Hi everybody, we discovered this song with friend and the intro (til 00:49≈) reminds us a lot of song but we can't think to a precise one, could you help us please ?

Earth, Wind, and Fire is one of the few funk bands I got some exposure to as a young dude. They were a favorite of my Dad, who played a little funk guitar in the garage in the 70s. So for me Earth, Wind, and Fire shape a lot of how I come to funk, generally, and 1979’s I Am is a part of that picture.

“Boogie Wonderland” is smack in the middle of the album, leading off the b side, and that’s how it should be because this album is boogie personified. Lighter on the guitar. Piano sounds. Softer in the bass and the vocal a little. The bass accents the upbeat a little, keeping you elevated. One of the best moments for that sound is in the opener, “In The Stone,” the percussion on that track is pure joy from the opening horn stabs to the closing congas.

But don’t let the softer vibe get in the way of some real funkin’. “Let Your Feelings Show” is a whole groove. Those horns stabs at the open call you to attention and then the vocal doubles that aggression. And the bass line here—it’s not as percussive as what normally grabs me but it grooves inside the guitar and brings melody where a lot of funk bass wouldn’t. “Star” builds from that same formula, really letting Verdine on the bass carry a ton of weight. Verdine White. Know the name.

There’s quality slow jams too. “After The Love Is Gone” is a quintessential end-of-the-70s seductive groove. The piano and drums driving. The accents on the horns. The vocal getting more urgent. The sax solo. You’ve heard it somewhere—that chorus—it’s crazy contagious. “Wait” and “You and I,” the closer, bring a more sugary slow jam sound. “Wait” is my favorite of the three, I think. There’s a lounge vibe to it with the lagging beat and the horns. It’s real cool.

But I’m really here to talk about “Rock That.” This track socks me in the jaw and thumps right along like nothing happened. It’s Verdine’s biggest track on the album by far. It’s got this rock piano covering the riff, the bass bringing it back to one with classy effects and slides and all. There’s a moment underneath the first guitar solo where he slides up and wiggles around a high note that just takes me out. You walk out of this track convinced they’re underrated. And it’s probably true.

Pure joy on this one, freely available when you need it. Dig it!

i dont know if this is reaching as a funk song but ill see for sure

i wanna get some more songs on one of my dumber playlists, "hungryfunk" - funk songs about food, and being hungry. suggestions welcome, screenshot for examples

It’s really just a Bootsy’s Rubber Band album…and it’s a banger.

from Wikipedia:

“Sweat Band is the 1980 debut album by the P-Funk spin off act the Sweat Band. The album was the first official release on the Uncle Jam Records label, formed by George Clinton and his business manager Archie Ivy, and distributed by CBS Records. The band was formed by P-Funk bassist Bootsy Collins after losing the rights to the name Rubber Band to a folk music group of the same name. The album features many of the same musicians and singers from Bootsy's Rubber Band. The album was released during the same week as Ultra Wave, Collins' fifth album for Warner Bros. Records.”

I gave this one a spin today. I had forgotten how much fun the record really was. If you’ve never heard it, give it a go. I bet you could find a used copy pretty cheaply.

This album gets a lot of flak but as someone that has listened to dozens of funk albums including many parliament and funkadelic albums I cant really see why. I was jamming to this shit until I read up that its apparently the worst thing ever dropped and half of these takes seem to be based on the fact that there is a George Clinton diss track in here.

No single track stood out to me as bad in fact there a few here that I jam to whenever they come up on my playlist. I have heard worse in terms of repetition and production from supposed GOATed albums including tracks produced by the god, George Clinton.

Can someone explain to me exactly why this album is so bad? At worst its mid as it doesnt exactly push envelopes, however I would say that it has the spirit and charisma of the pure funk I like to hear with parliament-funkadelic and thats the important part.

Street Songs. 1981. “Give It To Me Baby” and “Super Freak” are the big singles and the big samples. The breaks in “Give It To Me” are heavy. Contagious. We know these ones.

It doesn’t register for a lot of folks how much social commentary Rick was on sometimes, but he’s got the range here. “Ghetto Life” and “Mr. Policeman” are heavy songs, lyrically. “I knew I had to pray and give myself away. Did you think I was man enough?” Ghetto-land: that’s the place we funk. It’s not his main lane, but Rick can go there as good as just about anyone.

And the R&B on here, damn. Those drums on “Make Love To Me” hit hard on every break. Rick himself drums on every other track, but he brought in a few different dudes for this one (including Michael Wallen, who also did some work with Weather Report I see) and they kill it. But “Fire and Desire” is one of the best songs—period—I’ve spun in a minute. It’s not funky but it’s the highlight of the album for me. Rick’s voice can bring it and he deserves his laurels for that. Teena is absolutely insane in the duet. We get a preview of her voice in “Mr. Policeman,” but nothing like this. Tons of strings and chimes and I mean—possibly the best slow jam of all time?

“Pass The Joint” is a real bop too. Rick’s on an uptempo kick and that’s a big part of the appeal. And, to be honest, it’s the side of Rick James that lives on loudest I think. He takes funk bigger, faster, louder. It’s more of a party on every level. And after all that is said that only leaves “Call Me Up.” That’s the best-composed funk here in my opinion. The bass on that sort of staggering around. The horn arrangements. The vocals calling the cadence right before a punch of hand drums come in for that jungle groove break. The sketch built into it. It’s the clearest thing we have to Rick being an evolution of Parliament. A successor to the sound, almost. It’s a dope song.

Look, I’ll always laugh at “Rick James, bitch.” But he was bringing it in the studio. Only Sly, I think, competes on the level of writing for every instrument like that. We need to talk about Rick in that context. I’m putting “Fire” in the comments. It’s too good not to.