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Speaker 1: Of Course Love Supreme is a production of I Heart Radio.

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Speaker 1: This classic episode was produced by the team at Pandora.

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Speaker 1: Ladies and gentlemen, Welcome to QLs Classic Episode fifty seven

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Speaker 1: Bootsy Colleagues from November two thousand and seventeen. One of

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Speaker 1: the most colorful creative forces in music, Bootie Collins came

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Speaker 1: into James Brown's life in the nick of time and

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Speaker 1: gave him a burst of energy. He would later take

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Speaker 1: all that energy and helped George Clinton build the almighty

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Speaker 1: p Funk Empire. The stories are outrageous, y'all, so please

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Speaker 1: enjoy QLs Classic with the Baby Bubba Ball Baby Bubba

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Speaker 1: Boots Zilla. Yo, all right, enjoy some Prima roll call

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Speaker 1: Suma road subprimo roll call names quilla. Yeah, and I

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Speaker 1: am shy ye, don't play him cheek Yeah, don't let

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Speaker 1: him frown some Prima road calla Prima rogue. My name

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Speaker 1: is Fonte, Yeah, and I must confess. Yeah. The answer

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Speaker 1: to the question yeah is very yes. Oh God, Prima

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Speaker 1: roll Brima, Prima roll call. Her name is sugar Baby. Yeah.

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Speaker 1: That ain't no joke, yo. Yeah, I got a theory baby,

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Speaker 1: Yeah about Pinocchio. Roll call Prima Prima rogue, hallelujah. Yeah,

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Speaker 1: they call me boss, but yeah, not the friendly ghost. Yeah,

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Speaker 1: but the holy ghost rod sign roll call frima Prima

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Speaker 1: roll that's my ear. Yeah, so ready for Booty. Yeah,

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Speaker 1: I got my monkey's and my sweet love. Yeah, Prima rogue. Yeah,

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Speaker 1: the name is boots. Yeah, and I got a request.

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Speaker 1: Roll call some prima roll on. Roll call frima prima,

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Speaker 1: roll call Frema. That's roll call that That that Charlie Wilson, Yeah,

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Speaker 1: Trump Charlie Wilson. So, ladies and gentlemen, our guest today. Uh,

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Speaker 1: in my honest opinion, is the spiritual epicenter of postmodern

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Speaker 1: black music. H No, but listen listen. I mean Bootsy Collins,

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Speaker 1: in my opinion, is a bridge like he he ushered

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Speaker 1: James Brown. Alright, alright people, His his young blood energy

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Speaker 1: gave James Brown new life for the seventies and basically

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Speaker 1: for that much, you know, because of sample and technology eighties, nineties,

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Speaker 1: two and so forth. Not to mention him. Uh co

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Speaker 1: piloting the co pilot, yes, cool as as co pilot

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Speaker 1: of the the Mothership. Uh with George Clinton. Um, you know,

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Speaker 1: expanding our our, our, our minds and pushing the boundaries

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Speaker 1: of funk music and uh dare I said, uh afro

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Speaker 1: futurist ideas, uh and and and creativity into two millions

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Speaker 1: and uh not to mention. I mean he's pretty much

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Speaker 1: on the mount Rushmore of funcology. Absolutely, there's no there's

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Speaker 1: not much more to say than that. Welcome the one

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Speaker 1: and only Bootsy Collins to Quest Loves Again. Like I

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Speaker 1: said before, I got one request, request Love. You're gonna

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Speaker 1: add that to the show. I think I might change

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Speaker 1: that to to you know, request Loves to pre Yeah,

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Speaker 1: you know what. Okay, so I know most of our

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Speaker 1: guests that come here, and of course that you know,

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Speaker 1: we've known each other for a long time. But there's

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Speaker 1: one question I never asked you. Yeah, who how did

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Speaker 1: you get your name? Oh that's easy, man. Um Mama

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Speaker 1: looked at me and she told me that I look

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Speaker 1: like a boots. Yeah, and I you know, I'll start

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Speaker 1: to say, wha, can you tell me what a boots?

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Speaker 1: He looked like, you know, and then something stopped me

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Speaker 1: and said, well you see how deep she is, So

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Speaker 1: leave that alone. I just left it alone. It's boots

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Speaker 1: on your birth certificate. Uh no, Um, well, actually it

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Speaker 1: was added, but she just called me boots and just

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Speaker 1: stuck stuck. Everybody started calling me Bootsy. That was it. Yeah,

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Speaker 1: I assume that you're Cincinnati resident. Correct, Yeah, you're born

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Speaker 1: in Cincinnati, Born in Cincinnati. Um, you know, uh didn't actually, well,

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Speaker 1: at first, we did a lot of work in Cincinnati

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Speaker 1: and the King you know, King Wrecks. That's where we

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Speaker 1: actually got started with um all the different groups and

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Speaker 1: stuff that would recording there, and then finally with James Brown.

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Speaker 1: So what what was your your childhood like in that city? Like,

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Speaker 1: did your parents migreat to Cincinnati or the entire from Yeah,

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Speaker 1: well I didn't get to know my dad, but um,

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Speaker 1: my mother, she was from Tennessee, Pulaski, Tennessee, and uh

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Speaker 1: then she came to Cincinnati, her and her a couple

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Speaker 1: of her sisters, and I kind of grew up with

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Speaker 1: my cousins. We all lived in one house and it

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Speaker 1: was pretty much ladies you know, um and so um,

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Speaker 1: you know, ladies with the kids and and so you know,

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Speaker 1: I kind of grew up. We was just having a blast.

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Speaker 1: I mean it was just fun time, you know, um,

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Speaker 1: not having nothing. Um, you know, everybody's used to that.

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Speaker 1: Funk is making something out of nothing. So you know,

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Speaker 1: it's like whatever we had, we dealt with it well.

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Speaker 1: Assuming that you were a child in the in the fifties, Yeah,

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Speaker 1: you're so timeless. I don't even know what your ages, Like,

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Speaker 1: you still might be twenty four years old as far

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Speaker 1: as i'm but uh, growing up in still aged. So

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Speaker 1: I know that for a lot of the h the

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Speaker 1: pioneers of of funking soul that we're from down south, Um,

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Speaker 1: their stories are definitely much more harsh. You know James

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Speaker 1: brown story of course, like that's typically that's typical pretty

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Speaker 1: much of anyone that lived below the Mason Dixon line. Um.

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Speaker 1: But because you're kind of part of the Baby Boom

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Speaker 1: generation and that had you know that that grew up

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Speaker 1: in the in the Midwest, and there were factories and

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Speaker 1: jobs and all those things. Like was your childhood as similar,

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Speaker 1: Like was there still danger elements? Oh? Man, I mean

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Speaker 1: it was. It was all around us. Ohio was always

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Speaker 1: still Ohio. Yeah, I mean yeah, I mean, you know,

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Speaker 1: it was all around us. You know. But um, we

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Speaker 1: kind of came with, I guess a new twist, the

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Speaker 1: same twist he was talking about when we bought that

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Speaker 1: new energy to James Brown. I think that's kind of

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Speaker 1: the way we came up. We refused to go with

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Speaker 1: how deep it actually was, so at that particular time

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Speaker 1: we would go on with it was deep. We was

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Speaker 1: in the riots. I was actually a part of all

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Speaker 1: that the Black Panthers used to come down on the

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Speaker 1: corner about a block from us. I mean, we was

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Speaker 1: into all of that. But at the same time, uh,

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Speaker 1: it was it kind of just like George Clinton an

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Speaker 1: idea with Parliament funkadelic. All of that deep stuff was

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Speaker 1: going on. But we refused to react like that, you know.

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Speaker 1: In other words, we made a little humor about it

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Speaker 1: where it was it was humorous enough not to be

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Speaker 1: like taking like were they laughing about it? You know?

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Speaker 1: I mean so it was a kind of silly, serious

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Speaker 1: kind of thing sometimes. Yeah, And that's kind of the

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Speaker 1: way we came up with our situation as deep as

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Speaker 1: the situation as was. So, how was music introduced to you? Oh?

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Speaker 1: My brother, my brother, how much he was eight years older?

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Speaker 1: I was like, yeah, Oh, he's my big Yeah, he's definitely.

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Speaker 1: That's the only man figure I had in the house

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Speaker 1: that I looked up to that you know that I

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Speaker 1: kind of to be like, you know, we're not even

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Speaker 1: kind of I wanted to be like, describe catfish. How

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Speaker 1: did he get the name catfish? Oh? I WoT him out, man,

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Speaker 1: I mean, you know, I mean he looked like a catfish.

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Speaker 1: I mean, you know, you look at it. You know,

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Speaker 1: you had these what's, you know, these little what's good

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Speaker 1: things going on, and he had these big guys, you know,

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Speaker 1: and he just looked like a catfish. Man. I'm having

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Speaker 1: because because most of these characters were introduced to me

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Speaker 1: via James Brown, right right right, I'm thinking, like, yo,

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Speaker 1: they got some funky nicknames, like I thought you had

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Speaker 1: catfish something like that looked like well, you know, now

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Speaker 1: I'm finally realizing I understand what my mother said when

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Speaker 1: she said I look like a boot to whatever that was.

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Speaker 1: You know, I still don't know what a boots to

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Speaker 1: look like. Yeah. Yeah, but but then when I look

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Speaker 1: at it, I just said, because he looked like a catfish.

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Speaker 1: And that's the truth. I mean, there's no other explanation.

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Speaker 1: He looked like a catfish. Did he appreciate this name?

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Speaker 1: He loved it. He loved I mean pretty much anybody

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Speaker 1: that I would nickname I mean they wind up loving it,

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Speaker 1: and so you know, um that was the thing that

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Speaker 1: I did. I always came up with when I saw

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Speaker 1: a person in it, you know, if something hit me

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Speaker 1: like oh you know, yeah he was looking at me,

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Speaker 1: I was I thought it was a name in Seamon,

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Speaker 1: you know. So you know, and that's the way it

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Speaker 1: all went down. You know. It was like, um, uh,

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Speaker 1: Catfish kind of brought the bands, you know to the

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Speaker 1: house and um we had like a two bit uh

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Speaker 1: to room house. But you know, my mother she was

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Speaker 1: into whatever we were into and music. You know, she

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Speaker 1: loved it. She loved you know that that we were

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Speaker 1: into music, and so um, Catfish would have the girls

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Speaker 1: and you know, the bands are all around the house

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Speaker 1: and I'm like nine years old. So I'm loving it.

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Speaker 1: You know. I'm like, okay, I gotta learn how to play,

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Speaker 1: you know, And so I started putting two and two together.

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Speaker 1: I don't have a guitar. I don't have no way

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Speaker 1: of getting anything. So when my brother leaves to go

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Speaker 1: on the paper route, I'll just steal his guitar for

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Speaker 1: a moment. He don't touch my guitar type. Oh he

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Speaker 1: was definitely a don't you ever you know, and don't

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Speaker 1: never let me catch you with it, you know. So

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Speaker 1: I always knew when I get his guitar out of

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Speaker 1: the you know, out of the case, to put it

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Speaker 1: back exactly. But he tests the strings. He tested me

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Speaker 1: and busted me, you know it. All it took was

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Speaker 1: one time when he busted me. One time. I knew

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Speaker 1: then that I had to get myself a guitar, you know,

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Speaker 1: because he wore me out. It wasn't even I was

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Speaker 1: nine years old. He wowed me out like I was

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Speaker 1: a man. So so I I said, okay, I gotta

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Speaker 1: get me a guitar. And so I started doing my

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Speaker 1: own paper route. I got me a paper route, y'all?

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Speaker 1: Was he not even at least, but curious if you

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Speaker 1: could actually play? Or you know big brothers, you know,

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Speaker 1: have big brothers treat a little sniping on his long

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Speaker 1: head suckers. Well that's the way I was treated, you know.

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Speaker 1: And all these people in the room, but you know,

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Speaker 1: are you are you pointing in? But you know he

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Speaker 1: you know, he first of all, he didn't think I

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Speaker 1: was serious, because you know, it's like the little younger.

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Speaker 1: You know, he's gonna change his mind next week, you know, Um,

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Speaker 1: but I tricked him because you know, once I got

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Speaker 1: locked in like this is what I'm want to do,

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Speaker 1: and you know, and I just started showing people that's

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Speaker 1: what I wanted to do. And and Catfish was the

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Speaker 1: last one that realized I was serious. You know. His

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Speaker 1: drummer named Raunchy uh was the baddest cat in Cincinnati, man,

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Speaker 1: I mean, and he embraced me, you know, he allowed

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Speaker 1: me to come into their rehearsals. Cat was like, man,

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Speaker 1: get that out of here, you know, um, but Raunchy

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Speaker 1: embraced me, man. And I used to stand there and

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Speaker 1: watch him play, you know, and while listening to the

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Speaker 1: guitars and you know, and the band thing was just

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Speaker 1: such a it was such a big deal back then.

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Speaker 1: You know what the time was playing like this is

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Speaker 1: like six it it's like sixty nineteen sixties, sixty one.

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Speaker 1: You know, I was born in fifty one, so nine

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Speaker 1: years after that is what like yeah, yeah, so it's

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Speaker 1: around in that time, right right before the British invasions,

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Speaker 1: so right right, right, So what was listening to Lonnie

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Speaker 1: mack um uh tag man? It was so so much stuff,

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Speaker 1: so much of the instrumental kind of music stuff Curtis King,

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Speaker 1: Curtis Miles Davis. Uh, I mean you name it. I

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Speaker 1: mean you know all of that stuff was you know,

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Speaker 1: and then you had the Motown thing, Um that was

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Speaker 1: you know, that was hot beginning to be hot? Um?

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Speaker 1: And so was he playing like sop hops in those

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Speaker 1: things like area? Like were these bands? Was your brother

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Speaker 1: playing in? Yeah? Every club you can think of. I

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Speaker 1: mean the Muggs was playing in because that's what time

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Speaker 1: it was then. You know, it was like everybody was

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Speaker 1: playing clubs, you know. Um, it was more about um. Um.

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Speaker 1: That's how I met as many musicians as I met

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Speaker 1: because I was always around. I always was watching, you know, um.

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Speaker 1: And that's how I kind of picked up on, you know,

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Speaker 1: certain things and and how to play and and all

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Speaker 1: of that because I didn't go to school for it.

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Speaker 1: So when he when how were you when he realized like, okay,

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Speaker 1: you're good enough and well what was deep was I

224
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Speaker 1: got a chance to play with him. That was my dream,

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Speaker 1: you know, even before playing with James or anybody, you know,

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Speaker 1: I wanted to play with my brother because I wanted

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Speaker 1: to prove to him that I was worth it. Yeah worthy,

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Speaker 1: you know, yeah, seriously, you know a big time. I

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Speaker 1: mean you know that one time I played with him

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Speaker 1: and what happened was, um, he was a call to

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Speaker 1: do a gig, a weekend gig, and the bass player

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Speaker 1: couldn't show up. So you know, I was like, yes,

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Speaker 1: this is my chance, you know, and he was like,

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Speaker 1: oh no, you know, He's like, no, not you you know.

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Speaker 1: I'm you know, I'm gonna get me a basse play,

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Speaker 1: but it ain't gonna be you you know. So I'm like, oh, man, man,

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Speaker 1: So he kept trying to get the bass player. You know,

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Speaker 1: you know wasn't written. It wasn't written. So um he said, okay, man,

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Speaker 1: he said, but you ain't even got no basse. And

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Speaker 1: I'm like, well, if you can get me four strings,

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Speaker 1: I'll turn this guitar. I had a twenty out and

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Speaker 1: all guitar silver tone. No will forget it. James Brown

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Speaker 1: lasted me out. I'll tell you about that too. But

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Speaker 1: he uh, I said, you give me four strings, I'm

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Speaker 1: gonna turn this into a base. That's gonna be my base.

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Speaker 1: He said, okay, I get I get you four a string.

