Synth's Funk Odyssey

Wendy Carlos's "Switched-On Bach" introduced the Moog, but it took Keith Emerson, Stevie Wonder, and the Ohio Players to make the synthesizer a genre-defining lead instrument in rock, funk, and hip-hop.

Tracklist

  1. Brandenburg Concerto No. 3 in G Major, BWV 1048: I. Allegro — Wendy Carlos
  2. Pop Corn — Gershon Kingsley
  3. Because — The Beatles
  4. Lucky Man — Emerson, Lake & Palmer
  5. Funky Worm — Ohio Players
  6. Living for the City — Stevie Wonder
  7. Chameleon — Herbie Hancock
  8. Flash Light — Parliament

Transcript

Welcome to OffStereo. Good morning — let's get into it.

Brandenburg Concerto No. 3 in G Major, BWV 1048: I. Allegro — Wendy Carlos

In 1968, Wendy Carlos’s 'Switched-On Bach' introduced the Moog synthesizer to the mainstream. It was the first classical album to go platinum, showcasing its unexpected ability to reimagine Johann Sebastian Bach.

Pop Corn — Gershon Kingsley

The synthesizer quickly moved from serious classical circles to novelty pop. Gershon Kingsley's 1969 instrumental, "Pop Corn," became a worldwide hit, demonstrating the synth's catchy, accessible potential. Kingsley declared it "a new step in the evolution of musical instruments.”

Because — The Beatles

As the Moog gained traction, rock bands began experimenting. The Beatles used a Moog synthesizer on their 1969 album 'Abbey Road,' including "Because," often for textural or 'mini bridge' sounds. Paul McCartney noted the early Moog took up "a whole room."

Lucky Man — Emerson, Lake & Palmer

The question of who first treated the synthesizer as a true instrument rather than an effect finds an answer in progressive rock. Keith Emerson of Emerson, Lake & Palmer featured a Moog synthesizer solo on 1970’s "Lucky Man," marking one of the first rock compositions where it was a prominent lead instrument. As MTV's Kurt Loder observed, it allowed keyboardists to "blow amp-shredding lead guitarists right off the stage.”

Funky Worm — Ohio Players

With synthesizers established as lead instruments, their versatility expanded. Walter 'Junie' Morrison's ARP solos on the Ohio Players’ 1973 track "Funky Worm" introduced a distinctive, high-pitched synth sound that became foundational for hip-hop sampling, particularly influencing West Coast G-funk.

Living for the City — Stevie Wonder

Stevie Wonder, working with Malcolm Cecil on TONTO, expanded the expressive range of synthesizers in R&B and soul. His innovative use on tracks like "Living for the City" (1973) showcased how synthesizers could convey complex emotions, laying groundwork for future funk basslines.

Chameleon — Herbie Hancock

The Minimoog, released in 1970, offered portability and rich bass. Herbie Hancock seized this potential on his 1973 album 'Head Hunters,' featuring an iconic chromatic Minimoog bassline on "Chameleon" that established a definitive blueprint for jazz-funk and deeply influenced subsequent genres.

Flash Light — Parliament

The journey culminates in the synthesizer becoming the very sound of funk basslines. Bernie Worrell of Parliament cemented this shift on 1978’s "Flash Light." He crafted a groundbreaking bassline using multiple Minimoog synthesizers, effectively replacing traditional electric bass and creating what Reverb called "one of the funkiest baselines in history."

Thank you for listening to OffStereo. It's fascinating how a sound, once just an effect, can become an instrument that forever changes the rhythm of music.

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