| UK funky | |
|---|---|
| Stylistic origins | UK garage African popular music Tribal house Electro house Broken beat Dancehall Grime |
| Cultural origins | Late-2000s, London, England, United Kingdom |
| Typical instruments | Sequencer - Turntables - Samplers - Drum machine - Personal computer |
| Mainstream popularity | Currently Underground, receiving mainstream recognition |
UK funky (sometimes known as Funky[1]) is a genre of urban dance music that is heavily influenced by UK Garage, soca music, electro house, broken beat, and afrobeat.[1] Typically, UK funky blends beats, bass loops and synths with African and latin percussion in the dem bow rhythm. Several UK funky tracks are led with Contemporary R&B-style vocals, a number of tracks are fronted by a rapper/MC, or both can occur on one track. Various UK funky tracks only appear as an instrumental. The tempo for UK funky is normally around 130 beats per minute.
Emerging in the late-2000s, UK funky has been described by The Guardian as "probably the most exciting development in UK music since garage became grime".[1]
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US house producers such as Masters At Work, Karizma, Kerri Chandler and Dennis Ferrer could be said to have a strong influence over the development of UK funky. Karizma's song "Twyst It" and Dennis Ferrer's remix of Fish Go Deep's "The Cure and the Cause" were important records in the development of the genre and Dennis Ferrer's "Hey Hey" was a massive hit in the scene.
Major hits from the scene include the Crazy Cousinz songs "Do You Mind" featuring Kyla, "Bongo Jam" featuring Calista and "The Funky Anthem" featuring MC Versatile, Fuzzy Logik Featuring Egypt "In The Morning" and Garage/UK funky singer Donae'o songs "Devil in a Blue Dress" "Party Hard" and "I'm Fly". Popular UK funky songs fronted by rappers/MCs have also produced dance crazes, such as "Heads Shoulders Knees and Toes" performed by K.I.G. Family and "The Migraine Skank" performed by MC Gracious K.
Other major artists known for pushing the sound and pushing it in new directions are Marcus Nasty, Roska, Pioneer & Spidey G from Kiss Fm, Ill Blu, The Fives, Lil' Silva, Funkystepz, Champion, Hard House Banton, Fuzzy Logik and Geeneus. Compilations such as Ministry of Sounds "The Sounds of UK funky" noted Funky producers Crazy Cousinz "This Is UK funky House" and Ministry of Sounds 'Ayia Napa Reunion 2010' fully showcase the Funky genre. Mainstream and pirate radio stations such as Unity Radio, Deja Vu FM Rinse FM, BBC Radio 1Xtra, Kiss 100, Melody One, and Choice FM have had a hand in playing and showcasing UK funky.
Arguably, the sound of UK funky began in 2008. However, in an interview with Engage magazine in early 2007, Marcus Nasty was already discussing his input into the emergence of this new sound.[2] Marcus Nasty of N.A.S.T.Y. Crew is arguably the most influential DJ within the UK funky scene. In late 2006, sourcing music from producers previously worked with, Marcus Nasty gained himself a wide collection of a homegrown House influenced sound which included elements found within Garage, Grime and even Jungle. Although producers were unsure of the productions, they were liked by Marcus Nasty who played them and began the birth of the UK funky scene.
Donaeo, Naughty, Apple and Crazy Cousins were amongst the producers in Marcus Nasty’s original collection. Tracks like Devil in a Blue Dress, Quicktime, Mr Bean and Do You Mind were respectively first heard when played by Marcus Nasty, bringing him a new vast amount of supporters, causing many other DJs to take note and also start incorporating the homegrown House productions into their sets. Exclusivity became a major aspect of Marcus Nasty’s appeal for listeners and producers/artists worldwide have continued to seek the Marcus Nasty seal of approval by having one of their tracks played.[3]
In early 2009, The year started with the skank tracks really infiltrating the scene. Much to the disgrace of the connoisseurs, but with brought a whole new market of interest. UK funky was being recognised not only by larger numbers of the public but also major record labels but a divide within the sound was evident within the DJ, Producers, Host/MCs and even the listeners. Whilst producers continued to produce music, frustrations grew due to not being in receipt of the same attention. Before the month was through, the leading DJ of the scene Marcus Nasty had his feelings known regarding the new breed of Funky tracks, but at the same time an electro element was being introduced to the UK funky scene as well as an accepted Grime influenced sound.[4]
With an eventful start of the year underway, UK funky had become the talk of the town. The subject had even been covered on Mista Jam’s 1Xtra blog. With "Head, Shoulders, Knees & Toes" due for release following signing to a major record label and the majority believing in potential for chart success, it wasn’t surprising. The divide also becoming more evident, bringing hostility in certain areas, but with major support for the new craze, evolution couldn’t be stopped. Yet still, there were its own problems. Interest from major labels had encouraged many to jump on the band wagon, nursery rhymes were being converted into skanks, whilst producers instrumentals were being unofficially used, causing discouragement for some producers to continue making music within the genre. Others however continued, keeping the original UK funky sound alive and progressing. This allowed the sound in mass to continue to grow.
