Friday, October 13, 2017

"Funk Gets Stronger (Killer Millimeter Longer Version)" by Funkadelic, featuring Sly Stone

Funk masters George Clinton and Sly Stone
Legendary funk-soul brothers from another mother Sly Stone and George Clinton combine their groove forces for this dope Funkadelic joint. This funky strut of a groove is peppered with infectious horn lines, dirty guitar licks and stellar keyboard and synth parts.

Sly sings most of his verses in a bluesy whisper but occasionally lets loose with a few powerhouse wails to remind listeners that he was still in possession of one of the most soulful voices in funk music. And of course George Clinton is always down for a good funk party and contributes some clever lyrics and catchphrases as well as his signature off-center humor.

In addition to vocals, the multitalented Sly also played drums, keyboards, rhythm guitar and synthesizers on the track. Other players included Eddie “Maggot Brain” Hazel on lead guitar and Sly & the Family Stone alums Pat Rizzo (saxophone) and Cynthia Robinson (trumpet). Sly and Clinton co-wrote and produced the track.

This underrated funk cut didn’t get near enough play back when it was released on Funkadelic’s The Electric Spanking of War Babies album in 1981. In addition to “Funk Gets Stronger,” other great cuts from the album include the percolating “Electro-Cuties” and the lewd, crude and very funky “Icka Prick.”

Sly has recorded and toured with P-Funk off and on over the years and is close friends with George Clinton. Other P-Funk tracks that Sly has contributed his versatile talents include “Hydraulic Pump,” “Catch A Keeper” (both P-Funk All Star cuts), “The Naz” (Funkadelic) and “In Da Kar” by Funkadelic & Soul Clap.  Hopefully, there are more funky collabs to come with Sly, George and P-Funk.

Tuesday, September 26, 2017

Funkiest Synth Bass Lines

Herbie Hancock working his keyboard magic
The synth bass made its debut on the urban music scene in the early 1970s. It was introduced by groundbreaking artists like Stevie Wonder and Herbie Hancock, who had begun creating and experimenting with synthesizers in an effort to bring something fresh and unique to their sound. Synthesizers were soon taken up by other black musicians, and by end of the decade, many funk, R&B and disco artists had synth bass lines on their tracks. And by the mid ‘80s, the synth bass had become a fixture in contemporary music and could be heard in a number of different genres.

Listening to some of the great synth bass lines created over the years inspired me to make up a list of my 30 funkiest synth bass lines. Here’s the list in no particular order. 


Flash Light – Parliament 

Keyboard maestro Bernie Worrell took the synth bass to the next level on this galvanic funk classic. His big-bumpin’ Minimoog bass line serves as the funk engine for this roof-raising party jam, which had folks tearing up dance floors back in the day—and still does today.




More Bounce to the Ounce – Zapp 

Zapp’s influential funk classic features a Godzilla-sized synth bass line that forces listeners to surrender to the groove and rush the dance floor.




Living on the Front Line – Eddy Grant

This powerful politically charged reggae track boasts a searing synth bass line served up by the multitalented Eddy Grant, who plays every instrument on the track.




Bad  – Michael Jackson 

The sleek, sinister synth bass line drives this dynamic MJ classic, one of pop/soul legend’s funkiest grooves.




Boogie on Reggae Woman – Stevie Wonder

 Stevie brings bushels of funk and sonic joy through his amazing moog-bass work on this classic track. This song never fails to generate smiles and get heads bobbin’ whenever it’s played.




Smokey – Funkadelic

Bernie Worrell serves up some moog-bass brilliance on this unearthly gospel/funk masterpiece. The Wizard of Woo’s low-end work on this cut is thick, deep and devastatingly funky.




Sign ‘O the Times – Prince

Prince somberly reflects on the sociopolitical ills of the world on this funkified electro-blues chart-topper, which is anchored by a hard-hitting synth bass line.




Chameleon – Herbie Hancock

Jazz legend Herbie Hancock blew the minds of music lovers near and far when he dropped this gloriously funky instrumental back in 1973. This jazz standard features the now iconic synth bass line, which Hancock played on an ARP Odyssey.




Speed Demon – Michael Jackson

MJ brings massive doses of funk and attitude to this smokin,’ fuel-injected groove, which is bolstered by a badass synth bass line. 




