The Handguide to Talkbox: An Oral History of Funk In 44 Songs
A robotic voice? No, that’s not it. The talkbox is an incredibly emotional, physical, and intensely human-sounding funk instrument. Here’s a selection of classic tracks that feature it.
So, what exactly is a talkbox?
The principle behind a talkbox is very simple. Normally, to amplify an instrument, you connect it to a speaker through an amplifier. A talk box uses that same principle. In fact, Bob Heil—a PA specialist who provided enormous sound systems for the Grateful Dead and counted Humble Pie among his clients—helped develop the modern talk box.
When we think of a speaker, we usually picture an enclosure (a speaker cabinet). However, with a talkbox, the crucial component is just the compression driver inside: the part that uses small vibrations to generate high sound pressure. From that driver, a tube carries the sound into the player’s mouth, where it resonates. By changing the shape of your mouth, you can create a singing-like effect, and then a microphone picks that up. Written out like this, it sounds a bit cumbersome, but that’s basically how it works.
A vocoder, on the other hand, takes the voice input from a microphone and synthesizes it by replacing it with an instrument’s sound—so the underlying principle is entirely different. Despite its name, a “talkbox” doesn’t necessarily have to be box-shaped. Up through the early 1970s, many units were actually called “voice bags,” which were more like pouches.
It was Joe Walsh who really brought the talk box to public attention when he used one he got from Nashville steel guitarist Pete Drake on the 1973 hit “Rocky Mountain Way.” Afterward, Walsh and Bob Heil continued to refine it. Another major name is Peter Frampton—formerly of Humble Pie—who used a Heil talk box to turn “Show Me the Way” into a huge hit. Because of these successes, until about that time, the talkbox was strongly associated with guitar use. Jeff Beck also mentioned seeing Iron Butterfly’s Mike Pinera in 1966 using something like a bag to play both bass riffs and guitar lines; he himself started using a talk box around 1973.
However, the talk box ended up being used much more in funk and hip-hop—especially following in the footsteps of Stevie Wonder and Roger Troutman—than in rock. Why was that? First, Roger’s approach was groundbreaking. But also, it’s likely because the talk box easily breaks free from standard Western scale conventions. It definitely isn’t just a “robot voice.” What the talk box conveys is a deeply visceral, from-the-gut emotion—a sound that is intensely physical and human at its core.
“Sex Machine” by Sly & The Family Stone
A tune is historically known as one of the earliest successes using a Kustom (Custom) Electronics talkbox. It’s an epic over 13 minutes long, where the talkbox was deployed almost like a special-effect “secret weapon” to highlight the track’s distinctive features. — I.R.
“Now Do U Wannta Dance” by Graham Central Station
A number where the bass “talks”—in other words, a talkbox on bass drives the whole performance. It reached #10 on the soul charts. On the 2012 album Raise Up, there’s a “New Master” version of this track infused with an Ohio-style vibe. — T.L.
“The Same Thing (Makes You Laugh, Makes You Cry)” by Sly & The Family Stone
Perhaps because time had passed, the talkbox is not used as flashily as on “Sex Machine” from ten years earlier. Instead, it’s slipped in as a subtle vocal spice over a laid-back funk groove—and that restraint is downright cool. — B.O.
“Love Having You Around” by Stevie Wonder
With the help of Malcolm Cecil and Robert Margouleff, Stevie’s overall sound became even more experimental. This particular track stands out symbolically, using a talkbox to reinforce its funky feel. — P
“She’s Leaving Home” by Syreeta
A classic Beatles tune sung by Syreeta in her sweet, delicate voice. Over that, Stevie’s talkbox snakes around in multiple overdubs. It’s not a funk piece, but it completely anticipates that “Roger Troutman” kind of talkbox style. — I.R.
“(They Long to Be) Close to You” by Young-Holt Unlimited
A slow Burt Bacharach tune made famous by the Carpenters, but when they apply talkbox—surprise!—it gets funkier and funkier. They also had a track called “Wah Wah Man” back in ’71, proving their knack for wah-based effects. — P
“Rufusized” by Rufus featuring Chaka Khan
On this release (where Tony Maiden became an official member), the guitar—likely run through Tony’s talkbox—takes on an even bigger presence, howling aggressively over a bright funk beat. — I.R.
“Smoke My Peace (Smoke It Right)” / “Corey Died On the Battlefield” by The Wild Magnolias
On the first album by the group led by Bo Dollis, they use talkbox on two tracks—both written by their keyboardist, Willie Tee. The second one, in particular, is a percussive, New Orleans–style funk. — B.O.