With a level of acceptance for the MC tracks starting to be shown, a chance of mutual understanding was becoming apparent. A track consisting of and MC or skank which offered relevance to the music or lifestyle to the listeners was welcomed with open arms, bringing back a sense of unity and support for ‘good’ music was being shown. Whilst Migraine Skank and Party Hard were tearing up the dance floors, In the Morning and Make it Funky for Me were also receiving attention from record labels, diffusing the levels of frustration previously shown.
Whilst the scene was making its mark in the mainstream, the commercial representation of the sound seemed a little distorted in various areas. Tracks that weren’t appreciated in the clubs were getting showcased on mainstream radio causing confusion and fear that the UK funky sound had grown faster than could be regulated. But at the same time, growth continued on the underground bringing many new faces to the movement as well as progress within the level of production. New listeners were also being introduced to the more soulful and deeper house elements of the sound, bringing a birth of new enthusiastic ravers and listeners. The major Grime crossover was now causing a whole new confusion of its own, some releases were now being referred to as ‘Grunky’ such as Boy Better Know – Too Many Man.
By mid-2009, Funky had taken the world by storm. The older generations were now getting into it, as well as the youngsters and overseas artists such as Vybez Kartel were now getting involved. Another Jamaican artist Adonia also vocalled the Inflation instrumental produced by Crazy Cousins which is still unclear whether or not was officially done, but many producers still weren’t being requested permission to use their music and the gimmick tracks continued. This left many feeling that the UK funky scene had become something of which couldn’t be taken seriously from both the outside of the scene and within. But as recording majors continued to swoop, hopes of survival were kept alive.
In Summer 2009 party vibes had begun, the MC one-liners really were taking over. From ‘Oi You! Are You Gonna Bang!?’ to “Let Me See You Wiggle It, Wiggle It”, every MC/Host had their own ‘Certified Vibemaker’ to get the crowd going. The clubs were filling up and everyone was having a good time. Crazy Cousins released a double mix compilation and another from Ministry of Sound was on the way, so while the divide had remained, mainly due to the unofficial use of tracks, progress was happening in other areas. Some felt cynical of the intentions of the majors, accusing them of cashing in on the scene and in danger of bleeding it dry.
Whilst the Ministry compilation was released, the partying months went off without a blast. Mostly blamed it on the international swine flu epidemic and the state of economic affairs, but the new music had started to become heavily saturated and politics were at an all time peak. The UK funky scene was receiving predictions to be finished, killed from within due to excessive energy being used in ways which were neither productive nor progressive. However with some having remained focused, quality music and videos remained in production.
With the scene split across shores and party vibes finally getting into full swing, August saw the birth of more new faces within the movement. Trilla Trilloski, the Midlands superstar, was one that became as recognised as the next. While “Oi You! Are You Gonna Bang?” completely took over, the cheers of “Who Are Ya!?” weren’t too far behind as well as others including “Buy Out The Bar!” which holds much sentiment to many members within the UK funky scene for many deeper reasons than the music. The older members of the scene were made to stand tall and recognise that the new breed meant serious business. In the meantime excitement grew over the preparations of the first UK funky concert underway.
In September 2009, With many quality videos being released throughout the year, a new wave of productions went underway. UK funky Allstars – Take It Higher, Frisco – Eyes on You, KIG feat Wiley – Rollin as well as a buzz around the release of forthcoming videos from Nyah and Donaeo. UK funky Live, the first event of its kind, boasting all the leading UK funky acts under one roof at Wembley Arena to bring us a concert and award ceremony was pulled off successfully. There was also the infamous UK funky Live review which managed to ruffle many feathers within the acts, but also offered a few pointers on where progress could continue to be made. In The Morning was also released, reaching a disappointing chart position of 87.
