Funk IA — groove, basse slappée, cuivres serrés. Tout est rythme.
tempo moyen 109 BPM (de 58 à 144) · 40 titres · énergie moyenne 73 %
Les consignes réellement utilisées pour produire les 40 titres Funk du catalogue, relevées sur les morceaux eux-mêmes.
funk, tight syncopated sixteenth-note rhythm guitar through a wah pedal, slapped and popped electric bass driving the pocket, drums locked hard on the one with ghost notes on the snare and tight hi-hat work, punchy horn section stabs of trumpet trombone and tenor saxophone, clavinet and Rhodes electric piano comping in the gaps, congas and cowbell percussion layer, soulful male lead vocal with falsetto ad-libs, call-and-response backing vocals answering the hook, breakdown section stripped to bass and drums, warm analog 1970s production, live band in one room, no synths, no programmed drums, closing jam, extended breakdown to bass and drums, horns return for a final chorus, long fade — 9 titres, dont « Sidewalk Strut »afrobeat, interlocking guitar lines playing against each other, deep repetitive bass ostinato, shekere and congas layered over a shuffling kit, big horn section riffs, organ comping, call-and-response chants, long tracks that build slowly, Afrobeat a 116 BPM en mi mineur. Deux minutes d instrumental avant la premiere voix : la basse pose l ostinato, les guitares s emboitent, les percussions s empilent, les cuivres entrent en dernier. Le chant n arrive qu apres. Un seul accord pendant tout le morceau. Refrain repondu par le choeur. Sept minutes. — 9 titres, dont « Everybody Home »Nu-disco and funk boogie revival, modern French dance-pop, 118 BPM. Opens instantly on the lead vocal over a tight four-on-the-floor kick and a rubbery slap bass groove. Crisp disco hi-hats, handclaps on the backbeat, syncopated funky bassline driving the verses. Signature: punchy brass stabs and a shimmering wah rhythm guitar, with glittering analog synth strings. Warm, charismatic male lead, playful and confident in the verses, with a bright female voice doubling key lines. Big group choir and party shouts on the chorus, call-and-response gang vocals on the post-chorus chant. Pre-chorus builds with rising strings and a filtered drum sweep, chorus explodes with full brass and layered harmonies, bridge drops to bass and claps only, final chorus lifts a key higher with extra horns and crowd vocals. Polished, loud, punchy modern radio mix, wide stereo, tight low end. Vocals from the very f Vocals from the very first word. — 1 titre, dont « On trinque au jour d'après »A soft analogue pad swelling up from silence for four bars, then a koto plucked in short repeating cells, night-time hush. Slow city-pop funk, 86 BPM, koto cells as the main motif, wide soft polish with long stereo delays, structure: pad intro, two verses, one late chorus that arrives only once, major, energy 0.38. Glass marimba carries the melody from bar five; a dripping faucet sample sits far left as the only percussion for the first minute; slap bass joins only in the final chorus. Lead: British male, early thirties, deadpan baritone speaking-singing, dry and sultry, clipped London consonants, no vibrato; punky flat female interjections an octave up; loose jazz-gospel trio answering. High-polish 1983 mix, dry close vocals with short slap echo, deep sub-low, hard-panned stereo, silence between hits. No marimba intro, no distortion on vocals, no rap, no orchestral swells, no auto-tune. — 1 titre, dont « Koto For The Sleepless »Two voices alone, unaccompanied, male baritone and punky female chanting the title three times before any instrument, then the band. Hard party funk, 136 BPM, massed horn section riffing in unison, trumpets and baritone sax, gang vocals, room mics pushed, structure: a cappella chant, full band, three escalating choruses, long outro vamp with every percussion layer at once, major, energy 1.0. Slap bass and glass marimba crash in together on the fourth chant; the faucet drip sample is pitched up into the lead hook for the final two minutes. Lead: deadpan sultry British baritone speaking-singing, clipped London consonants, no vibrato; female counter-voice shouting short flat interjections; jazz-gospel trio in call-and-response. High-polish 1983 mix, deep sub-low, hard-panned wide stereo, nothing blurred. No marimba intro, no auto-tune, no rap, no double-kick, no cluttered mix. — 1 titre, dont « Let The Drip Fly »Vocals from the very first word, no instrumental intro, the baritone and a fretless bass sliding long melodic lines together, no count-in, breath audible. Slow modal funk-soul, 72 BPM, low energy, fretless bass as lead voice, warm tape-saturated close room; verse-first, stripped bridge with voice and dripping faucet only. Glass marimba enters faint at the first chorus; the drip sample reappears only in the final bars; slap bass stays understated. Vocals: British male early-thirties deadpan baritone, speaking-singing, dry and sultry, clipped London consonants, no vibrato; punky female interjects flatly; small jazz-gospel trio answers warm and loose. High-polish 1983 mix, dry close vocals with short slap echo, deep sub-low, hard-panned width, lots of space. No distortion on vocals, no rap, no orchestral swells, no auto-tune. — 1 titre, dont « Sultry Water, Silver Spoon »Timbales and congas alone for two bars, a montuno clave figure cracking in a big bright live room, sticks and skins only. Salsa-funk, 118 BPM, major key, high energy, timbales and congas as lead percussion, horn section wide and hard-panned; percussion break first, horn riff as the hook, long vamp outro with shouted lists. Slap bass drops in on the third bar, a faucet drip tucked between the clave hits, glass marimba doubles the horn riff in the outro only. Vocals: British male deadpan baritone speaking-singing, dry and sultry, clipped London consonants, almost no vibrato; punky British female shouting flat interjections; warm loose jazz-gospel trio in call-and-response. High-polish 1983 mix, short slap echo, deep sub-low, silence between hits. No distortion on vocals, no rap, no double-kick, no auto-tune. — 1 titre, dont « Sixteen Spices Of Liberation »Reedy one-string bowed masinko fiddle unaccompanied for six bars, nasal and slightly out of time, rubbing against the beat. Lo-fi modal funk, 94 BPM, mid-low energy, masinko as lead, tape-warped hissy cassette-dub texture; slow build, drums enter late, no real chorus, long modal plateau. The faucet drip fades up low under the fiddle and stays buried; glass marimba enters with the first drum hit; slap bass only from the second half. Vocals: British male deadpan baritone speaking-singing, dry and sultry, clipped London consonants, no vibrato; flat punky female interjections an octave up; small warm jazz-gospel trio answering loosely. 1983 polish under the tape haze, dry close vocals with short slap echo, deep sub-low, wide panning. No distortion on vocals, no rap, no double-kick, no orchestral swells. — 1 titre, dont « Masinko In The Drain »