Category Archives: George Clinton

My Type of Hype: A House Party Series Retrospective

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I’m a pretty big fan of House Party: the definitive early-’90s African American teen comedy, starring pop-rappers Kid ‘n Play and directed by Reginald Hudlin. A couple springs ago, my sister and I binge-watched the whole series over the course of a few evenings, an experience that somehow did not leave me permanently scarred; so these days, whenever the end of March/beginning of April rolls around, I think about House Party, the sequels it spawned, and the moment in urban youth culture it inimitably captured and preserved. If you, like me, have fond memories of the House Party films, read this post and you just might learn something new–especially about the franchise’s lesser-seen third and fourth installments.

The original House Party, an expanded remake of a student film Hudlin made while attending Harvard University in 1986, structures itself loosely around a single day in the lives of a group of high school seniors. Peter, a.k.a. “Play” (Christopher “Play” Martin), is throwing the titular house party while his parents are out of town. His friend Christopher, or “Kid” (Christopher “Kid” Reid), wants to use the party as an opportunity to showcase his “dope lyrics” as an M.C., but his plans are jeopardized when he runs afoul of the school bullies: hulking “Stab” and “Zilla” and diminutive, squeaky-voiced “Pee Wee,” played respectively by real-life brothers Paul Anthony, Brian “B-Fine,” and Lucien “Bowlegged Lou” George of the R&B group Full Force. Also attending the festivities are Tisha Campbell as the “bougie” upper-class girl, Sidney, who harbors a crush on Kid; A.J. Johnson as her worldly friend from the projects, Sharane; and Martin Lawrence–in only his second feature film role, after Spike Lee’s Do the Right Thing  (1989)–as Bilal, the party’s irascible D.J.

© New Line Cinema

© New Line Cinema

The film isn’t united by a strong narrative thread, so much as a series of episodic setpieces and gags. There are plenty of iconic moments: the early scene when Kid crashes an Alpha Delta Sigma reunion D.J.’ed by none other than George Clinton; the visit to Sharane’s house, where her kid brother makes a pitcher of Kool-Aid using an entire bag of sugar; the rap battle between Kid and Play; and, of course, the part when Kid’s “Pop”–played by veteran comedian Robin Harris, who died just nine days after the film’s release–shows up at the party and proceeds to hilariously roast several of the guests. Without a doubt the most famous scene is the epic team dance battle between Kid, Play, Sidney, and Sharane, which features Kid ‘n Play doing their signature “Funky Charleston” dance to the tune of Full Force’s 1989 hit “Ain’t My Type of Hype.” But my personal favorite moment comes later in the film, when Kid and the Full Force bullies are hauled into jail and Kid has to use his “dope lyrics” to distract the other inmates, who bizarrely already want to rape him despite the fact that they are only in an overnight holding cell.

© New Line Cinema

© New Line Cinema

House Party isn’t exactly fine cinema, but it has a youthful energy and verve that is undeniable to this day. It’s certainly responsible for whatever lasting cultural relevance Kid ‘n Play might have accrued: while supposedly the lead roles were written for another pop-rap duo, DJ Jazzy Jeff and the Fresh Prince, they suit Reid and Martin much better–if only because they give Hudlin and the cast license to work in a lot of cracks about Reid’s trademark extreme high-top fade, from the cops who call him “Eraserhead” to Pop’s comparison of his head to a “witch’s broom.”

© New Line Cinema

© New Line Cinema

The original House Party cost an estimated $2.5 million to make, and grossed over ten times that amount in the box office; with that kind of return on investment, a sequel was practically inevitable. House Party 2: The Pajama Jam! released in October 1991, only 19 months after the first film, and it’s basically a textbook case of diminishing returns. This time around, Kid and his now-girlfriend Sidney are attending Harris University, a fictional historically black college named after the late Robin Harris, while Play is trying to get his music career off the ground. Kid struggles with adapting to college life and with mounting tensions in his relationship with Sidney, whose politically-minded roommate Zora (Queen Latifah) doesn’t approve of him. Then, Play “borrows” his friend’s scholarship money and gives it to Sheila Landreaux (Iman), a con artist posing as a music promoter. In order to save Kid from being kicked out of school, the pair attempt to raise funds by staging another party: “the mother of house parties, a pajama jammy jam.” But the Full Force brothers–now inexplicably working security detail for the university–are once again in pursuit.

© New Line Cinema

© New Line Cinema

As you can probably tell by the summary, the second House Party is a lot more plot-driven than the first, but it somehow manages to feel more aimless; the “pajama jam” itself doesn’t even kick off until about two-thirds through the movie. Producers/directors George Jackson and Doug McHenry–fresh off their success producing Mario Van Peebles’ New Jack City (1991)–depart from the freewheeling slice-of-life tone of Hudlin’s original and pile on the camp, while still peppering the film with recycled gags like Daryl “Chill” Mitchell bumping into Bilal’s turntables while he dances and Randy Harris being caught in flagrante and responding with gunfire. There are, however, a few redeeming qualities. Kamron of the short-lived alternative hip-hop group Young Black Teenagers makes his first appearance in the series as Kid’s roommate Jamal, a dreadlocked white boy who earns his new friends’ respect with his love for “big booty,” “dice,” and “bean pies.” And the soundtrack is even better than the first film’s, with an infectious title track by Tony! Toni! Toné! and Kid ‘n Play’s own classic “Ain’t Gonna Hurt Nobody.”

