He sees chefs trying to one-up each other with "funkier and funkier" versions, with extreme heat and saltiness.
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And McMullen's voice — brash, loud — stipulates a funkier style.
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However, natural wines do typically taste "funkier" than other wines.
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Rhythmically, we just wanted to make it a little funkier.
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But the Lenovo Smart Display has a decidedly funkier look.
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Larry Heard – "Premonition Of Lost Love" Funkier than a mosquito's tweeter!
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Savoy Motel is an evolutionary step for Novak: darker, slower, and funkier.
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International DJs, predominantly male, ruled Thailand's nightlife, playing mostly hip-hop and funkier house.
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Joking aside, Sea Captain Date is beginning to smell funkier than a uncleaned fishing trawler.
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Because of it's "funkier" flavor, Bietchman recommends natural wines to those who aren't wine tasting novices.
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It opens with an incredibly badass aerial sequence and then it gets crazier & gorier & nastier & funkier.
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"Sonically, it's pretty funky, funkier than anything we've ever done before," Flowers said of Wonderful Wonderful.
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Part of Dev Hynes' crew, but on a far funkier journey than anyone else in that world.
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He wanted to create a "funkier" version of The Paris Review, and design was an essential element.
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A ramshackle throwback to a funkier, more literary time, the store has shelves handmade from raw lumber.
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Loreen Williamson and Pamela Thomas know that there are funkier figures in history than Booker T. Washington.
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It's been a while since I've been in, and they've redecorated so it's funkier and more eclectic than ever.
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This is pho bac, the noodle soup indigenous to northern Vietnam, darker and funkier than its sweet southern cousin.
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It's as though he left these songs out overnight to ferment into something even funkier and worse for you.
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Chef Riedy then explains to me that some of the funkier flavors of the beef can get lost when grinding.
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While both clips are only 15 seconds long, it seems that Congrats will see them exploring their dirtier and funkier side.
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Each original Beach Glass is $9.99, and the Caribbean Beach Glasses, which have a funkier squared-off shape, are $10.50 each.
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More recently, a funkier option has come along: a USB-C hub that wraps around one of the iPad Pro's corners.
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The difference: unlike the Pixie, which is made of metal, the Inissia's exterior is mostly plastic and has a slightly funkier design.
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Hundreds of parishioners, overwhelmingly Nigerian, many in African ceremonial clothes, swayed to gospel songs made faster and funkier by Nigerian highlife beats.
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"So that's where the music went from white jazz-school stuff to something groovier, funkier, more communicative with the audience," he said.
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The Sound+ HW-MS24 sits in that range too (its 260 driver $22.2 Sound+ HW-MS24.0 cousin sits in a funkier spot).
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Don't worry, I found a way to roll them up and rock them with sneakers for a bit of a funkier look.
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Chile oil awaits in a plastic tub, murky and sublime, hotter and funkier than the squeeze bottle of Sriracha also on hand.
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Funkier still, the Oasis had a tiny garden of succulents growing on the dashboard, injecting a little photosynthesis in our increasingly synthetic lifestyles.
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Floorplan is a funkier and more spiritual project than the minimal techno Hood largely founded and continues to make under his own name.
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Sales of J. Crew, which attracted a cult following for its preppy apparel, have slipped as the company began offering funkier clothing and accessories.
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"As more sand runs through the hourglass and this gets closer to presidential election seasons, the dynamics in our nation's capital get funkier," Rep.
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Although the original Lay's potato chip is a classic, the company has gained a reputation for their funkier flavors in the past few years.
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It's a funkier version of what so many of the blues rockers of the previous three days had attempted, somehow more succinct yet more expansive.
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That being said, he's happy playing around with small batches of funkier concoctions, while filling the 1,500-liter tanks with something a little more palate-pleasing.
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In comparison to some of the funkier hotels I've experienced in Manhattan like the Ace Hotel or the Beekman, Park South is much more classically elegant.
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Day two took a funkier turn, starting out with MeLo-X, who brought out the incredibly turnt crew The Øthers, and the incomparably fun Phony Ppl.
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The kale salad accompanying this steak gets a funkier treatment, dressed with lemon, brown butter, and yuzu kosho, the Japanese fermented chili and yuzu orange spice mix.
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In his R13 collection, Chris Leba offered a funkier take, showing repurposed denim in the shape of a dress or faded overalls, with slouchy boots to match.
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But now things are getting a little funkier, thanks to an integration with Pandora and Spotify that allows you to seamlessly play your music during your next trip.
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You could also get an exact replica of Rachel and Phoebe's apothecary table if your style is funkier than Monica's, as it's part of Pottery Barn's "Friends" collection.
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Hold on tight for some of the funkier, over-the-top concepts, prototypes, and even real production vehicles that vie for the spotlight at the massive tech trade show.
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Meanwhile, he added zinfandel, cumin, and culantro—a jagged-leafed spice, popular on the Pacific side, similar to cilantro but bolder and funkier—to the remainder in the pot.
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If you want to expose your kids to the funkier varieties of contemporary music — wonderfully amplified, often — the Bang on a Can Marathon is a great place to start.
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Compared to previous editions of the festival, it seemed as if the heavy barrel-aged stouts were getting a pass from brewers, who instead chose to highlight tarter, funkier brews.
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Now, as the percussion of Nina Simone's "Funkier Than a Mosquito's Tweeter" fades in, he responds to Violet's hostility by shoving her forehead, causing a backward fall down the stairs.
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Played by: Caribou, BBC Radio 1 Essential Mix, 2014 Now, the bank-busting capabilities of this funkier-than-though extended edit aren't as easy to pin down as the records above.
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Much like the real Mr. Hyde, Bruno's funkier side has been lurking under the surface for years, a bit like a disease that makes you secretly really good at writing basslines.
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These spinach garganelli are super easy to fold and provide the ideal delivery system for a rich, tomato-y, lamb Bolognese that's packed with Pecorino Romano, Parmigiano Reggiano's fluffier, funkier cousin.
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While one gin drink featuring fresh lavender reminded me of a lingerie drawer on ice, a bourbon cocktail with carpano antica, chile-infused tequila and mezcal was funkier than a Manhattan.
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Examples of his early and funkier hand-made efforts are presented as formalist masterpieces with plenty of surrounding space, ostensibly to focus attention on sculptural qualities that are uneven at best.
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Things got distinctly funkier, and two shades more laconic, on "The Royal Scam," a record defined by Mr. Fagen's inky clavinet and the skintight drumming of Bernard Purdie and Rick Marotta.
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Although some enjoyed TJ's spicier and funkier-flavored crunchies, the group ultimately felt that they lacked the cheesy component essential to cut overall the heat — despite the boasted-about "real cheese" coating.
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I have two really interesting daiquiris (no, not the frozen kind) made with Smith & Cross rum instead of the usual white varietal, so they are much funkier tasting than a normal daiquiri.
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"People are psyched about the beers that are weirder and funkier, generally due to their yeast strains," said Jen Watson, the general manager at Berg'n, a beer hall in Crown Heights, Brooklyn.
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Though Ms. Wass also sells less ostentatious jewelry — necklaces made of miniature pyramids, simple metal cuffs and bracelets with thin, dangling chains — she considers the funkier stuff the soul of her company.
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The collection (which includes several cute tea-length options and classic gowns, as well as funkier looks) ranges in price from $2388 to $2488 and from XXS to 263X, depending on the style.
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It's dense and honeycomb-patterned, and tastes like what you'd get if Willy Wonka condensed and fermented a wheel of pecorino into something far funkier and saltier than the Italians could ever imagine.
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It was more of a poi-like paste than the slashed cubes of poke that mainlanders eat today, and funkier; in his memory, his great-grandfather always washed it down with Miller Lite.
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Prata cachaça is a liquor distilled from fermented cane sugar juice, so it's a little funkier and more distinct than sugarcane rum, but you can definitely substitute the latter in this sweet, fruity punch.
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He released two more albums in a similar creative vein on the Horizon label and then signed with Atlantic, for whom he released three albums, mostly with higher production values and a funkier sound.
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A silver monochrome by Jacob Kassay or a "Rain" painting by Lucien Smith might look a lot funkier than English brown furniture, but cooling values for emerging artists have also prompted new sales strategies.
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AUSTIN, Texas (Reuters) - A music festival organizer helped make the Texas capital of Austin a little bit funkier this week by putting up a skillfully crafted sign that dubbed a downtown road David Bowie Street.
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Marketing investments are just one factor separating luxury brands riding high on demand from markets like China and those struggling to make a mark, with product designs and funkier store strategies playing a role too.
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On their fifth record, Big Balloon, Manchester's Dutch Uncles swerve toward a funkier art-rock approach; still on the heels of David Bowie, with a little David Byrne, and added touch of contemporaries Franz Ferdinand.
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At Compa, a casual restaurant in the funkier, slightly grittier section of the city center, regulars hang out by an old Tito calendar, as the chef sprinkles Slovenian salt on perfectly grilled steaks and Treviso radicchio.
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There's a colorful, distinct 16-bit style to everything, and some areas—spaceships, futuristic cities, alien landscapes—even look a little like Metroid, if Metroid were much funkier and more committed to neon pinks and greens.
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She said that in those categories, Madewell might face competition from Urban Outfitters and its Free People and Anthropologie brands, even though Urban is "a little funkier" and Anthropologie's target customer may be a little older.
