Foster Sylvers - Misdemeanor (Mr Bongo reissue)

Misdemeanor became far bigger in retrospect than it was at the time of release because of what happened to its groove in Hip-Hop. The track is built around one of the most elastic basslines and drum feels of early-70s funk: loose, rubbery, and instantly loopable.

Produced during the rise of family soul groups, the song still sounds remarkably raw compared to the smoother disco records that followed later in the decade. The rhythm section dominates everything. Even with Foster Sylvers’ youthful vocal, the real star is the groove architecture:

syncopated bass,
clipped guitar,
dry snare hits,
and huge rhythmic pocket.

That groove became especially influential in golden-age Hip-Hop. Most notably, it was used in On the Move by Big Daddy Kane and Don't Fuck Around by Masta Ace Incorporated. Producers kept returning to Misdemeanor because the rhythm feels simultaneously relaxed and propulsive — ideal for MC-driven tracks that need swing without losing impact.

The bassline in particular became prized by crate-diggers because it carries movement without overcrowding the beat. It leaves space for rappers while still sounding musically rich, which is one reason the record remained a favorite source throughout late-80s and early-90s Hip-Hop.

Historically, Foster Sylvers’ recordings sit in an important transitional moment between raw funk and the cleaner groove structures that later became central to sampling culture. Records like Misdemeanor effectively became rhythmic building blocks for Hip-Hop producers searching for deep-pocket funk breaks.