The Handguide to ‘70s Funk Albums (Beginners Edition)
These selected albums significantly influenced the history of funk, conveying its breadth and diversity.
Here, in addition to works that reached the upper ranks of the hit charts in the 1970s, I have selected albums by artists who had a significant influence on the history of funk, as well as those that convey funk’s breadth and diversity. I also prioritized albums containing tracks that were later sampled or covered in hip-hop and other genres starting in the 1990s. For artists who released multiple albums, I chose albums that include their hit songs or marked major turning points in their careers. Many artists continued to release excellent funk albums well into the 1980s and beyond.
Jimi Hendrix: Band of Gypsys
After disbanding the Jimi Hendrix Experience, Jimi formed a new band with his old Army friends Billy Cox (bass) and Buddy Miles (drums). This album is their only release. They appeared at the Fillmore East on December 31, 1969, and January 1, 1970, playing a total of four shows over two days—primarily to record a live album that would quickly wrap up a contract Jimi had signed before his success in the UK. There’s now a complete edition available, but the original album was compiled from two of the January 1 shows.
Personally, I’ve never fully warmed to Miles’s drumming (it’s a bit straightforward or lacks that extra spark), but these performances make it clear that, after breaking away from the Experience, Jimi was moving in a more funk-oriented direction. Cox’s relentless funk-driven bass lines recall the Hill Country sound, and his contribution is huge. Buddy Miles also takes the lead vocal on some tracks, and you can sense how Jimi’s vision was evolving. Running over ten minutes, “Machine Gun” is a hard-guitar tune that even became part of the Isley Brothers’ setlist.
Rating: ★★★★½ (4.5/5)
This album captures a pivotal moment: Hendrix branching into a looser, funk-inflected style, backed by Cox’s earthy bass and Miles’s soulful approach. While some listeners might share the reviewer’s reservations about Buddy Miles’s drumming, the sheer historical importance and electrifying live energy make it a near-essential funk-rock crossover. It’s raw, exploratory, and undeniably Hendrix at a key turning point.
The Jimmy Castor Bunch: It’s Just Begun
Jimmy Castor had a career stretching back to the 1950s, so by the time of this album’s release, he’d already put in about 15 years. He started in a doo-wop group before picking up the saxophone and thriving as a session player. In late 1966, he scored his first nationwide hit with the Latin soul track “Hey Leroy, Your Mama’s Callin’ You.” Entering the 1970s, he formed The Jimmy Castor Bunch with Gary Thomas (keyboards) and others, and this album is their debut.
The third track—known in Japanese as “Primitive Caveman”—was a massive novelty-funk hit, climbing to No. 4 on the R&B charts and No. 6 on the pop charts. It’s also a big favorite among sampling enthusiasts. Another track, the title track, would get a reappraisal years later. Both largely revolve around a single chord, with a distorted lead guitar that locks in tightly to the groove. You’ll catch hints of Afro-Latin flavor, particularly on tracks “Psyche” and “L.T.D. (Life, Truth & Death),” where timbales and congas burst into the spotlight. It’s also a conceptual album with both a prologue and an epilogue.
Rating: ★★★★☆ (4/5)
A playful, funky, and forward-thinking record showcasing Jimmy Castor’s knack for blending Latin elements, novelty flair, and raw funk power. It’s historically significant (especially in hip-hop sampling culture) and is brimming with energy. While it leans into novelty territory at times, it remains a thoroughly fun and musically inventive ride.
Average White Band: AWB
A white group from Scotland, infatuated with Black music, exploded onto the scene with the help of producer Arif Mardin. Their best-known release is this 1974 album, which features the instrumental funk landmark “Pick Up the Pieces,” which soared to the top of the charts. The tight rhythms, punchy horns, and straightforward guitar are all based on the template set by James Brown and other funk pioneers.
But with an all-white sleeve—sometimes called “the White Album”—and a provocative band name like “Average White Band,” they ended up lighting a fire under James Brown, who responded by putting out an “answer track” under the name Above Average Black Band. While that response might seem petty, it actually boosted AWB’s cred. By covering The Isley Brothers and proudly wearing their love of Black music on their sleeves, they nailed a fresh fusion of pop, rock, and funk. With the horn section anchored by the Brecker Brothers (who also worked with P-Funk), Atlantic Records threw its full weight behind this album.
