Category Archives: Capitol Records

Anatomy of THE Groove: “If You Got Funk,You Got Style” by Funkadelic

Bernie Worrell,P-Funk’s premier keyboard maestro was revealed a week ago to be living with stage 4 prostate cancer. With every major celebrity death of the new year having to do with some variation of this disease,it felt right to celebrate Bernie’s enormous musical contributions while he is still living. And that is also a key element of his talents as well. As a New England Conservatory Of Music and Julliard student who became drawn to the burgeoning sound of funk, he was able to bring his European classic training to the P-Funk mob just as the genre itself was in a crucial state of evolution. This made him key in the development of P-Funk’s first well known side.

Unsure if it was because they’d just moved from Westbound or not, but have always held mixed feelings for Funkadelic’s 1976 Capitol Records debut entitled Hardcore Jollies. Never seemed like an album that knew what it wanted to be: an exercise in funky serenity or the rock noisemaker. And the two musical elements were not particularly hybridized on this album. But of course the funk that was present was some of the strongest P-Funk ever made. Somehow it just occurred to me that this is the first time I’ve ever reviewed a Funkadelic jam on this blog. So now I’d like to present to you now one of the most powerful manifesto’s for the genre itself,”If You’ve Got Funk,You’ve Got Style”.

This is one those examples of funk that gets a stone cold start without any buildup or intro. And that’s great because it’s a heavy Brazilian jazz/funk drum provides the foundation for Bootsy Collins’ always intense duck face bass thump combined with multiple keyboard parts from Bernie. One of them is a high pitched,modulation filtered melodic line and the other is a thick Moog bass line. On the choruses, that higher keyboard line basically scales down with George Clinton’s vocal hook. On the rest of the songs refrains, the beginning theme of the groove is accentuated by some of the most powerful and ringing percussion parts I’ve ever heard on a funk number.

Funkadelic tended to be the side of P-Funk who had the most instrumental flexibility and adaptability. Especially early on even, their music didn’t particularly sound like funk at all as much as psychedelic bluesy rock grooves. By this time however,they’d locked the rhythm down a lot tighter and really allowed for the expansion of the one. What’s amazing is the the spot on ideal funk groove presented here dovetails right into the lyrical content. The basic ideas is “if you got funk,you got class/your out on the floor moving your ass”. So the more literal expression of the ideas that would shortly go into Sir Nose Devoidoffunk and the Bop Gun. This explicit statement of the funk is,for me anyway what gives the song and it’s accompanying album all of it’s musical might.

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Filed under 1970's, Bernie Worrell, Bootsy Collins, Capitol Records, drums, Funk, Funkadelic, George Clinton, keyboards, P-Funk, Uncategorized

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Something For Nothing” by Natalie Cole

Several days ago? The new year of 2016 wrung in rather sadly with the news that Natalie Cole had passed away from complications with congestive heart familiar. Having been the daughter of Nat King Cole and growing up in a family she described as “the black Kennedy’s”? Natalie, in a similar manner to the also departed Whitney Houston, has occasionally been viewed as someone whose talents derived largely from genetics. Perhaps this led to the years of drug related self destruction that likely contributed to her death at age 65.

Being inspired by soul and rock  music more than a jazzy approach? It was now iconic Chicago producers Chuck Jackson and Marvin Yancy who really helped to beef up Cole’s career. After some unsuccessful label shopping,the team ended up at her fathers old label Capitol. There they all began polishing up work on Cole’s debut album Inseparable. While as a whole it’s gospel/soul ballads and uptempo numbers would define much of Cole’s musical output? The funk got turned up high on numbers such as one of my favorites here entitled “Something For Nothing”.

The groove kicks off with an ascending,classic funk riff from a bassy Clavinet. It’s assisted by a tickling soul stride type honky tonk piano. On each of these phrases? A high pitched,bluesy rhythm guitar riff rings into the next part of the song-all orchestrated by minor chorded strings. Assisted by stop/start funky drumming all the way? The Clavinet buoys the song until the strings and piano spin off into a bright,major chord 70’s Chi Town soul melody on the bridge before it all fades out on it’s original theme.

Listening to this makes me wonder why Natalie Cole,with her gospel heavy soul pipes,didn’t prioritize the evolution of funk as her career pushed forward. Considering how much this particular number has in common with Rufus’s “Tell Me Something Good”? It’s a song very much in the spirit of the “who says a rock band can’t play funk” ethic of taking the blues base,and smoothing it out for a more soulful and danceable groove. It’s still one of the finest examples of Natalie Cole with a strong groove and a strong tribute to her as a potential funky diva.

 

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Filed under 1970's, blues funk, Capitol Records, Chicago, Chuck Jackson, classic funk, clavinet, funky soul, guitar, Marvin Yancy, Nat King Cole, Natalie Cole, piano, Uncategorized, Whitney Houston