If you live in America, and scan your radio dial, you'll most likely be able to find a Country and Western music stations, -- I also bet you could find even new artists supporting the genre or senior musicians with new materials to support the music as well. Same goes for Latin, or International musicians. Why hasn't their style changed over the years? One would normally think, people values would change over time, which ultimately would have an impact on the music?
Well, Country and Western as well as other music, continues to holds their listeners cultural, ethnic and spiritual values centered which creates a self-revolving music industry, and consistency worth guarding and protecting -- as I clearly agree it should. It's a beautiful thing we all continue share, and enjoy all music, and I hope the music and its positive message(s) continue in the future.
But, why did Funk Music change, what happened?
I don't believe anyone has a definitive answer to this question, but I have a therory as to why FUNK Music changed. However, before addressing what caused the change, allow me to address what I believe FUNK is...
There are two areas of R&B which dominated the 60's an 70's music.
1. Soul
2. Funk
"Soul" was more Feminine and smooth, and inspired by a deep appreciation of someone, or broken hearted while "Funk" was more Masculine poignant, and with extremely tight rhythms with Bass and Horns, and was the "political" social concisenesses of African American in music, and was directly in step with African American youth.
Jame Brown dominated the urban centers of African America with songs like: "I got the Feeling", "Lickin Stick", "Sex Machine" and eventually carry the Funk, to Africa with Muhammad Ali and George Forman to Zaire in Africa for the World Heavy Weight Champion Boxing bout.
After Jame Brown created the song: "Say it Loud, I am Black and I am Proud" was the day, I believed the Funk was born...and there was no turning back.
Jame Brown carried "two" very important styles of music: "Soul" and "Funk" - and that's only the only few reasons, why James was called the "God-Father" of Soul, but factually, he was clearly also the "God-Father of Funk" as well.
Mr. James Brown, held "Soul" in one hand, and "Funk" in the other. Both forms of music was un-cut pure 100% no fillers.
Which now, brings us to this, "musical fork" in the road..
So, at this point of the discussion, I will focus only on: "The Funk"
While James Brown's music dominated the airways and turntables across America with the most purest forms of Funk, another artist, from the West Coast named: Sylvester Stewart or known as: "Sly Stone" produced a Funk "hybrid" using the key elements of keyboards, bass and horns.
Sly invented the "Psychedelic Funk".
The best example to highlight Sly's groove, was recognized in 1969, when his sound even gained the nods of acceptance from the Great Rock legend James "Jimi" Marshall Hendrix with his Band of Gypsys when Jimi vamps Sly's "Sing A Simple Song" leading into "We gotta live together" during a live recording at the Fillmore East on New Years eve.
Jimi's decision in going with drummer and strong vocalist Buddy Miles, gave his music a more tactical Funk drum groove more than anything he ever done with his Jimi Hendrix Experience period/era. Jimi's wah-wah pedal's and over driven amps, almost made his guitar sound like a human voice.
Along with Billy Cox and Buddy, Jimi for the first time, had an all black band, which I believe this provided a psychological boost for the support of the black struggle movement in America, and I believe Jimi's return was a re-introduction of himself for the forgotten years supporting "Good-times Rock" era of Little Richard, and the Isley Brothers.
With the new groove, and working with Billy and Buddy, Jimi's bridges a new "sound" for blacks who were already aware of his history with Black Soul bands. With the new emergences with close friend Buddy Miles, and his soulful voice and funky drums, Jimi's music was clearly changing direction from his 60's "Are you experience" days in London.
Jimi dropped the perm in his hair, and grew an Afro and I believed, this was his silent way of expressing his black idenity (to know thy-self, and to come into one self, and love it). He also dawned African dashikis in his perfomances as well. However, some would say, Jimi's Funk was killed before it really had a chance to take root, but we would know better...
