Ten fresh and fantabulous funk songs from the 1970s

As a child of the ’70s and a lover of music that moves my soul, I find myself deeply captivated by the funk-filled melodies that dominated this decade. From the raw power of Tina Turner’s “Nutbush” to Earth, Wind & Fire’s ethereal “Shining Star,” these tracks have an undeniable energy that still resonates today.

It’s quite possible that the key insights into the development of funk music in the 1970s can be encapsulated by a group originating from Dayton, Ohio – the Ohio Players. Although I won’t mention any of their songs here, it’s worth noting that for a brief period during the mid-1970s, they achieved immense popularity. The Ohio Players had been active in the music scene for quite some time prior to this, backing early soul artists like The Falcons in the ’60s and releasing their own music by the end of that decade. While their 1968 album “Observations in Time” was top-notch R&B, it didn’t bring them the commercial success they were seeking.

In the ’60s, traditional R&B and soul bands started to explore funk after observing James Brown and Sly & the Family Stone. However, none embraced it as boldly or innovatively as the Ohio Players. The smooth, elegant soul of the ’60s transformed into wild, energetic dance parties by the 70s – hit songs that were more famous for their provocative album art than the music itself.

However, the music was excellent. The iconic songs like “Fire,” “Skin Tight,” and “Love Rollercoaster” pulsed with energy and exuded a sensual vibe. The bass thumped, the guitar provided electric shocks to the overall mix, and the horns coated everything in a funky aura. During that unforgettable period in the 1970s, “Fire” and “Love Rollercoaster” peaked at number one on the Billboard charts.

Ten of the best funk songs from the 1970s

It’s clear that change was on the horizon, with “Fire” being a quintessential funk track and “Love Rollercoaster” serving as a precursor to the impending disco trend. In essence, “Love Rollercoaster” marked an excellent bridge between the two genres. The Ohio Players attempted to capitalize on this transition in their upcoming albums, but they seemed to lose some of their edge. On the contrary, the character in “Funky Worm” (1972) was quite cool and funky, whereas songs like “O-H-I-O” (1977) and “Funk-O-Nots” (1978) seemed to lack the same level of sophistication, coming off as more playful and lighthearted.

It’s unclear whether disco led to the Ohio Players’ decline, but what I do know is that after disco became popular, the Ohio Players didn’t achieve any major hits again.

Disco often gets a bad rap, but it wasn’t as terrible as people may think. It certainly wasn’t the embodiment of evil or a plague that destroyed good music. However, I must acknowledge the existence of decent disco songs towards the end of this brief discussion. For now, let’s focus on funk, the superior genre that came before disco.

Funk didn’t emerge out of nowhere in the late ’60s; instead, it was a fundamental aspect of R&B tunes throughout their history. However, it wasn’t until artists such as James Brown, Sly, and George Clinton came along that people began to recognize funk music as a genre all its own. By the early ’70s, this style had taken over the pop scene completely. In honor of the Ohio Players, here are ten funk tracks from that time period that truly highlight the incredible potential of this genre.

“Family Affair” by Sly & the Family Stone (1971)

In the course of their successful music journey, Sly & the Family Stone enjoyed three chart-topping hits. The first, “Everyday People” (released in 1968), embodies the essence of bright soul music with its message of unity and lyrics such as “different strokes for different folks” and “so on and so on and scooby-dooby-dooby.” The second hit, titled “Thank You (Falettinme Be Mice Elf Agin),” released in early 1970, showcased a funkier rhythm while maintaining an uplifting message.

By the close of 1971, the musical landscape had undergone a transformation. The tunes took on a softer, more poignant tone. Sly’s soulful vocals resonated deeply with emotion. Lyrics-wise, the songs tackled themes – personal and societal – that were rarely explored in previous R&B and soul music. “Family Affair” served as the embodiment of funk music, emerging fully developed from the mind of Sylvester Stewart, effectively marking the beginning of an extraordinary new phase.

“Theme from Shaft” by Isaac Hayes (1971)

The only problem with my coronation of “Family Affair” is that the song it replaced at the top of the Billboard Hot 100 in December, ’71, was an equally funky number performed by another visionary musician transitioning from more standard R&B and soul into funk around the turn of the decade. Stax music’s Isaac Hayes was commissioned to write the music for a major studio blaxploitation film about the coolest of cool private detectives, John Shaft. Hayes’ keyboards provided an irresistible pulse and he had various horns and drums adding texture.