© New Line Cinema

© New Line Cinema

Three years after The Pajama Jam, the saga continued with House Party 3: House Party with a Vengeance. This threequel picks up with Kid about to settle down and get married to his new fiancée, Veda (Angela Means), only for drama to arise after Sidney reemerges in his life. Meanwhile, Play is still working his way up in the music business, managing a female rap act with the amazing name “Sex as a Weapon” (played by T-Boz, Left-Eye, and Chilli of TLC). Play books the girls for a concert with ruthless promoter Showboat (Michael Colyar), but promptly becomes the target of Showboat’s wrath after they fire him and renege on their contract to play the show. And Showboat’s enforcers are out for blood for reasons of their own: they’re none other than Stab, Zilla, and Pee Wee, the bullies from the first two films.

© New Line Cinema

© New Line Cinema

Jackson and McHenry stray even further from realism in House Party 3, particularly with their bizarre decision to integrate the canon of the 1990-91 Kid ‘n Play Saturday morning cartoon series. In the animated show, Kid and Play are accompanied by a talking dog, Hairy (portrayed by accomplished voice actor Danny Mann), who sports a mohawk and drives the duo’s tour bus. Astonishingly, he appears in a similar capacity in House Party 3, playing a major role in the film’s surprisingly action-packed climax. After Full Force crash Kid’s bachelor party, the dynamic duo make their escape in Play’s car with Hairy at the wheel. An action-packed car chase along the California coastline ensues; then, Hairy loses control of the car and drives over an embankment, sending the car plummeting off a cliff and into the water below.

© New Line Cinema

© New Line Cinema

House Party with a Vengeance is probably best remembered for its cliffhanger ending, which signaled a new, darker turn for the series. In the film’s final scene, Play’s car is located along the Pacific coast. Bilal, Jamal, Veda, and Sidney all rush to the scene, and are hopeful when they see Hairy run toward them. But the car is empty. Kid and Play have disappeared. It’s only after the credits when viewers receive a glimmer of hope: the film fades back in, and a high-top fade rises slowly out of the water.

© New Line Cinema

© New Line Cinema

Despite this dramatic finale, viewers had to wait much longer than usual for the next installment. House Party 4 was trapped in development hell for seven years before it finally emerged in 2001, with the ominous subtitle The Last Party. It’s a strange sequel in pretty much every way. Kid and Play are absent for most of the film; having been missing for seven years, they are officially presumed dead in absentia, and their places have been taken by Jamal and Bilal–whose increased role can likely be attributed to Martin Lawrence’s then-recent resurgence in popularity with commercially successful films like Big Momma’s House (2000). Still mourning the “deaths” of their friends, the new central pair are tasked with throwing them the hypest of wakes. But they also face the psychological challenges of filling Kid and Play’s kickstepping shoes: especially Jamal, who as Sidney’s new boyfriend is being literally groomed to take Kid’s place, including adopting a manicured fade of his own–an homage to the relationship between James Stewart and Kim Novak in Alfred Hitchcock’s Vertigo.

crygenically frozen KNP Heads

© New Line Cinema

As in the case of House Party 3The Last Party ends with an action sequence that feels at odds with the series’ original tone. First, Kid and Play make a soap-operatic appearance at their own wake, revealing that they had faked their own deaths to escape the wrath of Showboat and the Full Force bullies. Then, Stab, Zilla, and Pee Wee themselves crash the party–and, in the most controversial scene in the series, hold Sidney hostage, demanding the lives of Kid and Play in exchange for hers. Not seeing any other way out, Kid and Play dramatically step forward to sacrifice themselves. The Full Force brothers lead our heroes to an abandoned warehouse, where they plan to elaborately kill Kid and Play by lowering them into a vat of acid. But just as they’re about to go over the edge, the pair exchange a meaningful glance and break into their trademark dance, using the moves to disorient the bullies and knock them into the vat instead. Their success is short-lived, however: before Stab and Zilla plummet to their deaths, they grab Kid’s and Play’s legs, taking them down with them. At that moment, Bilal, Jamal, Sidney, and Hairy burst in and rush to save the dynamic duo. But it’s too late: the acid has destroyed their bodies from the neck down, leaving only their heads intact. Fortunately, Hairy is not only capable of operating a motor vehicle, but also apparently has expertise in cryogenics. The film ends, again, on a cliffhanger, with the multi-talented canine preparing Kid’s and Play’s heads to be cryogenically frozen until technology has sufficiently advanced for their lives to be restored (see photo above).

House-Party-Tonights-The-Night-5

© Warner Premiere

This time, though, fans never got the resolution to the House Party saga that they wanted. In the end, the closest thing to a House Party 5 we’ve received in the last decade was the direct-to-video House Party: Tonight’s the Nighta disappointingly white-washed South African coproduction that featured Kid and Play only in a brief post-credits cameo (see photo above)–and, since they were depicted as regular human music executives and not as cyborgs with transplanted heads, made it clear that House Parties 3 and have been officially retconned from the series canon.

Still, wherever the franchise may have gone in its latter days, it’s worth remembering House Party for what, at its best, it was: a fun snapshot of early ’90s hip-hop, Black teen fashion, and awesome, awesome hair. So go ahead, rediscover these cult classic films. It ain’t gonna hurt nobody.

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Filed under 1990s, film reviews, Full Force, George Clinton, Queen Latifah, TLC

Bootsy At 65: The Funky Bassology Of William Collins

William “Bootsy” Collins represents the key aspect of funk for me. He was the first “bass hero” as it were. As part of the funk process,Larry Graham developed the vocabulary for it all to happen. And it was Bootsy who became in P-Funk what most lead guitarists do in rock bands. His bass was huge and flamboyant. And he made his “space bass” sound and image the start of the show with his Rubber Band,on his own and later with different session work. Of course,the story of how the Cincinnati native found fame through membership in the JB’s is well known. His beginnings with P-Funk are another matter.