Jimi's manager, found disputes with the group's formation. However, it didn't stop the extreme political groove of "Machine Gun". Machine Gun, was without question, filled with Psychedelic Funk, which embodies a steady bass groove, along with a strong drum "POP" and Jimi's solo was a prelude "to what a Funk electric guitar should sound like..." and his attacks were so strong, smooth, and colorful you could feel Jimi's pain and glory.
Jimi's Band of Gypsys even stopped Miles Davis to take notice. Jimi's movements toward a social political directions, are what carried his guitar to "the ways of the Funk".
Psychedelic Funk would find Mile Davis's Jazz via "Jimi Hendrix"...
The Undisputed Queen Funk, is Betty Marby Davis
Married to Miles Davis during an extremely unstable and rocky rough times for jazz in the late 60's, for not even Miles live performances were demanding sellout audiences. The times were changing and Betty was fully aware -- where the music was going...
With Betty FUNK influences on Miles, Miles music would move toward a psychedelic directions in Jazz. Not only did Betty bridge the relationship between herself with Miles, but she would also be a bridge for Miles to meet Jimi Hendrix and Sly Stone too.
Betty's marriage to Miles Davis would end, but Miles music would be forever changed because of Betty's friends and musical influences, and her being the musical and spirit bridge to what some might say the beginning of Jazz Fusion as we know it today.
However, Betty's music would be Pure Psychedelic Funk in it most infant stages.
Her music was extremely masculine yet, feminine and sexy like Tina Turner, but less reserved. Betty's hybrid of Funk was Psychedelic SEXY, and of lyrics so powerful, they're still unmatched and/or unequaled even today.
Clearly, if there ever was a woman who was in the middle of the infancy of two new music forms: Psychedelic Funk, and Psychedelic Jazz (on the verges of modern Jazz fusion) Betty would be remembered as the First Lady and Queen of Funk. Betty's music would never be recognized by music echelons, nor did she desire becoming a disco diva. Betty was about the Funk, and if that meant cutting it up, she was clearly not interested.
Although I am ahead of myself, but it had come to my attention that Kevin Marby (a very valuable member of Stanley Clarke Music Network) and Betty are first cousins!
Betty's contribution to the Funk was extremely important, and the first example of a the fullness and depth the Funk could be taken, by such a strong voice and empowered being, of the opposite sex. Betty still colaborates with George Clinton and continues to inspire future women in Funk.
Miles Davis motives for Jimi's Funk were clearly demonstrated with a subtle shifts towards a "Pychedelic Jazz" groove. Which I believe was taken from Jimi's Psychedelic sounds.
Would this be the road leading toward the modern roads of modern Jazz Rock Fusion?
Miles Davis openly admitted he would uses Jimi's expresions of a special sound, he'd immulate, with an electric wah-wah, designed for his trumpet. Miles was heavily influenced by Jimi's sounds, and upon the news of Jimi's death, it hit the Jazz circles extremely hard, as a close lost in the family, for there were "still" so much to be done in Jazz. Miles was clearly shaken by the whole event, for it would alter his, and Gil Evans plans with Jazz forever.
Jimi's Psychedelic Funk, from a business industry perspective, was forever dismantled, and it appeared as if Jimi would never regain control over the forces, which prevented him from having the freedoms he'd require to make farther edits and iteration to support Funk music, and I believe, this was the FIRST major assault made to the most prolific, elite, guitarist supporting Funk music of this time, and I believe Funk was truly injured at this very early period of Guitar Psychedelic Funk era.
Jimi's Funk era clearly started with the Band of Gypsy's, but his brilliance to that end, will always be overshadowed by his works performed with his original Jimi Hendrix Experience Band. In either band, Jimi Hendrix is still (to this day) considered the most influential guitarist in the world.
However, even with Jimi's wizard guitar skills, and tactics Sly Stone's "gospel" keyboard sounds clearly taken Funk to a much "Higher" place. Sly also had "two" musical elements Jimi lacked -- a strong bass, and horns. (a similar James Brown's formula)."Dance to the music"; "I am everyday people" and my favorite -- "Stand" became a huge message to the black political movement for human equality and dignity.
