Top 50 Funk Songs That Changed Music

Music lovers are aware that funk is greater than a hooky groove – it’s a musical revolution that has indelibly stamped itself upon numerous genres. Born in the mid-1960s, funk introduced syncopated rhythms, soulful bass lines, and up-front brass into the mainstream, with impacts that ranged from R&B and rock through hip-hop and pop.

In this list, we celebrate 50 landmark funk tracks (including funk-influenced hits) that helped shape the course of modern music. Some were pioneering records that introduced a whole new sound; others crossed over to the pop charts or became sampling gold for future artists.

We’ve incorporated both of the best of the ‘60s and ‘70s classic funk anthems and later tracks that extend the legacy of funk into the 21st century. This is not at all in ranking order but rather just a selection of powerful tunes of different eras that became influential at some point. Get ready to groove then, while we embark upon five decades of funk genius, celebrating tracks that revolutionized the course of musical history and which continue making us groove.

Papa’s Got a Brand New Bag by James Brown

James Brown’s 1965 hit Papa’s Got a Brand New Bag has long been cited as one of the earliest of the big funk smashes. Its stop-and-go guitar riff, honking horns, and downbeat stress (“on the one”) announced a hard-edged new sound. The hit soared into the upper region of the R&B chart and even broke through into the pop Top 10, showing that this hard-edged groove style could appeal equally to pop mainstream enthusiasts. Brown’s revolutionary rhythm and soulful shouting defined the foundation upon which the future of the funk style was constructed, which began the era of groove supremacy.

Cold Sweat by James Brown

In 1967, James Brown dropped Cold Sweat – a single so innovative it’s frequently cited as the first true funk song. Built around a tight one-chord vamp and a syncopated drum pattern, “Cold Sweat” was all about rhythm and “the groove.” The song hit #1 on the R&B chart and Top 10 on pop, showcasing Brown’s new funk formula to a wide audience. Its stripped-down, bass-heavy sound, complete with those powerful horn stabs, was a watershed moment that transformed R&B. Musicians from soul to jazz took note of Brown’s formula, as “Cold Sweat” definitively shifted popular music’s focus to the rhythmic “feel” that defines funk.

Funky Broadway by Dyke & the Blazers

Funky Broadway was the earliest chart hit with the word funky in the title, which it accomplished in 1967. The original by Dyke & the Blazers mixes raw vocals with a short, snappy groove that captured the street-level funk. The song charted the R&B charts and was inspirational behind the pop Top 10 hit cover by Wilson Pickett. Saluting the club scene of Phoenix, the song staked its claim for funk as attitude, which later funky anthems borrowed from.

Say It Loud – I’m Black and I’m Proud by James Brown

In 1968, James Brown made funk an instrument of revolution with Say It Loud – I’m Black and I’m Proud. Brought into motion by brassy horns, insistent bass, and call-and-response vocals with children’s chorus, it was at #1 R&B for six weeks. Beyond a song, it became one with the civil rights movement, expressing Black pride and illustrating the potential of funk as political statement.

Dance to the Music by Sly & The Family Stone

Issued in 1968, Dance to the Music was Sly & The Family Stone’s first big hit and their first Top 10 hit. Mixing funk, soul, and rock, it featured every band member with pulsating bass, funky guitar, horns, and uplifting vocals. With its racially blended lineup and catchy groove, it introduced funk to mainstream listeners, inspiring hundreds of artists, and paving the way for the ascendance of funk into pop consciousness.

It’s Your Thing by The Isley Brothers

In 1969, The Isley Brothers broke free from Motown and made a statement with It’s Your Thing. Powered by Ernie Isley’s funky bass line, punchy horns, and a confident groove, the song soared to #2 on the Hot 100 and #1 R&B, winning a Grammy. Its message of individuality and creative freedom resonated widely, proving raw funk could dominate the charts while inspiring artists across genres.

Cissy Strut by The Meters

The Meters’ 1969 instrumental Cissy Strut is a masterclass in groove. Built on Zigaboo Modeliste’s syncopated drums and George Porter Jr.’s rubbery bass, it adds tasty guitar and organ riffs without needing vocals. The track hit the R&B Top 5 and cracked the pop Top 25, rare for an instrumental funk song. Its swampy, stripped-down vibe defined New Orleans funk and later became a heavily sampled classic in hip-hop.

