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Funk
Stylistic origins Soul music with a greater emphasis on beats, influences from rhythm and blues, jazz music and psychedelic rock
Cultural origins Late 1960s,[1] United States
Typical instruments Bass guitar - Electric guitar - Drums - Keyboards (hammond organ, clavinet, synthesizer) - Horns
Mainstream popularity High in the 1970s, later revival of funk beats in metal
Derivative forms Disco - Hip hop - Electro music - Electropop - Contemporary R&B - Broken beat
Subgenres
Go-go - P-Funk - Deep funk - Nu-funk
(complete list)
Fusion genres
Afrobeat - Funk metal - Funk rock - Funkcore - Jazz Funk - Acid Jazz - G-funk - Punk funk - Funky house - UK funky - Discofunk - Grunk
Other topics
Musicians

Funk is an American music genre that originated in the late 1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music. Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. Funk songs are often based on an extended vamp on a single chord, distinguishing it from R&B and soul songs centered around chord progressions.

Like much African-inspired music, funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic "hits".

Many of the most famous bands in the genre also played disco and soul extensively. Funk music was a major influence on the development of disco music, and funk samples were present in most styles of house music and early hip hop music. It is also the main influence of go-go.

Contents

Etymology

The word funk basically refers to a strong, generally offensive odor. It is alleged to have its semantic roots in the smell of tobacco smoke and was commonly regarded as coarse or indecent. African-American musicians originally applied the term to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm, as it implies a bodily or gritty quality. This early form of the music set the pattern for later musicians.[2]

The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities rather than a distinct genre. In jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank ("stink"/funk) on it!" At least as early as 1907, jazz songs carried titles such as Buddy Bolden's "Funky Butt."[3] As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of Soul music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word "funky" to explain to other musicians that their music should be made more syncopated and danceable."[4]

Characteristics

Funk creates an intense groove by using strong bass guitar riffs and bass lines. Like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap bass' mixture of thumb-slapped low notes and finger "popped" (or plucked) high notes allowed the bass to have a drum-like rhythmic role, which became a distinctive element of funk. Some of the best known and most skillful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince. Some 1960s/70s funk bands are Kool & The Gang, Tower Of Power, Earth, Wind & Fire, The Blackbyrds, The Ohio Players, or The Brothers Johnson.

Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel.

The chords used in funk songs typically imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (On The Corner) and Herbie Hancock (Head Hunters).

In funk bands, guitarists typically play in a percussive style, often using the wah-wah sound effect and muting the notes in their riffs to create a percussive sound. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrix's improvised solos. Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.

History

The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.

James Brown and others have credited Little Richard's saxophone-studded, mid-1950s road band as being the first to put the funk in the rock'n'roll beat.[5] Following his temporary exit from secular music to become an evangelist, some of Little Richard's band members joined Brown and the Famous Flames, beginning a long string of hits in 1958.

Background

Late 1960s: invention of funk by James Brown

James Brown, one of the founding fathers of funk

By mid-1960s, James Brown had developed his signature groove that emphasized the downbeat – with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African American music.[6] Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hit, "Papa's Got a Brand New Bag".

Brown's innovations pushed the funk music style further to the forefront with releases such as "Cold Sweat" (1967), "Mother Popcorn" (1969) and "Get Up (I Feel Like Being A) Sex Machine" (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 ... [resembling] West African polyrhythms" -- a tradition evident in African American work songs and chants.[7] 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.[7]

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."[8] According to Maceo Parker, 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.[9]

Other musical groups picked up on the riffs, rhythms, and vocal style developed by James Brown and his band, and the style began to grow. Dyke & the Blazers based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record of the soul era to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1970.

The Meters defined funk in New Orleans, starting with their Top Ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who would define funk in the decade to come were The Isley Brothers, whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music, bridging the gaps of the rock of Jimi Hendrix and the upbeat soul of Sly & the Family Stone and Mother's Finest.

P-Funk and the 1970's

In the 1970s and early 1980s, a new group of musicians further developed the "funk rock" approach innovated by George Clinton, with his main bands Parliament and, later, Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock. The two groups had members in common and often are referred to collectively as "Parliament-Funkadelic." The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk," which referred to the music by George Clinton's bands, and defined a new subgenre.

"P-funk" also came to mean something in its quintessence, of superior quality, or sui generis, as in the lyrics from "P-Funk (Wants to Get Funked Up)" a hit single from Parliament's album "Mothership Connection":

I want the bomb. I want the P-Funk. I want my funk uncut.

The 1970s was probably the era of highest mainstream visibility for funk music. George Clinton played a masterminding role in Bootsy's Rubber Band and several other bands he put together, including Parlet, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate.