Into the Void – Nine Inch Nails

Nine Inch Nails mastermind Trent Reznor lays down a savage synth bass line on this ferocious industrial-funk groove.




(Not Just) Knee Deep – Funkadelic

Legendary groove master Junie Morrison delivers a sublimely funky Minimoog bass line on this epic funk/dance classic.




I Come Off – Young MC

Rhyme master Young MC spits his tight verses over a treacherous synth bass line on this dope old-school cut.




 Maybe Your Baby –  Stevie Wonder

Stevie delivers some potent synth bass magic on this blisteringly funky tale of heartbreak and infidelity.




Hyperactive! –Thomas Dolby 

 This electrifying new wave/funk hybrid is built around an urgent, stuttering bass line. It’s a truly unique groove that only the mad scientist of synthpop Thomas Dolby could have dream up.




Soft and Wet – Prince

This early Prince joint is filled with stellar synth work, including an irresistibly funky bass line. 

[couldn't find a clip of the original studio recording of the song online]


Atomic Dog – George Clinton

 George Clinton’s iconic and influential funk classic has a super-dope synth bass line that puts some extra stank on the funk.




You Are a Winner – Earth, Wind & Fire

Keyboard wizard Larry Dunn’s hyperkinetic synth bass line catapults this supersonic groove to its funkiest capacity.




Smooth Criminal  –  Michael Jackson 

 This singular R&B/rock/pop gem boasts an indelible synth bass line that immediately hooked listeners upon first play. It’s one of the most memorable and immediately recognizable bass lines in MJ’s discography.




Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) – Parliament

Bernie Worrell lends his keyboard genius—including an ultra-funky Minimoog bass line—to this monster dance-floor groovathon.




Battle Flag – Lo Fidelity Allstars, featuring Pigeonhed

Andy Dickinson's inspired bass work (played on a real bass through synth pedals) significantly elevates the funk level on this exhilarating remix of Pigeonhed’s song.




Got to Give It Up – Marvin Gaye

Music legend Marvin Gaye personally laid down the bumpin’ synth bass line on this influential funk/disco classic. He played it on the RMI harmonic synthesizer.




Drive Me Wild – Vanity 6

This sexy Prince-produced track features a funky robotic-sounding synth bass line.




The Rain (Supa Dupa Fly) – Missy Elliott

Missy Elliott’s blissfully bizarre 1997 hit contains one of the phattest synth bass lines to ever grace a track. I mean this bass line is straight-up obese and insanely funky.




Cash in Your Face – Stevie Wonder

Stevie’s scathing musical statement on housing discrimination features a wickedly funky synth bass line.




Superfly Sister – Michael Jackson 

MJ gets waist-deep in the funk on this super-tight groove, which boasts a bangin’ synth bass line.




Reach for It – George Duke

George Duke’s funkalicious Minimoog bass line sets off this awesome groove in style.




Hey Mr. Jones – Jane Child

Multitalented Canadian artist Jane Child delivers some fantastic low-end synth work on this dark, harrowing peek into drug addiction.




Gloryhallastoopid (Pin the Tail on the Funky) – Parliament

This loose, good-time Parliament groove features a nasty funk bass line on synth.




Natural Born Killaz – Dr. Dre and Ice Cube

Former Death Row keyboardist Priest "Soopafly" Brooks serves up a menacing synth bass line on this diabolical G-Funk joint.




Action Speaks Louder Than Words – Chocolate Milk

This smoldering political-message track is anchored by Robert Dabon’s angry Moog bass line.

Sunday, August 6, 2017

“Scorpio” by Dennis Coffey and The Detroit Guitar Band

Motown guitar legend Dennis Coffey and The Detroit Guitar Band blessed the music world with this incredible instrumental back in 1971. Coffey serves up a potent guitar performance on this sizzling funk/rock cut. The dynamic track also features a terrific drum/conga breakdown, followed by a badass bass solo from famed Funk Brother Bob Babbit. Also, a bit of song trivia: the opening guitar line is actually made up of nine guitar riffs overdubbed by Coffey, spanning three octaves, giving it a more explosive and powerful sound.

