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Printablelastdecember said: Timmy84 said: I see. I gotta check this girl out one day. What's her name? Stefani Vara, definitely search out her interviews, the record is coming out in a week, but look for her interviews, i wish everyone coming up could speak like her, meaning, talking about how to work. I mean every female isnt gonna be Beyonce, its that simple and labels just need to let it go, the image, the whole way of thinking is tired at this point. Cool.  | |
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MrSoulpower said: brooksie said: That's exactly it. In terms of the evolution of music, is this form still evolving OR is it being played like an extinct form? Music that needs to be preserved is a music that's stopped evolving, IMHO. Interesting angle. The style of Funk most popular in the global Funk underground is the raw, late 1960s Funk. A hard rhythm section and horns. No keys, no synths. Funk at its most vulnerable, before it really started evolving. That's the music that experiences a huge, worldwide revival today. Not the later P-Funk. I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. My beef w/ hip hip is that much of it stopped progressing after a certain point. Why should an artist today be interchangable w/ an artist from 1995? Frankly, I feel as if alot of this is like Sha Na Na was in the 70s....they were HUGE and people adored them, but they were a revival act in the purest sense. Of course, that was their angle and nobody expected otherwise. | |
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Timmy84 said: lastdecember said: Stefani Vara, definitely search out her interviews, the record is coming out in a week, but look for her interviews, i wish everyone coming up could speak like her, meaning, talking about how to work. I mean every female isnt gonna be Beyonce, its that simple and labels just need to let it go, the image, the whole way of thinking is tired at this point. Cool. Seriously though i give up with labels and their thinking, just saw the Def Jam schedule and they bumped back Amerie to September (already giving her the "treatment") instead they are putting out gems before her by LIL RU and that one hit one ringtone Jermiah, or whatever his name is, everyone knows him as "Birthday sex" .....Just a quick note, if people dont know your name and they know as the _____guy, you are done in this business before you even start, put that stamp on your ass. "We went where our music was appreciated, and that was everywhere but the USA, we knew we had fans, but there is only so much of the world you can play at once" Magne F | |
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brooksie said: MrSoulpower said: Interesting angle. The style of Funk most popular in the global Funk underground is the raw, late 1960s Funk. A hard rhythm section and horns. No keys, no synths. Funk at its most vulnerable, before it really started evolving. That's the music that experiences a huge, worldwide revival today. Not the later P-Funk. I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. My beef w/ hip hip is that much of it stopped progressing after a certain point. Why should an artist today be interchangable w/ an artist from 1995? Frankly, I feel as if alot of this is like Sha Na Na was in the 70s....they were HUGE and people adored them, but they were a revival act in the purest sense. Of course, that was their angle and nobody expected otherwise. Exaclty and i know everyone doesnt like to hear this but everything shut down when soundscan took over, when everyone knew what they sold, when everyone was concerned about week one, thats when it all went down the drain. The reason that it still works overseas is mainly because there is a respect for what came before and more a "preservation" feel going on and always has been. Also overseas people take more pride and want artists to stick around, here, most of the population wants an artist to give them a cool sound for their phone. "We went where our music was appreciated, and that was everywhere but the USA, we knew we had fans, but there is only so much of the world you can play at once" Magne F | |
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Funk is forever coming | |
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lastdecember said: Timmy84 said: Cool. Seriously though i give up with labels and their thinking, just saw the Def Jam schedule and they bumped back Amerie to September (already giving her the "treatment") instead they are putting out gems before her by LIL RU and that one hit one ringtone Jermiah, or whatever his name is, everyone knows him as "Birthday sex" .....Just a quick note, if people dont know your name and they know as the _____guy, you are done in this business before you even start, put that stamp on your ass. And that's why the industry can suck a bottle.  | |
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lastdecember said: brooksie said: I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. My beef w/ hip hip is that much of it stopped progressing after a certain point. Why should an artist today be interchangable w/ an artist from 1995? Frankly, I feel as if alot of this is like Sha Na Na was in the 70s....they were HUGE and people adored them, but they were a revival act in the purest sense. Of course, that was their angle and nobody expected otherwise. Exaclty and i know everyone doesnt like to hear this but everything shut down when soundscan took over, when everyone knew what they sold, when everyone was concerned about week one, thats when it all went down the drain. The reason that it still works overseas is mainly because there is a respect for what came before and more a "preservation" feel going on and always has been. Also overseas people take more pride and want artists to stick around, here, most of the population wants an artist to give them a cool sound for their phone. This isn't bad for the acts themselves because they sure can't get much airplay even if they're around and making new sounds. One of the best exampes of this is ska. The form itself didn't really last all that long as THE popular music, it morphed into rocksteady which morphed into reggae. Yet, you still have people performing ska...all in Europe or Japan, but the original artists do benefit from it, so I can't hate. However, I still consider it an extinct form. | |
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funkpill said: Funk is forever coming
One day I gotta re-download Real Player because I love Soul-Patrol. I always see new acts of the funk, soul and jazz, etc., genres posted on there every day. 
