However, Prince went on to have as much of an impact on the sound of funk as anybody artist since Brown; he combined eroticism, expertise, an rising musical complexity, and an outrageous picture and stage show to in the end create music as bold and imaginative as P-Funk. Eventually, the band went on to outline their own fashion of stripped-down funk based mostly on tight musicianship and sexual themes. Hancock's Headhunters band (1973) performed the jazz-funk fashion. Summers blended African, Afro-Cuban, and Afro-Brazilian instruments and rhythms into Hancock's jazzy funk sound. The Headhunters' lineup and instrumentation, retaining solely wind player Bennie Maupin from Hancock's previous sextet, mirrored his new musical path. Also cited as musical influences on the album by Davis have been the contemporary composer Karlheinz Stockhausen. Davis said that On the Corner was an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. Rock bands started adopting components of funk into their sound, creating new combos of "funk rock" and "funk metallic".



Their producer, Norman Whitfield, became an innovator in the field of psychedelic soul, creating hits with a newer, funkier sound for a lot of Motown acts, including "War" by Edwin Starr, "Smiling Faces Sometimes" by the Undisputed Truth and "Papa Was A Rollin' Stone" by the Temptations. Prince formed the Time, initially conceived as an opening act for him and based on his "Minneapolis sound", a hybrid mixture of funk, R&B, rock, pop & new wave. Beginning in the late 1970s, Prince used a stripped-down, dynamic instrumentation much like James. Within the 1970s, at the same time that jazz musicians began to explore mixing jazz with rock to create jazz fusion, main jazz performers started to experiment with funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks starting with its first album in 1967, culminating in the classic single "Express Yourself" in 1971. Also from the West Coast space, extra particularly Oakland, California, came the band Tower of Power (Top), which formed in 1968. Their debut album East Bay Grease, launched 1970, is taken into account an essential milestone in funk. 1 on the charts, as did "Family Affair" in 1971. Notably, these afforded the group and the style crossover success and greater recognition, yet such success escaped comparatively talented and reasonably standard funk band peers.



In addition to Parliament Funkadelic, artists like Sly and the Family Stone, Rufus & Chaka Khan, Bootsy's Rubber Band, the Isley Brothers, Ohio Players, Con Funk Shun, Kool and the Gang, the Bar-Kays, Commodores, Roy Ayers, Curtis Mayfield, and Stevie Wonder, among others, linked webpage were successful in getting radio play. These included Cameo, Zapp, the Gap Band, the Bar-Kays, and the Dazz Band, who all discovered their largest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact; however, pop artists from Michael Jackson to Culture Club often used funk beats. Stevie Wonder and Marvin Gaye additionally adopted funk beats for some of their greatest hits in the 1970s, such as "Superstition" and "You haven't Done Nothin'", and "I want You" and "Got To give It Up", respectively. Throughout the 1970s, Top had many hits, and the band helped to make funk music a successful genre, with a broader audience.



Jazz-funk is primarily an American style, the place it was fashionable all through the 1970s and the early 1980s, but it also achieved famous appeal on the membership-circuit in England throughout the mid-1970s. Jazz-funk recordings sometimes used electric bass and electric piano in the rhythm part, instead of the double bass and acoustic piano that have been typically utilized in jazz up until that time. From a musical standpoint, the album was a end result of sorts of the recording studio-primarily based musique concrиte strategy that Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music Center) had begun to discover in the late 1960s. Both sides of the report featured heavy funk drum and bass grooves, with the melodic parts snipped from hours of jams and mixed within the studio. Electronic drum machines such as the Roland TR-808, Linn LM-1, and Oberheim DMX began to replace the "funky drummers" of the past, and the slap and pop style of bass taking part in were usually changed by synth keyboard basslines. The basic electric keyboards of funk, like the Hammond B3 organ, the Hohner Clavinet and/or the Fender Rhodes piano began to be changed by the brand new digital synthesizers such as the Prophet-5, Oberheim OB-X, and Yamaha DX7.