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Speaker 1: It better sound good. I was like, it's gonna be

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Speaker 1: the bomb, you know. So he gave me four strings.

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Speaker 1: I put it on that guitar and that night played

250
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Speaker 1: the gig. I mean it was about the size of

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Speaker 1: this room full of people. I mean everybody was drunk

252
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Speaker 1: as a skunk. Okay, the Playboy Club, you got the

253
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Speaker 1: upper end Playboy right then you got the rat Hole Playboy.

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Speaker 1: Guess which one? Guess which one we play? Yeah, it

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Speaker 1: was double rat Hole. So so we're playing. I mean,

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Speaker 1: I got mugs all up in my face because I'm

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Speaker 1: the youngest mug up there. So it's like, and I

258
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Speaker 1: you know, they say I siunded pretty good, so you

259
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Speaker 1: know I had to go with that. They're all up

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Speaker 1: in my face and my brother standing back there, he's

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Speaker 1: playing the lead and he's watching. You know, I didn't

262
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Speaker 1: know he was watching me like that, But after the gig,

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Speaker 1: it was like, okay, man, you know you're gonna me

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Speaker 1: to New Basse. Yeah, I mean, I mean I didn't

265
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Speaker 1: know what I was doing, but you know, he liked it,

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Speaker 1: and that was the first time he liked anything that

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Speaker 1: I did. So I was like, yeah, So from and

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Speaker 1: from that day on we played together. From there, you know,

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Speaker 1: from then on, your your brother's UM guitar technique. UM

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Speaker 1: probably I mean next h uh uh Chank Nolan and

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Speaker 1: and and she's Martin and James Brown's arsenal um. His

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Speaker 1: his guitar playing is like was he always that good,

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Speaker 1: that precise with his rhythm? Always? Always? George to this

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Speaker 1: day will tell you that, you know, I mean, forget

275
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Speaker 1: the drum machine, you know, timing this boy was just

276
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Speaker 1: so his timing was so so so much better than mine,

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Speaker 1: you know, and both of us had pretty you know,

278
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Speaker 1: a pretty good time, but his was like exceptional. You know,

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Speaker 1: he can turn around, everything can go off that the

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00:20:13,760 --> 00:20:17,560
Speaker 1: p a everything, and cat will still be having that

281
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Speaker 1: thing going, you know. And and that happened to us

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Speaker 1: a few times. Yeah, yeah, and George just turning, turnaround,

283
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Speaker 1: start smiling and just you know, because you got catfish

284
00:20:27,880 --> 00:20:30,520
Speaker 1: that ain't gonna stop, you know. And if you move,

285
00:20:31,359 --> 00:20:34,320
Speaker 1: he ain't going nowhere. You know. He don't get emotionally

286
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Speaker 1: upset or emotionally evolved. He's just grooving, you know, he's

287
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Speaker 1: doing his thing and once he gets locked. So see,

288
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Speaker 1: I knew his technique with timing was super important. Uh.

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Speaker 1: Catfish is probably his most iconic rhythm in my opinion,

290
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Speaker 1: is uh, get get into it and get involved, give

291
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Speaker 1: him his which never I mean I've I've heard a

292
00:21:05,880 --> 00:21:10,359
Speaker 1: ga jillion live versions of that and he's the anchor. Yeah,

293
00:21:10,920 --> 00:21:13,920
Speaker 1: more more than James drummer, is more than anything like,

294
00:21:14,080 --> 00:21:18,720
Speaker 1: that's the that's the driving rhythm that song. So yeah,

295
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Speaker 1: I just always like, did he practice a lot or

296
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Speaker 1: was it just like he practiced a lot? But he

297
00:21:25,400 --> 00:21:27,600
Speaker 1: it was just a natural thing to him. He was

298
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Speaker 1: chewing his gun every time he's seen that month his

299
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Speaker 1: gun and hitting the guitar, you know. And you know,

300
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Speaker 1: he first made his guitar um, you know, because he

301
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Speaker 1: was He went to Bloom Junior High and they had

302
00:21:44,040 --> 00:21:47,439
Speaker 1: a thing would a wood shop, you know, and he

303
00:21:47,560 --> 00:21:52,040
Speaker 1: made his first guitar um by hand and he put

304
00:21:52,760 --> 00:21:56,639
Speaker 1: these um fishing strings on it. You know. This was

305
00:21:56,720 --> 00:21:59,560
Speaker 1: before he knew what to do. You know. He just

306
00:22:00,160 --> 00:22:03,840
Speaker 1: the guitar, you know, and he made his own guitar

307
00:22:04,240 --> 00:22:08,560
Speaker 1: and put fishing strings on it and was nothing happening.

308
00:22:08,600 --> 00:22:11,840
Speaker 1: Once he found out was nothing happening, Um, then he

309
00:22:11,880 --> 00:22:16,159
Speaker 1: realized he needed a guitar, you know. And once he

310
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Speaker 1: got his first guitar, it was on. It was on.

311
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Speaker 1: He ever figure out how to make one after he

312
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Speaker 1: since he bought one. Did he ever go back to it?

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Speaker 1: That's kind of fascinating. Yeah, he didn't. He didn't go

314
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Speaker 1: back to that, you know, Yeah, he didn't go back

315
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Speaker 1: to that because you know, it didn't take too long

316
00:22:33,840 --> 00:22:38,360
Speaker 1: after he started playing that, I got we got together,

317
00:22:38,640 --> 00:22:42,399
Speaker 1: and the next thing, you know, I mean, things just start, yeah,

318
00:22:42,640 --> 00:22:46,080
Speaker 1: start happening, you know. Um and you know, I like

319
00:22:46,520 --> 00:22:53,080
Speaker 1: people like Roger Um, Roger Trautman, uh, sugar Foot, all

320
00:22:53,119 --> 00:22:56,800
Speaker 1: of us kind of played in the same circle, you know,

321
00:22:56,960 --> 00:22:59,960
Speaker 1: in the same clubs, all of and all the bad

322
00:23:00,320 --> 00:23:03,800
Speaker 1: It was so many bands. Why were there so many? Okay,

323
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Speaker 1: so our listeners should know that Cincinnati is kind of

324
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Speaker 1: regarded as the the funk capital of the United States.

325
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Speaker 1: I mean, Ohio's regardless the funk, but Cincinnati in particular.

326
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Speaker 1: Why were there so many bands in Cincinnati? And is it?

327
00:23:22,359 --> 00:23:25,160
Speaker 1: Is it the effect of of King Records and James

328
00:23:25,160 --> 00:23:27,960
Speaker 1: Brown's operation being there and him recording at the time.

329
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Speaker 1: I personally think that that had a lot to do

330
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Speaker 1: with it, because it made young musicians want to be like,

331
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Speaker 1: you know, uh, these people that's recording all this stuff

332
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Speaker 1: in the you know, in the studio. Would he live

333
00:23:43,640 --> 00:23:47,440
Speaker 1: there or would he how often will you see James

334
00:23:47,440 --> 00:23:50,440
Speaker 1: Brown on the streets? And this is before you joined him.

335
00:23:50,480 --> 00:23:54,600
Speaker 1: I mean like, um, he would just random. It was

336
00:23:54,640 --> 00:23:57,840
Speaker 1: a random thing where he come in. He stayed, um,

337
00:23:58,200 --> 00:24:01,560
Speaker 1: two or three days, sometimes times a week, you know,

338
00:24:02,160 --> 00:24:07,200
Speaker 1: with the band. And you know, our thing was we

339
00:24:07,200 --> 00:24:10,760
Speaker 1: were so hyped on the band that they were our

340
00:24:10,800 --> 00:24:14,640
Speaker 1: heroes because James was so out of reach that we

341
00:24:14,720 --> 00:24:17,680
Speaker 1: just knew we wasn't gonna meet him, you know. So

342
00:24:17,960 --> 00:24:21,000
Speaker 1: you know, I think was if we can only meet

343
00:24:21,040 --> 00:24:27,160
Speaker 1: the band, you know Fred, you know, Macio Clyde, come

344
00:24:27,200 --> 00:24:30,680
Speaker 1: on man, Jabbo, you know, if we can meet and

345
00:24:30,920 --> 00:24:33,199
Speaker 1: that was our dream came true. But we first we

346
00:24:33,280 --> 00:24:38,240
Speaker 1: met Bobby Bird, who treated us like you know, we

347
00:24:38,240 --> 00:24:44,320
Speaker 1: were somebody and nobody knew us. Nobody knew us, you know. Um.

348
00:24:44,600 --> 00:24:50,680
Speaker 1: And now that was before this is like pacemakers, Yeah, yeah,

349
00:24:50,720 --> 00:24:53,760
Speaker 1: this is I mean, nobody knew what was happening. We um,

350
00:24:54,440 --> 00:24:58,879
Speaker 1: first we met that uh the Depps you know, um,

351
00:24:59,480 --> 00:25:02,240
Speaker 1: and so we used to all be in that same

352
00:25:02,320 --> 00:25:06,280
Speaker 1: circle and so you know, one thing kind of sparked

353
00:25:06,320 --> 00:25:10,600
Speaker 1: off of another, you know, next thing, you know, um,

354
00:25:10,640 --> 00:25:14,480
Speaker 1: after the Dafts start recording over the King, some kind

355
00:25:14,520 --> 00:25:18,000
Speaker 1: of way. Oh, I'll tell you exactly how. Um. Charles S.

356
00:25:18,000 --> 00:25:21,040
Speaker 1: Brolin came down to hear us playing at the club

357
00:25:21,680 --> 00:25:25,119
Speaker 1: and he was like, man the energy, y'all cast guy,

358
00:25:25,200 --> 00:25:27,199
Speaker 1: we need that over the King Records. And he was

359
00:25:27,240 --> 00:25:31,320
Speaker 1: the A and our guy and and so um he

360
00:25:31,400 --> 00:25:34,720
Speaker 1: invited us over because he wanted us to be his

361
00:25:35,080 --> 00:25:39,840
Speaker 1: backup band for his recordings and any production stuff that

362
00:25:39,880 --> 00:25:43,040
Speaker 1: he does over in King. And so we agree, you know,

363
00:25:43,119 --> 00:25:45,400
Speaker 1: let's do it. Because we hadn't never been in no studio,

364
00:25:46,000 --> 00:25:50,080
Speaker 1: you know, not not um not recording you know, so

365
00:25:50,280 --> 00:25:54,560
Speaker 1: um um, we got a chance to start recording with him.

366
00:25:54,720 --> 00:25:58,840
Speaker 1: Once we start recording with him, then Henry Glover and

367
00:25:58,960 --> 00:26:02,440
Speaker 1: Jeane Red hit on us you know about recording with

368
00:26:02,680 --> 00:26:08,240
Speaker 1: you know, Arthur Price, sod Bill Dog, Hank Ballot. So

369
00:26:08,320 --> 00:26:11,560
Speaker 1: we was all on those records. Wait, so that's dude,

370
00:26:12,520 --> 00:26:18,840
Speaker 1: is that you on? Yeah? Yeah, well build Dog and

371
00:26:18,840 --> 00:26:24,640
Speaker 1: then Soult Trees by author Price. So um, Hank Ballot,

372
00:26:25,040 --> 00:26:27,280
Speaker 1: we actually went on the road with a Hank Ballot.

373
00:26:27,359 --> 00:26:31,719
Speaker 1: We went on the road with him before. Yeah, of

374
00:26:31,760 --> 00:26:37,480
Speaker 1: course that's you because I have played half half notes. Yeah,

375
00:26:38,520 --> 00:26:46,119
Speaker 1: so that's who's the rhythmic section you and who's drumming. Damn,

376
00:26:46,160 --> 00:26:53,320
Speaker 1: that's fun. I ain't heard Are you serious? Yeah, I

377
00:26:53,320 --> 00:26:56,800
Speaker 1: don't listen to see to us because it's been sampled

378
00:26:57,520 --> 00:27:01,160
Speaker 1: like it's it's something totally different. It's the beat nuts.

379
00:27:01,800 --> 00:27:05,119
Speaker 1: Are you ready right? But it's still even in B

380
00:27:05,240 --> 00:27:08,720
Speaker 1: boy circles like that has been played millions of you

381
00:27:08,720 --> 00:27:12,919
Speaker 1: know times always asked me about songs that I played

382
00:27:12,920 --> 00:27:15,040
Speaker 1: on and then I said, we'll play it for me.

383
00:27:15,440 --> 00:27:18,480
Speaker 1: Because when finished that sentence, I don't listen to what

384
00:27:18,640 --> 00:27:20,920
Speaker 1: you don't listen to your music. I don't listen to myself.

385
00:27:22,560 --> 00:27:27,440
Speaker 1: I don't. I don't play with myself. Sometimes it could

386
00:27:27,440 --> 00:27:34,560
Speaker 1: be healthy, okay already, you know, you know, no, I

387
00:27:34,680 --> 00:27:39,159
Speaker 1: just um, you know, it was always so much coming

388
00:27:39,200 --> 00:27:43,840
Speaker 1: in that I never had time to just take a

389
00:27:43,880 --> 00:27:46,480
Speaker 1: break and listen to what I've did, what I've done,

390
00:27:46,640 --> 00:27:49,480
Speaker 1: because I was never interested in what I've done. It

391
00:27:49,560 --> 00:27:52,880
Speaker 1: was always what's coming next, because I always had something

392
00:27:52,920 --> 00:27:56,399
Speaker 1: coming in, you know, and I was I'll tell you

393
00:27:56,440 --> 00:28:00,360
Speaker 1: what it was. I was so full of it. Now,

394
00:28:00,400 --> 00:28:03,720
Speaker 1: whatever that it was, I was full of it. I

395
00:28:03,840 --> 00:28:06,960
Speaker 1: mean full of it, you know, because you know, we

396
00:28:07,040 --> 00:28:09,199
Speaker 1: used to hang with the brothers on the corner that

397
00:28:09,320 --> 00:28:12,440
Speaker 1: was our whole thing. Music got a chance to take

398
00:28:12,560 --> 00:28:15,960
Speaker 1: us out of that and give us a place where

399
00:28:16,000 --> 00:28:20,119
Speaker 1: we can crack on ourselves. You know. It's like looking

400
00:28:20,119 --> 00:28:22,639
Speaker 1: in the mirror and laughing at yourself. It's like it

401
00:28:22,680 --> 00:28:26,119
Speaker 1: gave us a chance to do that with ourselves, you know.

402
00:28:26,200 --> 00:28:28,880
Speaker 1: And I just happened to run into somebody that liked

403
00:28:28,920 --> 00:28:32,880
Speaker 1: that approach. George. You know that James was serious. That

404
00:28:32,920 --> 00:28:37,080
Speaker 1: boy was sad read us, you know, so he kind

405
00:28:37,080 --> 00:28:41,200
Speaker 1: of um helped me because he was like a father

406
00:28:41,320 --> 00:28:46,160
Speaker 1: figure that wanted me to be a certain way. You know. Yeah,

407
00:28:46,280 --> 00:28:48,560
Speaker 1: that this and I needed it. You know. We're just

408
00:28:48,680 --> 00:28:51,920
Speaker 1: coming off the streets with the riots, you know, the

409
00:28:52,040 --> 00:28:56,120
Speaker 1: one Molotov cocks, cocktail stealing, you know, and we was

410
00:28:56,160 --> 00:29:00,280
Speaker 1: a part of all that, and James reached in, pulled

411
00:29:00,360 --> 00:29:03,760
Speaker 1: us off the street, put us in the band. And

412
00:29:03,800 --> 00:29:06,880
Speaker 1: the next thing, you know, man, we were in Africa

413
00:29:06,960 --> 00:29:11,160
Speaker 1: with James Brown and then mugs over there bound down

414
00:29:11,480 --> 00:29:14,920
Speaker 1: like we somebody and we're saying to us, say down,

415
00:29:14,960 --> 00:29:18,320
Speaker 1: we just played benefits in the clubs and ain't made

416
00:29:18,360 --> 00:29:22,840
Speaker 1: no money, you know. Now we were Jane Brown, you know,

417
00:29:23,040 --> 00:29:25,800
Speaker 1: so it hit us like that and we didn't have

418
00:29:25,920 --> 00:29:28,440
Speaker 1: just like the songs you're talking about, do I go

419
00:29:28,480 --> 00:29:34,120
Speaker 1: back and listen? I never analyzed that part of how

420
00:29:34,160 --> 00:29:38,000
Speaker 1: it felt with James Brown at that particularly because it

421
00:29:38,640 --> 00:29:41,640
Speaker 1: was so unreal that I had no feelings. It was

422
00:29:41,680 --> 00:29:47,280
Speaker 1: just deep. Do you think it's also a danger um?