Sly's music, and Funk grooves opened the open doors, to the first Funk bass.
If Jimi Hendrix was the first Psychedelic Funk electric guitarist, then Larry Graham must be the first Psychedelic Funk bassist.
But some might ask: How could this be, when Billy Cox was the bassist supporting Jimi's band?
However, Larry Graham had established a bass playing style, and techniques a bassist would dream to had known..., and yet the genius in his style of music, and Sly Stone's musical drives made it possible, and extremely effective to conceive this very important expression of rhythm, and totally re-defined bass playing world wide like nothing ever heard...
Larry Graham invents: Slapping, Popping and Thumping the strings on the electric bass.
Who would had guessed an instrument with only bass tones and a mere four strings, give the Funk so much strength and an array of dynamic, static, and climatic action packed expressions of musical muscles to carry and lead a band(s) to victories and outstanding entertaining performances?
Larry Graham's bass techniques, was indeed a "come-back" which resurged, and reinvigorated Sly's the Funk movement and positive political messages for freedom, justice, peace, and love for everybody regardless of color... "Different Strokes, for Different folks..." Sly's marching anthems took his band to Carnegie Hall to a sell-out audience. Sly's Funk was a huge success and it dominated the black music scene.
Who would bring the Funk to the silver screens of Hollywood?
His name was: Melvin Van Peoples and the year was 1971.
Melvin, and with the help of Bill Cosby created: "SWEET SWEETBACK'S BAADASSSSS SONG".
Sweetback, hit the movie screens with a very strong and political message: "Don't take no "SH_T" from the MAN... But I think the real message was the struggles, which Melvin faced making the movie as a black man, with very limited resources, and yet -- still triumphantly manages to win against all odds, winning box office success; and gains of fame within the African American community base with a positive message he delivered. Even the most conservative wings of African America like the Black Panthers, gave their blessings, and approved the movie; and for such a hard hitting movie, the musical support came from a young group called: Earth Wind and Fire.
like innovation of Sly Stone -- Earth Wind & Fire made their debut with another new original form of hybrid Funk which I call: "Afro-Funk".
EWF was virtually unknown when they provided the sound track, but anyone who had an ear, knew it wouldn't be long before they'd reach star-status. Again, strong bass, horns and a earthy African drum like tempo. For as political nature of the film, the music matched it perfectly.
While Funk was surging supporting more along a significant influences toward a more social and political message, the bass guitar was becoming more and more the target instrument because of its massive sound qualities and holding the beat with drums.
Not since Jimi Hendrix, had there been such a guitar influence emerging back to the folds of Funk. However, it didn't take long after George Clinton enters the Funk world.
Just when Sly Stone's brand dominated the airways of Psychedelic Funk, which also captured Jimi's attention, George re-ignited Jimi's Psychedelic Funk, to fill the void where Jimi's Funk was destroyed before it had a chance to fully mature. It would appear as if, George clearly understood a guitar element in Sly's music was missing. George also re-ignites a powerful rhythm section as if he was "The God father of Funk" James Brown, and integrates new bass sounds inventions of "Pop, Thump and Slap" from Larry Graham; and with such a huge gap with the lead guitar -- with Jimi's death, George creates "two" important "Funk flanks" for his Psychedelic forms of Funk:
1. Fuzz, wah-wah "over driven" lead guitars, vocals, keyboards, and bass: "The Funkadelic"
2. Keyboards, horns, rhythm guitars, vocals and bass: "Parliament"
Keep in mind, during the early 70's George's Funk almost never received any air play, and there were no computers or Internet. Therefore, without the help of the American media, his music was virtually unknown to Sly's "Everyday people" (main stream) audience which to say, Sly's Funk was considered "Cut-funk", or perhaps "too apologetic" and some what 'lost' for the direction George would eventually take.