 “Scorpio,” written and arranged by Coffey, was a single from his second album, Evolution (1971). The track shot up the charts—peaking at #6 on the U.S. R&B charts and #9 on the U.S. pop charts—and went on to sell a million copies. It’s now considered a funk classic and has been sampled on a number tracks, including “Bust of Move” (Young MC), “Night of the living Baseheads” (Public Enemy), “The Score” (The Fugees, featuring Diamond D), “All My Love” (House of Pain), “We’re All in the Same Gang” (West Coast Rap All Stars), “Jingling Baby” (LL Cool J) and “Mama Gave Birth to the Soul Children” (Queen Latifah, featuring De La Soul).

In addition to Coffey and Babbit, the other players on “Scorpio” are Joe Podorsic (baritone guitar); Ray Monette (tenor guitar); Eddie “Bongo” Brown (congas); Uriel Jones and Richard "Pistol" Allen (drums); Early Van Dyke (piano) and Jack Ashford on tambourine.

Coffey was born in Detroit, Michigan on November 11, 1940. He began playing guitar at age 13 and had his first recording session at 15 where he laid down some hot licks on Vic Gallon’s rockabilly single "I'm Gone" on the Gondola record label in 1956.

In the early ‘60s, Coffey played with the rock ‘n’ roll instrumental band the Royaltones.  The band landed the hits “Poor Boy” and “Flamingo Express.” The Royaltones also played on tracks for other artists, including Rock and Roll Hall of Famer Del Shannon.

During the late ‘60s through the ‘70s, Coffey made a name for himself as a prolific session player for the labels Motown, Invictus and Sussex.  As a member of the Funk Brothers—Motown’s legendary house band—Coffey played on tons of great tracks, many of which went on to become classics. 

Some of the well-known tracks that Coffey played on include “War” (Edwin Starr), “Band of Gold” (Freda Payne), “Someday, We’ll Be Together (Diana Ross and the Supremes) and the following Temptations songs: “Ball of Confusion (That’s What the World is Today),” “Cloud Nine,” “Psychedelic Shack,” “I Wish It Would Rain” and “Just My Imagination (Running Away With Me).” 

Coffey’s creative use of distortion, Echoplex, fuzz tone and wah-wah pedals helped enhance the psychedelic-soul flavor on some of the Norman Whitfield-produced tracks for the Temptations.

Coffey also played on Funkadelic’s 1970 self-titled debut album, contributing his strong fretboard skills to the haunting, freakafied joint “Mommy, What’s a Funkadelic?”

The guitarist, composer and producer released his first album, Hair and Thangs, in 1969. He dropped his third album, Goin’ for Myself, in 1972. The album contains the exhilarating rock/funk instrumental “Taurus.” The track performed well on the U.S. singles charts, climbing to #11 on the R&B charts and #18 on the pop charts.  And the album peaked at #37 on the U.S. R&B album charts.

Following Goin’ for Myself, Coffey continued doing session work as well as dropping several more solo albums on the Sussex and Westbound labels. And he, along with Mike Theodore, produced and arranged the 1972 international smash “Nice to Be With You” by soft-rock band Gallery. 

The guitarist also holds the distinction of being the first white artist to perform on Soul Train. Coffey and The Detroit Guitar Band performed “Scorpio” on the super-hip music-dance television program on January 8, 1972.

Additionally, Coffey scored the 1974 Blaxploitation martial arts flick Black Belt Jones, which starred Jim Kelly. The film is now considered a cult classic.

Coffey continues to gig and record music. He recently released the album Hot Coffey in the D: Burnin’ at Morey Baker’s Showplace Lounge, which is a live album that was recorded in 1968.

Check out Coffey’s official website for upcoming concert dates and other info.


Friday, July 14, 2017

B.T. Express Kept Dance Floors Packed With Smash “Do It (‘Til You're Satisfied)"

Funk/disco band B.T. Express exploded onto the music scene in 1974 with their smash debut single “Do It ('Til You're Satisfied)." The dynamic funk-dance groove struck a chord with radio listeners and dance-floor junkies across the U.S.—from the hood to the ‘burbs—becoming a massive crossover hit. The track’s irresistible bass line, percolating wah-wah guitar licks, bumpin’ beat and super-tight horns had folks setting dance floors on fire back in the day. The track also boasts some funky conga work, dramatic strings, scorching organ and soulful vocals.