Before Bootsy became a major player in the P-Funk arena,Funkadelic were more or less a groove acid rock jam band. And they had a slow,instrumentally raggedy approach. Especially in terms of rhythm. That gave them their uniqueness in the early 70’s. Bootsy arrived for their 1972 album America Eats Its Young. And he brought with his his profound sense of rhythm,and love of the singable melody. His personality shortly became as vital to P-Funk as George Clinton’s. In that way,he was able to change the face of P-Funk in the way he wasn’t as able to do in the strictly structured James Brown camp.

In all honesty,I haven’t yet heard everything that Bootsy has been instrumentally involved in. Especially in the 90’s,a number of musical projects in the Bill Laswell camp were  utilizing Bootsy’s talents to provide the driving groove element to them. Today,I’d like to present to you some of the Bootsy solo/Bootsy related session work that I’m personally aware of. And that are personal favorites of mine. I am excluding his contributions to Parliament and Funkadelic,since that’s an article in and of itself. So here is Andresmusictalk’s rundown of personal Bootsy favorites.


‘Ahh,The Name Is Bootsy,Baby” (1977)

The groove on this song is both super clear and super punishing in terms of the funk. The deep,descending synth bass line alone makes the song. Not to even mention the horns and call/response vocals. Pretty much Bootsy’s defining song while leading the Rubber Band.

“Very Yes” (1978)

This punchy 1978 funk ballad was one I thought was sung by a very whispery female singer at first. Turns out this slow thump’s lead vocals were the work of Robert “P-Nut” Johnson. Just the combination of funkiness and quirkiness make this a very defining Bootsy number for me.

“She Jam” (Almost Bootsy Show)” (1979)

One of the reasons I enjoy this so much is that its a thick,throbbing Bootsy funk groove,as well as being an intricately written pop song. The combination of heavy funk instrumentation and melodic songwriting really make songs like this stand out.

“Its A Musical” (1980)

Bootsy utilizing his trademarked flamboyant,revved up bass style as the basic for every other instrumental and melodic idea of a song came to fruition on songs such as this “Its A Musical” did for Bootsy at the start of the 1980’s what “Bootzilla” and “Roto Rooter” had done a few years before.

“Hyper Space” by Sweat Band (1980)

This particular song by the Bootsy spin off Sweat Band is an instrumental that showcases P-Funk at its most melodically strong. The groove is an intense mix of synth bass,Clavinet and piano. The synthesizer plays a strongly modulating,jazzy theme as the main melodic theme,one the Clavinet also repeats. Some of P-Funk’s strongest music period.

“Shine-O-Mite (Rag Poping’)” (1982)

The bass/guitar interaction and sizzling synth interludes that define this groove make this what is,to me,some of the most slept on P-Funk of the early 80’s.

“Party On Plastic” (1988)

Took Bootsy awhile to make a comeback. But he came back in 1988 with a roar on his What’s Bootsy Doin’ album,a hard hitting electro funk set that is really defined by the sound of this song,its opener. It combines electronic drums,percussion and huge slap bass.

“Love Song” (1988)

Bootsy always had a way with writing funky love songs. On this,he did so in a pounding,ultra melodic Cameo-like funk manner. Always one of my favorite Bootsy numbers.

“Groove Is In The Heart” by Deee Lite (1990)

This funky house jam by the DJ collective Deee-Lite showcases not only Bootsy’s playing and influence. But is also loaded with his attitude and presence. In particular when he comes in saying “ASK YOUR MAMA!”.


So there you have it,my rundown on personal favorite Bootsy jams. There were others that were more defining and influential to other musicians,of course. Still,one of the most important aspects of Bootsy’s talents was being able to make hard funk somehow singable and accessible to people who were not heavily instrumentally inclined. That’s a combination that takes a lot of understanding. And generally a positive attitude. And those are two of the qualities that keep Bootsy’s music moving straight ahead onto where his funk will take him on its next journey.

 

 

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Filed under 1970's, 1980's, Bootsy's Rubber Band, Deee-Lite, elecro funk, Funk Bass, George Clinton, P-Funk, Sweat Band, synth bass

Tales Of Kidd Funkadelic@40: P-Funk Taking It To The People

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Funkadelic not only represented P-Funk’s rockiest side. They also represented their link to the late 60’s psychedelic scene from which it all began for George Clinton and company. Beginning as the backing band for The Parliaments before they shortened their name,Clinton revived the Parliament name in 1974-pursuing a more horn funk style under that name. In a couple of short years,a P-Funk formula of sorts began to emerge as the musicians within it exercised their most distinctive instrumental traits-especially Bootsy Collins and Bernie Worrell. 1976 was the key year for all of this to happen.

Tales of Kidd Funkadelic turned 40 just under a month ago. For me,it represents that transition from Funkadelic representing psychedelia and (as some P-Funk admirers have stated) becoming “Parliament without the horns”. Personally,the summer of 1996 was a time when I was going to Borders Books & Music in Bangor,Maine to purchase the then 2-3 year old Funkadelic CD reissues. I remember picking this particular one up while spending a weekend with my grandparents. It was with a warning I’d in a music guide that Tales Of Kidd Funkadelic was the bands least conceptually unified record.

