Everything I do going to be Funky …
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Let’s begin Part III by revisiting New Orleans and refreshing ourselves at this wellspring of Funk. Here is hit maker Lee Dorsey singing our theme song. Dorsey is backed up by The Meters, who include Art Neville of the Neville Brothers on organ. The record is produced by prolific tunesmith Allen Toussaint. Yeah, he wrote this one too -- https://www.youtube.com/watch?v=I_DkZ-fHa5c
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All diaries in this series:
Link to Part I of the Funky Parade
Link to Part II of the Funky Parade
Link to Part III of the Funky Parade
Link to Part IV of the Funky Parade
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The transitional years between the 1960’s and 1970’s are too packed with political, cultural, and musical events to tackle in a closely chronological way, so I’m going to overlap a lot. This was a period when Funk and Soul Music were still topping the popular charts and generating lucrative airplay on FM Radio.
One factor to note in all of this music is the importance of the BASS! Bernard Odom made this formerly-reclusive instrument stand out in the arrangements of James Brown’s music, followed by Sylvester Stewart’s cousin Larry Graham ripping open the dimensional barrier holding it back with his slapping, plunking, and electronic-altering performances in Sly and the Family Stone. Almost every record mentioned in this essay was affected by Mr. Graham’s leadership and stylings, with only a few exceptions.
Behind the scenes, marketing departments were steadily re-segregating Black Music, Latin Music, Jazz, and Rock. Free-flowing Eclecticism was losing out to corporate consolidations, like the merger of Warner Brothers, Atlantic Records, and Elektra.
Motown Records maintained their place at the front of the Funk Parade, even after the company relocated to Los Angeles. Just before they did that, Marvin Gaye made masterful Funk like “What’s Going On” and “Inner City Blues,” plus Gladys Knight and the Pips soared to the top. During and after the move, Diana Ross became a mainstream star, and the amazing Jackson Five seemed to take over the teenage world. America’s great musical genius Stevie Wonder continued to grow in every way, and I’ve picked-out a fine bit of collaborative Funk called Superstition, which was created in Motown’s studios with English guitar wizard Jeff Beck -- https://www.youtube.com/watch?v=aoraAsnW03Q
Sly Stone made one more masterpiece with the album Fresh, but the old Family Stone broke up and never re-formed due the well-publicized stresses brought on by his mental illness. Larry Graham led his own Graham Central Station on the road, and they were successful indeed, as thousands came to see the greatest bass player in Popular Music. Santana kept producing Funky Jazz out of San Francisco’s fertile music scene, and were joined on the road, and on the air, by Tower of Power. Both groups carried on for decades. (A group called War broke out of California, making Latin-flavored Funk throughout the Seventies too.) An unlikely star arose from the gender-bending Cockettes, who performed lunatic extravaganzas onstage at the Palace Theater above San Francisco’s Chinatown. His stage name was simply Sylvester, and he lived to entertain. His first album, “Sylvester and the Hot Band,” attracted some mainstream ears in the Glam Era and featured some scathing Funk, like his arrangement of Neil Young’s Southern Man -- https://www.youtube.com/watch?v=Ns5jhTiKmuM
Jazz Fusion steadily raised the artistic and technical levels of Funk. Joe Sample, George Benson, and Grover Washington Jr. are only a few examples out of many. Herbie Hancock was an unquestionable star in his own right, exploring electronic keyboards in addition to his masterful piano stylings. He created another highly-influential Funk standard called Chameleon with his innovative Headhunters band – https://www.youtube.com/watch?v=WYRrIBqKsJ4
The art of Funk wasn’t always Down & Dirty, or even Jazzy -- Sophisticated Soul never gave an inch when competing for its place in Pop Music. Memphis studio arranger Isaac Hayes remade himself as a romantic singer and bandleader. Few records have made bigger waves than his soundtrack to the movie “Shaft.” Chicago’s musical powerhouse Curtis Mayfield might be accused of following Hayes by writing the “Superfly” soundtrack, but he was a masterful songwriter and performer with a hard-won social outlook, and he used it thoughtfully, with great success.