Thank You (Falettinme Be Mice Elf Agin) by Sly & The Family Stone

Issued in 1969, Thank You (Falettinme Be Mice Elf Agin) featured Larry Graham’s groundbreaking slap-bass style, which became the foundation of funk bass playing. Its rubbery riff, one-chord groove, and group vocals propelled the song to #1 pop and R&B chart positions in early 1970. Reducing funk to the basics, it concentrated on rhythm and bass, which sparked off a renewed wave of innovation and sustained impact of funk.

Funky Drummer by James Brown

Recorded in 1969 but released in 1970, Funky Drummer became renowned for Clyde Stubblefield’s eight-bar drum break, which has become the most sampled loop of all time. Although it was no big chart success, the sharp snare, funky groove, and raw feel made it the foundation of hip-hop, R&B, and pop production. With slinky riff and improvised vocals, it demonstrated that one such simple funk jam could reverberate across generations.

Get Up (I Feel Like Being a) Sex Machine by James Brown

James Brown’s 1970 classic Get Up (I Feel Like Being a) Sex Machine captures the spirit of funk. Backed by the J.B.’s, with Bootsy Collins, Brown stretches out a simple call-and-response groove into five minutes of uninterrupted energy. The charttopper was one of Brown’s signature singles. Minimalist in arrangement and emphasizing “the one,” the song furnished the formula for funk and later influenced the hip-hopping sound’s sense of rhythm.

Express Yourself by Charles Wright & the Watts 103rd Street Rhythm Band

Released in 1970, Express Yourself was the most successful recording by Charles Wright, entering the Top 20 pop and Top 5 R&B singles listings. Centered by handclapping, horns, and funky backbeat, it delivered an uplifting call of individuality and creative expression. Its infectious groove became the favorite of parties, while sampling by N.W.A. in 1988 introduced it to another generation. The recording proved that funk could evoke happiness and power equally across generations.

Theme from Shaft by Isaac Hayes

Isaac Hayes’ 1971 Theme from Shaft made funk into film art. Beginning with wah-wah guitar and smooth hi-hat groove, it evolved into powerful combination of strings, horns, and bass. The song hit number one on the Billboard Hot 100 and won Hayes an Oscar, the first by an African American for which he won. Sophisticated and funky, it redefined film soundtracks and made the wah-wah guitar an enduring icon of ’70s cool.

Family Affair by Sly & The Family Stone

In 1971, Sly & The Family Stone stunned fans with Family Affair, a minimalist, moody funk song constructed around electric piano, rudimentary drum machine, and casual vocals. The song hit both pop and R&B number one, becoming one of the first #1 chart-toppers that was propelled by the drum machine. The reflective lyrics about family relationships and simple sound structure prefigured later developments of funk, R&B, and electronic-influenced productions.

Mr. Big Stuff by Jean Knight

Jean Knight’s 1971 hit Mr. Big Stuff delivered sass and funk in equal measure. Opening with a sharp guitar lick and bold horns, Knight’s confident vocals dismiss a swaggering man with playful bite. The track soared to #2 on the Hot 100 and held #1 on the R&B chart for five weeks. Its groove and empowering message brought a strong female voice to funk, leaving a lasting cultural and musical impact.

Superfly by Curtis Mayfield

Curtis Mayfield’s 1972 hit Superfly, from the blaxploitation film of the same year’s soundtrack, blended smooth falsetto vocals with wah-wah guitar, conga rhythms, and rich strings. The song hit the pop Top 10, becoming a blaxploitation-era standard while ironically addressing drug culture with biting, socially conscious lyrics. The album bested the film itself, turning the funky soundtrack into high art. The groove-commentary combination became a style influence among generations of R&B, hip-hoppers, and film music.

