All The Woo In The World is an album I have an interesting personal history with. It first came to my attention as a budget priced import CD my father (regretfully) gave the slip to in the late 1990’s. I finally got a hold of a reissue for Black Friday’s Record Store Day of 2017-one with translucent orange vinyl. Bernie Worrell was the living embodiment of how his European classical training at Julliard didn’t solely represent the most advanced American musical forms. My main inner question was what would Worrell’s 1978 debut album bring to the P-Funk musical cannon as it reached its peak?
“Woo Together” has a heavy cinematic soul intro-full of layered wah wah guitar and melodic string arrangements from Dave Van De Pitte-with members of Parlet and Brides Of Funkenstein singing harmony with Worrell throughout the rest of the mid 70’s Parliament era groove. “I’ll Be With You” showcases a melodic harmony based number-with a lot of processed instrumentation and jazzy chord changes based around that classic P-Funk acoustic and electric piano walk down. The acoustic piano solo on the last part has some similarities to Ramsey Lewis’s style of playing in this same era.
“Hold On” is a rhythmically theatrical, almost marching kind of Philly soul ballad kind of song. Its a showcase for both Fred Wesley’s trombone and Worrell’s “8 bit video game” style of high pitched synthesizer melodies. “Must Thrust” starts out a conversation with a Sir Nose sounding voice as well as Bootsy’s. And then launches right into a stomping blues/rocker with a stinging guitar solo along with Worrell’s piano and synth- with a number of vocal ad libs from both Bootsy and Worrell in the back round of the song. The harmony vocals, as on much classic P Funk, tends to take the lead end.
“Happy To Have (Happiness On Our Side)” has a compelling reggae shuffle/cinematic funk hybrid. Rodney Skeet Curtis, from what I can gather, comes in with a very jazzy bass to compliment Billy Bass Nelson’s rhythmic slapping. “Insurance Man For The Funk” brings in vocal assistance from Dr. Funkenstein himself. And its a classic late 70’s mid tempo P-Funk number in every possible respect-with its horn charts and and doo wop inspired vocal harmonies. With Worrell’s “video game” synth duetting with Maceo Parker’s sax. A reprise of “Must Thrust” concludes the album.
All The Woo In The World is representative to me of P-Funk at a logistical crossroads. George Clinton and company were trying to maintain a growing musical colony of different bands-all the while starting to focus on solo acts as well. So the album seemed to span the two end of P-Funk in 1978. Bernie Worrell’s musical focus here is also a lot more jazzy and orchestrated. Its only when George Clinton enters the picture that it sounds rather like mid/late 70’s , horn driven Parliament style P-Funk. Which was often the sound Clinton preferred for presenting his spin off acts with at that time.
Worrell also presented himself with a cracking, often high pitched voice that resembled Sly Stone across much of this album. So it offered a unique lead vocal flavor in much the same way Gary Mudbone Cooper and Walter Junie Morrison were. In the end, my own view of All The Woo In The World combines two different views I’ve already heard about it. Bernie Worrell gave much of the music a unique and colorful instrumental flavor.. At the same time, it wasn’t all that it could have been either. Still All The Woo In The World remains a distinctive album in the pantheon of late 70’s P-Funk side projects.
How many times have I heard how important the Funkentelechy vs. the Placebo Syndrome album was? And how many times have I walked passed this album? Even to the point of buying the CD and (at first) returning it because I felt the sound quality was bad? Funkentelechy has the distinction of being both a transitional P-Funk album-as well as a transitional for Parliament on its own. Before this album, Parliament was largely built around it’s horn/rhythm section rather then layers of keyboard/guitar solos. That element is a key part of this album as well with of course “Bop Gun” and the title song.
From there, things get even more interesting very fast. “Sir Nose D’Voidoffunk” not only serves to introduce an important P-Funk character conception to the scene but also the kind of tune that builds from the ground up into a Clinton style variation of “Three Blind Mice”. Thematically this album is a lot different than Mothership Connection. Whereas that albums concept was fairly implicit the band apparently had decided at this juncture that few were getting the point so the Sir Nose character and the story they built around him said it all.
Sir Nose’s story was that the sense of funk in music was being replaced by the “placebo syndrome”. And that it was spilling into areas outside music too. Unusually enough, there are two songs here that seem to have to do with P-Funk’s new music. While conceptually “Wizard Of Finance” and “Placebo Syndrome” are right in tune with the album, and are full of Clinton’s renowned wit, they connect more musically with his past-with their shuffling doo-wop sound. As with everything else on this album it’s Bootsy who carries this album along with the vocal harmonies and horns as usual.
Of course, the album ends with both eyes on the future with one of the bands best known numbers “Flashlight”. Thanks largely to the late Bernie Worrell’s layers of bass synthesizer, the song showcases the sound most people will tend to think of in terms of P-Funk;rhythmically dense,relatively mid tempo and very electronic. It’s the P-Funk sound that would define Parliament to the end. While Funkentelechy vs. the Placebo Syndrome may not be quite as defining musically as some other Parliament albums due to its transitional nature, it does its job on that end in terms of conceptual realization.
The clean transition from James Brown to George Clinton’s P-Funk all comes down to Fred Wesley and Maceo Parker. These were two totally different approaches to funk. JB laid down the groundwork. P-Funk, while more psychedelic in the beginning, took over where Sly Stone left off by the mid 70’s in terms of embellishing JB’s basic structure for the music. It was the horns that really did a lot of this of course. And George Clinton knew that. And in 1977 he gave that end of P-Funk its own identity with A Blow For Me,A Toot For You. Here’s my Amazon.com review that goes further into what it was musically.