Listen to (Don’t Worry) If There’s A Hell Below We’re All Going To Go -- https://www.youtube.com/watch?v=lcmwRyY-f84
On the Romantic front, Barry White of Los Angeles was equally successful with his “Love Unlimited” orchestra. Another Memphis entrepreneur named Al Green claimed his own place as king of his own high hill with an astounding string of quality recordings. I’ve selected the Gospel-flavored Take Me to the River because I love it, and had to make a decision -- https://www.youtube.com/watch?v=Pmn2KDiW-kE
Since we are standing on the shoulders of giants, it is time to meet Kenny Gamble and Leon Huff. These two gentlemen from Philadelphia took on and even beat Motown’s dozens of writer and producers in the 60’s and 70’s. Their most famous records epitomized the use of sophisticated string sections layered over lush horns, with rhythm anchored by James “Pretty” Purdy, and funky instrumentalists like wickedly smooth guitarist Bunny Siegler. Trombone prodigy Fred Wesley, of James Brown’s band, is quoted as saying: “They put a bow tie on the Funk …” Someone could create a phone book-sized volume just about the Philly Sound, but I’m going to put forth Billy Paul’s Me and Mrs. Jones as ONE solitary example of sinfully silky Funk -- https://www.youtube.com/watch?v=NYOQDnWFXYI
Time for a change in dynamics! Chicago Jazz master Ramsey Lewis never stood still in his career, and when his sidemen Young and Holt successfully went out on their own, one of his new-hires was drummer Maurice White. After a funky apprenticeship playing at the highest technical levels of African-American Music, White gathered his own Funk band together in the 1970’s and called them Earth, Wind, and Fire – fabulous singers, including Maurice White, hard-playing Jazz-Rockers, and one of the finest horn sections outside of Count Basie, whose band had been playing and teaching in Chicago for a generation. The long and short of their story is that they were among the five most popular bands in the entire world in an age when the elites of the music industry out-competed with Hollywood films. I’m turning the telescope on Shining Star -- https://www.youtube.com/watch?v=AZGYU_3HKts
The Seventies are known for MANY crazy fads, one of the most important, and notorious, relied on the template forged by Kenny Gamble and Leon Huff in Philadelphia. Discotheque was a French term from the Sixties that meant dancing to jukeboxes or DJ’s or both. The Sexual Revolution sparked an increase in urban clubs that featured this format, although the scene had remained popular in Europe and the so-called Third World during Rock’s ascendency. Danceable Soul, R&B, jazz, and Funk were the foundation of Disco. So here is Gamble & Huff’s Mothers, Fathers, Sisters, and Brothers expressing The Sound of Philadelphia, with England’s Three Degrees singing “People all over the world, it’s time to get down!” -- https://www.youtube.com/watch?v=-3nPLfG9gZY
Innovative bandleaders and producers created new records to feed this voracious new market, and one of the first was the massive worldwide hit “Rock Your Baby,” sung by African-American artist George McRae, but written and produced by white guys H. W. Casey (“KC”) and Richard Finch who would soon perform themselves in the monstrously successful KC and the Sunshine Band. England’s Barry & Maurice Gibb revitalized the career of the Bee Gees with absolutely great songs, driving rhythm tracks, and unique vocal stylings with Maurice’s twin Robin Gibb. The soundtrack album of “Saturday Night Fever” is pure Popular Funk, and was Number One around the world for years. Another item of importance is the fact that Disco was a racially-integrated art form – African-Americans Van McCoy and Nile Rogers shared the top spots with KC and Bee Gee alike. The burgeoning Disco scene owed very much to the Gay Community, and they were well represented by acts like Sylvester, wearing suits if you can believe it, and the Village People.
One greatest things that “Disco” did was showcase a range of fabulous woman singers from Gospel, Funk, Rock, and Soul – the list includes Donna Summer, Belita Woods of Brainstorm, Yvonne Ellman, Chaka Khan, and continues on for many typewritten pages. I am going to encapsulate this too-large subject with two representative hits:
Thelma Houston (from the extended musical family that gave us Dionne Warwick and Cissy Houston) gave a bravura vocal performance on Don’t Leave Me This Way from Tamla/Motown Records -– https://www.youtube.com/watch?v=4yiGi481w3k&spfreload=1
As an intentional “answer song” or not, Gloria Gaynor achieved perpetual fame by singing the brave and beautiful I Will Survive. “Go on now GO! Go out that door – just turn around, now. You’re not welcome anymore ...” https://www.youtube.com/watch?v=Tth-8wA3PdY
Another wonderful gift that Disco gave to Popular Culture was the de facto support of Funk, and African-American Music in general, on FM radio playlists and in record stores. Funk bands like Kool and the Gang, Harold Melvin and the Blue Notes, Philadelphia’s Spinners, and the Ohio Players, to name just a few, all benefited from the opportunities created by the demand for grooves that could feed the dancing beast shaking nightclub floors around the globe.
