Funk 10778 225359047 2008-07-13T07:40:12Z Roadstaa 6880161 {{for|other uses, including related musical genres}} {{portal|R&B and Soul Music}} {{Infobox Music genre <!-- See Wikipedia:WikiProject_Music_genres --> | name = Funk | color = orange | bgcolor = black | stylistic_origins = [[Soul music]] with a more pronounced beat and influences from [[Rhythm and Blues]], [[Jazz]] and [[Psychedelic rock]] | cultural_origins = mid to late 1960s US | instruments = [[Guitar]] - prominent [[Bass guitar|Bass]] - [[Drums]] - [[Horn section|Horns]] - Keyboards ([[Hammond organ]], [[Clavinet]], [[Synthesizer]]), [[Rapping]] | popularity = High in the 1970s, later revival of funk beats in metal and hip hop beginning in the mid 1980s | derivatives = | subgenrelist = List of soul music genres | subgenres = [[Go-go]] - [[P-Funk]] - [[Deep Funk]] | fusiongenres = [[Afrobeat]] - [[Funk rock#Funk metal|Funk&nbsp;metal]] - [[Funk rock]] - [[Funk rock#Funkcore|Funkcore]] - [[G-Funk]] - [[Funk rock#Punk-funk|Punk&nbsp;funk]] - [[Jam bands]] - [[Jazz Funk]] - [[Acid Jazz]] | regional_scenes = | other_topics = [[List of funk musicians|Musicians]] }} '''Funk''' is an [[United States|American]] [[Music genre|musical style]] that originated in the mid- to late-1960s when [[African American]] musicians blended [[soul music]], [[soul jazz]] and [[R&B]] into a [[rhythmic]], [[dance]]able new form of music. Funk de-emphasizes [[melody]] and [[harmony]], and brings a strong [[rhythm]]ic groove of electric bass and drums to the foreground. Unlike [[R&B]] and soul songs, which had many chord changes, funk songs are often based on an extended [[vamp (music)|vamp]] on a single [[chord changes|chord]]. Like much of African inspired music, funk typically consists of a complex [[Groove (music)|groove]] with rhythm instruments such as [[electric guitar]], [[bass guitar|electric bass]], [[Hammond organ]], and [[drums]] playing interlocking rhythms. Funk bands also usually have a [[horn section]] of several [[saxophone]]s, [[trumpet]]s, and in some cases, a [[trombone]], which plays rhythmic "hits". Influential [[African American]] funk performers include [[James Brown (musician)|James Brown]], [[Sly and the Family Stone]], [[George Clinton (funk musician)|George Clinton]] and [[Parliament-Funkadelic]], [[Curtis Mayfield]], [[The Meters]], [[The Funk Brothers]], [[Bootsy Collins]], and [[Prince (musician)|Prince]]. Notable 1970s funk bands included [[Earth, Wind & Fire]], [[Tower of Power]], [[Average White Band]], [[The Ohio Players]], [[The Commodores]], and [[Kool & the Gang]] though many of these most famous bands in the genre also played disco and soul extensively. Funk music was a major influence on the development of 1970s [[disco]] music and funk [[sampling (music)|samples]] are used in most styles of [[house music]] and [[hip hop music]], and it's also the main influence of [[Go-Go]]. Funk even left its mark on [[New Wave (music)| New Wave]], and its pulse was evident in [[post punk]] as well. == Characteristics == Funk creates an intense [[Groove (popular music)|groove]] by using strong [[bass guitar]] riffs and bass lines. Funk was built on [[Motown]] recordings,{{Fact|date=May 2008}} which put bassists such as [[James Jamerson]] to the forefront. Like Motown recordings, funk songs used bass lines as the centerpiece of songs. Notable funk bassists include [[Bootsy Collins]], [[Bernard Edwards]], [[George Porter, Jr.]], [[Louis Johnson (bassist)|Louis Johnson]] and [[Larry Graham]] of [[Sly & the Family Stone]]. Graham is generally credited with inventing the percussive "[[Slapping|slap bass technique]]." Slap bass' mixture of thumb-slapped low notes and finger "popped" 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 (musician)|James Brown]], [[George Clinton (funk musician)|George Clinton]] and [[Prince (musician)|Prince]]. Sometimes 1970s funk bands are divided to "hardcore funk" and "sophisticated funk", former concept referring to earthy sound in a vein of James Brown or Funkadelic while "sophisticated funk" refers to artists such as Earth, Wind & Fire or Brothers Johnson who use softer sounds and fill their albums with soul ballads. 