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Many others featured music by strong female vocalists, such as Nina Simone's "Funkier Than a Mosquito's Tweeter" at Mara Hoffman and an all-out dance party to Christina Aguilera's "What a Girl Wants" at Brandon Maxwell.
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But, two episodes in, it became clear that Robert and Michelle King—who are also the creators of "The Good Wife"—were working up a far stranger, more original, and certainly funkier allegory for Washington's woes.
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Big-name talent signed on for the revival: Science fiction writer Harlan Ellison wrote episodes, despite being a critic of TV; horror legend Wes Craven directed some; the Grateful Dead recorded the decidedly funkier new theme song.
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Anthony Vaccarello, most recently the creative director of Versus Versace — the younger, funkier sibling brand of Versace and, of late, an incubator of up-and-coming designers — has been named the new creative director of Yves Saint Laurent.
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Kirsten Gillibrand Gillibrand has a similar color scheme of pink, black, blue, and white going on in her store, and while she does have some basic "Gillibrand 2020" options, she switches things up a little with some funkier shirt designs.
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The first is Scottish techno producer Neil Landstrumm's 2004 album Lord For £39, released on Planet Mu. Landstrumm is a Scottish techno producer, and on this album, he indulged his taste for grime, hip-hop, and the funkier side of techno.
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It's a little funkier than my tastes normally accommodate, and not much of this has since made it onto the 'Tube, but for the more determined among you I'd recommend the title track for its very tight rhythmic workout. 5.
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Winners in sports such as fencing and equestrian will hear a more traditional sound, while funkier tunes will play for those triumphing in newer and younger sports such as BMX biking and beach volleyball, said Christy Nicolay, executive producer of sport presentations.
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Whether it's an MCM-style loveseat from a vetted Amazon exclusive brand, a funkier top rated storage piece, or a compact table for your nearly-nonexistent dining room, the goods ahead are ready to be shopped, boxed, and shipped to your doorstep.
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Somebody produced the wireless speaker I'd seen on the "Last O.G." set, and Morgan put on a mix that began with Faith Evans's "You Used to Love Me." As the music went on, the tracks got funkier and stretched further into the past.
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A new generation of plant-forward, Instagram-friendly cafes — among them Dimes and West-Bourne — are replacing funkier, hippyish staples like Souen in SoHo and Angelica Kitchen, which both closed in the past two years (though Souen's East Village location remains open).
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"House in LA" is the sort of track that invites stillness, enveloping you with its sheer atmosphere, while "Happy Man" is a funkier number with prominent bass and an extremely hooky chorus that'll compel you to dance, probably while doing lots of dramatic pointing.
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It sees Hus on more commanding form than we've heard before—he sounds comfortable and relaxed, riding a slightly slower, funkier (in the purest sense of the word), and more instrumentally rich beat than he's done previously, and it's definitely a look that suits him.
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Conventional wines — those that we have drunk our entire lives, and that dominate the menus and shelves of restaurants and stores — can start to seem predictable after a dip into the funkier, cloudier, is-there-a-pasture-in-my-glass surprises of this category.
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Everything from its label to its composition has been a rebellion against the old establishment of Napa Valley wines, but—like beet salad or, say, Freddie Prinze Jr.'s character in She's All That—it has found widespread appeal despite being darker and funkier than its contemporaries.
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Even two episodes in, it's clear that "Random Acts of Flyness"—a collaboration between Nance and a group of his friends, black artists working out of Bed-Stuy, who include Jamund Washington, Naima Ramos-Chapman, and Mariama Diallo—is one of the funkier, wilder projects of the year.
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I started off at the new Fiji Marriott Resort Momi Bay, but felt most at home down on the Coral Coast at funkier beachside lodges like Tambua Sands, Fiji Hideaway and Yatule Beach, or the gorgeous backpacker complex Beach House, where each private hut has an outdoor bathroom.
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If the convention for world-class museums is to have a custom-built home, preferably by a Pritzker-winning "starchitect" ("museum buildings as logos" as Mr. Yantrasast sees it), some smaller institutions prefer to use existing spaces — the funkier, the better — to convey their own sense of adventurousness.
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That we understand why weather is getting funkier, why ecosystem dynamics are fucked up—the fact that I do research in a field that is far beyond a point of identifying climate change, and I still feel like we're completely beyond anything getting better environmentally—makes me feel depressed beyond belief.
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Justin Bieber: The Biebz advises us to love ourselves, but we can't help but also loving him just a tiny bit in his two Saint LAurent looks — one a more traditional white dinner jacket over a black outfit (with a Cartier signet ring from Beladora), the other a funkier leopard bomber and backwards hat.
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Wearing leather Golf Le Fleurs, a 'No Violence!' t-shirt and a hat bearing the words 'Problem Child' (all his own label, Golf Wang), Tyler looks like your friend's shy younger brother, sheepishly sliding and shimmying across the stage during some of the songs with funkier arrangements, and walking around the set's large trees and logs like he's exploring.
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Even if they were not quite as dark a horse as their ranking suggested—they are Olympic-grade athletes, and Gonzalez, in particular, has a bouncy and long-limbed physicality that instantly identifies him as either a volleyball player or NBA small forward—they played a game that was altogether funkier and more casual than the one being played by their ostensible peers.
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You can tell from this video — excerpted from a new full-length concert film — that the group has not lost the spark inside the material; on this version of Washington's "Street Fighter Mas," from the album "Heaven and Earth," the two-drummer rhythm section pounds out a beat that's both funkier and more thrashing than on the record — and Cameron Graves takes a lightning-sharp keyboard solo that could make a metal guitarist quake.
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Nightfreak and the Sons of Becker marked another change in direction for the band, showcasing a darker, funkier and more lo-fi sound.
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The two mixes were provided by British house music producer (Dancing) Danny D (a.k.a. D Mob) who gave a funkier interpretation with additional backing vocals on the chorus whereas the similar-sounding "Strip to the Bone" mix (also by Danny D) gave the song a funkier version with an additional rap ad- lib of "the drum, the bass" to bridge the verse and chorus.
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The B-side "Chopper" is a non-album track written by Tina Turner. It later appeared on the compilation album Funkier Than a Mosquito's Tweeter (2002).
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The album has been described as having a "funkier" sound by Orson's lead singer Jason Pebworth, who has been working with the group in the recording studio.Kilkelly, Daniel. "Sugababes working on "funky" album". Digital Spy.
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" Claypool has stated that Lane has made the band "funkier" than they previously had been: "I was embarrassed for many years when people would call Primus a funk band... We were never funky. We're funky now.
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There really isn't > necessarily a sense of continuity there. It's definitely funkier. It's maybe > developing off of things like "Faberge Falls for Shuggie" and "Labyrinthian > Pomp" from Hissing Fauna. It's kind of moving things in those directions.
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"Funkier Than a Mosquito's Tweeter" is a song written by Alline Bullock, sister of Tina Turner. It was first released by R&B; duo Ike & Tina Turner on their 1970 album Workin' Together. Mosquita's was the original spelling of Mosquito's, but after jazz singer Nina Simone released her version in 1974, most subsequent releases of the song have used the latter spelling including Ike & Tina Turner reissues. "Funkier Than a Mosquita's Tweeter" was produced by Ike Turner and released as a B-side single to "Proud Mary" on Liberty Records in January 1971.
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This song is a scathing assessment of an unidentified man, opening with "you're nothin' but a dirty, dirty old man." The song was used as the title for Ike & Tina Turner's 2002 compilation album Funkier Than a Mosquito's Tweeter.
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Rough Guides Ltd, October 2003. . The album's sound includes many samples and funkier, poppier beats than previous albums. The AllMusic Guide to Electronica describes it as "alien funk, a collection of idiosyncratic rhythms, dark textures, and ominous grooves."Jason Ankeny.
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"Bustin' Out" is a 1981 EP by the New York based No Wave music group Material. The vocal here is provided by Nona Hendryx. This single sees the band move further away from their experimental beginnings into a clubier funkier direction.
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Retrieved 20 May 2007. while Amazon.com's David Trueman wrote that the song "utilises the funkier end of 1980s disco, with a contemporary edge that removes the cheese and dispels any notion that [Minogue] may be hanging on the coattails of her big sister (Kylie Minogue)".Trueman, David.
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Now! is the third album by singer, France Joli, released in 1982. This album saw her shift away from the disco based songs of her early recordings, to a funkier soul music base. This change provided her with her biggest international hit, "Gonna Get Over You".
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"Is That Enough" is a 1977 song recorded by American soul singer Marvin Gaye. Using a funkier, blues-based and smooth jazz production, Gaye sung in a comfortable tenor. This track would later on be sampled by Three 6 Mafia on their 2000 single, "Sippin' on Some Syrup".
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Funkier Than a Mosquito's Tweeter is a 2002 compilation album by Ike & Tina Turner released on Stateside Records. The songs were originally recorded from 1969 to 1974 from the albums Come Together (1970), Working Together (1970), 'Nuff Said (1971), Feel Good (1972), and Let Me Touch Your Mind (1973).
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Today, The Heights is an upper-middle-income residential neighborhood. It is marked by boutiques and restaurants along Kavanaugh Boulevard, St. John's Seminary, and the Country Club of Little Rock. Hillcrest likewise centers around a section of Kavanaugh Boulevard. It is sometimes described as the "funkier" cousin of The Heights.