“Dirty Ole Man” by Mandrill
A co-produced track with Malcolm Cecil, who invented the “Blowbag” talkbox Stevie Wonder used. They also brought in T.O.N.T.O., but the electronic coloring is surprisingly toned down, resulting in a very raw, visceral funk. — B.O.
“Black Man” by Stevie Wonder
A hard-hitting funk track insisting that “the world is for all races.” In the second half, during a spoken “history lesson” skit, the talkbox repeats the lyrics in the background—a novel effect. The performance overall is stellar. — T.L.
“Tell Me Something Good” by Rufus
Their breakthrough hit, provided to them by Stevie Wonder. It’s not officially credited, but the talkbox is presumably by guitarist Tony Maiden. Stevie himself sometimes performed this one live as well. — P
“I’ll Never B Another Fool” by Chaka Khan
A heavy funk tune with a crushing low end, complete with Chaka’s powerful vocals. Behind her, the producer—very likely Prince—adds a commanding talkbox line that gleams through the mix. — B.O.
“Darkest Light” by Lafayette Afro-Rock Band
Formed in New York, then moved to France. This track became famous for its sax line, sampled by Public Enemy and N2Deep, among others. The talkbox, used alongside a talking drum, heightens its moody vibe. They also used it on “Voodounon.” — P
“Super J” by Junie
True Ohio-style sticky-soul vocals, percussive piano, a cool-toned synthesizer stretched out in a long solo, and a talkbox weaving through it all. This “senior” figure to Roger Troutman shows off his mad genius side. — P
“Wanna Make Love (Come Flick My Bic)” by Sun
The first hit by Ohio funk outfit Sun (peaked at #31 on the soul charts), featuring a guest talkbox appearance by Roger [Troutman]. His distinctly enunciated, deep, dynamic talkbox style was already in a league of its own. — T.L.
“Sister Love” by Shotgun
Their earlier incarnation was called 24-Carat Soul, so many assume they’re from Detroit, but most of the core members hail from Cincinnati, Ohio. This is a heavy funk tune with a low center of gravity. — B.O.
“Greasy Spoon” by The Crusaders
Larry Carlton lays down an extra-sticky talkbox line over a laid-back, Southern-soul–style funk groove. The way he bends the notes with almost a “vocal vibrato” near the end is really interesting. — I.R.
“Blues City” by Buddy Miles
True to the title, it’s a short (about two-minute) bluesy piece performed by a white guitarist named Ben Schultz, but the entire track is driven by a fierce, “carnivorous” talkbox. It has a refreshing Black-rock vibe. — P
“Doin’ It” by Herbie Hancock
Another track featuring “Mr. Watson.” The talkbox isn’t used heavily, but the tune itself is just plain cool. Ray Parker’s guitar joins in, James Gadson is on drums, and Watson himself handles bass as well. — B.O.
“Stellar Fungk” by Slave
An Ohio funk epic running just under nine minutes, featuring talkbox and peaking at #14 on the soul charts. Although they’re a twin-guitar group, the talkbox (played by Danny) takes the lead. — B.O.
“People of Today” by The Isley Brothers
A brisk, feel-good funk tune propelled by a clavinet-driven beat. You can hear a subtle, chorus-like talkbox in the chorus that adorns Ronald’s lead vocal lines. — I.R.
“Snow Bound” by Alphonze Mouzon
A track by Weather Report’s original drummer. The talkbox is likely played by Tommy Bolin, blending funk and rock in equal measure. After fully participating on this record, he went on to join Deep Purple. — T.L.
“Cry Baby” by Wah Wah Watson
When it comes to talkbox on guitar, you think of this gentleman first. On Quincy Jones’s Mellow Madness, he performed an alternate version of this track plus “Paranoid,” and his work on Harvey Mason’s “Fair Thee Well” is also brilliant. — P
“Color Blind” by Maze featuring Frankie Beverly
This is Maze’s most funk-heavy track. It’s actually a remake of a horn-driven funk single from their Raw Soul era, this time adding a talkbox—making the Sly Stone influence even more obvious. — B.O.
“The Funk You See, Is the Funk You Do!” by Tropea
Despite the prog-rock–style spacey album cover, the track on which guitarist John Tropea uses talkbox turns out to be a heavy funk jam with Will Lee’s bass growling underneath. The contrast with the mellow phrases is fascinating. — P
“Here We Go Again” by People’s Choice
A minor hit helmed by Leon Huff, strongly tinged with disco. In the middle section, the lead vocal steps aside, the percussion comes forward, and the talkbox is spotlighted—a perfect formula. — T.L.
