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Printableanon said: I don't disagree with that. "Real music" didn't go anywhere and it never will. I meant on a large scale. I'm thinking more of the majority of music consumers...What will it take for them to want to understand "music"?
Hip-hop killed disco and the remnants of disco as a dominant commercial force. It came completely out of left field. Whatever "kills" hip-hop as a dominant commercial force will not be foreseen. As I said earlier, it will take the black version of Nirvana or the Ramones to do that. But hip-hop gives cats with varying degrees of skill a way out of the ghetto and the chance for money, fame and women on a massive scale. It also gives suburbanites looking for rebellion an outlet to live through others' misery and troubles. By comparison, the brother who picks up an guitar or sax is seen as failing to "keep it real." As long as those symptoms exist, hip-hop -- excuse me, HIT-POP -- will rule the airwaves and the streets. [Edited 8/2/06 14:44pm] Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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vainandy said: 100MPH said:
Speaking of which , i've heard or read once an interesting quote from George Clinton . He felt that funk has done strong fusion with housemusic . Some of y'all might not get that , but i've heard some awesome funkhouse-tracks in the past few years . Not in the sense of pure and uncut funk like from the Mothership , but one that has taken another direction . I guess that's what George tried to explain . I remember when I first heard house music in the late 1980s around 1985 or 1986, it reminded me a lot of a more modern version of disco music except a lot of it didn't have much vocals in it. Around 1988 or 1989, a lot of the songs were starting to have vocals with groups such as Black Box and The 49ers. More and more groups started doing house and it came above ground. By 1990, funk was almost totally extinct and it looked like house was going to take it's place. That was fine with me at the time because it was a form of music that was original, made from scratch, and had a very danceable tempo like funk and disco had. In fact, a lot of the house music was downright funky during this era. The problem is, house music was not funk's replacement. Instead, hip hop replaced it and hip hop was totally stripped down of instruments and never got past midtempo unless it was the Miami bass type rap. House music went a total different direction also. It stopped being funky and became more acid, techno, or trance sounding. After that, I just threw my hands in the air, gave up, and decided I would just pull my old records and say the hell with the new shit. I feel what ya mean , but have you checked that link i posted from Opolopo in my message before ? I definitely feel some funk in that Street Lights rmx-track . That would get me totally bumped on the dancefloor . I'm not shure what kinda house is currently played in US , but in the UK and here in the Netherlands they surely adding some nasty vintage synth-sounds and thumping funkbass in there . I say it has evolved . As far as the early 90's funk . There were some ingredients in acts like : - Chuckii Booker This key-wizzard , writer , producer , musical director for tours , had played in the 80's with the band Tease who had a strong Time-inspired sound . By the end of the 80's and early 90's , he dropped 2 albums which were new-jack style , but his synth-work is dangerous . Both albums stand out , but if you might find his second album , Niice 'N Wiild , then skip immedeiately to his 3-track-tribute to James Brown . A true salute to the Godfather , and the band is SLAMMIN ! After that tribute follows the album-title , Niice 'N Wiilde , and DANG ! i tripple-tripped what he did there on the keys : first of all , his bassist Derek "D.O.A." Allen layed a low popping bassthumb under the track . Chuckii layed another bass-synth over that electric-bassguitar which makes it a doublesounding butta-phat groove . Then he plays another kinda bass-sound with double layers to which he adds weird chord settings . Above that a tight rhythm with upbeat accents ... i mean , i don't how to describe it otherwise than saying , give it a listen if you can . 