Superstition by Stevie Wonder

Stevie Wonder’s 1972 hit Superstition opened with a driving clavinet riff that redefined funk’s sound. Originally intended for Jeff Beck, Stevie made it his own, and the track soared to #1, winning two Grammys. With its gritty groove, horn blasts, and rock edge, it proved funk could be both complex and mainstream. The song’s influence was immediate, inspiring covers, countless imitators, and shaping funk-rock and soul fusion for decades.

Papa Was a Rollin’ Stone by The Temptations

The Temptations’ 1972 classic Papa Was a Rollin’ Stone is itself a 12-minute long funk-soul epic. As produced by Norman Whitfield, it opens with four minutes of moody instrumental of bass, wah-wah guitar, and trumpet before unfolding an aggressive narrative of the absent father. That it hit #1 on the Hot 100 and took home three Grammys was enough, but it reset the standard of the possible with the single, blurring together lush orchestral sound with funk and narrative that was cinematic and ageless.

Jungle Boogie by Kool & The Gang

The 1973 Kool & The Gang hit Jungle Boogie exudes raw funk power. It begins with a snort and inexorable bass-guitar riff, but it gets the party started with blaring horns, shuffled drums, and gleeful exhortations of “Get down!” The song reached #4 on the pop chart and was the band’s signature song. Its tough but playful spirit was revisited later by Pulp Fiction, so that it stands as a classic funk party song.

Pick Up the Pieces by Average White Band

Scotland’s Average White Band hit the U.S. top spot with Pick Up the Pieces in 1974, demonstrating that funk was something everyone related to. This instrumental groove has one of the most recognizable sax riffs of all time, snapping rhythm guitar, popping bass, and aggressive horns. The song’s groove conveyed itself with only occasional short vocal exhortitions of the title. The success of the unusual #1 funk instrumental broke through for others and has become a party standard across cultural lines.

Tell Me Something Good by Rufus ft. Chaka Khan

Rufus, fronted by Chaka Khan, took off with Tell Me Something Good, by Stevie Wonder, in 1974. Constructed around a grinding mid-tempo groove and an unmistakable talkbox guitar sound, it featured Chaka’s sultry, authoritative vocals. The song hit #3 on the pop chart and took home a Grammy, one of the earliest female-fronted triumphs of the funk idiom. Its groundbreaking sound and Khan’s stardom have made it one of the all-time greats of the funk repertoire.

Fight the Power by The Isley Brothers

In 1975, The Isley Brothers put out fervent funk with Fight the Power, stoked by the acutely honed guitar of Ernie Isley, heavy bass, and vocative vocals by Ronald Isley. Urging resistance to “the powers that be,” it was top R&B and reached pop Top 20. Boiling protest and groove together, it captured the sense of the ’70s and later inspired Public Enemy’s masterpiece, proving that with funk, one could stimulate body and brain.

Shining Star by Earth, Wind & Fire

Earth, Wind & Fire’s 1975 hit Shining Star sparkled with vitality and groove. Begun with staccato guitar riff, it gathers horns, harmonies, and verses on everyone’s potential to shine. Shining Star hit #1 on the Hot 100 and R&B charts, taking home a Grammy and pushing That’s the Way of the World into double-platinum status. The blend of funk, soul, and rock ratified that the genre could surpass mainstream pop and ignite universally.

Low Rider by War

War’s 1975 hit Low Rider turned Chicano car culture into an international anthem. Its base of rich, syncopated bass, Latin rhythms, and whistle hook sounds chill but is instantly recognizable. Spiking at #7 pop, the half-spoked vocals and harmonica-sax groove made it irreplaceable. With its multicultural blend of funk, Latin, and jazz, Low Rider soared out of the charts, becoming an ageless background score for movies, TV, and street life.

Play That Funky Music by Wild Cherry

Wild Cherry’s 1976 party anthem Play That Funky Music was an overnight sensation, climbing to #1 on the pop and R&B charts. With catalyst being one club-goer’s exhortation of “play some funky music, white boy,” Ohio rock band Wild Cherry turned out this blistering funk-rock cut with crunchy guitar, snapping bass, horns, and sing-along chorus. The tune broke boundaries, proving the force of funk’s worldwide appeal and making itself one of the great party anthems of all time.