Rating: ★★★★★ (5/5)
A timeless funk classic that hits every mark—from airtight grooves to melodic horn lines and a flawless pop-funk crossover appeal. The production is top-tier, the musicianship is impeccable, and the band’s unabashed admiration for Black music creates a dynamic, respectful homage. “Pick Up the Pieces” alone makes this a must-have, but the entire album stands as a definitive piece of 1970s funk history.
B.T. Express: Do It (‘Til You’re Satisfied)
Formed in 1974 by producer Jeff Lane, B.T. Express (short for Brooklyn Transit Express) originally came out of a Brooklyn dance band. They are often discussed in the context of disco. Overseas, while James Brown and P-Funk are classified as “hardcore funk,” B.T. Express are frequently categorized as “funk disco” or “dance funk.” After their second album, they leaned further into disco trends, but you can enjoy a bright, James Brown/Cool & The Gang–inspired funk on this first album. Their debut single, the title track, and their theme song (“Express”) both hit #1 on the R&B charts, crossing over to #2 and #4 on the pop charts, respectively. Except for track #5, which is reminiscent of Isaac Hayes’s “Theme From Shaft,” everything else is upbeat dance funk in a similar vein. The slightly husky-voiced female singer Barbara Joyce, featured on tracks “Everything Good to You (Ain’t Always Good for You)” and “That’s What I Want from You Baby,” also delivers a great performance.
Rating: ★★★★½ (4.5/5)
A truly energetic debut capturing a perfect blend of funk grit and danceable disco grooves. The double R&B #1 hits are a testament to how well they nailed that crossover appeal. The band’s tight rhythmic foundation, plus a memorable vocalist cameo, makes this an essential early disco-funk gem.
Black Heat: No Time to Burn
Formed in Washington, D.C., Black Heat released three albums on Atlantic. The local vibe remains firm in their raw and punchy debut, “Black Heat,” and they followed it with more polished soul and funk on their third album, Keep On Runnin’. This second album, released in between, features the standout single “No Time to Burn,” built around an unforgettable keyboard riff. They also cover Kool & The Gang’s “Love the Life You Live.” Despite the cover tune, the band’s original blend of keyboards, guitar, sax, and percussion stands out, showcasing their remarkable performance skills. The slowed-down funk track “Super Cool” is excellent, and their gifted vocalist truly shines on the slow burner “Things Change.”
Rating: ★★★★☆ (4/5)
The band delivers a tight, original funk sound with a memorable keyboard signature. While perhaps less known than bigger D.C. funk acts, the group’s top-tier musicianship, confident slow jams, and charismatic performances make this a highly satisfying slice of soulful funk.
The Commodores: Machine Gun
The Commodores were Motown’s first major funk band, though they’re strongly associated with Lionel Richie’s smooth ballads. Initially, they were two all-Black bands of Alabama college students merging into one. Their debut for Atlantic flopped, but they kept gigging until they got another shot. This 1974 debut album for Motown immediately made a splash with the titular instrumental funk track—driven by a wild clavinet—that shot to #22 on the R&B chart. Before they embraced the smooth, mellow style that would define them later, this record is all about raw, funky grooves and a band brimming with confidence. It’s an invigorating listen precisely because it’s so single-mindedly funky and energetic.
Rating: ★★★★½ (4.5/5)
A rougher, funk-first snapshot of a band better known for ballads. It’s a thrilling, high-octane album showing off their powerhouse potential. The energy, the clavinet-driven grooves, and their live chops shine here—making it a must for funk fans wanting to explore the Commodores’ roots.
Herbie Hancock: Head Hunters
I once read a magazine interview with David Sanborn and Herbie Hancock. Sanborn, aware that Hancock is from Chicago, tried to ask about blues and soul music, but Herbie honestly replied, “Sorry, I don’t know much about that.” After all, Hancock was a man who, at age 11, performed a Mozart piano concerto backed by an orchestra and later discovered jazz via George Shearing (from the UK) and Bill Evans. Yet he left his mark on funky music history with “Watermelon Man,” the soundtrack to Bill Cosby’s Fat Albert Rotunda, and this album here. This instrumental album was inspired by Hancock's vision of performing with Sly Stone and seeing The Pointer Sisters (who had two bands on stage at once). Reading his autobiography, you sense how he tried to immerse himself in funk—though it wasn’t all smooth sailing. His “intellectual” factor is that steady core guiding his far-reaching musical expressions.
