Speaker 1: Of Course Love Supreme is a production of I Heart Radio.
Speaker 1: This classic episode was produced by the team at Pandora.
Speaker 1: Ladies and gentlemen, Welcome to QLs Classic Episode fifty seven
Speaker 1: Bootsy Colleagues from November two thousand and seventeen. One of
Speaker 1: the most colorful creative forces in music, Bootie Collins came
Speaker 1: into James Brown's life in the nick of time and
Speaker 1: gave him a burst of energy. He would later take
Speaker 1: all that energy and helped George Clinton build the almighty
Speaker 1: p Funk Empire. The stories are outrageous, y'all, so please
Speaker 1: enjoy QLs Classic with the Baby Bubba Ball Baby Bubba
Speaker 1: Boots Zilla. Yo, all right, enjoy some Prima roll call
Speaker 1: Suma road subprimo roll call names quilla. Yeah, and I
Speaker 1: am shy ye, don't play him cheek Yeah, don't let
Speaker 1: him frown some Prima road calla Prima rogue. My name
Speaker 1: is Fonte, Yeah, and I must confess. Yeah. The answer
Speaker 1: to the question yeah is very yes. Oh God, Prima
Speaker 1: roll Brima, Prima roll call. Her name is sugar Baby. Yeah.
Speaker 1: That ain't no joke, yo. Yeah, I got a theory baby,
Speaker 1: Yeah about Pinocchio. Roll call Prima Prima rogue, hallelujah. Yeah,
Speaker 1: they call me boss, but yeah, not the friendly ghost. Yeah,
Speaker 1: but the holy ghost rod sign roll call frima Prima
Speaker 1: roll that's my ear. Yeah, so ready for Booty. Yeah,
Speaker 1: I got my monkey's and my sweet love. Yeah, Prima rogue. Yeah,
Speaker 1: the name is boots. Yeah, and I got a request.
Speaker 1: Roll call some prima roll on. Roll call frima prima,
Speaker 1: roll call Frema. That's roll call that That that Charlie Wilson, Yeah,
Speaker 1: Trump Charlie Wilson. So, ladies and gentlemen, our guest today. Uh,
Speaker 1: in my honest opinion, is the spiritual epicenter of postmodern
Speaker 1: black music. H No, but listen listen. I mean Bootsy Collins,
Speaker 1: in my opinion, is a bridge like he he ushered
Speaker 1: James Brown. Alright, alright people, His his young blood energy
Speaker 1: gave James Brown new life for the seventies and basically
Speaker 1: for that much, you know, because of sample and technology eighties, nineties,
Speaker 1: two and so forth. Not to mention him. Uh co
Speaker 1: piloting the co pilot, yes, cool as as co pilot
Speaker 1: of the the Mothership. Uh with George Clinton. Um, you know,
Speaker 1: expanding our our, our, our minds and pushing the boundaries
Speaker 1: of funk music and uh dare I said, uh afro
Speaker 1: futurist ideas, uh and and and creativity into two millions
Speaker 1: and uh not to mention. I mean he's pretty much
Speaker 1: on the mount Rushmore of funcology. Absolutely, there's no there's
Speaker 1: not much more to say than that. Welcome the one
Speaker 1: and only Bootsy Collins to Quest Loves Again. Like I
Speaker 1: said before, I got one request, request Love. You're gonna
Speaker 1: add that to the show. I think I might change
Speaker 1: that to to you know, request Loves to pre Yeah,
Speaker 1: you know what. Okay, so I know most of our
Speaker 1: guests that come here, and of course that you know,
Speaker 1: we've known each other for a long time. But there's
Speaker 1: one question I never asked you. Yeah, who how did
Speaker 1: you get your name? Oh that's easy, man. Um Mama
Speaker 1: looked at me and she told me that I look
Speaker 1: like a boots. Yeah, and I you know, I'll start
Speaker 1: to say, wha, can you tell me what a boots?
