STUPID HUMAN Swamp Funk - (Original Mix)

Описание: #Stupidhuman

genre_funk
blues
Much less well-known is the influence New Orleans has had on the funk. When most people think funk it is James Brown (Georgia) and George Clinton (Detroit), Sly Stone (San Francisco) and War (L.A.), Ohio Players (you guessed it!) and ConFunkShun (Vallejo). New Orleans barely got a mention in the funk segment of Public Television's recent history of popular music ("The History of Rock") - and they certainly didn't mention Earl Palmer as the inventor of the backbeat -- which is a pity and an historical oversight needing correction. For not only is New Orleans a funky place, in every sense of this flexible concept smelly, sexual, groovy, dangerous - it is the funky place, and its music, its militaristic parade rhythms, its hip-swinging saunter, its swampiness is the aural embodiment of the concept of funk.
New Orleans is built on a swamp, and you can't forget this when you're there. Even in the February chill which usually accompanies Mardi Gras the air is sagging with moisture, cold and humid. Once the brief winter passes, and the torrential tropical rains subside the city settles into an almost unbearable dankness like an overweight bookie lowering his ample flanks into a steam bath. In New Orleans even the walls sweat; odors hang in the air like rotten steaks draped over washing lines. It's not just the portly cops whose armpits are ringed with sweat- everyone is melting. The air has the texture of a mildewed cellar. You cannot rush in New Orleans, hell if you're not a native you can barely breathe, so you take it s-l-o-w. You ride the night like the prince of darkness (it's no coincidence that New Orleans is home base for novelist Ann Rice's vampire stories). You drink heavily to escape the heat. And the soundtrack? Well that's straight up swamp funk. Smelly, greasy, fat (phat) and lowdown as a grave robber, New Orleans specializes in alligator funk thick as gumbo and nourishing as a barbecue shrimp po-boy.
The musical origins of New Orleans funk lie in the tradition of 'second-line'. This unique cultural tradition stems from the traditional distinct method of celebrating life when mourning death. Richard Williams, in his liner notes to 'The Best Of The Meters' (1975, Island Records) explains:

" The 'second-line' is the group of mourners which follow the band in a traditional New Orleans funeral ceremony. On the way to the ceremony, the band plays sober dirges. On the way back, though, the tempo is tripled and the mourners dance through the streets, joyfully purging their sorrow in physical expression. "


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