the late 1980s and early 1990s, the style was most prevalent in 3337: 3227: 3197: 3179: 3012: 2963: 2933: 2779: 2750: 2682: 2678: 2526: 2405: 2054: 2024:. Together, they produced a new kind of funk sound heavily influenced by 1912: 1867: 1797: 1769:(Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as the 1438: 1419: 1373: 1145: 1125: 1118: 1027: 932: 627: 602:

and, in this sense, it was first documented in English in 1620. In 1784,

510: 470: 387: 379: 308: 243: 197: 6069: 6744: 6713: 6708: 6602: 6489: 6243: 3651: 3643: 3623: 3565: 3407: 3403: 3364: 3287: 3275: 3040: 2971: 2892: 2869:

is said to be the most sampled artist in the history of hip hop, while

2771: 2472:, and jazz solos, and sometimes soul vocals. Jazz-funk is primarily an 1952: 1834: 1677: 1239:

Reverb amp with the mid turned down low and the treble turned up high.

1129: 1047: 1039: 51: 5591:

Everything you ever wanted to know about pop (but were too old to ask)

4279:

Guitar Theory For Dummies: Book + Online Video & Audio Instruction

2152:, starting with their top ten R&B hits "Sophisticated Cissy" and " 1858:, beginning a long string of hits for them in 1958. By the mid-1960s, 1376:

is used for its percussive tone, and it can be heard in songs such as

1026:

to alter the tone of their instrument, such as "envelope filters" (an

864:. In the 1970s, jazz music drew upon funk to create a new subgenre of 6854: 6693: 6587: 6567: 6469: 6321:

Presence and pleasure: The funk grooves of James Brown and Parliament

5034:

Presence and pleasure: the funk grooves of James Brown and Parliament

3743: 3543: 3493: 3399: 3368: 2885: 2870: 2597: 2193: 2181: 2037: 2033: 1992: 1805: 1785:

records." Professor Longhair's particular style was known locally as

1281:

is notable for his solo improvisation (particularly for the solo on "

1220: 1031: 1004: 940: 537: 367: 359: 298: 278: 162: 1850:

from New Orleans, as "the first to put the funk into the rhythm" of

944:

of more of a "driving feel" than in New Orleans funk, and they used

3294:. Reynolds noted these artists' preoccupations with issues such as 2642:, originally conceived as an opening act for him and based on his " 6979: 6904: 6894: 6819: 6814: 6739: 6698: 6597: 6474: 3724: 3695: 3678: 3622: 3590: 3585: 3547: 3505: 3469: 3315: 3218: 2942: 2937: 2845: 2626: 2499: 2350: 2338: 2274: 2273: 2269: 1996: 1833: 1680:

shirts, jumpsuits and boots. In contrast to earlier bands such as

1569: 1476: 1332: 1194: 1088: 1022:(also called "dead notes"). Some funk bass players use electronic 950: 918: 797: 768: 755: 731: 709: 585: 553: 549: 490: 399: 363: 220: 127: 39: 6292:"The Artful, Erotic, and Still Misunderstood Funk of Betty Davis" 4719:"Funk Guitar: The History, Techniques and Gear Behind the Groove" 3806:

Kernodle, Tammy L.; Maxile, Horace; Price, Emmett G. III (2010).

2945:

began playing funkier jams in their sets around 1996, and 1998's

1761:

influences precisely at the time when R&B was first forming.

6718: 5709:

Vincent, Rickey (2004). "Hip-Hop and Black Noise:Raising Hell".

4685:"The Funky Ones — What Makes Funk Guitar What It Is - Musical U" 3569: 3155: 2896: 2469: 2441: 2156:" in 1969. Another group who defined funk around this time were 2066: 2025: 802: 756: 671: 635: 98: 6617: 6391: 6144:"Labelle: Funk, Feminism, and the Politics of Flight and Fight" 3348:. Go-go rhythms are also incorporated into street percussion. 2936:

scene of the late 1990s and 2000s. In the late 1990s, the band

2932:

Funk is a major element of certain artists identified with the

611:

can have negative connotations of odor or being in a bad mood (

597: 5651:"Funktronica Jams: An Interview with Freekbass of Headtronics" 3290:

scene also explored avant-funk, influenced by figures such as

1697:

gospel, soul, jazz fusion, rhythm and blues, and black rock."

1050:, an octave pedal that, like the Octavia pedal popularized by 6387: 3336:, with a focus on lo-fi percussion instruments and in-person 849:) mainly uses an E ninth chord, but it also uses F#9 and F9. 433:

on all basslines, drum patterns, and guitar riffs. Rock- and

5828:

Energy Flash: A Journey Through Rave Music and Dance Culture

4156:

Learn Guitar: From Beginner to Pro. Book Sales, 2017. p. 254

3602:

or other U.S. funk bands. While many funk motifs exhibit a

2514:. Horn sections of saxophones and trumpets were replaced by 2188:

sound towards the end of the 1960s as well. Their producer,

5493: 2281:

live, 2006. Jerry Martini, Rose Stone, and Cynthia Robinson

5227:

Musician Maceo Parker (Fresh Air WHYY-FM audio interview).

4138:

Funk the Erotic: Transaesthetics and Black Sexual Cultures

3762:

Monáe's influences include her mentor Prince, Funkadelic,

2701:

While funk was driven away from radio by slick commercial

2397:

scored a number-one hit with a purely dance-funk record, "

1188:" in 1957, with the future James Brown band guitar player 687:

Funk the Erotic: Transaesthetics and Black Sexual Cultures

3703:(born 1985) is part of a new wave of female funk artists. 3476:

movement. It typically incorporates elements of funk and

3250:, and a wave of early 1980s UK and US artists (including 2919:, was full of funk samples, with the most widely known, " 2184:

Sound" – a distinct blend of pop-soul – adopted this new

923:

Bootsy Collins performing in 1996 with a star-shaped bass

417:'s development of a signature groove that emphasized the 6092:"The Feminist Funk Power of Betty Davis and Renée Stout" 6046:"The Feminist Funk Power of Betty Davis and Renée Stout" 5961:

Potter, Valerie (July 1991). "Primus: Nice and Cheesy".

3576:), G-funk often used fewer, unaltered samples per song. 2172:, and the upbeat soul of Sly & the Family Stone and 1148:

in most funk (albeit with additional soft ghost notes).

5131:

Harris, Keith; Erlewine, Stephen Thomas (May 9, 2020).

4237:

A Tale of Two Cities: Memphis Rock and New Orleans Roll

2113:

Charles Wright & the Watts 103rd Street Rhythm Band

1862:

had developed his signature groove that emphasized the

1285:") and guitar riffs, the tone of which was shaped by a 6330:

Funk: The Music, The People, and The Rhythm of The One

4560:"10 Old School Funk Grooves Every Drummer Should Know" 4404:

Complete Electric Bass Method: Mastering Electric Bass

4292:

Funk: The Music, The People, and The Rhythm of The One

3967:

Funk: The Music, the People, and the Rhythm of the One

3713:

Funk: The Music, The People, and The Rhythm of The One

3675:

The Feminist Funk Power of Betty Davis and Renée Stout

1242:

Funk guitarists playing rhythm guitar generally avoid

358:

communities in the mid-1960s when musicians created a

5191:

Alfred "Pee Wee" Ellis quoted by Stewart (2000: 303).

5046:

Kubik (1999: 51). Africa and the Blues. Jackson, MS:

3898:

The Funkmasters-the Great James Brown Rhythm Sections

3892: 3890: 3418:

also began to incorporate a more electronic sound on

1757:. New Orleans musicians were especially receptive to 5517:"Phish Friday | Fall '97, Not Just the Cow Funk Era" 5245:

The Ashgate Research Companion to Popular Musicology

4231: 4229: 3516:, who have been said to be "funk-metal pioneers" by 3208:

mentality to rhythm rather than melody and harmony.