As probably the most significant horn section in all of funk? The band that Maceo Parker and Fred Wesley led had a lot of different names. They were the JB’s,they were All The King’s Men,they were The Macks and eventually a part of the funky heartbeat in the nervous system of George Clinton’s P-Funk during the mid 70’s. After working as part of Bootsy’s Rubber Band,George decided that the already iconic Maceo and Fred needed a P-Funk era album of their own. And in 1977 they got their chance.
“Up From The Downstroke” is presented here as an extended stripped down variation of Parliament’s original where the collective horn charts interact call and response style to the horn solos. The title song slows the tempo right into the groove with the horns responding directly to Bernie Worrell’s orchestral synthesizer. “When In Doubt,Vamp” finds the horns all playing rhythmically in classic James Brown style.
“Between The Sheets” finds the horns intertwined into a thick mixture of reverbed, liquefied bounding bass and rhythm guitar/keyboard interaction while “Four Play” begins with a singled out funky drum before going into a jazzy rhythm guitar led jam. “Peace Fugue” ends the album with the electric piano tinged ballad that closes it all out with a more melodic style of trumpet solo.
During the time I first listened to this on vinyl? Something about the album lacked some of the rhythmic sauciness and vigor that I was used to hearing out of P-Funk at that particular time. Listening to the vinyl again over a decade later? I realize just how important this album had been in showcasing how musically clean,spit and polished the P-Funk sound actually was during the peak of it’s powers.
Maceo and Fred’s expert horn solos and interactions are explored in ultra sleek productions where time was taken in the studio rather than the often hit and run recording sessions James Brown had often done. This became a model for some of the later studio works of these musicians after they departed from P-Funk. And is a superb example of George Clinton and Bootsy Collins’ prowess as studio producers.
Back when I was first getting into P-Funk,it was during a crate digging experience that I located this album on vinyl In all honesty, it is not as powerfully innovative as Mothership Connection or Ahh The Name Is Bootsy Baby. In a way, that was kind of the point. P-Funk began as a somewhat instrumentally undisciplined psychedelic rock and soul outfit. And the discipline that JB alumni such as Fred,Maceo and Bootsy (mainstays of the Horny Horns) brought their blend of controlled chaos to make sense of P-Funk’s intent. On that level, this album is a crucial stepping stone for P-Funk’s late 70’s peak.
Johnnie Taylor has been a consistent conversation point between Henrique Hopkins and myself. And it was always in reference to him being a 60′ era soul singer who recorded and did consistently well with audiences up through the mid 90’s. The West Memphis, Arkansas native got his start as Sam Cooke’s replacement in the gospel group The Soul Stirrers. In 1965, Taylor signed to Stax records. He became one of the labels major stars,leading to his nickname as “The Philosopher Of Soul”. After Stax folded in the mid 70’s,Taylor signed with Columbia-where he remained for nearly a decade after that.
Johnnie Taylor is also one of those artists who I knew about long before even knowing his name. That was from dancing around as a pre-teen to his major pop Top 10 crossover funky soul hit “Who’s Makin’ Love” from 1970-hearing it on oldies radio all the time. In fact,that was a song I almost reviewed today. But there’s another song of his that came out half a decade later of his. One that Nelson George described the success of so wonderfully in his book The Death Of Rhythm & Blues. And musically,it has a surprising twist for me that I’ll get into after describing it. The name of this song was “Disco Lady”.
The drums kick right off into a slightly delayed 4/4 dance beat,accented by shaking bells. A high pitched melody on electric piano opens up the melody,which is accentuated by an equally melodic eight note bass line and a pulsing wah wah guitar. On each part of Taylor’s chorus,the horns accent his vocals in different ways. Sometimes with hard pulses,other times with a building sustain. On the bridge,the rhythm becomes a bouncing march before it melodically builds back into itself-complete with fanfaring horn charts and rubbery keyboards. The refrain repeats itself consistently until the song fades out.
“Disco Lady” is actually one of those fairly stripped down disco era funk songs where the instrumentation and the vocals are both designed for a slinky,sneaky attitude as opposed to a raucous one. As for that surprising twist I mentioned,it became known to me years ago that Taylor was backed up by P-Funk musicians on this song. Bassist Bootsy Collins, the late guitarist Glenn Goins and keyboard maestro Bernie Worrell and drummer Jerome Brailey play on the song. Along with backup vocals by Dawn’s (as in Tony Orlando) Telma Hopkins singing the backup vocals singing the chorus.
This song doesn’t exactly have the sound I would ever associate with P-Funk. And certainly not Tony Orlando & Dawn. But its songs such as this that have the power to help people understand how musicians function. If someone reads the liner notes to albums and look for names online,they’ll often find out that the best musicians in the funk,soul and jazz world especially have an expert sense of musical diversity. They know how to give a song what it needs-whether its based more on singers or instruments. And at least to me,that ethic is one of the major contributions of “Disco Lady”.
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.
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 Bernard Worrell was playing concertos at age 8,went to Julliard and the New England Conservatory Of Music and was a founding member of P-Funk. He wound up working with Bill Laswell,Fela Kuti and was a member of the expanded Talking Heads in the early 1980’s. He died today of stage four lung cancer at age 72. The man was truly a musical genius who actually created whole new layers of solo and orchestral sounds on different keyboards. Here’s what I feel are some of his most powerful moments. I have nothing more to say. Listen and dance to the music!
“Tales Of Kidd Funkadelic”/1976
“When Bernie Speaks”/2004
-Bernie you WILL be missed. Again,rest in P!
Filed under 2016, Bernie Worrell, classic funk, Funk, Funkadelic, Julliard, keyboards, New England Conservatory Of Music, P-Funk, Parliament, synthesizers
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.
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
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.
Filed under 1970's, Bernie Worrell, Bootsy Collins, Capitol Records, drums, Funk, Funkadelic, George Clinton, keyboards, P-Funk, Uncategorized