As Sly Stone's Funk was losing black audiences, George's Funk was "scooping them up." George also grab James Brown's band members to complete his acquisitional Funk statement, and upon the news of this sweeping through out the east and west coast, Sly's band members were going in different directions musically, and eventually the band ended.
George's Psychedelic Funk, was now entering a symbolic conversion...
With James Brown band members leaving to join George, and his inspiration for Jimi Hendrix's legacy with the Band of Gypsys, was symbolically like picking up Jimi's guitar from where Jimi fell...
This act, won honor and deep respect for George in the black music world, in taking on such a challenging stand, and it was a direct benefit to the Funk movement as a whole. George made many asserted attempts to re-assemble, and correctly, restore the disruptional assult which haltered Jimi Hendrix, was now pointing into the direction of a "spiritual" social-philosophical, and musically-symbolic repair, in which he would eventually gain the blessings of a people, who were hurt from Jimi's immediate departure.
George's vision, was absolutely remarkable, and a brilliantly executed move. An-so, without any questions, Georges "P" Funk, was completely certified "Un-Cut" because he had Jimi's legacy, and "The God Father" (James Brown) band members, join his Funk army.
Thus in the final scheme of things, Sly Stone and Larry Grahram's contribution to funk will forever be considered a net gain, for the sake of the Funk, and to the new "Heir of Funk inheritance" for which George Clinton is now the Dr. and King of Funk, without absolutely no questions, and no after-thoughts.
George's Psychedelic Funk, under the banner of the "Parliament Funkedelics", reigns Funk Supreme and intoduces a third flank:
"Bootsy's Rubber Band".
Now here's where things gets interesting... because the "Funk Covenant" is in the hands of George Clinton, and William "Bootsy" Collins enters the folds with direct, years and experience with James Brown since the age of 17. Clearly, with William joining George's band, can't be interpreted with anything less than great news, and George also manages to work a deal to also bring James Horn players into the fold, one major player brings to note is Maceo Parker, known from James frequent yells: "Maceo, Blow your horn!..." (while performing live on stage...).
From the looks of things, George Clinton was apearing to be dismantling James Brown's major sound engine, and with Sly Stone music falling off the Popular radars, P.Funk was here to set a new standard.
"Well, all right!
Starchild, Citizens of the Universe, Recording Angels.
We have returned to claim the Pyramids...."
The Mothership - or Spaceship, became Georges new icon, to symbolize a more "extraterrestrial" philosophy and concept.
Thus I believe, George felt his music was now beyond paradigms of human "musical" domestication. George was basicly saying, he didn't care what anybody thought of him, or his music anymore. George would no longer look for validation from the American music industry period. George's values in music was entering the levels of a pure "Cult" staus, because his music embodied the struggles of musical sounds, and messages without receiving legitimate airplay.
The early message to listeners was, "Free your mind, and your ass will follow..." Meaning: -- "you will be able to do anything in the world, once your mind is open..."
I believe George's message and music was connecting with African American communities everywhere, for this was new like noting before heard or seen, and as strange as George's stage shows were, (including the antics) African Americans embraced everything with almost absolute acceptance, because it connected to our Africanism which mainstream American media never understood.
George's music concepts provided his member musicians the musical space, and freedom to groove almost anyway they wanted to groove the sound, and cause they were of "Top" musicans "hand-picked" in the music industry, this was really second nature for such a band. So, with this in mind, the Funk was no gimmick; it was real; and it didn't depend on "The American musical establishment" to survive, nor would it be Funk, if it did... So now, Funk picks up a new meaning: "Control your own musical destany..."
(I believe this is why George always smiles...) It's a smile rooted in satifaction, and believing in dreams, and seeing "some of them", come true.)
With Funk's foundation carving it's share of the American pie, Bootsy's "Stretchin Out" album would be George's major expansion in 1976.