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 dizzying and complex rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord [[vamp]]s with little harmonic movement, but with a complex and driving rhythmic feel. The chords used in funk songs typically imply a [[dorian mode|dorian]] or [[mixolydian mode|mixolydian]] [[musical mode|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 1970s recordings by [[Miles Davis]] and [[Herbie Hancock]]. In funk bands, guitarists typically play in a percussive style, often using the [[Wah-wah pedal|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 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 == === Origin of funk === {{wiktionarypar|funk}} The word "funk", once defined in dictionaries as body odor or the smell of sexual intercourse, commonly was regarded as coarse or indecent. African-American musicians originally applied "funk" to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm because of the word's association with sexual intercourse. This early form of the music set the pattern for later musicians.<ref>[http://www.bartleby.com/61/58/F0365800.html funk], [http://www.bartleby.com/61/63/F0366300.html funky] ''The American Heritage Dictionary of the English Language, 4th ed''. Boston: Houghton Mifflin, 2000. [http://www.bartleby.com/61/]</ref> The music was slow, sexy, loose, [[riff]]-oriented and danceable. ''Funky'' typically described these qualities. 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." 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. The distinctive characteristics of African-American musical expression are rooted in [[West Africa]]n 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 mid-1950s road band as being the first to put the funk in the rock n roll beat.<ref>[http://www.rockhall.com/inductee/little-richard]</ref>Following his 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. === James Brown and funk as a genre === By mid-1960s, [[James Brown]] had developed his signature groove that emphasized the [[downbeat]] – with heavy emphasis '''"on the one"''' (the first beat of every measure) – to etch his distinctive sound, rather than the [[back beat|backbeat]] that was familiar to many R&B and soul musicians.<ref>[http://www.anisman.com/steve/samd02.htm 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.</ref> 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 [[Syncopation|syncopated]] guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy [[Swung note|swing]]. This one-three beat launched the shift in Brown's signature funk music style, starting with his 1964 hit single, "[[Out of Sight (song)|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."<ref name=jbmusicstyle>Collins, W. (2002, January 29). [http://findarticles.com/p/articles/mi_g1epc/is_bio/ai_2419200141 James Brown.] ''St. James Encyclopedia of Popular Culture''. Retrieved January 12, 2007.</ref> 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.<ref name=jbmusicstyle/> Although "Papa's Got a Brand New Bag" and "Cold Sweat" were widely credited as the prototype songs that launched the funk genre, "Out of Sight" was the breakthrough hit that signaled the shift in Brown's sound to establish funk as a distinct genre.<ref>Jones, S. (2006, December 25). [http://www.usatoday.com/life/people/2006-12-25-brown-obit_x.htm "Godfather of Soul" James Brown dies at 73.] ''USAToday''. Retrieved March 27, 2007.</ref> 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."<ref name=nytimes>Pareles, J. (2006, December 26). [http://www.nytimes.com/2006/12/26/arts/music/26brown.html?pagewanted=2&en=aef74e8250526096&ei=5087&ex=1182920400&excamp=GGGNjamesbrown James Brown, the "Godfather of Soul" dies at 73.] ''The New York Times''. Retrieved January 31, 2007.</ref> 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.<ref name=fa_maceo>Gross, T. (1989). [http://www.npr.org/templates/story/story.php?storyId=6676990 Musician Maceo Parker (Fresh Air WHYY-FM audio interview).] National Public Radio. Retrieved January 22, 2007.