“Do It ('Til You're Satisfied),"penned by songwriter/guitarist Billy Nichols, was the title track off the band’s debut album, released in 1974. The song shot to the top of the R&B singles chart in the U.S. and peaked at #2 on the pop singles chart. And it charted at #8 on the U.S. dance charts. The album’s sizzling second single, “Express,” topped both U.S. R&B singles and dance charts; and it climbed to  #4 on the U.S. pop singles chart. The album also performed extremely well on the charts. It reached the summit of the U.S. R&B album chart and reached #5 the pop album chart. The LP eventually went gold.

The band scored another huge success with their second album, Non-Stop (1975). The album topped the U.S. R&B album chart and peaked at #19 on the pop album chart. Following Non-Stop, B.T. Express released several more albums to diminishing returns, with the hits coming in few and far between. Songwriter/producer/singer Jeff Lane produced the band's first four albums.

B.T. Express was formed in Brooklyn, New York in 1972. The band was originally named The King Davis House Rockers and later changed to Madison Street Express, then the Brooklyn Trucking Express, and finally B.T. Express. The band’s original lineup was Richard “Rick” Thompson (guitar, vocals); Bill Risbrook (tenor saxophone, flute, vocals); Terrell Wood (drums); Barbara Joyce Lomas (vocals); Carlos Ward (alto sax, flute, piccolo, woodwind); Dennis Rowe (percussion); and Jamal Rasool, previously Louis Risbrook (bass, vocals).

The band experienced several personnel changes over the years. Some of the other members included the late keyboardist/songwriter/producer Kashif Saleem (previously Michael Jones); drummer Leslie Ming and guitarist Wesley “Pike” Hall, Jr. B.T. Express disbanded in 1987.

Give Up the Funk: The B.T. Express Anthology 1974-1982, a comprehensive two-disc, 31-track anthology package of some of the band’s best work, was released in April.

B.T. Express is considered one of the pioneering acts of the funk-disco movement that was taking hold in popular music in the mid-1970s. And their music is now being appreciated by a new generation of music lovers thanks to sampling. The band's music has appeared on numerous hip-hop and R&B tracks via samples. For instance, “Do It (‘Til You're Satisfied)” has been sampled in 37 songs, including “Déjà Vu” (Beyoncé, featuring Jay-Z); “Addictive” (Truth Hurts, featuring Rakim); “Baller” (Dr. Dre) and “Gangsta Luv” (Snoop Dogg, featuring The-Dream).

Saturday, July 1, 2017

“Fresh” (Scratch Mix ) by Tyrone Brunson

Bassist, singer, songwriter and producer Tyrone Brunson dropped this bumpin’ cut back in 1984. The super-funky instrumental showcased the musician’s prodigious bass-poppin’ skills. It also boasts a hot beat, dope scratching and sterling synth work. Additionally, the track features some great James Brown samples, which were borrowed from his classics, “Say it Loud—I’m Black and I’m Proud” and “Hot Pants.”

“Fresh” is a delicious slice of the influential electro-funk sound that was dominating hip-hop music at the time. The track was written by Brunson, Barry Eastmond and Milton Bond and produced by Russell Timmons, Jr. It was the title song off Brunson’s second album, Fresh, released in 1984. The scratch remixers for “Fresh” were Reggie Thompson and Scott Folks. The track also has a cool vintage ‘80s music video filled with pop-lockers, a scratchin' DJ, breakdancing, etc. And the DJ in the video is none other than the O.G. himself: Ice-T.

Calvin Tyrone Brunson was born on March 22, 1956 in Washington, D.C. He played and sang with several local bands throughout the ‘70s, including the tight funk outfits The Family and Osiris. Brunson landed a record deal with the Columbia-distributed Believe In A Dream label in 1982. His first single,“The Smurf,” which was named after the popular dance craze, became a heavily played club banger in New York and elsewhere. It climbed to #14 on the U.S R&B singles chart and #52 on the UK singles chart. The track was included on Brunson’s debut album, Sticky Situation (1982). The album’s title track was also released as a single and was a moderate hit, peaking at #25 on the U.S. R&B singles chart in 1983.

“Fresh,”the title track from Brunson’s 1984 sophomore album, had a solid showing on the U.S. R&B singles chart, climbing to #22.

Brunson eventually moved to MCA Records and released the album Love Triangle (1987) on the label. The collection was produced by James Mtume, who's best known for his production work with the popular R&B/funk band Mtume. In addition to vocals, Brunson played bass, synthesizer and drums on the album. The title track is a lush R&B ballad that features Gayle Adams, who turns in a soulful, impassioned vocal performance. Unfortunately, the song failed to gain any traction on the charts nor did any of the other songs on the album.