With Bootsy's Rubber Band, containing the same fomula, and Bootsy's "Hendrix like" (laid-back) voice style, and his star-shaped custom bass; we would hear sounds and various effects not heard from any artist bass with the same stage presents, since Larry Graham.
Boosty made playing the bass -- look cool, and sexy like nobody before him. Bootsy, with his cool "Star shaped" sun glasses, and almost Super Hero like costumes, made him look like a defender of of George's "Justice League" of Funk, as a rime stone, Space Cowboy -- and Bootsy's weapon was the infamous "Space Bass". Both George, and Bootsy lives the persona of the image they'd created.
The Challenges of Funk, in a Disco Age
As the political climate in America begin to shift towards a more perfect union (with still a long, long, long ways to go...), and the ending of the Vietnam War was at a close, a type of faster paced orchestra music was springing up on radio like out of knowhere. The music was odd, but somewhat catchy. It started out purely as "Theme Music" and "Theme Songs". From Starwars, to Close Encounters, Hollywood wanted in on party.
However, before going down the rat holes of Disco, from a Pure-Funk age perspective, I'll have to first send my appriciations to other Funk Groups who also made a significant contribution to this genera of music:
Kool & The Gang - Lead by a Bassist named: Robert "Kool" Bell who's Jazz roots, moved him to the FUNK Band: "Kool & The Gang.
K&TG Jazz-hybrid of Funk placed emphases on horns and bass. K&TG music was extremely supportive towards the development of dances crazes like: "POP Locking", and "The Robot" because the music was so well coordinated cyclical, and very "BEAT" dominate for dancers to establish moves which symbolically simulate, translate their anatomical groove.
Would "Pop Locking", "The Robot", and even "Break Dancing" be from the inventions of Funk?"
K&TG of the severities was nothing like what they'd become in the 80's and 90's, and some Funk purist (Like myself...) believed they left Funk, to enter and embrace Disco... but I am jumping too much ahead at this point. However, K&TG of the 70's were extremely Funky with songs like: "Hollywood Swinging", "Jungle Boogie","Can't Get Enough (of that Funky Stuff) and other grooves which made millions of people get off the wall to the dance floor.
Another Funk Band comes to mind, is The Ohio Players. The Ohio Players Funk hybrid was of a very strong horn section. This band was probably the most stylishly dressed bands in Funk, and with every album they made, had a very beautiful African woman on the cover.
Having a naked woman on the front page of any album, is a very bold statement, not since the controversy of Jimi Hendrix during the 60's with beautiful naked women on the original album cover of Electric Ladyland. However, what's interesting about the Ohio Players albums, -- every album dawned a beautiful pictorial beauty and they'd never stopped.
How many James Bond Movies had a naked woman in the introduction of the movie series?
Exactly, all of them.
The Ohio Players album were not going to be pressured like Jimi Hendrix's management, in making changes their original expressions of art. Looking back, I think the Ohio Players pushed and liberated the beauty of African American women, on the other hand I believe they used the same marketing as James Bond movies -- sex sells. However, The Ohio Players music was so good, they'd really didn't need anything on their album cover. However, the sexy woman on the cover, was just a mere treat.
The Isley Brothers -- I mentioned this group earlier with Jimi Hendrix as a band member. However, at this point, The Isley Brother's music in the 70's, was completely transformed from the era of "Good-Time-music" like: "Twist and Shout".
The 70's Funk was turning more sexual, and electric guitar feedback was at an all time high, and if the Isley Brothers would have a place in this age of nusic, they'd better put away the sound of classic Doo wop. (and they did just that...)
