Anatomy of THE Groove: “Too Funky” by George Michael

George Michael celebrated his first posthumous birthday yesterday. His death came very sadly and suddenly on Christmas day last year. Since that time,I have learned (along with my boyfriend) just to how important George Michael and Wham were to the post disco UK dance/funk/soul scene of the 1980’s. Wham were one of the “big four” bands on the UK’s major music program Top Of The Pops.  As for Michael’s solo career, it operated from 1987 through 1991 before his record company conflict began. Yet that five years had Michael as part of a huge growth period for cutting edge,funky dance music.

His final single before these record company conflicts was originally recorded for his sophomore solo album Listen Without Prejudice Vol.1. It eventually ended up being released for the AIDS charity CD entitled Red Hot+Blue in 1992. All the proceeds from that and Michael’s accompanying single went to HIV/AIDS related causes. It was also Michael’s first extensive use of sampling-from sound clips from The Graduate and The Tony Hancock Show to a sample from Jocelyn Brown’s “Somebody Else’s Guy”. The name of the George Michael song that did all these things was “Too Funky”.

A fast electronic piano drum rundown introduces the song. Its a thick,slow drum machine rhythm with some shuffling, Brazilian style conga/percussion accents. The melodic body of the song is a round,five note synth brass part-along with pulsing electronic strings and like minded bass line. The piano/bass/drum interaction make up the refrains. With each choral variation, the synth brass returns and varies in tone. After a bridge that condenses the song down to the drums and bass line,the chorus fades the song out to a close with the piano part and the final sound sample of the song.

“Too Funky” is a song that basically pulls together all of the funkiest elements of 80’s dance music innovations. It has the the percussive shuffle of DC go go, the dramatic synthesized horns of the Minneapolis sound and the repetitive bass and piano of house music. What makes it “too funky” is not merely the sexually free (yet somehow post AIDS) lyrical content. But also the somewhat slower tempo and that percussive jump on the rhythms. George Michael wouldn’t put any new music out for four years after this. But it sure capped off the beginning of his solo career with a strong groove.

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