2468:

to soul, funk or disco with jazz arrangements, jazz

745:

A great deal of funk is rhythmically based on a two-

6955: 6932: 6503: 6425: 5307:"Jazz | Significant Albums, Artists and Songs" 3328:, the "Godfather of Go-go", it is a blend of funk, 2097:era to have the word "funky" in the title. In 1969 2061:, and vocal distorters from the former, as well as 1937: 1396:is used in funk, in songs such as "Cissy Strut" by 317: 229: 206: 120: 112: 81: 61: 5860: 5229:National Public Radio. Retrieved January 22, 2007. 5117: 5115: 4991: 4989: 4987: 4985: 4930: 4928: 4909: 4907: 4821: 4819: 4800: 4798: 4746:"Licks, Tricks and Riffs for a Variety of Effects" 4598: 4596: 4594: 3970:. New York: St. Martin's Press. pp. 293–297. 3460:Funk metal (sometimes typeset differently such as 2873:is the second most sampled artist; samples of old 421:—with a heavy emphasis on the first beat of every 4623: 4621: 2452:), electrified sounds and an early prevalence of 1888:-two-three-four downbeat – but with an even-note 1553:Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) 1074:, which have a half-swung feel), and less use of 777:(E 13, which also contains a flat 7th and a 9th) 5211:James Brown, the "Godfather of Soul" dies at 73. 4517: 4515: 4513: 3630:(born 1953) has been called the "Queen of Funk". 2123:(TOP), which formed in 1968. Their debut album, 2081:and his band, and the funk style began to grow. 1960:After 1965, Brown's bandleader and arranger was 902:Funk continues the African musical tradition of 852:The chords used in funk songs typically imply a 5982:"The Thrash-Funk scene proudly presents Primus" 5980:Darzin, Daina; Spencer, Lauren (January 1991). 5171: 5169: 4777:"Finding Your Ideal Guitar Tone: Guitar Pedals" 3414:commonly used such instruments in their music. 2581:to more graphic and sexually explicit content. 1611:Notable songs with funk horn sections include: 1546:to get around these restrictions. For example, 1432:Give Up the Funk (Tear the Roof off the Sucker) 1406:'s range of keyboards from his recordings with 642:. The first example is an unrecorded number by 50:, "Funk #49" redirects here. For the song, see 5542:Tom Tom Club:The Good, The Bad & The Funky 5332: 5330: 5093:p. 32. Santa Cruz, CA: Moore Music/Timba.com. 4281:. John Wiley & Sons, Sep. 24, 2013. p. 156 4255:, v. 19, n. 3, October 2000, pp. 293–318. 4116:The Merriam-Webster New Book of Word Histories 3801: 3799: 3500:rhythms characteristic of funk, and sometimes 2843:, preserved a more instrumental form of funk. 1356:. The electric piano is used on songs such as 1235:with single-coil P-90 pickups" plugged into a 749:onbeat/offbeat structure, which originated in 6629: 6403: 5863:Rip It Up and Start Again: Postpunk 1978-1984 5711:That's the Joint!: The Hip-hop Studies Reader 4953: 4951: 4949: 4659:"Rhythm Rules: Call-and-Response Funk Guitar" 4613:Studio Funk Drumming: A Professional Workbook 4586:Studio Funk Drumming: A Professional Workbook 4524:"The Essential Gear of Parliament/Funkadelic" 4522:DeArcangelis, Christopher (January 6, 2017). 2801:movement—including artists and bands such as 2620:, with the singles "Give It to Me Baby" and " 1619:" (James Brown & the Famous Flames), 1967 8: 4631:. Mel Bay Publications, Feb. 9, 2011. p. 7-8 4553: 4551: 4549: 4547: 4545: 4398: 4396: 4394: 3492:music. It features hard-driving heavy metal 626:, musicians would encourage one another to " 410:chords with altered ninths and thirteenths. 31:"Funky" redirects here. For other uses, see 4652: 4650: 4340: 4338: 4336: 4334: 4266:Essentials of Rhythm Guitar: Complete Guide 4152: 4150: 4148: 4146: 3862: 3860: 3484:), and in some cases other styles, such as 3472:which emerged in the 1980s, as part of the 2180:, who had previously helped to define the " 2093:" in 1967, perhaps the first record of the 1066:feel in some songs (e.g., "Cissy Strut" by 588: 6936: 6636: 6622: 6614: 6410: 6396: 6388: 6225: 6223: 6202:"On the Difference Between Funk and Disco" 5806:. No. 116. Nielsen. December 25, 2004 5649:Seymour, Jane Jansen (November 30, 2010). 5559:Davis, Lindsay. "Chicken Lips: DJ Kicks", 5163:, pp. 146–152. Retrieved January 21, 2007. 5036:. Wesleyan University Press. pp. 3–4. 4712: 4710: 4708: 4706: 4644:. Mel Bay Publications, Feb. 9, 2011. p. 8 4414: 4412: 4207:"On the Difference Between Funk and Disco" 3858: 3856: 3854: 3852: 3850: 3848: 3846: 3844: 3842: 3840: 3759:circumstances that led to this situation. 2978:all drew heavily from the funk tradition. 1949:Watch: "Clyde Stubblefield/ Funky Drummer" 1882:backbeat of traditional soul music to the 425:("The One"), and the application of swung 67: 58: 5354:. The Original Soundtrack. Archived from 5180:St. James Encyclopedia of Popular Culture 4418:Dickens, Bill "the Buddha"; Rock, Bobby. 4294:. St. Martin's Press, Nov. 4, 2014; p. 18 3204:described the style as an application of 3093:were making disco-influenced funk music. 1625:"Funky Stuff" (Kool & The Gang), 1973 654:were used increasingly in the context of 630:" by telling one another, "Now, put some 532:, a hybrid of electronic music and funk; 6371:Funky & Groovy Music Records Lexicon 5618:"Particle To Fuel 'Beats of Peace' Tour" 5237: 5235: 4200: 4198: 4196: 4168: 4166: 4164: 4162: 3896:Slutsky, Allan, Chuck Silverman (1997). 3043:and Mongolian MonkFish performed in the 1925:Get Up (I Feel Like Being A) Sex Machine 1804:onbeat/offbeat motif in a rumba-boogie " 1203:is best known for his performances with 1082:and toms and tightly tuned snare drums. 5736: 5734: 5732: 5730: 5079:Dr. John quoted by Stewart (2000: 297). 3869:"Top Brass: Part 2 Arranging For Brass" 3795: 3035:During the 2000s and early 2010s, some 2693:to Culture Club often used funk beats. 2389:(also known as the Queen of Funk), and 2216:" by the Temptations. Motown producers 2138:Thank You (Falettinme Be Mice Elf Agin) 1838:James Brown, a progenitor of funk music 1501:President be considered in the future. 1414:("I Wanna Know If It's Good to You?", " 413:Funk originated in the mid-1960s, with 406:with added sevenths and elevenths, and 6116:Gonzales, Michael A. (July 22, 2016). 5891:Murray, Charles Shaar (October 1991). 5831:. Soft Skull Press. pp. 20, 202. 4834:Harrison, Scott D.; O'Bryan, Jessica. 