Following Love Triangle, Brunson worked mainly as a background vocalist, most notably for hit-making R&B trio Levert.  He left the music scene in the ‘90s and became a teacher of computer networking. He died on May 25, 2013 in Washington, D.C., at the age of 57.

“The Smurf” is what Brunson is most remembered for, but that are many other strong tracks in his catalogue that are definitely worth checking out, including "Fresh."


Sunday, June 25, 2017

Old-School Gold: “Trespasser” by Bad Medicine

Bad Medicine was a talented funk/soul outfit who dropped some serious funk back in the day, including the bad-ass instrumental “Trespasser” in 1974. This smooth funk groove is sonic perfection. It features a cold-creepin’ bass line; sleek, imaginative synth parts; and dope guitar work, including funky wah-wah licks and some sweet Wes Montgomery runs. The track also has a great sax solo. Befitting its title, “Trespasser” has a furtive undercover vibe. 

Bad Medicine was formed in Syracuse, New York on Halloween night in 1968. The band’s formation sprang from a mutual love the members shared for blues, soul, R&B and “roots” music. The original members were Greg Johnson (bass), Tom Corradino (guitar/keyboards), Richard Clarke (drums) and Harry Rado (guitar). Saxophonist David Morton joined the fold shortly after the band’s formation.

The band’s repertoire consisted of a mix of originals and covers of contemporary funk and R&B hits, as well as popular blues classics. The young musicians made a name for themselves opening for well-known acts such as Muddy Waters, Lightnin' Hopkins, John Lee Hooker and Mitch Ryder. The band’s jumpin’ live shows always had people gettin' down and tearing up the dancefloor. The tight groove outfit soon became very popular around the Syracuse University area, establishing a dedicated following. The last addition to Bad Medicine was keyboardist Johnny Crocitti.

Bad Medicine was a bit of an anomaly due to its racial makeup. There weren’t many all-white bands playing straight funk, soul and R&B at the time. It even caused the band some problems booking gigs at certain venues. 

In 1970, the band released their first single, “She’s Taken All My Money,” on the small Orbit label. It’s a slide-guitar blues tune in which Corradino sings lead vocals. Around this time, the band befriended local record store owner Arthur Lane, who was planning to start his own record label, Enyx Records, with business partner William “Sugarbear” Armstrong. This began the band’s productive association with the label.

Enyx Records was launched in early 1973. With Enyx, Bad Medicine laid down the rhythm tracks for several songs featuring up-and-coming soul vocalist Michelle Sobers, including the Dr. John-penned “When The Battle is Over,” the label’s first release.

Bad Medicine released “Trespasser,” on Enyx Records in 1974. In an old interview posted at Soulstacks.com, Arthur Lane explained the genesis of the track: “I recall distinctly in the winter of 1974 telling Richard [Clarke] how cool it would be to record a song called ‘Trespasser.’ I asked him to imagine the feeling he would have if someone were up to no good and trespassing on his property. So I said, ‘Richard, just transfer the intensity and rage you would have chasing this guy into a song called ‘Trespasser.'”

The band recorded “Trespasser” at George Day’s Dayson Recording Studio in Syracuse. The players on the track were Tom Corradino (guitar); Johnny Crocitti (piano); David Morton (saxophone); Harry  Rado (guitar, rhythm); Greg Johnson (bass); Richard Clarke (drums and percussion); and George Day played Moog synthesizer. It was produced by Lane and Armstrong.

Only a minor hit locally upon its original release, “Trespasser” is now considered a cult classic due to its inclusion on Stone Throw Records' much-buzzed-about compilation The Funky 16 Corners (2001). The track has been embraced by funk aficionados and music lovers, old- and new-school. It has been sampled by Limp Bizkit (“The Key”), Cut Chemist (“Bunky’s Pick”), Yesterday’s New Quintet (“Thinking of You”), and Parallel Thought, feat. PackFM and Jean Grae (“Freaky").

Bad Medicine abruptly disbanded in 1975 after Corradino was seriously injured in a car crash on a snowy road.  More than a decade later, Corradino reunited with his old bandmates, Rado and Clarke, in the Washington, D.C.-based R&B/zydeco outfit Little Red & the Renegades—Corradino (accordion and piano), Rado (guitar) and Clarke (drums).

