Space Funk & Funky Moog

In the early 1970s the synthesizer (Moog) and related electronic instruments came into their own at the same time as electric bass and its modern amplification. The Moog's cerebral, spacey, cold qualities contrasted sharply with the warm earthiness (or scary, militant punch) of the bass and drums. But, as with the equally unlikely match of Latin rhythm with jazz horns, eventually a great new hybrid emerged. There are two basic types of funky Moog tunes: 1) Moog tunes that are funky, and 2) funk tunes that have Moog. The same applies to space funk.

Fascination with all aspects of space exploration never ended with the passing of the 1960s, nor did space themes escape the attention of soul, funk, and jazz artists. Especially for "out" jazz artists, space represented the final frontier of ultimate artistic freedom. In space, no one can hear you express yourself through honks and bleeps. Novelty songs about black astronauts conquering and starting new worlds also made the scene.

Among the many pop Moog records, some funky tunes were inevitable. Hugo Montenegro's cover of Stevie Wonder's "Superstition" is typical. Far more fertile are the production (sound library) albums of the period. There, originality, funk, embrace of the Moog, and space for sounds' sake all fit together nicely.

But there ought to have been many more space-funk records. Unfortunately, the keyboard wizards of the soul-jazz era somehow coasted along on the Hammond and then leaped straight into the tacky mid-'70s synthesizers that actually sound like synthesized traditional instruments. Lonnie Smith typifies this type of player. Sure, "That Lady" by the Isleys has synthesizer all over it. But it is not the classic space funk or funky Moog of, say, Jean-Jacques Perrey's "Eva."

Buying: Space & Moog funk is the most highly desired idiom after classic funk with breakbeats; grab it if you can. Production LPs are key.