Casablanca Records, one of the biggest players in the Disco Game because of prolific Swiss musician Georgio Moeroder and his prodigy Donna Summer, wisely had a diversified lineup of acts – notably cacophonic Rock band Kiss, with their over-the-top stage show designed by Jules Fisher. They also signed George (Funkadelic) Clinton, who had re-formed Parliament, which incorporated horns, synthesizers, and concentrated more on dance grooves. Clinton continued to record Funkadelic on different labels, and formed new groups around his ever-growing band of bandleaders. We are going to begin with the politically-aware Chocolate City, featuring a sax solo by Maceo Parker, who toured with both James Brown AND Clinton for another fifteen years. This is also the start of Clinton’s productive songwriting team-up with bassist Bootsy Collins and keyboardist Bernie Worrell -- https://www.youtube.com/watch?v=TdDhV1U9B2I
During the 1970’s Parliament/Funkadelic was the most popular group among African-Americans in the USA, touring with an elaborate stage show designed by Jules Fisher that featured “Afro-nauts from the chocolate Milky Way, coming to reclaim the pyramids,” and the landing of a flying saucer-styled Mothership onstage, a couple of years before “Close Encounters of the Third Kind.”
George Clinton shares recognition with Sly Stone and James Brown as a master of Funk. His various bands contributed to his popularity too – especially Bootsy’s Rubber Band who charted as many singles as Clinton in those heady times. Nobody is obliged to watch this whole thing, but here is a link to an entire Mothership Connection set from 1976, with cameos by Sly Stone and Bootsy, who both appeared earlier in the evening. Collins and most of the Rubber Band had stayed onstage, though -- https://www.youtube.com/watch?v=CiTh8BQ4oVU&t=3681s
That will have to do for the Parliafunkadelicment Thing until Part IV, although it is only fair to drop a shorter piece here. I’ve always been extremely fond of One Nation Under A Groove -- https://www.youtube.com/watch?v=3WOZwwRH6XU
Black Music worldwide was stimulated by the success of Funk and its various forms. Nigeria’s Fela Kuti made a Jazz-Funk fusion that was all his own, for one instance, and Hugh Masakela would eventually move to Botswana to make music within earshot of his native country of South Africa. In anticipation of Michael Jackson’s seminal collaboration with yet-unmentioned, but barrier-shattering Quincy Jones, here is Africa’s first major international hit single: Soul Makosa by saxophonist Manu Dibango -- https://www.youtube.com/watch?v=o0CeFX6E2yI
Jamaica’s quirky and original Reggae rhythms won the heart of the world – most of all, the music of gifted songwriter and singer Robert Nesta Marley. Reggae is definitely a first cousin of Funk, and the “family resemblance” is strong in his jam Livey Up Yourself, featuring the crushing bass of Carlton “Family Man” Barrett. When I heard this mighty riff pounding out of an auto mechanic business in a lily-white neighborhood of Amsterdam, Netherlands, I knew that Bob Marley was truly a superstar -- https://www.youtube.com/watch?v=EHk5UEqkseY
Great Britain isn’t especially known for Funk, but it was well-loved and done well by the aforementioned Three Degrees, and the Average White Band among others. (I lived there and witnessed these things in the 70’s.) Pop Rock producer Mickie Most had the guts to step up and promote a team of Black artists called Hot Chocolate, and they delivered for him on the charts. My favorite by this group is this fabulous chunk of Electro-Funk called Every 1’s A Winner – CRANK IT UP -- https://www.youtube.com/watch?v=dTev_FDh_Ik
The beloved George Duke has been gone from the world for awhile now, but Frank Zappa’s loss was Funk’s gain as he went on to a long productive career of his own. I Love the Blues, She Heard My Cry was just about the first recording he released after leaving the Mothers of Invention, and I’ve made a link to a YouTube playlist for those who wish to hear single songs off this album (May be interrupted by a commercial or two.) -- https://www.youtube.com/watch?v=1VTPV6MqxYo&index=1&list=PL8lMIc-lyQxgFkpIbCf--iJw0ccaRcBLt
As we reach the nexus of Seventies and Eighties, I wish to stress that Funk and Disco retained their popularity until the whole Music Industry suffered a massive implosion, largely due to financial shenanigans on the road and in corporate offices. The shameful “Disco Sucks” debacle in Chicago might have been a warning for smug producers to use more than just one backing track, in part, but it was more symptomatic of the reactionary bone-headedness that put Reagan in the White House.