Give Up the Funk (Tear the Roof off the Sucker) by Parliament

Parliament’s 1976 anthem Give Up the Funk captured the spirit of P-Funk with its unforgettable chant, “We want the funk!” Anchored by Bootsy Collins’ bass and Bernie Worrell’s synths, the track mixed playful call-and-response with cosmic themes. Reaching the R&B Top 5 and crossing into the pop Top 20, it became a funk rallying cry. Its joyful groove and cultural impact made it one of the genre’s defining classics.

Car Wash by Rose Royce

Rose Royce’s 1976 hit, Car Wash, made a motion picture theme into a classic of the funk-disco genre. Beginning with car sounds and a whistle, it erupts into an exuberant groove fueled by Gwen Dickey’s effervescent vocals and the smooth production of Norman Whitfield. The song hit number one on both pop and R&B charts, won a Grammy, and sold by the million. Booming along with infectious chorus, Car Wash epitomized working-class spirit while blending funk and disco with seeming effortlessness.

Flash Light by Parliament

Parliament’s 1977 hit Flash Light took funk into a new era with its groundbreaking Moog synth bass, programmed by Bernie Worrell. The track topped the R&B chart and broke into the pop Top 20, layering handclaps, chants, and George Clinton’s playful vocals over its squiggly groove. Hugely influential, it set the stage for ’80s electro-funk and inspired hip-hop and R&B producers, proving the future of funk was electronic and unstoppable.

Brick House by Commodores

The Commodores flexed their funk power with Brick House in 1977, a playful tribute to a strong, confident woman. Driven by Ronald LaPread’s bass line, wah-wah guitar, and Walter Orange’s gritty lead vocals, the track strutted to #5 on the pop charts. Its horn punches and seamless groove made it a dance floor staple. Beyond chart success, Brick House became cultural shorthand for strength and sexiness, remaining a timeless funk classic.

Got to Give It Up by Marvin Gaye

Marvin Gaye’s 1977 classic Got to Give It Up turned a playful disco parody into a funk-disco masterpiece. Its smooth falsetto, funky bass, cowbell rhythm, and party chatter created an irresistible late-night vibe. Trimmed from an 11-minute jam to a single, it topped both pop and R&B charts. Influencing Michael Jackson and later sparking the Blurred Lines lawsuit, the track remains a timeless dancefloor anthem and one of Gaye’s defining hits.

One Nation Under a Groove by Funkadelic

Funkadelic’s 1978 hit One Nation Under a Groove became their biggest success, topping the R&B chart for six weeks and crossing into the pop Top 40. Driven by a pulsing bass, funky guitar, and even hints of steel drum, it delivered an irresistible groove. Its sing-along chorus turned into a unifying anthem, symbolizing funk’s inclusive spirit and influencing dance, funk-rock, and jam bands with its message of joy and togetherness.

Good Times by Chic

Chic’s 1979 classic Good Times paired Bernard Edwards’ unforgettable bass line with Nile Rodgers’ funky guitar, sparkling strings, and joyful lyrics celebrating freedom. The song hit #1 on the Billboard Hot 100 and became one of disco-funk’s biggest anthems. Its legacy grew when The Sugarhill Gang used its groove for Rapper’s Delight, birthing mainstream hip-hop. Changing music twice, Good Times remains a timeless celebration of rhythm, joy, and cultural influence.

Don’t Stop ’Til You Get Enough by Michael Jackson

Michael Jackson’s 1979 smash Don’t Stop ’Til You Get Enough marked his breakthrough as a solo superstar. Written and co-produced by Jackson, the track fused funk, disco, and pop with blaring horns, a driving rhythm, and his soaring falsetto. It hit #1 on the charts and earned him his first Grammy. Beyond its success, it set the blueprint for ’80s dance-pop, proving Jackson could command funk with unmatched energy and style.

(Not Just) Knee Deep by Funkadelic

Released in 1979, (Not Just) Knee Deep is a marathon funk jam that topped the R&B chart even in its edited single form. Garry Shider’s falsetto and the Pointer Sisters float over Bernie Worrell’s keyboards and Bootsy Collins’ bass, anchored by an ear-worm synth hook. Sampled widely—most famously powering De La Soul’s Me Myself and I—the track injected P-Funk into hip-hop and proved an endless groove can be pure bliss.

