A great funk set can turn on the first snare hit, but only if the record earns its place in the box. The best funk 45s for DJs are not simply famous records cut into smaller discs. They are compact, decisive records with an immediate entrance, a usable break, a vocal that commands a room, or a groove that gives a set somewhere to go.
For collectors, the appeal runs deeper than utility. A well-chosen 45 preserves the original single experience: the label, the mix, the edit, the regional imprint, and sometimes the very different flip side. For a working DJ, it also offers a more direct relationship with the dance floor than a long album cut. The needle drops, the band is already in the pocket, and there is no time to waste.
What Makes a Funk 45 Worth Carrying?
The best choices tend to have a recognizable opening within the first few seconds. That might be the clipped guitar on The Meters' "Cissy Strut," the shouted count-in of a James Brown production, or a bass line so deep it resets the room. A 45 also needs a role. Some records start a set; others create a bridge between soul, disco, boogaloo, and hip-hop. A few are break records that DJs use sparingly because their impact depends on timing.
Do not confuse rarity with usefulness. A scarce private-press single may be a thrilling collector's find, but if its groove takes 45 seconds to settle or the pressing is noisy, it may stay at home. Conversely, a common original on a familiar label can be the record people remember from the night. Condition matters especially on funk singles. A groove-worn copy can lose its kick drum, distort on brass stabs, and make cueing unreliable under loud speakers.
Best Funk 45s for DJs: Core Box Staples
James Brown - "Get Up (I Feel Like Being a) Sex Machine" Part 1
Few records announce authority as efficiently as this one. Its lean, repetitive guitar figure and Brown's vocal commands make it useful across several tempos and styles. The single edit is part of the point: it gets to the business quickly, delivers the hook, and leaves before the groove turns into wallpaper. Original King pressings are desirable, though a clean, playable copy should take precedence over label variation for a DJ copy.
The Meters - "Cissy Strut"
"Cissy Strut" is an instrumental master class in restraint. Zigaboo Modeliste's drums, George Porter's bass, and Leo Nocentelli's guitar establish a New Orleans pocket that sits beautifully beside raw soul or later breakbeat material. It is not a peak-hour vocal record. It is better used to establish taste, pull a floor into a deeper groove, or give a singer-heavy run of singles some air.
Lyn Collins - "Think (About It)"
This is a foundational break record, but it is much more than a source for sampled drums. Lyn Collins sounds fierce, the arrangement moves with purpose, and the familiar "yeah! woo!" passage can change the temperature of a room. The original People single remains a serious piece of funk history. Expect wear on copies that have lived hard lives, particularly around the break.
The J.B.'s - "Pass the Peas"
A disciplined rhythm section makes this a DJ record of the first order. The groove is clipped, tense, and immediately recognizable to anyone with an ear for funk. "Pass the Peas" works when a set needs percussion without giving up momentum. It also pairs naturally with other James Brown-related 45s, but avoid stacking too many similar arrangements in sequence. Let its sharpness stand out.
Kool & the Gang - "Jungle Boogie"
There is little subtlety here, and that is precisely why it belongs in the box. The opening vocal, horn punctuation, and low-end swagger make "Jungle Boogie" a reliable floor starter for mixed-age crowds. It is widely available compared with many deep-funk titles, which makes finding a clean original or a solid DJ copy far less punishing than chasing a cult favorite.
Sly & the Family Stone - "Thank You (Falettinme Be Mice Elf Agin)"
Larry Graham's bass line carries this single with such force that the record can follow heavier funk without losing energy. The arrangement is deceptively loose, full of small vocal and rhythmic details that reward repeat plays. Use it when you want a recognizable name without retreating into safe oldies programming. Its funk is too strange and too physical for that.
Deepen the Box Without Losing the Floor
Dyke & the Blazers - "Let a Woman Be a Woman, Let a Man Be a Man"
This is raw, hard-edged funk with a live-wire feel. It has the kind of chant-driven refrain that can grab a crowd unfamiliar with the record, while its drums and guitar satisfy listeners who came for the groove. Copies appear on more than one label and in varying sound quality, so inspect the specific pressing rather than buying on title alone.
Bobby Byrd - "Hot Pants - I'm Coming, I'm Coming"
Bobby Byrd's records are indispensable when you want James Brown's rhythmic world from a different angle. The opening is forceful, the vocal has character, and the band is locked in. This is not background funk. It demands a confident placement, preferably after a cleaner, more polished cut so its grit has contrast.
Marva Whitney - "Unwind Yourself"
Marva Whitney cuts through a set with a vocal that is both soulful and confrontational. The record has enough space in the arrangement for its drums and horns to land hard, making it useful for DJs who want a vocal single with real rhythmic muscle. A clean copy is worth waiting for. The emotional force is diminished when surface noise rides over the quieter moments.
The Beginning of the End - "Funky Nassau" Part I
The spacious bass, percussion, and island-inflected rhythm make this a valuable change of texture. "Funky Nassau" can move a set away from Brown-family syncopation without lowering its temperature. The Part I single cut is especially practical because it gives the idea in a concentrated form. If the crowd responds, the longer album version can be another conversation entirely.
The Soul Searchers - "Ashley’s Roachclip"
For DJs who understand the power of a patient drum break, this is essential. It is not a blunt-force party record, so placement matters. Play it for a crowd ready to listen with its feet, or use it as a passage into tougher breakbeat material. Its reputation has made clean original copies increasingly collectible, but the musical logic is what keeps it relevant.
The Honey Drippers - "Impeach the President"
The beat is among the most sampled in recorded music, yet the original remains startlingly spare and effective. Its mood is more coolly deliberate than explosive, which makes it a strong tool for resetting a room after a louder record. Treat it as a foundation, not a novelty. The best result often comes from letting the groove breathe rather than talking over it.
Four More That Reward a Serious Search
- The Meters - "Look-Ka Py Py": A nimble instrumental with enough rhythmic detail to satisfy dancers and record heads alike.
- Fred Wesley & the J.B.'s - "House Party": Horn-led, driving funk that can lift a set without tipping into disco.
- Cymande - "Bra": Deep, rolling, and hypnotic, with a bass line built for a more patient dance floor.
- The Ripples - "I Don't Know What It Is, But It Sure Is Funky": A prized deep-funk favorite with a title that accurately describes its purpose. It is costly, difficult, and not required for a good box, but it is a rewarding find.
Original Pressings, Reissues, and DJ Copies
There is no single correct answer to the original-versus-reissue question. An original 45 has historical and collectible weight, and it may carry a mix or mastering character not duplicated later. It can also be expensive, fragile, and difficult to replace. A quality reissue allows a DJ to work the record without treating every back-cue as a financial decision.
For singles you play frequently, consider separating collector copies from performance copies. A respectable original in strong condition can stay in the collection while a clean reissue, later pressing, or duplicate handles the club work. Pay attention to the run time, though. Reissues sometimes use a different edit, couple a different flip side, or alter the label information collectors value.
Before buying, ask practical questions: Is the intro intact? Does the record play loud and clear through the loudest section? Is it warped? Is the label clean enough to identify quickly in low light? A visually attractive 45 is not always a reliable DJ record, particularly with older styrene pressings that can sound worn despite a decent appearance.
At He Who Has An Ear, the point of a curated funk selection is not to flood a buyer with every available title. It is to make room for records with musical purpose, collectible character, and a real chance of being played again.
Build a funk 45 box slowly enough to learn what each single does. The records that remain are usually not the ones with the highest price tags or the loudest reputations. They are the ones that make you reach for the next record with confidence.
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