What I find interesting with the Isley Brothers, and Jimi Hendrix -- the group would fire Jimi, and years later, finally incorporate Jimi Hendrix''s sound through Ernie, the youngest Isley. (LOL!!! )
Yes, Jimi was ahead of his time again, because if you'd like the songs: "Who's that lady?", "Voyage to Atlantis", "Climbing up the ladder" Jimi's Funk cords were used in all those extremely successful recordings. So when you slice and dice up what the Isley Brothers did, Jimi's Funk was a huge part of the equation. When you'd listen to Ernie's guitar phasing, his wah-wah petal sounds, and his over driven feed backs with flangers and reverb -- it is as if Hendrix left Ernie a gift in techniques as one would learn from a master.
With all the Gold and Platinum record awarded, I would say the Isley Brothers success in the 70's were gifts from Jimi, and Ernie's inspirations if Jimi's sounds. In the end, it was as if, Jimi would have the last laugh after all...
As long as Ernie's Fender Stratocaster was echoing in the background, The Isley's Funk in the 70's appeared to be almost unstoppable.
Ernie looks pretty much like Jimi's clone. Notice the outfit, and headban...Wow!Erine's guitar skills would drive this band beyond their dreams, and it was this edge, that made this band a true Funk Band.
The Barkays with Larry Dodson would take his very poweful voice into the Funk with: "Shake your Rump to the Funk!"
Also, Larry Dodson voicing influnences were clearly taken from Ohio Player's Leroy "Sugarfoot" Bonner, but with a different heart felt expression. Clearly, to leave the Barkays from this Funk blog would be a crime.
If Funk was considered masculine, and geared towards mainly the African American male, Disco would be more inclusive to everyone. Which basically meant: The Funk would have to be watered down, and diluted if it would survive the second half of the 70's.
David Bowie makes this blog too.
Not even George Clinton could not ignore David Bowie in: "Make my Funk The P-Funk" song. James Brown would also use David Bowie's rhythm from "Fame".
After James Brown created "I need Love" using David Bowie's "Fame" riff, the black community was open for David Bowie. I personally considered "Fame" as a Funk song too, and as timesless as it was, I think James probably was the first sampler of a musical Funk tune. Clearly, music is colorless, and it can't be tampared by any human being -- for The Funk don't care if you're white or black...it just has to be on the one... What's good for James Brown, is good for the Funk too.
Most Funk purist felt David's "Fame" was the first "Crossover" Funk jam to Black People. I take a different point of view... I believe from a racial perspective, "Fame" was a never suppose to be a "Crossover" song to the black community, nor was there a need to market this song to black audiences because "Fame" as a song, was not understood as a Funk tune. Again, I believe it took James Brown to approve the rhythm to the point, black audiences would go back, and play David Bowie's "Fame" again -- and love it.
I believe when James Brown added Bowie's sounds to his song "I need Love" he opened the Funk doors to everybody. Although David Bowie's "Fame" was a credit to the Funk, I don't believe Jame was aware, of the flood gates which would dilute a genera of Funk.
Should James Brown used David Bowie's music in "I need love?" is a very deep question, and I am not sure what the answers are but, I believe James was a honorable person -- enough to open music to everybody regardless of their race. This is the message I get from this, and I believe it was an innocent act. Clearly, "Fame" was not a diluted form of Funk, it was what I considered "Un-Cut" and strong. Therefore, musically -- I could plainly see why James Brown would use Bowie's music
However, in hindsight to where I am going with this blog, I believe -- this was the first opportunity for Funk to go World-Wide, and provide "The Music Industry" more insight and knowledge to the money making potentials. As usual in America, -- the music industry looks to "white musicians" to validate worthiness first...
During in the mid 70's, The Hustle hits the Disco scenes, and dance floors all across America, and the Funk would give birth to another group which came from the folds of Quincy Jones from the West Coast...
George and Lewis Johnson - The Brothers Johnson.
However, they'd made the first album debute with Looking out for 1#, however as far as Funk goes, they missed the Funk target I was listening for... I believe, perhaps it may be Qunicy's influences on their sound, was "too clean" for anything Funky to become released... That's the nature of Funk... It's not to be controlled, it explodes it's beauty. It's an expression of breaking musical rules, and keeping people They'd get another chance with their second album called: "Right On Time" and it was when they hit a very Psychedelic flash groove Funk of "Stawberry Letter 23" and they hit the Funk head on target.
