Zapp (album)

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Zapp
Studio album by Zapp
Released	July 30, 1980
Recorded	1979–1980
Studio	United Sound Systems (Detroit, Michigan)
Genre	Electro-funk
Length	40:16
Label	Warner Bros.
Producer	Roger Troutman, Bootsy Collins
Zapp chronology
Zapp (1980) Zapp II (1982)
Singles from Zapp
"More Bounce to the Ounce" Released: September 1980[1] "Be Alright" Released: November 1980[2]

Professional ratings

Review scores
Source	Rating
Allmusic	[3]
Robert Christgau	C+ [4]

Zapp is the debut studio album by the American funk band Zapp, released on July 30, 1980, by Warner Bros. Records. The album's style and sound bears a strong resemblance to Parliament-Funkadelic^{[citation needed]}, as the band was working with Parliament-Funk members Bootsy Collins and George Clinton during the album's production. Produced by frontman Roger Troutman and Bootsy Collins (who also played guitar on the album), Zapp was recorded between late 1979 and early 1980 at the United Sound Studios in Detroit, U.S.A.

Topping the US Billboard Top R&B/Hip-Hop Albums chart for 2 weeks in fall 1980 ^[5] and certified gold by the Recording Industry Association of America (RIAA) that November, the album has been cited as one of the definitive albums of early 1980s electro funk^{[citation needed]}, and partially influenced the creation of the G-funk sound of hip hop music^{[citation needed]}, which became popular on the West Coast of the United States during the early and mid 1990s.

During the late 1970s, Zapp was noticed by two friends of the Troutman family, Phelps "Catfish" Collins and William Earl "Bootsy" Collins, both of whom were members of Parliament-Funkadelic since the early 1970s. Earlier, Roger Troutman and his brothers played frequently in the Ohio area, originally forming the band Roger and His Fabulous Vels in 1966.

After the two Collins musicians witnessed one of Zapp's live performances, they invited Zapp to visit Detroit's United Sound Studios, where they went on to write and record the demo for More Bounce to the Ounce, which would later appear on the debut album. Parliament-Funkadelic front-man George Clinton encouraged the band to present the demo tape to Warner Bros. Records, which ultimately led to the band's signing to the label in early 1979.

"George Clinton just happened to step into the studio this night and he really liked this one part that we had already re-did on 'Funky Bounce'. He advised us to loop that section and put the other talk-box parts over it. At that time, this was considered a genius act, because you had to actually cut the tape and make the right cut, line it up and loop it. So let us not forget that Dr. Funkenstein was way ahead of his time as well."

— Bootsy Collins

More Bounce to the Ounce is featured in the films Boyz n the Hood, Mi Vida Loca, Losing Isaiah, Hate, Any Given Sunday, Blue Hill Avenue and Straight Outta Compton, the 2002 Rockstar video game Grand Theft Auto: Vice City, and the 2018 South Park episode "A Boy and a Priest". It was also in an episode of "New Girl" (Season 4, episode 20).

All songs written by Roger Troutman.

Side one:

1. More Bounce to the Ounce – 9:25
2. Freedom – 3:48
3. Brand New Player – 5:51

Side two:

1. Funky Bounce – 6:46
2. Be Alright – 7:52
3. Coming Home – 6:34

In 1980, More Bounce To the Ounce went to number 2 on the US Black singles chart. Also in 1980, the album launched in the number one position on the US Black albums chart^{[citation needed]}.

• vocals - Bobby Glover, Jannetta Boyce, Marchelle Smith, Delores Smith
• percussion - Larry and Lester Troutman
• conga drums - Larry Troutman
• trap drums - Lester Troutman
• bass, vocals - Terry Troutman
• sax - Carl Cowen
• keyboards, vocals - Greg Jackson
• guitars - Bootsy Collins
• guitars, vocals, keyboards, talk box, bass, harmonica, vibraphone - Roger Troutman

Album Cover Art by Ronald P "Stozo" Edwards and Overton Loyd.

• List of number-one R&B albums of 1980 (U.S.)

• Tony Bolden, The funk era and beyond: new perspectives on black popular culture. Macmillan, 2008.
• Portia K. Maultsby, "Dayton Street Funk: The Layering of Multiple Identities" The Ashgate research companion to popular musicology. Ashgate, 2009.
• Dave Tompkins, Wax Poetics Magazine number 35 (2009)
• Rickey Vincent, Funk: the music, the people, and the rhythm of the one. Macmillan, 1996.
• Alexander G. Weheliye. “Feenin: Posthuman Voices in Black Popular Music.” Social Text 71 (summer 2002): 21–47.