Today,its to my understanding that the album was made up of material recorded at the same time as Funkadelic’s Capital records debut Hardcore Jollies. But Clinton was contractually obligated to Westbound to deliver them one more album. So lyrically,the songs didn’t follow a concept. What the Westbound label did do was give each side of the original vinyl a certain sense of musical unity. On a personal level,its probably the Funkadelic album I’ve returned to more over the years. And perhaps its the way its assembled that draws me to it so much.

“Butt-to-Butt Resuscitation” and “Let’s Take It To The People” could both be described as heavy funk/rock hybrids. At the same time,the emphasis is still on the stronger rhythmic complexity Funkadelic were developing. “Undisco Kidd” stuck out instantly because,from the bass to the vocal rap,it drips of Bootsy’s musical personality. It actually reminds me of something from Parliament’s Mothership Connection-especially with Worrell’s orchestral synth. “Take Your Dead Ass Home” is a thick bass/guitar built number with a really humorous take on 3rd and 4th base making out.

The second half of the album is another matter entirely. “I’m Never Gonna Tell It” is a P-Funk style mid tempo soul ballad-later re-done by Phillipe Wynn after he joined P-Funk. The title song of the album is a 12+ magnum opus centered on Bernie Worrell’s classically inclined jazz/funk cinematically orchestrated melodies. “How Do Yeaw View You” is actually one of my favorite songs on this album. Its a very rhetorically reflective song that has a slight reggae funk overtone. That essentially rounds this part of the album as being its “slower side”.

From the first song to the eighth, Tales Of Kidd Funkadelic stands to me as a model for funk albums released to fulfill a contract. Clinton offered Westbound songs that were not only solid and complete. But in my opinion,they were also funk jams that held together in terms of the sheer quality of song. If any of these songs had been singled out to lead off a fully conceptualized P-Funk album,they’d probably have all been amazing. As it is,its hard to hear that these songs are outtakes. So on its 40th anniversary,the most important thing to say about this album is that represented P-Funk’s major transition in the 70’s.

 

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Filed under 1976, Bernie Worrell, Bootsy Collins, classic albums, classic funk, Funk Bass, funk rock, Funkadelic, George Clinton, P-Funk, synthesizers, Tales Of Kidd Funkadelic

George Clinton: Computer Games & Some Of His Best Jokes

George Clinton Album

George Clinton,at age 74 is among the final two principle architects of funk left alive. The other being Sly Stone. It was through his music,among others,that inaugurated me into the wondrous world of musical funkiness when I was a teenager. And that’s probably true for many people within a decade or so of my age. Clinton was the major funk innovator for the baby boomer up through the millennial generation. After a decade of leading the mammoth P-Funk ensemble,George Clinton introduced his music in a solo context in 1982. Here are two reviews of his first and second solo albums-from 1982 and 1985.


Computer Games (1982)

During the first five years of me getting into P-Funk? Part of my ever continuing education on the subject was the understanding of internal connectivity. When most people think of George Clinton? Motherships and clones might come to mind. Somehow the term I associate with him is atomic. An atomic detonation comes from a chain reaction of split atoms.

Originally from one source but,when unleashed,create a powerful burst of energy. That describes P-Funk extremely well to me: the forces of it are many,and ALWAYS behind it’s musical might. So this is not Parliament,Funkadelic or even P-Funk All Stars we’re talking about here. This is George Clinton. Yet Bootsy,Junie,Gary Shider,Fred Wesley are all still here on this 1982 debut of the man now recording under his own name. And as always? He had a lot to say,in his own kind of way.

“Get Dressed” is something of a “star is born” type setup to begin the album with it’s thick,bass heavy stomp with the Horny Horns really getting going with Junie’s funky stride piano for a classic call and response P-Funk jam. “Man’s Best Friend/Loopzilla” is a 12+ minute groove that…well as I told my friend Henrique? Could easily write an entire book chapter on this one song.

It begins with an electronic extension of “(Not Just) Knee Deep” basically. Than it goes directly into this stripped down,early hip-hop type pulse that lyrically references classic Motown to Sir Nose himself. “Pot Sharing Tots” combines reggae and jazzy electric piano for a very insinuating type of melody. The title song combines a scintillating rock solo on the choruses and a funkier rhythm guitar on the refrains.

“Atomic Dog” is the song this album is most remembered for-with it’s double live/backward looped drum machine rhythm and jagged bass synths with it’s bubblin bluesy  melody and iconic singalong choruses of the title and “bow wow wow/yippy yo/yippy yay”. “Free Alternations” is basically a new wave pop/soul re-imaging of the early Detroit R&B sound. “One Fun At A Time” is a sleek pop funk/bubbling bass synthesized fueled ode to romantic commitment.

At least three of these songs follow a conceptual thread of their own-seemingly about the hero’s journey of a player. Yet the concept of funk as a musically fissionable force is explored not only through the lyrics,but the music. Everything from bass,drums, guitar, keyboards and horns bubble up bigger perhaps than anything in P-Funk that came before. It was not only Clinton’s own debut. But the debut for the 80’s variant of P-Funk itself.

Some Of My Best Jokes Are Friends/1985

One of the things that I’ve learned over the years is the potency of P-Funk during the 1980’s. It was a musical organization that was still touring,still recording music and still maintaining a loyal fan base even when the societal odds were rather against what it stood for. And even with that? Some of the most challenging music from the band was being created during time time as well.

Difference was it was mainly being channeled through George Clinton albums where his personality was the central focus. But all the elements of the band were there. In this cast of musical characters we have future Living Color member Doug Wimbish and new wave/funk hit maker Thomas Dolby along for the ride. And it’s one that deserves to be taken more than once.