1 or 2 years after that Chuckii album came Mint Condition with their second project , From The Mint Factory . Again , give it a listen cause these are musicians in the purest essence which made a new-jack album in that style . It's a massive trip . Not at home now but 2 tracks that pop-up are Good To Your Heart and Harmony Another 1 or 2 years after that was Lo-Key's turn for a second album , Back 2 Da Howse . The album opens with a saxay lady-voice introducing the band , followed by Been A Long Time , a solid mid-tempo with a big salute to Slave and Steve Arrington . A few tracks later comes the silly-smashing P-Funked Don't Trip On Me , including a spoken in the traditional style of Clinton , done by their bassist . These 2 are the strongest imo . They pay a few more ballad-tributes to the Isley Brothers and the Ohio Players . But it's a very strong set and i remember being very hyped after having listened to it in the record-shop back then . So there were some acts which still could deliver funk well . Only the quantity of acts had trimmed down . During the 90's some underground acts were recording and performing a lot : - Defunkt Featuring trombonist Joseph Bowie ( brother of jazz-trumpetist Lester Bowie ) - Tackhead Feat. bassist Doug Wimbish who became part of Living Colour later . The Tackhead crew were all from the band who almost played every track for Sylvia Robinson's Sugar Hill Records . - James Blood Ulmer This guitarist played before experimental jazz , but started to combine it with funk . He sometimes used the rhythmic duo Jamaladeen Tacuma ( bass ) and Cornell Rochester ( drums ) . Jamaladeen and Cornell released records and performed by themselves too . - M-Base This is a New York-based movement , more directed to jazz . Complex constructional compostitions are played , based on a mathematical theory . But the groove layed beneath it is dirrdy bottom-funk . A few artists active in that scene are/were : - Steve Coleman ( saxophone ) & Five Elements - Greg Osby ( saxophone ) - rhythmic sessioncats Reggie Washington ( bass ) and Marvin "Smitty" Smith ( drums ) Finally , in 1994 Madonna signed MeShell Ndegeochello for her Maverick label , which evolved in a powerful funk debut & cooperation of the female bass-player/rhymer and producer/synthplayer David Gamson , formerly from Scritti Politti . It was a new edge in the funk . I'll never forget the first spin of Plantation Lullabies in the cd-shop and another time , when she was playing at a festival in my country . During that live-jam , i spotted backstage the un4gettable image of 3 simultanously bobbin' heads  including Bootsy Collins , Larry Graham and Bernard Wright , who all played that day on the fest .
For me , funk has always found a way to continue & pass the pipe . . . . [Edited 8/2/06 14:59pm] | |
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namepeace said: anon said: I don't disagree with that. "Real music" didn't go anywhere and it never will. I meant on a large scale. I'm thinking more of the majority of music consumers...What will it take for them to want to understand "music"?
Hip-hop killed disco and the remnants of disco as a dominant commercial force. It came completely out of left field. Whatever "kills" hip-hop as a dominant commercial force will not be foreseen. As I said earlier, it will take the black version of Nirvana or the Ramones to do that. But hip-hop gives cats with varying degrees of skill a way out of the ghetto and the chance for money, fame and women on a massive scale. It also gives suburbanites looking for rebellion an outlet to live through others' misery and troubles. By comparison, the brother who picks up an guitar or sax is seen as failing to "keep it real." As long as those symptoms exist, hip-hop -- excuse me, HIT-POP -- will rule the airwaves and the streets. I'm guessing it may take a generation then. Somehow (maybe wishful thinking) I can't imagine the youth of today (ghettos/suburbs) head-bobbing and rappin' along to gangsta-rap as adults. tA  Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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blackguitaristz said: Weird daydreams usually becomes reality.
...When you wish upon a star 
tA Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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namepeace said: anon said: I don't disagree with that. "Real music" didn't go anywhere and it never will. I meant on a large scale. I'm thinking more of the majority of music consumers...What will it take for them to want to understand "music"?
