Posted on 01/11/2020 8:02:05 PM PST by nickcarraway
Known throughout the community as director of communications for Pueblo School District 60, Dalton Sprouse also is a dedicated follower of funk music, and all things funky.
“Funk is fusion of jazz, rock, and R&B, resulting in a new groove that would clear the way for some of America’s greatest dance music,” Sprouse said. “Artists like Prince, Red Hot Chili Peppers, and nearly every hip-hop artist have built their sound upon the foundation funk music established.
“So here is my list of 10 of funk music’s most heralded cuts:”
“Get on the Good Foot (Pt. 1),” James Brown. The Godfather of Soul, who almost single-handedly invented funk, was known for his live performances and the outstanding musicians that backed him. He was hard on them, and many left to join forces with another powerhouse, Parliament-Funkadelic. This track features the prominent drumming pattern frequently used in early hip-hop songs: a creation of Brown’s trendsetting drummers.
Jon: There’s no doubt that Brown belongs on a list of funk’s biggest stars, and this number, from 1972, is as good a representation as any, with a tasty dance groove deep enough to rival the San Andreas Fault. But really: one would be hard pressed to find a James Brown song that doesn’t drip with pure funkiness, a fact that earned him the title of the most sampled artist in history. Personally, I’ve always favored “Funky President (People It’s Bad),” a 1974 swipe at Gerald Ford that remains freshly relevant.
“Thank You (Falettinme Be Mice Elf Again),” Sly and The Family Stone. Another legend, Sly Stone broke barriers with one of the first multi-cultural groups, with male and female members, that was never hesitant to address political challenges of the day. In this song, bassist Larry Graham unleashed a new, percussive way of striking his instrument, now known as slap bass. As its band leader continued to struggle with addiction, the band’s songs became more minimal in nature: foreshadowing Sly’s eventual departure for a solo career. See also “If You Want Me to Stay.”
Jon: Although I consider Sly and The Family Stone more soul and pop than funk, there’s no denying the funkiness of this banger, driven by a disco beat that foreshadows disco by at least seven years. If you can’t get down to this, then you are, in the words of a long-forgotten bar-band maestro, “As a square as a pool table and just as green.” See also, “I Want To Take You Higher,” one of SATFS’ fattest cuts, and the sultry “Family Affair,” both of which reveal Stone’s creative genius.
“One Nation Under a Groove,” Parliament-Funkadelic (P-Funk.) A true supergroup with anywhere between 30 and 100 members at any given time, P-Funk was formed as the brainchild of George Clinton, with countless combinations of subgroups spawning from it. Not only that, P-Funk is one of most sampled of all artists, with De La Soul, Ice Cube, Snoop Dogg and Dr. Dre just a few who have used the music. As with most P-Funk songs, “One Nation” — one of its most recognizable songs — sees the vocals used as a back-up for the musical instruments, with repetitive chants throughout. Also, check out “Flashlight” and “Mothership Connection.” Fun Fact: once Parliament started to earn money, Clinton encouraged the group to buy a prop spaceship that became known as the Mothership. It was a prominent feature in live performances, and is now on display at the National Museum of African American History and Culture in Washington, D.C.
Jon: For my money, George Clinton and P-Funk belong at the top of any list dedicated to funk pioneers. Unbounded creativity that often swerved, most enjoyably, into the bizarre and outlandish, P-Funk’s output is unrivaled in not only funk, but all associated genres. From 1978, “One Nation” still sounds like it arrived from an undiscovered planet inhabited only by the hippest cats in the cosmos. Sentimentally, though, my heart belongs to “Give Up the Funk (Tear the Roof Off the Sucker),” an undeniable slab of bass heavy succulence from 1976 that serves as the national anthem for that one nation under a groove. Forget the Mothership: George Clinton himself belongs in the National Museum of African American History and Culture.
“Happy Feelin,’” Earth, Wind and Fire. Another large group, with about a dozen members, EWF positioned itself as the smooth and clean version of P-Funk, with precise vocals, harmony and a driving horn section. “Happy Feelin’” is one of EWF’s lesser-known tunes, but really shows off the players’ instrumental depth. With the new sound of disco taking over the airwaves, funk groups were scratching their heads, wondering why the masses were flocking to the new dance wave that focused on a repetitive beat. EWF was one of the few funk groups to embrace, and successfully transition to, disco.
Jon: Although I’m a longtime fan of this eclectic collective, this track, from 1975, doesn’t meet my criteria of funk. The falsetto vocals are much too soul-infused, and the beat too peppy. To my ears, EWF’s “Shining Star,” also from 1975, and 1981′s essential “Let’s Groove,” capture the collective at its funkiest. With that said, though, I’d like to direct your attention to “Brick,” an overlooked track from Dazz heralded as the mother of all dance-floor jams. Just ask Ice Cube, who appropriated the backbeat for his ultimate dis track, “No Vaseline.”
