Funk Down

I posited that it is possible to have a groove without "funkyness", as the groove is more of an element of space and breath in a passage. The funk, by contrast, is often the opposite, relying on synchopation of numerous parts to establish the rythmic stew. The example, to be exact, was Infectious Grooves, and their style of music.

Yeah. You got these guys that come into guitar center and pickup a bass and slap like a devil. Its impressive,but its not funky. Its more like a typewriter. Then you see some dude across the room saying "holy shit thats funky".

Funk Down

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Some of the best funk I have heard is actually on an old Herbie Hancock live album called something like 'Herbie Hancock Live VSOP'. Anyone know the album I am referring to? I haven't heard it in years, and would like to have it again on CD.

It its blues,R&B,pop,rock,metal,funk,etc,its gotta groove. If something doesn't groove,it doesn't even have a chance to be funky. Funk is more of a specific thing. SOmething has to be big on 1 and its gotta have some synchopation. Someone said "implied 16th feel". Thats important. I think its a give and take thing. If something is going to be rhythmically busy,something else has to be really simple. Like if you have ever noticed how early funk in the 60's had the drums carrying the cool funky 16thish thing and the bass was simple. THen,into the 70's things became the opposite for the most part. Simple straight drums with a synchopated funky bassline. Both worked. Of course none of this really applies to Tower of POwer. Who knows why and how the hell that works. Who knows. I'm just blabbering. I think Quinn summed it up pretty well.

That's one of my favorite CD's, as it features the incredibly funky rhythm section of Paul Jackson and Mike Clarke. They do things with the beat on this CD that truly defy explanation - some of the most syncopated funky stuff you will ever hear.

"Funk" is a style; perhaps even a sub-category or sub-genre of music. Groove is an elemenmt of music present in all categories and genres (or at least it should be!) Groove is the interaction beteeen the players within the rhythmic pulse of the music. Music need not be "funky" to groove. Rock grooves, when played well, folk music grooves, as does bluegrass, jazz and even classical music. A groove can be loose; contarcting and expanding to the players interaction, or it can be tight and precise and mechanical.

Now, funk, on the other hand is a style of music which is born from elements of the groove. Funk is defined by its strong dedication to "the one" and the emphasis on off beat accents. No, it is not all about 16ths. In fact some of the funkiest lines have nary a 16th note played in them. Yet, it is important that the rhythm be counted in 16ths even if the played durations are eigths and quarters. This allows for articualtion of the very neccessary "ee's" and "a's" which make funk work.

And no......funky is not slapping a line inwhich every possible 16th note is filled. In fact, slapping alone doth not make funk. We have somehow connected slap technique with funk, and so when people hear the "thwack-ity thwack-ity" slap playing it becomes equated with "funky". Yet, if you pay close attention to funk lines, you will find, even in slapped lines, that the "funkiness' is had through the punctuations of silence within the line. Which is to say, "it ain't the notes you play, but the ones you don't which matter the most".

Funkiness is not created by a single instrument, but rather by the interaction 'tween all the instruments which creates that certain rubbery groove which immediately causes the faces of listeners to contract into that "what is that smell?" expression which signifies true funkiness.

So, here we have it: 16th note counts (tho not neccesarily 16th note laden playing), well placed rests and offbeat punctuations, careful listening, interaction and attention to the "one", and a certain quality of laying back on the beat (even when other instruments...esp. guitars and/or horns..are playing up on top of the beat). At times the further one trails off the beat the more "funkier" the groove becomes.

I would say that funk is more a style of music. Any style, however, can have a good groove. Some, granted, are hard to groove with ie. polka. Reggae definitely has a groove even when it is not funky.

It's hard to assign specific definitions to words like Groove and Funk. They mean alot of different things to different people, as witnessed by all the responses. Yeah, Funk is a style of music, it's also used to describe a particular feel you can create while playing, it's also used to describe a certain intangible element that can be associated with music, or not. "Dude, that's a funky hat.... etc." It's a technique (slapping), it's a smell "Dude, your apartment smells funky....etc.", it's the middle name of a 70's rock band, it's the guy that shared a porch with Mr. Wagnalls (where Karnak The Magnificent would have the secret questions hidden in a mayonaise jar....), it's a lifestyle - any MuthaShippahs out there?

