Skip to comments.Who Killed the Funk?
Posted on 08/10/2013 5:44:39 PM PDT by nickcarraway
Michael A. Gonzales reflects on P-Funk, the Ohio Players, Earth Wind & Fire, etc. and wonders where the funk have all the funk groups gone?
Reading Love, Peace, and Soul, author Erika Blount Danois excellent upcoming book on the groundbreaking Soul Train, I began thinking about 1970s music and the many yesteryear funk bands that once populated the Black pop charts. Built on the foundation of gospel, jazz, soul and rock, funk was the energetic little brother who was more ambitious and had no problem being the wild child in the canon of pop.
While the often costumed electric bass strummers, wah-wah guitar screamers and stylish synthesizers were once soul-stomping staples of radio and stage, in the 21st century new funk music units have virtually disappeared. Seeing the names of artists James Brown, the Ohio Players, Kool & the Gang, Parliament-Funkadelic, Earth, Wind & Fire and countless other funky folks made me think about those soulful yesterdays when heavy funk music still mattered beyond the aural ideas of sample happy producers.
Paging through Love, Peace, and Soul, I slowly began tripping through time and space, and within minutes crash-landed back in an era when funk was an art form worshipped in basements and bedrooms, where fans played James Brown records continuously or mimed air bass as the latest Bootsy Collins single spun on the turntable.
Brown, whose 1967 hit Cold Sweat is often sited as the first true funk song, would later be anointed as the father of funk. Many of his early funk hitsincluding Say It Loud (Im Black and Im Proud), Super Bad and The Paybackinspired peers like jazz trumpeter Miles Davis and an entire generation of hip-hop artists. Browns cockiness and swagger is all up in the DNA of rap, says writer/director Nelson George. Earlier this year, Georges most recent film, Finding the Funk, began making the rounds at film festivals. Simply put, if there was no James Brown, there would be no hip-hop.
Coming into maturity in the 1970s (that post-civil rights era when everything seemed possible), funkwith its relentless rhythms, dynamic grooves and powerful horn sections became the chocolate-colored soundtrack to a golden age of Blackness.
Occasionally, one could catch a glimpse of our funk heroes on television, as when Sly Stone made appearances on The Dick Cavett Show, The Merv Griffin and The Dinah Shore Show. Later, purely music-driven programs like Don Kirshners Rock Concert and Midnight Special gave exposure to the uncut funk of the Commodores (Brick House), the Ohio Players (Fire) and Kool & the Gang (Hollywood Swinging).
While the word funk began as one of those bad words your mother might slap you in the mouth for saying aloud, over time it became a synonym for freedom: freedom from the conventional sound of soul, polite behavior on the mic, and three-piece suits as appropriate attire. As George Clinton sang on Funkadelics 1978 One Nation Under a Groove, funk was a way out of your constrictions.
In its time, funk became deeper than just the music, transforming into a movement that represented everything from blowout kits to double-knits, Afro-Sheen to gangster lean and the way brothers bopped to Bohannon to sisters dropped to their knees when dancing to Pick Up the Pieces. Although funk music played year round, it was during the steamy summer months that it really came alive. I attended my first funk concert in the summertime, when Graham Central Station played Pittsburgh. At the time Graham, who years later would become a mid-life mentor to Prince, had been literally chased away from his position as bassist for Sly & the Family Stone, and was determined to do his own funky thang.
Marveling at a massive crowd that resembled extras from a Blaxploitation movie, I listened carefully to Larry Graham playing in his trademarked style, slapping the strings of his instrument like a maniac on songs like Hair and The Jam. That 1975 show was my first live funk experience and, I realized that night, was the best way to hear the music. Indeed, most funk sounded better and more intense when removed from the three-minute constrictions of then seven-inch disc formats.
Funk changed my life, says Detroit native and producer Ira McLaughlin, who in 1976 witnessed P-Funks iconic Mothership landing for the first time. In Detroit, we heard funk on the radio and we just wanted to belong. Like many of us growing up with funk, McLaughlin spent many hours grooving to music, drooling over the lusty photographs on the covers of Ohio Players albums and digging the bizarre alien sci-fi dreams of Pedro Bells acid fueled P-Funk album covers.
Producer Brian Bacchus, who has worked with Norah Jones and Gregory Porter, grew up a New York City kid tuned into the funk. I was heavily into the Brooklyn-based Mandrill back in the early Seventies, but radio killed off funk a long time ago, he says. With a few exceptions, like Prince or the Isley Brothers, guitars began to mostly fade from Black radio in the Eighties.
According to Bacchus, the funk movement of the Seventies was a perfect storm of social climate and musicianship that many young people were first exposed to in public school. When music was taken out of the school system, the concept of forming a band became passé, Bacchus says.
While lately Ive been digging the sounds of Cali funkateer/ hip-hop producer Adrian Younge, whose Black Dynamite soundtrack made him perhaps the funkiest new school artist on the planet, for me the last great funk band was Tony Toni Toné. Comprised of Raphael Saadiq, DWayne Wiggins and Timothy Christian Riley, the Bay Area band were a trio of family members who emerged out of Oakland in 1988.
Oakland is the musical hometown of Tower of Power, the Pointer Sisters and Sly and the Family Stone, DWayne told me in 1994. Whenever you hear someone plunking the bass, you know they were influenced by Larry Graham. While not as raw as George Clinton or as innovative as Prince, these soul boys still bring the funk on Feels Good, My Ex-Girlfriend and others.
Priding themselves on coming from a funky town, Raphael Saadiq often bragged that when he was coming up, learning how to play an instrument was a rite of passage for Oakland boys. Players used to be the ones who got all the girls, Saadiq said. But once hip-hop started, rapping became more prominent than playing.
Indeed, as writer Erika Blount Danois explains, New music technologies made it cheaper to be a soloist than to start a band. If you could operate samplers, sequencers and drum machines, there was no real reason to start a group.
Citing the Ohio Players as her favorite funk group, Blount insisted that her children study traditional instruments. I had my kids taking private classes in piano and trumpet. It was expensive, but I felt it was worth it.
UCLA professor Scot Brown says, Its not that funk artists dont exist anymore, its just that the record companies dont see Black bands as a sacred unit anymore. Everywhere I go I see bands, but Black music industry executives are trying to find the next Chris Brown or Beyoncé.
Currently living in Atlanta, he is working on a book about Dayton, Ohio funk bands like Bootsys Rubber Band and Slave. These days, you could look at Jay Leno or David Letterman and see all kinds of White groups you never heard of, but the same cant be said for Black bands, Brown says. The diversity of the Black community is no longer reflected in popular music.
In the last two decades, funk music has continued to flounder. But there have been a few revivalists that tried to breathe new life into the genre, under the tremendous talents of DAngelo, drummer/producer Questlove, producer James Poyser, Erykah Badu and others. Currently working towards finishing DAngelos decade-plus-in-progress third disc, Questlove has described the project as A true funk album. For the love of the funk, I hope hes right.
Cultural critic Michael A. Gonzales has written cover stories for Vibe, Uptown, Essence, XXL, Wax Poetics and elsewhere. He's also written for New York and The Village Voice. Read him at Blackadelic Pop and follow him on Twitter @gonzomike.
Electric purgatory: The fate of the black rocker. I thought it was pretty good. It’s a tremendous shame, in my opinion.
Rap killed the Funk.
Simple. Funk died or morphed into something else as do many musical genres.
Last week I saw a claim that racists like Sean Hannity killed Motown music but it really just died a natural death. In fact if anyone was making traditional Motown music today, it would be 50 and 60 somethings buying it.
There’s still some good and not so good music coming out of Detroit. Some of the biggest names in the world have come out of Detroit like Madonna. More modern names would be Kid Rock, Uncle Kracker, Jack White and even Eminem.
I’ve always had a real love for funk and soul music. Sly and The Family Stone, George Clinton, Marie Queenie Lyons, Earth Wind and Fire etc. It’s a shame that it’s almost nonexistent in the current musical trends. Those old funk acts were far more musically talented than the auto-tuned crud that makes up so much of the top 40 these days.
BTW, on a completely random note: I always thought “Soulfinger” by the Bar-Kays would make a great personal themesong. I mean, wouldn’t it be great if everytime you walked into a room, the opening horns to that one started playing?
Leftism killed funk and Motown. When the Left co-opted black youth into thinking their way about things, the decline began.
The death of horn sections killed funk. It’s a complex music structure and modern music is simple. Also spawning off disco didn’t help it much. But in the end it was always a fringe type. There’s still some out there, Janelle Monae is doing some good funk. Plus of course the old farts are still cruising around.
How did How did Sean Hannity kill Motown? It faded out before anyone knew who he was? Even though Motown went for another decade, I think Berry Gordy moving it to L.A. damaged it. And rap.
And of course in one of the great jokes of the music business GFR was a blues/ hard rock band, not sure there’s a note of funk in their catalog.
Rap crap killed it. I used to love funk in the 70’s.
“Rap” killed music.
Alfonzo Rachael’s (Machosauce) band has a heavy metal/funk sound to some of it.
If you can’t read/write music or play an instrument, you end up with rap.
Just another predictable consequence of liberals in charge of education and government.
I miss the Motown Sound.
Just like hair metal in the 80s, it became a parody of itself and collapsed for lack of anything new. Same cycle many genres go through. But the magical power of retro rexposes it to an all new audience and the nostalgia for something they never knew starts the ball rolling again.
I didn't realize Sean Hannity had so much influence. He was born at the end of 1961, so since the "Motown sound" faded in the early 1970's, he apparently killed it when he was in grade school and junior high.
Dunno, but 'twas a righteous kill.
I didn’t know Zo had a band. That dude is talent personified.
Dude. That needs a do not scroll warning.
This Halloween, let’s go as Bootsy Collins impersonators.
Autotune killed all music.
The Dave Matthews Band flirts with it.
Those who actually pay attention know that funk evolved into disco for the most part - when disco became popular, the touring economy for funk died quickly.
Hip hop and go go retained more of funk's sensibility, but disco was what dominated until the mid-80s.
Hip hop preserved funk and jazz funk for the next generation by sampling and curating it.
This tune “Divine Battery” has a whole range of musical sounds to it.
Love Funk till play all the stuff from the 70’s almost every day
Amen sista or brother
Love the funk. But there’s a lot of great music that’s not being made anymore, I think. I mean where are the great rock bands, like Zeplin,the Allman Brothers, the Eagles? Who is like that now? It seems to me that popular music is all rap or crap these days, but maybe I’m just o.l.d.
Here’s a good one out of Detroit. I think most people would be shocked at some of the music still coming out of that town. Fiddles?
See post 32. Its got a 70s sound that you don’t hear much these days.
You rarely heard funk on top 40 radio in the 70s or 80s. Maybe a white act like K.C. and the Sunshine Band. But a generation later everybody was sampling it. Hell, Snopp Dogg built an entire career off "Atomic Dog". I hope George Clinton got a taste of that ( but I'm sure he didn't).
I will check that out ASAP. Watching TV with hubby now, so I can’t rock out at this time!
I love Eminem, btw, I think he’s practically a genius.
I about wore out a cassette copy of One Nation Under A Groove recently in my old BMW recently. It was my commute soundtrack for about a month and a half.
I think Jamiraquai is doing something like funk, although it’s almost too sophisticated to be funk:
But they have live drums, a very funky bass player (you can tell he’s funky because YouTube is full of videos of people copping his bass lines), a horn section, and a funky guitar player. And it’s obvious they’ve listened to a lot of funk. So the elements are there.
I like that they’re doing heavy music but the drummer uses a traditional jazz grip.
The drummer is Machosauce. (Alfonzo Rachael) and he can beat the hell out of some drums.
Great dance song....this is from 99?
Same here, but I loved all of the popular music of the 70s. There aren't a whole lot of artists who can hold a candle to the art of that era.
The stuff my kids listen to, makes my hair hurt.
See YouTube for the old Sam Kinison commentary on why rap "singers" all grab their crotches.
I saw George Clinton and P-Funk at Woodstock in the 90’s. Was one of the highlights of the weekend. Great performer(s).
Definitely a great dance song. And yeah from 1999 although I think they’ve got some more recent albums, and I know they’re still around touring because I saw a recent video on YouTube.
Rap killed and murdered most good music. Listening to any music from the late 60’s through the 70’s brings back great memories and a good deal of sadness. Sadness for the huge talent that could have been. Listen to Marilyn McCoo of the 5th Dimension, or Valerie Simpson. The depth of the God given talent. Who has taken up the mantle?
Can any contemporary artist even come close to the deep tones of Larry Graham or the high notes of Philip Bailey? How many rap songs have the staying power of After the Love has Gone or Reasons? None. Will any be remembered in a year? Doubt it. But they can all rhyme and come up with stupid nicknames.
George Benson singing along with his guitar. Awesome.
I love some old late seventies funk, P-Funk in particular. I’ve met George Clinton, run into him numerous times, he lived here, may still.
Aquaboogie was my favorite, it sequed into so many styles and back again, overlaid with that whole wild cross between psychedelia and comicbook sendup. Can’t find a good YouTube or I’d post it. Didn’t translate well live, the rest are modern efforts at remix that lose what appealed to me about the studio original.
If you are curious and find the unmolested studio track somewhere online, bear with it for a little while, the intro is the least interesting part, it settles in about a minute or so into the song.
Black music was great music... until (C)Rap came along in the ‘80s. :-(
LOVE Earth Wind & Fire. Feelin’ a need to get the funk out of the attic!
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