“The Thought of Love” by Morning, Noon & Night
There’s a talkbox solo in the latter half. From the credits, it appears to be Eddie Willis (the Funk Brothers guitarist), although there’s a chance it was John Tropea. Michael Stokes’s reliable production is unmistakable. — I.R.
“Funkify Your Life” by The Meters
A percussive yet calmly persistent beat. Leo Nocentelli’s voice and guitar blend seamlessly via the talkbox, creating a super-deep funk vibe in their call-and-response patterns. — P
“Get Off” by Foxy
A Miami band led by the eccentric Ish Ledesma delivering their biggest hit. The catchy “Fo! Fo!” shout revs up the party mood, and the talkbox kicks it up another notch! — B.O.
“I Wanna Play for You” / “Just a Feeling” by Stanley Clarke
On two of these tracks, [bandleader] Clark himself handles the talkbox. The first track slows the BPM and spotlights rapid-fire bass, while the second is more upbeat with a disco pulse—both appear in succession. — I.R.
“Bad, Bad Girl” by Hitchhikers
A single by the group featuring Baltimore-born deep-voiced singer Kenny Hamber. His vocals here are as intense as ever, but the talkbox performed by the keyboardist shines in the intro and mid-section. — P
“Is This a Love Thing” by Raydio
Ray Parker Jr., who emerged under Herbie Hancock’s wing, naturally discovered that futuristic talkbox tone. Here, he glides through a phrase in the instrumental break, and on the next album, Rock On, he sprinkles it in again more subtly. — B.O.
“My Uncle Funky” by Chocolateclay
A duo formed by bassist “Chocolate” Perry (who played a key role on Bobby Caldwell’s debut hit) and Miami-based keyboardist Clay Cropper. It’s a wild slice of funk. — B.O.
“Foot In Action” by Eastside Connection
Though the vibe is light disco-funk, the guitarist Jeffrey—who was part of Ruben Guevara’s Con Safos, a key figure in Chicano music—rips through the track with a racing talkbox solo. — P
“The Roads of Life” by Bobby Womack
The title track from Bobby’s only album on Arista. It opens right away with talkbox and uses it tastefully throughout. The performer is presumably guitarist Cecil Womack, who also co-wrote the song. — P
“Booty’s Duty” by Cold Fire
A funk number (with a rumbling bass) off an album that features top-tier guests like Patrice Rushen. Produced by Cecil Hale, who also worked with the band Sun during their Capitol years. — I.R.
“Hide and Freak” by Con Funk Shun
A party-funk track with a lively bounce and punchy horns. At first, it sounds like the talkbox handles most of the vocals, but in the chorus, a vocoder kicks in, too, boosting the party vibe even more. — T.L.
“Don’t Let ‘Em” by Bootsy Collins
In this jazzy arrangement featuring Till Brönner, Bart Thomas sneaks in some funky call-and-response. Formerly of New Horizons, he’s one of those post-Zapp inheritors (alongside Bigg Robb) who really took talkbox forward. — P
“Happy (Pharrell Cover)” by Teddy Riley
Teddy (Riley) employed talkbox even in Blackstreet hits like “Don’t Leave Me” and “Deep,” presenting himself as Roger’s successor. Here, he covers a huge track by Pharrell—once his protege. — P
“Number One Woman” by Crown Heights Affair
A roughly seven-minute disco-funk track. From the middle section onward—once the vocals step back and the bass takes center stage—guitarist Buppa Anderson’s talkbox seizes the spotlight until the very end. — I.R.
“Do It (Let Me See You Shake)” by The Bar-Keys
A spacey funk piece built on a somewhat eerie bass line and synth. The guitarist uses talkbox in his chord “chops,” while a robot-like vocoder effect adds to the cosmic atmosphere. — T.L.
“Misunderstood” / “Instant Replay” by Micro Wave
He shows off the talkbox on three different tracks. He’s a keyboardist/singer from Champaign, Illinois, but with Bootsy at the production helm, you can hear strong influences from Roger, Midnight Star, and Prince. — I.R.
“Ain’t That Peculiar” by George Clinton
A laid-back cover of a ’60s Marvin Gaye classic, done by El DeBarge’s silky tenor alongside George’s rough-edged vocal. The talkbox tone—which seems to be Sly Stone—intensifies that easygoing, almost tongue-in-cheek vibe. — B.O.
“24K Magic” by Bruno Mars
The Christian talkbox player known for guesting with Bootsy on TobyMac’s “Diverse City” (2004) is featured here. No fancy trick—just a straight-up, fastball approach that truly soars. — T.L.