Speaker 1: He looked like, you know, and then something stopped me
Speaker 1: and said, well you see how deep she is, So
Speaker 1: leave that alone. I just left it alone. It's boots
Speaker 1: on your birth certificate. Uh no, Um, well, actually it
Speaker 1: was added, but she just called me boots and just
Speaker 1: stuck stuck. Everybody started calling me Bootsy. That was it. Yeah,
Speaker 1: I assume that you're Cincinnati resident. Correct, Yeah, you're born
Speaker 1: in Cincinnati, Born in Cincinnati. Um, you know, uh didn't actually, well,
Speaker 1: at first, we did a lot of work in Cincinnati
Speaker 1: and the King you know, King Wrecks. That's where we
Speaker 1: actually got started with um all the different groups and
Speaker 1: stuff that would recording there, and then finally with James Brown.
Speaker 1: So what what was your your childhood like in that city? Like,
Speaker 1: did your parents migreat to Cincinnati or the entire from Yeah,
Speaker 1: well I didn't get to know my dad, but um,
Speaker 1: my mother, she was from Tennessee, Pulaski, Tennessee, and uh
Speaker 1: then she came to Cincinnati, her and her a couple
Speaker 1: of her sisters, and I kind of grew up with
Speaker 1: my cousins. We all lived in one house and it
Speaker 1: was pretty much ladies you know, um and so um,
Speaker 1: you know, ladies with the kids and and so you know,
Speaker 1: I kind of grew up. We was just having a blast.
Speaker 1: I mean it was just fun time, you know, um,
Speaker 1: not having nothing. Um, you know, everybody's used to that.
Speaker 1: Funk is making something out of nothing. So you know,
Speaker 1: it's like whatever we had, we dealt with it well.
Speaker 1: Assuming that you were a child in the in the fifties, Yeah,
Speaker 1: you're so timeless. I don't even know what your ages, Like,
Speaker 1: you still might be twenty four years old as far
Speaker 1: as i'm but uh, growing up in still aged. So
Speaker 1: I know that for a lot of the h the
Speaker 1: pioneers of of funking soul that we're from down south, Um,
Speaker 1: their stories are definitely much more harsh. You know James
Speaker 1: brown story of course, like that's typically that's typical pretty
Speaker 1: much of anyone that lived below the Mason Dixon line. Um.
Speaker 1: But because you're kind of part of the Baby Boom
Speaker 1: generation and that had you know that that grew up
Speaker 1: in the in the Midwest, and there were factories and
Speaker 1: jobs and all those things. Like was your childhood as similar,
Speaker 1: Like was there still danger elements? Oh? Man, I mean
Speaker 1: it was. It was all around us. Ohio was always
Speaker 1: still Ohio. Yeah, I mean yeah, I mean, you know,
Speaker 1: it was all around us. You know. But um, we
Speaker 1: kind of came with, I guess a new twist, the
Speaker 1: same twist he was talking about when we bought that
Speaker 1: new energy to James Brown. I think that's kind of
Speaker 1: the way we came up. We refused to go with
Speaker 1: how deep it actually was, so at that particular time
Speaker 1: we would go on with it was deep. We was
Speaker 1: in the riots. I was actually a part of all
Speaker 1: that the Black Panthers used to come down on the
Speaker 1: corner about a block from us. I mean, we was
Speaker 1: into all of that. But at the same time, uh,
Speaker 1: it was it kind of just like George Clinton an
Speaker 1: idea with Parliament funkadelic. All of that deep stuff was
Speaker 1: going on. But we refused to react like that, you know.
Speaker 1: In other words, we made a little humor about it
Speaker 1: where it was it was humorous enough not to be
Speaker 1: like taking like were they laughing about it? You know?
Speaker 1: I mean so it was a kind of silly, serious
Speaker 1: kind of thing sometimes. Yeah, And that's kind of the
Speaker 1: way we came up with our situation as deep as
Speaker 1: the situation as was. So, how was music introduced to you? Oh?
Speaker 1: My brother, my brother, how much he was eight years older?