Funk music was exported to Africa in the late 1960s, and melded with African singing and rhythms to form Afrobeat. Fela Kuti was a Nigerian musician who is credited with creating the music and terming it "Afrobeat".

In the early 1970’s, when funk was becoming more mainstreamed, artists like Parliament Funkadelic, Rufus & Chaka Khan, the Isley Brothers, Sly and the Family Stone, Ohio Players, Labelle, Confunkshun, among others, were successful and getting radio play but according to Billboard Magazine, only Sly & the Family Stone had singles which made it to #1. In 1970 ‘Thank You (Falettinme Be Mice Elf Agin)’ hit # 1 as did ‘Family Affair’ in 1971 affording Sly and Funk crossover success and greater recognition unlike some of their equally talented but moderately popular peers before the arrival of Disco around the middle of that decade which remained hugely popular until the early 80's. Herbie Hancock starting with his 1973 "Head Hunters" album continued playing funk throughout his entire career. In fact, all of his 70's albums after "Head Hunters" were heavily influenced by Funk. It was the main driving force of Hancock's 70's music, most of it being instrumental. He was also one of the first big jazz artists to switch his sound to funk.

Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, for example "I'm Your Boogie Man" by KC & The Sunshine Band, "I'm Every Woman" by Chaka Khan also known as The Queen of Funk Soul, and "Le Freak" by Chic, included riffs or rhythms very similar to funk music.

1980s and stripped-down funk

In the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by electronic machines and synthesizers. Horn sections of saxophones and trumpets were replaced by synth keyboards, and the horns that remained were given simplified lines, and few horn solos. The classic keyboards of funk, like the Hammond B3 organ and the Fender Rhodes piano began to be replaced by the new digital synthesizers such as the Yamaha DX7. Electronic drum machines began to replace the "funky drummers" of the past, and the slap and pop style of bass playing were often replaced by synth keyboard bass lines. As well, the lyrics of funk songs began to change from suggestive double entendres to more graphic and sexually explicit content.

Rick James was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

Prince used a stripped-down instrumentation similar to Rick James, and went on to have as much of an impact on the sound of funk as any one artist since James Brown. Prince combined eroticism, technology, an increasing musical complexity, and an outrageous image and stage show to ultimately create a musical world as ambitious and imaginative as P-Funk. The Time, originally conceived as an opening act for Prince and based on his "Minneapolis sound", a hybrid mixture of funk, R&B, rock, pop & New Wave, went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

Bands that began during the P-Funk era incorporated some of the uninhibited sexuality of Prince and state-of-the-art technological developments to continue to craft funk hits. Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band all found their biggest hits in the 80s, but by the latter half of the 80s, funk had lost its commercial impact.

Afrika Bambaataa, influenced by Kraftwerk, created electro funk, a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single "Renegades of Funk" followed in 1983.

Funk became an international style of music, and is played by bands from such countries as Canada, the United Kingdom, France, Italy, Spain, Japan, Algeria, India, South Africa, Brazil, and Nigeria.

Recent developments

While funk was all but driven from the radio by slick commercial hip hop, Contemporary R&B and New Jack Swing, its influence continued to spread. Rock bands began adding elements of funk to their sound, creating new combinations of "funk rock" and funk metal. Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Fishbone, Faith No More, Infectious Grooves, Incubus and Rage Against the Machine 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 Outkast, Malina Moye and Van Hunt.

In the 1990s, artists like Me'shell Ndegeocello and the (predominantly UK-based) acid jazz movement including artists and bands such The Brand New Heavies, Incognito, Galliano, Omar and Jamiroquai 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 Travelling without Moving sold about 11.5 million units worldwide. Meanwhile in Australia and New Zealand, bands playing the pub circuit, such as Supergroove, Skunkhour and The Truth, preserved a more instrumental form of funk.

Since the late 1980s hip hop artists have regularly sampled old funk tunes. James Brown is said to be the most sampled artist in the history of hip hop, while P-Funk is the second most sampled artist; samples of old Parliament and Funkadelic songs formed the basis of West Coast G Funk.

Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-Funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelic funk: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".[10] Digital Underground 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 "Sons of the P", as their second full length release is also titled. DU's first release, Sex Packets, was full of funk samples, with the most widely known "The Humpty Dance" sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.

Funk is a major element of certain artists identified with the Jam band scene of the late 1990s and 2000s. Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk. Medeski Martin & Wood, Robert Randolph & The Family Band, Galactic, Jam Underground, Diazpora, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the Jam band scene. Many members of the band including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. In April 2008, they released a new album entitled Rage!

Since the mid 1990s the nu-funk scene, centered around the Deep Funk collectors scene, is producing new material influenced by the sounds of rare funk 45's. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJ's, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien.

In the early 2000s, some punk funk bands such as Out Hud perform in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk in to their song "The Moneymaker" on the album Under the Blacklight. Prince, with his recent albums has given a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", and "Black Sweat".