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Frank Stewart was part of an acoustic gospel octet called the Singing Stewarts. Their calypso-style music paved the way for funkier forms of gospel when British church music still consisted largely of ancient hymns. The Singing Stewarts are no longer playing together. Stewart was also a writer for the Caribbean Times newspaper.
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52–55 It was ambient and abstract, and featured a rich, orchestrated sound. Under Lanois' direction, Mullen's drumming became looser, funkier, and more subtle, and Clayton's bass became more subliminal.Stokes (1996), pp. 50–51 Complementing the album's atmospheric sound, the lyrics were left open to interpretation, providing what the band called a "very visual feel".
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Debbie Harry and Chris Stein wrote an early version of "Heart of Glass", called "Once I Had a Love", in 1974–75. This earlier version was initially recorded as a demo in 1975. The song had a slower, funkier sound with a basic disco beat. For this reason the band referred to it as "The Disco Song".
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The album received positive reviews. Writing for AllMusic, Adam Greenberg praised the diversity and quality of the tracks, calling it a "wonderful" starting-point, but mentioning that there are better choices for those pursuing specific genres. Michaelangelo Matos of the Chicago Reader compared the release to The Rough Guide to Salsa, calling this one "slower", "sexier", and "funkier".
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Most important of these were James Brown and the drummers and arrangers he employed. Brown's early repertoire had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. 'Please, Please, Please' (1956), 'Bewildered' (1961), 'I Don't Mind' (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming.
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Alline Bullock (December 1, 1936 – September 4, 2010) was an American songwriter and the older sister of singer Tina Turner. Bullock was the one- time manager of the girl group the Ikettes. She wrote songs for Ike & Tina Turner as well as their band the Kings of Rhythm, most notably "Funkier Than a Mosquita's Tweeter" which was covered by Nina Simone.
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The second half of the song contains a tempo change with a funkier beat and the singer singing verse-chorus-verse trajectories. Chris Richards of The Washington Post compared this type of songcraft with Maxwell, Erykah Badu and Frank Ocean's work. It starts with Beyoncé declaring "I'm about to get into this girls. This for all my grown women out there".
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The overall image was younger and funkier. Paul Baillargeon put together a new band. He kept the two backup singers Simon Leclerc and Catherine Léveillée and hired Florent Richard on bass, Gilles Valiquette took care of the guitars, synthesizers and sequencers. With Baillargeon's keyboards, drums and the strings and woodwinds added by the sequencers, the sound was smooth, rich and modern.
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" Billboard described Murray as being "at her best" on the song. Carly Simon was dating James Taylor during the recording of her 1972 album No Secrets. She decided that she wanted to include one of Taylor's songs on the album. Producer Richard Perry chose "Night Owl" for her to cover, because "it was a funkier, bluesier tune than [Taylor's] more folk-oriented material.
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Nina Simone recorded a rendition of "Funkier Than A Mosquito's Tweeter" at New York's Philharmonic Hall in July 1973. It was released on her 1974 live album, It Is Finished, on RCA Records. Her version differs greatly from the original, using "special rhythmic effects on a variety of African and Eastern instruments." Simone's rendition has since become a classic and the best known version of the song.
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The band's sound went back to a funkier guitar-driven rock reminiscent of Extreme, while still having post-grunge and alternative influences. After the end of the Furnished Souls For Rent tour, in 2001, Nuno decided to dismiss the band and released a record as Population 1, mostly recorded by himself. That became the name of his new band too, which would later become DramaGods.
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K10k, also known as “The Designers’ Lunchbox,” was a global digital design portal. The site was the result of a chance meeting online between Toke Nygaard and Michael Schmidt. Nygaard and Schmidt gained inspiration from sites like DigitalThread.com and Shift.jp.org but wanted to create something that was “fresher and funkier, and updated every single week.” The site was built by Cuban Council and is built in HTML 4.0.
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233, 236, UCLA, 2003 The band chose to use more funk by using extended chord tones, a dramatic pause eighteen seconds into the song and other methods as well. Bowman, Durrell. "Permanent Change: Rush, Musicians' Rock, and the Progressive Post-Counterculture," PhD dissertation in musicology, p. 237, UCLA, 2003 The funkier song structure proved to be difficult for Neil Peart when he played the drums for the song.
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The bass lines became funkier and once again, the band tried to gain interest from the record companies. This is when they met John Stains from Polydor Records. Polydor was on a roll at that time with hits from bands like The Waitresses and was looking to expand upon the 'new wave' sound. John helped finance demos that the band recorded over a two-week stretch in December 1983.
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"Cimarrón" (literally, "one who lives on mountaintops") refers to African slaves who ran away from their Spanish masters. In 2006, Vivanco recorded his second solo album, La Isla Milagrosa, produced by Descemer Bueno and Roberto Carcassés. In recent times Vivanco has started to distance himself from his funkier, poppier tunes in favour of music that is more "Santiaguera" (from Santiago), more Cuban, more rhythmic – more traditional. Vivanco has performed in France.
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Shogren was replaced in December 1971 with singer, songwriter and bass guitarist Tiran Porter, while Hossack was added to the lineup at the same time as a regular. Porter and Hossack were both stalwarts of the Northern California music scene, Porter having previously played in Scratch with Simmons. Porter brought a funkier bass style and added his husky baritone to the voices of Johnston and Simmons, resulting in a rich three-part blend.
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Joan Armatrading in a publicity picture during the tour that led to the "Steppin' Out" live album. "Mama Mercy" opens the album and is a funkier version of the studio recording from Show Some Emotion, "with some unusual stops". "Cool Blue Stole My Heart" is an extended (at over seven minutes) and blues-influenced version of the song from "Back to the Night". It recalls a holiday Armatrading had in Amsterdam five years previously.
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Nate Patrin of Pitchfork felt that the song "ratchets up both the gospel beatitude and the secular lust". The love song "I've Been Loving You Too Long" was co-written by Redding and The Impressions' lead singer Jerry Butler in a hotel near the Atlanta airport. Redding's rendition of Cooke's "Shake" is again funkier. The song is about the club dancing in the so-called discothèques, which debuted in the early 1960s.
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"Take a Bow" was released as the second single from Bedtime Stories on December 6, 1994, following "Secret". The maxi single release of the song included two remixes. According to Jose F. Promis of AllMusic, the first remix, known as the "In Da Soul" mix, gives the ballad a funkier, more urban feel while the second remix, known as the "Silky Soul Mix", is a little more "quiet storm" and "melancholy" than the first.
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AllMusic's retrospective review commented that the album was more focused on mood than Capaldi's debut, with longer songs built on soulful grooves "giving this album a funkier, open feel that lingers longer than the songs." In a review for the 2012 reissue of the album, Terry Stauntman of the British magazine Classic Rock remarked how this album "represents a further moving away from Traffic's sound and Capaldi marking out his own territory more forcefully".
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" She also defined it as being "a little bit funkier." "I love her verses on this record, she went in," Cassie told MTV News about working with Minaj, "I love when women collab and are all about girl power. It's not that we're against the boys; we just wanted to sing about them. And Nicki is so inspiring, I learned so much from her just even being on camera and watching her perform.
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Production duo Jamey Jaz and Ren Toppano also served as songwriters and producers on the record, with their work being compared to the collaborations between Oliver Leiber and Paula Abdul. Milano's fourth studio album Do You See Me? was released in May 1992, and was the first record of hers not produced by Carbone. The album was described as having a more "mellow, sophisticated" style, and incorporating "slightly funkier twists" and "pop/hip-hop" sounds.
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While in New York to play an engagement at George Benson's Breezin' Lounge, he collapsed in his car of a heart attack and died on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children. Since Green's death, his reputation has grown and many compilations exist, of both his earlier (post-bop/straight ahead and soul jazz) and later (funkier/dancefloor jazz) periods.
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According to Jose F. Promis of AllMusic, the sped-up vocals made Madonna's voice have a "robotic, detached feel that the original doesn't have." Promis also noted that Vasquez's "Sound Factory Mix" had "swirling instrumentals recalling flashing lights in a nightclub". This remix also incorporated tribal percussion sounds and synth looping. Similarly he noted that the "Some Bizarre Mix" gave the song a "groovier, funkier spin", while the "Allstar Mix", gave it "a cold, hip-hop feel".
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"Blackleg Miner" is a Northumbrian song from the 1844 miners' strike, which the band first recorded for Hark! The Village Wait (1970). This version is re-orchestrated with a much funkier feel than their first recording, and also puts greater stress on the line that threatens death against blacklegs. Their 1970 version had become an anthem for the striking miners during the strike of 1984-5, but it has also been controversial for inciting violence against strikebreakers.
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She worked in the business side of the Ike & Tina Turner organization. She briefly managed the Ikettes (Robbie Montgomery, Venetta Fields, and Jessie Smith) after they left the revue in 1965, but Ike prevented them from using the name; they became the Mirettes. As a songwriter, Bullock wrote songs for Ike & Tina Turner, most notably "Funkier Than a Mosquita's Tweeter" on their album Workin' Together (1970). The song has been covered by various artists, including Nina Simone.