4361:. See Sharp Press, Jul. 1, 2009. p. 22 4348:. See Sharp Press, Jul. 1, 2009. p. 25 4140:, U Of Illinois Press, 2015, pp. 1–29. 4093:Perrone, Pierre (September 22, 2008). 3821:Fontenot, Robert (February 24, 2019). 3808:Encyclopedia of African American Music 3707:According to Francesca T. Royster, in 3212:characterized avant-funk as a kind of 1934: 868:, which can be heard in recordings by 5377:Anderson, Jason (November 28, 2008). 5091:Understanding Clave and Clave Changes 4461:"Effects Pedals for Your Bass Guitar" 4247: 4245: 4016:Quinion, Michael (October 27, 2001). 3015:, and other genres with funk include 2960:Robert Randolph & the Family Band 1645:"Hair" (Graham Central Station), 1974 1628:"What Is Hip?" (Tower of Power), 1973 1140:) and James "Diamond" Williams (with 7: 5133:"Little Richard: 20 Essential Songs" 4959:"Funk's five most ridiculous lyrics" 4836:Teaching Singing in the 21st Century 4775:Anbar, Elyadeen (October 10, 2015). 4175:"10 Ways to Play Guitar Like Prince" 3992:"Online Etymology Dictionary – Funk" 2160:, whose funky 1969 #1 R&B hit, " 2140:" reached #1 on the charts, as did " 1706:sub-Saharan African music traditions 1622:"Superstition" (Stevie Wonder), 1972 1157:interlocking guitar parts", with a 1144:). As with rock, the snare provides 751:sub-Saharan African music traditions 689:explores these multiple meanings of 615:), in African communities, the term 5925:Fricke, David (November 13, 2003). 5248:. Ashgate Publishing. p. 275. 4432:Berkowitz, Dan (January 14, 2008). 1700:The distinctive characteristics of 1509:films used funk soundtracks (e.g., 1289:pedal. Hazel, along with guitarist 634:on it!" At least as early as 1907, 5461:"Best-selling album of funk music" 4205:Himes, Geoffrey (August 1, 1979). 4045:. Routledge, Apr. 15, 2016. p. 80. 3920:." Rhythmne. Retrieved 2020-09-16. 3738:In the 21st century, artists like 2533:, began to be replaced by the new 1519:; James Brown and Fred Wesley for 792:Funk uses the same richly colored 25: 7064:African-American cultural history 5209:Pareles, J. (December 26, 2006). 3954:AllMusic. Retrieved 14 March 2023 3234:Acts in the genre include German 2797:and the (predominantly UK-based) 1738:notes that with the exception of 1720:clapping and stomping patterns). 931:by using strong guitar riffs and 374:and focuses on a strong rhythmic 7026: 7014: 6645: 6232:Journal of Popular Music Studies 5175:Collins, W. (January 29, 2002). 4657:Bortnick, Avi (March 12, 2013). 4558:Schlueter, Brad (May 13, 2016). 3182:are major artists in funk rock. 2444:music characterized by a strong 2337:, among others, got radio play. 1943: 1659:" (Earth, Wind & Fire), 1976 1034:envelope filter) and overdriven 5927:"Living Colour – Collideoscope" 5515:Whitman, Marc (March 2, 2007). 5048:University Press of Mississippi 4838:. Springer, May 14, 2014. p. 49 4752:. Guitar Player. Archived from 4422:. Alfred Music Publishing, 2003 4372:"Johnny Flippin | Credits" 4173:Gress, Jesse (April 21, 2016). 3226:combined funk with elements of 1364:) and "Mercy, Mercy, Mercy" by 6142:Royster, Francesca T. (2013). 5677:Thomson, Rex (July 11, 2016). 5574:Gold, Kerry. "Groove Armada", 5346:Dayal, Gheeta (July 7, 2006). 5061:Rock and Roll: An Introduction 4717:Bogdal, John (July 20, 2017). 2541:and microprocessor-controlled 564:have been used extensively in 1: 5216:. Retrieved January 31, 2007. 5182:. Retrieved January 12, 2007. 4615:. Alfred Music, 1981. pp. 5–6 3638:. Notable funk women include 3065:", "Ol' Skool Company", and " 3000:Late Night with Conan O'Brien 2646:", a hybrid mixture of funk, 1742:, early blues lacked complex 1070:and "I'll Take You There" by 638:songs carried titles such as 593:(which means "to smoke") via 6323:. Wesleyan University Press. 6290:Lordi, Emily (May 2, 2018). 5432:"Kurtis Mantronik Interview" 5277:"Rhapsody :: Jazz-Funk" 4744:Kolb, Tom (March 20, 2019). 2456:. The integration of funk, 1846:'s 1950s R&B road band, 1794:New Orleans rhythm and blues 1422:synthesizer ("Atmosphere", " 1229:Give It Up or Turnit a Loose 1215:and the cutting tone of the 726:Like soul, funk is based on 386:and a drum part played by a 76:, a pioneer of funk, in 1973 7033:Rhythm and blues portal 6369:Wermelinger, Peter (2005). 5580:. 17 February 2000, p. C15. 5438:, July 2002, archived from 4642:Complete Funk Drumming Book 4629:Complete Funk Drumming Book 4492:Guitar Interactive Magazine 4317:. Alfred Music Publishing. 4235:Palmer, Robert (1979: 14), 3867:Stewart, Dave (July 2015). 3684:Laina Dawes, the author of 3302:and technocracy of Western 3107:Funk rock (also written as 2976:Karl Denson's Tiny Universe 2789:In the 1990s, artists like 2697:Late 1980s to 2000s nu-funk 2440:Jazz-funk is a subgenre of 1350:Will It Go Round in Circles 1113:'s playing, there are many 1015:is an influential bassist. 7120: 5897:. Macmillan. p. 205. 5596:December 24, 2007, at the 5565:, 5 December 2003, p. B13. 5403:Toop, David (March 1996), 4611:Burns, Roy; Farris, Joey. 4588:. Alfred Music, 1981. p. 6 4584:Burns, Roy; Farris, Joey. 4434:"How to Funk Up Your Bass" 4357:Boomer, Tim; Berry, Mick. 4344:Boomer, Tim; Berry, Mick. 3583: 3541: 3453: 3390: 3355: 3313: 3189: 3100: 2881:songs formed the basis of 2600:drum machine. The single " 2588:, the Afroamerican rap DJ 2491: 2425: 2419: 2263: 2134:Sly & the Family Stone 1990: 1902:Papa's Got a Brand New Bag 45: 29: 7059:20th-century music genres 7002: 6939: 6912: 6887: 6862: 6837: 6807: 6782: 6757: 6732: 6671: 6659: 6118:"Rise of the Funky Divas" 6044:Greene, Nikki A. (2013). 4119:(Merriam-Webster, 1991), 3810:. Greenwood. p. 337. 3147:on their earlier albums. 2956:Medeski Martin & Wood 2828:Travelling Without Moving 2279:The Original Family Stone 1942: 1704:expression are rooted in 1494:One Nation Under A Groove 1340:playing keyboards in 1973 674:-oriented and danceable. 520:Funk derivatives include 322: 234: 211: 66: 7074:American styles of music 7021:United States portal 6327:Vincent, Rickey (1996). 6319:Danielsen, Anne (2006). 5859:Reynolds, Simon (2006). 5825:Reynolds, Simon (2012). 5769:Reynolds, Simon (1995). 5348:"Yellow Magic Orchestra" 5032:Danielsen, Anne (2006). 4076:October 9, 2009, at the 4018:"World Wide Words: Funk" 3964:Vincent, Rickey (1996). 