Musically, Hayes wasn’t surpassed by any lyrically complex piece like “Family Affair,” yet he towered in that realm. His music reached the peak of the American charts, and more remarkably, it earned him an Academy Award. This made Isaac Hayes the first African-American non-actor to receive an Oscar.

“Superstition” by Stevie Wonder (1972)

In 1971, two funk tunes claimed the top spots on the charts between Thanksgiving and Christmas, yet this didn’t fully prepare listeners for the musical abundance that 1972 had in store. Paving the way was a groundbreaking artist who fused funk with pop, none other than Stevie Wonder. During the early 1970s, Wonder turned funk music into the soundtrack of an entire country. While he explored various genres, there was often a touch of that cool vibe in his most popular songs.

Regarding the track “Superstition” from the album “Talking Book,” he initiated with a timeless funk riff that’s renowned – strummed on his Clavinet and scrutinized in minute detail by musicians over the years, striving to grasp and reproduce the genius achieved by Wonder. Whenever I feel anxious about AI potentially dominating the world, I turn to “Superstition.” While it has lyrical significance, what truly reassures me is that until a machine can replicate the human ingenuity in that opening riff, I believe we remain secure.

“Papa Was a Rollin’ Stone” by the Temptations (1972)

The Temptations produced numerous beautiful hits that seamlessly blended exquisite harmonies with longing romantic lyrics, following the soul music’s highest standards. Songs like “My Girl” and “The Way You Do the Things You Do” established a significant benchmark for American pop music during the time when rock & roll was undergoing a transformative British Invasion. However, they managed to keep up with the times by also contributing to the emerging funk movement in an impressive manner.

In a more extended variant, “Papa Was a Rollin’ Stone” track from the album lasted over 12 minutes. It gradually established its atmosphere layer by layer – with pulsating bass, whirling strings, gritty guitar, and wide-reaching horns for nearly four minutes before the narrative commenced… “That was on the third of September – a day I’ll never forget…” The group The Undisputed Truth, who had already achieved a significant hit the previous year with their Temptations cover “Smiling Faces Sometimes,” originally recorded “Papa.” Their version was more brassy and jazzier. Although it possessed an element of funk, it didn’t delve as deeply as the Temptations did.

“Use Me,” by Bill Withers (1972)

Emerging unexpectedly in the early ’70s, Withers astonished with two massive hits, “Ain’t No Sunshine” and “Lean on Me.” These captivating pop-soul tunes showcased the impressive baritone of this former navy man to its fullest. He later recorded other popular standards such as “Beautiful Day” and “Just the Two of Us,” before losing interest in the music scene. Each of these tracks stood out vocally.

Not only could Withers compose soulful tunes like “Use Me” from his second album “Still Bill“, but he also showcased his vocal abilities that earned him recognition. However, it’s the session musicians who truly breathe life into this song. Melvin Dunlap’s pulsating bass line and James Gadsen’s nimble drumming create a solid foundation, while Ray Jackson’s keyboards add vibrant hues to the catchy, unstoppable rhythm.

“Superfly” by Curtis Mayfield (1972)

Isaac Hayes’ score for the film “Shaft” included one massive hit single. The remaining tracks on the album were more focused on creating an atmospheric and ambient vibe. Later, when seasoned soul singer Curtis Mayfield was given a chance to compose music for his own movie, he produced what many consider to be the best movie soundtrack album ever made.

The soundtrack for “Superfly” featured soulful and funky standouts such as “Little Child Runnin’ Wild,” driven by horns, “Pusherman,” propelled by bass and drums, and the eerie “Freddie’s Dead,” showcasing Mayfield’s exceptional vocals. The title track encompassed it all. The bass and drum elements, contributed by long-time collaborators of Mayfield, Joseph Scott and Henry Gibson, are renowned in the realms of funk and hip-hop music.

“Cisco Kid” by War (1972)

Prior to Eric Burdon, who was famously known as Nightshift, there was a war within the band. Then, with Eric Burdon, the British blues singer renowned for his larger-than-life persona and love of American soul music, came another phase of conflict. After Burdon left in 1970, War continued on their own, which marked the point where they discovered their funk. Compared to many of their contemporaries, they were more jazz-oriented. The album that started with “Cisco Kid” became a massive hit for them during this period.