423
00:29:47,440 --> 00:29:55,320
Speaker 1: I You know, I tend to avoid favorites of whatever

424
00:29:55,400 --> 00:29:59,680
Speaker 1: my audience expects because maybe there's a fear that you

425
00:29:59,760 --> 00:30:05,800
Speaker 1: can't it replicate that or do it again. I mean, like, okay,

426
00:30:05,800 --> 00:30:08,200
Speaker 1: I know that in your in your job of doing concerts,

427
00:30:08,360 --> 00:30:12,239
Speaker 1: yes you have to do Bootsilla, you gotta do you know,

428
00:30:12,560 --> 00:30:16,360
Speaker 1: Hollywood Squares or whatever. But just in terms of sitting

429
00:30:16,360 --> 00:30:19,680
Speaker 1: back and listening to it, is it? Do you think

430
00:30:19,720 --> 00:30:23,800
Speaker 1: it's more of a psychological thing of because I a

431
00:30:23,880 --> 00:30:27,200
Speaker 1: lot of artists refused to listen to their record at work,

432
00:30:28,160 --> 00:30:32,720
Speaker 1: you know, because it just it might be too haunting

433
00:30:32,840 --> 00:30:36,240
Speaker 1: of an earlier time. Well, you know what, I think

434
00:30:36,280 --> 00:30:40,440
Speaker 1: that's got something to do with it now. But but

435
00:30:40,520 --> 00:30:42,840
Speaker 1: when I was coming up, I was, you know, I

436
00:30:42,880 --> 00:30:45,360
Speaker 1: was really too full of it to listen, go back

437
00:30:45,400 --> 00:30:48,520
Speaker 1: and listen, you know, because I had made up in

438
00:30:48,560 --> 00:30:51,440
Speaker 1: my mind I wasn't gonna be listening to radios. I

439
00:30:51,520 --> 00:30:53,680
Speaker 1: wasn't gonna be listening to how people do this and

440
00:30:53,720 --> 00:30:57,120
Speaker 1: how people do that. Once I got on a path,

441
00:30:57,880 --> 00:31:01,880
Speaker 1: it was like, I'm just listening into the universe and

442
00:31:02,000 --> 00:31:04,479
Speaker 1: what they tell me, what what they sent me, you know,

443
00:31:05,160 --> 00:31:09,760
Speaker 1: and that's actually, um, that's the way I was feeling,

444
00:31:09,800 --> 00:31:12,480
Speaker 1: and that's what was going on at that time. But

445
00:31:13,680 --> 00:31:16,840
Speaker 1: after all of that time, now it's like when I

446
00:31:16,920 --> 00:31:21,200
Speaker 1: put stuff on, it's like dag, you start feeling those feelings.

447
00:31:22,120 --> 00:31:25,560
Speaker 1: You know. It took all of that time though, for

448
00:31:25,600 --> 00:31:28,160
Speaker 1: me to get to this point, you know, to where

449
00:31:28,640 --> 00:31:30,880
Speaker 1: it's like, if I put it rather beyond with you on,

450
00:31:31,000 --> 00:31:34,080
Speaker 1: that's that's gonna take me all the way back two

451
00:31:34,560 --> 00:31:39,920
Speaker 1: not only what we were doing on stage, but where

452
00:31:39,960 --> 00:31:42,920
Speaker 1: that actually came from in the first place, and who

453
00:31:42,960 --> 00:31:45,920
Speaker 1: I was talking to, you know, And then all of

454
00:31:45,960 --> 00:31:50,040
Speaker 1: those feelings start coming up, and it's like, wow, I

455
00:31:50,080 --> 00:31:53,719
Speaker 1: don't want to feel that, you know. So that's understandable

456
00:31:53,720 --> 00:31:56,200
Speaker 1: because to us, you know, I think of a barbecue

457
00:31:56,240 --> 00:32:02,240
Speaker 1: if I hear you know, your uncle barbecue. Yeah, But

458
00:32:02,280 --> 00:32:03,920
Speaker 1: for you, you could have been in a car accident

459
00:32:03,960 --> 00:32:06,840
Speaker 1: a week before you recorded. I'm gonna tell you exactly

460
00:32:06,960 --> 00:32:09,800
Speaker 1: what what where that came from. I was on the

461
00:32:09,840 --> 00:32:15,320
Speaker 1: way to the studio and what happened a traffic jam.

462
00:32:18,040 --> 00:32:22,520
Speaker 1: I'm called up this traffic jam. I was on the

463
00:32:22,600 --> 00:32:26,040
Speaker 1: way to the studio to record that, and I was like,

464
00:32:26,200 --> 00:32:28,360
Speaker 1: you know, and I was still coming up with you know, okay,

465
00:32:28,360 --> 00:32:30,680
Speaker 1: what's the you know, I'll still come. So I kind

466
00:32:30,720 --> 00:32:33,000
Speaker 1: of had to leave my mind. I'll always have my

467
00:32:33,040 --> 00:32:37,960
Speaker 1: mind open because sometimes you don't get it until you

468
00:32:38,320 --> 00:32:42,600
Speaker 1: right there on the mic and then bam, there it is,

469
00:32:43,040 --> 00:32:45,480
Speaker 1: you know. Um But I was on the way to

470
00:32:45,520 --> 00:32:50,000
Speaker 1: the studio to record Body Slam, and I had I

471
00:32:50,040 --> 00:32:51,640
Speaker 1: got the lyrics. You know. I didn't know I was

472
00:32:51,640 --> 00:32:53,640
Speaker 1: gonna get the lyrics that quick because you know, I

473
00:32:53,640 --> 00:32:56,600
Speaker 1: had still had to record the song, you know, But

474
00:32:56,680 --> 00:32:59,520
Speaker 1: then the lyrics can say that I'm called up. I mean,

475
00:32:59,560 --> 00:33:02,440
Speaker 1: the whole the whole way I did, and everything came,

476
00:33:03,480 --> 00:33:06,360
Speaker 1: you know, and I was like, I got it, you know.

477
00:33:06,840 --> 00:33:08,520
Speaker 1: And and then when you get to the studio, so

478
00:33:08,600 --> 00:33:13,160
Speaker 1: you didn't have the luxury of um, yeah, you didn't

479
00:33:13,160 --> 00:33:15,440
Speaker 1: have that luxury, you know. So it was like you

480
00:33:15,480 --> 00:33:19,280
Speaker 1: have to remember, I mean, that's why we used our brains.

481
00:33:19,360 --> 00:33:20,880
Speaker 1: Now you don't have to use your brain like that.

482
00:33:20,920 --> 00:33:23,920
Speaker 1: You got smartphones to do it all for you, you know.

483
00:33:24,200 --> 00:33:27,160
Speaker 1: But you know, we had to put stuff in there

484
00:33:27,560 --> 00:33:32,040
Speaker 1: and rely on that instant recall. Now, what was I

485
00:33:32,200 --> 00:33:35,480
Speaker 1: thinking about about this? You know, this song I was

486
00:33:35,520 --> 00:33:38,800
Speaker 1: gonna do, you know, and you had to recall that,

487
00:33:39,320 --> 00:33:42,400
Speaker 1: you know, And that was a that was the thing

488
00:33:42,480 --> 00:33:46,600
Speaker 1: that musicians had back in there in those days that

489
00:33:47,560 --> 00:33:50,560
Speaker 1: I think it's a lost art, you know. And you

490
00:33:50,640 --> 00:33:54,400
Speaker 1: won't even be thinking about that. Um, well, you don't

491
00:33:54,400 --> 00:33:57,880
Speaker 1: think about it too much now, no way, But five

492
00:33:57,960 --> 00:34:01,120
Speaker 1: or ten more years, that's gonna be you know, brain

493
00:34:01,240 --> 00:34:10,200
Speaker 1: is gonna be useful as far as at all. Before

494
00:34:10,200 --> 00:34:12,759
Speaker 1: I get to James Brown chapter, I just have to know,

495
00:34:13,200 --> 00:34:18,400
Speaker 1: um just in the battle of the band situation and

496
00:34:18,560 --> 00:34:24,839
Speaker 1: all those local bands, who what band unit scared you? Like,

497
00:34:24,880 --> 00:34:29,719
Speaker 1: we're the Ohio Players players. Them boys was the baddest

498
00:34:29,880 --> 00:34:33,239
Speaker 1: boys in the world as far as I was concerned,

499
00:34:33,680 --> 00:34:36,719
Speaker 1: and as far as a lot of musicians, because any

500
00:34:36,760 --> 00:34:40,000
Speaker 1: time they would play anywhere, you know, it was like

501
00:34:40,680 --> 00:34:44,319
Speaker 1: the whole front line of seats would be nothing but

502
00:34:44,680 --> 00:34:54,640
Speaker 1: musicians and they'd be there, you know, and and everybody

503
00:34:54,719 --> 00:34:57,840
Speaker 1: knew it wasn't like everybody's trying to hide. You know,

504
00:34:57,960 --> 00:35:01,000
Speaker 1: everybody knew. I mean, these are the baddest boys. And

505
00:35:01,040 --> 00:35:05,080
Speaker 1: I'm gonna tell you something else. When they started making records,

506
00:35:06,320 --> 00:35:10,120
Speaker 1: that wasn't. That wasn't when they were really the bomb.

507
00:35:11,000 --> 00:35:14,440
Speaker 1: The bomb was one. They didn't have no records and

508
00:35:14,480 --> 00:35:19,359
Speaker 1: they just played in them clubs. That's when they was killers.

509
00:35:20,160 --> 00:35:23,160
Speaker 1: I mean them boys. I mean, you ain't never seen

510
00:35:23,200 --> 00:35:26,759
Speaker 1: no show like this. You know how old at the

511
00:35:26,800 --> 00:35:31,600
Speaker 1: time they had to be, like in their uh I say,

512
00:35:32,239 --> 00:35:41,040
Speaker 1: late teens, early twenties. Always had that voice always well,

513
00:35:41,120 --> 00:35:44,000
Speaker 1: he always had that voice, but he never used it

514
00:35:44,400 --> 00:35:48,400
Speaker 1: like he used it on the records, you know, because

515
00:35:48,440 --> 00:35:52,240
Speaker 1: it was always um uh. They always had a singer

516
00:35:53,080 --> 00:35:56,600
Speaker 1: that would do you know, the singing part, so sugar.

517
00:35:56,680 --> 00:35:59,520
Speaker 1: You know, he had that voice, but he never used

518
00:35:59,560 --> 00:36:03,480
Speaker 1: it like because they always had someone else's. Yeah, somebody

519
00:36:03,520 --> 00:36:07,120
Speaker 1: else sing it, you know, speaking of voice. All right,

520
00:36:07,200 --> 00:36:12,680
Speaker 1: So we were working on a project like two thousand three.

521
00:36:12,800 --> 00:36:16,040
Speaker 1: I forget the project, but you played me a demo.

522
00:36:17,440 --> 00:36:20,920
Speaker 1: Uh you told me He's like, yeah, of course, I

523
00:36:20,960 --> 00:36:23,279
Speaker 1: had a dream about Jimmie Hendricks and I want to

524
00:36:23,280 --> 00:36:25,040
Speaker 1: play it for you and you played me the song,

525
00:36:25,239 --> 00:36:29,920
Speaker 1: and then I had one of those those bootsy kind

526
00:36:29,960 --> 00:36:33,800
Speaker 1: of the thinking black man means memed to me. Pointing

527
00:36:33,840 --> 00:36:37,960
Speaker 1: to Temple, I was like, hey, you know what, you

528
00:36:38,080 --> 00:36:42,279
Speaker 1: kind of sound like Jimmy Hendricks. Not totally going over

529
00:36:42,320 --> 00:36:51,200
Speaker 1: my head that your whole voice is embodied Jimmy, and

530
00:36:51,320 --> 00:36:56,680
Speaker 1: so out what even gave you that thought too? To

531
00:36:57,000 --> 00:37:02,200
Speaker 1: take on his well, you know, continue to take the away. Well,

532
00:37:02,239 --> 00:37:05,480
Speaker 1: you know, he was my hero anyway. I mean, um,

533
00:37:05,560 --> 00:37:08,880
Speaker 1: and you know I used to have this room where

534
00:37:10,360 --> 00:37:16,360
Speaker 1: it was about okay, say half of that half of

535
00:37:16,400 --> 00:37:18,640
Speaker 1: the say half of this room from there to year.

536
00:37:18,800 --> 00:37:20,680
Speaker 1: And we're in a very small room, right, yeah, very

537
00:37:20,680 --> 00:37:24,719
Speaker 1: small and then pull the rest of the room all

538
00:37:24,760 --> 00:37:27,480
Speaker 1: the way up to here. Okay. So in that little

539
00:37:27,560 --> 00:37:32,319
Speaker 1: box was my room, and I had a black light,

540
00:37:33,400 --> 00:37:44,279
Speaker 1: I had a bed and instant we l and and

541
00:37:44,400 --> 00:37:50,800
Speaker 1: I ate track. Okay, um, and that's you know, that's

542
00:37:50,880 --> 00:37:55,560
Speaker 1: what I played. I played Jimmy Hendrix. Jimmy's poster was

543
00:37:55,640 --> 00:37:58,919
Speaker 1: up over the bed, okay, and all you could see

544
00:37:58,920 --> 00:38:00,759
Speaker 1: when you walked in my own when you walked in

545
00:38:00,800 --> 00:38:05,200
Speaker 1: my room, all you can see was that poster. You

546
00:38:05,280 --> 00:38:09,839
Speaker 1: smelled the incense and you smelled the weed and that's

547
00:38:09,840 --> 00:38:12,480
Speaker 1: what I did. You know, this is why I'm confused though,

548
00:38:12,480 --> 00:38:16,400
Speaker 1: boot seat the weed LSD. But your memory is remarkable,

549
00:38:17,000 --> 00:38:23,120
Speaker 1: like just help stoners. What don't well, it's just like

550
00:38:23,600 --> 00:38:27,560
Speaker 1: I was saying, how you retain stuff? And that was

551
00:38:27,640 --> 00:38:31,080
Speaker 1: some kind of gift, I mean, because you really don't

552
00:38:31,120 --> 00:38:35,960
Speaker 1: supposed to remember that kind But I actually the important

553
00:38:35,960 --> 00:38:44,840
Speaker 1: stuff that to me was the most important memory pretty

554
00:38:44,920 --> 00:38:48,080
Speaker 1: much of all, was to be able to remember that.