More Bounce to the Ounce by Zapp

Zapp’s 1980 debut More Bounce to the Ounce ushered in electro-funk with a heavy, mid-tempo groove: fat bass, crisp drum machine, and Roger Troutman’s signature talk box vocals. The nine-minute jam hit the R&B Top 10 and became a West Coast party staple. Sampled endlessly by hip-hop—from EPMD to The Notorious B.I.G.—it laid the groundwork for ’90s G-funk, proving technology plus deep pocket could move crowds for decades.

Another One Bites the Dust by Queen

Queen fused rock and funk in 1980 with Another One Bites the Dust, driven by John Deacon’s minimalist bass riff, tight drums, and clipped rhythm guitar. Freddie Mercury’s cool, near-spoken vocal added swagger. The track spent weeks at #1 and became the band’s best-selling single, crossing into R&B clubs and early hip-hop circles. Its lean groove, widespread sampling, and unforgettable hook proved funk could power a global rock hit.

Super Freak by Rick James

Rick James’ 1981 smash Super Freak delivered a synth-fueled bass line, sharp guitar, and playful vocals, with the Temptations adding a hooky chorus. It became his signature hit, dominating R&B and cracking the pop Top 20. A decade later, MC Hammer’s U Can’t Touch This revived its iconic riff and earned James a Grammy credit. Part punk-funk, part pop tease, Super Freak became a pop-culture touchstone.

Atomic Dog by George Clinton

George Clinton’s 1982 solo hit Atomic Dog barked a new chapter for funk. Built on a wobbling synth-bass, drum-machine loops, and playful ad-libs, it topped the R&B chart even as it barely grazed pop. Its long afterlife is huge: sampled by scores of artists, it powered West Coast G-funk and inspired Snoop Dogg’s persona. Equal parts futuristic and funny, it kept P-Funk’s spirit alive into the electronic ’80s.

Ain’t Nobody by Rufus & Chaka Khan

Released in 1983, Ain’t Nobody pairs a bubbling synth-bass and crisp electro-funk drums with one of Chaka Khan’s finest vocals, moving from restrained verses to soaring, soulful choruses. A last-minute addition to a live album, it hit #1 R&B, won a Grammy, and cracked the pop Top 30. Covered and sampled endlessly, its romantic lyricism over sleek funk became a blueprint for modern R&B’s electronic, emotionally rich sound.

When Doves Cry by Prince

When Doves Cry by Prince broke the rules in 1984. He removed the bass line, leaving a stark mix of Linn drum, eerie guitar, synth hooks, and layered vocals. The result topped charts and became the year’s best-selling single. Lyrically, it tackled family tension and emotional turmoil. By blending rock, pop, and funk with radical minimalism, Prince proved silence and space can groove, inspiring pop and alternative R&B for decades.

Word Up by Cameo

Word Up by Cameo electrified 1986 with lean synth-funk swagger. A spooky intro, pulsing bass synth, and Larry Blackmon’s signature Ow! lead into vocoder-tinted verses before the explosive chorus chant. The single hit #1 R&B and Top 10 pop, their biggest hit, and crossed to rock audiences. Its heavy backbeat, attitude, and catchphrase defined mid-80s synth-funk and helped pave the way for new jack swing.

Groove Is in the Heart by Deee-Lite

In 1990, Deee-Lite blended funk, house, and psychedelia into pure joy with Groove Is in the Heart. Lady Miss Kier glides over Bootsy Collins bass, bright horn stabs, and a thumping club beat, with Q-Tip adding a smooth rap. The track hit the Top 5 in the US and UK, fueled by a colorful video, reviving ’70s funk vibes and uniting generations on dance floors.

Give It Away by Red Hot Chili Peppers

Released in 1991, Give It Away blasted funk-rock into the mainstream. Fueled by Flea’s slap-bass, John Frusciante’s wah-soaked guitar, and Chad Smith’s drums, it’s a burst of adrenaline. Anthony Kiedis fires rapid lines about generosity, echoing a tip from Nina Hagen. The single powered Blood Sugar Sex Magik, won a Grammy, and pulled ’70s funk spirit into ’90s alt-rock, paving the way for bands mixing riffs, rap cadences, and grooves.