</ref> Other musical groups picked up on the [[riff]]s, 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/rock n' roll era to have "funky" in the title. Meanwhile, on the [[West Coast of the United States|West Coast]], [[Charles Wright & the Watts 103rd Street Rhythm Band]] were releasing funk tracks beginning with their first album in 1967, culminating in their classic single "Express Yourself" in 1970. [[The Meters]] defined funk in [[New Orleans, Louisiana|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]]. === 1970s and P-Funk === In the 1970s, a new group of musicians further developed the "funk rock" approach innovated by [[George Clinton (funk musician)|George Clinton]], with his main bands [[Parliament (band)|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 singly 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]]": {{quotation|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. Other prominent funk bands of the period included [[Stevie Wonder]], [[The Brothers Johnson]], [[Earth, Wind & Fire]], [[Bootsy's Rubber Band]], [[The Meters]], [[Tower of Power]], [[Ohio Players]], [[The Commodores]], [[War (band)|War]], [[Kool & the Gang]], [[Confunkshun]], [[Slave (band)|Slave]], [[Cameo (band)|Cameo]], the [[Bar-Kays]], [[Zapp (band)|Zapp]], [[Johnny Guitar Watson]], and many more. George Clinton also 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. Already, in late 1960s, many jazz musicians &mdash; among them [[Horace Silver]], [[Herbie Hancock]] (with his [[The Headhunters|Headhunters]] band), [[Grover Washington, Jr.]], and [[Cannonball Adderley]], [[Les McCann]], and [[Eddie Harris]] &mdash; had begun to combine jazz and funk. Sometimes this approach is called "[[jazz-funk]]". Additionally, in the late 1960s work of [[Miles Davis]] (with girlfriend/wife [[Betty Davis]]) and [[Tony Williams]] helped to create [[Jazz fusion]] and influenced funk. 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, the Isley Brothers, Sly and the Family Stone, Ohio Players, 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 (Sly & the Family Stone song)|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 onslaught of Disco around the middle of that decade which remained hugely popular thru the early 80's. [[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 "Le Freak" by [[Chic]], included riffs or rhythms very similar to funk music. === 1980s and stripped-down funk === In the 1980s, 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 [[synthesizer|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 [[Rhodes piano|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 drummer]]s" of the past, and the [[slapping|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 entendre]]s 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 (album)|Street Songs]] with the singles "Give It To Me Baby" and "[[Super Freak]]" resulted in James becoming a bit of a rock star, and paved the way for the future direction of explicitness in funk. [[Prince (musician)|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 (musician)|James Brown]]. [[Prince (musician)|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 or [[The Beatles]]. [[The Time (band)|The Time]], originally conceived as an opening act for [[Prince (musician)|Prince]] and based on his "[[Minneapolis sound]]", hybrid mixture of funk, [[Rock music|rock]], [[Pop music|pop]], R&B & [[New Wave music|new wave]]. They went on to define their own style of stripped-down funk based on tight musicianship and sexual themes. Bands that began during the 1970s P-Funk era incorporated some of the uninhibited sexuality of [[Prince (musician)|Prince]] and state-of-the-art technological developments to continue to craft funk hits. [[Cameo (band)|Cameo]], [[Zapp (band)|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 music|Electro Funk]]", a minimalist machine-driven style of funk with his single "[[Planet Rock (song)|Planet Rock]]" in 1982. Also known simply as [[Electro music|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. === Recent developments === While funk was all but driven from the radio by slick commercial [[Rhythm and blues|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 (musician)|Prince]], [[Primus (band)|Primus]], [[Fishbone]], [[Faith No More]], [[Incubus (band)|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]], [[The Black Eyed Peas]], 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 (band)|Incognito]], [[Galliano (band)|Galliano]], [[Omar Lye-Fook|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 (Australian band)|The Truth]], preserved a more instrumental form of funk. Since the middle of the 80s [[hip hop music|hip hop]] artists regularly [[sampling (music)|sample]] old funk tunes. [[James Brown (musician)|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 (band)|Parliament]] and [[Funkadelic]] songs formed the basis of [[West Coast rap|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".