“Double Oh-Oh” is an electrified march extenuated by very Minneapolis style synthesized horns and female choir vocals. “Bullet Proof” is intense industrial funk-layer upon layer of bass synth combined with high pitched,laser like electronics and that Arabic type melody used in a lot of dance music of that era.

“Pleasures Of Exhaustion (Do It ‘Til You Drop)” is a long,extended jam with a jagged rhythm with both synthesized and electric slap bass accents-along with flutes. “Bodyguard” is a piano,drum and keyboard led dance/funk jam while “Bangladesh” is a slow,doo wop styled ballad. “Thrashin'”,featuring Dolby and the closing title song are both live bass//guitar and horn based P-Funk that only leaves in the contemporary drum machine for the electronic element.

Very much like it’s predecessor? This album ushered P-Funk into the fully electro funk edge. There’s no irony lost on me there since the band were even in their 70’s heyday pioneers of that sub-genre of funk-with Bernie Worrell’s “video game” style synthesizers. Conceptually this album is probably one of Clinton’s most important in the 80’s. It’s apparent that the Reagan era of SDI and the final days of the Cold War were proving fertile ground for his lyricism.

Again the metaphor of the atomic chain reaction is an important part of this album. But is used to make important points about how Clinton’s “pimping of the pleasure principle” prediction seemed to be coming true before his eyes. Yet both musically AND lyrically? He understood that black America had basic human feelings too. And were in the mind to demand another,better way to live. An album that’s a lot funkier and more significant in it’s day than one might think it to be.


Of course George Clinton’s solo debut Computer Games is now pretty much revered as a classic album. The reason why I included Some Of My Best Jokes Are Friends along with this album is that both of them represent an important transition in the focus of Clinton’s musical conception. On these albums,P-Funk met an electronic sound beyond even what it had already helped to bring to the funk genre. And of course George’s sociopolitical commentary never moved an inch either. So with Bernie Worrell now gone,we can only hope George is around long enough to give up just a little more funk.

 

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Filed under 1980's, Amazon.com, Atomic Dog, Bernie Worrell, Bootsy Collins, elecro funk, George Clinton, message songs, Music Reviewing, P-Funk, synth funk, Walter Junie Morrison

Andre’s Amazon Archive: ‘Aquemini’ by OutKast

Aquemini

 

Now coming a decade after Public Enemy’s It Takes a Nation of Millions this album not only arrived as OutKast’s third effort but in a time when the sample-centric mentality was still a mainstay in hip-hop. Sometimes it was interesting,sometimes fun and sometimes it was just a yawn if done in an overly predictable way. One thing a friend pointed out to me,which I should’ve guessed looking at the liner notes was this album was a direct byproduct of an era when bands such as The Roots were really talking hip-hop music into a more instrumental than a sample/scratch oriented context.

What’s unique about this is how the Organized Noize crew who put the music on this album together. Especially towards the end of this album layored jazz/soul/funk songs such as “SpottieOttieDopaliscious”,the late 70’s synth/dance/funk polyrhythmic style of “Da Art Of Storytellin Part 1” and the rhythmically complex “Liberation”,featuring vocals by Cee Lo later of Gnarls Barkley fame all have a sound that could easily make one believe they’re built on samples but they aren’t;the music is 100% organic and very much rooted in the 70’s as well as contemporary and futurist as well.

This makes a lot of sense considering Dre and Big Boi’s state of mind at the time. Both spend most of this album trading rhymes and licks at a lightening pace all regarding the correlation of cultural standards from the more Afrocentric,revolutionary 70’s culture towards the more aggressive and uncertain atmosphere on the 90’s. Tunes such as “West Savannah”,”Hold On Be Strong”,”Return Of The G” and the infamous “Rosa Parks” (apparently with the lady herself taking a certain exception to her name being used) all pull these ideas together.

It blends tales for the nostalgia of this pairs youth with the reality of drugs,romantic abandonment,dysfunction and search for hope that linked both the earlier and modern era together. Sometimes,especially in the case of Big Boi the language used may be somewhat tart for hip-hop’s detractors but if you hear past that to WHAT is being said as opposed to how it’s BEING said there’s an important story told. “Synthesizer”,featuring George Clinton and the closer “Chonkyfire” both bring together both aspects of this album together in a great way.

It’s that somewhat more retro 70’s musical aspect as well as the slower,almost G funk,live instrumental variation on the old Bomb Squad soundscape style up front. This also clues you in to the fact OutKast are more than willing to transend generational barriers with their music:the chorus are beginning to feature the Leroy Sugarfoot Bonner styled drawled vocals from Andre’ that would define albums from Stankonia and the subject matter of their raps have become significantly broader. No two OutKast albums are particularly alike and many are more or less hip-hop oriented than others. This favors a period where they’ve found the middle ground and thankfully for us received a lot of well deserved respect for their efforts.

Originally posted on September 24th,2010

LINK TO ORIGINAL REVIEW HERE!

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Filed under 1998, Andre 3000, Big Boi, Cee Lo Green, dance funk, G Funk, George Clinton, Organized Noize, OutKast, Southern hip-hop

Purple Funk: The Wonderful World Of Prince’s Spin-Off Acts

OLYMPUS DIGITAL CAMERA

Prince had a very strong influence and popular acclaim in advancing the Minneapolis sound before the 1980’s even came in. At the same time,it was actually a very collaborative effort from the get go. From mid 70’s bands such as Flyte Tyme,Champagne and Pepe Willie’s 94 East onward,there were plenty of musicians in the twin cities hungry to lay down a new kind of funky groove. When Prince began lining up his roaster of acts first under the Starr Company then on his custom label Paisley Park,this ethic took on a whole other dimension.