Hip-hop killed disco and the remnants of disco as a dominant commercial force. It came completely out of left field. Whatever "kills" hip-hop as a dominant commercial force will not be foreseen. As I said earlier, it will take the black version of Nirvana or the Ramones to do that. But hip-hop gives cats with varying degrees of skill a way out of the ghetto and the chance for money, fame and women on a massive scale. It also gives suburbanites looking for rebellion an outlet to live through others' misery and troubles. By comparison, the brother who picks up an guitar or sax is seen as failing to "keep it real." As long as those symptoms exist, hip-hop -- excuse me, HIT-POP -- will rule the airwaves and the streets. (unless he will limit himself to playing the "sample"...still a part of their language.) This is why that part of hip-hop will go no where. But it will grow as the community grows. Black Ramones and Nirvana, yes, something like that could work...but, there would have to be stepping stones, even to this. Why do you like playing around with my narrow scope of reality? - Stupify | |
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PurpleCharm said: As I sit at home watching a clip of Confunkshun on youtube, I am saddened by the fact that black bands on a commercial level have gone the way of the dinosaur. Is there anyone out there that thinks it possible for black bands to make a commercial comeback? It would be nice. Most of those bands back in the 70's and 80's were deep rooted in jazz, funk, soul, rock and a little blues. They each had their own style. But what happened was that the industry got full of these crooks like "Big Red" from the movie "The Five Heartbeats" Nowadays it's all about the almighty dollar. | |
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100MPH said:
I feel what ya mean , but have you checked that link i posted from Opolopo in my message before ? I saw the link but I don't have a computer at home and all the computers at work have a lot of sites that read "Blocked by Websense". That site is one of them. Thanks for the link though. I'm not shure what kinda house is currently played in US , but in the UK and here in the Netherlands they surely adding some nasty vintage synth-sounds and thumping funkbass in there . I say it has evolved .
I'm sure it probably varies throughout the U.S. but I'm in Mississippi. The only house here that I've heard in recent years is in a predominately white gay club. In the early 1990s, funky sounding house dominated the black gay club and a slightly different sounding house (kinda European sounding) dominated the white gay club. Down here, house music has always been considered "gay" music. Not many straight people were into it. By the mid-1990s, the black gay club was playing strictly hip hop and I eventually stopped going there altogether and started going to the white club. The black people around my age (38) stopped going there also and started going to the white club. Nowadays, the white club plays mainly the trance sounding stuff which I can at least stand being in the same room with. I can't stand to be in the same room with that hip hop they are playing at the black club. As far as the early 90's funk . There were some ingredients in acts like :
[/quote]
- Chuckii Booker This key-wizzard , writer , producer , musical director for tours , had played in the 80's with the band Tease who had a strong Time-inspired sound . By the end of the 80's and early 90's , he dropped 2 albums which were new-jack style , but his synth-work is dangerous . Both albums stand out , but if you might find his second album , Niice 'N Wiild , then skip immedeiately to his 3-track-tribute to James Brown . A true salute to the Godfather , and the band is SLAMMIN ! After that tribute follows the album-title , Niice 'N Wiilde , and DANG ! i tripple-tripped what he did there on the keys : first of all , his bassist Derek "D.O.A." Allen layed a low popping bassthumb under the track . Chuckii layed another bass-synth over that electric-bassguitar which makes it a doublesounding butta-phat groove . Then he plays another kinda bass-sound with double layers to which he adds weird chord settings . Above that a tight rhythm with upbeat accents ... i mean , i don't how to describe it otherwise than saying , give it a listen if you can . 