3560:of music which combines 3436:Vaughan Mason & Crew 3422:. Other artists include 3320:Go-go originated in the 3242:, American funk artists 2795:Brooklyn Funk Essentials 2759:Rage Against the Machine 2375:KC and the Sunshine Band 2291:Sly and the Family Stone 2246:You Haven't Done Nothin' 2214:Papa Was A Rollin' Stone 2073:Late 1960s – early 1970s 1702:African-American musical 1186:Willie and the Hand Jive 1013:Sly and the Family Stone 927:Funk creates an intense 838:melodo-harmonic movement 805:backgrounds. Trombonist 556:, a funk subgenre. Funk 439:Sly and the Family Stone 116:Mid-1960s, United States 38:Not to be confused with 7084:Rhythm and blues genres 6348:Thompson, Dave (2001). 5161:Modern Drummer Magazine 4313:Archard, Chuck (1998). 4095:"Obituary: Earl Palmer" 3939:New Jersey Hall of Fame 3770:, alludes to Hendrix's 3690:respectability politics 2861:artists have regularly 2573:" of the past, and the 2206:Smiling Faces Sometimes 1906:I Got You (I Feel Good) 598: 7069:African-American music 6521:List of funk musicians 6333:. St. Martin's Press. 6005:Keyes, Cheryl (2013). 5465:Guinness World Records 4113:Merriam-Webster, Inc, 4071:Who Started Funk Music 3704: 3631: 3553: 3231: 2948:The Story of the Ghost 2857:Since the late 1980s, 2854: 2635: 2569:began to replace the " 2504:electronic instruments 2295:Rufus & Chaka Khan 2282: 2009: 1962:Alfred "Pee Wee" Ellis 1900:" and his 1965 hits, " 1839: 1652:" (The Bar-Kays), 1976 1640:Up For The Down Stroke 1635:" (Average White Band) 1592:, and alto sax player 1580: 1485: 1464:Earth, Wind & Fire 1341: 1287:Maestro FZ-1 Fuzz-Tone 1208: 1098: 1093:The drum groove from " 1048:Mu-Tron Octave Divider 1046:. Collins also used a 959: 924: 789: 761: 723: 589: 570:electronic dance music 463:Earth, Wind & Fire 437:-influenced musicians 337:African-American music 7104:1970s fads and trends 6948:Urban (industry term) 6160:10.1353/ams.2013.0120 6062:10.1353/ams.2013.0117 6023:10.1353/ams.2013.0107 5879:avant-funk sly stone. 5681:. Live For Live Music 5287:on September 29, 2007 4781:flypaper.soundfly.com 3931:"KOOL & THE GANG" 3699: 3648:Brides of Funkenstein 3626: 3551: 3222: 3176:Red Hot Chili Peppers 2853:playing electric bass 2849: 2727:Red Hot Chili Peppers 2630: 2363:Love To Love You Baby 2287:Parliament Funkadelic 2277: 2006:Parliament Funkadelic 2000: 1987:Parliament-Funkadelic 1842:James Brown credited 1837: 1725:Civil Rights Movement 1586:Alfred "PeeWee" Ellis 1573: 1492:The Funkadelic song " 1480: 1408:Parliament Funkadelic 1388:" and Bill Withers' " 1346:Earth Wind & Fire 1336: 1198: 1092: 957: 922: 843:Play That Funky Music 772: 759: 713: 443:Parliament-Funkadelic 33:Funk (disambiguation) 6943:Contemporary R&B 6652:Black American music 6182:on November 20, 2018 5969:. Sydney, Australia. 5771:"Krautrock Reissues" 5713:. pp. 489–490. 5550:, 28 September 2000. 5496:on February 20, 2006 5200:Stewart (2000: 306). 5121:Stewart (2000: 293). 5109:Stewart (2000: 302). 4420:Funk Bass and Beyond 4041:Thompson, Gordon E. 3596:Earth, Wind and Fire 3496:riffs, the pounding 3091:Earth, Wind and Fire 3058:Under the Blacklight 2851:Me'shell Ndegeocello 2791:Me'shell Ndegeocello 2707:contemporary R&B 2535:digital synthesizers 2408:. Nigerian musician 2299:Bootsy's Rubber Band 2210:the Undisputed Truth 2083:Dyke and the Blazers 1642:" (Parliament), 1974 1434:", "Undisco Kidd"). 1297:, was influenced by 1248:Fender Stratocasters 1084:Double bass drumming 153:contemporary R&B 6875:Chopped and screwed 6663:American folk music 6206:The Washington Post 5606:, 6 September 2007. 5315:. November 24, 2013 4459:Pfeiffer, Patrick. 4315:Building Bass Lines 4212:The Washington Post 2907:Digital Underground 2543:analog synthesizers 2531:Fender Rhodes piano 2454:analog synthesizers 2379:I'm Your Boogie Man 2117:Oakland, California 1972:(such as clave and 1470:parts. Songs like " 1138:Kool & the Gang 983:), Johnny Flippin ( 354:that originated in 6674:Early 20th century 6354:. Backbeat Books. 6244:10.1111/jpms.12224 5743:"End of the Track" 5630:on August 25, 2015 5589:Brown, Jonathan. " 5358:on October 2, 2011 5225:Gross, T. (1989). 5214:The New York Times 4402:Overthrow, David. 3952:Bohannon Biography 3705: 3632: 3554: 3232: 3047:scene. Indie band 2855: 2763:Infectious Grooves 2636: 2525:organ, the Hohner 2466:jazz improvisation 2283: 2232:") followed suit. 2158:the Isley Brothers 2010: 1966:Clyde Stubblefield 1840: 1767:Professor Longhair 1668:Costumes and style 1633:Pick Up the Pieces 1600:), and MFSB (with 1581: 1486: 1412:RMI electric piano 1360:'s "Chameleon" (a 1342: 1295:the Isley Brothers 1209: 1099: 1072:The Staple Singers 977:Robert "Kool" Bell 960: 925: 790: 762: 737:Before funk, most 724: 392:rhythm instruments 372:chord progressions 7041: 7040: 6998: 6997: 6679:Call and response 6611: 6610: 6485:Minneapolis sound 5939:on April 12, 2009 5741:Reynolds, Simon. 5562:The Dominion Post 5540:Walters, Barry. " 5255:978-0-7546-6476-5 4756:on April 19, 2019 4691:. August 15, 2016 4663:premierguitar.com 4498:on August 1, 2020 4438:premierguitar.com 4290:Vincent, Rickey. 4136:Stallings, L. H. 4060:978-0-8071-3093-3 3977:978-0-312-13499-0 3772:Electric Ladyland 3768:The Electric Lady 3600:Kool and the Gang 3474:alternative metal 3420:later solo albums 3346:call and response 3083:Kool and the Gang 3031:2010s funktronica 2823:Brand New Heavies 2747:Urban Dance Squad 2644:Minneapolis sound 2602:Renegades of Funk 2315:Kool and the Gang 2256:", respectively. 2254:Got To Give It Up 2196:acts, including " 2016:, with his bands 1958: 1957: 1856:the Famous Flames 1755:New Orleans blues 1674:Bell-bottom pants 1559:Other instruments 1452:call and response 1445:Vocals and lyrics 1394:Hammond B-3 organ 1163:call-and-response 955: 809:and saxophonists 447:Kool and the Gang 345: 344: 82:Stylistic origins 48:technical reasons 27:1960s music genre 16:(Redirected from 7111: 7031: 7030: 7029: 7019: 7018: 7017: 6958: 6937: 6800:Psychedelic soul 6750:Rhythm and blues 6650: 6649: 6638: 6631: 6624: 6615: 6495:Psychedelic funk 6412: 6405: 6398: 6389: 6384: 6365: 6344: 6307: 6306: 6304: 6302: 6287: 6281: 6280: 6278: 6276: 6262: 6256: 6255: 6227: 6218: 6217: 6215: 6213: 6208:. August 1, 1979 6198: 6192: 6191: 6189: 6187: 6178:. Archived from 6148:American Studies 6139: 6133: 6132: 6130: 6128: 6113: 6107: 6106: 6104: 6102: 6088: 6082: 6081: 6050:American Studies 6041: 6035: 6034: 6011:American Studies 6002: 5996: 5995: 5977: 5971: 5970: 5958: 5952: 5951: 5946: 5944: 5935:. Archived from 5922: 5916: 5915: 5913: 5911: 5888: 5882: 5881: 5866: 5856: 5850: 5849: 5847: 5845: 5822: 5816: 5815: 5813: 5811: 5794: 5788: 5787: 5785: 5783: 5766: 5760: 5759: 5757: 5755: 5738: 5725: 5724: 5706: 5700: 5697: 5691: 5690: 5688: 5686: 5674: 5668: 5667: 5665: 5663: 5646: 5640: 5639: 5637: 5635: 5626:. Archived from 5613: 5607: 5587: 5581: 5572: 5566: 5557: 5551: 5538: 5532: 5531: 5529: 5527: 5512: 5506: 5505: 5503: 5501: 5492:. Archived from 5490:Musicstrands.com 5482: 5476: 5475: 5473: 5471: 5457: 5451: 5450: 5449: 5447: 5428: 5422: 5421: 5420: 5418: 5405:"A-Z Of Electro" 5400: 5394: 5393: 5391: 5389: 5374: 5368: 5367: 5365: 5363: 5343: 5337: 5334: 5325: 5324: 5322: 5320: 5303: 5297: 5296: 5294: 5292: 5283:. Archived from 5273: 5267: 5266: 5264: 5262: 5239: 5230: 5223: 5217: 5207: 5201: 5198: 5192: 5189: 5183: 5173: 5164: 5159:(January 1998). 