555
00:38:48,160 --> 00:38:50,759
Speaker 1: And I won't let that go. I won't let that

556
00:38:50,800 --> 00:38:54,480
Speaker 1: go because, um, it was one of the best times

557
00:38:54,480 --> 00:38:58,440
Speaker 1: in my life. You know, I was finding myself. I

558
00:38:58,440 --> 00:39:00,960
Speaker 1: didn't know what the heck was on. You know, I'm

559
00:39:01,000 --> 00:39:06,879
Speaker 1: sitting at listen to Howland Wolf, Santana, Jimmy, Um, I mean,

560
00:39:07,000 --> 00:39:10,120
Speaker 1: Miles Davis, I mean, you name it. And I'm sitting

561
00:39:10,120 --> 00:39:13,000
Speaker 1: there were not just sitting. I'm you know, doing something,

562
00:39:13,480 --> 00:39:18,000
Speaker 1: you know, and it's usually you know me, uh my

563
00:39:18,120 --> 00:39:22,160
Speaker 1: guitar on my base and I'm just sitting there and

564
00:39:22,200 --> 00:39:25,640
Speaker 1: I'm listening and I'm freaking out, you know. Um. And

565
00:39:25,680 --> 00:39:28,759
Speaker 1: it was always a good freak out, you know, it

566
00:39:28,880 --> 00:39:33,759
Speaker 1: was always a good besides yeah, besides Ernie Einsley. I

567
00:39:33,760 --> 00:39:37,200
Speaker 1: just don't know another figure in black music that was

568
00:39:37,800 --> 00:39:42,600
Speaker 1: young at the time that really absorbed Jimmy's essence. And

569
00:39:43,760 --> 00:39:46,440
Speaker 1: you know, I guess in the beginning, I was just

570
00:39:46,520 --> 00:39:49,000
Speaker 1: led to think that he was so freakish and out

571
00:39:49,080 --> 00:39:53,400
Speaker 1: there that the black community really didn't embrace it. Understand

572
00:39:53,440 --> 00:39:56,120
Speaker 1: they didn't understand what what How did you're in the

573
00:39:56,120 --> 00:39:59,160
Speaker 1: inner city? How did it speak to you? It was

574
00:39:59,320 --> 00:40:05,440
Speaker 1: my year two not go with you know. It's it's

575
00:40:05,480 --> 00:40:09,880
Speaker 1: just like we were talking about the um, the serious

576
00:40:09,960 --> 00:40:15,640
Speaker 1: part of the blackness, and we took that and made

577
00:40:16,040 --> 00:40:19,959
Speaker 1: not fun of it, but made it, you know where

578
00:40:20,000 --> 00:40:23,719
Speaker 1: you could kind of laugh about us partying on the

579
00:40:23,760 --> 00:40:26,680
Speaker 1: Mothership and you know, acting a fool and having a

580
00:40:26,719 --> 00:40:30,160
Speaker 1: good time. So we had to kind of take the

581
00:40:30,320 --> 00:40:34,360
Speaker 1: seriousness and show people that we can actually have fun

582
00:40:34,480 --> 00:40:38,400
Speaker 1: with this with ourselves. You know, we can actually laugh

583
00:40:38,480 --> 00:40:41,760
Speaker 1: with ourselves instead of you know, because we was making

584
00:40:41,760 --> 00:40:45,360
Speaker 1: it through this deepness. You know, was so much deepness

585
00:40:45,360 --> 00:40:48,439
Speaker 1: going on. It's like, if we keep going this deeper,

586
00:40:48,480 --> 00:40:51,239
Speaker 1: everybody's gonna be dead in a minute. I mean, because

587
00:40:51,239 --> 00:40:54,560
Speaker 1: they're killing everybody. So we gotta figure out a new approach.

588
00:40:55,080 --> 00:40:58,080
Speaker 1: And it wasn't like we were sitting there analyzing, uh

589
00:40:58,400 --> 00:41:03,200
Speaker 1: the next approach, you know, the one gave us certain

590
00:41:03,239 --> 00:41:09,720
Speaker 1: talents and we just brought it to the people. You know. Um,

591
00:41:09,760 --> 00:41:13,400
Speaker 1: it's just like we took the street drug rap and

592
00:41:13,480 --> 00:41:19,040
Speaker 1: made it funny, you know, p funk the bomb. I mean,

593
00:41:19,120 --> 00:41:27,800
Speaker 1: that's drug rap, you know. Now it's uncut, uncut, that's

594
00:41:27,800 --> 00:41:33,000
Speaker 1: our street drug rap. So can you describe I'm glad

595
00:41:33,000 --> 00:41:38,279
Speaker 1: your memories there. Yeah, I want you because I have

596
00:41:38,360 --> 00:41:42,560
Speaker 1: so many questions about the day that Bobby Bird came

597
00:41:42,600 --> 00:41:46,040
Speaker 1: to get you guys to play with James Brown, which

598
00:41:46,080 --> 00:41:50,799
Speaker 1: is essentially you're your your moment, you know what quest

599
00:41:50,920 --> 00:41:55,200
Speaker 1: Let me let me let me I didn't finish on Jimmy.

600
00:41:55,280 --> 00:41:57,719
Speaker 1: Let me let me just let me just tell you

601
00:41:58,280 --> 00:42:03,920
Speaker 1: how that came about. Um, what happened was we was

602
00:42:03,960 --> 00:42:06,400
Speaker 1: in the studio, George and I was in the studio

603
00:42:07,040 --> 00:42:11,840
Speaker 1: recording be my Beach, and and I was in that

604
00:42:11,960 --> 00:42:17,640
Speaker 1: clowning around you know, um you know, and I said, yeah,

605
00:42:18,080 --> 00:42:22,439
Speaker 1: be my Beach, and George said, oh that's it, man,

606
00:42:22,719 --> 00:42:25,560
Speaker 1: that's it. And I was just clowning around, you know.

607
00:42:26,320 --> 00:42:29,360
Speaker 1: And next thing I know, George just like go ahead

608
00:42:29,440 --> 00:42:33,480
Speaker 1: do that. That's that's the voice, and that is where

609
00:42:33,600 --> 00:42:38,480
Speaker 1: it started. I was doing my invitation of Jimmy. Okay,

610
00:42:38,520 --> 00:42:45,880
Speaker 1: so um, I'm sorry. So well, yeah, I'm explained to

611
00:42:45,920 --> 00:42:54,120
Speaker 1: you that that because of of of of financial reasons, uh,

612
00:42:54,239 --> 00:42:59,239
Speaker 1: the team of James Brown his band decided that they

613
00:42:59,440 --> 00:43:05,040
Speaker 1: were gonna will uh strike out mutiny the morning of

614
00:43:05,320 --> 00:43:08,000
Speaker 1: a gig. I think it's around eleven in the morning,

615
00:43:08,080 --> 00:43:13,279
Speaker 1: that we are not gonna go on stage until you

616
00:43:13,960 --> 00:43:16,000
Speaker 1: get the money straight that you owe us. He was

617
00:43:16,040 --> 00:43:23,319
Speaker 1: a real Republican. There you go. So James decided to

618
00:43:23,400 --> 00:43:28,640
Speaker 1: call their bluff and he told his h his A

619
00:43:28,719 --> 00:43:32,080
Speaker 1: spoon coom, Bobby Birt, his his his AJ two, his

620
00:43:32,120 --> 00:43:41,120
Speaker 1: O J may see sports, I'm bad with sports. Uh,

621
00:43:41,360 --> 00:43:44,319
Speaker 1: to get on the leridge at the private plane and

622
00:43:44,560 --> 00:43:48,279
Speaker 1: go to Cincinnati and go grab them kids and put

623
00:43:48,360 --> 00:43:50,359
Speaker 1: them on the plane and bring him down here. So

624
00:43:50,560 --> 00:43:54,600
Speaker 1: come showtime now. So they broke the line, y'all. Broke

625
00:43:54,600 --> 00:43:59,880
Speaker 1: the strike line, y'all. So tell me I got My

626
00:44:00,160 --> 00:44:03,440
Speaker 1: question was what parents in their right mind would just

627
00:44:03,560 --> 00:44:06,319
Speaker 1: let their teenage kids like go with James? Right? All right,

628
00:44:06,320 --> 00:44:11,839
Speaker 1: I'm how teenage? He was nine? You were so first

629
00:44:11,840 --> 00:44:14,880
Speaker 1: of all, who is it and how old were you guys?

630
00:44:15,520 --> 00:44:18,440
Speaker 1: I assume that your brother was the oldest, right. And

631
00:44:18,480 --> 00:44:24,759
Speaker 1: if he said, okay, so give me everything. What time

632
00:44:24,840 --> 00:44:27,640
Speaker 1: did Bobby Bird come to the club and tell you guys,

633
00:44:28,040 --> 00:44:30,800
Speaker 1: stop what you're doing, come with me. We'll actually called

634
00:44:30,920 --> 00:44:34,759
Speaker 1: he called first, and uh we was playing a benefit,

635
00:44:35,719 --> 00:44:38,879
Speaker 1: um and you know we we would get whatever coming

636
00:44:38,920 --> 00:44:41,160
Speaker 1: the door. And did nobody know us? I mean, you know,

637
00:44:41,280 --> 00:44:44,800
Speaker 1: so it was pretty much you know, um the fam

638
00:44:44,840 --> 00:44:49,160
Speaker 1: you know um, and so uh we wasn't really getting

639
00:44:49,200 --> 00:44:52,760
Speaker 1: no benefit, I mean as far as no money. So um.

640
00:44:52,760 --> 00:44:56,400
Speaker 1: When Bobby called, you know, I thought he was I

641
00:44:56,440 --> 00:45:00,000
Speaker 1: thought it was he was joking, you know, like, yeah,

642
00:45:00,239 --> 00:45:02,799
Speaker 1: what do you say? He said, Mr Brown want y'all

643
00:45:02,840 --> 00:45:06,880
Speaker 1: to come down here, and you know and uh play

644
00:45:06,920 --> 00:45:11,080
Speaker 1: on the show. You know. So it wasn't like he

645
00:45:11,160 --> 00:45:14,080
Speaker 1: wants y'all, y'all to come down here and play with him.

646
00:45:14,200 --> 00:45:15,920
Speaker 1: It's like he wants y'all to come down here and

647
00:45:15,960 --> 00:45:19,480
Speaker 1: play on the show. So it was like, oh, man,

648
00:45:19,560 --> 00:45:23,560
Speaker 1: come on man, you know, yeah, man, I'm coming to

649
00:45:23,640 --> 00:45:26,520
Speaker 1: get you. I'm coming to get you. In forty five

650
00:45:26,600 --> 00:45:30,680
Speaker 1: minutes on James Lerige and so y'all just be ready,

651
00:45:31,400 --> 00:45:35,640
Speaker 1: you know. And I'm like, okay, So I go back,

652
00:45:35,840 --> 00:45:38,560
Speaker 1: hang up because I'm still thinking he's joking. But I

653
00:45:38,600 --> 00:45:41,080
Speaker 1: go back and tell the boys, you know, I tell Cat,

654
00:45:41,239 --> 00:45:43,640
Speaker 1: you know, like Bobby, I just got off the phone

655
00:45:43,640 --> 00:45:46,920
Speaker 1: with Bird and he um, he said, James want us

656
00:45:46,960 --> 00:45:49,480
Speaker 1: to come down and play on the show. And so

657
00:45:50,040 --> 00:45:52,960
Speaker 1: everybody's eyes lit up. You know, It's like, oh man,

658
00:45:53,000 --> 00:45:55,720
Speaker 1: he gotta be joking. It's like, no, man, I say.

659
00:45:56,360 --> 00:45:58,799
Speaker 1: He said, well, you better go tell mama, you know,

660
00:45:59,000 --> 00:46:02,480
Speaker 1: because you know Mama. You know, Mama ain't going for that,

661
00:46:02,800 --> 00:46:06,960
Speaker 1: you know. And I said, well, if you go, I

662
00:46:07,000 --> 00:46:09,160
Speaker 1: know she won't have a problem with it, you know.

663
00:46:09,680 --> 00:46:14,839
Speaker 1: So UM called Mama, and you know, I asked her.

664
00:46:14,880 --> 00:46:18,440
Speaker 1: I said, Mama, you know, um uh, we got an

665
00:46:18,480 --> 00:46:21,000
Speaker 1: offer to go down here play, you know on James Show.

666
00:46:22,239 --> 00:46:29,760
Speaker 1: Where oh where it was Columbus, Georgia and you're in Cinati.

667
00:46:29,840 --> 00:46:32,520
Speaker 1: I'm in Cincinnati. How far is that flight wise? Like

668
00:46:33,760 --> 00:46:36,720
Speaker 1: you probably make that move like two hours maybe. I mean, now,

669
00:46:37,120 --> 00:46:39,480
Speaker 1: so what time is it when you get He had

670
00:46:39,600 --> 00:46:42,560
Speaker 1: a lear yet, I mean to go fast. I never

671
00:46:42,719 --> 00:46:46,920
Speaker 1: understood the leader part that means faster private, but no, no, no,

672
00:46:47,440 --> 00:46:50,040
Speaker 1: they don't fool around. Them boys go straight up into

673
00:46:50,120 --> 00:46:53,200
Speaker 1: the egg. They don't, you know, they don't. James Brown

674
00:46:53,280 --> 00:46:57,759
Speaker 1: was that famous. Oh yeah, like I just got to

675
00:46:57,960 --> 00:47:04,680
Speaker 1: maybe private jet status, like yeah, no, he was that famous,

676
00:47:04,840 --> 00:47:08,080
Speaker 1: you know, and I got you know, that was the

677
00:47:08,120 --> 00:47:11,040
Speaker 1: first time we ever got on the plane. You know.

678
00:47:11,360 --> 00:47:18,359
Speaker 1: So he actually came, Bobby Bird and you know, let's

679
00:47:18,360 --> 00:47:20,920
Speaker 1: see what time was it. Now, See that's what my

680
00:47:21,040 --> 00:47:34,239
Speaker 1: memory forgotten. I wasn't I wasn't clocking it in, so

681
00:47:34,360 --> 00:47:38,880
Speaker 1: it had to be it had to be around I

682
00:47:38,880 --> 00:47:45,040
Speaker 1: would say at least six seven somewhere around in there.

683
00:47:46,680 --> 00:47:50,000
Speaker 1: And when he when he actually came and got us,

684
00:47:50,960 --> 00:47:54,040
Speaker 1: we game. We went straight into the limo, straight to

685
00:47:54,080 --> 00:47:57,279
Speaker 1: the plane, straight up in the air. It wasn't no

686
00:47:57,760 --> 00:48:00,520
Speaker 1: you know what, no fooling around. What about luggage? And

687
00:48:00,760 --> 00:48:03,480
Speaker 1: oh we just took our instruments. You know that that

688
00:48:03,600 --> 00:48:06,399
Speaker 1: green base. I was telling that twenty nine dollars, that's

689
00:48:06,440 --> 00:48:09,520
Speaker 1: what I had. And I'll tell you about Remind me

690
00:48:09,560 --> 00:48:11,879
Speaker 1: to tell you about what James thought about that base.

691
00:48:12,640 --> 00:48:17,880
Speaker 1: All right, So so we um we get there, Okay,

692
00:48:18,040 --> 00:48:21,560
Speaker 1: we land, we get there, We go to the auditorium,

693
00:48:22,440 --> 00:48:27,399
Speaker 1: UM and then we hear all this ruckus going on

694
00:48:27,760 --> 00:48:31,480
Speaker 1: riding kind of vibe which we were used to. But

695
00:48:31,600 --> 00:48:35,640
Speaker 1: it's like we didn't realize it was directed at us,

696
00:48:36,600 --> 00:48:40,040
Speaker 1: you know, and you know because the band is late,

697
00:48:40,360 --> 00:48:43,000
Speaker 1: well that the band is and they're pointing at us,

698
00:48:43,680 --> 00:48:47,680
Speaker 1: and we like, we didn't know. We didn't even know

699
00:48:48,000 --> 00:48:51,359
Speaker 1: he was walking into that into the front door where

700
00:48:51,360 --> 00:48:53,200
Speaker 1: we was getting ready to walk in the front door

701
00:48:55,600 --> 00:48:58,520
Speaker 1: into James Brown's famous enough to be in a theater. Yeah,

702
00:48:58,880 --> 00:49:03,279
Speaker 1: they didn't think, hey, let's not first. They was just

703
00:49:03,360 --> 00:49:05,759
Speaker 1: gonna you know, they wanted to show the people that

704
00:49:05,800 --> 00:49:07,520
Speaker 1: the band had a rack called They didn't want to

705
00:49:07,520 --> 00:49:12,040
Speaker 1: put it on James. It's the band's fault, you know.

