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Фанк / Funk

Тема в разделе "Джаз/Блюз/Фолк", создана пользователем Rock-and-Roll, 16 май 2008.


Знаете ли Вы, что это за направление Funky?

Голосование закрыто 24 июн 2012.
  1. Да знаю, буду выкладывть музыку данного направления)

    10 голосов
  2. Да знаю, но не буду выкладывать ничего)

    27 голосов
  3. В душе ничаю что это такое)

    22 голосов
  1. Rock-and-Roll


    Rock-and-Roll, 16 май 2008

    The distinctive characteristics of African-American musical expression are rooted in West African 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 saxophone-studded, mid-1950s road band as being the first to put the funk in the rock'n'roll beat. Following his temporary 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.
    Background This section requires expansion.

    Late 1960s: invention of funk by James Brown

    James Brown, one of the founding fathers of funk

    By mid-1960s, James Brown had developed his signature groove that emphasized the downbeat – with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African American music.[6] 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 syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "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" -- a tradition evident in African American work songs and chants.[7] 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.[7]

    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."[8] 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.[9]

    Other musical groups picked up on the riffs, 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 era to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1970.

    The Meters defined funk in 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.
    P-Funk and the 1970's

    In the 1970s and early 1980s, a new group of musicians further developed the "funk rock" approach innovated by George Clinton, with his main bands 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 collectively 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":
    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. George Clinton 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.

    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, Rufus & Chaka Khan, the Isley Brothers, Sly and the Family Stone, Ohio Players, Labelle, 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’ in 1971 affording Sly and Funk crossover success and greater recognition unlike some of their equally talented but moderately popular peers before the arrival of Disco around the middle of that decade which remained hugely popular until the early 80's. Herbie Hancock starting with his 1973 "Head Hunters" album continued playing funk throughout his entire career. In fact, all of his 70's albums after "Head Hunters" were heavily influenced by Funk. It was the main driving force of Hancock's 70's music, most of it being instrumental. He was also one of the first big jazz artists to switch his sound to funk.

    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 "I'm Your Boogie Man" by KC & The Sunshine Band, "I'm Every Woman" by Chaka Khan also known as The Queen of Funk Soul, and "Le Freak" by Chic, included riffs or rhythms very similar to funk music.
    1980s and stripped-down funk

    In the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, 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 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 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 drummers" of the past, and the 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 entendres 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 with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

    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. 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. The Time, originally conceived as an opening act for Prince and based on his "Minneapolis sound", a hybrid mixture of funk, R&B, rock, pop & New Wave, went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

    Bands that began during the P-Funk era incorporated some of the uninhibited sexuality of Prince and state-of-the-art technological developments to continue to craft funk hits. Cameo, 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 funk, a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as 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.

    Funk became an international style of music, and is played by bands from such countries as Canada, the United Kingdom, France, Italy, Spain, Japan, Algeria, India, South Africa, Brazil, and Nigeria.
    Recent developments

    While funk was all but driven from the radio by slick commercial hip hop, Contemporary 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, Primus, Fishbone, Faith No More, Infectious Grooves, 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, Malina Moye, Van Hunt, and Gnarls Barkley.

    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, Galliano, 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, preserved a more instrumental form of funk.

    Since the late 1980s hip hop artists have regularly sampled old funk tunes. 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 and Funkadelic songs formed the basis of 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".[10] 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, Jam Underground, Diazpora, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the Jam band scene. Many members of the band including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. In April 2008, they released a new album entitled Rage!

    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, Timmion, Neapolitan, Kay-Dee, and Tramp. 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 punk funk bands such as Out Hud perform in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk in to their song "The Moneymaker" on the album Under the Blacklight. Prince, with his recent albums has given a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", 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", 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 (also written as funk-rock or funk/rock) fuses funk and rock elements.[12] Its earliest incarnation was heard in the late '60s through the mid-'70's by musicians such as Jimi Hendrix, Frank Zappa, Herbie Hancock, Gary Wright, David Bowie, as well as Mother's Finest, and Funkadelic on their earlier albums

    Electro music is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the TR-808. Vocoders are often used. Early artists include Herbie Hancock, Zapp (band), Afrika Bambaataa and Vaughn Mason & Crew.

    Funkcore is a fusion of hardcore punk and funk created in the 1980s. Hard, loud and fast guitars are featured, but unlike in most rock music, it does not overpower the bass, which is heavy and driving. Drums are often funk-influenced, but with intense hardcore-styled pounding. Synthesizers or horn sections sometimes make an appearance, although they are not integral. Examples of funkcore bands are Jungle Fever, Adequate Seven, Dance Gavin Dance and Big Boys.