Chuck Brown and the Soul Searchers were stalwarts of Black Music in Washington D.C. and vicinity. They played straight-up Funk, as Brown caressed his fine guitar and sang soulfully, ala’ George Benson, but the use of multiple percussionists led to their style being labeled “Go Go.” My friends Greg Boyer, Greg Thomas, and Benny Cowan were Chuck Brown’s horn section at a later time, that is, when when they weren’t gigging with the Gap Band or George Clinton and the P-Funk All-Stars. Bustin’ Loose was an international hit at the crest of the Popular Funk wave, and I’ve linked to a playlist containing the whole album again. (Beware of brief commercials!) However, I’m directly linking to IF IT AIN’T FUNKY, DON’T YOU KNOW IT AIN’T MUSIC NOW -- https://www.youtube.com/watch?v=SqHSU0pWCOw&list=PLDs-sclSJJDNf4HaLwC26--VVr5lCkPei&index=3
Part IV will complete my series of essays, but there are a couple of giant figures to deal with before I’m done, namely Prince Rogers Nelson and Michael Jackson. I’ll touch on Acid Jazz, House, and Hip Hop, but spend more ink on the P-Funk revival, cemented by their tours with Lollapalooza.
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Mea Culpa and Addenda:
In Part II, I promised to write about the Isley Brothers in Part III, but forgot. I also missed describing James Brown’s rhythmic trick known as “The One,” so here goes …
Condensed from Wikipedia: The Isley Brothers from Cincinnati, Ohio, were originally a vocal trio consisting of brothers O'Kelly Isley, Jr., Rudolph Isley and Ronald Isley. The group came to prominence in 1959 with "Shout", written by the three brothers. The song eventually sold over a million copies. Afterwards the group recorded for a variety of labels, including the top 20 single, "Twist and Shout" and the Motown single, "This Old Heart of Mine (Is Weak for You)" before recording and issuing the Grammy Award-winning hit, "It's Your Thing" on their own label, T-Neck Records. The inclusion of younger brothers Ernie Isley (lead guitar, drums) and Marvin Isley (bass guitar), and Rudolph's brother-in-law Chris Jasper (keyboards, synthesizers) in 1973 turned the original vocal trio into a self-contained musical band. For the next full decade, they recorded top-selling albums …
Wikipedia doesn’t mention one of my favorite obscurities by the Isleys, which was re-done by a Beatle-esque group of young white men in 1967. It was a reasonably pleasant upbeat hit with a fashionably sustained yet restrained guitar solo, called Nobody But Me.
In the original version of Nobody But Me, circa 1962, Ronald Isley is NOT restrained in the least, and neither is the band — NO NO NO … NOBODY CAN DO THE TWIST LIKE I DO — https://www.youtube.com/watch?v=UhPYLY0jsTI
One of their most important songs from the Golden Years of Funk is the street anthem Fight the Power, which still speaks to our society, and that I hope to revisit in Part IV — https://www.youtube.com/watch?v=wO2ebiuV3hU
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I am no musician, but I understand “The One” as not only being the initial downbeat of a song, but also a designated downbeat at certain intervals where all the parts for different instruments and singers come together. As used by James Brown and P-Funk, it helps create a state of hypnosis in the audience, and re-energizes a crowd like a flywheel.
Funkadelic’s song Knee Deep requires vocalists to sing in 3/4 time while the instruments play in 4/4 time. Everything comes together at the twelfth beat, and then starts again. There’s a soft hissing crash cymbal that signals The One. This jam can occupy a half hour or more in concert, but I’ve linked to a 5 minute recorded version — https://www.youtube.com/watch?v=3sACN0_Rc_8
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All diaries in this series:
Link to Part I of the Funky Parade
Link to Part II of the Funky Parade
Link to Part III of the Funky Parade
Link to Part IV of the Funky Parade
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