Top 204 Funk Quotes & Sayings - Page 3

I stopped painting because I was so shocked at what I was doing and how much I wasn't in the work. The work was alien to me. I didn't know how to paint in a way that would get me out of this funk.

There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.

I don't think there's any way you can worry about how many errors or how many bad plays you've made. You can get into a fielding funk just as quick as you can hitting.

My plays are for the kind of black people who relate to funk music, to Parliament-Funkadelic. When those guys get out of a spaceship - the idea that black people are from outer space, theres a poetic truth to that. We are this vast people.

I have to hear more live instrumentation, more band and more funk, and I don't hear enough of it, so I created it myself.

The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.

With me, it's so eclectic and all over the map that no one knows what to expect, ... It may not be a great career move, but all these things - singing with the Funk Brothers and the Dead, singing a Dolly Parton song - is great. I'm welcome to all these different worlds, and that's been wonderful.

Lauryn Hill, P-Funk, Marvin Gaye, Public Enemy - I have a very diverse palate for music. I can go from Judy Garland to Jimi Hendrix to Stevie Wonder to Rachmaninoff. I just love great music.

Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness 1979-1983' covers a short chunk of time in Nigeria's musical culture - one that might have lasted longer had the label spearheading the movement at the time, Phonodisk, not been so financially mismanaged.

Ever since the collapse of cap and trade legislation and the realization that President Obama is unlikely to ever utter the words 'climate change' in public again, much less use the bully pulpit to prepare the nation for the catastrophic risks of inaction, the movement has been in a funk.

I had this idea for a while to do mix this Al Green vibe with a samba thing. I tried to do that in many different ways. Peter added his own modern notion of funk and his own deep background in classical music.

I had a band called Infectious Grooves back in the Nineties. That music was really a mixture of styles, and we had some stuff that was punk rock, ska, but then we had a lot of funk in there.

I tried to sing 'What's Going On' with Amy Winehouse once at an old cinema in the West End. There was a funk band that had members of both of our bands playing in it, but it was the worst kind of place to sing bad karaoke because everyone there was an amazing singer or musician.

The tapes we were making would jump around with different styles, just quick parts of different songs. Hip-hop to jazz to funk to whatever else. And in a way, 'Check Your Head' ended up being like one of those pause-tapes.

I was very happy with the success of 'Noise/Funk,' but of course, there is a lot more that I have to say about the dance, about the history, about the people involved with the dance and their history.

But we got up there and decided to stick to this mix of power chords and funk and that's where it really started for us. In having the courage to take that decision. To take a gamble not just with our music but our lives.

Stuff like Buena Vista Social Club and Fela Kuti were quite a main thing to my childhood. As soon as I reached an age where I realized that Fela was singing in English, when I got past his accent, I loved the rawness of it, and the funk and the rhythm and the melody.

Am I one part R&B? Sure, but I'm also part soulful, and I'm old school funk, I'm pop, I'm rock, I'm hip hop, I'm all of those things. I don't wanna be categorized or labeled as just one thing. Don't put me in the box because I'll break out of the box.

I grew up listening to a lot of emo music, a lot of rock music, a lot of rap music, a lot of trap music, funk, everything.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

When I discovered Gil Scott-Heron, I discovered a musical hero, a man who spoke baritone truth to power over jazzy funk at a time when funky music was primarily about shake, shake, shaking your booty.

I am in love with old school funk and soul music. That's what I grew up listening to, and I want to bring that style back with my music. I love artists like Stevie Wonder, Donna Summer, Aretha Franklin, Michael Jackson, Earth, Wind, & Fire, Bruno Mars, Justin Timberlake, and more!

I still go on YouTube and watch the old performances and the 'Soul Train' lines. I'm still amazed by how much soul and funk the music and dancers had.

You basically have to play everything (in New Orleans), because you're getting calls to play gigs of all different styles, from classical to R&B to funk; modern jazz to traditional jazz.

But that kind of falls in line; when you think about it, James Brown was a funk minimalist. All of those parts create a sum that's larger than than the individual parts.

Often, feelings of sadness, uneasiness, and loneliness are vague and unattached to specific events. This makes it more challenging to find ways to turn you mood around. When you find yourself in a funk, focus on what you're feeling.

L.A. hip-hop is so different; it's so diverse. Out here, it's, like, funk-inspired; it's, like, '70s-skating-rink-inspired at times. It's Zapp-and-Roger-inspired; it's house-party-era-inspired.

I'm trying to change the root of funk, trying to make it more progressive, more melodic and more lyrically structured.

The only thing I wanted to accomplish was to finally get recognized by the music industry. If you know the awards, answer me this question: Do you see an award for soul music? No. They have R&B, funk, hip-hop and all sorts of contemporary things.

The James Brown we saw tended to be the James Brown we chose to see: as the caped crusader of funk and soul, adored by millions, or as the face in a seemingly endless series of mug shots. The ways in which he appealed to and appalled different audiences made Brown a kind of national Rorschach test.