Funk has also been incorporated into modern Urban Pop & R&B music by many female singers such as Beyoncé Knowles with her 2003 hit "Crazy In Love", Jennifer Lopez in 2005 with Get Right which samples Maceo Parker's Soul Power '74 horn sound, and also Amerie with her song 1 Thing.

Subgenres

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 Kool and The Gang, Ohio Players and Earth, Wind and Fire were making disco-influenced funk music.[11]

Funk rock

Funk rock (also written as funk-rock or funk/rock) fuses funk and rock elements.[12] Its earliest incarnation was heard in the late '60s through the mid-'70's by musicians such as Jimi Hendrix, Frank Zappa, Herbie Hancock, Gary Wright, David Bowie, as well as Mother's Finest, and Funkadelic on their earlier albums.[citation needed]

Many instruments may be incorporated into funk-rock, but the overall sound is defined by a definitive bass or drum beat and electric guitars. 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 distortion. Prince, Jesse Johnson, and Fishbone are major artists in funk rock.

Electro music

Electro music 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 TR-808. Vocoders are often used. Early artists include Herbie Hancock, Zapp (band), Afrika Bambaataa and Vaughn Mason & Crew.

Funkcore

Funkcore is a fusion of hardcore punk and funk created in the 1980s. Hard, loud and fast guitars are featured, but unlike in most rock music, it does not overpower the bass, which is heavy and driving. Drums are often funk-influenced, but with intense hardcore-styled pounding. Synthesizers or horn sections sometimes make an appearance, although they are not integral. Examples of funkcore bands are Jungle Fever, Adequate Seven, Dance Gavin Dance and Big Boys.

Punk-funk

Punk-funk (or funk-punk) is a mix of punk or indie rock songs with funk and disco elements, usually associated with the No Wave and post-punk movements of the 70's. Some times, the punk influence is replaced by an alternative rock influence. The first appearance of this subgenre was in 1979, when Gang Of Four released their debut album, Entertainment!. In the 1980s, bands such as made punk-funk become more famous. The style was revitalized by "The New New York Underground Scene", starting to mix their usual punk-funk with house, dub and hip-hop.

Funk metal

Funk metal (sometimes typeset differently such as funk-metal) is a fusion genre of music which emerged in the 1980s.[13] It typically incorporates elements of funk and heavy metal. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting.

G-Funk

G-Funk is a fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by Dr.Dre.

Funk jam

Funk jam is a fusion genre of music which emerged in the 2000s. It typically incorporates elements of funk and often exploratory guitar, along with extended cross genre improvisations; often including elements of jazz, ambient, electronic, americana, and hip hop including improvised lyrics.

See also

Notes

  1. ^ Presence and pleasure: the funk grooves of James Brown and Parliament, p.3
  2. ^ funk, funky The American Heritage Dictionary of the English Language, 4th ed. Boston: Houghton Mifflin, 2000. [1]
  3. ^ Who Started Funk Music, Real Music Forum
  4. ^ Obituary, The Guardian
  5. ^ Little Richard
  6. ^ Lessons in listening - Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White. (1998, January). Modern Drummer Magazine, pp. 146–152. Retrieved January 21, 2007.
  7. ^ a b Collins, W. (2002, January 29). James Brown. St. James Encyclopedia of Popular Culture. Retrieved January 12, 2007.
  8. ^ Pareles, J. (2006, December 26). James Brown, the "Godfather of Soul" dies at 73. The New York Times. Retrieved January 31, 2007.
  9. ^ Gross, T. (1989). Musician Maceo Parker (Fresh Air WHYY-FM audio interview). National Public Radio. Retrieved January 22, 2007.
  10. ^ Dr. Dre > Biography at MyStrands
  11. ^ Presence and pleasure: the funk grooves of James Brown and Parliament, p.4
  12. ^ Vincent, Rickey (2004). "Hip-Hop and Black Noise:Raising Hell". That's the Joint!: The Hip-hop Studies Reader. pp. 489–490.  ISBN 0415969190
  13. ^ Scaruffi, Piero (2003). A History of Rock Music, 1951-2000. pp. 475. ISBN 0595295657. 

References

  • Vincent, Rickey (1996). Funk: The Music, The People, and The Rhythm of The One. St. Martin's Press. ISBN 0-312-13499-1. 
  • Thompson, Dave (2001). Funk. Backbeat Books. ISBN 0-87930-629-7. 
  • Wermelinger, Peter (2005). Funky & Groovy Music Records Lexicon. -. ISBN 3-9522773-1-2. 

