@blackjesus: Do You Wanna Funk?
In this blog post, we’ll take a look at the classic song “Do You Wanna Funk” by George Clinton and Parliament-Funkadelic. We’ll discuss the meaning of the lyrics and what the song is saying about funk music and its place in American culture.
The ‘Funk’ Genre
Funk is a music genre that emerged in the mid-1960s. It is characterized by a strong groove, and often has a syncopated bassline. The word “funk” is often used to describe a style of dance as well. The genre has its roots in African-American music, and has been influenced by soul, R&B, and rock.
Defining the funk genre
Funk is a music genre that originated in African-American communities in the mid-1960s. Funk is a style of danceable, rhythm and blues (R&B) that was influenced by soul, jazz, and Cuban music. The lyrics are often about dancing, partyin’, or sex. George Clinton’s Parliament-Funkadelic and James Brown’s bands were some of the earliest and most successful funk groups. Other popular funk artists include Prince, Bootsy Collins, Rick James, Sly & the Family Stone, and Maceo Parker.
The word “funk” originally referred to a bad smell. In the 1960s, people started using it to describe something that was down or cool. For example, if someone was “funky,” they were stylish or appealing. By the 1970s, funk had become a style of music with its own unique sound.
The history of funk
Funk is a music genre that originated in African-American communities in the mid-1960s. The term “funk” refers to a distinctive style of rhythm and groove that was grittier and more danceable than earlier African-American genres such as soul and Motown.
Funk is often said to be the bridge between soul and disco. In fact, many of the early funk hits were played in discotheques before they became popular on radio. One of the most famous examples is James Brown’s “Get Up (I Feel Like Being a) Sex Machine,” which was originally released in 1970 and became a club hit before it was picked up by radio stations across the country.
The popularity of funk continued into the 1970s with hit songs like Parliament’s “Flash Light” (1977), Chic’s “Le Freak” (1978), and three consecutive number-one hits by the band Funkadelic: “One Nation Under a Groove” (1978), “(Not Just) Knee Deep” (1979), and “(Feel Good) Hit of the Season” (1980).
The 1980s saw a decline in funk’s popularity, but the genre made a comeback in the 1990s with hits like Cypress Hill’s “Insane in the Brain” (1993), Snoop Dogg’s “Gin & Juice” (1993), and Positive K’s “I Got a Man” (1992). In recent years, artists like Bruno Mars, Mark Ronson, and Janelle Monáe have brought funk back to the mainstream with songs like “Uptown Funk” (2014), “24K Magic” (2016), and “Make Me Feel” (2018).
George Clinton and Parliament-Funkadelic
Clinton’s group Parliament-Funkadelic, which he led and performed with from the late 1960s until his death in 2017, was a highly influential part of the development of the funk music genre. Clinton’s work with Parliament-Funkadelic was a major influence on the subsequent development of hip hop music.
George Clinton’s influence on funk
George Clinton is an American singer, songwriter, bandleader, and producer. He was the principal architect of P-Funk and the mastermind of the bands Parliament and Funkadelic during the 1970s and early 1980s. He is a multi-faceted musician and has been referred to as one of the most important figures in rock. His music has been influential on several generations of musicians and continues to be a significant force in popular music.
As a solo artist, Clinton has released three solo studio albums, two live albums, and several compilations. His most recent release is 2013’s First Ya Gotta Shake the Gate.
Clinton was born in Kannapolis, North Carolina, on July 22, 1941. He was raised in Plainfield, New Jersey. His mother was a homemaker and his father was a brick mason who later owned a barber shop. Clinton began singing in doo-wop groups as a teenager. He later moved to Newark, New Jersey, where he started working with a group called the Parliaments in the early 1960s. The group had minor success with their single “I Wanna Testify” in 1967.
In 1968, Clinton formed Parliament-Funkadelic (also known as P-Funk). The group blended elements of soul, funk, and psychedelic rock to create a unique style of music that became extremely popular during the 1970s. Parliament-Funkadelic had many hits during their peak years including “Flash Light” (1977), “One Nation Under a Groove” (1978), “Aqua Boogie” (1978), and “Atomic Dog” (1982).
In addition to his work with Parliament-Funkadelic, Clinton also produced records for other artists including Bootsy Collins, Red Hot Chili Peppers, DeWayne McKnight of Prince’s band The New Power Generation, Snoop Dogg
Parliament-Funkadelic’s place in funk history
Formed in the late 1960s, Parliament-Funkadelic was a large and influential American musical collective headed by George Clinton. The group developed an intricate and distinctive sound that drew on a range of influences, including soul, psychedelia, and R&B.
Parliament-Funkadelic was highly influential in the development of funk music, and their style had a significant impact on later artists in the genre. The group’s size and eclectic approach to music set them apart from other funk bands of the time, and their success helped to popularize funk music in the 1970s.
Today, Parliament-Funkadelic is considered one of the most important and influential funk bands in history. Their unique sound and style continue to inspire musicians across genres, and their influence can be heard in the music of many contemporary artists.
Bootsy Collins
Bootsy Collins (born October 26, 1951) is an American musician and singer-songwriter. Collins is known as one of the most influential bass guitarists in the history of funk. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic.
Bootsy Collins’ place in funk
As a founding member of James Brown’s band in the early 1970s, and as a member of Parliament-Funkadelic in the late 1970s and early 1980s, Bootsy Collins is a legend of funk music. His style of playing, which combines elements of funk, R&B, and psychedelic rock, has influenced countless other musicians. In addition to his work with Brown and Parliament-Funkadelic, Collins has also released several solo albums and collaborated with a wide variety of artists.
The Bootsy Collins sound
The Bootsy Collins sound is a fusion of James Brown-style funk and psychedelic rock. It is characterized by heavily syncopated bass lines, often with a metal guitar sound, and includes elements of soul, R&B, and disco. Collins’s style was influential in the development of several music genres, including hip hop, electro, and Freestyle.
‘Do You Wanna Funk?’
In 1982, Sylvester released his album ‘Do You Wanna Funk?,’ which featured the title track. The song became a moderate hit, peaking at #63 on the Billboard Hot 100. ‘Do You Wanna Funk?’ is a classic example of disco music, and it is still popular today. Let’s take a closer look at the song.
The song’s place in funk history
‘Do You Wanna Funk?’ is a 1982 single by American musician Sylvester. The song was co-written by Patrick Cowley and produced by Cowley. It was released as the second single from his album All I Need.
The song peaked at number two on the Billboard Hot Dance Club Play chart in early 1983 and became one of the most popular tracks in dance clubs at the time. Along with ‘You Make Me Feel (Mighty Real)’, another hit single from Sylvester’s album, ‘Do You Wanna Funk?’ helped to cement his place as one of the most popular disco and funk artists of the early 1980s.
The song’s sound and style
The song has a heavy bassline and is built around a four-chord progression of E minor, D minor, C major, and B♭ major. The staccato synth notes on the off-beat accentuate the backbeat. The verses follow a pattern of E minor-D-C-B♭-E minor-D-C-B♭, while the chorus ( bridge) follows a pattern of C-D-E♭diminished 7th (F half diminished)-C. The second half of the bridge back to the final chorus uses a change of pace with synthesizers playing eighth notes on the upbeats.