5154: 5148: 5147: 5145: 5143: 5128: 5122: 5119: 5110: 5107: 5101: 5086: 5080: 5077: 5071: 5057: 5051: 5044: 5038: 5037: 5029: 5023: 5020: 5014: 5011: 5005: 5002: 4996: 4993: 4980: 4977: 4971: 4970: 4968: 4966: 4955: 4944: 4941: 4935: 4932: 4923: 4920: 4914: 4911: 4902: 4899: 4893: 4890: 4884: 4881: 4875: 4872: 4866: 4863: 4857: 4854: 4848: 4845: 4839: 4832: 4826: 4823: 4814: 4811: 4805: 4802: 4793: 4792: 4790: 4788: 4772: 4766: 4765: 4763: 4761: 4750:guitarplayer.com 4741: 4735: 4734: 4732: 4730: 4714: 4701: 4700: 4698: 4696: 4681: 4675: 4674: 4672: 4670: 4665:. Premier Guitar 4654: 4645: 4638: 4632: 4625: 4616: 4609: 4603: 4600: 4589: 4582: 4576: 4575: 4573: 4571: 4555: 4540: 4539: 4537: 4535: 4519: 4508: 4507: 4505: 4503: 4494:. Archived from 4483: 4477: 4476: 4474: 4472: 4456: 4450: 4449: 4447: 4445: 4440:. Premier Guitar 4429: 4423: 4416: 4407: 4400: 4389: 4388: 4386: 4384: 4368: 4362: 4355: 4349: 4342: 4329: 4328: 4310: 4304: 4301: 4295: 4288: 4282: 4275: 4269: 4268:. Jun. 21, 2016. 4262: 4256: 4249: 4240: 4233: 4224: 4223: 4221: 4219: 4202: 4191: 4190: 4188: 4186: 4179:guitarplayer.com 4170: 4157: 4154: 4141: 4134: 4128: 4111: 4105: 4104: 4090: 4084: 4082:Real Music Forum 4068: 4062: 4052: 4046: 4039: 4033: 4032: 4030: 4028: 4022:World Wide Words 4013: 4007: 4006: 4004: 4002: 3988: 3982: 3981: 3961: 3955: 3949: 3943: 3942: 3941:. June 26, 2015. 3935:njhalloffame.org 3927: 3921: 3914: 3908: 3894: 3885: 3884: 3882: 3880: 3875:. Sound on Sound 3873:soundonsound.com 3864: 3835: 3834: 3832: 3830: 3818: 3812: 3811: 3803: 3510:alternative rock 3428:Afrika Bambaataa 3363:Artists include 3330:rhythm and blues 3322:Washington, D.C. 3272:Cabaret Voltaire 3252:Public Image Ltd 3206:progressive rock 3160:electric guitars 3003:. Those who mix 2921:The Humpty Dance 2865:old funk tunes. 2735:Jane's Addiction 2590:Afrika Bambaataa 2579:double entendres 2488:1980s synth-funk 2347:Kung Fu Fighting 2266:Progressive soul 2222:Keep On Truckin' 2190:Norman Whitfield 2166:psychedelic rock 2148:defined funk in 2119:, came the band 2087:Phoenix, Arizona 2030:psychedelic rock 1964:. Ellis credits 1947: 1946: 1935: 1819: 1763:Dave Bartholomew 1548:The Ohio Players 1544:double entendres 1456:backup vocalists 1159:rhythm guitarist 1142:The Ohio Players 964:slap and popping 956: 788: 787: 786: 784: 775:thirteenth chord 706:Rhythm and tempo 601: 592: 546:psychedelic funk 528:strain of funk; 408:dominant seventh 384:electric bassist 356:African-American 332:psychedelic soul 294:psychedelic funk 178:oldschool jungle 121:Derivative forms 113:Cultural origins 94:rhythm and blues 71: 59: 43: 36: 21: 7119: 7118: 7114: 7113: 7112: 7110: 7109: 7108: 7044: 7043: 7042: 7037: 7027: 7025: 7015: 7013: 6994: 6956: 6951: 6928: 6917: 6908: 6892: 6883: 6867: 6858: 6842: 6833: 6812: 6803: 6787: 6778: 6762: 6753: 6737: 6728: 6667: 6655: 6644: 6642: 6612: 6607: 6499: 6421: 6416: 6381: 6368: 6362: 6347: 6341: 6326: 6316: 6314:Further reading 6311: 6310: 6300: 6298: 6289: 6288: 6284: 6274: 6272: 6264: 6263: 6259: 6229: 6228: 6221: 6211: 6209: 6200: 6199: 6195: 6185: 6183: 6141: 6140: 6136: 6126: 6124: 6115: 6114: 6110: 6100: 6098: 6096:journals.ku.edu 6090: 6089: 6085: 6043: 6042: 6038: 6004: 6003: 5999: 5979: 5978: 5974: 5960: 5959: 5955: 5942: 5940: 5924: 5923: 5919: 5909: 5907: 5905: 5890: 5889: 5885: 5875: 5858: 5857: 5853: 5843: 5841: 5839: 5824: 5823: 5819: 5809: 5807: 5796: 5795: 5791: 5781: 5779: 5768: 5767: 5763: 5753: 5751: 5740: 5739: 5728: 5721: 5708: 5707: 5703: 5698: 5694: 5684: 5682: 5676: 5675: 5671: 5661: 5659: 5648: 5647: 5643: 5633: 5631: 5615: 5614: 5610: 5603:The Independent 5598:Wayback Machine 5588: 5584: 5573: 5569: 5558: 5554: 5539: 5535: 5525: 5523: 5521:LIVE music blog 5514: 5513: 5509: 5499: 5497: 5484: 5483: 5479: 5469: 5467: 5459: 5458: 5454: 5445: 5443: 5442:on May 24, 2011 5436:Hip Hop Storage 5430: 5429: 5425: 5416: 5414: 5402: 5401: 5397: 5387: 5385: 5376: 5375: 5371: 5361: 5359: 5345: 5344: 5340: 5335: 5328: 5318: 5316: 5305: 5304: 5300: 5290: 5288: 5275: 5274: 5270: 5260: 5258: 5256: 5241: 5240: 5233: 5224: 5220: 5208: 5204: 5199: 5195: 5190: 5186: 5174: 5167: 5155: 5151: 5141: 5139: 5130: 5129: 5125: 5120: 5113: 5108: 5104: 5087: 5083: 5078: 5074: 5058: 5054: 5045: 5041: 5031: 5030: 5026: 5021: 5017: 5012: 5008: 5003: 4999: 4994: 4983: 4978: 4974: 4964: 4962: 4957: 4956: 4947: 4942: 4938: 4933: 4926: 4921: 4917: 4912: 4905: 4900: 4896: 4891: 4887: 4882: 4878: 4873: 4869: 4864: 4860: 4855: 4851: 4846: 4842: 4833: 4829: 4824: 4817: 4812: 4808: 4803: 4796: 4786: 4784: 4774: 4773: 4769: 4759: 4757: 4743: 4742: 4738: 4728: 4726: 4716: 4715: 4704: 4694: 4692: 4683: 4682: 4678: 4668: 4666: 4656: 4655: 4648: 4639: 4635: 4626: 4619: 4610: 4606: 4601: 4592: 4583: 4579: 4569: 4567: 4557: 4556: 4543: 4533: 4531: 4521: 4520: 4511: 4501: 4499: 4485: 4484: 4480: 4470: 4468: 4458: 4457: 4453: 4443: 4441: 4431: 4430: 4426: 4417: 4410: 4401: 4392: 4382: 4380: 4370: 4369: 4365: 4356: 4352: 4343: 4332: 4325: 4312: 4311: 4307: 4302: 4298: 4289: 4285: 4276: 4272: 4264:Studley, Greg. 4263: 4259: 4250: 4243: 4234: 4227: 4217: 4215: 4204: 4203: 4194: 4184: 4182: 4181:. Guitar Player 4172: 4171: 4160: 4155: 4144: 4135: 4131: 4112: 4108: 4092: 4091: 4087: 4078:Wayback Machine 4069: 4065: 4053: 4049: 4040: 4036: 4026: 4024: 4015: 4014: 4010: 4000: 3998: 3990: 3989: 3985: 3978: 3963: 3962: 3958: 3950: 3946: 3929: 3928: 3924: 3915: 3911: 3895: 3888: 3878: 3876: 3866: 3865: 3838: 3828: 3826: 3820: 3819: 3815: 3805: 3804: 3797: 3792: 3780: 3752:Afro-futuristic 3656:Mother's Finest 3621: 3616: 3588: 3582: 3546: 3540: 3526:– particularly 3458: 3452: 3395: 3389: 3360: 3354: 3318: 3312: 3292:Ornette Coleman 3280:A Certain Ratio 3194: 3188: 3141:Mother's Finest 3105: 3099: 3079: 3055:" on the album 3033: 2968:Jam Underground 2699: 2691:Michael Jackson 2496: 2490: 2438: 2424: 2418: 2383:I'm Every Woman 2331:Curtis Mayfield 2289:, artists like 2272: 2262: 2230:Dancing Machine 2178:The Temptations 2174:Mother's Finest 2162:It's Your Thing 2126:East Bay Grease 2075: 1995: 1989: 1944: 1938:External videos 1832: 1827: 1817: 1733: 1694: 1682:The Temptations 1670: 1650:Too Hot to Stop 1602:Curtis Mayfield 1561: 1511:Curtis Mayfield 1450:styles such as 1447: 1331: 1319:Michael Hampton 1315:Who's That Lady 1154: 1152:Electric guitar 1111:David Garibaldi 1060: 1007:playing style. 969:Bernard Edwards 951: 917: 912: 900: 858:Mixolydian mode 794:extended chords 782: 780: 779: 778: 767: 708: 703: 701:Characteristics 677:The meaning of 578: 396:extended chords 341: 313: 225: 202: 108: 77: 55: 44: 37: 30: 28: 23: 22: 15: 12: 11: 5: 7117: 7115: 7107: 7106: 7101: 7099:1980s in music 7096: 7094:1970s in music 7091: 7089:1960s in music 7086: 7081: 7076: 7071: 7066: 7061: 7056: 7046: 7045: 7039: 7038: 7036: 7035: 7023: 7011: 7003: 7000: 6999: 6996: 6995: 6993: 6992: 6987: 6982: 6977: 6972: 6967: 6961: 6959: 6953: 6952: 6950: 6945: 6940: 6934: 6930: 6929: 6927: 6922: 6913: 6910: 6909: 6907: 6902: 6897: 6888: 6885: 6884: 6882: 6877: 6872: 6870:New jack swing 6863: 6860: 6859: 6857: 6852: 6847: 6838: 6835: 6834: 6832: 6827: 6822: 6817: 6808: 6805: 6804: 6802: 6797: 6792: 6783: 6780: 6779: 6777: 6772: 6767: 6758: 6755: 6754: 6752: 6747: 6742: 6733: 6730: 6729: 6727: 6726: 6721: 6716: 6711: 6706: 6701: 6696: 6691: 6686: 6681: 6672: 6669: 6668: 6660: 6657: 6656: 6643: 6641: 6640: 6633: 6626: 6618: 6609: 6608: 6606: 6605: 6600: 6595: 6590: 6585: 6580: 6575: 6570: 6565: 6560: 6555: 6550: 6549: 6548: 6543: 6538: 6533: 6523: 6518: 6513: 6507: 6505: 6501: 6500: 6498: 6497: 6492: 6487: 6482: 6477: 6472: 6467: 6462: 6461: 6460: 6450: 6445: 6440: 6435: 6429: 6427: 6423: 6422: 6417: 6415: 6414: 6407: 6400: 6392: 6386: 6385: 6379: 6366: 6360: 6345: 6339: 6324: 6315: 6312: 6309: 6308: 6296:The New Yorker 6282: 6257: 6219: 6193: 6134: 6108: 6083: 6036: 5997: 5972: 5953: 5917: 5903: 5883: 5873: 5851: 5837: 5817: 5789: 5761: 5726: 5719: 5701: 5692: 5669: 5641: 5616:Waddell, Ray. 5608: 5582: 5567: 5552: 5533: 5507: 5486:"MusicStrands" 5477: 5452: 5423: 5413:, no. 145 5395: 5369: 5338: 5326: 5298: 5281:Us.napster.com 5268: 5254: 5231: 5218: 5202: 5193: 5184: 5165: 5149: 5123: 5111: 5102: 5081: 5072: 5052: 5039: 5024: 5015: 5006: 4997: 4981: 4972: 4945: 4936: 4924: 4915: 4903: 4894: 4885: 4876: 4867: 4858: 4849: 4840: 4827: 4815: 4806: 4794: 4767: 4736: 4702: 4676: 4646: 4633: 4617: 4604: 4590: 4577: 4541: 4509: 4478: 4451: 4424: 4408: 4406:. Alfred Music 4390: 4363: 4350: 4330: 4323: 4305: 4296: 4283: 4270: 4257: 4241: 4225: 4192: 4158: 4142: 4129: 4106: 4085: 4063: 4047: 4034: 4008: 3996:Etymonline.com 3983: 3976: 3956: 3944: 3922: 3909: 3886: 3836: 3813: 3794: 3793: 3791: 3788: 3787: 3786: 3779: 3776: 3721:Lady Marmalade 3709:Rickey Vincent 3620: 3619:Women and funk 3617: 3615: 3612: 3584:Main article: 3581: 3578: 3574:the Bomb Squad 3542:Main article: 3539: 3536: 3454:Main article: 3451: 3448: 3432:Egyptian Lover 3424:Herbie Hancock 3416:Bootsy Collins 3391:Main article: 3388: 3385: 3358:Boogie (genre) 3356:Main article: 3353: 3350: 3314:Main article: 3311: 3308: 3248:George Clinton 3210:Simon Reynolds 3190:Main article: 3187: 3184: 3101:Main article: 3098: 3095: 3078: 3075: 3053:The Moneymaker 3039:bands such as 3032: 3029: 2784:Gnarls Barkley 2711:new jack swing 2698: 2695: 2638:Prince formed 2584:Influenced by 2571:funky drummers 2489: 2486: 2420:Main article: 2417: 2414: 2303:Isley Brothers 2261: 2258: 2121:Tower of Power 2091:Funky Broadway 2074: 2071: 2014:George Clinton 2002:George Clinton 1991:Main article: 1988: 1985: 1956: 1955: 1940: 1939: 1923:" (1969) and " 1921:Mother Popcorn 1844:Little Richard 1831: 1828: 1826: 1823: 1732: 1729: 1693: 1690: 1686:George Clinton 1669: 1666: 1661: 1660: 1653: 1646: 1643: 1636: 1629: 1626: 1623: 1620: 1560: 1557: 1506:Blaxploitation 1498:Isley Brothers 1483:Charlie Wilson 1446: 1443: 1428:Chocolate City 1416:Free Your Mind 1404:Bernie Worrell 1358:Herbie Hancock 1330: 1327: 1311:Isley Brothers 1153: 1150: 1107:Tower of Power 1059: 1056: 1001:James Jamerson 997:Tower of Power 989:Bootsy Collins 979:, Mark Adams ( 916: 913: 911: 908: 899: 896: 886:Herbie Hancock 823:George Clinton 766: 763: 716:rhythm section 707: 704: 702: 699: 668:carnal quality 662:-born drummer 577: 574: 495:Roger Troutman 402:jazz, such as 343: 342: 340: 339: 334: 329: 323: 320: 319: 315: 314: 312: 311: 306: 301: 296: 291: 286: 281: 276: 271: 266: 261: 256: 251: 246: 241: 235: 232: 231: 227: 226: 224: 223: 218: 212: 209: 208: 204: 203: 201: 200: 195: 190: 185: 180: 175: 173:new jack swing 170: 165: 160: 155: 150: 145: 140: 135: 130: 124: 122: 118: 117: 114: 110: 109: 107: 106: 101: 96: 91: 85: 83: 79: 78: 72: 64: 63: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 7116: 7105: 7102: 7100: 7097: 7095: 7092: 7090: 7087: 7085: 7082: 7080: 7079:Popular music 7077: 7075: 7072: 7070: 7067: 7065: 7062: 7060: 7057: 7055: 7052: 7051: 7049: 7034: 7024: 7022: 7012: 7010: 7009: 7005: 7004: 7001: 6991: 6988: 6986: 6983: 6981: 6978: 6976: 6973: 6971: 6968: 6966: 6963: 6962: 6960: 6954: 6949: 6946: 6944: 6941: 6938: 6935: 6931: 6926: 6923: 6921: 6918: 6916: 6911: 6906: 6903: 6901: 6898: 6896: 6893: 6891: 6886: 6881: 6878: 6876: 6873: 6871: 6868: 6866: 6861: 6856: 6853: 6851: 6848: 6846: 6843: 6841: 6836: 6831: 6828: 6826: 6823: 6821: 6818: 6816: 6813: 6811: 6806: 6801: 6798: 6796: 6793: 6791: 6788: 6786: 6781: 6776: 6773: 6771: 6768: 6766: 6765:Rock and roll 6763: 6761: 6756: 6751: 6748: 6746: 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6241: 6238:(3): e12224. 6237: 6233: 6226: 6224: 6220: 6207: 6203: 6197: 6194: 6181: 6177: 6173: 6169: 6165: 6161: 6157: 6153: 6149: 6145: 6138: 6135: 6123: 6119: 6112: 6109: 6097: 6093: 6087: 6084: 6079: 6075: 6071: 6067: 6063: 6059: 6055: 6051: 6047: 6040: 6037: 6032: 6028: 6024: 6020: 6016: 6012: 6008: 6001: 5998: 5993: 5989: 5988: 5983: 5976: 5973: 5968: 5964: 5957: 5954: 5950: 5938: 5934: 5933: 5932:Rolling Stone 5928: 5921: 5918: 5906: 5904:9780312063245 5900: 5896: 5895: 5887: 5884: 5880: 5876: 5874:9780143036722 5870: 5865: 5864: 5855: 5852: 5840: 5838:9781593764777 5834: 5830: 5829: 5821: 5818: 5805: 5804: 5799: 5793: 5790: 5778: 5777: 5772: 5765: 5762: 5750: 5749: 5748:New Statesman 5744: 5737: 5735: 5733: 5731: 5727: 5722: 5720:0-415-96919-0 5716: 5712: 5705: 5702: 5696: 5693: 5680: 5673: 5670: 5658: 5657: 5652: 5645: 5642: 5629: 5625: 5624: 5619: 5612: 5609: 5605: 5604: 5599: 5595: 5592: 5586: 5583: 5579: 5578: 5577:Vancouver Sun 5571: 5568: 5564: 5563: 5556: 5553: 5549: 5548: 5547:Rolling Stone 5543: 5537: 5534: 5522: 5518: 5511: 5508: 5495: 5491: 5487: 5481: 5478: 5466: 5462: 5456: 5453: 5441: 5437: 5433: 5427: 5424: 5412: 5411: 5406: 5399: 5396: 5384: 5380: 5373: 5370: 5357: 5353: 5349: 5342: 5339: 5333: 5331: 5327: 5314: 5313: 5308: 5302: 5299: 5286: 5282: 5278: 5272: 5269: 5257: 5251: 5247: 5246: 5238: 5236: 5232: 5228: 5222: 5219: 5215: 5212: 5206: 5203: 5197: 5194: 5188: 5185: 5181: 5178: 5172: 5170: 5166: 5162: 5158: 5153: 5150: 5138: 5137:Rolling Stone 5134: 5127: 5124: 5118: 5116: 5112: 5106: 5103: 5100: 5096: 5092: 5085: 5082: 5076: 5073: 5070: 5069:0-534-64295-0 5066: 5062: 5056: 5053: 5049: 5043: 5040: 5035: 5028: 5025: 5019: 5016: 5010: 5007: 5001: 4998: 4992: 4990: 4988: 4986: 4982: 4976: 4973: 4960: 4954: 4952: 4950: 4946: 4940: 4937: 4931: 4929: 4925: 4919: 4916: 4910: 4908: 4904: 4898: 4895: 4889: 4886: 4880: 4877: 4871: 4868: 4862: 4859: 4853: 4850: 4844: 4841: 4837: 4831: 4828: 4822: 4820: 4816: 4810: 4807: 4801: 4799: 4795: 4782: 4778: 4771: 4768: 4755: 4751: 4747: 4740: 4737: 4724: 4723:stringjoy.com 4720: 4713: 4711: 4709: 4707: 4703: 4690: 4686: 4680: 4677: 4664: 4660: 4653: 4651: 4647: 4643: 4637: 4634: 4630: 4624: 4622: 4618: 4614: 4608: 4605: 4599: 4597: 4595: 4591: 4587: 4581: 4578: 4565: 4561: 4554: 4552: 4550: 4548: 4546: 4542: 4529: 4525: 4518: 4516: 4514: 4510: 4497: 4493: 4489: 4482: 4479: 4466: 4462: 4455: 4452: 4439: 4435: 4428: 4425: 4421: 4415: 4413: 4409: 4405: 4399: 4397: 4395: 4391: 4379: 4378: 4373: 4367: 4364: 4360: 4354: 4351: 4347: 4341: 4339: 4337: 4335: 4331: 4326: 4324:9780882849218 4320: 4316: 4309: 4306: 4300: 4297: 4293: 4287: 4284: 4280: 4277:Serna, Desi. 4274: 4271: 4267: 4261: 4258: 4254: 4253:Popular Music 4248: 4246: 4242: 4238: 4232: 4230: 4226: 4214: 4213: 4208: 4201: 4199: 4197: 4193: 4180: 4176: 4169: 4167: 4165: 4163: 4159: 4153: 4151: 4149: 4147: 4143: 4139: 4133: 4130: 4126: 4125:0-87779-603-3 4122: 4118: 4117: 4110: 4107: 4102: 4101: 4096: 4089: 4086: 4083: 4079: 4075: 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Electronic 2552: 2551:Oberheim OB-X 2548: 2544: 2540: 2536: 2532: 2528: 2524: 2520: 2517: 2513: 2509: 2508:drum machines 2505: 2501: 2495: 2494:Electro music 2487: 2485: 2483: 2479: 2475: 2471: 2467: 2463: 2459: 2455: 2451: 2447: 2443: 2437: 2433: 2429: 2423: 2415: 2413: 2411: 2407: 2402: 2400: 2396: 2392: 2388: 2384: 2380: 2376: 2372: 2371:Love Hangover 2368: 2364: 2360: 2356: 2352: 2348: 2344: 2340: 2336: 2335:Stevie Wonder 2332: 2328: 2324: 2320: 2316: 2312: 2311:Con Funk Shun 2308: 2304: 2300: 2296: 2292: 2288: 2280: 2276: 2271: 2267: 2259: 2257: 2255: 2251: 2247: 2243: 2239: 2235: 2234:Stevie Wonder 2231: 2227: 2223: 2219: 2215: 2211: 2207: 2203: 2199: 2195: 2191: 2187: 2183: 2179: 2175: 2171: 2167: 2163: 2159: 2155: 2151: 2147: 2143: 2142:Family Affair 2139: 2135: 2130: 2128: 2127: 2122: 2118: 2114: 2110: 2106: 2105: 2104:Electric Funk 2100: 2099:Jimmy McGriff 2096: 2092: 2088: 2084: 2080: 2072: 2070: 2068: 2064: 2060: 2059:echo chambers 2056: 2052: 2047: 2045: 2044: 2039: 2035: 2031: 2027: 2023: 2019: 2015: 2007: 2003: 1999: 1994: 1986: 1984: 1982: 1977: 1975: 1971: 1967: 1963: 1954: 1950: 1941: 1936: 1933: 1930: 1926: 1922: 1918: 1914: 1909: 1907: 1903: 1899: 1895: 1891: 1887: 1886: 1881: 1880: 1875: 1874: 1869: 1865: 1861: 1857: 1853: 1852:rock and roll 1849: 1848:The Upsetters 1845: 1836: 1829: 1824: 1822: 1814: 1809: 1807: 1803: 1799: 1795: 1790: 1788: 1784: 1780: 1776: 1775:Robert Palmer 1772: 1768: 1764: 1760: 1756: 1751: 1749: 1745: 1741: 1737: 1736:Gerhard Kubik 1730: 1728: 1726: 1721: 1719: 1715: 1711: 1707: 1703: 1698: 1691: 1689: 1687: 1683: 1679: 1675: 1667: 1665: 1658: 1654: 1651: 1647: 1644: 1641: 1637: 1634: 1630: 1627: 1624: 1621: 1618: 1614: 1613: 1612: 1609: 1605: 1603: 1599: 1595: 1591: 1588:, trombonist 1587: 1577: 1576:horn sections 1572: 1568: 1565: 1558: 1556: 1554: 1549: 1545: 1540: 1536: 1534: 1533: 1528: 1524: 1523: 1518: 1517: 1512: 1507: 1502: 1499: 1495: 1490: 1484: 1479: 1475: 1473: 1469: 1468:harmony vocal 1465: 1459: 1457: 1453: 1444: 1442: 1440: 1435: 1433: 1429: 1425: 1421: 1417: 1413: 1409: 1405: 1401: 1399: 1395: 1391: 1387: 1386:Higher Ground 1383: 1379: 1378:Stevie Wonder 1375: 1371: 1367: 1363: 1362:Fender Rhodes 1359: 1355: 1354:Billy Preston 1351: 1347: 1339: 1335: 1328: 1326: 1324: 1320: 1316: 1312: 1308: 1304: 1300: 1296: 1292: 1288: 1284: 1280: 1276: 1271: 1269: 1265: 1261: 1257: 1253: 1249: 1245: 1240: 1238: 1234: 1230: 1226: 1222: 1218: 1214: 1213:electric bass 1206: 1202: 1197: 1193: 1191: 1187: 1183: 1179: 1175: 1170: 1168: 1164: 1160: 1151: 1149: 1147: 1143: 1139: 1135: 1131: 1127: 1122: 1120: 1116: 1112: 1108: 1103: 1096: 1091: 1087: 1085: 1081: 1077: 1073: 1069: 1065: 1057: 1055: 1053: 1049: 1045: 1041: 1037: 1033: 1029: 1025: 1024:effects units 1021: 1016: 1014: 1010: 1006: 1002: 998: 994: 993:Rocco Prestia 990: 986: 982: 978: 974: 970: 965: 949: 947: 942: 938: 937:electric bass 934: 930: 921: 914: 909: 907: 905: 904:improvisation 898:Improvisation 897: 895: 893: 892: 887: 883: 882: 881:On the Corner 877: 876: 871: 867: 863: 859: 855: 850: 848: 844: 839: 835: 830: 828: 824: 820: 816: 812: 811:Pee Wee Ellis 808: 804: 799: 795: 785: 776: 771: 764: 758: 754: 752: 748: 743: 740: 735: 733: 729: 721: 717: 712: 705: 700: 698: 696: 692: 688: 684: 680: 675: 673: 669: 665: 661: 657: 653: 649: 645: 641: 637: 633: 629: 625: 620: 618: 614: 610: 605: 600: 596: 591: 587: 583: 575: 573: 571: 567: 563: 559: 555: 551: 547: 543: 539: 535: 531: 