Page "James Brown" Paragraph 18

Brown's style of funk in the late 1960s was based on interlocking syncopated parts: funky bass lines, drum patterns, and iconic guitar riffs.

The main guitar ostinatos for " Ain't it Funky " ( c. late 1960s ), and " Give it Up or Turn it Lose " ( 1969 ), are examples of Brown's refinement of New Orleans funk ; irresistibly danceable riffs, stripped down to their rhythmic essence.

On " Ain't it Funky " ( c. late 1960s ), and " Give it Up or Turn it Lose " ( 1969 ), the tonal structure is bare bones.

The pattern of attack-points is the emphasis, not the pattern of pitches.

It's as if the guitar is an African drum, or idiophone.

Alexander Stewart states that this popular feel was passed along from " New Orleans — through James Brown's music, to the popular music of the 1970s.

" Those same tracks were later resurrected by countless hip-hop musicians from the 1970s onward.

As a result, James Brown remains to this day the world's most sampled recording artist, with " Funky Drummer " itself becoming the most sampled individual piece of music.