Rating: ★★★★★ (5/5)
Hancock’s cerebral but deeply funky approach birthed some of the most pioneering records in jazz-funk. His knack for blending sophisticated harmony with driving grooves is on full display, leaving an invaluable imprint on the genre’s evolution.
The Meters: Rejuvenation
Art Neville, George Porter Jr., Leo Nocentelli, Zigaboo Modeliste—just saying these four names is a thrill. Influenced by Sly and other soul music, yet also fed by the diverse cultural soil of New Orleans, they created their uniquely laid-back “second line funk.” With syncopated, bone-deep beats and simple yet singular riffs interweaving in mesmerizing ways, they produce an ever-shifting tapestry of groove. According to Art, this album captures them most energetically, augmented by horns and female vocals on every track. Yet the singing never overshadows the instrumentation; the voice simply becomes part of the groove. “Hey Pocky-A-Way,” a classic N.O. funk that reached #31 R&B, plus, “People Say” (#52 R&B) with new-soul lyrics, a Lowell George cameo on “Just Kissed My Baby,” and the rough, rootsy funk of “Africa” all shine. Particularly thrilling is “It Ain’t No Use,” with its extended improvisation—its “loose yet tight” interplay embodies the essence of funk.
Rating: ★★★★★ (5/5)
A prime statement from the architects of New Orleans funk. The interplay between these four legendary players is off-the-charts, and the album’s seamless blend of vocals, horns, and pure groove is iconic. The Meters’ magic is in their organic, second-line swagger, and it’s on full display here.
The Wild Magnolias: The Wild Magnolias With the New Orleans Project
This album by the Wild Magnolias—Mardi Gras Indians led by Bo Dollis—was recorded in collaboration with top-tier New Orleans musicians and is renowned as a New Orleans funk masterpiece. Some say funk’s rhythms were born in New Orleans, and the Indians’ chant tradition shares roots with funk’s call-and-response style—so of course it’s a perfect match. The lineup includes Willie Tee (keys, etc.) and Snooks Eaglin (guitar), veterans of classic New Orleans R&B, soul, and funk. From the local anthem “Two Way Pak E Way” onward, the album is brimming with New Orleans–only funk that will set your heart dancing.
Rating: ★★★★½ (4.5/5)
A pure slice of New Orleans musical heritage, seamlessly merging Mardi Gras Indian chants with funk’s earthy rhythms. It’s culturally significant, uplifting, and essential listening for anyone wanting to dive deeper into the city’s funk legacy.
The Blackbyrds: City Life
Formed around Donald Byrd’s students at Howard University in Washington, D.C. Byrd, a jazz trumpeter, also produced and performed on their third original album. Though they have a strong jazz-funk identity, this record features flowing, string-laden uptempo tracks like “Flying High” (arranged by Wade Marcus) and a more muscular funk sound than their other releases. Two songs—“Rock Creek Park” (with catchy guitar and spacey keys) and “Happy Music” (featuring Merry Clayton)—have been heavily sampled in hip-hop, likely because of their hard-edged sonic qualities. The Mizell Brothers’ jazz-funk “Hash And Eggs” is another standout.
Rating: ★★★★☆ (4/5)
It’s a sleek mix of jazzy sophistication and heavier funk grit. With a knack for writing sample-ready grooves, the band showed they were more than just jazz protégés. A cornerstone of 1970s jazz-funk, bridging the gap between the two genres effectively
Chocolate Milk: Action Speak Louder Than Words
Chocolate Milk was a New Orleans funk band formed in 1974. They also served as Allen Toussaint’s studio group. Under the production of Toussaint/Marshall Sehorn, they debuted on RCA. They’d release eight albums on RCA; then after parting ways with Toussaint in 1980, they added disco elements, produced with Allen Jones, but disbanded in ‘83. This is Chocolate Milk’s 1975 debut, recorded in New Orleans. Their rich funk style merges with Toussaint’s New Orleans sensibilities to create an appealing blend of creative freedom and tough originality. The standout track is the slow-funk opener (the title track), a positive-message song with tight drums and a squelchy Moog synthesizer. You’ll also hear jazzy vibes on “Time Machine,” effective repetition and breaks on “My Mind Is Hazy,” a raucously fast “Confusion,” and a mellow flute on “Tin Man.” It’s all classic New Orleans flavor.
Rating: ★★★★☆ (4/5)
A fantastic introduction to a band that masterfully fused raw local funk with Allen Toussaint’s signature NOLA polish. It’s groovy, inventive, and showcases their range—equally adept at slow funk burners and jazz-inflected tunes.