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Ice Cube, The Predator ("…captured a historical moment and a musical one – few albums share that unique distinction") 60\. Main Source, Breaking Atoms ("The overall modd is fresh and jazzy, and the Large Professor's production is never short of inspired") 59\. Redman, Muddy Waters ("Funkier than a room full of the finest cheeba smoke") 58\. The Roots, Things Fall Apart ("…contained enough hard hip- hop tunes to keep aficionados of the roughest street sounds happy") 57\.
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Snoop Doggy Dogg, Doggystyle ("The tunes are still great and the beats bumping") 11\. Dr. Dre, The Chronic ("What made the whole trunk-bumping package so great was Dre's production… Hundreds of albums since have tried to bite his style but none have managed it") 10\. A Tribe Called Quest, The Low End Theory ("ATCQ came back with something harder, funkier and deeper than their light-hearted debut. It was a brave and bold move") 9\.
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A far more atmospheric album than the previous War, The Unforgettable Fire was at the time the band's most dramatic change in direction.Parra (1994), pp. 52–56 It has a rich and orchestrated sound and was the first U2 album with a cohesive sound. Under Lanois' direction, Mullen's drumming became looser, funkier and more subtle, and Clayton's bass became more subliminal, such that the rhythm section no longer intruded, but flowed in support of the songs.
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"Crazy in Love" has various remixes, including the Rockwilder remix, Maurice Joshua's Nu Soul remix, and Juniors World remix. These versions appeared on the single releases of "Crazy in Love" under an alternative spelling, "Krazy in Luv". The Rockwilder remix slows down the beat and makes the song deeper and funkier with chopped up horn samples and sparkling synth textures. Maurice's Nu Soul Remix speeds up the beat, taking it from hip-hop to house territory.
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Upon release, Apocalypse 91 earned critical acclaim. Anthony DeCurtis of Rolling Stone praised its production and lyrics, stating that Apocalypse 91 "attempts nothing short of setting a sociopolitical agenda for the black community." Similarly, Ronin Ro of The Source highlighted Chuck D's powerful and focused lyrics as well as the uncompromising and raw nature of the album. NME credited the album for being "more soulful" and funkier than its predecessors, but admitted that it includes some filler.
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He appeared on the album Fiafiaga (1988), which continued with the Global Beat direction with computer- based and funkier sounds. A jazzier version of the band consisting of Smith, Coster, Larry Schneider (saxophone), Frank Gambale (guitar), and Larry Grenadier (double bass) recorded Vitalive! (1990). Jeff Andrews (bass) joined the band in the early 1990s, recording Easier Done Than Said (1992) and Ray of Hope (1996). Vital Information became more groove-oriented on Where We Come From (1998).
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Stylistically the record features production handled by West largely considered unconventional. It is an aesthetic quality shared with his previous solo album. Julian Benbow of The Boston Globe writes that the album's music is as "massive, dour, and relentlessly unconventional" as that of West's previous 2010 album My Beautiful Dark Twisted Fantasy. Music writer Robert Christgau describes West's production as "a funkier and less ornate variant of the prog-rap of 2010's acclaimed My Beautiful Dark Twisted Fantasy".
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He offered a full, creative performance with a narrative. He demonstrated to the DJs of later generations that the power belonged to them to create environmental moods, and that there were techniques for creating different atmospheres, and thus manipulating dancers. His musical choices were also quite different from his predecessors. He played on the funkier side of rock music, using The Rolling Stones or Led Zeppelin on top of heavy black rhythms such as Dyke & The Blazers or Kool & The Gang.
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Already in 1997 they had renamed their own musical group Psychopod to Saiko- Pod, adopting a somewhat different style (perhaps best described as slower and funkier). In 2006, six years after the release of The Great Unknown, Koxbox returned with U-Turn, released on Twisted Records. This most recent album contained collaborations with some of psychedelic dance music's best established artists including Joie Hinton and Merv Pepler (Eat Static, Ozric Tentacles), Frederic Holyszewski (Deedrah, Dado, Cypher, Transwave) and Serge Souque (Total Eclipse) as well as others.
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According to The Independents Holly Rubenstein, Kaleidoscope Dream is "widely considered a leading example" of alternative R&B; Miguel himself described it as "avant soul". In the opinion of NPR's Frannie Kelley, the record combined R&B;, pop, funk, rock and soul genres. Its music features sparse production, eccentric details, thick bass lines, buzzing synthesizers, and hazy, reverbed sounds. AllMusic's Andy Kellman found the album "funkier and weirder" than All I Want Is You and observed an "illusory atmosphere ... intensified by some unexpected touches".
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This lineup set about recording The Supremes Produced and Arranged by Jimmy Webb, but it also sold poorly in spite of good reviews. Undaunted, Laurence asked Wonder, her former mentor, to help the group find a new sound. Wonder concocted the single "Bad Weather" using a funkier sound that the group had been accustomed to, and is reported to have recorded a few more songs with the trio (such as "Soft Days", whose demo recording circulates in bootleg copies) for a future unreleased album project.
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In 2005, Clazziquai's "Be My Love" and "She Is", were featured in the South Korean hit television drama, My Lovely Samsoon. These two major theme songs also raised the ratings of the series up 50%. Clazziquai had hoped then that people's imagination towards their music would not 'decrease as a result of their unexpected popularity'. In September 2005, Clazziquai released their second album, Color Your Soul claiming it had a "raw, funkier feel presenting a combination of electronic music and [an] emphasized acoustic genre".
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In the United Kingdom, the album was a huge hit, debuting at number 1. Prince also released two maxi singles in support of the album. In 1993, a funkier instrumental version of the song "Pheromone" was used as the theme music for the BET music video program, Video LP. The album cover proclaims "Prince: 1958–1993", indicating that Prince had "died" in 1993, and was reborn under his Love Symbol alias. The church depicted in the background of the record's cover is the Sagrada Família in Barcelona.
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The song was a success, reaching number 34 in the Billboard R&B; chart. It was included on King's Born Under a Bad Sign album, which "became one of the most popular and influential blues albums of the late '60s". The song remained in his repertoire throughout his career and several live versions were issued. King recorded another studio version of the song for his 1974 album I Wanna Get Funky with many of the same Stax personnel, but a fuller, "funkier" arrangement and beat.
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Around the end of 1965, local record distributor Ron Saul got the group a deal with Parrot Records, a division of London Records. Their first single was a cover of Bob Dylan's "Queen Jane Approximately". The B-side was originally supposed to be Dino Valenti's "Birdses", but Saul shelved that, releasing the funkier "Jack of Diamonds," recorded at the same Tacoma, Washington studio favored by The Wailers. The latter track would eventually find its way onto the 1998 CD re- issue of Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968.
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Workin' Together became their most successful studio album, peaking at No. 25 on the Billboard 200 and No. 3 on the R&B; chart. It includes the duo's social conscious title track, "Workin' Together," "Funkier Than A Mosquita's Tweeter" penned by Tina's sister Alline Bullock, and notable covers such as "Get Back" and "Let It Be" by the Beatles. In January 1971, Ike and Tina embarked on a European tour which included dates at Midem in Cannes, the Palais d'Hiver in Lyon, and the Olympia in Paris. Their performances received rave reviews.
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Death Certificate received critical acclaim. AllMusic called it "even harder and angrier than AmeriKKKa's Most Wanted ... It continues the sharp insights and unflinching looks at contemporary urban lifestyles that his solo debut only hinted at; in short, it's hardcore without any gangsta posturing." They also call it "funkier, noisier, and more musically effective (than AmeriKKKa)." Initially giving a four-and-a-half out of five "mic" rating, The Source retrospectively awarded Death Certificate full marks in a list of "5 Mic Hip-Hop Classics", in its 150th issue.
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Maybe it was a natural progression. But it was a funkier groove. It was a new tempo for people north of Watford to get into." In Christgau's Record Guide (1981), Robert Christgau described Brass Construction as a "black-identified" disco band "with lots of funk" and said the album "owes more lyrically to Gil Scott-Heron than to Barry White but evokes both and is candid to the point of wryness (and terseness) about using words primarily for musical color," giving praise to "the way the synthesized violins are timed.
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Horse Meat Disco introduces simple new melodies to the song, while it also includes strutting beats and funk-laced instrumentals. The first part of the song is very clubby, while the second parts drops to a cruise. A mashup of "Break My Heart" and a Dimitri From Paris edit of Jamiroquai's "Cosmic Girl", which is a DJ Mix only track, is an upbeat remix with unbridled energy, that makes the former track funkier. The Blessed Madonna's "Levitating" remix featuring Madonna and Missy Elliott spans electro-disco, electro house, future bass and techno genres.
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In February 2001, Spears signed a $7–8 million promotional deal with Pepsi, and released another book co-written with her mother, titled A Mother's Gift. Her self- titled third studio album, Britney, was released in November 2001. While on tour, she felt inspired by hip hop artists such as Jay-Z and The Neptunes and wanted to create a record with a funkier sound. The album debuted at number one in the Billboard 200 and reached top five positions in Australia, the United Kingdom and mainland Europe and sold over 15 million copies worldwide.
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But after a minute of this, the music takes over and his body starts to lose any inhibitions. Midway, he finally cuts loose before shouting the chant "non-stop express, party y'all; feel no distress, I'm at my best — let's dance, let's shout, gettin' funky what it's all about!" proving the power of the dance can overtake any shyness. The dance is focused on Gaye and a suitable female partner he seeks. In the second half, a funkier jazz arrangement is helped in guitar, bass and a tambourine.
