ISR STREET RADIO
Thursday, May 24, 2018
Labels: 80's party jams, 80's street funk, internet street funk, isr ♥ funk and romance, ISR Channel 15 Best 80's & 90's R&B Magazine, Nasty Bass, oberheim system, Slow Jamz, Synth-funk, www.internetstreetradio.com
Location:PHOENIX, AZ. 1051 Candlecrest Dr, Westlake Village, CA 91362, USA
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Tuesday, December 26, 2017
In the early 1980's, as the Disco music era came to an insufferable conclusion, the innovation of utilizing electronics and computers in music was gradually becoming more than a curiosity.
Soul music, unlike drug-crazed Disco, was clearly art based music, founded on true human emotion, and real spiritual dynamics.
How on earth could replacing real human talent with computers lead to any worthwhile "SOUL" music?
By 1982 Stevie Wonder, Prince, and Marvin Gaye all began utilizing a little bit more than the usual Fender "Rhodes" electric piano to compose. There was Hohner's "funky clavinet", talk-box "vocoders", and a plethora of "drum machines" coming into the musical instrument marketplace.
Eventually up-and-coming R&B talent would see this electronic age of musical instrumentation embraced by established stars and legends.
When the Stevie Wonder's the Prince's and the Marvin Gaye's scored huge chart hits using the new hi-tech musical instruments, the younger Soul music talent saw this as the nod of approval they needed to follow suit.
One of the most innovative Soul & Funk hit records to break new terrain in the early 80's was the electro-funk song; "777-9311". Composed by Prince and recorded by the Minneapolis funk band; The Time. This immensely popular and influential urban party record was the lead single from The Time's second album; "What Time Is It?!!"
Recorded for the album at Prince's home studio in May–June 1982, the song was produced, arranged, composed and performed by Prince, with lead singer of The Time; Morris Day adding the lead vocal track.
A sophisticated and deeply funky song it opens with an electronic drum machine beat pattern featuring an active and syncopated hi-hat pattern that repeats. Then electric rhythm guitar and a real slap-bass guitar is added climaxing in an erotic orgy of guitar and electronic synthesizer parts. All together it is far from mechanical, it is a sensual and moving experience that insisted all who heard it immediately rush onto the dance-floor.
"777-9311" reached #2 on the R&B charts and is one of The Time's signature numbers, played at all their concerts and reunion shows until today.
Another influential track from 1982 was the song that stayed atop the #1 r&b position for ten consecutive weeks: "Sexual Healing" by Marvin Gaye.
This post-disco, soul, funk, and reggae infused song was composed and performed on the Roland TR-808 drum machine.
The record-setting success of this seminal recording by the esteemed Motown legend: Marvin Gaye would cement 1982 as the turning point in the end of Disco and the beginning of Hi-Tech Soul R&B.
'Synth-Funk' would go on in the next few years to spawn legions of soul crooners using drum machines and synthesizer backdrops to record their own sexy love songs.
David Frank and Mic Murphy, along with Kashif, Mtume, and Paul Laurence Jones, all hailing from the heart and the heat of the early 80's NYC streets, were among the best of the burgeoning new army of electro-synth funk bands.
The new producers and new 80's groups were now influenced by the new synthesizer equipment being manufactured by music instrument companies such as; Roland, Korg, Yamaha, Sequential Circuits, and Oberheim. The new wave of sound created sparkling ear candy for the fans of soulful R&b and funky urban music, all while remaining dance-able and commercial.
By the end of the Disco music era contemporary rhythm and blues artists began to follow in the mighty footsteps of the early chart success of "777-9311" and "Sexual Healing".
The 'synth-funk' legacy lasted all the way through the 80's into the 'new jack swing' era of the early 90's, then into the Timbaland and Pharrell synth-sampled hits of the new millennium.
The playlist embedded below features the very best of "The System", an early 80's funk duo formed by David Frank and Mic (pronounced Mick) Murphy.
I want to share their music since they were among the first to follow the Disco exit straight into the Hi-tech Funk era and went so far as to literally name themselves after their brand new equipment! (The Oberheim System), you can't get more synthesized than that can you? But also because I feel David and Mic retain the soulful urgency and genuine emotion needed to create a convincing hybrid of 'soul and synthesizer'.
Moreover it's Mic's sensitive lyrics that evoke the great soul ballads and R&B love songs of the past, while it's David's funky electronic sounds that are layered in a meticulous backdrop of uniquely colorful electronic timbres.
I have always found something joyful in the varied arrangements, and something infectious in the passionate vocals of "The System".
Enjoy and comment!
By James Clark
Sunday, December 24, 2017
I do not own this video, including the audio or pictures. This video is posted for non-profit reasons under the Fair Use Copyright Statute for commentary and criticism. All rights and credits belong to the respective copyright holders.
© Def Comedy Jam
The Parliament-Funkadelic - "At the Summit"
The Parliaments, the original do-rag, do-wop, processed hair, barbershop quintet found it difficult to stand out in Motown with the spotlight squarely trained on the Four Tops, and the Temptations.
So the original members; George Clinton, Fuzzy Haskins, Grady Thomas, Ray Davis, and Calvin Simon, formed "The Funkadelic", a psychedelic radical band that fused Jimi Hendrix and James Brown into the same light socket.
They added "Parlet" the Parliament's female backup singers, and the "Horny Horns", their all-star horn section that at times included notables such as; Randy and Michael Brecker aka "The Brecker Brothers" and Maceo Parker and Fred Wesley Jr. straight from James Brown's JB's.
This was their pinnacle lineup. A wild and sumptuous army of virtuoso musicians and soul singers that ofttimes merged the Funkadelic and the Parliament groups into one synergistic orgy of deep soul and psychedelic funk.
Perhaps un-ironically it was during the hedonistic disco era that this concept band reached its zenith and predictably then came the drugs, the high costs of an impressive over the top stage show, the lengthy tours, musicians not getting paid, and band members started to come and go without notice, and it was never this good again, not after this.
The clip below is the transcendent, total effect of the "Parliament-Funkadelic-ment thang".
"The church of the p-funk" if you will.
There was some previous success, and there were hits to come later, but this was the pinnacle.
Live clip from the Houston Summit show, 1976 is on YouTube.
Leave your comments below.
Sunday, December 10, 2017
Labels: David Hawk Wollinsky, howard hewett, isr ♥ funk and romance, ISR Channel 15 Best 80's & 90's R&B Radio, isrusa, Nasty Bass, ob-8, oberheim system, shalamar, Synth-funk, www.internetstreetradio.com
Location:PHOENIX, AZ. 1895 Rising Glen Rd, West Hollywood, CA 90069, USA
Saturday, December 2, 2017
I do not own this video, including the audio or pictures. This video is posted for non-profit reasons under the Fair Use Copyright Statute for commentary and criticism. All rights and credits belong to the respective copyright holders. © Geffen Records