Source material

Up to date as of January 22, 2010

From Wikisource

Funk
by Robert W. Service
Collected in Rhymes of a Red-Cross Man

Funk

When your marrer bone seems 'oller,
And you're glad you ain't no taller,
      And you're all a-shakin' like you 'ad the chills;
When your skin creeps like a pullet's,
And you're duckin' all the bullets,
      And you're green as gorgonzola round the gills;
When your legs seem made of jelly,
And you're squeamish in the belly,
      And you want to turn about and do a bunk:
For Gawd's sake, kid, don't show it!
Don't let your mateys know it —
      You're just sufferin' from funk, funk, funk.

Of course there's no denyin'
That it ain't so easy tryin'
      To grin and grip your rifle by the butt,
When the 'ole world rips asunder,
And you sees yer pal go under,
      As a bunch of shrapnel sprays 'im on the nut;
I admit it's 'ard contrivin'
When you 'ears the shells arrivin',
      To discover you're a bloomin' bit o' spunk;
But, my lad, you've got to do it,
And your God will see you through it,
      For wot 'E 'ates is funk, funk, funk.

So stand up, son; look gritty,
And just 'um a lively ditty,
      And only be afraid to be afraid;
Just 'old yer rifle steady,
And 'ave yer bay'nit ready,
      For that's the way good soldier-men is made.
And if you 'as to die,
As it sometimes 'appens, why,
      Far better die a 'ero than a skunk;
A-doin' of yer bit,
And so — to 'ell with it,
      There ain't no bloomin' funk, funk, funk.


Wiktionary

Up to date as of January 14, 2010

Definition from Wiktionary, a free dictionary

See also funk

German

Etymology

Shorter form of Funke

Noun

Funk m

  1. radio

Simple English

Funk is a type of music from the United States that was developed the 1960s by African American musicians and singers such as James Brown, Sly and the Family Stone, George Clinton, and The Meters. Funk music emphasizes the rhythm of the music. Funk music mixes Rhythm and Blues music with soul music. Funk music is dance music.

Funk uses many rhythm instruments, such as electric guitar, bass guitar, drums, and electric organ. Funk bands also have a horn section, which includes several saxophone players, a trumpet player, and in some bands, a trombone player.

Contents

Role of the electric bass

In funk music, the electric bass has a more important role than in other styles of popular music. Many funk songs are based on a strong bass line (melody) played by the electric bass player. Well-known funk bass players include Bootsy Collins, Louis Johnson and Larry Graham of Sly & the Family Stone. Larry Graham invented a new style of electric bass playing called "slap bass technique." With this technique, the bass player slaps and plucks the strings to create a strong rhythm.

History

Late 1960s

The United States singer and musician James Brown was one of the first funk musicians. James Brown recorded a song in 1967 called "Cold Sweat", which is considered the first funk song. Other musical groups copied the rhythms and musical style developed by James Brown and his band. A band called The Meters played funk music in New Orleans. The Meters had hit songs such as "Sophisticated Cissy" and "Cissy Strut" in 1969. Another funk group, The Isley Brothers, had a hit song in 1969 called "It's Your Thing".

1970s

In the 1970s, a musician called George Clinton developed a new type of funk music with his bands Parliament and Funkadelic. Clinton's music mixed funk musical styles with jazz music and psychedelic rock. The term "P-Funk" is often used to describe the music played by George Clinton's bands. Other well-known funk bands from the 1970s included Earth, Wind & Fire, Tower of Power, and Kool & the Gang.

Funk music influenced later types of music such as disco. Some disco music hits, for example "Le Freak" by Chic, included funk music.

1980s

In the 1980s, funk music changed. Funk musicians began using electronic instruments such as synthesizer keyboards and electronic drum machines instead of electric bass, electric organ, trumpets, saxophones, and drums. Rick James had hits in the 1980s with funk songs such as "Give It To Me Baby" and "Super Freak." The band Queen had funk songs such as "Another One Bites The Dust." The musician and singer Prince had hit songs.

Some major names of early 80s funk include: Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band.

In the later 1980s, two new styles of funk developed called "funk rock" and funk metal. These styles of music mixed funk music with rock and metal music. Funk rock and funk metal bands include Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Fishbone, Faith No More and Rage Against the Machine.

Funk music influenced 1980s hip hop music. Many hip hop musicians use funk songs by James Brown or George Clinton to compose new hip hop songs.

1990s and 2000s

In the 1990s and 2000s, funk rock bands included Outkast, The Black Eyed Peas, and Van Hunt. As well, 1990s and 2000s hip hop musicians continue to use funk songs by James Brown or George Clinton to compose new hip hop songs.

Further reading

  • Vincent, Rickey (1996). Funk: The Music, The People, and The Rhythm of The One. St. Martin's Press. ISBN 0-312-13499-1.
  • Thompson, Dave (2001). Funk. Backbeat Books. ISBN 0-87930-629-7.

Typical funk bands and musicians








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