Tag Archives: George Clinton

A Blow For Me,A Happy 40 Years For You: The Album Where Fred, Maceo And P-Funk Officially Met At Their Crossroads

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.

 

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Anatomy of THE Groove: “Bop Gun (One Nation) by Ice Cube & George Clinton

O’Shea Jackson Sr, better known as Ice Cube, had hip-hop on his mind ever since he was a teenager growing up in South Central LA. After seeing the movie Straight Outta Compton,got to wonder if the man was inspired by listening to piles of 70’s funk,soul and jazz records. After being involved in many rap battles,he soon took some demos to the late Eazy E at age 16. And the rest was history. Cube went from being involved with gangsta rap icons NWA in the late 80’s to a vital solo career by the end of the decade. The first of which is now also iconic album entitled Amerikka’s Most Wanted from 1989.

He began an acting career parallel to his solo career in 1991 with a part in the now iconic Boyz N The Hood. Five years later,he co-starred in the comedy Friday. In 1992 he married Kimberly Woodruff and eventually became a father of four. His eldest son O’Shea Jr portrayed his father in NWA’s aforementioned biopic. In between these events,Cube released his fourth album Lethal Injection. In included a duet with George Clinton,produced by Quincy Jones III called “Bop Gun (One Nation)”.

This song is basically Funkadelic’s 1978 hit “One Nation Under A Groove” slowed down to approximately 100 bpm in tempo,and then reconfigured musically. In this case, the songs percussive laced drum track introduces it. Bernie Worrell’s synthesizer squiggles are slowed down and used as random accents. The main body of much of the song is still based around the rhythm guitars and synth bass of the original’s refrain.Clinton and Cube duet primarily on the choruses,which are left somewhat similar to the original in melodic content.

“Bop Gun (One Nation)” was something I heard on a mix tape in the late 90’s made for me by a friend of my dads who learned I loved P-Funk. Hadn’t yet heard the original yet. Listening to it now, its an example of early 90’s gangsta rap turning from James Brown to P-Funk as an inspiration for sampling and general attitude. Cube is basically pointing out that he’d rather drop real guns that kill and take up a metaphoric “bop gun” that gets people to dance and live in this song. And using 90’s West Coast hip-hop’s coarser language inspired by Clinton,this is a superb example of P-Funk hip-hop in the end.

 

 

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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

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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