Rufus featuring Chaka Khan: Rufus featuring Chaka Khan
During their rapid rise (they’d already won a Grammy), Rufus reached #1 on the R&B charts (#7 pop) for the first time with a self-produced album. The band’s biggest hit, “Sweet Thang” (R&B #1/pop #5), later covered by Mary J. Blige, is here, along with a disco-funk track (“Have a Good Time”) that soared to R&B #5/pop #39, and a Bee Gees cover (“Jive Talkin’”), also a minor hit. Everyone tends to focus on Chaka Khan’s powerhouse vocals, but the band itself deserves attention, particularly guitarist Tony Maiden and drummer Bobby Watson, who lent a new sense of funk readiness. Chaka wouldn’t have become the “Queen of Funk” without them. The Tower of Power horns add brightness to “Fool’s Paradise,” and “Have a Good Time” is bursting with color and energy. Originally a Black/white rock-based group, Rufus cleverly incorporated funk into a broad musical palette, drawing a wide audience in the process.
Rating: ★★★★★ (5/5)
An unstoppable funk-soul juggernaut anchored by Chaka’s legendary voice but equally shaped by the band’s muscular grooves. The interplay between horns, rhythm section, and vocals is impeccable, delivering some of the decade’s most dynamic, danceable hits.
Brass Construction: Brass Construction
Brass Construction was a nine-piece group formed by Randy Muller (keyboards, percussion, vocals), known for producing many dance-funk bands. Like B.T. Express, they were based in Brooklyn. True to their name, they featured a prominent horn section. Produced by Jeff Lane—also behind BT Express—this debut album includes their R&B #1 single “Movin’.” Though it’s a product of the disco era, don’t underestimate its driving, sweat-drenched dance funk—especially the first three tracks on Side A. This is the quintessential “Brooklyn sound.” They continued releasing albums into the mid-80s, staying on the charts.
Rating: ★★★★½ (4.5/5)
An exuberant horn-driven funk record that blends well with disco sensibilities without losing raw power. “Movin’” alone is a classic, and the album’s opening cuts are consistently strong. A must-hear for fans of mid-70s big-band funk.
Johnny “Guitar” Watson: Ain’t That a Bitch
Debuting in the 1950s, Johnny “Guitar” Watson was a celebrated Texas blues guitarist who continually updated his style with the times. He adopted new trends but always on his own terms, calling himself a “progressive musician.” This album, recorded with drummer Emry Thomas, marks a new milestone in the funk era for him. The track “Superman Lover” portrays a somewhat hapless superhero; “Ain’t That a Bitch” comments on the high cost of living. Watson’s perspective is very grounded and everyday. If “funk” originally meant “a powerful smell,” this is a pungent funk-blues that delivers just that. The follow-up album, A Real Mother For Ya, is also a masterpiece on par with this one.
Rating: ★★★★★ (5/5)
Watson’s seamless fusion of blues soulfulness and funk grit remains a landmark. This record’s witty storytelling, tight rhythms, and stinging guitar are irresistible. His unique humor and authenticity put him among the great funk originals of the 70s.
The New Birth: Behold the Mighty Army
Initially formed by Harvey Fuqua and Tony Churchill, Motown songwriters and producers, the large funk and soul ensemble was once known as the Night-Liters. They sometimes had 17 members, even operating as three groups (New Birth, Love Peace & Happiness, Night-Lighters) at once. This 10th album under the New Birth name, released in 1977, puts the spotlight on powerful vocalist Leslie Wilson. “Deeper,” a garage classic revered by club-goers, is a mid-up funk groove with Wilson’s impassioned shouts—an incredible dance floor killer. Another single, “The Mighty Army,” is a simple-riff funk jam that shakes your body. They also have a poppier tune (“Your Love Is In My Veins”) and emotional ballads (“Your Love Is,” “How Will I Live”) that demonstrate their versatile talent.
Rating: ★★★★☆ (4/5)
A big band delivering high-energy funk anthems and soulful ballads with equal skill. Leslie Wilson’s vocals are a standout, and the heavy grooves prove New Birth deserves more credit as a major 70s funk force.