Speaker 1: I was like, yeah, Oh, he's my big Yeah, he's definitely.
Speaker 1: That's the only man figure I had in the house
Speaker 1: that I looked up to that you know that I
Speaker 1: kind of to be like, you know, we're not even
Speaker 1: kind of I wanted to be like, describe catfish. How
Speaker 1: did he get the name catfish? Oh? I WoT him out, man,
Speaker 1: I mean, you know, I mean he looked like a catfish.
Speaker 1: I mean, you know, you look at it. You know,
Speaker 1: you had these what's, you know, these little what's good
Speaker 1: things going on, and he had these big guys, you know,
Speaker 1: and he just looked like a catfish. Man. I'm having
Speaker 1: because because most of these characters were introduced to me
Speaker 1: via James Brown, right right right, I'm thinking, like, yo,
Speaker 1: they got some funky nicknames, like I thought you had
Speaker 1: catfish something like that looked like well, you know, now
Speaker 1: I'm finally realizing I understand what my mother said when
Speaker 1: she said I look like a boot to whatever that was.
Speaker 1: You know, I still don't know what a boots to
Speaker 1: look like. Yeah. Yeah, but but then when I look
Speaker 1: at it, I just said, because he looked like a catfish.
Speaker 1: And that's the truth. I mean, there's no other explanation.
Speaker 1: He looked like a catfish. Did he appreciate this name?
Speaker 1: He loved it. He loved I mean pretty much anybody
Speaker 1: that I would nickname I mean they wind up loving it,
Speaker 1: and so you know, um that was the thing that
Speaker 1: I did. I always came up with when I saw
Speaker 1: a person in it, you know, if something hit me
Speaker 1: like oh you know, yeah he was looking at me,
Speaker 1: I was I thought it was a name in Seamon,
Speaker 1: you know. So you know, and that's the way it
Speaker 1: all went down. You know. It was like, um, uh,
Speaker 1: Catfish kind of brought the bands, you know to the
Speaker 1: house and um we had like a two bit uh
Speaker 1: to room house. But you know, my mother she was
Speaker 1: into whatever we were into and music. You know, she
Speaker 1: loved it. She loved you know that that we were
Speaker 1: into music, and so um, Catfish would have the girls
Speaker 1: and you know, the bands are all around the house
Speaker 1: and I'm like nine years old. So I'm loving it.
Speaker 1: You know. I'm like, okay, I gotta learn how to play,
Speaker 1: you know, And so I started putting two and two together.
Speaker 1: I don't have a guitar. I don't have no way
Speaker 1: of getting anything. So when my brother leaves to go
Speaker 1: on the paper route, I'll just steal his guitar for
Speaker 1: a moment. He don't touch my guitar type. Oh he
Speaker 1: was definitely a don't you ever you know, and don't
Speaker 1: never let me catch you with it, you know. So
Speaker 1: I always knew when I get his guitar out of
Speaker 1: the you know, out of the case, to put it
Speaker 1: back exactly. But he tests the strings. He tested me
Speaker 1: and busted me, you know it. All it took was
Speaker 1: one time when he busted me. One time. I knew
Speaker 1: then that I had to get myself a guitar, you know,
Speaker 1: because he wore me out. It wasn't even I was
Speaker 1: nine years old. He wowed me out like I was
Speaker 1: a man. So so I I said, okay, I gotta
Speaker 1: get me a guitar. And so I started doing my
Speaker 1: own paper route. I got me a paper route, y'all?
Speaker 1: Was he not even at least, but curious if you
Speaker 1: could actually play? Or you know big brothers, you know,
Speaker 1: have big brothers treat a little sniping on his long
Speaker 1: head suckers. Well that's the way I was treated, you know.
Speaker 1: And all these people in the room, but you know,
Speaker 1: are you are you pointing in? But you know he
Speaker 1: you know, he first of all, he didn't think I
Speaker 1: was serious, because you know, it's like the little younger.