706
00:49:12,520 --> 00:49:14,440
Speaker 1: And see we ain'tn't even have to tell you the

707
00:49:14,440 --> 00:49:17,520
Speaker 1: band's fault because they didn't shume. He didn't come through

708
00:49:17,520 --> 00:49:21,600
Speaker 1: the front door, you know. And we fools, I mean,

709
00:49:21,680 --> 00:49:24,160
Speaker 1: we we don't know what's that. We don't even know

710
00:49:24,600 --> 00:49:27,960
Speaker 1: that we're actually playing with James Brown. He didn't tell

711
00:49:28,000 --> 00:49:30,440
Speaker 1: you that. They told us that we were coming to

712
00:49:30,520 --> 00:49:33,960
Speaker 1: play on James show. But wait a minute, you meaning

713
00:49:34,000 --> 00:49:41,040
Speaker 1: that two hour during that Bird's not going to Bird.

714
00:49:41,280 --> 00:49:46,040
Speaker 1: James told Bird this is what I'm guessing that he

715
00:49:46,160 --> 00:49:50,080
Speaker 1: bet not say nothing about they coming, you know, coming

716
00:49:50,120 --> 00:49:52,719
Speaker 1: down here to play with me. Just go get him.

717
00:49:53,640 --> 00:49:55,920
Speaker 1: That was that was, you know, that's what That was

718
00:49:55,960 --> 00:50:00,279
Speaker 1: my take, okay. And then then I found out my

719
00:50:00,400 --> 00:50:03,600
Speaker 1: take was the truth when I got down there and

720
00:50:03,680 --> 00:50:06,680
Speaker 1: we walked through start walking through the band once we

721
00:50:06,760 --> 00:50:10,080
Speaker 1: once we went around because we couldn't come through the front.

722
00:50:10,120 --> 00:50:12,400
Speaker 1: They was too deep. They was gonna start some some

723
00:50:12,560 --> 00:50:16,000
Speaker 1: serious you know. So Bird took us around to the

724
00:50:16,080 --> 00:50:19,880
Speaker 1: stage door. We went in the stage door, and the

725
00:50:20,000 --> 00:50:23,600
Speaker 1: next thing, you know, we started looking around and the vibe.

726
00:50:23,640 --> 00:50:27,080
Speaker 1: As soon as we got in the door, the vibe changed,

727
00:50:27,160 --> 00:50:30,800
Speaker 1: you know, it like jumped on us, like okay, something

728
00:50:30,880 --> 00:50:34,319
Speaker 1: is wrong. We didn't know what it was, but it's

729
00:50:34,360 --> 00:50:39,440
Speaker 1: like something is wrong. And then I looked over and

730
00:50:39,560 --> 00:50:46,520
Speaker 1: I saw Fred and good, look at you. No, no, no,

731
00:50:46,560 --> 00:50:54,000
Speaker 1: I'm looking at it. They still arguing at James, at James,

732
00:50:54,280 --> 00:50:56,360
Speaker 1: you know, and you know at short you know what, James,

733
00:50:56,800 --> 00:50:59,880
Speaker 1: They're looking down at it and it's like, you know,

734
00:51:00,480 --> 00:51:02,200
Speaker 1: to me, it looked like they was getting ready to

735
00:51:02,280 --> 00:51:06,279
Speaker 1: choking or do something, you know, and I was like,

736
00:51:07,160 --> 00:51:09,879
Speaker 1: what is that all about? He's like, oh, oh, yeah,

737
00:51:09,880 --> 00:51:16,839
Speaker 1: I was gonna tell y'all. I was gonna tell you

738
00:51:16,880 --> 00:51:18,759
Speaker 1: that's why I wanted to get y'all back in here.

739
00:51:19,000 --> 00:51:20,759
Speaker 1: And then come on, we need to go into Jade

740
00:51:20,840 --> 00:51:25,520
Speaker 1: Brown dressing room because we need to talk. So he

741
00:51:25,600 --> 00:51:29,080
Speaker 1: takes us back in James Brown dressing room. Next thing

742
00:51:29,120 --> 00:51:38,880
Speaker 1: you know, James comes in you know Fellers Fellers. Yeah, yeah, glad,

743
00:51:38,960 --> 00:51:44,000
Speaker 1: y'all made it. Uh, you know, I need y'all live

744
00:51:44,520 --> 00:51:50,080
Speaker 1: to play my set tonight, and we like, huh, you know,

745
00:51:50,800 --> 00:51:54,560
Speaker 1: we ain't rehearsed. I thought we was gonna open it now, sir,

746
00:51:55,200 --> 00:51:59,640
Speaker 1: y'all playing on the James Brown Show. Y'all playing tonight, Andy,

747
00:52:00,040 --> 00:52:01,840
Speaker 1: And I said, well, how are we how are we

748
00:52:01,840 --> 00:52:05,920
Speaker 1: gonna know what to play? You know? He said, well,

749
00:52:05,960 --> 00:52:09,200
Speaker 1: when I do like this in, I'm gonna call out

750
00:52:09,239 --> 00:52:14,960
Speaker 1: the song Cold Sweat. And that's the way we did it.

751
00:52:24,640 --> 00:52:30,720
Speaker 1: Two questions. Was his music so inescapable that you guys

752
00:52:30,840 --> 00:52:33,960
Speaker 1: as a unit, I just knew it, like you knew

753
00:52:34,040 --> 00:52:37,200
Speaker 1: Mary had a little lamb, Like yeah, what it was

754
00:52:37,200 --> 00:52:40,160
Speaker 1: was at that time you got to realize that James

755
00:52:40,280 --> 00:52:44,200
Speaker 1: was the hottest mug, you know, black performer. It was

756
00:52:44,920 --> 00:52:49,600
Speaker 1: I mean and all the bands, every band knew his stuff.

757
00:52:50,160 --> 00:52:53,959
Speaker 1: You know, at least that's something that would never happen again.

758
00:52:54,440 --> 00:52:58,239
Speaker 1: You're not that is like I knew they know my materials?

759
00:52:58,800 --> 00:53:01,000
Speaker 1: Like who is that up today? No one that that

760
00:53:01,000 --> 00:53:03,160
Speaker 1: can never happen, that that will never happen again. It's

761
00:53:03,280 --> 00:53:07,399
Speaker 1: not only will it never happen again, but when I

762
00:53:07,480 --> 00:53:11,920
Speaker 1: get with these artists like Stevie Wonder, don't know half

763
00:53:11,920 --> 00:53:16,080
Speaker 1: his songs now, like it's the opposite. We gotta remind them,

764
00:53:16,960 --> 00:53:18,680
Speaker 1: don't remember you know what I mean? Like it's the

765
00:53:18,760 --> 00:53:25,680
Speaker 1: opposite song right now. Nah, I'll fake it till I'll

766
00:53:25,719 --> 00:53:31,879
Speaker 1: make it so okay. And my second question is that

767
00:53:33,960 --> 00:53:38,200
Speaker 1: funk wasn't invented yet. You guys have yet to do.

768
00:53:38,880 --> 00:53:43,200
Speaker 1: Sex Machine is a week later, so like literally a

769
00:53:43,239 --> 00:53:47,920
Speaker 1: week later. And so the thing is is that the

770
00:53:48,520 --> 00:53:52,640
Speaker 1: transformation of his music from the sudent tie soul thing

771
00:53:53,320 --> 00:54:01,480
Speaker 1: and to the gritty How first of all did the

772
00:54:01,520 --> 00:54:07,319
Speaker 1: audience by it? They've freaking loved it, they love And

773
00:54:07,360 --> 00:54:09,719
Speaker 1: how did you interpret those songs? Like did you just

774
00:54:10,280 --> 00:54:14,000
Speaker 1: approximated as his band would have done it? Well? You

775
00:54:14,040 --> 00:54:19,080
Speaker 1: gotta understand too that we needed to be polished, you know.

776
00:54:19,200 --> 00:54:22,319
Speaker 1: I mean we came in with what we came in with,

777
00:54:22,520 --> 00:54:27,959
Speaker 1: and that's raw energy, raw talent which needed to be

778
00:54:28,719 --> 00:54:32,320
Speaker 1: put on the one, as James would call it. And

779
00:54:32,680 --> 00:54:36,400
Speaker 1: you know, me not being a like a talkt bass player,

780
00:54:36,840 --> 00:54:42,680
Speaker 1: I really didn't know, um the the purpose of the

781
00:54:42,719 --> 00:54:46,080
Speaker 1: base other than you know, just play these low notes,

782
00:54:46,640 --> 00:54:48,960
Speaker 1: you know. But I played them like it was a

783
00:54:49,000 --> 00:54:53,520
Speaker 1: guitar because that's what I learned on And James was

784
00:54:53,600 --> 00:54:58,799
Speaker 1: responsible for telling me that. All right, son, look yeah, yeah,

785
00:55:00,360 --> 00:55:03,399
Speaker 1: I love all that stuff you're doing that, Son, I

786
00:55:03,480 --> 00:55:06,239
Speaker 1: love it. I love it. But the only thing you

787
00:55:06,360 --> 00:55:10,160
Speaker 1: gotta do, if you're gonna play with the Jane round, yo,

788
00:55:11,080 --> 00:55:15,359
Speaker 1: you got to give me the one. That's what I need, Son,

789
00:55:15,480 --> 00:55:17,760
Speaker 1: I need the one. You can play all that other stuff,

790
00:55:18,440 --> 00:55:20,560
Speaker 1: but I need the one. Can you hit me with

791
00:55:20,640 --> 00:55:24,799
Speaker 1: the one? That's where the one comes from? So I

792
00:55:24,920 --> 00:55:29,000
Speaker 1: learned the one. The one was birth. One was birth

793
00:55:31,480 --> 00:55:34,360
Speaker 1: every member of the roots. I want you to listen

794
00:55:34,400 --> 00:55:41,480
Speaker 1: to this again because there is there. Can we explain

795
00:55:41,600 --> 00:55:43,799
Speaker 1: to the list of what the one is like. It's

796
00:55:43,960 --> 00:55:48,319
Speaker 1: it's it's an establishing pulse in music. You gotta have

797
00:55:48,440 --> 00:55:54,000
Speaker 1: a four count one two three four now for for

798
00:55:54,320 --> 00:55:59,719
Speaker 1: soul music, even though the emphasis is on you might

799
00:56:00,000 --> 00:56:03,800
Speaker 1: are the snare on the tuone of four one two

800
00:56:04,760 --> 00:56:09,080
Speaker 1: four fun too, it's that what is first, that is

801
00:56:09,120 --> 00:56:21,440
Speaker 1: what it hits you and oh my god, okay, okay.

802
00:56:22,000 --> 00:56:27,680
Speaker 1: And the thing is is that it's it's a certain

803
00:56:27,719 --> 00:56:34,400
Speaker 1: repetition after like African drum repetition. It there's joy and repetition,

804
00:56:35,280 --> 00:56:38,200
Speaker 1: avoiding saying that I was trying to think of like, um, like,

805
00:56:38,239 --> 00:56:39,960
Speaker 1: I don't want nobody to tell me nothing. I don't

806
00:56:39,960 --> 00:56:46,040
Speaker 1: want nobody to give me no, but not have a one.

807
00:56:46,040 --> 00:56:47,799
Speaker 1: I don't understand how you don't have a one, like

808
00:56:47,800 --> 00:56:50,920
Speaker 1: you gotta start somewhere. So how was this doesn't have one?

809
00:56:54,080 --> 00:56:56,759
Speaker 1: That one? Right? Right right? I'll give you a bad example. Well,

810
00:56:56,920 --> 00:57:01,520
Speaker 1: here's weird. This is what's weird. Technically seven seven, seven

811
00:57:02,080 --> 00:57:04,360
Speaker 1: eleven doesn't have a one. Okay, I'll even make it

812
00:57:04,400 --> 00:57:08,760
Speaker 1: easier for you. Uh, the Whisper song by the Yang

813
00:57:08,880 --> 00:57:16,040
Speaker 1: Twins doesn't have well, most snap music has no high hat.

814
00:57:16,840 --> 00:57:21,720
Speaker 1: You need a metronome. You need something that establishes the

815
00:57:21,720 --> 00:57:24,640
Speaker 1: pace of a song. You need a metronome. Now you know,

816
00:57:24,920 --> 00:57:27,720
Speaker 1: not every song is gonna have a like a one

817
00:57:27,760 --> 00:57:31,880
Speaker 1: to three four, but it's insinuated in your head. You

818
00:57:31,920 --> 00:57:35,880
Speaker 1: don't realize it, but you're being hypnotized every time a

819
00:57:35,920 --> 00:57:40,120
Speaker 1: loop happens. So I think James Brown's music really isn't

820
00:57:40,680 --> 00:57:43,400
Speaker 1: a linear structure of song like thinking like John Coltrane

821
00:57:43,480 --> 00:57:47,320
Speaker 1: or jazz. Jazz is linear. James Brown is circular. And

822
00:57:47,360 --> 00:57:50,840
Speaker 1: he has a whole bunch of people playing repeated notes

823
00:57:50,960 --> 00:57:54,720
Speaker 1: all over again. P funk is even crazier because they'll

824
00:57:54,720 --> 00:58:01,000
Speaker 1: have counter stuff, yeah, but repeating the same thing over again.

825
00:58:01,520 --> 00:58:04,400
Speaker 1: So by the seventh minute, like don't stop. Do you

826
00:58:04,400 --> 00:58:07,160
Speaker 1: get enough? You remember how it just breaks down today

827
00:58:09,360 --> 00:58:12,520
Speaker 1: it's just stopped, playing over and over and over again.

828
00:58:12,600 --> 00:58:15,040
Speaker 1: Shake your body down to the ground. Another example, And

829
00:58:15,080 --> 00:58:17,360
Speaker 1: that's a loop that's like a one bar. Yeah, there's

830
00:58:17,400 --> 00:58:22,920
Speaker 1: no that's it. That's the song. So the one is

831
00:58:23,000 --> 00:58:26,920
Speaker 1: just it's just it's it needs to be super obvious sometimes.

832
00:58:27,960 --> 00:58:32,600
Speaker 1: And you know with my band, you know, and this this,

833
00:58:32,600 --> 00:58:36,160
Speaker 1: this is the one downfall of worship Jay Dilla because

834
00:58:36,200 --> 00:58:39,680
Speaker 1: he kind of throws out the manual of of meat

835
00:58:39,680 --> 00:58:43,960
Speaker 1: and potatoes rhythm and it's causing a lot of cats

836
00:58:43,960 --> 00:58:48,200
Speaker 1: like thunder Thundercat Chris Dave a lot of a lot

837
00:58:48,240 --> 00:58:52,240
Speaker 1: of post Jay Diller's disciples to just kill this Bart

838
00:58:52,440 --> 00:58:57,400
Speaker 1: numbers the time, stretching drummers. It sounds almost sad, though,

839
00:58:57,880 --> 00:59:00,240
Speaker 1: I mean no, it's I mean it's like filling these

840
00:59:00,280 --> 00:59:03,040
Speaker 1: monks sort of having sub notes. I mean it's creative.

841
00:59:03,640 --> 00:59:06,440
Speaker 1: But the thing is is, I believe that you should

842
00:59:07,640 --> 00:59:12,440
Speaker 1: study the Old Testament, master it and then you expand

843
00:59:12,600 --> 00:59:15,160
Speaker 1: you learn the rules before you break them. Right now,

844
00:59:15,240 --> 00:59:17,120
Speaker 1: you've just got cats coming and breaking the rules. And

845
00:59:17,160 --> 00:59:21,640
Speaker 1: then Chris Dave, he still comes back to the one. Well,

846
00:59:21,680 --> 00:59:23,320
Speaker 1: Chris is the Jeanes, but he has a lot of

847
00:59:23,320 --> 00:59:26,920
Speaker 1: disciples that are just like watching his YouTube videos and

848
00:59:26,960 --> 00:59:30,960
Speaker 1: then just going from that. But you know, and it's

849
00:59:31,320 --> 00:59:34,600
Speaker 1: the one is important. The one is it's meaning potatoes.