Virtual Insanity by Jamiroquai

Jamiroquai’s 1996 breakout Virtual Insanity revived ’70s-flavored funk for the MTV era. Over walking bass, crisp drums, and electric piano, Jay Kay delivers soulful lines about technology, humanity, and an uncertain future. The eye-popping moving-floor video helped turn it into a global hit and a Grammy winner. Its sleek acid-jazz groove sparked fresh interest in disco-funk among ’90s listeners and proved classic funk DNA could sound modern and urgent.

Get Lucky by Daft Punk ft. Pharrell Williams

Daft Punk’s 2013 smash Get Lucky put classic funk back at pop’s center. With Nile Rodgers’ silky rhythm guitar, a steady dance beat, and a supple bass line, Pharrell Williams floats a feel-good vocal about late-night chemistry. The song hit #1 across dozens of countries (peaking at #2 in the US), won multiple Grammys, and sparked a wave of live, groove-forward pop—bridging generations by sounding nostalgic and completely new.

Uptown Funk by Mark Ronson ft. Bruno Mars

Uptown Funk exploded in 2015, a brass-heavy tribute to ’80s funk-pop powered by crisp drums, choppy guitar, talk-box flourishes, and Bruno Mars’ swaggering vocal. The single ruled the Billboard Hot 100 for 14 weeks and won multiple Grammys, including Record of the Year. Its slick, retro video and arena-sized hook sparked a resurgence of brassy, groove-first pop, proving funk’s joy and showmanship still thrill every generation.

24K Magic by Bruno Mars

Bruno Mars kept the funk revival rolling with 24K Magic in 2016, a lavish, synth-sparkling party starter steeped in ’80s R&B. Vocoder chants, a squiggly bass line, Minneapolis-style keys, and a strutting beat frame his suave, playful vocal. A Top 5 hit and event staple, it crowned a Grammy-winning album and inspired a wave of shimmering synth-funk, giving a new generation the flash and feel-good spirit of classic groove.

Redbone by Childish Gambino

Childish Gambino’s 2016 slow-burn Redbone brought psychedelic funk to modern R&B. Singing in an altered, Curtis Mayfield-like falsetto, Glover floats over woozy synths, a thick bass line, and a crisp, steady snare. The stay woke refrain became a catchphrase as the song addressed infidelity and awareness. Boosted by its eerie use in Get Out, Redbone climbed the charts, won a Grammy, and sparked a wider revival of vintage P-Funk textures.

Feel It Still by Portugal. The Man

Portugal. The Man’s 2017 breakout Feel It Still rode a taut, Motown-tinged bassline and minimalist snap-and-stab groove to crossover success. John Gourley’s airy falsetto plays rebel with sly nods to ’60s soul, while crisp drums and horn hits keep it bouncing. The single topped Alternative and cracked the Hot 100 Top 5, earning a Grammy and proving a simple, funk-inspired hook can cut through pop’s gloss and trap beats.

Kiss by Prince

Prince’s 1986 Kiss proves less is more. Stripped to a drum-machine pulse, a clipped clean guitar, a few percussive grunts, and his elastic falsetto, it shot to #1 and became a signature. Originally a tossed-off demo for another artist, Prince reclaimed and rebuilt it into a minimalist funk jam. Playful lyrics and sleek space showed you don’t need layers to be funky, inspiring countless covers and ad placements.

California Love by 2Pac feat. Dr. Dre & Roger Troutman

2Pac’s 1995 blockbuster California Love fused West Coast hip-hop with classic funk. Dr. Dre’s beat flips Zapp’s Dance Floor and Joe Cocker’s Woman to Woman into a P-Funk-styled synth ride, while Roger Troutman’s talk-box hook declares “California knows how to party.” The single hit #1 on the Hot 100, cementing a G-funk anthem that reintroduced Troutman’s sound and united eras—an enduring highway and party staple with unstoppable swagger.