“Superstition,” Stevie Wonder. When Motown left Detroit and resurfaced in L.A., it was in search of a new sound to keep up with the funk movement. Hitsville, U.S.A. was abandoned, with little to no notice given to the house band (Funk Brothers) responsible for the classic, instantly recognizable sound. “Superstition” was one of the first songs released out of the L.A. studios. Playing a Hohner Clavinet like a percussion instrument, Wonder uses the staccato sound to his advantage. An instrument originally intended for classical and folk music, the Clavinet quickly became Wonder’s iconic sound.
Jon: Although I’ve always revered the immortal Wonder as one of soul and pop’s greatest singer/songwriters, I never viewed him as “funky.” A revisit to this 1972 classic, however, reveals that Wonder’s work on the Clavinet is indeed the essence of funk, as it is on 1973′s “Higher Ground.” But I don’t feel that “Superstition” belongs on a list that excludes “Get Down on It” and “Jungle Boogie” (Kool and the Gang), “You Dropped a Bomb on Me” and “Early in the Morning” (Gap Band), and “Give it to Me” (Rick James.)
“Musicology,” Prince. Heavily influenced by Brown, Clinton, and Stone, Prince is widely considered one of the most notable funk musicians of all time. From 2004, “Musicology” and its video pay homage to the greats that came before. I realize this isn’t well-known, but I chose it because it would be too hard to single out one of his major hits. Prince kept the spirit of funk alive with his flamboyant looks, dance moves, and no-boundary music exploration. He rocked a symbol for a name, his own style of clothes and shoes, and wore makeup, yet somehow every guy knew that he could steal your girlfriend if he wanted.
Jon: Channeling the best of James Brown with a modern sheen, this little heard track is, for sure, funk with a capital “F.” Another oft-forgotten gem is “We Can Funk,” from 1990′s “Graffiti Bridge,” which resurrects the spirit of P-Funk in its prime. And if we’re talking well-known Prince cuts, “Erotic City” and “I Wanna Be Your Lover” have to hover near the top of the funk list.
“Move On Up,” Curtis Mayfield. Singer-songwriter Curtis Mayfield not only produced his own music but wrote hits for many artists. Although “Move On Up” appeared on his debut album, Mayfield’s most notable pieces were written to complement big-screen movies that featured black actors not given access to lead roles in mainstream movies. Films like “Let’s Do It Again,” starring Sidney Poitier and Bill Cosby, and “Superfly,” considered one of the most famous funk albums of all-time, make Mayfield a key contributor to the genre.
Jon: Like Stevie Wonder and Earth, Wind and Fire, Mayfield, is, to my ears, much more soul and R&B than funk. And this number, which I was unfamiliar with, pales in comparison to treasures like “Diamond in the Back,” “Pusherman,” “Freddie’s Dead” and “Superfly.” Buoyed by one of Mayfield’s funkiest bass lines, “Superfly” was later heisted by Beastie Boys for “Egg Man,” from 1989′s “Paul’s Boutique.”
“I’ll Take You There,” Staple Singers. Commonly referred to as the First Family of Song, Staple Singers combined gospel music, protest messages, and soul-funk to create what Mavis Staples termed “message music.” Their early notoriety was established alongside Dr. Martin Luther King Jr., who had a personal friendship with Pops Staples. As a group, this was Staple Singers biggest hit, with the Muscle Shoals Rhythm Section (Booker T. & the M.G.’s) providing the backing. Also check out “Respect Yourself,” “If You’re Ready (Come Go With Me)” and “Let’s Do It Again.”
Jon: The jumpy bass line, delivered by Steve Cropper, is perhaps the only thing funky about this 1972 staple. A soul-gospel standard to be sure, but not what comes to mind when I think of all time funk greats. With masterpieces such as “Spill the Wine,” “Low Rider,” “Cisco Kid” and “Why Can’t We Be Friends,” the under-appreciated WAR is much more deserving of inclusion here.
“Funky Worm,” Ohio Players. Although better known for seductive album covers, Ohio Players introduced a new sound to the funk world: a Moog synthesizer, whose whirling, continuous vibe can be found throughout early hip-hop and G-funk rap songs. Junie Morrison was a member of Ohio Players before leaving the group to be the musical director for Parliament- Funkadelic. “Funky Worm,” which caught the ear of George Clinton, is credited with inspiring the P-Funk sound at the height of the group’s popularity.