850
00:59:39,040 --> 00:59:45,640
Speaker 1: There's something really cool about the sex machine, uh session

851
00:59:46,760 --> 00:59:50,160
Speaker 1: that I guess well, Boss Bill and I were alerted

852
00:59:50,200 --> 00:59:54,520
Speaker 1: to it because we have the um, the pro tools,

853
00:59:54,560 --> 01:00:01,120
Speaker 1: the master reel, and do we not occasionally teach that,

854
01:00:01,320 --> 01:00:04,120
Speaker 1: m y un, But I don't have the se Well,

855
01:00:04,280 --> 01:00:06,040
Speaker 1: you know, we share every I mean, come on now,

856
01:00:11,000 --> 01:00:14,880
Speaker 1: but my the point was that you guys did two

857
01:00:14,880 --> 01:00:23,160
Speaker 1: takes of it, and the the the kind of in

858
01:00:23,240 --> 01:00:25,680
Speaker 1: between banner. I guess there's like a two or three

859
01:00:25,680 --> 01:00:28,960
Speaker 1: minute break between take one, which was the master take,

860
01:00:30,000 --> 01:00:31,920
Speaker 1: and take two, which was like, let's just get a

861
01:00:31,960 --> 01:00:37,760
Speaker 1: second one for safety's sake. And every James Brown expert

862
01:00:38,040 --> 01:00:43,919
Speaker 1: that's ever heard that their jaw dropped because their jaw

863
01:00:44,040 --> 01:00:51,120
Speaker 1: dropped simply because of the nurturing, kind of tender father

864
01:00:51,200 --> 01:00:54,480
Speaker 1: like way that he's communicating with you guys, Whereas with

865
01:00:54,520 --> 01:00:59,520
Speaker 1: anyone else if you were run the engineer or or

866
01:00:59,600 --> 01:01:02,000
Speaker 1: you know whatever, he's just like, no, man, that was wrong.

867
01:01:02,520 --> 01:01:04,520
Speaker 1: And even you know, giving up return of loose you

868
01:01:04,520 --> 01:01:06,880
Speaker 1: you hear him like starting all over again, like in

869
01:01:07,240 --> 01:01:09,560
Speaker 1: the song you know that sort of thing, but he

870
01:01:09,600 --> 01:01:11,560
Speaker 1: actually stops this. No, no, no, you know, don't do

871
01:01:11,680 --> 01:01:14,640
Speaker 1: it again. You can make it work, you know. No,

872
01:01:14,720 --> 01:01:17,560
Speaker 1: you're doing good, You're doing good. Just they they've never

873
01:01:17,600 --> 01:01:22,640
Speaker 1: heard James Brown actually be nice. Yeah, that's the thing.

874
01:01:23,320 --> 01:01:26,280
Speaker 1: So with Sex Machine, the first time that you guys

875
01:01:26,280 --> 01:01:32,240
Speaker 1: were in the studio or like, was that your first

876
01:01:32,240 --> 01:01:35,440
Speaker 1: professional you mean with James or well, I know that

877
01:01:35,480 --> 01:01:41,440
Speaker 1: was your first. Was that your first with James? Actually? No? Um,

878
01:01:41,480 --> 01:01:47,400
Speaker 1: what was before? Um? What was um? The first time

879
01:01:47,440 --> 01:01:51,320
Speaker 1: I played with James. Of course he didn't use it,

880
01:01:51,960 --> 01:01:55,720
Speaker 1: but his band took a break while they were recording,

881
01:01:56,120 --> 01:02:02,520
Speaker 1: Um licking stick and yeah, most monks don't know nothing

882
01:02:02,560 --> 01:02:07,320
Speaker 1: about this, you know, I mean with the story, and

883
01:02:07,400 --> 01:02:11,400
Speaker 1: so um, his band went on a break and James

884
01:02:11,520 --> 01:02:17,320
Speaker 1: get this horrific idea. And you know we outside, you know,

885
01:02:17,520 --> 01:02:20,000
Speaker 1: me and my brother, you know, the band. We outside,

886
01:02:20,280 --> 01:02:24,080
Speaker 1: always outside, waiting on a chance to get in because

887
01:02:24,120 --> 01:02:27,480
Speaker 1: they didn't let nobody in. You know, it was like, um,

888
01:02:27,560 --> 01:02:30,080
Speaker 1: we don't care who you are. You know, nobody's coming

889
01:02:30,120 --> 01:02:34,840
Speaker 1: in but James and who he needs. And so his

890
01:02:35,040 --> 01:02:41,560
Speaker 1: band wait, you would just be outside outside the studio hanging.

891
01:02:44,880 --> 01:02:48,880
Speaker 1: I mean, every time James came to Cincinnati, we was there.

892
01:02:49,880 --> 01:02:55,400
Speaker 1: And so you know, he said, but I know, boots

893
01:02:55,440 --> 01:02:57,120
Speaker 1: in them out dead, go out there and get boosted in.

894
01:02:58,280 --> 01:03:02,600
Speaker 1: The next thing, I know, they opened the door, Bird said, pussy,

895
01:03:02,640 --> 01:03:06,440
Speaker 1: come on in it. And we were shocked. We was shot.

896
01:03:06,480 --> 01:03:10,400
Speaker 1: It's like we were shocked. But at the same time,

897
01:03:10,480 --> 01:03:14,320
Speaker 1: we was all waiting for that, you know, because before that,

898
01:03:14,320 --> 01:03:17,560
Speaker 1: he ain't never call us in the studio, you know,

899
01:03:17,720 --> 01:03:20,880
Speaker 1: so he called us in. I want you to play

900
01:03:20,920 --> 01:03:23,960
Speaker 1: the play this part from it. Uh. It goes something

901
01:03:24,000 --> 01:03:33,560
Speaker 1: like this. Uh uh I think uh, I said, you

902
01:03:33,600 --> 01:03:38,120
Speaker 1: mean do do do do? Do Do? Do do do do do? Yeah? None,

903
01:03:38,160 --> 01:03:44,640
Speaker 1: that's it. That's what I'm doing. That's how songs were

904
01:03:44,680 --> 01:03:46,640
Speaker 1: getting made. He would just sing something. You have to

905
01:03:46,680 --> 01:03:51,640
Speaker 1: decipher what it was like you from here America. You

906
01:03:51,720 --> 01:03:55,480
Speaker 1: go to Japan and they don't have no idea what

907
01:03:55,560 --> 01:03:59,560
Speaker 1: the are you talking about? But if you play it

908
01:03:59,560 --> 01:04:03,560
Speaker 1: in mut music, they can say, okay, so James. The

909
01:04:03,640 --> 01:04:06,200
Speaker 1: whole thing is when he's communicating with you, you don't

910
01:04:06,240 --> 01:04:14,080
Speaker 1: know what the hell he's talking about. God, he don't

911
01:04:14,280 --> 01:04:23,040
Speaker 1: being down so African I got. So that's what you're

912
01:04:23,040 --> 01:04:29,200
Speaker 1: going on? Oh you mean dude, dud DoD. Yeah, that's

913
01:04:29,200 --> 01:04:35,040
Speaker 1: what I'm talking about. That glad I thought of it

914
01:04:35,360 --> 01:04:40,400
Speaker 1: to wear work, and I was glad he thought of

915
01:04:40,480 --> 01:04:46,200
Speaker 1: it too. This being in his presence was that was

916
01:04:46,320 --> 01:04:48,920
Speaker 1: enough for me? And they then the mugs him. You

917
01:04:49,000 --> 01:04:52,200
Speaker 1: mean you didn't get paid for that? Get paid? You know,

918
01:04:52,360 --> 01:04:55,240
Speaker 1: we wasn't thinking about getting paid. You mean your name

919
01:04:55,320 --> 01:05:02,520
Speaker 1: and name on what? You know? We was just so inspired,

920
01:05:03,040 --> 01:05:06,600
Speaker 1: lifted from being in this Catt present. What nobody thinking

921
01:05:06,840 --> 01:05:10,080
Speaker 1: at that time? You know you gotta remember what time

922
01:05:10,160 --> 01:05:15,440
Speaker 1: that was. You know, that was like you know, writers

923
01:05:16,440 --> 01:05:21,480
Speaker 1: publishing all that stuff was unheard of for musicians. You know,

924
01:05:21,680 --> 01:05:25,080
Speaker 1: you'd be lucky to come in and they give you,

925
01:05:25,800 --> 01:05:30,680
Speaker 1: uh thirty dollars for a session, you know, and don't

926
01:05:30,760 --> 01:05:34,760
Speaker 1: even speak about you know, rotes a bass part or

927
01:05:34,840 --> 01:05:38,120
Speaker 1: you know, or Jabboon came up with a drum part

928
01:05:38,200 --> 01:05:42,720
Speaker 1: and clydet no that belonged to Jane Brown. You know,

929
01:05:43,720 --> 01:05:48,720
Speaker 1: couldn't nobody tell um Clyde to play that, uh play

930
01:05:49,040 --> 01:05:53,320
Speaker 1: play that, play that funking drumma likeness in let me

931
01:05:53,400 --> 01:05:55,680
Speaker 1: show your high go And James used to do that,

932
01:05:56,080 --> 01:05:58,200
Speaker 1: let me show your go and he get on that

933
01:05:58,400 --> 01:06:08,760
Speaker 1: and play some four four nothing happening, ain't nothing happening.

934
01:06:08,840 --> 01:06:12,560
Speaker 1: But see the thing is, I don't want to. I

935
01:06:12,600 --> 01:06:15,800
Speaker 1: don't want to make a sound like you know, he

936
01:06:16,080 --> 01:06:19,760
Speaker 1: was that far gone. He wasn't gone at all. He

937
01:06:20,000 --> 01:06:23,920
Speaker 1: knew what he wanted. But you had to give it

938
01:06:24,000 --> 01:06:26,840
Speaker 1: to him, you know, you had to. He knew it

939
01:06:26,960 --> 01:06:30,280
Speaker 1: when he heard it. You know. It's like you know,

940
01:06:30,840 --> 01:06:34,280
Speaker 1: if you if you didn't play it right, No no, no, son,

941
01:06:34,440 --> 01:06:37,080
Speaker 1: yet you ain't got it. No, no, no, no, that

942
01:06:37,320 --> 01:06:40,680
Speaker 1: that ain't gonna work. Not not No, he'll give it

943
01:06:40,760 --> 01:06:43,520
Speaker 1: to you like that. But if you play it, if

944
01:06:43,560 --> 01:06:47,360
Speaker 1: you play what he wants to hear. Yeah, that's it's. Uh,

945
01:06:47,640 --> 01:06:53,240
Speaker 1: that's it. So I know that you guys were wept

946
01:06:53,320 --> 01:06:57,480
Speaker 1: behind the ears, um, just being thrown in this situation,

947
01:06:58,960 --> 01:07:04,040
Speaker 1: say the least. So what were the because Alan Weeds

948
01:07:04,120 --> 01:07:06,560
Speaker 1: told me that there was a lot of rigorous hours

949
01:07:06,600 --> 01:07:12,640
Speaker 1: of rehearsing it. What were the rehearsals like? And why

950
01:07:12,800 --> 01:07:16,400
Speaker 1: why did Clyde and Jabbo cross the picket line or

951
01:07:17,320 --> 01:07:21,480
Speaker 1: oh you mean come back? Um, I don't you know what.

952
01:07:21,680 --> 01:07:25,400
Speaker 1: I never I never even thought about that. Uh. And

953
01:07:25,800 --> 01:07:29,360
Speaker 1: I didn't ever look at it like they crossed the

954
01:07:29,480 --> 01:07:33,479
Speaker 1: picket line. It was like, you know, well the band

955
01:07:33,600 --> 01:07:38,360
Speaker 1: left and then Clyde stayed. Yeah, but he came back.

956
01:07:38,560 --> 01:07:42,760
Speaker 1: Clyde came back. He didn't actually leave when the band left.

957
01:07:43,560 --> 01:07:46,760
Speaker 1: He came back about maybe a couple of weeks after

958
01:07:47,720 --> 01:07:51,520
Speaker 1: we started getting things together. Jabbo is the one that

959
01:07:51,680 --> 01:07:57,640
Speaker 1: didn't leave. He stayed, so you know, Um, but Jabbo

960
01:07:57,880 --> 01:08:01,840
Speaker 1: was that kind of lofty guy that you know he

961
01:08:02,000 --> 01:08:03,960
Speaker 1: was gonna he was like bird, kind of like bird,

962
01:08:04,120 --> 01:08:07,720
Speaker 1: Bobby Bird. He wasn't gonna leave James, you know. Um

963
01:08:08,000 --> 01:08:12,360
Speaker 1: at that particular time, it was like, you know, Jabbo

964
01:08:12,560 --> 01:08:15,600
Speaker 1: was like, this is it, you know, and he was

965
01:08:15,760 --> 01:08:21,280
Speaker 1: the he was the foundation for us because he was

966
01:08:21,360 --> 01:08:23,600
Speaker 1: the only one with him and Bobby Bird was the

967
01:08:23,720 --> 01:08:28,719
Speaker 1: only one that was there the first couple of weeks

968
01:08:29,360 --> 01:08:32,519
Speaker 1: that we could rely on. Did you know to kept

969
01:08:32,640 --> 01:08:38,800
Speaker 1: us steady? That's another question, because your your style is

970
01:08:40,720 --> 01:08:44,040
Speaker 1: you're you're James Brown style then was pretty much James

971
01:08:44,120 --> 01:08:47,200
Speaker 1: Jamison one on steroids. I mean, you're going all over

972
01:08:47,240 --> 01:08:48,920
Speaker 1: and I know you're saying, like James just wanted that one.

973
01:08:48,920 --> 01:08:54,840
Speaker 1: You could do all that other stuff, but someone had

974
01:08:54,880 --> 01:08:58,559
Speaker 1: to be the bad guy to say you're playing too much,

975
01:08:58,640 --> 01:09:02,000
Speaker 1: Like you guys are virtual so musicians. But who's the

976
01:09:02,080 --> 01:09:04,840
Speaker 1: person that has to reel it in said you're playing

977
01:09:04,840 --> 01:09:10,640
Speaker 1: too much? Just give me James would James would be

978
01:09:10,720 --> 01:09:12,559
Speaker 1: the bad guy. You know, he didn't need no help

979
01:09:12,640 --> 01:09:16,880
Speaker 1: on that. You know. It was like but he was

980
01:09:17,000 --> 01:09:21,639
Speaker 1: liked what we was doing, you know, he just liked it. Um.

981
01:09:22,800 --> 01:09:25,400
Speaker 1: I mean, we we heard all of the stories and

982
01:09:25,560 --> 01:09:28,680
Speaker 1: we you know, we would see how he treated the

983
01:09:28,800 --> 01:09:31,400
Speaker 1: other guys, but with us, just like you were saying

984
01:09:31,439 --> 01:09:34,600
Speaker 1: about that story about how he nurtured us. You know,

985
01:09:35,280 --> 01:09:40,000
Speaker 1: that's the kind of father figure he was. Us. Finding us, No,

986
01:09:40,520 --> 01:09:44,280
Speaker 1: finding us didn't work because we didn't have no money anyway.