Yes funk is forever coming.  | |
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brooksie said: I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. Funk has progressed. It went from James Brown's Papa's got a brandnew bag and Dyke and the Blazers' Shotgun Slim via Parliament all the way to washed out modern Funk acts like Mint Condition. Where else do you want to take Funk from there? Many artists, DJs, listeners and dancers go back to Funk at its purest form because, simply put, it's the shit!! I'm all for musical evolution, but once it's all said and done, I tend to go back to the real deal. Funk went through different evolutionary stages, and now people look back at it and pick what they feel is the best form of Funk. And they enjoy it. Especially Funk is a musical form that isn't about intellectual understanding, but simply about how it makes you feel. So why over-analyze it? If it feels good, play it. Jazz is a good example. Remember when the avantgarde tried to take Jazz to places its never been? That didn't work out too well. Even Trane went back to more traditional sounds right before he passed, and had he lived, it's safe to say that he would have went back to his 1963/64 sound of A Love Supreme rather than staying in the wild lands of avantgarde. | |
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MrSoulpower said: brooksie said: I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. Funk has progressed. It went from James Brown's Papa's got a brandnew bag and Dyke and the Blazers' Shotgun Slim via Parliament all the way to washed out modern Funk acts like Mint Condition. Where else do you want to take Funk from there? Many artists, DJs, listeners and dancers go back to Funk at its purest form because, simply put, it's the shit!! I'm all for musical evolution, but once it's all said and done, I tend to go back to the real deal. Funk went through different evolutionary stages, and now people look back at it and pick what they feel is the best form of Funk. And they enjoy it. Especially Funk is a musical form that isn't about intellectual understanding, but simply about how it makes you feel. So why over-analyze it? If it feels good, play it. Jazz is a good example. Remember when the avantgarde tried to take Jazz to places its never been? That didn't work out too well. Even Trane went back to more traditional sounds right before he passed, and had he lived, it's safe to say that he would have went back to his 1963/64 sound of A Love Supreme rather than staying in the wild lands of avantgarde. You COULD say funk started by a woman with Yvonne Fair's "Say Yeah". in '63 and JB's "Out of Sight" in '64.  | |
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And you're right about the progress.
The point is we DO have to go back doing that. We've already evolved, now it's time to go back for those of us that claimed not to like the "mainstream shit" as I call it. | |
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lastdecember said: TonyVanDam said: Actually, it was the music industry itself that didn't put any focus on 80's funk bands at all (unless we're talking about Kool & The Gang with JT Taylor). With Cameo as THE only exception, everyone else started to change directions because of it: 1. Prince was so mainstream successful because of Purple Rain, that he started to open his mind to new inspiration (READ: Wendy & Lisa) and we ended up with ATWIAD & Parade. 2. Rick James' growing drug problem robbed him of any new ideas that could have save the funk. And the same thing can be said about George Clinton & Sly Stone as well. 3. Teena Marie was so disappointed with the low album selling Emerald City that she basically stop doing the funk/rock thing and went for the soul/jazz routine with Naked to the World. 4. Roger Troutman (with Zapp or as a solo act) started to rely on slow jams as his best (and only?!?) way of reaching a little crossover success. 5. Midnight Starr, Dazz Band, & The Gap Band would phase out before the 1990's because they weren't able to adapt within the New Jack Swing era of black music as well as Full Force & Ready For The World. [Edited 6/22/09 16:42pm] But i think we also have to say that labels were more than happy with "sampling" these groups and calling it "acknowledging" the past and the public really didnt fight it, so they went with it, i mean you can take this all the way back to Clivilles and Cole trying to make Lisa Lisa and Cult Jam a dance/rb/hip hop group and not allow the two members to play anymore, which led to the demise of them. This seed was planted way back then, look at the disappearance of Full Force, those cats played, when they made their beats and production, they got on stage and played the instruments, they didnt dance to a backing track and have a mime band, i mean come on now. It's one thing for The Funk to be defeated by New Jack Swing, Hip-House, or Latin Freestyle, since those genres has plenty of uptempo tracks. But The Funk being defeated by a hip-hop sound going at 95 BPM or less (especially within gangsta rap) that also produced more stockholders for the major labels is one of the biggest tragedies in music history. | |
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MrSoulpower said: Lemme break out this blog I posted a couple of years ago on MySpace. That pretty much sums it up. The discussion that followed it pretty interesting. http://blogs.myspace.com/...=325835903 I read this entry and I'll add my piece. In many ways, music tells where people are at a given point. Black music is particularly noted for this. Names change for forms (ie soul, jazz, rnb, funk, etc) and so do the sounds/messages to fit and reflect the times. On one hand, I think this is great because it shows progression both musically and socially and allows new artists to emerge. It also is a great historical record of popular culture. The down side is that it has a tendency to weed out artists who still have alot to give and is abandoning a part of your experience and tradition. I do think that people are far more willing to let something go for the next big thing because change and progression are so important here in the "New World" (this tendency is very prevalent in Jamaican music too, so it's a NW thing) than elsewhere. Maybe this is why in certain places old school sounds are clung to so hard and played faithfully as they were...either in style or outright covers? I constantly see on Black oriented sites "why don't we have a Rolling Stones?" who've been around for 50-11 years at the top? I love the Stones, bless 'em, but who will say they've done anything new w/ their sound in many moons? I'm not so sure this kind of thinking is so good either because it has a tendency to be rigid and close minded to new sounds. So you end up w/ some people ditching the old sounds running after the new, then you have those who are closed to new sounds because they're so into the old stuff. [Edited 6/22/09 18:15pm] | |
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MrSoulpower said: brooksie said: I've got nothing against revivalism, but what you describe is exactly what's happening w/ roots reggae in places like Japan and Germany....it's being played like it was in 1978. That keeps the sound alive, but where's the progression? I find that many times when things move outside the environment/time in which it was created, it seems to stay as it was. One thing I love about 60s rock and later punk was that these forms were heavily based on straight blues and 50s rock, yet those artists took those original sounds and adapted them to their time and place. Funk has progressed. It went from James Brown's Papa's got a brandnew bag and Dyke and the Blazers' Shotgun Slim via Parliament all the way to washed out modern Funk acts like Mint Condition. Where else do you want to take Funk from there? Many artists, DJs, listeners and dancers go back to Funk at its purest form because, simply put, it's the shit!! I'm all for musical evolution, but once it's all said and done, I tend to go back to the real deal. Funk went through different evolutionary stages, and now people look back at it and pick what they feel is the best form of Funk. And they enjoy it. Especially Funk is a musical form that isn't about intellectual understanding, but simply about how it makes you feel. So why over-analyze it? If it feels good, play it. Jazz is a good example. Remember when the avantgarde tried to take Jazz to places its never been? That didn't work out too well. Even Trane went back to more traditional sounds right before he passed, and had he lived, it's safe to say that he would have went back to his 1963/64 sound of A Love Supreme rather than staying in the wild lands of avantgarde. To something we NOW have no name for but will....that's where! If you are STILL calling it funk, has it truely progressed? When these geners 1st emerged, they had no specific label. The name came AFTER the music. So if you're still performing something called "funk" you're perfoming to some set and known territory. The artists who started this and from whom it had it's progression were treading on new territory.[Edited 6/22/09 18:17pm] | |
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Timmy84 said: And you're right about the progress.