Bassist, Lewis Johnson bass playing was the absolute driving force of this band in some ways, Erine Isley was with the Isley Brothers as a guitarist. Also, there's no question, Larry Graham bass playing techiques, laid the foundation for Lewis to yet take the bass to the Funk where Larry lefted off... Mista Cool, Ain't We Funkin Now!, and Thunder Thumbs and lighting Licks and their music hit Platinum just like that...
Lewis Johnson holds an Alembic bass for the album cover "Right on time".
Clearly, the bass of Lewis Johnson would be a force of Funk like nothing heard in the main stream, but of course for people like myself was only saying: "Damn, it's about time..." Also being under the wings of Quincy Jones, may had some influence in having their recordings receiving proper air play. (I have more to to the Brothers Johnsons, but this would be related to Lewis Johnson's Funk...)
Around the same time, Ohio sent us more Funk "Sentinels" of a group called: Slave
This group was extremely "Horny" LOL!!! (That's not what I mean't...) LOL!!! This band kept to the traditional Funk groove with horns, and it didn't take the second or third album for this group to hit the Funk in one album debute.
With the very cool bass, and lyrics like: "They call me Drac... look out baby here I come... I ain't gonna bit yah, I just want you to hang on..." From that first line, I knew "Slide" would be something truly special, and a hard forward, hard driving and directional Funk groove that commanded attention from anyone, standing in the room.
If the bass and horns didn't get you in the groove, their "over-driven" lead guitar solo on top of their extremely tight rhythm section would take you to the land of Funk with no chasers. Slide was an outstanding success with using all the major elements of of a strong bass, horns, electric lead, and rhythm guitars. Slave's Funk was extremely masculine, strong, and was held with very high regards in most urban and black populated area, and had clearly made in-roads to nation wide audiences.
Again, Mark Adams, bass playing would be the driving element with techniques Larry Graham would smile with pride... then for the first time, we hear something called: "The Disco version" of a song... which mean't vamping a song beyond the basic lyrics of the song, but including also the instrumental thus, the birth of "Disco Funk".
A rare photo of Slave Band, Mark Adams playing Alembic bass on Slide.
The Funk band Cameo stared from a Juilliard student named: Larry Blackmon.Cameo music was had the complete elements of a Funk band which includes: Horns, Strong Bass, keyboards, and a bold directional and almost Parlament Funkadeleic musical feel. Therefore - no doubt I believe Larry's hybrid of Funk, included elements of George's P-Funk horns, Ohio Players, and BarKay's with a hip confident Funk swagger.
When Larry Blackmon says: "Ohhhhhhh!!!!" it credits Leroy Sugarfoot Bonner, (Ohio Players), and Larry Dodson's (Barkays).
Prince Rogers Nelson, or simply know as "Prince - The Minneapolis Kid" would take the Funk in another direction with his first musical debute around 1978 with a tune entitled: "Soft and Wet" from his "For You" album.
Prince is what you get, when you merge Jame Brown, Jimi Hendrix, Sly Stone, and one more person who I never mentioned in this blog until now...Richard Wayne Penniman known as: "Little Richard" in one extremely gifted and musically talented soul. Yes, Prince embodies them all. Prince would be known to Miles Davis as the new Duke Ellington of his time.
Miles Davis understood where Prince's Funk was heading -- Prince was taking his Funk in the direction of "The Black Gospel" which is the apex of all African American Music period. Again, looking into what transforms Prince's music after the 80's and 90's is truly remarkable. However, at this period of the late 70's Prince music lacked a key powerful funk element: Horns, and centerned his music more around his singing, and keyboards. If Prince were to be a force, he'd would have to change through bands (and he did just that...).
-To be continued-