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As with Instant Vintage, Ray Ray features Saadiq's characteristic fusion of programmed beats, strings, neo soul melodies, and live guitars. The songs are mostly mid-tempo and groove-based, and also feature rubbery bass lines and horns. AllMusic's Andy Kellman views that the album's music is "a little funkier and a lot more energetic than 2002's Instant Vintage, yet just as full of Saadiq's stylish flourishes." He writes of the album's subject matter, "for every song that's charmingly simple and full of lighthearted romantic sentiments, there's something message-oriented".
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James Brown recorded a version of "Kansas City" in 1967. The single reached number 21 on the R&B; chart and number 55 on the Hot 100 singles chart. A later, funkier version appears on the 1975 album Everybody's Doin' the Hustle & Dead on the Double Bump. Brown recorded live performances of the song for his albums Live at the Apollo, Volume II (1968) and Say It Live and Loud (1998; recorded 1968), and in his concert films James Brown: Man to Man and Live at the Boston Garden.
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The early 1960s also saw performers such as bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound. Mbaqanga developed vocal harmonies during the very early 1960s when groups including The Skylarks and the Manhattan Brothers began copying American vocal bands, mostly doo wop. Rather than African-American four-part harmonies, however, South African bands used five parts. The Dark City Sisters were the most popular vocal group in the early 1960s, known for their sweet style.
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The departed Cultreri later worked in A&R; for Relativity Records where he is credited with bringing Megadeth, Steve Vai, and Joe Satriani to the label. The first full album for Material, Memory Serves, which featured strong jazz leanings, had contributions from guitarists Sonny Sharrock and Henry Cow's Fred Frith, cornetist Olu Dara, saxophonist Henry Threadgill and violinist Billy Bang. They started working with singers and their music became more melodic and funkier. Their next single "Ciquiri" (included on the American Songs EP) which featured guitarist Robert Quine, became popular in New York City dance clubs.
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David Gilmour used two guitars with the Uni-Vibe guitar effect to create the harmonizing guitar solo for the rest of the song. "Any Colour You Like" is also known (and is even listed on the Dark Side guitar tablature book) as "Breathe (Second Reprise)" because the song shares the same beat (albeit somewhat funkier and uptempo) as the album's second song "Breathe". It has also nearly the same chord sequence just transposed a whole step lower from E minor to D minor. In the original liner notes, songwriting credits contain a typo with Nick Mason's last name listed as Marson.
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Their producer, Norman Whitfield, became an innovator in the field of psychedelic soul, creating hits with a newer, funkier sound for many Motown acts, including "War" by Edwin Starr, "Smiling Faces Sometimes" by the Undisputed Truth and "Papa Was A Rollin' Stone" by the Temptations. Motown producers Frank Wilson ("Keep On Truckin'") and Hal Davis ("Dancing Machine") followed suit. Stevie Wonder and Marvin Gaye also adopted funk beats for some of their biggest hits in the 1970s, such as "Superstition" and "You Haven't Done Nothin'", and "I Want You" and "Got To Give It Up", respectively.
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DU's first release, Sex Packets, was full of funk samples, with the most widely known "The Humpty Dance" sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks. Funk is a major element of certain artists identified with the jam band scene of the late 1990s and 2000s. Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk.
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By 1980 Seymour, on lead guitar, was a member of The Jetsonnes, a post-punk pop group formed in Melbourne, with John Archer on bass guitar; Doug Falconer on drums; Margot O'Neill on lead vocals; and Ray Tosti-Gueira on guitar. Clinton Walker described the group as "lighter, bouncier (rather than funkier) and more infectious than other like-minded bands such as Models". They issued a double A-sided single, "Newspaper"/"Miniskirts in Moscow". The Jetsonnes, Models, and International Exiles were "the first bands to rise out of Melbourne's hothouse punk, new wave explosion playing an exuberant brand of neo-pop".
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In Concert, 1973 Tanx would mark the end of the classic T. Rex line-up. An eclectic album containing several melancholy ballads and rich production, Tanx showcased the T. Rex sound bolstered by extra instrumental embellishments such as Mellotron and saxophone. "The Street and Babe Shadow" was funkier while the last song "Left Hand Luke and the Beggar Boys" was seen by critics as a nod to gospel with several female backing singers. Released in March 1973, "20th Century Boy" was another important success, peaking at number 3 in the UK Singles chart but was not included in the album.
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Mergia was born in Showa province, and moved to Addis Ababa in his youth. He had grown up on traditional Oromo, Amhara and Tigrinya songbook melodies, and taught himself the accordion age 14. His mastering of the accordion, as well as the keyboard and his talent for "re- purposing folk songs into funkier modern melodies," defined his contribution to popular music in Ethiopia. In the 1970s, Hailu Mergia was the keyboardist in the Walias Band, a jazz and funk band with a hard polyrhythmic funk sound influenced by western artists like King Curtis, Junior Walker and Maceo Parker.
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Mike Nied of Idolator regarded the "atmospheric" song as "another solid gold bop", complimenting its ability "to present a new, more mature version of the superstar". Sam Damshenas of Gay Times opined that the song "displays a saucier, funkier side" to Mendes. Jordan Sargent of Spin praised the track, deeming it "notably well-made pop music" and "refreshingly spacious," despite being ambivalent towards his previous single "In My Blood". Billboard named it the 22nd best song of the first half of 2018, Elle considered it the 2nd, while Uproxx listed it at No. 8 for the best pop songs of 2018.
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" For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more "underground" clothing. After the film's release, some of the looks Field chose became popular, to the filmmakers' amusement. Tucci praised Field's skill in putting ensembles together that were not only stylish but helped him develop his character: > She just sort of sits there with her cigarette and her hair, and she would > pull stuff — these very disparate elements — and put them together into this > ensemble, and you'd go, "Come on, Pat, you can't wear that with that." She'd > say, "Eh, just try it on.
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Phrenology received widespread acclaim from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 87, based on 23 reviews. Mojo magazine hailed it as a "masterpiece", while Rolling Stone writer Pat Blashill said it has "a startling array of hip-hop reinventions". Dave Heaton from PopMatters called Phrenology "an impressive, ambitious work" that shows the Roots "filling their sound out and pushing it in a variety of directions", with a form of "tight soul/funk" that "sounds even more exact, funkier and edgier" than on Things Fall Apart.
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According to music journalist, Clinton Walker, The Jetsonnes had a "clever post-punk pop sound was lighter, bouncier (rather than funkier) and more infectious than other like-minded bands". Their only released track is "Newspaper" which was one side of a gig give away split single in June 1980 with "Miniskirts in Moscow" by fellow pop group, International Exiles, as the other. By September that year The Jetsonnes had disbanded but Archer, Falconer, Miles, Seymour and Tosti-Gueira decided to continue with new members, Geoff Crosby on keyboards and Greg Perano (ex-True Wheels) on percussion to form a new band.
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Edrey and Ulises first met in the Santos Suárez neighbourhood of Havana, where Edrey lived (and still lives) with his grandmother on Avenida Serrano. Ulises grew up in El Cotorro, the site of the old Modelo Brewery. In 1996 Edrey and Ulises started working with Pablo Herrera, Cuba's premier rap producer, who also happened to live in Santos Suarez, on Calle Zapote. Deciding to disregard the lucrative reggaeton niche, Edrey and Ulises' idea was to use all the Cuban rhythms and create a fusion of Mambo, Son, Chachacha and mix them with funkier sounds, like the rumba.
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The following month on August 7, 1999, Trade had a dance tent at Summer Rites in Brockwell Park, the first time they had a tent at the festival. Towards the end of the 1990s, as Turnmills fitted out more space in the venue, Trade expanded into a second room, which Laurence named the 'Trade lite lounge'. The room played a lighter funkier style of house music which quickly gained a big following. In 2000, Trade hosted one of the two main stages (the other BBC Radio 1) for the first UK Love Parade festival held at Roundhay Park, Leeds the event was attended by 1,500,000 people.
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Robert Christgau, writing in The Village Voice, facetiously said the album may appeal to young enthusiasts of Berlin techno and computing, but it was too "French" and "spirituel" for American tastes. In a retrospective review for The Rolling Stone Album Guide (2004), Douglas Wolk gave Discovery three-and-a-half stars and wrote that "the more [Daft Punk] dumb the album down, the funkier it gets" with an emphasis on hooks over songs. Q listed Discovery as one of the best 50 albums of 2001. The album was later ranked number 12 on Pitchforks Top 100 Albums of 2000–04 and number three on their Top 200 Albums of the 2000s.
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" Kitazawa identified two distinct styles that exemplified city pop: "the former a lush, tropical romp, the latter a thumping rug-cutter". Pitchforks Joshua Minsoom Kim called it "a vague descriptor for Japanese music that incorporated jazz and R&B;", while PopMatters Chris Ingalls categorized it as "a type of soft rock/AOR/funk". Wax Poetics Ed Motta offered, "City Pop is really AOR and soft rock but with some funk and boogie too. Because when you hear funkier City Pop tunes, you hear not only the influence, but in some parts they steal from groups like Skyy, BB&Q; Band, and those kinda American boogie and funk groups.