Faze-O: Riding High
Faze-O is known as the “kid brother” to the Ohio Players (OP). Legend says they recorded this debut in between OP sessions, with OP handling the arrangements. This collaboration resulted in a highly polished funk album right from their debut. “Riding High” reached #9 on the R&B charts and remains a signature track—mellow mid-tempo funk featuring shimmering electric piano and atmospheric ARP strings. It’s been widely sampled. The group’s main figure, Keith Harrison, was a multi-instrumental talent, and alongside Ralph Aikens (guitar, etc.), they had powerful vocals. Their slow tunes also stand out. The horn section’s support is rock-solid
Rating: ★★★★½ (4.5/5)
Seamless Ohio-style funk with airy keys, smooth vocals, and that leisurely groove. “Riding High” is a masterpiece that’s influenced countless producers. An underrated classic worth revisiting for fans of sumptuous mid-70s funk.
ADC Band: Long Stroke
This is the first album by the ADC Band, featuring children of “the Godmother of Detroit Soul” Johnnie Mae Matthews. She is the woman on the album cover’s front row, left side. Their roots trace back to Black Nasty, who recorded for Stax’s Enterprise label, so the band’s musicianship is top-notch. Plus, they recruited Detroit heavyweights Johnny Allen and Popcorn Wylie for horn arrangements, supported by a four-piece horn section—quite the dream team. The P-Funk–inspired “Long Stroke,” the band’s biggest hit, reached #6 on the R&B charts. Though that track is mostly a jam, other songs feature both male (Simms Maddox) and female (Audrey Matthews) lead singers, adding punch to the album.
Rating: ★★★½☆ (3.5/5)
Despite having solid Detroit credentials and a couple of standout funk cuts, it doesn’t quite reach the heights of the genre’s greatest. Still, “Long Stroke” is killer, and the interplay of male/female vocals adds a nice layer of variety.
Bohannon: Summertime Groove
Hamilton Bohannon was a Motown drummer, backing Stevie Wonder and others. He released many albums, mostly on Brunswick’s Dakar imprint, but remained overshadowed by Motown’s other stars and never scored a massive mainstream hit. However, as name-dropped alongside JB and Bootsy in Tom Tom Club’s lyrics, he’s recognized by those in the know as a funk pioneer. A hypnotic, ritualistic one-chord groove characterizes his sound. This 1978 Mercury release includes his biggest hit, “Let’s Start the Dance” (#9 R&B, #1 Disco). If you’re unsure where to start with Bohannon, start here. It might not be as sleek or refreshing as the cover suggests—it’s as sweaty and repetitive as ever—but that’s precisely the charm. Immerse yourself in his unrelenting, pounding sound.
Rating: ★★★★☆ (4/5)
A definitive Bohannon statement of trance-like funk minimalism. Though his style can be repetitive, it’s exactly that mesmerizing repetition that cements his place among funk’s great innovators.
Chic: C’est Chic
Chic was founded in 1972 in New York by Nile Rodgers (1952), who studied music theory and jazz guitar and dreamed of being a rock star, and Bernard Edwards (1952), whose bass style was influenced by Motown’s James Jamerson. They added Tony Thompson on drums and female singers up front—more like a “unit” than a traditional band. Rodgers’ mechanical rhythmic guitar and Edwards’ crisp bass grooves created a tight dance sound that took both R&B and the pop world by storm in the late 70s. This album features their #1 hit “Le Freak,” and the follow-up album Risque boasted “Good Times” (also #1). Funk scholar Ricky Vincent classifies them as “dance funk” and called this album “too perfect.” With their fashionable image, Chic were on the cutting edge—and somewhat anomalous—among the funk creators of the era. R.I.P. to Alfa Anderson.
Rating: ★★★★★ (5/5)
A game-changing record whose massive hits still resonate across genres. Rodgers and Edwards’ chemistry birthed an elegant yet driving groove, forging the blueprint for late-70s disco-funk. Impeccable production and timeless songs merit top marks.
L.T.D.: Togetherness
Short for Love, Togetherness & Devotion. Their roots trace back to The Sam & Dave backing band, and they were a large outfit led by Jeffrey Osborne and his brother Billy, among others. Their third album, produced by the Mizell Brothers, gave them the hit “Love Ballad,” but they truly started showcasing their funk muscle once they teamed with Philly soul maestro Bobby Martin. On this second collaboration with Bobby, they created the uptempo Philly-style “Holding On (When Love Is Gone)” and “You Fooled Me,” both loaded with funky swagger. “Jam” also packs a serious punch, and Osborne’s voice also shines on slow ballads.
Rating: ★★★★½ (4.5/5)
A vibrant, Philly-infused funk experience balanced by Osborne’s warm balladry. The band’s synergy is evident in both the dancefloor anthems and the heartfelt slow jams. One of L.T.D.’s strongest records.