Jon: If you think you’ve never heard this song, but are familiar with “Jump” (Kriss Kross), “Wicked” (Ice Cube), “Dopeman” and “Gangsta Gangsta” (NWA), “My Myself and I” (De La Soul), “Funky Boss” (Beastie Boys) and about 250 other tunes, then you’ve heard it. One of the most sampled tracks ever, the weird “Funky Worm,” isn’t, at least in my humble opinion, Ohio Players’ best offering. From 1973, “Love Rollercoaster” is just as funky and much more danceable.
“King Tim III (Personality Jock),” Fatback. I included this because of its significance in the resurgence of funk music through the birth of hip hop. In fact, “King Tim III” was actually the first commercially released hip hop single to hit the charts, beating out Sugarhill Gang’s “Rapper’s Delight” by a few weeks. Although not nearly as successful as “Rapper’s Delight,” Fatback should be recognized as accomplished musicians who didn’t merely rap over a pre-recorded track. With the arrival of rap and hip hop, funk music like this was instantly relevant again.
Jon: It’s a bit of a crime that when music historians track the birth of rap, Fatback is rarely, if ever, mentioned. From 1979, this bass-laden track deserves to be recognized as a template for all that followed. With that said, though, in an expansive funk landscape dotted with such overlooked gems like “Double Dutch Bus” (Frankie Smith), “Ffun” (Con Funk Shun), “Fencewalk” (Mandril) and “Do It (’Til You’re Satisfied)” by B.T. Express, it’s essentially just an “also ran.”
Dalton’s notable mentions: Jaco Pastorius’ “Come On, Come Over;” The Meters’ “Cissy Strut;” The O’Jays’ “For the Love of Money;” Marvin Gaye’s “Got To Give it Up;” Zapp and Roger’s “Doo Wa Ditty (Blow That Thing);” War’s “Why Can’t We Be Friends;” Rick James’ “Mary Jane;” Betty Wright’s “Clean Up Woman;” and King Floyd’s “Groove Me.”
Mother’s Finest - Baby Love.
I’ll need to check the album credits for the Staple Singers. Steve Cropper and Donald “duck” Dunn were, along with Booker T. the studio band for most of the Stax hits. Duck was the funky bassist, Steve was the man with the tasty guitar chops.
Staples “Repect Yourself” is definitely funky.
Mother’s Finest was one of the best live shows I ever saw back in the 70s. I read they had a hard time getting booked, because the headliners couldn’t top them.
That was bizarre!
First, look at the album cover on the Youtube video you linked too. That cover of Mayfield in his yellow jacket and pants is from his first album Curtis in 1970. Here is the track listing from the album:
No. Title Length 1. "(Don't Worry) If There's a Hell Below, We're All Going to Go" 7:50 2. "The Other Side of Town" 4:01 3. "The Makings of You" 3:43 4. "We the People Who Are Darker Than Blue" 6:05 Side two No. Title Length 5. "Move On Up" 8:45 6. "Miss Black America" 2:53 7. "Wild and Free" 3:16 8. "Give It Up"
No song called
Diamond in the Back. (Which isn't even the title of the song.)
Here is William DeVaughn's Be Thankful for What You Got. You can see the sixth track is the title track:
William DeVaughn- Be Thankful For What You Got (original)
If you search both titles, there are a few listed as Curtis Mayfield, but the ones with comes contain many people correcting it. If you listen to the voice you can tell it's not Mayfield.
Sorry for the long reply. Certain songs get mislabeled frequently.
I might have gone with The Big Payback for the James Brown selection.
https://www.youtube.com/watch?v=IST6qRfVqwY
None of those songs/artists are even
close to funk.
Disco is not funk.
Pop is not funk.
Since the definition of funk in the article is “a fusion of jazz, rock and R&B,” all those songs fall into the funk category for me. Furthermore, a great deal of music labeled as “disco” was actually funk.
Sadly, out of all the live bands I've seen over the years, the only "funk" bands were Ohio Players in '76 and Rick James in, maybe '89, (he was very late and much, much too high).
Interesting you brought this up. I was thinkinking about changing my tagline just yesterday.
When I was on tour one of our bus drivers had previously driven for James Brown. He had a couple of interesting stories.
Funk: It’s not as much about the bass line as it is “on the one”. Put them together and you have funk.
“Do it on the one.”
James Brown to Bootsy Collins
The only implement (Yes, I said that) more funkier (Yes. I said that too) than the Fender Rhodes is the Hohner Clavinet.
Nope.
If you choose to believe KC is funk
it’s your ignorance. And since you rely
on a “definition” you must be correct.
You are not.
Again, disco & pop are not funk.
Never were, never will be.
No Brick House???
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