Speaker 1: You know, he's gonna change his mind next week, you know, Um,
Speaker 1: but I tricked him because you know, once I got
Speaker 1: locked in like this is what I'm want to do,
Speaker 1: and you know, and I just started showing people that's
Speaker 1: what I wanted to do. And and Catfish was the
Speaker 1: last one that realized I was serious. You know. His
Speaker 1: drummer named Raunchy uh was the baddest cat in Cincinnati, man,
Speaker 1: I mean, and he embraced me, you know, he allowed
Speaker 1: me to come into their rehearsals. Cat was like, man,
Speaker 1: get that out of here, you know, um, but Raunchy
Speaker 1: embraced me, man. And I used to stand there and
Speaker 1: watch him play, you know, and while listening to the
Speaker 1: guitars and you know, and the band thing was just
Speaker 1: such a it was such a big deal back then.
Speaker 1: You know what the time was playing like this is
Speaker 1: like six it it's like sixty nineteen sixties, sixty one.
Speaker 1: You know, I was born in fifty one, so nine
Speaker 1: years after that is what like yeah, yeah, so it's
Speaker 1: around in that time, right right before the British invasions,
Speaker 1: so right right, right, So what was listening to Lonnie
Speaker 1: mack um uh tag man? It was so so much stuff,
Speaker 1: so much of the instrumental kind of music stuff Curtis King,
Speaker 1: Curtis Miles Davis. Uh, I mean you name it. I
Speaker 1: mean you know all of that stuff was you know,
Speaker 1: and then you had the Motown thing, Um that was
Speaker 1: you know, that was hot beginning to be hot? Um?
Speaker 1: And so was he playing like sop hops in those
Speaker 1: things like area? Like were these bands? Was your brother
Speaker 1: playing in? Yeah? Every club you can think of. I
Speaker 1: mean the Muggs was playing in because that's what time
Speaker 1: it was then. You know, it was like everybody was
Speaker 1: playing clubs, you know. Um, it was more about um. Um.
Speaker 1: That's how I met as many musicians as I met
Speaker 1: because I was always around. I always was watching, you know, um.
Speaker 1: And that's how I kind of picked up on, you know,
Speaker 1: certain things and and how to play and and all
Speaker 1: of that because I didn't go to school for it.
Speaker 1: So when he when how were you when he realized like, okay,
Speaker 1: you're good enough and well what was deep was I
Speaker 1: got a chance to play with him. That was my dream,
Speaker 1: you know, even before playing with James or anybody, you know,
Speaker 1: I wanted to play with my brother because I wanted
Speaker 1: to prove to him that I was worth it. Yeah worthy,
Speaker 1: you know, yeah, seriously, you know a big time. I
Speaker 1: mean you know that one time I played with him
Speaker 1: and what happened was, um, he was a call to
Speaker 1: do a gig, a weekend gig, and the bass player
Speaker 1: couldn't show up. So you know, I was like, yes,
Speaker 1: this is my chance, you know, and he was like,
Speaker 1: oh no, you know, He's like, no, not you you know.
Speaker 1: I'm you know, I'm gonna get me a basse play,
Speaker 1: but it ain't gonna be you you know. So I'm like, oh, man, man,
Speaker 1: So he kept trying to get the bass player. You know,
Speaker 1: you know wasn't written. It wasn't written. So um he said, okay, man,
Speaker 1: he said, but you ain't even got no basse. And
Speaker 1: I'm like, well, if you can get me four strings,
Speaker 1: I'll turn this guitar. I had a twenty out and
Speaker 1: all guitar silver tone. No will forget it. James Brown
Speaker 1: lasted me out. I'll tell you about that too. But
Speaker 1: he uh, I said, you give me four strings, I'm
Speaker 1: gonna turn this into a base. That's gonna be my base.
Speaker 1: He said, okay, I get I get you four a string.
Speaker 1: It better sound good. I was like, it's gonna be
Speaker 1: the bomb, you know. So he gave me four strings.