 Little Red & the Renegades are still going strong and have some gigs lined up this summer. Clarke is no longer with Little Red. He hooked up with Krewe of Renegades some years back.

Thursday, June 15, 2017

PHO Puts Modern Touch On Classic Funk Influences With Sophomore Album

Minneapolis-based progressive funk band PHO are back with some killer new tracks. The talented septet recently released their sophomore album, two.  The album, which consists of 13 instrumentals, is a strong follow-up to the band’s acclaimed debut album CASH It (2015). With two, the band brings a modern sensibility to classic funk influences, such as the J.B.'s, Parliament, the Meters and Tower of Power. PHO infuse the funk with their own unique flavor, adding a dash of psychedelia and hip-hop to the mix.

The album kicks off with the sumptuous and soulful “Sour Town.” It’s followed by “#2,” a high-octane funk groove that boasts imaginative synth work and blazing horn lines. The funk is relentless on this smokin’ cut. The funkalicious “Still Waiting” is a full-on sonic feast. The infectious groove has a stellar horn arrangement, tight drumming and some dope changes.

Next up is “Dr. Drake,” a powerhouse funk jam filled with fat bass, dizzying horn lines and wicked guitar licks. There’s definitely some Prince flavor permeating this hard-hitting funk track.

“Dew Like Me” is a smooth, laid-back groove. The track features some superb playing from the horn section, and the band drops some flute into the mix to enhance the groove’s chill vibe. PHO keeps things on a mellow note on “Responsibility,” a top-notch track heightened by the band’s flawless playing and a smoldering guitar solo.

The majestic “Tomorrow In Texas” is an album highlight. The track has sort of a cinematic flow and showcases the band members’ strong compositional skills. Everything is on point here: the musicianship, the arrangement, etc.  It’s just a brilliant cut and very inventive.

“Pop Top” is a potent groove that features some incredible guitar and keyboard work, as well as a splendid horn arrangement. “South 2nd” is one badass track; it boasts some super-funky bass work and a hot trumpet solo.

 “Face” is a stone-cold funk jam with some cool psychedelic flourishes and jazzy changeups. Also, the drumming is tremendous on this cut. The album closes out with the high-energy, horn-driven “Famous Waves.” 

This album is a very impressive sophomore effort. It’s consistently good and doesn't have a single weak track. The album was produced by John Davis and PHO. It was recorded in Cannon Falls, Minnesota at the legendary Pachyderm Studio where Nirvana recorded their final album, In Utero. The special guest musicians featured on two are Kirk Johnson from Prince’s New Power Generation on percussion and Sten Johnson on trombone.

The members of PHO are Luke Ibach (bass), Arthur "LA" Buckner (drums), Spencer Christensen (guitar), Patrick Horigan (keys), Lukas Skrove (trumpet and flugelhorn), Joe Paris (guitar) and Aaron Levin (tenor sax and flute). Former PHO member Demetrius Mabry, who was still a member during the recording of two, played drums on the album while Buckner played percussion.

Formed in 2013, PHO have taken the music world by storm with their dynamic funk sound, impeccable musicianship and thrilling live performances. The young funk outfit has captured the attention of legions of funk lovers, including Minneapolis' most celebrated musician—Prince. In the winter of 2016, the late music legend caught one of PHO’s live performances on Youtube and was very impressed. This led to an invite to open for funk master Larry Graham and Graham Central Station at the fabled Paisley Park complex in Chanhassen, Minnesota. PHO’s sterling performance at Paisley Park prompted Prince to post the following tweet to the band: “Come back anytime. Just Holla.” The Purple One’s blessing has helped open up many great new opportunities for the band.

PHO are currently one of the hottest rising young bands on the modern funk scene; the band has a dedicated following that continues to grow each day, and they have played with acclaimed funk outfits such as The Motet, Dopapod, Dam-Funk, Dumpstaphunk, among many others.

Some of PHO’s influences include James Brown, Slave, Jimi Hendrix, The Time, Lettuce, P-Funk, Fela Kuti, Sly Stone, and of course, His Royal Badness. The band brings a fresh new energy to the funk game; they’re charting out their own path but never losing sight of the classic funk traditions that provide the foundation of their music— and cultivating their new “Minneapolis Sound” in the process.

Check out PHO's website for tour dates, music releases and other info.


"Dr. Drake"