From School Library Journal
Adult/High School-This is an informative and entertaining source for good biographical sketches of funk musicians and singers. Thompson defines funk in a poetic, nontechnical way, and provides a general history of the music. Discographies and extensive lists of hip-hop and rhythm-and-blues songs follow each individual or group entry. Certain major figures, such as James Brown, the Isley Brothers, George Clinton, and Prince, are allotted more space than others. An essay about the role the music played in promoting blaxploitation movies includes brief synopses and critiques of 12 such films. The chapter entitled "Disco and the Death of Funk" describes disco as superficial and lacking in soul, but discusses how it nonetheless became quite popular for a while. Toward the end of the book, there are essays on go-go and rap, two musical forms that rebelled against the blandness and predictability of disco. The index is detailed, and black-and-white photographs are included.
Joyce Fay Fletcher, Rippon Middle School, Prince William County, VA Copyright 2002 Reed Business Information, Inc.
From Library Journal
With informed and witty commentary, Thompson, author of an earlier "Third Ear" entry, Alternative Rock, here presents an essential listening companion that evaluates some 1500 recordings. Highlighted according to categories such as prefunk, classic funk, disco funk, and new school funk (including go-go and rap) are about 150 artists from James Brown to Zapp. Each biography is accompanied by a list of recordings (not just on CD and in fact mainly released as LPs and singles), many with succinct annotations. This is particularly useful given the record business's seeming inability to judge worthwhile funk essentials against passing fads and to keep those classics available. What truly imbues this guide with value, however, is the quality of writing and insight. Thompson is able to survey the larger picture, delve into the historical details necessary to show how funk developed, and analyze the influences of the music on popular culture. Readers will find out, for example, how indebted popular music is to hard-core funk masters such as George Clinton and his enormous retinue of collaborators since the late 1960s. Each section of the book contains several essays, further enhancing the understanding of the music. Topics include the psych-funka-delic experience, Motown's treatment of funk, blaxploitation films and funk music, the British funk connection, disco and the "death of funk," and acid-jazz. A list of essential funk recordings is provided, and a general bibliography includes print sources and useful Internet sites. While Rickey Vincent's Funk (LJ 5/1/96) covers similar ground, Thompson's work has greater depth of coverage. The indexing could be improved, but that is a small fault in view of the strengths. Highly recommended for public, academic, and music libraries.DWilliam G. Kenz, Minnesota State Univ., Moorhead
Copyright 2002 Reed Business Information, Inc.
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