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It met with less success than So, reaching No. 2 in the album chart on both sides of the Atlantic, and making modest chart impact with the singles "Digging in the Dirt" and the funkier "Steam", which evoked memories of "Sledgehammer". Gabriel followed the release of the album with a world tour (with Paula Cole or Joy Askew filling O'Connor's vocal role) and accompanying double CD and DVD Secret World Live in 1994. Gabriel employed an innovative approach in the marketing of the Us album. Not wishing to feature only images of himself, he asked artist filmmakers Nichola Bruce and Michael Coulson to co-ordinate a marketing campaign using contemporary artists.
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"Blood for Poppies" has been described by Billboard as "a mix of crunchy and funky guitars during the verse" and an "infectious, sing-along chorus"; while KROQ's Nadia Noir claimed it was "a song which conjures up some of the shimmering distortion, guitar tremolo, and the sensual shoegaze" of My Bloody Valentine's "Only Shallow", "albeit with the funkier, harder edge and Manson's sultry contralto vocals that make Garbage wholly unique". Rick Martin, of NME, described the song as "some righteous noise and a proper poptastic chorus to boot," and remarked; "If only all seven-year itches came with as much squalling feedback and eardrum-bursting goodness".
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Lipa has proposed to release a remix of the song featuring fans playing the instruments. A Remix by Moodymann and a mashup with Jamiroquai's "Cosmic Girl" (Dimitri From Paris Edit) appear on Lipa and The Blessed Madonna's DJ Mix remix album Club Future Nostalgia, released 28 August 2020, while the original Moodymann remix was released on 11 September 2020, along with the standard edition of the album. The funkier mashup was created by The Blessed Madonna after Lipa mentioned that Jamiroquai was one of her reference points. Moodymann adjusts his sound to fit Lipa's on his remix, a modern dance and Detroit house track.
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People magazine deemed it Carey's best album, benefiting from "funkier and mellower" songs and the singer's improved control over her voice, "evincing greater muscularity and agility". According to Encyclopedia of Popular Music writer Colin Larkin, "some critics questioned whether Daydream was a controled exercise in vacuous formula writing, with little emotion or heart." Reviewing the album for Entertainment Weekly, Ken Tucker preferred the "less dignified tunes"—particularly "Daydream Interlude (Fantasy Sweet Dub Mix)"—over the "monuments to assiduous good taste" in "When I Saw You" and "I Am Free", which he panned as overwrought ballads. Tucker nonetheless called it Carey's best album since her 1990 self-titled debut.
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Chris Malone of Billboard felt the song "opens with a slinky bassline 'Attention'", and features a catchy chorus. He thinks that the song "marks a slight stylistic shift from the more straight forward pop sound that filled his debut album Nine Track Mind", and that Puth took "the funkier R&B-leaning; direction" with "How Long". James Dinh of iHeartRadio deemed it "a fitting follow-up to 'Attention' as the 25-year-old tackles yet another vulnerable narrative from the romance department", and expects it to enter top 10 on Billboard Hot 100. Mike Wass of Idolator wrote that the song "picks up where 'Attention' left off".
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Himes highlighted "Let Me Know" for this comparison, despite having a "fatter and funkier" dance beat than Wonder's music, as Giscombe's supple voice "can glide through tricky melody maps and smoothly shift from silky crooning to gruff barking." He wrote that Giscombe's distinctive vocal phrasing "breaks up ordinary lines into revealing pauses, drawn-out syllables and compressed syllables." "Mama Used to Say" and "Too Late" appear on the album remixed by Tee Scott. Journalist Barney Hoskyns compared "Love Dies" to the Jacksons, "Darling You" to Chaka Khan and the disco song "Let Me Know" to "1969-period" Wonder, while describing "Down Down" and "I Can't Help It" as dance ballads.
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Charles Donovan's retrospective review on Allmusic described the new tack Reddy was taking: "In search of a harder rock edge, Reddy employed Dr. Hook producer Ron Haffkine for Take What You Find, but despite tougher material like 'Killer Barracuda,' this was essentially another MOR-focused collection. Whatever artistic development there might have been failed to reverse Reddy's commercial decline." The reviewer for Billboard magazine also noted the different feel of this project. "The sound is funkier and harder-edged than we've come to expect from Reddy, as she tackles such tough topic matter as 'Killer Barracuda'," in which she describes a rather vicious love-'em-and-leave-'em type.
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Much like their previous album, Come Together, the album featured several covers of rock songs and also featured renewed versions of previous Ike & Tina songs, which was a habit for the couple. The album featured the duo's biggest-selling hit, a funk rock styled cover of "Proud Mary." The B-side, "Funkier Than a Mosquita's Tweeter" was written by Tina's sister the Alline Bullock and later covered by Nina Simone. Several of the songs were written by Ike (including two by "Eki Renrut" which is Ike Turner backwards) including "The Way You Love Me" which the Turners had recorded for their debut album, The Soul of Ike & Tina Turner, nearly a decade earlier.
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Village Voice critic Robert Christgau wrote of the album: > "There's a pretty fair remake of 'Ooh Poo Pah Doo' in between the two great > cuts on this album—the easy-to-rough 'Proud Mary' (with Ike rolling in back) > and their first successful 'peace and love' 'generation' song, appropriately > entitled 'Funkier Than a Mosquita's Tweeter.' Someone named Eki Renrut > contributes a pretty fair do-right-man song. And Tina tries valiantly to > sing her way out of some gunny sacks." Billboard (November 21, 1970): > Nobody works harder than Ike & Tina Turner and workin' together they take > top material, rip it up, and resoul "Proud Mary," "Let It Be," "Get Back" > and "Ooh Poo Pah Doo" their way.
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The Norman Whitfield Sessions is compilation album of songs by Marvin Gaye from 1962 to 1969. The album covers the Norman Whitfield-produced sessions of soul singer Marvin Gaye's late sixties period as he moved away from teen pop- driven R&B; songs that made him a pop star. It covers more mature, grittier and funkier material as Whitfield guided the direction of Gaye's career, the high point being the 1968 song, "I Heard It Through the Grapevine", which became Gaye's first international smash. Other hits during that period included the more upbeat "Too Busy Thinking About My Baby", the darker "That's the Way Love Is" and "The End of Our Road".
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It is musically similar to the explorations on Smile, and Nyro skillfully re-arranges many songs so that they fit her new band sound rather than copying album versions, such as slowing down "Sweet Blindness" considerably or making "And When I Die" funkier. The original vinyl LP was planned to be a double-set but a single vinyl LP was released instead. There is a Japanese import version of the full album, which features 16 songs as opposed to the standard version's ten songs. Reissue imprint Iconoclassic Records released a remastered version of Season of Lights, including all sixteen songs plus a bonus solo version of "Timer," on CD in August 2008.
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Fiddler Craig Espie and bassist Barry Caulfield were added to the lineup. This increased the range and scope of the musical styles they could bring to their sound. When the second album, ‘On the Road’ was released in 2007, a brass section (The Horn Supremacy) was included. Tracks on ‘On the Road’ are also predominantly rearrangements of traditional tunes but with a rockier, funkier feel to them. Following a gig in their adopted home town of Glasgow, reviewer Stuart Morrison, in 'The Herald' stated that 'we could well have found a Runrig for the 21st century'. The band continued to build their following by touring throughout Scotland and by adding a growing number of foreign gigs.
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Kleinenberg's performances at Crobar often featured appearances from young DJs, such as Desyn Masiello. Over his career, Kleinenberg's track selection shifted from the more "lush" sounds of progressive house to a funkier electro house vibe, though he prefers to define his genre simply as "house music". In 2004 he had released his track "The Fruit" and in 2006 he released "This is Miami"; both tracks reached a number one position in the ARIA chart. His "Everybody" brand has grown with the years and has changed to his current "This Is..." brand which was influenced by his song "This Is Miami", another version of the song which was used in the Sensation (event) is called, "This Is Sensation".
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Dreams' second and final album Imagine My Surprise was produced in Memphis by Steve Cropper. Cropper wanted to "help the audience to better understand the group" so in his production he put "funkier, more commercial rhythms behind [the band]" while trying to "keep jazz up front at the same time." While Dreams did not achieve the commercial success of either Chicago or Blood Sweat & Tears, they served as a launchpad for eventually prominent jazz fusion artists Billy Cobham, Don Grolnick, and Randy & Michael Brecker (later known as the Brecker Brothers). Other prominent band members included guitarist John Abercrombie, trombonist Barry Rogers, guitarist Bob Mann (who later joined Mountain) and bassist Will Lee.
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Gary Graff of Billboard wrote that the song was "shoot-from-the- hip cleverness". The song got a "thumbs up" from Blake Boldt of Engine 145, whose review praised the production for "bel[ying] the narrator’s disappointment" and called the song "brooding", also saying that it proved that Keith "has quite a few creative tricks left up his sleeve". Kevin John Coyne of Country Universe gave the song a B rating, saying that "does breakup about as good as anybody" and that he doesn't believe Keith is "capable of turning in a weak vocal performance." Bobby Peacock of Roughstock gave the song a 3.5/5 rating, saying that the production is "looser and funkier" than on Keith's other songs.