<ref>http://www.musicstrands.com/artist/6599/biography</ref> [[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]], [[Soulive]], and [[Karl Denson's Tiny Universe]] all drawing heavily from the funk tradition. 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 Records|Daptone]], Timmion, Neapolitan, Kay-Dee, and Tramp. Bands include [[Sharon Jones & The Dap-Kings]], The Soul Destroyers, The Grits, [[Chris Joss]], Speedometer, The Poets of Rhythm, The Neapolitans, Quantic Soul Orchestra, [[The New Mastersounds]], [[Breakestra]], [[The Bamboos (funk band)|The Bamboos]] and Lefties Soul Connection. 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 [[Dance-punk|punk funk]] bands such as [[Out Hud]] perform in the [[indie (music)|indie music]] scene. Prince, with his recent albums has given a rebirth to the funk sound with songs like "[[The Everlasting Now]]", "[[Musicology (song)|Musicology]]" 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 (Beyoncé song)|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]]. ==Funk rock== '''Funk rock''' (also written as '''funk-rock''' or '''funk/rock''') [[Fusion (music)|fuses]] funk and [[rock music|rock]] elements.<ref>{{cite conference|last=Vincent|first=Rickey|title=Hip-Hop and Black Noise:Raising Hell|booktitle=That's the Joint!: The Hip-hop Studies Reader|pages=489-490|date=2004}} ISBN 0415969190</ref> Its earliest incarnation was heard in the late '60s through the mid-'70's by musicians such as [[Jimi Hendrix]], [[Frank Zappa]], [[Gary Wright]], [[David Bowie]], as well as [[Mother's Finest]], [[Faith No More]], [[The Doors]] with Soul Kitchen, released on their self-titled debut album, and [[Funkadelic]] on their earlier albums. ===Characteristics=== Funk rock is a fusion of funk and rock. Many instruments may be incorporated into the music, but the overall sound is defined by a definitive [[Bass guitar|bass]] or [[drum]] beat and [[electric guitar]]s. 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 (guitar)|distortion]]. ===History=== {{Unreferencedsection|date=June 2008}} [[The Yardbirds]], with [[Happenings Ten Years Time Ago]] (released in 1966) were the first well-known recording artist to combine the rhythms and riffs of early [[funk]] to [[psychedelic rock]] sound, followed by [[Jimi Hendrix]]. An early example is his song "Little Miss Lover" (1967). His live album ''[[Band of Gypsys]]'' features funky riffs and rhythms throughout (especially the song "Power of Soul") and his [[First Rays of the New Rising Sun|unfinished album]] also included a couple of funk-rock songs such as "Freedom", "Izabella", "Straight Ahead", and "Voodoo Child (Slight Return)", which many consider to have the funkiest opening riff of its era. Other pioneers of funk-rock evolved in the 1970s in the music of the [[United Kingdom|British]] rock-band [[Trapeze (band)|Trapeze]], [[The Rolling Stones]] ( [[Miss You]] & [[Hot Stuff]] ), [[Led Zeppelin]] ([[The Crunge]]) & singer [[David Bowie]] with his hit song "[[Fame (David Bowie song)|Fame]]". The Mark III & IV lineups of [[Deep Purple]] (with [[Glenn Hughes]] of Trapeze, [[David Coverdale]] of [[Whitesnake]] and [[Tommy Bolin]] of [[The James Gang]]) featured mature elements of funk in such songs as "Sail Away (Tomorrow)" and "Coronarias Redig", enough of which was believed to prompt the exit of guitarist [[Ritchie Blackmore]]. American artists [[Frank Zappa]] ("My Guitar Wants To Kill Your Mama" song and "[[Overnite Sensation]]" LP]], [[Steve Miller Band]] ("Flight Like An Eagle"), [[Gary Wright]] ("My Love is Alive", good example of early Synth-funk as well), along with bands like [[Graham Central Station]], [[Rufus]], [[Mother's Finest]], [[Funkadelic]] & the [[Isley Brothers]] ([["The Heat Is On"]] & [[3 + 3]] albums ) all experimented with the blending of Funk & Rock rhythms. The [[Big Boys]], Xavion(An Afro-American group whose Asylum/Mirage LP in '84 pre-dated [[Living Colour]]) & [[Rick James]] along with [[New Wave]] mainstays [[Blondie (band)|Blondie]] & the [[Talking Heads]] created their own sound mix of Punk Funk in the early 1980s. One famous funk rock song of the period was [[Another One Bites the Dust]] by British Rock icons [[Queen (band)|Queen]]. The genre's representatives from the late 1980s to present day include the [[Red Hot Chili Peppers]], [[Jane's Addiction]], [[Fishbone]], [[Primus (band)|Primus]], [[Living Colour]], [[Spin Doctors]], as well as [[Prince (musician)|Prince]] & spinoffs [[The Time]] & one hit wonders [[Mazarati]], who all have created, expanded and defined the Funk Rock style. In the early 1990s, several bands combined funky rhythms with Heavy Metal guitar sounds, resulting in "[[Funk metal]]", where the emphasis is in using much Heavier distorted guitar sounds in the mix. Funk Rock employs more of a lighter (crunch) distorted [[Guitar]] sound, and the musical emphasis tends to be more Beat driven with prominent [[Bass guitar|Bass]] lines, more rhythmic in the [[R&B]] sense. ===Subgenres=== ====Electro funk==== '''Electro funk''' is a hybrid of electronic (techno) and funk. ====Funkcore==== '''Funkcore''' is a [[fusion genre|fusion]] of [[hardcore punk]] and [[funk]] created in the 1980s. Hard, loud and fast [[guitar]]s are featured, but unlike in most [[rock music]], it does not overpower the [[Bass guitar|bass]], which is heavy and driving. [[Drum kit|Drums]] are often funk-influenced, but with intense [[hardcore punk|hardcore]]-styled pounding. [[Synthesizer]]s or [[horn section]]s sometimes make an appearance, although they are not integral. Examples of funkcore bands are Jungle Fever, [[Adequate Seven]], and [[Big Boys]]. ====Punk-funk==== '''Punk-funk''' (or ''funk-punk'') is a mix of [[Punk rock|punk]] or [[post-punk]] songs with [[funk]] elements, very similar to [[dance-punk]]. 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 (band)|Gang Of Four]] released their debut album, ''[[Entertainment!]]''. In the 1980s, bands such as [[Talking Heads]], [[Blondie (band)|Blondie]], [[Loose Ends]], [[E.S.G]], [[Rick James]], and [[The Clash]] made punk-funk become more famous. The style was revitalized by "The New [[New York]] [[Underground music|Underground]] Scene", such as [[The Rapture]], [[Radio 4 (band)|Radio 4]], [[Liars]], [[!!!]], [[Out Hud]] and [[LCD Soundsystem]] starting to mix their usual punk-funk with [[house music|house]], [[dub music|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.<ref>{{cite book|last= Scaruffi|first= Piero|title=A History of Rock Music, 1951-2000|year=2003|isbn= 0595295657|pages=475}}</ref> It typically incorporates elements of [[funk]] and [[heavy metal music|heavy metal]]. It features hard-driving [[heavy metal music|heavy metal]] [[guitar]] riffs, the pounding [[bass guitar|bass]] rhythms characteristic of [[funk]], and sometimes [[hip hop music|hip hop]]-style [[rhyme]]s into an [[alternative rock]] approach to songwriting. [[Faith No More]], [[Living Colour]], [[Rage Against the Machine]], and [[24-7 Spyz]] are such bands, as is [[Infectious Grooves]] or [[Suicidal Tendencies]] ([[Robert Trujillo]]'s bass work) == See also == * [[List of funk musicians]] * [[African American music]] ==External links== *[http://www.soulbible.blogspot.com Soul Bible - Looking back at some of the best funk singles of the 1980s] *[http://www.globalfunkradio.com Global Funk Radio- live funk station] *[http://www.newfunkradio.com NewFunkRadio] Interntet Radio with lots of Funk 45s and a request function == Notes == {{Reflist}} == References == * {{cite book | last = Vincent | first = Rickey | title=Funk: The Music, The People, and The Rhythm of The One | year=1996 | publisher=St. Martin's Press | id=ISBN 0-312-13499-1 }} * {{cite book | last = Thompson | first = Dave | title=Funk | year=2001 | publisher=Backbeat Books | id=ISBN 0-87930-629-7 }} * {{cite book | last = Wermelinger | first = Peter | title=Funky & Groovy Music Records Lexicon | year=2005 | publisher=- | id=ISBN 3-9522773-1-2 }} {{Funkmusic}} [[Category:American styles of music]] [[Category:Funk]] [[Category:Soul music genres]] [[Category:Rhythm and blues music genres]] [[als:Funk (Musik)]] [[bg:Фънк музика]] [[ca:Funk]] [[cs:Funk]] [[da:Funk]] [[de:Funk (Musik)]] [[et:Funk]] [[es:Funk]] [[eo:Funko]] [[fr:Funk]] [[fy:Funk]] [[gl:Funk]] [[ko:펑키]] [[hr:Funk]] [[id:Funk]] [[it:Funk]] [[he:פאנק (Funk)]] [[nah:Funk]] [[nl:Funk]] [[ja:ファンク]] [[no:Funk]] [[pl:Funk]] [[pt:Funk]] [[ro:Muzică funk]] [[ru:Фанк]] [[simple:Funk]] [[sk:Funk]] [[sr:Фанк]] [[fi:Funk]] [[sv:Funk]] [[th:ฟังก์]] [[tr:Funk]] [[uk:Фанк]]