527: 523: 518: 516: 512: 508: 504: 503:Con Funk Shun 500: 496: 492: 488: 484: 480: 476: 472: 468: 464: 460: 456: 452: 448: 444: 440: 436: 432: 428: 424: 420: 416: 411: 409: 405: 401: 397: 393: 389: 388:percussionist 385: 382:played by an 381: 377: 373: 369: 365: 361: 357: 353: 349: 338: 335: 333: 330: 328: 325: 324: 321: 316: 310: 307: 305: 302: 300: 297: 295: 292: 290: 287: 285: 282: 280: 277: 275: 272: 270: 267: 265: 262: 260: 257: 255: 252: 250: 247: 245: 242: 240: 237: 236: 233: 230:Fusion genres 228: 222: 219: 217: 214: 213: 210: 205: 199: 196: 194: 191: 189: 186: 184: 181: 179: 176: 174: 171: 169: 166: 164: 161: 159: 156: 154: 151: 149: 146: 144: 141: 139: 136: 134: 131: 129: 126: 125: 123: 119: 115: 111: 105: 102: 100: 97: 95: 92: 90: 87: 86: 84: 80: 75: 70: 65: 60: 57: 53: 49: 41: 34: 19: 7007: 6914: 6889: 6864: 6839: 6830:Garage house 6809: 6794: 6784: 6759: 6734: 6684:Field holler 6673: 6661: 6526:Funk carioca 6418: 6370: 6350: 6329: 6320: 6299:. 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Express 459:Jimmy Castor 455:Fatback Band 451:Ohio Players 412: 404:minor chords 347: 346: 318:Other topics 56: 6925:Drill music 6578:Rare groove 6558:Liquid funk 6553:Funky house 6546:Rasteirinha 6531:Funk melody 6465:Funktronica 6301:October 23, 6275:October 23, 6212:October 23, 6127:October 31, 6101:October 31, 5867:. Penguin. 5470:February 9, 4725:. StringJoy 4695:October 24, 4465:dummies.com 4239:. Brooklyn. 4027:January 20, 4001:January 20, 3829:November 9, 3825:. Liveabout 3764:Lauryn Hill 3688:, believes 3668:Teena Marie 3664:Betty Davis 3660:Lyn Collins 3562:gangsta rap 3528:Los Angeles 3478:heavy metal 3381:Evelyn King 3326:Chuck Brown 3214:psychedelia 3202:Simon Frith 3137:David Bowie 3133:Gary Wright 3129:Frank Zappa 3077:Derivatives 3067:Black Sweat 3021:Brainticket 2916:Sex Packets 2902:The Chronic 2867:James Brown 2833:Supergroove 2776:Malina Moye 2622:Super Freak 2594:Planet Rock 2529:and/or the 2482:jazz fusion 2432:jazz fusion 2343:Barry White 2238:Marvin Gaye 2202:Edwin Starr 2186:psychedelic 2154:Cissy Strut 2150:New Orleans 2085:, based in 2079:James Brown 2043:sui generis 1919:" (1967), " 1860:James Brown 1830:James Brown 1779:Perez Prado 1744:polyrhythms 1740:New Orleans 1731:New Orleans 1598:Isaac Hayes 1590:Fred Wesley 1424:Flash Light 1366:Joe Zawinul 1338:Isaac Hayes 1291:Ernie Isley 1275:Eddie Hazel 1252:Telecasters 1237:Fender Twin 1225:Jimmy Nolen 1190:Jimmy Nolen 1182:Johnny Otis 1174:fingerboard 1167:overdubbing 1115:ghost notes 1095:Cissy Strut 1044:bass chorus 1020:ghost notes 946:blues scale 915:Bass Guitar 910:Instruments 870:Miles Davis 862:blues scale 847:Wild Cherry 819:James Brown 807:Fred Wesley 728:dance music 664:Earl Palmer 660:New Orleans 542:gangsta rap 540:, a mix of 526:avant-garde 473:, One Way, 435:psychedelia 431:syncopation 415:James Brown 352:music genre 274:funky house 188:liquid funk 74:James Brown 7048:Categories 6920:Trap music 6900:Snap music 6689:Spirituals 6654:(timeline) 6593:Swamp rock 6583:Samba rock 6573:Post-disco 6458:Funk metal 6433:Avant-funk 6419:Funk music 5798:"Passings" 5656:PopMatters 5099:1466462302 4783:. Flypaper 4564:reverb.com 4528:reverb.com 3916:Explore: " 3790:References 3640:Chaka Khan 3636:funk women 3628:Chaka Khan 3580:Timba funk 3524:California 3462:funk-metal 3456:Funk metal 3450:Funk metal 3373:Peech Boys 3300:repression 3296:alienation 3192:Avant-funk 3186:Avant-funk 3164:distortion 3145:Funkadelic 3063:Musicology 3049:Rilo Kiley 3045:indie rock 3009:acid house 2883:West Coast 2879:Funkadelic 2875:Parliament 2803:Jamiroquai 2719:funk metal 2685:, and the 2612:Rick James 2539:Yamaha DX7 2523:Hammond B3 2492:See also: 2426:See also: 2395:Rose Royce 2387:Chaka Khan 2367:Diana Ross 2345:'s hits, " 2323:Commodores 2264:See also: 2250:I Want You 2146:The Meters 2109:West Coast 2095:soul music 2063:blues rock 2055:fuzz boxes 2051:wah pedals 2022:Funkadelic 2018:Parliament 1917:Cold Sweat 1890:syncopated 1759:Afro-Cuban 1718:ring shout 1617:Cold Sweat 1532:Youngblood 1398:The Meters 1279:Funkadelic 1273:Guitarist 1264:compressor 1244:distortion 1199:Guitarist 1080:bass drums 1068:The Meters 935:played on 720:the Meters 656:jazz music 595:Old French 562:breakbeats 534:funk metal 522:avant-funk 427:16th notes 304:swamp rock 289:samba funk 264:funk metal 249:avant-funk 143:dance-punk 18:Synth-funk 6990:UK garage 6985:Vaporwave 6975:Synth-pop 6970:Dance-pop 6965:Chillwave 6957:Elsewhere 6563:Neurofunk 6541:Proibidão 6511:Acid jazz 6480:Jazz-funk 6453:Funk rock 6448:Free funk 6443:Deep funk 6438:Brit funk 6252:1524-2226 6176:143971031 6168:2153-6856 6078:143460406 6031:159486276 6017:(4): 35. 5994:(10): 39. 5963:Hot Metal 5803:Billboard 5623:Billboard 4965:April 20, 4787:April 19, 4760:April 19, 4729:April 19, 4689:Musical U 4669:April 13, 4467:. Dummies 4218:April 13, 4185:April 13, 4127:, p. 175. 3879:April 18, 3756:dystopian 3748:sexuality 3408:talkboxes 3365:Vicky "D" 3304:modernity 3284:23 Skidoo 3244:Sly Stone 3236:krautrock 3158:beat and 3119:funk and 3113:funk/rock 3109:funk-rock 3103:Funk rock 3097:Funk rock 3037:punk funk 3027:, et al. 3005:acid jazz 2991:Soul Fire 2987:deep funk 2841:the Truth 2837:Skunkhour 2819:Los Tetas 2807:Incognito 2799:acid jazz 2715:funk rock 2687:Dazz Band 2606:Mantronix 2586:Kraftwerk 2563:Linn LM-1 2547:Prophet-5 2545:like the 2519:keyboards 2478:soul jazz 2446:back beat 2436:free funk 2428:Soul jazz 2422:Jazz-funk 2416:Jazz funk 2410:Fela Kuti 2327:Roy Ayers 2226:Hal Davis 2132:In 1970, 2101:released 1970:time line 1913:basslines 1802:2-3 clave 1472:Super Bad 1370:Wurlitzer 1329:Keyboards 1146:backbeats 1126:ostinatos 1119:rim shots 1036:fuzz bass 933:basslines 875:Live-Evil 866:jazz-funk 796:found in 739:pop music 622:In early 613:in a funk 580:The word 576:Etymology 479:Dazz Band 398:found in 364:danceable 327:Musicians 284:jazz-funk 269:funk rock 259:free funk 254:Brit funk 239:Acid jazz 216:Deep funk 207:Subgenres 193:krautrock 183:neurofunk 168:breakbeat 138:post-punk 7008:Category 6880:Neo soul 6516:Afrobeat 6070:24589269 5910:March 6, 5844:March 5, 5810:March 5, 5782:March 5, 5754:March 5, 5685:July 11, 5594:Archived 5410:The Wire 5383:CBC News 5362:June 17, 5312:AllMusic 4570:April 9, 4566:. Reverb 4530:. 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