Minneapolis Sound

Lore & Background

According to the Rolling Stone Album Guide, "the Minneapolis sound... loomed over mid-'80s R&B and pop, not to mention the next two decades' worth of electro, house, and techno." The sound incorporates many of funk's quintessential elements but bears several distinguishing characteristics: synthesizers generally replace horn sections of trumpets and saxophones, and are used more as accent than as fill or background. The rhythm is often faster and generally less syncopated than traditional funk, owing much to new wave music. Dominant rhythm lines are often accented with repeating percussive fills at fixed intervals, often courtesy a Linn or other drum machine. Lead guitar is frequently much louder and more aggressively processed during solos than in most traditional funk, while a wah-wah effect is heavily relied upon for rhythm guitar accompaniments. Compositions often incorporate orchestral string arrangements, adding a symphonic pathos. The "bottom" of the sound is less bass-heavy than traditional funk; drums and keyboards fill more of the "bottom."

In Their Own Story

The Minneapolis sound started at Sound 80 with tracks like "Funkytown" by Lipps Inc. and was pioneered by Minneapolis-based musician Prince and André Cymone beginning in the late 1970s. Former Lipps Inc. member David Z is also considered a major architect. The style's heyday extended through the late 1980s, and it was often heard at city clubs like First Avenue. It was exemplified by Prince-affiliated acts including the Time, Vanity 6, Apollonia 6, Sheila E., the Family, Wendy & Lisa, Brownmark, Jimmy Jam & Terry Lewis, Morris Day, Jellybean Johnson and Jesse Johnson, and by acts neither affiliated with Prince nor native to Minneapolis, such as Flint, Michigan's Ready for the World.

Reader's Guide

Identifying characteristics of the Minneapolis sound: Synthesizers generally replace horn sections of trumpets and saxophones, and are used more as accent than as fill or background. The rhythm is often faster and generally less syncopated than traditional funk, owing much to new wave music. Dominant rhythm lines are often accented with repeating percussive fills at fixed intervals, often courtesy a Linn or other drum machine. Lead guitar is frequently much louder and more aggressively processed during solos than in most traditional funk, while a wah-wah effect is heavily relied upon for rhythm guitar accompaniments. Compositions often incorporate orchestral string arrangements, adding a symphonic pathos. The "bottom" of the sound is less bass-heavy than traditional funk; drums and keyboards fill more of the "bottom."

Did You Know?

• The Minneapolis sound was started at Sound 80 with tracks like "Funkytown" by Lipps Inc.
• Prince and André Cymone pioneered the sound beginning in the late 1970s.
• Former Lipps Inc. member David Z is considered a major architect of the Minneapolis sound.
• The style was often heard at city clubs like First Avenue.
• According to the Rolling Stone Album Guide, the Minneapolis sound 'loomed over mid-'80s R&B and pop, not to mention the next two decades' worth of electro, house, and techno.'