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While officially the band still exists, and its well-known name was used in 2001 to promote a 'duel' album pitting the two labels' artists against each other, Kool Shen was quoted in 2004 saying "on a fini avec NTM en 98" ("We finished with NTM in 1998"). The group is known for its gritty, dark and sometimes violent lyrics, as well as for the contrast between the two rappers' styles. While Joey Starr (also known as Jaguar Gorgonne and Double-R) has a relatively slow flow, aggressive lyrics and a deep, booming voice (which he sometimes uses to yell such as in "Pose ton Gun"), Kool Shen has a funkier flow as well as witty and rather melancholic lyrics.
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Hillage's second album L (1976) had been a surprise success, garnering critical praise and reaching number 10 on the UK Albums Chart and staying on the chart for twelve weeks.The Guinness book of British Hit Albums, 1983, page 80. As a result, Hillage and his band were offered the chance to open for Electric Light Orchestra on their American tour in early 1977. It was whilst based in Los Angeles during the tour that Hillage and his collaborator and songwriting partner Miquette Giraudy met synthesizer pioneer Malcolm Cecil, whose work with the Tonto's Expanding Head Band and Stevie Wonder had influenced Hillage's work on L. With Hillage wanting to head into funkier territory, Cecil agreed to produce Hillage's third album.
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Norman Whitfield took the Temptations into psychedelic territory after a suggestion from the group's de facto leader, Otis Williams. Williams had been discussing Sly & the Family Stone's music, and the changes it brought to the soul music industry, with his friend, producer Kenneth Gamble. Gamble agreed with Williams that Sly Stone's funkier production style and multi-lead vocals was here to stay and that it was time to learn to adapt to it. While Williams, Whitfield, and Williams' then-wife Ann Cain were standing outside of the Casino Royale nightclub in Motown's home city of Detroit during the summer of 1968, Williams suggested that Whitfield might try to produce something like Sly & the Family Stone's "Dance to the Music" for their next single.
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The song was written by Adam Levine, Ammar Malik, Ryan Tedder, Benny Blanco and Noel Zancanella, and produced by the latter three. Blanco and Malik have previously teamed with Maroon 5 on the songs "Moves like Jagger" and "Payphone", while Tedder and Zancanella have worked with the group on the songs "Love Somebody" and "Lucky Strike". "Maps" is an up-tempo pop rock track, composed in the key of C minor (with the main chord progression of A–B–C#m - both in the verses and the chorus - and F#m–G#m-G#7 in the pre- chorus), that contains a "breezy guitar lick". It marks Maroon 5's further departure from the funkier sound for which the band was originally known.
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Presented as "a multidimensional window,"Motivation Radio music writer Mark Powell noted that, true to Hillage's wishes, Motivation Radio was "funkier in nature" than his previous material, although "still undeniably Hillage." Inspired by funk, disco and dance music, Motivation Radio sees Hillage extensively employing the synthesiser for the first time, as well as a guitar technique that gives much of the music here a mystical atmosphere.Buyer's Guide: Steve Hillage - Classic Rock Hillage recalled that Motivation Radio was "the moment where the dance/funk thing began to manifest itself and even then that came out of an unusual and interesting experience." Although the album is more dance- orientated than previous works, it still features Hillage's trademark glissando guitar work at its core.
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Featuring a starkly lit set, the Isolar – 1976 Tour with its colour newsprint Isolar concert program, highlighted songs from the album, including the dramatic and lengthy title track, the ballads "Wild Is the Wind" and "Word on a Wing", and the funkier "TVC 15" and "Stay". The core band that coalesced to record this album and tour—rhythm guitarist Carlos Alomar, bassist George Murray, and drummer Dennis Davis—continued as a stable unit for the remainder of the 1970s. The tour was highly successful but mired in political controversy. Bowie was quoted in Stockholm as saying that "Britain could benefit from a Fascist leader", and was detained by customs on the Russian/Polish border for possessing Nazi paraphernalia.Buckley (2000): pp. 289–91.
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Photograph of the original release (left) and a re-issue copy (right) of Gloria Jones' "Tainted Love" The term "northern soul" emanated from the record shop Soul City in Covent Garden, London, which was run by famous soul music collector Dave Godin.Neil Rushton, Northern Soul Stories, Chapter 1, page 15 It was first publicly used in Godin's weekly column in Blues & Soul magazine in June 1970.Dave Godin. Later, Godin released "Deep soul treasure" series. "The Up- North Soul Groove", Blues & Soul magazine, June 1970 In a 2002 interview with Chris Hunt of Mojo magazine, Godin said he had first come up with the term in 1968, to help employees at Soul City differentiate the more modern funkier sounds from the smoother.
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Expanding of the loose, jam-oriented style of Worldwide Underground, it features groove-based instrumentation, murky tones, hip hop musical phrasing, eccentric interludes, and various beats, digital glitches, and samples. Sputnikmusic's Nick Butler said the album "moved beyond the ideas and conventions that have defined neo-soul over the past decade." Greg Kot wrote that, "Like her peers D'Angelo (with Voodoo in 2000), Common (Electric Circus in 2002) and the Roots (Phrenology in 2002), Badu has made a record that defies efforts to categorize it." He remarked that its "murkier, funkier vibe" draws on the "hypnotic funk" of early 1970s albums such as Miles Davis's On the Corner (1972), Herbie Hancock's Sextant (1973), and Sly & the Family Stone's There's a Riot Goin' On (1971).
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Thompson continued to release music on Full Cycle and V during his time on Talkin’ Loud and Def Jam (who released Talkin' Loud in North America). Prominent releases during the early 2000s were new versions of ‘Warhead’; the Steppa Pt 2 remix and ‘Warhead 2000’ (released on Planet V – ‘The Remixes’), a remix of Roni Size's ‘Snapshot’ and the angular, paranoid ‘Kloakin’ Device’ which led to a follow up ‘Kloakin King’ and its b-side ‘Don’t Front’ in 2002. In contrast to the ‘Kloakin’ series, Thompson and DJ Die continued to work together on their funkier, more soulful Kamanchi project. Following the release of ‘Stay’ in 1999 on V Recordings’ ‘Planet V’ and numerous dubplates such as ‘Warrior Ship’ and ‘Right Now Doing Our Thing’, Kamanchi released their only album ‘I Kamanchi’ in 2003.
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As time went on, his vocal talents as well as his percussion came to the fore, which gave the band a funkier sound. Although he rarely sang lead vocals, his scat-influenced bass vocals were strongly in evidence on tracks like "Rock 'n' Roll Doctor" from Feats Don't Fail Me Now. His first lead vocal with the group was "Feel The Groove" from Down on the Farm in 1979 but the band broke up shortly afterwards and the subsequent death of founder Lowell George meant they did not reform until 1987. Clayton with Little Feat; June 2008 When Little Feat re-grouped Sam's voice became even more evident on songs like "The Ingenue" (from Representing the Mambo) and "Romance Without Finance" and "That's A Pretty Good Love" (from Ain't Had Enough Fun).
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Was was born in Detroit, Michigan to a Jewish family. A graduate of Oak Park High School in the Detroit suburb of Oak Park, Michigan, and later the University of Michigan, Was left his native Detroit for California, and found employment as the jazz critic for the now-defunct Hearst daily the Los Angeles Herald Examiner, where he forged friendships with Sonny Rollins, Miles Davis and Mel Tormé. With his childhood friend Don Was he went on to form Was (Not Was), composing the lyrics and music and playing various instruments, primarily flute, keyboards and harmonica. Reviewed by The New York Times in 1980 as "the funkier art-funk band," Was (Not Was) used members of Funkadelic, alongside jazz musicians like trumpeter Marcus Belgrave; and singers Mel Tormé and Ozzy Osbourne.
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"Do It Baby" is a 1974 single recorded and released by the Motown R&B; group The Miracles and marked the soul quintet's first top forty hit over a year and a half after the departure of the group's most important member, former leader Smokey Robinson and the inclusion of Billy Griffin, who took over Robinson's lead position in 1973. The song was taken from the album of the same name, and written by Motown staff songwriters Freddie Perren and Christine Yarian and produced by Perren. The song's production also was a far departure from the group's earliest sounds as they embraced a funkier production style. The single was released off of the group's 1974 album of the same name and reached the Billboard Pop Top 20, selling over one million copies.
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The track was trialled at different festivals, after which Yeasayer decided to keep its live "funkier vibe". For "Love Me Girl", Wilder used loops to evoke the emotions in the final scene of the movie Trainspotting—in which a character finds a sum of money in a locker—followed by an R&B; style similar to Justin Timberlake's. The song's melody was created using an acoustic guitar and MIDI notes on computer program GarageBand, to which synthetic elements and a dancehall-type beat were then added. The seventh track on Odd Blood, "Rome", features beats taken from Moroccan and Syrian dance music that Keating's wife had on her iPod, while for "Strange Reunions", Yeasayer created a short song under three minutes by exploring unconventional time signatures in different parts in the style of fellow New York City band Dirty Projectors.
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Hillage and Giraudy wrote enough material for two albums during an "intense period" in spring 1977; Hillage recalled "when we were coming back from our first American tour we were on a creative high and a lot of music came out." Hillage's original idea was to release the material on two separate albums, The Red Album and The Green Album; however, the plan was abandoned and instead The Red Album was reworked to become Motivation Radio, recorded in July 1977 and produced by Cecil, and true to Hillage's wishes, the album was funkier in nature, "although still undeniably Hillage." Hillage recalled that Motivation Radio was "the moment where the dance/funk thing began to manifest itself and even then that came out of an unusual and interesting experience." The album was Hillage's first with Joe Blocker on drums and bass guitarist Reggie McBride.