Speaker 1: I put it on that guitar and that night played
Speaker 1: the gig. I mean it was about the size of
Speaker 1: this room full of people. I mean everybody was drunk
Speaker 1: as a skunk. Okay, the Playboy Club, you got the
Speaker 1: upper end Playboy right then you got the rat Hole Playboy.
Speaker 1: Guess which one? Guess which one we play? Yeah, it
Speaker 1: was double rat Hole. So so we're playing. I mean,
Speaker 1: I got mugs all up in my face because I'm
Speaker 1: the youngest mug up there. So it's like, and I
Speaker 1: you know, they say I siunded pretty good, so you
Speaker 1: know I had to go with that. They're all up
Speaker 1: in my face and my brother standing back there, he's
Speaker 1: playing the lead and he's watching. You know, I didn't
Speaker 1: know he was watching me like that, But after the gig,
Speaker 1: it was like, okay, man, you know you're gonna me
Speaker 1: to New Basse. Yeah, I mean, I mean I didn't
Speaker 1: know what I was doing, but you know, he liked it,
Speaker 1: and that was the first time he liked anything that
Speaker 1: I did. So I was like, yeah, So from and
Speaker 1: from that day on we played together. From there, you know,
Speaker 1: from then on, your your brother's UM guitar technique. UM
Speaker 1: probably I mean next h uh uh Chank Nolan and
Speaker 1: and and she's Martin and James Brown's arsenal um. His
Speaker 1: his guitar playing is like was he always that good,
Speaker 1: that precise with his rhythm? Always? Always? George to this
Speaker 1: day will tell you that, you know, I mean, forget
Speaker 1: the drum machine, you know, timing this boy was just
Speaker 1: so his timing was so so so much better than mine,
Speaker 1: you know, and both of us had pretty you know,
Speaker 1: a pretty good time, but his was like exceptional. You know,
Speaker 1: he can turn around, everything can go off that the
Speaker 1: p a everything, and cat will still be having that
Speaker 1: thing going, you know. And and that happened to us
Speaker 1: a few times. Yeah, yeah, and George just turning, turnaround,
Speaker 1: start smiling and just you know, because you got catfish
Speaker 1: that ain't gonna stop, you know. And if you move,
Speaker 1: he ain't going nowhere. You know. He don't get emotionally
Speaker 1: upset or emotionally evolved. He's just grooving, you know, he's
Speaker 1: doing his thing and once he gets locked. So see,
Speaker 1: I knew his technique with timing was super important. Uh.
Speaker 1: Catfish is probably his most iconic rhythm in my opinion,
Speaker 1: is uh, get get into it and get involved, give
Speaker 1: him his which never I mean I've I've heard a
Speaker 1: ga jillion live versions of that and he's the anchor. Yeah,
Speaker 1: more more than James drummer, is more than anything like,
Speaker 1: that's the that's the driving rhythm that song. So yeah,
Speaker 1: I just always like, did he practice a lot or
Speaker 1: was it just like he practiced a lot? But he
Speaker 1: it was just a natural thing to him. He was
Speaker 1: chewing his gun every time he's seen that month his
Speaker 1: gun and hitting the guitar, you know. And you know,
Speaker 1: he first made his guitar um, you know, because he
Speaker 1: was He went to Bloom Junior High and they had
Speaker 1: a thing would a wood shop, you know, and he
Speaker 1: made his first guitar um by hand and he put
Speaker 1: these um fishing strings on it. You know. This was
Speaker 1: before he knew what to do. You know. He just
Speaker 1: the guitar, you know, and he made his own guitar
Speaker 1: and put fishing strings on it and was nothing happening.
Speaker 1: Once he found out was nothing happening, Um, then he
Speaker 1: realized he needed a guitar, you know. And once he
Speaker 1: got his first guitar, it was on. It was on.
Speaker 1: He ever figure out how to make one after he
Speaker 1: since he bought one. Did he ever go back to it?