There were many spin off acts from the Minneapolis music scene of the early/mid 1980’s. They stemmed from the Revolution,The Time and other people who had been involved with the concert scene at the major twin city hot spot First Avenue. Now there are a number of these spin offs I don’t yet have access to. So this may be a multi part concept. For now however,here’s a list of some of the key acts outside of Prince’s own recorded repertoire who played an important part in advancing the “purple funk” sound of Minneapolis as it was at it’s most active point.

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Prince’s first recordings in the mid 70’s with his cousin’s ex husband Pepe Willie. While this was a full band effort with only a small level of participation by Prince,it was remixed and released in 1985 on vinyl (and CD two years later) to fit in more with the synth brass heavy Minneapolis sound these rough jams grew into. Highlights are the live band grooves of “If You Feel Like Dancin”,the ultra funky breakdown of “Games” and the catchy “Just Another Sucker”. It really showcased an artist not yet ready to emerge on his own as a major musical power,but rather acting as a band member of some note.

Vanity 6

Prince turned the classic girl group image on it’s head with the Vanity 6. Featuring three vampish ladies in ex musician Brenda Bennett,his girlfriend Susan Moonsie and the provocative Vanity herself, this album showcased a stripped down,new wave based sound. The musical highlights are the Afro-Latin electro rhythms of “Nasty Girl”,key to the production style of Pharrell Williams today as well as the ultra funky “If A Girl Answers (Don’t Hang Up)”.

What Time Is It

The Time’s sophomore album showcased how much the band lead by Prince’s old school chum (and one time drummer) Morris Day had the strong potential to step right up front alongside Prince as Minneapolis funk royalty. Actually one of the most powerful new funk albums of it’s era,”777-9311″ showcased just how strongly percussive the Linn Drum could be in Prince’s hand while “Wild and Loose” and “The Walk” showcased the “original 7’s” groove power actually is in terms of driving the one right home!apollonia-6-album-cover

Vanity  6 were rechristened Apollonia 6 when Patricia “Apollonia” Kotero ended up replacing Vanity as Prince’s leading lady in the film Purple Rain. The album basically copies the formula of it’s predecessor. And Apollonia sounds like a literal Vanity stand in on most of her vocal leads-including the major hit in the hyper-kinetic single “Sex Shooter”. My personal two favorite number are sung by Brenda in the pounding “Blue Limousine” and the ultra groove bluesy funk thump of “Some Kind Of Lover”.

Sheila Escovedo had gone from George Duke’s late 70’s band to playing with Narada Michael Walden just before this Bay Area percussion veteran bought her heavily timbale based sound to the Minneapolis sound in 1984 on her Prince collaboration on the amazing Latin-funk of “The Glamorous Life”. Highlights of her debut solo album in addition to that are the funky instrumental “Strawberry Shortcake” and the slinky “Oliver’s House”. Her followup Romance 1600 was a jazzier big band flavor with swinging numbers like “Yellow”. The major funk highlight of that album is the phat Prince penned groove of “A Love Bizarre”.

The Family

The Family were a short lived spin off of The Time. Featuring Jerome Benton and introducing sax player Eric Leads,the lead singers were The Time’s Paul Peterson and Wendy Melvoin’s twin sister (and then Prince’s girlfriend” Susannah.  The album introduces the jazzier and more cinematic sound Prince was going for during the mid 80’s. It contained two huge funk monsters in the thick “High Fashion” and “Mutiny”. Not to mention the cinematic soul masterpiece of “The Screams Of Passion”.

Mazarati

Produced by the Revolution’s Brown Mark,Mazarati were the band who also got Prince’s massive hit “Kiss” until he realized it’s potential and decided to take it back. He did gift Mazarati the ultra funky “100 MPH”. Considering this album threw down thick jams such as “Players Ball”,”Stroke”and “Suzy”, this 1986 debut for the band is one that should’ve catapulted this talented,funky band a lot higher than it did.

These very obscure 1987 releases showcase Prince leading a jazz-funk fusion group featuring Eric Leeds and Sheila E’s band of the time. The titles of the two albums songs are sequential. The first of the albums is the jazzier of the two,while the second is built around gurgling instrumental funk including Prince’s early use of sampling-with parts from the first two Godfather films added to the mix.

Gold Nigga

Perhaps anticipating the demise of Paisley Park later in 1993,Prince did for his band the New Power Generation what he didn’t manage to accomplish with the Revolution: record an entire album on them with himself as producer. And on their own self named record label no less.  Due to his infamous battle with Warner Bros. during this time,the lyrics follow a concept of the NPG making mock phone calls to the label about regarding more creative freedom. And with hardcore JB’s style funk jams such as “Deuce A Quarter”,”Johnny” and “Call The Law”,this reflects a new type of “people music” as it were that stands with Prince’s railing against creative oppression.

Hey Man Smell My Finger

This second George Clinton release for the Paisley Park label from October of 1993 featured a production update that showcased how much of an impact P-Funk’s “video game” synthesizer style was having on the G-Funk end of hip-hop at the time. Prince himself contributed the house style dance number “The Big Pump” to the album. Even though it was released just before Paisley Park folded,it showcased Prince’s deep respect for the music icons that inspired what he had been doing.