    Punk-funk (or funk-punk) is a mix of punk or indie rock songs with funk and disco elements, usually associated with the No Wave and post-punk movements of the 70's. 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 released their debut album, Entertainment!. In the 1980s, bands such as made punk-funk become more famous. The style was revitalized by "The New New York Underground Scene", starting to mix their usual punk-funk with house, dub and hip-hop.
    Funk metal (sometimes typeset differently such as funk-metal) is a fusion genre of music which emerged in the 1980s.[13] It typically incorporates elements of funk and heavy metal. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting. A good example of a funk metal band is Living Colour and they have been said to be "funk-metal pioneers" by Rolling Stone.
    G-Funk is a fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by Dr.Dre
    Funk jam is a fusion genre of music which emerged in the 2000s. It typically incorporates elements of funk and often exploratory guitar, along with extended cross genre improvisations; often including elements of jazz, ambient, electronic, americana, and hip hop including improvised lyrics.

    Funkadelic [Funk, Soul, Psychedelic, P-Funk, Rock]
    Sly & The Family Stone [Funk, Funk-rock]
    James Brown [Rhythm 'n' blues, funk, soul]
  2. r4ziel


    r4ziel, 26 ноя 2008
  3. diokhan

    diokhan Ословед

    diokhan, 26 ноя 2008
    не в курсах , что есть Funky breaks :wrong:
  4. andrei_47

    andrei_47 Guest

    andrei_47, 26 ноя 2008
    По P-Funk музыки бы побольше выложили.
  5. mahead

    mahead Ословед

    mahead, 18 дек 2008
    это нечто вроде как признано самым цитируемым произведением:
    08._The_45_King_-_The_900_Number.mp3 1.88 Мб 53.[12-15]

    но на самом деле оно само является цитатой вот этого произведения:
    Marva Whitney - Unwind Yourself.mp3 2.41 Мб 53.[12-15]

    это с сольного альбома вокалистки вот его вокалистки:
    James Brown.rar 172.66 Мб 53.[12-15]

    вот его вокалистки:
    James Brown's Original Funky Divas - Disk 1 & 2 (all 46 tracks) MP3 - VBR [COMPLETE,cover].rar 176.10 Мб 53.[12-15]

    потрошите мои сундуки:
    Parliament Funkadelic.rar 412.12 Мб 53.[12-15]

    Bootsy Collins.rar 381.40 Мб 53.[12-15]

    Old School Funk.rar 257.50 Мб 53.[12-15]

    funk compilation from zomba.com.ru.rar 639.20 Мб 53.[12-15]

    Funk.rar 175.80 Мб 53.[12-15]

    www.funk.front.ru.rar 51.47 Мб 53.[12-15]

    Curtis Mayfield.rar 61.28 Мб 53.[12-15]

    Kool and the Gang.rar 50.07 Мб 53.[12-15]

    Ohio Players.rar 22.65 Мб 53.[12-15]

    Sly & the Family Stone.rar 89.41 Мб 53.[12-15]

    The Meters.rar 36.10 Мб 53.[12-15]

    канэшна хачу, зачэм спрашываэш

    James Brown & Bobby Byrd featuring Bootsy Collins - Sex Machine--Soul Power (Live).mpg 89.04 Мб 53.[12-15]

    - James Brown - Sex Machine(remixed by Konishi Yasuharu).mpg 40.04 Мб 53.[12-15]
  6. diokhan

    diokhan Ословед

  7. Barabashik

    Barabashik Ословед

    Barabashik, 31 дек 2008
    О дааааа!!!!!)))Вот эТО ВЕСЧ!!СПАСИБО ОГРОМНОЕ))
  8. diokhan

    diokhan Ословед

    diokhan, 3 фев 2009
    Очень раритетное видео !!!!!
    Стиль: диско , фанк

    DONNA SUMMER - I Feel Love (1977)

    A TASTE OF HONEY - Boogie oogie (1978)

    DONNA SUMMER - I Feel Love (2005)