1 or 2 years after that Chuckii album came Mint Condition with their second project , From The Mint Factory . Again , give it a listen cause these are musicians in the purest essence which made a new-jack album in that style . It's a massive trip . Not at home now but 2 tracks that pop-up are Good To Your Heart and Harmony Another 1 or 2 years after that was Lo-Key's turn for a second album , Back 2 Da Howse . The album opens with a saxay lady-voice introducing the band , followed by Been A Long Time , a solid mid-tempo with a big salute to Slave and Steve Arrington . A few tracks later comes the silly-smashing P-Funked Don't Trip On Me , including a spoken in the traditional style of Clinton , done by their bassist . These 2 are the strongest imo . They pay a few more ballad-tributes to the Isley Brothers and the Ohio Players . But it's a very strong set and i remember being very hyped after having listened to it in the record-shop back then . So there were some acts which still could deliver funk well . Only the quantity of acts had trimmed down . During the 90's some underground acts were recording and performing a lot : - Defunkt Featuring trombonist Joseph Bowie ( brother of jazz-trumpetist Lester Bowie ) - Tackhead Feat. bassist Doug Wimbish who became part of Living Colour later . The Tackhead crew were all from the band who almost played every track for Sylvia Robinson's Sugar Hill Records . - James Blood Ulmer This guitarist played before experimental jazz , but started to combine it with funk . He sometimes used the rhythmic duo Jamaladeen Tacuma ( bass ) and Cornell Rochester ( drums ) . Jamaladeen and Cornell released records and performed by themselves too . - M-Base This is a New York-based movement , more directed to jazz . Complex constructional compostitions are played , based on a mathematical theory . But the groove layed beneath it is dirrdy bottom-funk . A few artists active in that scene are/were : - Steve Coleman ( saxophone ) & Five Elements - Greg Osby ( saxophone ) - rhythmic sessioncats Reggie Washington ( bass ) and Marvin "Smitty" Smith ( drums ) Finally , in 1994 Madonna signed MeShell Ndegeochello for her Maverick label , which evolved in a powerful funk debut & cooperation of the female bass-player/rhymer and producer/synthplayer David Gamson , formerly from Scritti Politti . It was a new edge in the funk . I'll never forget the first spin of Plantation Lullabies in the cd-shop and another time , when she was playing at a festival in my country . During that live-jam , i spotted backstage the un4gettable image of 3 simultanously bobbin' heads including Bootsy Collins , Larry Graham and Bernard Wright , who all played that day on the fest .
For me , funk has always found a way to continue & pass the pipe . . . . [Edited 8/2/06 14:59pm] Thanks for those early 1990s funk artists. During the early 1990s...well the entire 1990s really...radio stopped playing funk altogether and the only way I knew to find some funk was to buy a new album by an old artist such as..... The Barkays - Put A Little Nasty On It (A cassette-single. No album was released.) War - Peace Sign Cameo - In The Face Of Funk George Clinton - Erotic City The Barkays - 48 Hours None of these got radio airplay whatsoever in my area except the song "Peace Sign" by War and it was rarely played. . . [Edited 8/3/06 14:33pm] Andy is a four letter word. | |
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vainandy said: They will never make a comeback as long as shit hop is cheap to make. Even if they halfway comeback, it will be some boring ass slow shit. That's all these kids these days know because that's all they have grown up on.....shit hop and ballads. Anything past opera tempo, they holler "That disco shit"....like that's something bad.
 I bump house music in my SUV in the hood.The test tube babies look @ me like I'm crazy! larry luvlife
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Incognito, Brand New Heavies, Jamiroquai and Tonex is keeping the funk torch alive, among others. Stockholm i mitt hjärta.. | |
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novamonkey said: Incognito, Brand New Heavies, Jamiroquai and Tonex is keeping the funk torch alive, among others.
I thought ToneX was done? | |
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vainandy said: 100MPH said:
I feel what ya mean , but have you checked that link i posted from Opolopo in my message before ? I saw the link but I don't have a computer at home and all the computers at work have a lot of sites that read "Blocked by Websense". That site is one of them. Thanks for the link though. Thanks for those early 1990s funk artists. During the early 1990s...well the entire 1990s really...radio stopped playing funk altogether and the only way I knew to find some funk was to buy a new album by an old artist such as..... The Barkays - Put A Little Nasty On It (A cassette-single. No album was released.) War - Peace Sign Cameo - In The Face Of Funk George Clinton - Erotic City The Barkays - 48 Hours None of these got radio airplay whatsoever in my area except the song "Peace Sign" by War and it was rarely played. . . [Edited 8/3/06 14:33pm] [/quote] Thanx 4 the replies Vain . I'm late but was mega-busy with work and unable to visit the internet-cafés in between workingshifts . I'm gonna check that un-released Bar-Kays track , cause i vaguely remember seeing it listed on an independent-labeled "best of"cd . | |
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