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I have two noise-level apps on my phone, and whenever I sit down in a restaurant, I turn them both on. Remarkably, they agree in the data they generate, and it always points to one inescapable conclusion: Modern restaurants are too damn noisy. And on purpose, too.

And how many times have you returned from one of these wildly popular places to find yourself hoarse, feeling like you might be coming down with a cold? Don't blame the viruses! Your throat hurts because you've spent the last two hours SHOUTING.

Forty years ago, a good deal of rock was funky. A lot of it was made for the dancehall as much as the student hall and you can hear it in so many tunes of the era. But occasionally, even back then, something would stand out so much it was almost impossible not to notice. In the early discotheques of New York, for example, before 'disco' records were being made, they played 'Sultana' by Norwegian rock band Titanic and John Lennon's banging 'What You Got' from Walls & Bridges and even the unlikely Troggs' 'Summertime' and those guys knew how to rock a dancefloor.

But it wasn't just them. There were the brass rockers led by Chicago (included here), Blood, Sweat & Tears, Tower Of Power, Ten Wheel Drive, Cold Blood and Average White Band (but for a geographical accident of birth would've been rightly hailed as the pre-eminent funksters they so obviously are). There were the giants of the genre like Led Zeppelin, Thin Lizzy, Steve Miller and even (yes, yes) Deep Purple whose early oeuvre, before they got distracted by the work of the Swiss fire brigade, had the fonk. Even Emerson, Lake & Palmer have been sampled countless times and in 'From The Beginning', they wrote a timeless groovy classic.

And there's the black funk-rockers, led by King George Clinton and the merry funksters of Detroit, Parliament, Funkadelic, Brides Of Funkenstein, and Prince, Black Merda and all those many many funky records made by kosmische Germans from the obvious (Can's 'Vitamin C') to the nutty (Michael Bundt's 'The Brain Of Oskar Panizza'). But we've tried to dig deep and pull out the ones you might not know from deep in the crevices of the 45 box and LP racks Do feel free to add to the list below the line, one can never have too many funk-rock gems stuffed up one's sleeve.

Yay for the funky girls. 'Beggar Man' is culled from their 5th and final LP and written by Patti Quatro, the band's mainstay. Her sister is, of course, Suzi, who's also weighed in with some funk herself (including the superb Chinnichap song 'Your Mama Won't Like Me'), while not forgetting Birtha's 'I Can't Stop The Madness', ace LA rock-funk.

This tune got name checked in Muzik about 20 years ago by, I think, Theo from the Wiseguys, who made it sound so compelling I had to track it down. It was worth it. He was right, it's incredibly funky, has this ace guitar figure and the best and most daft hippie lyrical couplet ever: "We'll build a Far-Out Factory/ and manufacture harmony." Let's do it!

Tullio De Piscopo is best-known in the UK for his Balearic sunshine-filled 80s tune 'Stop Bajon', but has been a mainstay in Italy for much longer. This is drummer Piscopo's debut 45 (the B-side is also great) and shows his love of funky drumming and as the Italian equivalent to the wondrous Steve Gadd.

I first heard this on the excellent Saint Etienne compilation, Songs For The Dog & Duck about six years ago and have been looking for it ever since. It's on RAK, right? Must be easy to find. Wrong. Still no sign of a copy anywhere, although the last one on eBay went for 150. I don't know much about the guys behind it (Angelo Finaldi and Richard Tate), but I believe they were French-Canadian musicians who worked together in the early 1970s (they also collaborated with Nanette Workman on her solo albums). Whatever brilliant alchemy is behind it, it's one of those essential drum-oriented tunes that are essential for all funk-rock fans (see also: Resonance's 'Yellow Train'). 2351a5e196