    "I Feel Love" is a song by Donna Summer, taken from her 1977 concept album "I Remember Yesterday". The song originally symbolised the 'future' segment of the album, which loosely depicted a musical trip through time. The title track of the" I Remember Yesterday" album represented the 1940s, "Love's Unkind" the 50s, "Back in Love Again" the 60s, while the album concluded with the futuristic "I Feel Love". The song reached number one in the UK Singles Chart and number six in the Billboard Hot 100 in the US.In 2004, Rolling Stone ranked "I Feel Love" #411 on their list of the 500 Greatest Songs of All Time. The review for the song stated that Moroder and Summer "claimed tomorrow in the name of disco."
    A Taste of Honey was the name of an American recording act formed in 1971 by associates Perry Kibble and Donald Ray Johnson. Their first single, "Boogie Oogie Oogie", from their debut album "A Taste of Honey", tapped into the popular disco style and spent three weeks at number one (#1) on the Hot 100 in 1978. The single sold a record two million copies, which broke the record any single had had to date. The group was awarded two platinum records for the single and album; then they went on to win the Grammy Award for Best New Artist for the 20th Grammy Awards on February 15, 1979. This was the first song to achieve a double platinum single and the first Black group to receive a Grammy Award. Their subsequent disco releases, such as "Do It Good" (#79 in 1979) from Another Taste and "Rescue Me" (1980) failed to attract attention, and by 1980 the group had reduced to a duo consisting of Johnson and Payne. Some of the band's music (Boogie Oogie Oogie and Distant) has had a recent revival as it has been sampled by many Hip Hop and Rap artists, most notably Ice Cube. Boogie Oogie Oogie can be heard world wide.

    DONNA SUMMER - GREATEST HITS - THE BEST OF '60 and '70.zip 175.29 Мб 52.[36-39]

    не забывайте говорить спасибо

  9. diokhan

    diokhan Ословед

    diokhan, 6 фев 2009
  10. Funky Junkie

    Funky Junkie

  11. ART FLYS


    ART FLYS, 8 фев 2009
    Dj BRiGhT - Easy evening.mp3 67.11 Мб 55.[16-19]
    Год: 2009
    Style: Vocal House/Funky House/Disco House
    Очередная работа в одних из самых моих любимых стилях -Funky House/Disco House.
    Много мягкого, по-настоящему летнего, солнечного и пляжного звучания, изредка с оттенками лирики.
    В миксе не только самые свежие треки, но и те, которые успели стать за несколько лет хитами.
    1) Orlando Vaugan - Better Than
    2) Karpekin ft Bogdanoff -Tell me why (Club mix)
    3) =|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|
    4) Gusto -Disco's Revenge (Freemasons club mix)
    5) Artificial Funk - Never Alone (S.Haji remix)
    6) Sharoon Pass - Richard Earnshow (Instrumental mix)
    7) =|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|=|
    8) Dajae - Brighter days (S. Haji and P. Emanuel vox mix)
  12. diokhan

    diokhan Ословед

    diokhan, 8 фев 2009
    это не имеет к теме ни какого значения
  13. ART FLYS


    ART FLYS, 8 фев 2009
    По моему, кому-то нужно лечить глаза:megalol: а к теме значение имеет:) написано Vocal House/Funky House/Disco House:wow:
  14. diokhan

    diokhan Ословед

    diokhan, 8 фев 2009

    знаешь - давай замиксуем Поп и спидкор . Потом выложим в поп

    думаю сравнение понятно
  15. ART FLYS


    ART FLYS, 8 фев 2009
    Давай замиксуем. Только вот знаешь какая не состыковачка..м? темп-то еще может подойди в некоторых треках, а вот по настроению, по энергетике не подойдет... А НАСТОЯЩЕМУ МУЗЫКАНТУ (твои слова кстати:megalol:) такое стыдно не знать!!!:D
  16. diokhan

    diokhan Ословед

    diokhan, 8 фев 2009
    такое уже делали ( миксы ) . всё отлично сочеталось . просто надо в соответствующие темы

    имхо - даже сюда http://city.is74.ru/forum/index.php?
  17. ART FLYS


    ART FLYS, 8 фев 2009
  18. vovando

    vovando Ословед

    vovando, 4 май 2010
    тему перенес из Электроники. предлагаю выделить фанк [URL="http://city.is74.ru/forum/index.php?
  19. vovando

    vovando Ословед

    vovando, 4 май 2010
    а я предлагаю ориентироваться не на последние винрарные проявления, а на название темы и направление, заявленное в первом посте.
  20. vovando

    vovando Ословед

    vovando, 5 май 2010
    ну что ж вы так остро то реагируете. в названии раздела никакой прогрессии нет. мне кажется фанк ближе к тому же джазу, чем к попсе (которая в основном в Прочих) или элетронике.
    мне искренне жаль, что эта тема умерла в Электронике. а здесь, мне кажется, поуютней.
  21. Funky Junkie

    Funky Junkie

    Funky Junkie, 5 май 2010
    Уж слишком узколобый взгляд для столь ярого, читай истинного, ценителя фанка:crazy2: