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Childish Gambino: A Genius Shaped by Diverse Influences

Childish Gambino: A Genius Shaped by Diverse Influences

Source: Phillip Faraone/VF24 / Getty
Donald Glover, better known by his stage name Childish Gambino, is an artist defined by his versatility and relentless ambition.
Whether it's acting, writing, or making music, Gambino's work reflects a complex web of influences that spans genres and generations.
From hip-hop legends like OutKast, Eminem, and Kanye West to funk and soul trailblazers such as Funkadelic and Sly & The Family Stone, and even the shimmering beats of LCD Soundsystem, Gambino's artistry is a melting pot of inspirations.
This collision of styles and sounds has given birth to some of the most innovative projects in modern music.
A standout example of these influences coming to life is his critically acclaimed album Awaken, My Love! , which wears its funk and soul inspirations on its sleeve while offering a distinctly modern twist. The Funkadelic Spark Behind Awaken, My Love!
Full albumbelow.
Released in 2016, Awaken, My Love! marked a dramatic departure from Gambino's earlier projects, trading sharp raps for soulful crooning and psychedelic funk arrangements.
The album channels the raw energy and emotional depth of 1970s funk, heavily inspired by artists like Funkadelic and Sly & The Family Stone.
Glover himself has credited these pioneers as integral to the album's creation.
RELATED | Childish Gambino Surprise Drops New Album 'Atavista' & Announces World Tour
Growing up, his father played records like Funkadelic's Maggot Brain , which Glover described as both 'sexual and scary' in an interview with Billboard .
Sly Stone's ability to blend political messaging with groovy, genre-defying sounds also had a lasting impact on Gambino's vision for Awaken, My Love!
A prime example of this influence is the track 'Redbone.'
Its falsetto vocals and hypnotic bassline evoke Bootsy Collins-era Funkadelic while maintaining a contemporary edge.
The haunting yet seductive tone of the song mirrors the visceral feelings Glover recalled experiencing when hearing Funkadelic as a child.
Beyond its funk roots, 'Redbone' became a cultural anthem, finding renewed fame in the Oscar-winning film Get Out .
See the scene in the movie below where Redbone is playing:
One of the most fascinating connections between Gambino and his influences is the thread tying his work to artists like OutKast. Known for their fearless innovation and unapologetic eccentricity, OutKast opened doors for hip-hop to venture into uncharted territories.
Their influence is particularly evident in Gambino's commitment to constantly reinventing his sound.
Take 'Me and Your Mama,' the opening track of Awaken, My Love!
It fuses the operatic grandeur of OutKast's The Love Below with the wild experimentation of vintage funk, proving that Gambino, much like Andre 3000, thrives in defying expectations.
Similarly, LCD Soundsystem's electronic landscapes helped shape Gambino's earlier works, particularly in his album Because the Internet .
Full album below.
Tracks like '3005' incorporate the layered synths and emotional vulnerability reminiscent of James Murphy's best works.
The fusion of electronic and emotional storytelling laid the groundwork for the soul-baring moments found later in Awaken, My Love! A Legacy in the Making
Childish Gambino's artistry is a testament to how inspiration can be both a tribute to the past and a springboard into the future.
By channeling the poetry of OutKast, the rawness of Funkadelic, and the intricacies of LCD Soundsystem, he has created a body of work that feels timeless yet refreshingly original.
What makes Gambino's craft so compelling is not just the influences he draws from, but how he transforms them.
He doesn't merely mimic; he reimagines.
With Awaken, My Love! , the artist took the funk and soul soundscapes of the '70s and introduced them to a modern audience, ensuring that the music that inspired him lives on in new and vital ways.
Childish Gambino's evolution proves that no genre or era exists in isolation. Instead, music flows across time, offering endless roots and rhythms to inspire the artists of tomorrow.
Take a look below at some of the music from artists Childish Gambino has been influenced by.
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Nile Rodgers recalls becoming 'really close' with the late Sly Stone
Nile Rodgers recalls becoming 'really close' with the late Sly Stone

New York Post

time13-06-2025

  • New York Post

Nile Rodgers recalls becoming 'really close' with the late Sly Stone

It takes one music icon to know one. Nile Rodgers, the legendary producer and Chic bandleader, worshiped Sly Stone long before he became friends with the funk pioneer, who passed away at 82 on Monday, June 9. And he has the receipts to prove it. 5 Songwriters Hall of Fame chairman Nile Rodgers helped welcome the class of 2025 on Thursday night. Getty Images for Songwriters Hall Of Fame 5 Sly Stone was the genius behind Sly & the Family Stone classics such as 'Everyday People' and 'Family Affair.' Getty Images for Songwriters Hall Of Fame 'I still to this day have my ticket [from when] I saw Sly & the Family Stone at the Schaefer Music Festival in Central Park,' Rodgers, 72, exclusively told The Post on the red carpet of the Songwriters Hall of Fame induction ceremony on Thursday at NYC's Marriott Marquis. 'Check this out — the price of the ticket? One dollar. General admission was one dollar. I still have it. It was that great of a day to me,' he said. And that's not the only way that Stone took a young Rodgers higher. 'I remember when he released, I don't know if it was the second album or the first album, I remember going to my friend's house — he was the only one who could afford the album — and we all sat around smoking hash and listening to the record all day,' he recalled. 5 Jimmy Jam (left) and Nile Rodgers joined Songwriters Hall of Fame president/CEO Linda Moran on the red carpet. Redferns As fate would have it, the Songwriters Hall of Fame chairman would end up meeting and bonding with the genius behind Sly & the Family hits such as 'Dance to the Music,' Everyday People,' and 'Family Affair.' 'Later on in life, I became friends with Sly in California. It was really sad for me because he was living in a car,' he said. 'So every night we would meet at the China Club when it moved to Los Angeles, and we would talk, and for some reason, we became really close.' In fact, Stone asked Rodgers to be the music director for the Sly & the Family Stone tribute at the 2006 Grammys that included Maroon 5, John Legend, Steven Tyler and Joss Stone — as well as a brief appearance by the funk god himself. 5 With Sly & the Family Stone, Nile Rodgers said that the late Sly Stone 'changed music.' Redferns Another legendary producer, Jimmy Jam, recalled sampling Sly & the Family Stone's 1970 chart-topper 'Thank You (Falettinme Be Mice Elf Agin)' on Janet Jackson's 1989 hit 'Rhythm Nation.' 'I don't think people really put that together,' he told The Post. 'For me, it was so obvious that it's Sly. But he was a tremendous influence, [and] still continues to be. His music is singular. 'And his influence [was] not only me but certainly on Prince in the way that he made his band up — like, it was multiracial, multi-gender,' said the former Prince protégé. 'All of that came from Sly.' 5 Sly Stone of Sly And The Family Stone performs on stage in London on July 15, 1973. Getty Images Stone's impact on Rodgers was formative, too. 'Honestly, to me, Sly is on the same level as [John] Coltrane, Miles [Davis], Charlie Parker, Nina Simone, all the people I grew up with. Sly was my R&B example of that,' he said. Indeed, with Sly & the Family Stone, Rodgers said that Stone 'changed music.' 'They changed the way that America saw black musicians,' he said. 'They changed everything.'

Sly Stone's isolation shaped a generation of sound
Sly Stone's isolation shaped a generation of sound

UPI

time13-06-2025

  • UPI

Sly Stone's isolation shaped a generation of sound

Sly Stone turned isolation into inspiration, forging a path for a generation of music-makers The charismatic front man of Sly and the Family Stone died on June 9, 2025, at the age of 82. File Photo/David Silpa/UPI | License Photo June 13 (UPI) -- In the fall of 1971, Sly and the Family Stone's "There's a Riot Goin' On" landed like a quiet revolution. After two years of silence following the band's mainstream success, fans expected more feel-good funk from the ensemble. What they got instead was something murkier and more fractured, yet deeply intimate and experimental. This was not just an album; it was the sound of a restless mind rebuilding music from the inside out. At the center of it all was front man Sly Stone. Long before the home studio became an industry norm, Stone, who died on June 9, 2025, turned the studio into both a sanctuary and an instrument. And long before sampling defined the sound of hip-hop, he was using tape and machine rhythms to deconstruct existing songs to cobble together new ones. As someone who spends much of their time working on remote recording and audio production -- from building full arrangements solo to collaborating digitally across continents - I'm deeply indebted to Sly Stone's approach to making music. He was among the first major artists to fully embrace the recording environment as a space to compose rather than perform. Every reverb bounce, every drum machine tick, every overdubbed breath became part of the writing process. From studio rat to bedroom producer Sly and the Family Stone's early albums -- including "Dance to the Music" and "Stand!" - were recorded at top-tier facilities like CBS Studios in Los Angeles under the technical guidance of engineers such as Don Puluse and with oversight from producer David Rubinson. These sessions yielded bright, radio-friendly tracks that emphasized tight horn sections, group vocals and a polished sound. Producers also prized the energy of live performance, so the full band would record together in real time. But by the early 1970s, Stone was burnt out. The dual pressures of fame and industry demands were becoming too much. Struggling with cocaine and PCP addiction, he'd grown increasingly distrustful of bandmates, label executives and even his friends. So he decided to retreat to his hillside mansion in Bel Air, California, transforming his home into a musical bunker. Inside, he could work on his own terms: isolated and erratic, but free. Without a full band present, Stone became a one-man ensemble. He leaned heavily into overdubbing -- recording one instrument at a time and building his songs from fragments. Using multiple tape machines, he'd layer each part onto previous takes. The resulting album, "There's a Riot Goin' On," was like nothing he'd previously recorded. It sounds murky, jagged and disjointed. But it's also deeply intentional, as if every imperfection was part of the design. In "The Poetics of Rock," musicologist Albin Zak describes this "composerly" approach to production, where recording itself becomes a form of writing, not just documentation. Stone's process for "There's a Riot Goin' On" reflects this mindset: Each overdub, rhythm loop and sonic imperfection functions more like a brushstroke than a performance. Automating the groove A key part of Stone's tool kit was the Maestro Rhythm King, a preset drum machine he used extensively. It wasn't the first rhythm box on the market. But Stone's use of it was arguably the first time such a machine shaped the entire aesthetic of a mainstream album. The drum parts on his track "Family Affair," for example, don't swing - they tick. What might have been viewed as soulless became its own kind of soul. This early embrace of mechanical rhythm prefigured what would later become a foundation of hip-hop and electronic music. In his book "Dawn of the DAW," music technology scholar Adam Patrick Bell calls this shift "a redefinition of groove," noting how drum machines like the Rhythm King encouraged musicians to rethink their songwriting process, building tracks in shorter, repeatable sections while emphasizing steady, looped rhythms rather than free-flowing performances. Though samplers wouldn't emerge until years later, Stone's work already contained that repetition, layering and loop-based construction that would become characteristic of the practice. He recorded his own parts the way future DJs would splice records - isolated, reshuffled, rhythmically obsessed. His overdubbed bass lines, keyboard vamps and vocal murmurs often sounded like puzzle pieces from other songs. Music scholar Will Fulton, in his study of Black studio innovation, notes how producers like Stone helped pioneer a fragment-based approach to music-making that would become central to hip-hop's DNA. Stone's process anticipated the mentality that a song isn't necessarily something written top to bottom, but something assembled, brick by brick, from what's available. Perhaps not surprisingly, Stone's tracks have been sampled relentlessly. In "Bring That Beat Back," music critic Nate Patrin identifies Stone as one of the most sample-friendly artists of the 1970s - not because of his commercial hits, but because of how much sonic space he left in his tracks: the open-ended grooves, unusual textures and slippery emotional tone. You can hear his sounds in famous tracks such as 2Pac's "If My Homie Calls," which samples "Sing a Simple Song"; A Tribe Called Quest's "The Jam," which draws from "Family Affair"; and De La Soul's "Plug Tunin'," which flips "You Can Make It If You Try." The studio as instrument While Sly's approach was groundbreaking, he wasn't entirely alone. Around the same time, artists such as Brian Wilson and The Rolling Stones were experimenting with home and nontraditional recording environments - Wilson famously retreating to his home studio during "Pet Sounds," and the Stones tracking "Exile on Main St." in a French villa. Yet in the world of Black music, production remained largely centralized in institutionally controlled studio systems such as Motown in Detroit and Stax in Memphis, where sound was tightly managed by in-house producers and engineers. In that context, Stone's decision to isolate, self-produce and dismantle the standard workflow was more than a technical choice: It was a radical act of autonomy. The rise of home recording didn't just change who could make music. It changed what music felt like. It made music more internal, iterative and intimate. Sly Stone helped invent that feeling. It's easy to hear "There's a Riot Goin' On" as murky or uneven. The mix is dense with tape hiss, drum machines drift in and out of sync, and vocals often feel buried or half-whispered. But it's also, in a way, prophetic. It anticipated the aesthetics of bedroom pop, the cut-and-paste style of modern music software, the shuffle of playlists and the recycling of sounds that defines sample culture. It showed that a groove didn't need to be spontaneous to be soulful, and that solitude could be a powerful creative tool, not a limitation. In my own practice, I often record alone, passing files back and forth, building from templates and mapping rhythm to grid - as do millions of musical artists who compose tracks from their bedrooms, closets and garages. Half a century ago, a funk pioneer led the way. I think it's safe to say that Sly Stone quietly changed the process of making music forever - and in the funkiest way possible. Jose Valentino Ruiz is an associate professor of music business and entrepreneurship at the University of Florida. This article is republished from The Conversation under a Creative Commons license. Read the original article. The views and opinions expressed in this commentary are solely those of the author.

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