987
01:09:45,640 --> 01:09:48,519
Speaker 1: So it's like, yeah, take my money, I mean, you know,

988
01:09:48,960 --> 01:09:50,840
Speaker 1: to take whatever you are. I'm here with you. I'm

989
01:09:50,880 --> 01:09:52,880
Speaker 1: here here with you. You know, you know you can

990
01:09:52,960 --> 01:09:55,240
Speaker 1: have my money. It don't even matter. So he did

991
01:09:55,400 --> 01:09:57,880
Speaker 1: kind of slightly take advantage of y'all being younger with

992
01:09:57,960 --> 01:10:00,720
Speaker 1: the whole the pay cut thing I'm imagining, and you

993
01:10:00,800 --> 01:10:03,120
Speaker 1: know everybody else didn't come back. Well, I wouldn't even

994
01:10:03,160 --> 01:10:05,960
Speaker 1: say take advantage. Um, it was just a law. That

995
01:10:06,120 --> 01:10:08,200
Speaker 1: was just what he did. You know, That's what he did.

996
01:10:09,000 --> 01:10:13,120
Speaker 1: When he get to a certain point. It's like if um,

997
01:10:13,880 --> 01:10:16,400
Speaker 1: and he could be just going through a thing where

998
01:10:16,960 --> 01:10:20,080
Speaker 1: he feels like he needs to change, you know what

999
01:10:20,160 --> 01:10:23,720
Speaker 1: I'm saying, And um, if he needs to change, then

1000
01:10:23,760 --> 01:10:27,840
Speaker 1: he'll start a ruckus, you know, as man funk y'all.

1001
01:10:28,240 --> 01:10:31,840
Speaker 1: You know. So you know, Um, they had me going

1002
01:10:31,960 --> 01:10:36,240
Speaker 1: in asking for raises when I didn't even feel like

1003
01:10:37,640 --> 01:10:42,479
Speaker 1: a raise. I mean, you know, yeah, we just got here,

1004
01:10:42,600 --> 01:10:45,719
Speaker 1: we're having a great time. What is wrong with you people.

1005
01:10:47,600 --> 01:10:51,479
Speaker 1: But if the thing is is that, uh, it seems

1006
01:10:51,520 --> 01:10:54,479
Speaker 1: amazing enough, but you guys were only there for less

1007
01:10:54,520 --> 01:10:58,879
Speaker 1: than you were there for eleven months. But that everything

1008
01:10:59,000 --> 01:11:03,880
Speaker 1: that you guys did, it was some life changing funk,

1009
01:11:04,040 --> 01:11:07,200
Speaker 1: like next to sly Stone. I mean, you guys single

1010
01:11:07,240 --> 01:11:11,320
Speaker 1: handedly like rewriting the book of of what soul music was.

1011
01:11:12,360 --> 01:11:15,880
Speaker 1: What was the last gig? Like before you guys were

1012
01:11:15,960 --> 01:11:18,960
Speaker 1: like like James, let you guys go, or was it

1013
01:11:19,160 --> 01:11:23,479
Speaker 1: you guys said we have to go? Or you know,

1014
01:11:27,320 --> 01:11:29,920
Speaker 1: it's funny, it's funny. The last gig was here in

1015
01:11:30,000 --> 01:11:34,880
Speaker 1: New York at the Copa Cabana. We was we was there,

1016
01:11:35,120 --> 01:11:38,040
Speaker 1: supposed to be there for two weeks. Right, We just

1017
01:11:38,280 --> 01:11:41,320
Speaker 1: came back from Europe. We had did uh to three

1018
01:11:41,400 --> 01:11:43,840
Speaker 1: weeks over in Europe. We had did a couple of

1019
01:11:43,920 --> 01:11:48,360
Speaker 1: weeks over in Africa. We come back and the first gigs,

1020
01:11:48,880 --> 01:11:51,479
Speaker 1: the first gig that we do is the Copa Cabana.

1021
01:11:52,000 --> 01:11:54,320
Speaker 1: So we played for a week. We're supposed to be

1022
01:11:54,400 --> 01:11:58,479
Speaker 1: you're doing two weeks. We played the first week and UM,

1023
01:11:59,200 --> 01:12:03,120
Speaker 1: but the troubles started over in Africa before we got back.

1024
01:12:03,439 --> 01:12:08,280
Speaker 1: The trouble started with UM. While we went to the president.

1025
01:12:09,000 --> 01:12:17,000
Speaker 1: Uh what was his name? No, no, this one was

1026
01:12:17,040 --> 01:12:22,600
Speaker 1: the president of Zambia. Yeah. Yeah, well we went. He

1027
01:12:22,760 --> 01:12:25,240
Speaker 1: invited us to his you know, it was kind of

1028
01:12:25,280 --> 01:12:28,200
Speaker 1: it was like the White House name. So, um, he

1029
01:12:28,320 --> 01:12:36,200
Speaker 1: invited us there, and um what happened was there's been

1030
01:12:36,280 --> 01:12:39,600
Speaker 1: some rumbling going on about we need to raise you know,

1031
01:12:40,400 --> 01:12:43,439
Speaker 1: and so I'm the Mikey. You know, I'm like Mikey.

1032
01:12:43,520 --> 01:12:45,560
Speaker 1: You know that commercial that let's get Mikey to do.

1033
01:12:46,720 --> 01:12:50,599
Speaker 1: So I was always the Mikey character where they tell

1034
01:12:50,720 --> 01:12:54,040
Speaker 1: me what they wanted because James was always kind of

1035
01:12:54,160 --> 01:12:57,240
Speaker 1: soft with me, you know, he you know, okay man, okay,

1036
01:12:57,400 --> 01:13:00,479
Speaker 1: yeah you okay, you can get away with it, okay, yeah,

1037
01:13:00,680 --> 01:13:05,720
Speaker 1: you know yeah yeah yeah, and and remind me to

1038
01:13:06,280 --> 01:13:12,720
Speaker 1: well maybe I shouldn't tell that story, okay, but anyway, no,

1039
01:13:12,920 --> 01:13:16,040
Speaker 1: it's kind of personal with his you know. But um

1040
01:13:17,200 --> 01:13:22,200
Speaker 1: uh so we go to dinner and they say, um, Boosey,

1041
01:13:22,240 --> 01:13:24,160
Speaker 1: you're gonna tell him. You know, you need to tell

1042
01:13:24,280 --> 01:13:27,040
Speaker 1: him now. You need to tell him now because we're

1043
01:13:27,240 --> 01:13:33,439
Speaker 1: the president and we want to embarrass him, right, so

1044
01:13:33,600 --> 01:13:38,080
Speaker 1: check it out. So check it out. Yeah, yeah, yeah,

1045
01:13:38,200 --> 01:13:42,360
Speaker 1: that's what I said. You know, you need to go

1046
01:13:42,520 --> 01:13:45,360
Speaker 1: tell him now because we gotta play, you know, after

1047
01:13:45,400 --> 01:13:47,519
Speaker 1: we leave it dinner, we gotta go play. But you

1048
01:13:47,600 --> 01:13:49,880
Speaker 1: need to tell him now so he can agree to it,

1049
01:13:50,479 --> 01:13:52,840
Speaker 1: you know. So, and I ain't gonna tell the names

1050
01:13:52,920 --> 01:13:56,479
Speaker 1: that told me this to do this, but um, so

1051
01:13:57,760 --> 01:14:00,760
Speaker 1: I said, okay, I'll do it. So I went and

1052
01:14:00,880 --> 01:14:06,360
Speaker 1: told him. And you know, actually I didn't tell him.

1053
01:14:07,200 --> 01:14:10,479
Speaker 1: They wrote they wrote it down. They wrote it down,

1054
01:14:11,280 --> 01:14:14,320
Speaker 1: they gave it to me. Okay, take it to it.

1055
01:14:14,520 --> 01:14:17,840
Speaker 1: Take it to James. James down on this end of

1056
01:14:17,920 --> 01:14:20,920
Speaker 1: the table. And then you got the president on the

1057
01:14:21,040 --> 01:14:23,240
Speaker 1: other end of the table, you know, and everybody else

1058
01:14:23,360 --> 01:14:28,840
Speaker 1: is sitting you know, around right, long long table. So

1059
01:14:30,280 --> 01:14:33,920
Speaker 1: I gets up, I go down. I had a note

1060
01:14:34,800 --> 01:14:38,720
Speaker 1: to James. Okay, he said, what's his ends? So what

1061
01:14:38,800 --> 01:14:42,560
Speaker 1: do you know? Him? The band just want, you know,

1062
01:14:42,760 --> 01:14:45,120
Speaker 1: just to just read it, you know, let us know

1063
01:14:45,240 --> 01:14:50,320
Speaker 1: what's happening. You know, he knew I was full of it.

1064
01:14:50,479 --> 01:14:54,280
Speaker 1: He knew it, you know, so, um you know, once

1065
01:14:54,320 --> 01:14:58,760
Speaker 1: he read it, he jumped up from the table. Oh

1066
01:14:58,960 --> 01:15:09,800
Speaker 1: ship you mother, President. I knew it. I knew it.

1067
01:15:10,200 --> 01:15:13,639
Speaker 1: I knew it. Y'all coming at y'all got busy doing

1068
01:15:13,720 --> 01:15:18,160
Speaker 1: all this. I know it ain't him. Good, no, it

1069
01:15:18,280 --> 01:15:22,559
Speaker 1: ain't him, and y'all ain't got but one more time

1070
01:15:22,640 --> 01:15:26,519
Speaker 1: to try this is he's and that's gonna be it.

1071
01:15:26,880 --> 01:15:30,760
Speaker 1: That's gonna be it. So you know, well, you know,

1072
01:15:30,880 --> 01:15:33,280
Speaker 1: the whole thing was, well, do we get a raised

1073
01:15:37,400 --> 01:15:39,200
Speaker 1: all right, I'm gonna give it to y'all this time.

1074
01:15:39,800 --> 01:15:42,840
Speaker 1: I'm gonna give it to you, but don't try it again.

1075
01:15:43,720 --> 01:15:46,320
Speaker 1: And so that's stuck. That's stuck in my head. You know,

1076
01:15:46,320 --> 01:15:50,120
Speaker 1: I don't try it again. So we get back from Africa.

1077
01:15:51,200 --> 01:15:55,040
Speaker 1: Everything's cool. It was a blast, man. I never, I

1078
01:15:55,120 --> 01:15:59,719
Speaker 1: mean never could imagine what Africa was really like unless

1079
01:15:59,760 --> 01:16:02,960
Speaker 1: I had really been there. You know, I was thinking

1080
01:16:03,120 --> 01:16:10,400
Speaker 1: tars and the animals and Jane Nia Lagos, Baby, did

1081
01:16:10,479 --> 01:16:15,800
Speaker 1: you go? Did I go? Did I have to come home?

1082
01:16:18,360 --> 01:16:20,280
Speaker 1: What was that like for you? To see him in

1083
01:16:20,400 --> 01:16:24,960
Speaker 1: his prime? Then? Man? I mean, words can't even do that. Justice.

1084
01:16:25,520 --> 01:16:29,000
Speaker 1: Words can't do that justice, man, because okay, I got

1085
01:16:29,120 --> 01:16:36,439
Speaker 1: a story, man, But yes, oh, come on, y'all as right,

1086
01:16:36,560 --> 01:16:40,960
Speaker 1: all right, So we are on the way to see failor. Right,

1087
01:16:41,600 --> 01:16:44,240
Speaker 1: all right? We off one night, so we're on the

1088
01:16:44,360 --> 01:16:46,439
Speaker 1: way to see failor and then at this time, you

1089
01:16:46,520 --> 01:16:51,160
Speaker 1: gotta understand in Nigeria, the police was the army. It

1090
01:16:51,320 --> 01:16:54,920
Speaker 1: was an army. Serious. They didn't they didn't play. They

1091
01:16:54,960 --> 01:16:58,720
Speaker 1: didn't play, I mean with nobody. You know. It's like, um,

1092
01:16:59,439 --> 01:17:02,960
Speaker 1: so we are car, you know, riding, you know, riding

1093
01:17:03,000 --> 01:17:05,280
Speaker 1: to the gig, and I'm like, you know, we're in

1094
01:17:05,360 --> 01:17:09,200
Speaker 1: the back seat. We're smoking, you know. And of course

1095
01:17:09,240 --> 01:17:13,760
Speaker 1: I got the weed, right, I got the bomb. Yeah,

1096
01:17:14,080 --> 01:17:20,280
Speaker 1: and Nigeria, oh, I got I got friends everyone, I

1097
01:17:20,400 --> 01:17:23,360
Speaker 1: got hilf friends and high places, having a little places

1098
01:17:23,960 --> 01:17:29,800
Speaker 1: and even lord than that. So so I got the weed,

1099
01:17:29,960 --> 01:17:31,680
Speaker 1: you know. And what I ain't gonna call a non

1100
01:17:31,720 --> 01:17:36,000
Speaker 1: other name because you already know I'm guilty. So so, um,

1101
01:17:36,560 --> 01:17:40,160
Speaker 1: I'm passing around and and so all of a sudden,

1102
01:17:41,120 --> 01:17:44,000
Speaker 1: this car pulls up on each side, one pulls up

1103
01:17:44,040 --> 01:17:47,680
Speaker 1: on this side, one pulls up on that, and get

1104
01:17:47,720 --> 01:17:51,599
Speaker 1: out the car. And you know, we're looking at each

1105
01:17:51,600 --> 01:17:54,240
Speaker 1: other because we don't know what's going on. Only the

1106
01:17:54,400 --> 01:17:57,960
Speaker 1: driver knows what that means. I mean, you know, get

1107
01:17:58,000 --> 01:18:00,360
Speaker 1: out the car. Well he didn't say get out the

1108
01:18:00,400 --> 01:18:08,160
Speaker 1: car like in English whatever whatever the liners. Yeah, we

1109
01:18:08,280 --> 01:18:13,000
Speaker 1: didn't know what was that. So so you know. The

1110
01:18:13,840 --> 01:18:17,439
Speaker 1: driver looked at us and said, won't you step out,

1111
01:18:17,880 --> 01:18:21,439
Speaker 1: you know, step out. So and I'm looking at this

1112
01:18:21,720 --> 01:18:26,120
Speaker 1: person saying what do I do with the we you know,

1113
01:18:26,760 --> 01:18:29,080
Speaker 1: and she said, put it in you put it in

1114
01:18:29,200 --> 01:18:32,679
Speaker 1: the boot. Put it in the boot. I was like, oh,

1115
01:18:33,400 --> 01:18:37,479
Speaker 1: then I snuck it, put it in my boot. And

1116
01:18:38,000 --> 01:18:40,759
Speaker 1: then the driver said, no, no, open the boot, open

1117
01:18:40,840 --> 01:18:45,479
Speaker 1: the boot. Check it out, open de boot, open de boot.

1118
01:18:46,439 --> 01:18:49,080
Speaker 1: I'm like, how did he see me put that in

1119
01:18:49,200 --> 01:18:56,479
Speaker 1: my boot? Yeah, And so next thing I know, the

1120
01:18:56,640 --> 01:19:01,080
Speaker 1: driver got out, open the trunk, and I was like,

1121
01:19:02,080 --> 01:19:08,240
Speaker 1: and then this other person said, he meant the trunk. Man,

1122
01:19:08,400 --> 01:19:11,320
Speaker 1: my heart, you know, you know, my heart jumped out

1123
01:19:11,400 --> 01:19:13,360
Speaker 1: the one that was on the floor. I didn't know what,

1124
01:19:13,600 --> 01:19:17,040
Speaker 1: you know, because the stories of what these cats would

1125
01:19:17,080 --> 01:19:21,560
Speaker 1: do to you, you know, it's like, yeah, man. So

1126
01:19:23,000 --> 01:19:25,240
Speaker 1: you know, when he said the boot and meant the trunk,

1127
01:19:25,760 --> 01:19:29,519
Speaker 1: I was like, okay, cool. Then he checked the trunk nothing,

1128
01:19:29,680 --> 01:19:31,640
Speaker 1: you know, because we had everything on us, you know.

1129
01:19:32,360 --> 01:19:35,479
Speaker 1: And so after that he said, okay, y'all can go,

1130
01:19:36,160 --> 01:19:39,519
Speaker 1: you know, and I right right there. I was through.