But we got up there and decided to stick to this mix of power chords and funk and that's where it really started for us. In having the courage to take that decision. To take a gamble not just with our music but our lives

Rock and roll to the beat of the funk fuzz Wipe your feet really good on the rhythm rug If you feel the urge to freak, do the jitterbug Come and spread your arms if you really need a hug.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.

In the U.K., we always had a special relationship with the audiences because it wasn't 'More Than Words' that broke us: it was 'Get The Funk Out' that broke first. That was what we had always dreamed of.

Working with the brothers can put pressure on my voice, so I choose to do my own solo thing so I can save my voice. I couldn't do both now. The Neville Brothers is a funk band; they play loud, and I have a strong voice.

I scoured myself with lye soap from head to toe to get the evil funk of demon snot off me. I have flossed things the gods never meant to be flossed and used things that would be toxic to most living organisms. All to sanitize my body for your chewing pleasure.

I was already playing the clarinet and the piano. My father's a piano player. But I wanted to play in a funk band, and the clarinet wasn't fit. So you was "Hey, man, can I sit in?" They're like, "No, man." So I started fooling around with the bass.

Occasionally pick up speed-for 2 minutes, tops-then settle back into your former pace. Sometimes this is all you need to snap out of a mental and physical funk. Pick a downhill stretch if you can, and really lengthen your stride.

My friends call my style 'old man chic.' I wear loafers and stylish sweatpants. I love to stay comfortable, so I definitely funk it up, but I'm always comfortable. I wear lots of hats and feathers, and I kind of have a little obsession with Native American jewelry.

I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.

Blues artists now try and stay in a box. Back in the day at all the clubs you would see James Brown, Jimi Hendrix, The Isley Brothers, Little Richard and Etta James all play the same venues. It was a mix of funk, soul, blues and rock 'n' roll.

I had a few DJs in my neighbourhood that would play music in the streets. There was no hip-hop yet; there were just DJs that were playing disco, funk, and pop music, and we would gather round, go to the parks, and dance and enjoy ourselves.

When you talking about funk music you just talking about a collage of a lot of different types of music. They used strings, they had brass, they had vocalist.

I was a huge fan of '90s hip-hop, and a lot of what they got their music from was funk and soul records. They just, like, take a clip of that and rap over it because, you know, that was just kind of what was up.

It's easy to fall into a funk and not want to exercise, or to really want that second piece of chocolate cake. I have to say, I fight against those feelings all year. But I try not to let myself sit in a rut like that.

When I was younger, I was listening to a lot of Armenian music, you know, revolutionary music about freedom and protest. In the 70s I was listening to soul and the Bee Gees and ABBA, and funk.

Funkers are people who dig the funk; Little funkers, Big funkers, Old funkers, Young funkers, Foxy funkers, Mother funkers, Papa funkers.

I was sometimes doing DJ stuff and working in a record shop in Tokyo. That place was a very unique shop. It was the place lots of DJs came to get used and rare records. It had a lot of jazz, funk, Latin and seventies rock.

Styles move too fast to be partial to anything. If it's funk, that's enough for me. I don't care how fast or slow it is. I got my grandkids up front rapping and doing the new thing. They're teaching each other, bringing us up to date.

I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.

What isn’t on my iPod playlist? I have very eclectic tastes. Jazz. Classic Rock. Hip Hop. Ska. Soul. Electronica.World Music. Funk. Blues. Chamber Music. Reggaeton. Gospel. And a whole lot of Prince. (I am a Minnesota gal through and through.)

I've played death metal, punk rock, hardcore, funk... I've done it all. And all there really is music and at the end of the day, anybody who has a record and puts out a record that's basically the same song 13 times over on one record; to me they're just cheating the fans.

My plays are for the kind of black people who relate to funk music, to Parliament-Funkadelic. When those guys get out of a spaceship - the idea that black people are from outer space, there's a poetic truth to that. We are this vast people.

I was in bands, like everyone else, when I was 16, 17; I was a little skater listening to Dead Kennedy's and Steel Pole Bath Tub. It was through early 90s Hip Hop that I found my way to Soul and Funk, and then out the other side into beats.

You know you're a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.

You know, in the 1970's, when I was in high school, I belonged to a band called the Happy Funk Band. Until an unfortunate typo caused us to be expelled from school.

My band, Miles Long, is a jazz-funk spoken word band. There's jazz sensibilities, but I'm a bass player, so I'm very much into the head-bobbing vibe with sophisticated lyrics.

[I listen to] "Uptown Funk", Bruno Mars, sometimes even Nina Simone and Adele. Whatever comes up, whatever floats my boat, whatever makes me tap into something in me to just decompress - I listen to that.

My folks have played everything from rock, disco, pop, funk, and blues. My dad has always brought and played different genres like jazz, classical, and Latin. With all this in my pocket, I feel I have a taste of everything for my influences.

I did my version of g-funk and I made it into a genre, I made it huge, I made it worldwide. That's what I created, and the rest of the guys I worked with like Snoop Dogg, like Dr. Dre. We created that.