“The World is a Ghetto” album by B.B. King doesn’t solely focus on funk, but the opening track certainly does. The bass line is pulsating, courtesy of B.B. Dickerson, while a variety of percussion instruments keep the rhythm lively. Charles Miller’s saxophones add color, and Howard Scott’s gritty vocals narrate an old-west tale. This was also the period when Townes Van Zandt was recording his timeless “Pancho and Lefty” and “Butch Cassidy and the Sundance Kid” won four Oscars. Tales of old-west outlaws were popular during that time, but none had the funky vibe of “The Cisco Kid.

“Nutbush City Limits” by Ike & Tina Turner (1973)

Among all the tunes on this playlist, I genuinely adore each one, yet if I’m being truthful, this particular song stands out as my top choice for several reasons. It might be due to its unique blend of funk and rock genres. Moreover, the powerful vocals of Tina Turner in this track are simply unparalleled. While there is indeed a strong rhythm, it offers so much more than just a beat.

Keyboards twirl, horns blare, and a guitar (possibly belonging to glam legend Marc Bolan) sets off the entire performance. Whether it’s Bolan or not remains uncertain, but “Nutbush” is undeniably one of the funkiest glam anthems. Luckily, the song was belted out by a woman who had the strength, drama, and realness to hold her own against the chaotic mix of musical influences pulsing through the track.

“Shining Star” by Earth, Wind and Fire (1975)

So far, we’ve played eight out of our ten 1970s funk songs, leaving only two more. As Disco started gaining popularity around 1973, it began to overshadow many existing dance genres. However, there were bands that resisted the trend. Earth, Wind and Fire was initially a collective of top-tier soul session musicians, formed by Maurice White. With the addition of Phillip Bailey’s magnificent tenor voice, they climbed the charts with a unique mix of funk, soul, and pop music.

The song ‘Shining Star’ embodies various musical instincts. While White dominates with his gravelly voice, Bailey offers a beautiful harmony. The rhythm guitar played by Johnny Graham has a strong funk feel, and Al Mckay’s guitar leads have a more jazzy vibe.

While the horns played energetically and a clavinet harmoniously accompanied Verdine White’s bass, “Shining Star” was the opening track and debut single from the successful album, “That’s the Way of the World.” This album wasn’t strictly a funk one. Instead, its standout piece, “Reasons,” represented pop-soul with Bailey’s exceptional tenor taking the lead role. However, when they opted to deliver a funky tune in “Shining Star”, Earth, Wind & Fire truly excelled.

“One Nation Under a Groove” by Funkadelic

You can’t write about funk music without mentioning George Clinton. Whether as a solo artist or with the loose collective that made up Parliament-Funkadelic, Clinton took funk music further than anyone. His fusion had elements of soul and rock to be sure, but also was one of the forefathers of hip-hop, world music, and even disco. He was responsible for any number of great funk numbers in the 1970s, but I’m picking “One Nation…” for two reasons.

Initially, I sought for something originating from around mid-decade, a time when disco dominated dance floors, leaving no other genre in sight, and Clinton exhibited unwavering strength against any forceful waves. Furthermore, “One Nation…” encapsulates nearly everything that was associated with classic R&B and soul music, ranging from Jimi Hendrix to Sly Stone.

I mean, just consider the repeated instructions “Feet don’t fail me now.” That had been the title of Little Feat’s 1974 country funk album and was about to be the title of jazz-funk icon Herbie Hancock’s 1979 album. If there was even the slightest hint of funk in a piece of music, George Clinton could make it his own.

Allow me to present a short rebuttal, as previously mentioned, for the defense of disco music that dominated the charts during the latter part of the ’70s. In my opinion, songs such as “Stayin’ Alive” (by the Bee Gees), “Le Freak” (by Chic), “Last Dance” (Donna Summer), “I Will Survive” (Gloria Gaynor), and even “Y.M.C.A.” (Village People) – all unveiled within a ten-month period from December ’77 to October ’78 – are danceable pop tunes that deserve recognition in the annals of history.

I believe that if these songs weren’t constantly played everywhere – radio stations and clubs – back in 1978, to the point where no other music was given a chance, they might enjoy more favorable standing now. However, this is open for debate.

2024-09-27 13:01