The point is we DO have to go back doing that. We've already evolved, now it's time to go back for those of us that claimed not to like the "mainstream shit" as I call it. That's exactly what The Stones did, EC's revisited all his old bands, Pete Townshend is the master at this....seeing a link here? People go back to their past when they have nothing new to say. This is so for rock acts and so it is for other forms. Both fear of commercial/critical failure AND the security of the old and familiar is exactly what kills progress. That's why 65 year old men are performing a song caled "Satisfaction". | |
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OK instead of talking, let's just post some funk joints, let's make it like the disco one, lol:
'Cause y'all ain't about to get me depressed. | |
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I consider this to be a nice slice of funk, but I'm no music purist! Sorry for getting you down Timmy, but here ya go...none of the usual suspects either!
Sorry to all for the lame vid, but I wanted the original drummer playing. | |
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brooksie said: I consider this to be a nice slice of funk, but I'm no music purist!
Sorry for getting you down Timmy, but here ya go...none of the usual suspects either!
Sorry to all for the lame vid, but I wanted the original drummer playing. You're forgiven.  | |
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Sandino said: Whatever happened to FUNK?
Ask Jerry. | |
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Kool and Da Gang...NOT disco! When they went soft w/ "Joanna" we scratched our heads.
The great funk tradition....35,000 people on stage!
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Kool 'n' the Gang pre-JT:
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Evolution or lack thereof is just another way for us to prove that the shit we listen to is above reproach.
Greatness knows nothing of new or old, popular or rare, simple or complex, male or female, black or white, fashionable or faded. And it's simply harder for it (whatever "it" is) to get cultural amplification in the same way it was when there was more money to fund infrastructure that kept us all fed with better choices; sometimes even on a silver platter. But I don't want to romanticize the past either. Tons of stuff was missed and that older system only looks good relative to today. Of course well could all just spend more time being satisfied by the stuff coming out of our own stereos or digital players and less time in proving that it's truly the only acceptable sound for non-idiots! | |
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The played out funk, honorable mention....
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Funk is black...
Funk is white... Funk is all the colors in the light... Funk is old... Funk is new... Funk is anything you wanna do... Funk is uncompromising... Funk is rebellious... Funk doesn't make you jealous... Funk is American... Funk is international... Funk is simply sensational... Funk brings you together... Funk never tears you apart... Funk is still alive because funk is part of our hearts! That's what I call FUNK! | |
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Funk is also dead. The songs being posted merely illustrate that. | |
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brooksie said: Funk is also dead. The songs being posted merely illustrate that.
The hell it isn't. See Debbie Downer, I told you don't disturb my spirit as my favorite YouTube poster B. Scott would say. [Edited 6/22/09 20:33pm] | |
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Matter of fact, ANYBODY else come in here with that "FUNK IS DEAD" bullshit, talk with it with Madea, mothafucka:
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So someone post up some of these great CURRENT funksters in all these places like Japan and France, so we can see for ourselves. | |
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brooksie said: So someone post up some of these great CURRENT funksters in all these places like Japan and France, so we can see for ourselves.
Why don't you stop acting like we're in a funeral?
If DJ Pari sees this, he'll be ready. | |
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