Minneapolis Sound

The Minneapolis sound is a derivative form of Synth Funk that emerged in Minneapolis, Minnesota during the late 1970s. The style was predominantly pioneered by Prince, and due to his influence, achieved enormous popularity during the 1980s.

The Minneapolis sound grew out of traditional Funk and synth funk sounds, including danceable, definitive rhythm sections, use of extended chords, and heavy utilization of synthesizers and drum machines. However, the Minneapolis sound is distinct amongst those aforementioned genres by incorporating the smooth, glossy production techniques and romantic (occasionally sexually-charged) lyrical motifs heard in Disco and Contemporary R&B music. Rhythm sections, although still highly emphasized, are often less syncopated than in typical funk music, and are instead influenced by the jolting arrangements heard in Synthpop and New Wave. Additionally, the Minneapolis sound places a much greater emphasis on electric guitar textures compared to conventional synth funk.

Local acts such as The Prophets of Peace, as well as numerous P-Funk and Soul groups including Parliament and Sly & The Family Stone, were incredibly influential to Prince, who ultimately spearheaded the Minneapolis sound on albums such as Dirty Mind and 1999. As his popularity increased during the 1980s, artists such as The Time, Jam & Lewis, and Ta Mara and The Seen either produced with, or were heavily inspired by Prince, thus solidifying the genre's sonic palette. The Minneapolis sound was later able to escape the bounds of its namesake city by musically shaping outside acts such as Sheena Easton and Cherrelle. Although the style declined in popularity by the late 1980s as New Jack Swing emerged, the Minneapolis sound later proved pivotal to the sounds of many contemporary Pop artists including Usher, Miguel, Bruno Mars, and later Lizzo.