1131
01:19:40,200 --> 01:19:45,320
Speaker 1: You know. The only thing to save me was the

1132
01:19:45,479 --> 01:19:48,840
Speaker 1: rhythm of the drum, you know, the closer. We got

1133
01:19:49,360 --> 01:19:52,519
Speaker 1: the rhythm of the drums, rhythm of the drums, because

1134
01:19:52,840 --> 01:19:55,880
Speaker 1: that's what drove drove me out of the state I

1135
01:19:56,040 --> 01:20:03,240
Speaker 1: was in afterwards in the boot. Oh man. So we

1136
01:20:03,360 --> 01:20:07,840
Speaker 1: got down to Faylor's place. He had he had this big,

1137
01:20:08,680 --> 01:20:14,080
Speaker 1: big room. Um, it's kind of like back in the

1138
01:20:14,200 --> 01:20:19,200
Speaker 1: gladiator days where there was no roof so you couldn't

1139
01:20:19,240 --> 01:20:21,360
Speaker 1: tear the roof off. The roof was already too off.

1140
01:20:22,240 --> 01:20:25,760
Speaker 1: It wasn't no roof. And all you can hear when

1141
01:20:25,760 --> 01:20:30,760
Speaker 1: you're on the way there, it's the rhythms. It's the rhythms,

1142
01:20:31,439 --> 01:20:35,640
Speaker 1: you know. And actually that's where I you know, I

1143
01:20:36,200 --> 01:20:47,320
Speaker 1: put in my memory bank that beat pop pop. If

1144
01:20:47,320 --> 01:20:49,800
Speaker 1: you listen to stretching out, which I know you have,

1145
01:20:55,840 --> 01:20:58,760
Speaker 1: that's where I got the emphasis of that. And I

1146
01:20:58,840 --> 01:21:09,720
Speaker 1: saw the females there. Did you know I feels of

1147
01:21:09,800 --> 01:21:14,000
Speaker 1: music ahead of time or I had no idea. So

1148
01:21:14,160 --> 01:21:15,920
Speaker 1: tell us when you walked in the door, like, oh

1149
01:21:16,000 --> 01:21:19,599
Speaker 1: my god, what you saw? Well, well, it was before

1150
01:21:19,880 --> 01:21:22,479
Speaker 1: I walked in the door. We was already freaked out.

1151
01:21:23,080 --> 01:21:27,920
Speaker 1: Like I was telling you. The rhythms, I mean, that

1152
01:21:28,160 --> 01:21:30,439
Speaker 1: was like you know, and the way they was treating us,

1153
01:21:30,520 --> 01:21:34,559
Speaker 1: was like we was God's and I'm like, y'all got

1154
01:21:34,640 --> 01:21:38,559
Speaker 1: this twisted. You know, I'm saying to myself, you muz

1155
01:21:38,720 --> 01:21:42,840
Speaker 1: got the goal, you know. And of course I told

1156
01:21:42,920 --> 01:21:45,000
Speaker 1: him that, but they didn't. You know. They was like, no,

1157
01:21:45,280 --> 01:21:48,719
Speaker 1: it's y'all, you know, because they all they praised James Brown.

1158
01:21:49,080 --> 01:21:50,600
Speaker 1: Was he with you? He was with you guys. He

1159
01:21:50,720 --> 01:21:53,000
Speaker 1: wasn't want it now. This was now you gotta remember

1160
01:21:53,680 --> 01:21:58,960
Speaker 1: this was after you know we you know, so he

1161
01:21:59,160 --> 01:22:04,000
Speaker 1: was mad. You know, I'm mad, so he was. He

1162
01:22:04,200 --> 01:22:07,400
Speaker 1: wasn't going down that at first. He was going before that.

1163
01:22:08,560 --> 01:22:11,080
Speaker 1: But no, he saw us later, you know, and I

1164
01:22:11,160 --> 01:22:13,400
Speaker 1: can dig it because it wouldn't have been cool. You know,

1165
01:22:13,479 --> 01:22:16,320
Speaker 1: we couldn't have did We couldn't have been smoking, you know,

1166
01:22:16,479 --> 01:22:19,960
Speaker 1: no fun at all, you know. So um, it worked

1167
01:22:20,000 --> 01:22:23,479
Speaker 1: out really good. Got to me faila. He was he

1168
01:22:23,600 --> 01:22:27,720
Speaker 1: did the ONRN thing, he sung and the people. I mean,

1169
01:22:27,800 --> 01:22:31,720
Speaker 1: it was just you know, it was something like I

1170
01:22:31,920 --> 01:22:37,760
Speaker 1: never never experienced. Since I said like that, yeah, yeah,

1171
01:22:38,000 --> 01:22:42,240
Speaker 1: because it was it was all natural, all raw, you know.

1172
01:22:42,400 --> 01:22:44,840
Speaker 1: And then he invited us back to the room and

1173
01:22:44,960 --> 01:22:47,479
Speaker 1: we had these little you know, the little joints you know,

1174
01:22:48,160 --> 01:22:56,880
Speaker 1: you know, you know them, I mean seriously, you know,

1175
01:22:57,840 --> 01:23:05,240
Speaker 1: and and expensive ship. I mean, it's like, what are y'all?

1176
01:23:05,360 --> 01:23:07,840
Speaker 1: And it was like an insult to offer. You know,

1177
01:23:08,080 --> 01:23:11,880
Speaker 1: you're a little bit of man. You know, it's like, okay,

1178
01:23:11,920 --> 01:23:18,479
Speaker 1: I'm putting this away because it was you know, it

1179
01:23:18,640 --> 01:23:21,280
Speaker 1: was massive, man, I mean it was massive. And we

1180
01:23:21,400 --> 01:23:24,920
Speaker 1: stayed pretty much all night in that room. After they

1181
01:23:25,080 --> 01:23:30,280
Speaker 1: came off stage, it was did they come to see you?

1182
01:23:30,439 --> 01:23:32,880
Speaker 1: What was it like for them to see the James

1183
01:23:32,920 --> 01:23:35,320
Speaker 1: Brown Show? Because it was just it was the same

1184
01:23:35,439 --> 01:23:38,040
Speaker 1: kind of you know, the same kind of experience for them,

1185
01:23:38,760 --> 01:23:41,519
Speaker 1: you know, because I knew that feel like Cootie worshiped

1186
01:23:41,600 --> 01:23:44,479
Speaker 1: James Brown, and yeah, it was the same. It was

1187
01:23:44,560 --> 01:23:47,599
Speaker 1: that same kind of vibe we had when we saw them.

1188
01:23:48,280 --> 01:23:53,439
Speaker 1: That's why I couldn't understand personally myself why they was

1189
01:23:53,560 --> 01:23:56,479
Speaker 1: so why I understood it, But at the same time,

1190
01:23:56,560 --> 01:24:00,599
Speaker 1: it was like we had nothing compared to what y'all

1191
01:24:00,680 --> 01:24:05,400
Speaker 1: are doing, you know, and they couldn't Yeah, they couldn't

1192
01:24:05,400 --> 01:24:08,720
Speaker 1: find them. Because I think that just the myth of

1193
01:24:08,800 --> 01:24:12,800
Speaker 1: America and what it's supposed to represent is larger. The

1194
01:24:12,920 --> 01:24:17,080
Speaker 1: idea of America is larger than Yeah, it's it's by product.

1195
01:24:17,479 --> 01:24:20,960
Speaker 1: So you guys flew home to the Copa after that, ye,

1196
01:24:21,479 --> 01:24:25,880
Speaker 1: right after that, and what happened. We did about two

1197
01:24:26,000 --> 01:24:29,880
Speaker 1: or three gigs because we had six it was six

1198
01:24:30,640 --> 01:24:34,640
Speaker 1: was it six or seven? It was seven nights, I

1199
01:24:34,680 --> 01:24:41,639
Speaker 1: mean seven, yes, seven shows and two on Sunday because

1200
01:24:41,680 --> 01:24:47,160
Speaker 1: we had to do to Madendee. Okay. So um, James

1201
01:24:47,320 --> 01:24:53,040
Speaker 1: was gonna cut the salary, okay. Uh And we were

1202
01:24:53,120 --> 01:24:59,760
Speaker 1: playing seven days and twice on Sunday and he just

1203
01:25:00,040 --> 01:25:04,200
Speaker 1: asked to cut the salary. And the same people came

1204
01:25:04,240 --> 01:25:08,120
Speaker 1: to me like, we can't let him do this. You know,

1205
01:25:08,760 --> 01:25:14,920
Speaker 1: you gotta go in there, Mikey, and you gotta get

1206
01:25:14,960 --> 01:25:18,960
Speaker 1: it straight man, you know. And I'm like, what the

1207
01:25:19,120 --> 01:25:23,320
Speaker 1: problem is? You know? Yeah, I'm I mean, I'm you know,

1208
01:25:23,439 --> 01:25:26,120
Speaker 1: I got all these girls, and you know, I got

1209
01:25:26,200 --> 01:25:30,080
Speaker 1: my weed and I got my ls. Then I'm cool. Yeah,

1210
01:25:30,479 --> 01:25:33,360
Speaker 1: you know, I ain't got no responsibilities. You know. The

1211
01:25:33,400 --> 01:25:37,360
Speaker 1: only responsibility I have is playing, you know, because I

1212
01:25:37,560 --> 01:25:42,360
Speaker 1: love to play, you know, And so you know, these

1213
01:25:42,439 --> 01:25:46,559
Speaker 1: mugs with responsibilities, you know. Um, that's what they were

1214
01:25:46,680 --> 01:25:50,479
Speaker 1: really concerned about, you know. And I understood it after

1215
01:25:50,560 --> 01:25:53,519
Speaker 1: I got away. But while I was there, it was like,

1216
01:25:53,720 --> 01:25:58,599
Speaker 1: what the problem is? You know, and so um they

1217
01:25:58,720 --> 01:26:01,559
Speaker 1: talked me into it again, you know, go in saying

1218
01:26:01,680 --> 01:26:06,439
Speaker 1: tell him either he pays full sary um or else

1219
01:26:06,520 --> 01:26:09,600
Speaker 1: we walk. And so I didn't feel good about it.

1220
01:26:09,640 --> 01:26:13,360
Speaker 1: All the other times I felt like, you know, you

1221
01:26:13,400 --> 01:26:16,000
Speaker 1: can go in and do it, you know, but this

1222
01:26:16,160 --> 01:26:18,439
Speaker 1: particular time I didn't feel good about it. You know.

1223
01:26:18,600 --> 01:26:21,599
Speaker 1: I was like to myself, I was saying, Okay, now,

1224
01:26:21,640 --> 01:26:24,800
Speaker 1: if I do this, you know, and if it don't work,

1225
01:26:25,600 --> 01:26:28,479
Speaker 1: you know, we're walking, you know, the whole you know,

1226
01:26:28,640 --> 01:26:31,040
Speaker 1: the band that came with me, we're walking. You know.

1227
01:26:31,560 --> 01:26:34,240
Speaker 1: It's like, oh he he give you everything by you

1228
01:26:34,400 --> 01:26:36,880
Speaker 1: coach your babe, He buy you all that. You know.

1229
01:26:37,080 --> 01:26:43,960
Speaker 1: I'm like, okay, So I go in there and dropping

1230
01:26:44,040 --> 01:26:49,840
Speaker 1: on him. You know, he says, Son, I knew you're

1231
01:26:49,880 --> 01:26:53,160
Speaker 1: gonna do it. I knew you're gonna do it. They've

1232
01:26:53,200 --> 01:26:56,320
Speaker 1: been using you. They just using you. Man, did you

1233
01:26:56,400 --> 01:27:00,240
Speaker 1: see that? And I'm like this this is the what

1234
01:27:00,360 --> 01:27:03,680
Speaker 1: they you know, this is what they're saying. Well, Son,

1235
01:27:03,800 --> 01:27:07,320
Speaker 1: you know what, I ain't gonna let you get away

1236
01:27:07,400 --> 01:27:10,519
Speaker 1: with it this time. You go back then and tell him,

1237
01:27:11,880 --> 01:27:15,160
Speaker 1: they all five, I ain't. I ain't going for it.

1238
01:27:15,720 --> 01:27:18,200
Speaker 1: You know, he said, I know what they're doing to you,

1239
01:27:18,720 --> 01:27:22,160
Speaker 1: and you you know you you should know. So if

1240
01:27:22,240 --> 01:27:26,680
Speaker 1: y'all gotta walk walk, that was it. I went back

1241
01:27:26,720 --> 01:27:30,639
Speaker 1: and told him, and they was like uh. They started

1242
01:27:30,640 --> 01:27:32,880
Speaker 1: looking up in the air and stuff, and you know,

1243
01:27:33,080 --> 01:27:35,760
Speaker 1: I'm like, I can't go back on my word. If

1244
01:27:35,800 --> 01:27:38,160
Speaker 1: I told him man, I got to go. If he

1245
01:27:38,240 --> 01:27:45,840
Speaker 1: can't do nothing, then I got yeah. So and then

1246
01:27:45,920 --> 01:27:51,439
Speaker 1: and then in my mind it's like, okay, what are

1247
01:27:51,520 --> 01:27:55,760
Speaker 1: we gonna do now, you know, because I knew that

1248
01:27:55,960 --> 01:28:01,200
Speaker 1: was it. You know, it's like, we gotta go. So

1249
01:28:01,320 --> 01:28:04,120
Speaker 1: we're sitting on the bus, we all the the whole

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01:28:04,240 --> 01:28:07,880
Speaker 1: band sitting on the bus, you know, looking at each

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01:28:07,920 --> 01:28:15,559
Speaker 1: other on trailway. I know, we're here trailway bus man,

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01:28:15,880 --> 01:28:18,280
Speaker 1: and you know, we're looking at each other. And then

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01:28:18,320 --> 01:28:21,040
Speaker 1: they're looking at me like, okay, well we're gonna do

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01:28:21,200 --> 01:28:27,760
Speaker 1: now since you went in there and you know you

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01:28:28,960 --> 01:28:32,760
Speaker 1: and and so you know, that was whin me out.

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01:28:32,800 --> 01:28:35,160
Speaker 1: I started feeling like, dag, what are we gonna do?

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01:28:35,800 --> 01:28:38,640
Speaker 1: So the next thing came to my mind is you're

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01:28:38,680 --> 01:28:41,280
Speaker 1: gonna go to Cincinnati you're gonna practice, you're gonna get

1259
01:28:41,280 --> 01:28:43,679
Speaker 1: in that basement, you're gonna practice, you're gonna get tight,

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01:28:44,200 --> 01:28:46,720
Speaker 1: and you're gonna go to Detroit, you know, and see

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01:28:46,760 --> 01:28:49,120
Speaker 1: what happens, because you know that's what we were into,

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01:28:49,240 --> 01:28:53,639
Speaker 1: taking people's gigs. Check this out, y'all. We gotta continue

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01:28:53,720 --> 01:28:56,479
Speaker 1: next week with more Bodzilla. Sorry, you hate to see

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01:28:56,520 --> 01:28:59,280
Speaker 1: it done, but you gotta do it. Come back next

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01:28:59,360 --> 01:29:03,040
Speaker 1: time for our two of our Very Strange Journey with

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01:29:03,200 --> 01:29:08,960
Speaker 1: Bootsy Collins born q LS Classic of Course Love Supreme

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01:29:09,080 --> 01:29:12,240
Speaker 1: is a production of my Heart Radio. This classic episode

1268
01:29:12,360 --> 01:29:16,879
Speaker 1: was produced by the team at Pandora. For more podcasts

1269
01:29:16,920 --> 01:29:19,280
Speaker 1: from my heart Radio, visit the I Heart Radio app,

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01:29:19,520 --> 01:29:22,559
Speaker 1: Apple podcast, or wherever you listen to your favorite shows.