By the third quarter of 2009, Many long awaited releases became available this month including Attacca Pesante – Make it Funky for Me, Donaeo – Party Hard which was on a double A-side with Watching Her Move and Gracious K – Migraine Skank. With major label backing it was hoped that the latter would reach a top chart position, but it has to be questioned what happened in the marketing area. Enormous lack of advertising, coupled with lengthy delay on release resulted in a chart position of 54, numbing to accept.
As the eventful year wound down to a close, it was more than obvious that the UK funky scene had experienced a massive change. Not only had the sound evolved and audience widened, the characters at the forefront of the scene had also changes faces. UK funky had filtered its way into the mainstream and made its mark within the industry worldwide, with major players and hot spots stretching further than the Greater London borders. The majority of MCs/Artists were now working with producers as opposed to unofficially sampling instrumentals, and although the divide in the music and club scene was still evidently apparent, common ground had been found within the music, enabling the movement to continue without animosity. 2009 was the year the MCs dominated the sound, but with perseverance the pioneers of the sound have continued to shine through.
Coming through a year of spectacular growth, evolving faster than anyone could have forecasted, UK funky entered 2010 with a great level of uncertainty. The birth of the MCs and skanks having a strong ripple effect into many directions, difference of personal opinions were being expressed from the various counterparts that form the scene. New listeners turned on by the MC influx strongly divided, some became discouraged with the lack of new material and continued to follow the mainstream buzz away from the scene to other genres, whilst others explored the music deeper, still appreciative of the MC element of the sound alongside the others. The initial barrier to get music heard via commercial media outlets has evidently remained officially broken however, something that has to be credited largely to MC/Skank tracks like Head, Shoulders, Knees & Toes and Migraine Skank of the yesteryear, homegrown and international tracks dominating the club circuit can still be seen on TV and heard regularly on commercial radio.[5]
What music that reaches past the commercial barrier though has remained very limited, meaning that a distorted conception is possessed by the majority of the public. Many who are guilty of being amongst those who were discouraged. Major label A&Rs who are no longer showing interest due to poor single sales the previous year, leaves the majority, if not all new releases to be done independently. By the time 2010 had completed the month of March, funky had been declared as commercially dead amongst the masses. Large groups openly stating that they didn’t like Funky anymore due to it being boring.
Quality music was still being produced. However with such major emphasis on the MCs in the yesteryear, DJs on commercial stations readily forsake them, for productions from peers within the circuit who they’d see on a regular basis regardless of the true quality. New producers regularly complain that it is very hard to be heard and feel that it contributes to the misconstrued commercial perception of the genre. Many outsiders feeling that they cannot take the music seriously in its participation to the overall growth of homegrown music, funky has become the mediocre genre standing beside its cousins in hope to somehow fit in. That said, a line from Ramzee’s ‘Hand In The Air’ was highlighted by the legendary Wiley and #UniteTheRaver soon became a Twitter trending topic with the varied persons from the entire homegrown industry joining in and discovering a liking for the track. Evidently the quality sounds of all elements of the genre were failing to breakthrough in their true achievable capacities.
Many were taking the time to nurture the music; Donaeo, Princess Nyah, Roska, Katy B and the newer UK funky producer of the 2010 summer hit 'Bad Girl' Champion made major contributions to the scene, they showed collectively that consistency and determination can lead to progression such as regular commercial radio play, international tours and top 5 selling chart singles. These successes have continued to motivate upcoming producers and artists trying to breakthrough to the forefront of the scene. Footsteps stated at the start of the year that 2010 would be the year of the DJ/Producer - Focal points would change as a whole, the year being a starting point. He may have been correct. DJs and producers of the circuit are continuing to show large amounts of support for each other and many DJs are now also producing the music.
Whilst DJ/producers were gaining more recognition, artists were still being strongly overlooked. Vocalists were being heavily overshadowed which is most evident within the club scene. PAs were still dominated by MCs, making it unusual to see a vocalist headlining an event. Whilst tracks are still being produced, they are struggling to be fed across to the public in more ways than one. Losing battle on both radio and within the club circuit, frustrations are understood.
Katy B, dueted with Ms Dynamite on a track called Lights On. Produced by Geeneus, released in December 2010, it reached number 4 in the UK Singles Chart. This was the first UK funky track to chart in the UK top 10.
UK funky uses tempos of around 130bpm and often has a prominent "4 to the floor" kick drum. The drum patterns commonly also include congos playing Afrobeat-inspired rhythms. Instrumentation varies widely, but drum machines and synthesizers are common. There are similarities to garage in rhythmic, musical and vocal style. UK funky is influenced by the tribal, deep, soulful house subgenres.
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