Heatwave: Central Heating
Formed in the UK by songwriter Rod Temperton (later pivotal to Michael Jackson’s solo success) and American vocalist Johnny Wilder, who’d stayed in Germany after leaving the U.S. military. Their 1976 debut included “Boogie Nights,” but this second album offers many classics, like the disco-funk sequel “The Groove Line.” The refined funk track “Put the Word Out” is driven by Rod’s polished songwriting. Wilder’s sweet melodic sense shines in the ballads “Happiness Togetherness” and “Mind Blowing Decisions,” both heavily sampled. The dreamy “The Star of a Story” has seen a reevaluation surge in popularity.
Rating: ★★★★★ (5/5)
A near-perfect synergy of danceable funk, melodic balladry, and first-rate production. Rod Temperton’s songwriting wizardry meets Johnny Wilder’s soulful presence, yielding enduring hits that shaped the disco-funk era.
Lakeside: Shot of Love
Known for their 1980 hit “Fantastic Voyage,” Lakeside formed in Dayton, Ohio, under guitarist Stephen Shockley. Leon Sylvers co-produced this second album, which includes their first hit, “It’s All the Way Live” (#4 R&B). It’s a party-funk track with a throbbing synth bass, written by Frederick “Timbales” Lewis, who takes a timbales solo mid-song. Lakeside boasted multiple excellent vocalists like Otis Stokes; the single “Given In to Love” shows their lush harmonies. It’s a great album to appreciate their strong vocals.
Rating: ★★★★☆ (4/5)
Energetic and fun, with top-notch vocals, vibrant percussion, and a flair for party-starting grooves. A must for those who like the Dayton funk scene, though it doesn’t quite match the iconic status of “Fantastic Voyage.”
Rose Royce: Rose Royce III: Strikes Again!
Rose Royce was tapped by producer Norman Whitfield—famous for Psychedelic Soul with The Temptations—to do the Car Wash soundtrack in 1976. They hail from L.A., a nine-piece coed band. Lead singer Gwen Dickey’s pure voice propelled them to success with the slow jam “Love Don’t Live Here Anymore” (#5 R&B) on this Norman-produced album. On the funk side, “Get Up Off Your Fat” shows a Sly Stone influence, and “Do! Do!” features explosive slap bass. But the real powerhouse is “First Come First Serve” (#65 R&B)—a synth-driven funk track famously sampled by Daft Punk.
Rating: ★★★★☆ (4/5)
A versatile album bridging sweet soul ballads and urgent funk grooves, buoyed by Gwen Dickey’s vocals and top-notch production. It might not overshadow Car Wash, but it’s a worthy entry in the Rose Royce discography.
Kinsman Dazz: Kinsman Dazz
The group that would later became the Dazz Band, Kinsman Dazz was formed in Cleveland, Ohio. They initially went by names like Bell Telefunk, but took the term “Dazz” from Brick’s 1976 hit of the same title. Like many funk bands of the time, they were heavily influenced by Earth, Wind & Fire. Their first album was co-produced by Tommy Vicari along with EWF’s Philip Bailey and Ralph Johnson. It’s driven by rhythmic funk showcasing the horn section—including saxophonist Bobby Harris—and features those signature, beautiful EWF-style harmonies as a crucial element. There’s a falsetto-led track called “Might As Well Forget About Lovin’ You,” a mid-tempo ballad that highlights their splendid vocal harmonies. They released another album the following year.
Rating: ★★★★☆ (4/5)
An early glimpse of a band on the rise—clearly wearing EWF’s influence but already showing strong horn arrangements and a knack for harmony. Historically important as the roots of the later, more famous Dazz Band, it delivers solid 70s-style funk with a polished edge
Mother’s Finest: Mother Factor
Mother’s Finest are an Atlanta-based, racially mixed band featuring two Black vocalists, Joyce Kennedy and Glenn Murdock. They’re somewhat elusive in style, having released guitar-oriented rock albums, among other things. However, this particular album, produced by Skip Scarborough—fresh off a hit with Con Funk Shun—is noted for its strong R&B flavor. The sweet mid-tempo track “Love Changes,” penned by Scarborough, reached #26 on the R&B charts; the funk-rock tune “Don’t Wanna Come Back” landed at #54. While the drum style is a bit too “rock” for some R&B fans, it still pairs well with Joyce Kennedy’s powerful vocal presence. The following live album also charted on the R&B album charts but leaned more heavily into rock.
Rating: ★★★½☆ (3.5/5)
A fascinating blend of funk, R&B, and rock that highlights Joyce Kennedy’s commanding voice. Though the rock drums might alienate hardcore funk/soul fans, the album’s soulful core and Scarborough’s songwriting make it a worthy listen, especially for those who enjoy boundary-pushing funk-rock hybrids.
Cameo: Ugly Ego
Led by Larry Blackmon—one of funk’s most dynamic personalities—Cameo was still a large ensemble on this third album, well before they slimmed down in the 80s and embraced a more digital sound. It’s a must-hear record demonstrating both the high caliber of the full band and Larry’s leadership. There’s none of their later bawdy humor yet, but you can hear their style taking shape through the single “Insane” and the disco-boogie title track, both stylish and intense. Ballads like “Give Love a Chance” are superb, elevating the album as a first-rate soul record, too. Meanwhile, “Two of Us” would later gain popularity via a 2Pac sample. Listening closely, you’ll discover countless moments hinting at Larry’s high-level musical IQ (he studied at Juilliard), so pay attention to the album’s finer details.
Rating: ★★★★½ (4.5/5)
A pivotal Cameo release that foreshadows the funk innovation they’d bring to the 80s. The synergy of a larger ensemble plus Larry’s sharp musical direction yields top-quality funk, disco-tinged grooves, and memorable ballads—an essential cameo of Cameo’s early brilliance.
The Brothers Johnson: Blam!
Guitarist George Johnson and his brother Louis (the phenomenal bassist also heard on Michael Jackson’s Off the Wall) were discovered by Quincy Jones. This album is widely considered Quincy’s grand foray into full-scale funk. With top studio players—Larry Carlton, Richard Tee, Harvey Mason—on board, they merged disco, fusion, and a spacey vibe, riding the era’s trends right to the top of the R&B charts. Tracks like “Ride-O-Rocket” (#45 R&B) have a hint of that EW&F sound, while the flashy title track exemplifies Quincy’s pop-funk sensibilities. Notably, “Ain’t We Funkin’ Now” (#45 R&B) stands out for its addictive groove. Louis Johnson’s bass never overpowers the music; instead, it supports the vocals with a melodic, driving style that’s unmistakably his own.
Rating: ★★★★★ (5/5)
A high-water mark in 70s pop-funk, combining virtuoso session work with Quincy Jones’s polished production. The Brothers Johnson shine on every track, especially Louis’s iconic bass playing. It’s a timeless staple of the era—funky, melodic, and endlessly replayable.
Maze featuring Frankie Beverly: Inspiration
Maze began when Frankie Beverly and his percussionist friends formed The Butlers in Philly, later moving to the Bay Area as Raw Soul. Marvin Gaye discovered them, leading to Maze’s major-label debut. Their signature never changes much across albums—silky, heartfelt vocals, warm, mellow instrumentation, and lyrics woven with life lessons on love. But on this third album, recorded at Studio in the Country in Bogalusa, Louisiana, their laid-back groove is grounded in funk influences, evidently spurred by Stevie Wonder’s suggestion. “Lovely Inspiration” epitomizes this “silky soul” approach. The dreamy jacket artwork by Shusei Nagaoka matches the music’s mood perfectly. “Feel That You’re Feelin’” is groovy and catchy, “Timin’” is grittier mid-tempo funk, and “Welcome Home”’s buoyant keyboard parts recall The Meters. The slow ballad, “Woman Is a Wonder,” features layered group-style vocals. It’s Maze in a deeply relaxed, confident zone.
Rating: ★★★★½ (4.5/5)
The album exemplifies Maze’s gentle but grooving approach, bridging soul’s warmth with a subtle funk undercurrent. Frankie Beverly’s smooth vocals are front and center, and the Louisiana session vibe adds an earthy charm. A highlight in their discography for fans seeking a soulful chill.
Shotgun: III
Shotgun was a funk band that recorded six albums between 1976 and the early 80s for labels like ABC, MCA, and Montage. Many members hailed from Cincinnati. Tyrone Steels (vocals/drums), Ricky Ingram (sax/guitar/vocals), and Gregory Ingram (sax, etc.) had been part of 24 Karat Black, who recorded for Enterprise (Stax). On this album, “Don’t You Wanna Make Love?” (#35 R&B) became their biggest career hit. Though they never achieved major commercial success, the heavy, unpolished funk on that track—also on the opener “Skate”—packs quite a punch. They also deliver some compelling mid-tempo to slow numbers featuring falsetto vocals. It may not be the slickest, but it’s got raw power.