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Many post-punk artists were initially inspired by punk's DIY ethic and energy, but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a largely white, male, working- class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. The use of bass is also prominent on many post-punk records either as a lead instrument by artists like Gang of Four or PiL or in a more funkier aspect as done by Talking Heads, Pylon etc.
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First meeting each other in sixth grade at a science class in a Wayland, Massachusetts school, Daniel Lopatin and Joel Ford listened to music from British artist Goldie, Boston campus radio, and jazz fusion albums owned by Lopatin's father during their teen years. While in sixth grade, Lopatin had tried out for being a bassist in Ford's grunge band, The Grainers, but was rejected. However, the band started to create and perform funkier, weirder and more prog-fusion material, and by the time they were in their late high school years, Ford said the group "couldn't exist without Dan and his synthesizer." When the two were 15 years old, they began a group called Polyphonic, with Ford using their high school's Ensoniq SQ-2 as a drum machine and Lopatin using a Roland Juno-60 synthesizer.
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In the 2000s the image of the brand mascot was altered due to concerns over the racially prejudicial nature of the original image featuring a stylised Kaapse Klopse minstrel. The mascot was originally "introduced as a middle-aged comic-like character [that] has since evolved into a funkier more youthful male, symbolising elements of youth culture." The new and final (as of 2016) branding was finalised in 2010 when a design from the advertising agency Graffiti by Mzwandile Buthelezi was chosen after members of the public voted it the best of 3 possible new options. In 2014 British importers of South African Niknaks were issued with legal letters informing them not to import the snacks into the country as they infringed on the brand name of the older, 1941-established British brand Nik Naks manufactured by KP Snacks.
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Having settled in Addis Ababa at the age of 10, Hailu Mergia had grown up on traditional Oromo, Amhara and Tigrinya songbook melodies, and taught himself the accordion age 14. His mastering of the accordion, as well as the keyboard and his talent for "re- purposing folk songs into funkier modern melodies," defined his contribution to popular music in Ethiopia. In the 1970s, Hailu Mergia was the keyboardist in the Walias Band, an Ethiopian jazz and funk band with a hard polyrhythmic funk sound influenced by western artists like King Curtis, Junior Walker and Maceo Parker. In the period, it was harder for working bands in the region to make a living, after Mengistu's Derg government imposed breaks to Addis Ababa's nightlife, but music was still being regularly recorded, and cassettes were the typical release format, given they were easy to duplicate and distribute.
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During the Fresco Tour, when this song was premiered, it quickly turned into a new crowd pleaser with its natural sing- along chorus and often opened the show. It very much exploits the musical saxophone talents of Snake Davis who opens the song with a jazzy riff holding the note for an even longer 11 seconds. He also in the middle eight performs the 'battle of the saxes' with Mike Pickering also on sax, when Mike repeats what Snake plays and latterly after the Best of performed 'the battle' with whoever would be playing rhythm guitar. The live version has always stayed pretty faithful to the original with a funkier groove and the additional of rhythm guitar underlying the song throughout; Shovel on percussive duties alternating between playing Bongos and Tambourine, Paul plays chords on second keyboards and Paul Birchall plays first keyboard in place of the grand piano parts originally played by Terry Burrus on the track.
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We Are Superhuman is the fourth Korean extended play (fifth overall) by NCT 127, the multi-national, Seoul-based and second sub-unit of boy group NCT. Originally confirmed concurrently during the release of their first Japanese studio album Awaken earlier in April 2019, it was released on May 24, 2019 by SM Entertainment and Capitol Music Group, with Dreamus as the South Korea distributor, Caroline as the United States distributor and EMI as the United Kingdom distributor. SM founder Lee Soo-man continued to serve as the executive producer for the extended play, while Adrian McKinnon, Tak, 1 Take, Social House, Vedo, Léon Paul Palmen, Jihad Rahmouni, Roel Donk, Sean Machum, Gaelen Whittemore, Michael Foster, Rykeyz, and others contributed both lyrics and production. Described as an electro-pop record with R&B; influence, the extended play saw a "stylistic" shift from the unit's usual "experimental" direction to a "futuristic, funkier" approachment, which further expanded their discography and sonic sound.
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Djevara is a multicultural hardcore punk/alternative metal band, based in South London, that was founded in the University of Warwick. The band's first incarnation was initiated by frontman and main protagonist Anté (then nicknamed "Bass"), in the form of the self-depreciatingly named 'Suck' - as all the musicians were novices (Bass himself only picking up the guitar just before joining university). Eventually this band became 'Djevara', which Bass explains was taken from an (undisclosed) ancient language, of Eastern or Asian origin, which roughly translates as "a time or place denoting the beginning of justice and the end of intolerance". Djevara were initially inspired mainly by the alternative rock phenomena of the early 1990s, though the sound later evolved from diverse, if basic, punk rock with hints of Nirvana, Green Day and The Offspring to a funkier sound that included influences from Rage Against the Machine, Faith No More and Red Hot Chili Peppers.
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The combination of McDonald's cerebral approach to harmony, funkier beats and R&B; vocal flavor, along with Baxter's guitar pyrotechnics, pushed the band away from the more proletarian biker-bong-boogie style that made them popular originally. The use of complex jazz chords, built on McDonald's thoroughly composed keyboard parts and tempered by strong pop hooks, resulted in an album that, though not really jazz, had a distinctly urban contemporary finish, adding the flavor of the "cool jazz" era to a pop setting. The Doobie Brothers with the addition of Michael McDonald in 1976 Both Streets and Fault Line reflected Johnston's diminished role in the group following his illness. Restored to fitness and briefly back in the fold, he contributed one original song to Streets ("Turn It Loose"), and also sang a verse on Simmons' tune "Wheels of Fortune". He also made live appearances with the band in 1976 (documented in a concert filmed that year at the Winterland in San Francisco, excerpts of which appear occasionally on VH1 Classic), but was sidelined once again that fall due to exhaustion.
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A number of Easy Listening number ones of 1976 also topped Billboards all-genre chart, the Hot 100, including "50 Ways to Leave Your Lover" by Paul Simon and John Sebastian's "Welcome Back", the theme from the television show "Welcome Back, Kotter". "Silly Love Songs" by Wings and "Don't Go Breaking My Heart" by Elton John and Kiki Dee topped both charts and were named the top two songs in Billboards year-end chart of pop singles, although the magazine noted that the soft sounds which had been popular on pop music radio in recent years were beginning to be displaced by the "funkier" sounds of disco and soul. Frankie Avalon was one artist who embraced the increasingly-popular disco style but still received sufficient spins on relevant radio stations to top the Easy Listening chart, as he reached number one with a disco-influenced re-recording of his own 1959 hit "Venus". The final Easy Listening number one of the year was "Torn Between Two Lovers" by Mary MacGregor, which would go on to top the Hot 100 early the following year.
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Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972) and for the documentary film The Last Waltz (1978).
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Garcia's artwork has been described as being "on the traditions of pop art …eliciting emotional reactions, introspective questions and celebrating Latino culture”, and even "Warhol-esque." Picking up on that description, The Washington Post art critic Mark Jenkins, in a review of an immigration-themed show at the American University Museum, wrote "Ric Garcia updates Warhol by crisply and colorfully portraying edible products for the Latin market, with labels far funkier than any designed for Brillo or Campbell’s." American University described the work as "Garcia’s widely exhibited paintings and pop art prints are a cultural mash-up of Spanish and American culture." Garcia often incorporates superheroes, Latino food imagery (most commonly Goya Foods references), Latino cultural references, immigration themes, cinematic icons, and even gods into his work. In a review of his 2017 two-person show at Washington, DC's Foundry Gallery, The Washington Post art critic wrote that "Mid-20th-century superheroes and movie stars socialize with figures from Renaissance paintings in Foundry Gallery’s 'Dynamic Duos: Power and Form' Ric Garcia’s oils and prints feature DC and Marvel Comics characters..." The Washington Post further noted that the work "seems an intentional rejection of today’s crisp digital imaging.
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His first released record in 1955 was "Baby", recorded for Johnny Vincent's Ace Records. His next release, in 1956 on Apollo Records, was "I'm Wise" which Little Richard later recorded as "Slippin' and Slidin'". After several releases on Ace he recorded "My Dearest Darling" in 1957 for Chess Records; the song, co-written by Bo and Paul Gayten, became a national chart hit in 1960 when recorded by Etta James. Songs written by Eddie Bo, MusicVf.com. Retrieved 27 July 2015 From 1959, he recorded for Ric Records, and had regional hits including "Every Dog Has Its Day" and "Tell It Like It Is", and in 1961 recorded the novelty dance song "Check Mr Popeye", reissued nationally by Swan Records, which became one of his best-known recordings though not a national hit."New Orleans Bluesman Eddie Bo Dies", Billboard, March 24, 2009. Retrieved 27 July 2015 During the 1960s, Bo continued to release singles on a string of local record labels, including Rip, Cinderella, and Blue Jay, though only a few achieved national distribution. Eddie Bo Discography, Soulful Kinda Music... Retrieved 27 July 2015 On these records, his style got funkier, and he used more of his jazz training, helping to create a distinctively different and influential New Orleans piano style.
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