An artists impact is usually felt most fully by their influence upon others. Even during the period where Prince’s peak years were starting to wane,new distribution projects such as the 1-800-NEW-FUNK number and his early websites allowed for more spin off’s from Paisley Park to be made available for the people. Due to the come and go nature of some of these mediums,a lot of these side projects are very rare now. But they were worth seeking out in order to understand just how broad reaching Prince and his protege’s musical vision actually was.

 

 

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Filed under 1980's, 94 East, Apollonia, Brenda Bennett, cinematic soul, electro funk, Eric Leeds, George Clinton, jazz funk, Jerome Benton, Linn Drum, Madhouse, Mazarati, Minneapolis, Minneapolis Sound, Morris Day, New Powe Generation, NPG Records, P-Funk, Pepe Willie, Prince, Prince & The Revolution, Sheila E., Susannah Melvoin, The Time, Vanity

Anatomy of THE Groove: “Funkentelechy” by Parliament

Not long ago,I learned that Parliament’s iconic 1977 album Funkentetelechy Vs. The Placebo Syndrome is turning 39 today. This album was extremely important in the P-Funk lexicon. It introduced some key concepts within such as the placebo syndrome. This reduced down to saying if you faked the funk,your nose would grow. It also introduced the character of Sir Nose D’Voidoffunk,the physical embodiment of George Clinton’s statement on the debut Funkadelic album seven years prior to this that “I was cool,but I had no groove”. Parliaments mid/late 70’s albums each extended on the theatrical structure of Clinton’s musical concept.  This one perhaps in at least two very significant ways.

When I first heard the album about twenty years ago,I wasn’t particularly impressed. The presence of slower ballad numbers such as “Wizard Of Finance” and the (as I know understand it funkier) “Placebo Syndrome” didn’t endear me much to this album as it’s most powerful songs seemed to be on the Tear The Roof Off compilation Parliament had out at the time. When I finally picked up the album on CD several years ago,there’d been years of experience with P-Funk experience in terms of albums to fully appreciate what this was. It contained the massively influential “Flashlight” of course. But probably the one song here that really advances it’s entire concept is the title song.

“Funkentelechy” has two distinct sections within ten minutes. The first one is built around the two constants that both sections have in common. One is a big drum beat that comes down heavy on the one and the close harmony African highlife style horn charts. It also has faster,more JB style horns and Junie Morrison playing what my friend Henrique referred to as a chromatic walkdown on piano. Bootsy’s duck face bass,which pops in and out of the mix with the low rhythm guitar on the first part, becomes consistently integral on the second half of the song. This half is more downbeat melodically and is based more on the harmonic horns and close vocal choruses. And this is where the song fades out on.

In a similar manner to the title song for the Mothership Connection,this song seems like two different musical themes put together. Though in this case,this is done more melodically than rhythmically as the one remains constant. Thematically it’s a commercial for funk as a musical/social ethic. Clinton introduces lyrical parodies on American commercial slogans such as “how do you spell relief?” and ‘fasten your safety belt”. Most importantly though he points out that “funk is not domestically produced”-perhaps pointing to the genre (and this songs) African origins in rhythm.  Both instrumentally and lyrically,this song goes really far in explaining why funk was no longer a bad word.

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Filed under 1970's, African highlife music, Afro Funk, Bootsy Collins, chromatic walkdown, drums, Funk Bass, George Clinton, horns, P-Funk, Parliament, piano, rhythm guitar, Uncategorized, Walter Junie Morrison

Anatomy of THE Groove: “Woo Together” by Bernie Worrell

Bernie Worrell is turning 72 today. He was part of P-Funk from it’s earliest inception-being entrenched as a member of Funkadelic when they were still the instrumental backing band for George Clinton’s doo-wop group The Parliaments. This child prodigy from Plainsfield,New Jersey was of course writing a piano concerto by 8 years old. And went onto study music at Julliard and the New England School Of Music. As grim as this sounds,Worrell is still battling stage 4 lung cancer. So there’s no telling how long he’ll be with us. While I’ve covered his work as a member of Funkadelic,his solo career is a key aspect of his career.

When Worrell introduced his thundering minimoog bass to Parliament’s highly successful groove “Flashlight” in 1977,he basically wrote the blueprint for the synth/electro funk sound that would emerge in the decade to come. By the time that song really broke out,P-Funk began sprawling into a number of spin off groups and soloists. And Worrell decided to make a contribution of his own to the burgeoning outgrowths of P-Funk. The result was his first solo album entitled  All The Woo In The World. The entire group of P-Funk musicians from George Clinton himself,Bootsy,Mudbone,Gary Shider,Billy Bass Nelson,Fred and Maceo were all involved-including the opening number “Woo Together”.

Worrell’s Clavinet opens the song as part of a thick,cinematic intro along with the phat,squawking bass and low rhythm guitar. These are accented by the string arrangements of Dave Van De Pitte. The main thrust of the song is a bluesy groove where the strings keep on playing along with the bass line along with Clavinet and the ever present backing vocals of George,Bootsy,Junie and the Brides Of Funkenstein. There are also several instrumental bridges throughout the song that buttress each chorus and refrain exchange. These feature the strings playing call and response style along with Worrell’s Clavinet. The refrain is where the groove officially fades.

As a whole the P-Funk sound was pretty unique. In his autobiography George Clinton mused that many in the music industry were concerned he was creating another Motown on the terms of mostly black musicians. One thing he did take from that record labels approach was being able to add the touches of individual artists to a distinct instrumental approach. And Bernie Worrell’s debut certainly begins with that ethic. The strings of Dave Van De Pitte act in the same fashion that Fred and Maceo’s Horny Horns normally would-dancing directly by the beat of the rhythm section. Therefore Worrell was able to revive his own type of cinematic soul within the heavy P-Funk instrumental spectrum.