Rating: ★★★½☆ (3.5/5)
A rugged slice of no-frills funk that fans of the deeper 70s crates will appreciate. Their playing is solid, and the standouts show real potential, but it lacks the consistent hooks or name recognition of better-known groups. Still, a cool gem for those who love that unpolished “bonesy” funk sound.
The Gap Band: II
The Gap Band—brothers Charlie, Ronnie, and Robert Wilson—were still going strong when they released their second album on Mercury, one of their signature releases. With momentum from the 1979 single “Shake,” they dropped this album the same year. All four funk/dance tracks were released as singles. “Steppin’ (Out)” and “I Don’t Believe You Want to Get Up and Dance (Oops!)” became signature tunes. “Who Do You Call,” featuring Tommy on vocals, is a blast of P-Funk–inspired madness. With a polished pop vibe, Charlie’s emotional and mellow singing also shines on the ballads. This is The Gap Band in full stride.
Rating: ★★★★★ (5/5)
Filled with unstoppable anthems and an ideal balance of pop-savvy hooks and scorching funk. Charlie Wilson’s vocals take it over the top. A prime example of late-70s/early-80s funk hitting the mainstream in the best possible way.
Instant Funk: Instant Funk
After working as session musicians behind Philly artists like Bunny Sigler, Instant Funk followed him to Salsoul Records. They expanded from three to nine members, including new powerhouse vocalist James Carmichael. It’s a disco-funk record bursting with dancefloor-ready tunes—a Philly answer to the rising New York disco phenomenon. While they’re more a “vocal & instrumental group” than a pure funk band, the track “Dark Vader” has a genuine funk edge, hinting at a P-Funk–style flavor.
Rating: ★★★★☆ (4/5)
Infectious Philly-meets-disco vibe, polished arrangements, and an impressive new vocalist. Though perhaps overshadowed by bigger names, this album packs enough dancefloor ammo and funk grit to satisfy fans of the era’s groovier side.
Prince: Prince
This was Prince’s second album, the first time he produced, wrote, and played almost everything himself, earning him his first gold record (#3 R&B, #22 on the Billboard 200). The heartbreak hit “I Wanna Be Your Lover” soared to #1 R&B/#11 pop and opened the door to stardom. While the overall vibe is sweet and slightly unstable—fitting a young artist on the rise—he deploys synthesizers and sharp “Minneapolis funk” flourishes. The disco-tinged “Sexy Dancer” oozes erotic energy, and “Why You Wanna Treat Me So Bad?” (#13 R&B) is a pop-funk jam with piercing guitar work. Even the hard-rocking “Bambi” signals a shift in soul/funk toward something new.
Rating: ★★★★☆ (4/5)
The birth of Prince as a one-man funk-rock powerhouse. This album’s youthful mix of disco, guitar-driven pop-funk, and sensuality presages the revolutionary artistry that would soon redefine popular music. A pivotal stepping stone in funk’s evolution.
Chuck Brown & The Soul Searchers: Bustin’ Loose
Go-Go music rose to prominence in the 80s thanks in large part to Chuck Brown, dubbed its Godfather. Born in 1936, he’d been active since the 60s, but in 1979 he and the Soul Searchers scored an R&B #1 with “Bustin’ Loose.” Go-Go is a percussive, syncopated, bouncy style that blossomed locally in Washington, D.C., and can be seen as an ancestor to 90s New Jack Swing. On record, Go-Go’s essence—endlessly jamming the same beat live—took until the 80s to become more widespread, so strictly speaking, it falls outside the 70s funk scope. Still, with the title track ushering in the Go-Go era, this album can’t be overlooked. It also includes a Jerry Butler cover (“Never Gonna Give You Up”) and the ballad (“Could It Be Love”), but glimpses of Go-Go’s beginnings are everywhere. “Berro E Sombaro” has a Latin flair, too, underscoring how those percussive strains feed into the city’s broader funk tradition.
Rating: ★★★★½ (4.5/5)
A landmark moment for the Go-Go sound, bridging 70s funk and the emerging 80s D.C. scene. “Bustin’ Loose” alone makes this essential listening, showing the dawn of a fresh funk subgenre that would later influence hip-hop and R&B.