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Filed under 1970's, Bernie Worrell, Bootsy Collins, cinematic soul, clavinet, Dave Van De Pitte, Funk, Funk Bass, George Clinton, P-Funk, strings, Walter Junie Morrison

Anatomy of THE Groove: “If You Got Funk,You Got Style” by Funkadelic

Bernie Worrell,P-Funk’s premier keyboard maestro was revealed a week ago to be living with stage 4 prostate cancer. With every major celebrity death of the new year having to do with some variation of this disease,it felt right to celebrate Bernie’s enormous musical contributions while he is still living. And that is also a key element of his talents as well. As a New England Conservatory Of Music and Julliard student who became drawn to the burgeoning sound of funk, he was able to bring his European classic training to the P-Funk mob just as the genre itself was in a crucial state of evolution. This made him key in the development of P-Funk’s first well known side.

Unsure if it was because they’d just moved from Westbound or not, but have always held mixed feelings for Funkadelic’s 1976 Capitol Records debut entitled Hardcore Jollies. Never seemed like an album that knew what it wanted to be: an exercise in funky serenity or the rock noisemaker. And the two musical elements were not particularly hybridized on this album. But of course the funk that was present was some of the strongest P-Funk ever made. Somehow it just occurred to me that this is the first time I’ve ever reviewed a Funkadelic jam on this blog. So now I’d like to present to you now one of the most powerful manifesto’s for the genre itself,”If You’ve Got Funk,You’ve Got Style”.

This is one those examples of funk that gets a stone cold start without any buildup or intro. And that’s great because it’s a heavy Brazilian jazz/funk drum provides the foundation for Bootsy Collins’ always intense duck face bass thump combined with multiple keyboard parts from Bernie. One of them is a high pitched,modulation filtered melodic line and the other is a thick Moog bass line. On the choruses, that higher keyboard line basically scales down with George Clinton’s vocal hook. On the rest of the songs refrains, the beginning theme of the groove is accentuated by some of the most powerful and ringing percussion parts I’ve ever heard on a funk number.

Funkadelic tended to be the side of P-Funk who had the most instrumental flexibility and adaptability. Especially early on even, their music didn’t particularly sound like funk at all as much as psychedelic bluesy rock grooves. By this time however,they’d locked the rhythm down a lot tighter and really allowed for the expansion of the one. What’s amazing is the the spot on ideal funk groove presented here dovetails right into the lyrical content. The basic ideas is “if you got funk,you got class/your out on the floor moving your ass”. So the more literal expression of the ideas that would shortly go into Sir Nose Devoidoffunk and the Bop Gun. This explicit statement of the funk is,for me anyway what gives the song and it’s accompanying album all of it’s musical might.

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Filed under 1970's, Bernie Worrell, Bootsy Collins, Capitol Records, drums, Funk, Funkadelic, George Clinton, keyboards, P-Funk, Uncategorized

Anatomy Of THE Groove for 12/11/2015: “Let It Ride” by Jermaine Jackson

I’ve over-viewed Jermaine Jackson’s music here before. Still,the man made some seriously funky albums from the mid 70’s up through the early 80’s. For being a key instrumentalist as the bass player of the Jackson 5? Continue to find it interesting how I had to discover Jermaine’s rather hefty discography not from literature, but purely from my own renowned crate digging in the 99 cent vinyl bins of Maine record stores. The vinyl was usually pretty beat up. And most of them were DJ copies with stickers on the lower front cover. But the musical content never ceased to excite me and get my mind wandering.

One of the latter albums I discovered in this way was a 1978 album called Frontiers. At this point? The only music I had by Jermaine came via an older CD compilation entitled Greatest Hits & Rare Classics. While it was unique in presenting a lot of album tracks? They weren’t in chronological order,nor labeled by album or year. So it wet the appetite for more of his music with me. Not to mention a rough guide for seeking out his full albums via familiar song titles. The opening track on this Frontiers  made an immediate impact on me,and it’s title “Let It Ride” actually said it all in terms of the music.

Jermaine opens the song with brushing high hats and two accompanying bass lines. The main line is a thick,hard grooving one and that is punctuated by the second-a quaking  Bootsy style “duck face bass”. This intro also showcases a high pitched,processed electric piano before the descending main bass line goes into the horn chart that opens the first refrain of the song. This maintains the basic instrumental flavors of the intro with a harder drum sound. The first chorus of the song goes into an one the one rhythm guitar,while the second refrain and chorus add harmonic horn charts-with a like minded sax solo on a bridge before a final chorus.

Having listened to a lot of Jermaine’s music over the years? This is one of the funkiest numbers he’s ever done. It showcases how much the older Jackson brothers,while in their teens,were inspired by George Clinton’s P-Funk. Especially with the powerful double bass attack that defines the groove itself. Jermaine also has a sizzling lyrical flair on this as well. Even asserting to his lover in the songs chorus “I don’t care what you do/just don’t mess with the groove/just let it ride”.  I truly appreciate Jermaine’s embrace of hard funk as a key bass player. And this is one of the finest examples of that in his catalog.

 

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Filed under 1970's, Bootsy Collins, crate digging, Funk, Funk Bass, funk guitar, George Clinton, Jermaine Jackson, Motown, Record Stores, Vinyl