Speaker 1: That's kind of fascinating. Yeah, he didn't. He didn't go
Speaker 1: back to that, you know, Yeah, he didn't go back
Speaker 1: to that because you know, it didn't take too long
Speaker 1: after he started playing that, I got we got together,
Speaker 1: and the next thing, you know, I mean, things just start, yeah,
Speaker 1: start happening, you know. Um and you know, I like
Speaker 1: people like Roger Um, Roger Trautman, uh, sugar Foot, all
Speaker 1: of us kind of played in the same circle, you know,
Speaker 1: in the same clubs, all of and all the bad
Speaker 1: It was so many bands. Why were there so many? Okay,
Speaker 1: so our listeners should know that Cincinnati is kind of
Speaker 1: regarded as the the funk capital of the United States.
Speaker 1: I mean, Ohio's regardless the funk, but Cincinnati in particular.
Speaker 1: Why were there so many bands in Cincinnati? And is it?
Speaker 1: Is it the effect of of King Records and James
Speaker 1: Brown's operation being there and him recording at the time.
Speaker 1: I personally think that that had a lot to do
Speaker 1: with it, because it made young musicians want to be like,
Speaker 1: you know, uh, these people that's recording all this stuff
Speaker 1: in the you know, in the studio. Would he live
Speaker 1: there or would he how often will you see James
Speaker 1: Brown on the streets? And this is before you joined him.
Speaker 1: I mean like, um, he would just random. It was
Speaker 1: a random thing where he come in. He stayed, um,
Speaker 1: two or three days, sometimes times a week, you know,
Speaker 1: with the band. And you know, our thing was we
Speaker 1: were so hyped on the band that they were our
Speaker 1: heroes because James was so out of reach that we
Speaker 1: just knew we wasn't gonna meet him, you know. So
Speaker 1: you know, I think was if we can only meet
Speaker 1: the band, you know Fred, you know, Macio Clyde, come
Speaker 1: on man, Jabbo, you know, if we can meet and
Speaker 1: that was our dream came true. But we first we
Speaker 1: met Bobby Bird, who treated us like you know, we
Speaker 1: were somebody and nobody knew us. Nobody knew us, you know. Um.
Speaker 1: And now that was before this is like pacemakers, Yeah, yeah,
Speaker 1: this is I mean, nobody knew what was happening. We um,
Speaker 1: first we met that uh the Depps you know, um,
Speaker 1: and so we used to all be in that same
Speaker 1: circle and so you know, one thing kind of sparked
Speaker 1: off of another, you know, next thing, you know, um,
Speaker 1: after the Dafts start recording over the King, some kind
Speaker 1: of way. Oh, I'll tell you exactly how. Um. Charles S.
Speaker 1: Brolin came down to hear us playing at the club
Speaker 1: and he was like, man the energy, y'all cast guy,
Speaker 1: we need that over the King Records. And he was
Speaker 1: the A and our guy and and so um he
Speaker 1: invited us over because he wanted us to be his
Speaker 1: backup band for his recordings and any production stuff that
Speaker 1: he does over in King. And so we agree, you know,
Speaker 1: let's do it. Because we hadn't never been in no studio,
Speaker 1: you know, not not um not recording you know, so
Speaker 1: um um, we got a chance to start recording with him.
Speaker 1: Once we start recording with him, then Henry Glover and
Speaker 1: Jeane Red hit on us you know about recording with
Speaker 1: you know, Arthur Price, sod Bill Dog, Hank Ballot. So
Speaker 1: we was all on those records. Wait, so that's dude,
Speaker 1: is that you on? Yeah? Yeah, well build Dog and
Speaker 1: then Soult Trees by author Price. So um, Hank Ballot,
Speaker 1: we actually went on the road with a Hank Ballot.
Speaker 1: We went on the road with him before. Yeah, of
Speaker 1: course that's you because I have played half half notes. Yeah,
Speaker 1: so that's who's the rhythmic section you and who's drumming. Damn,
Speaker 1: that's fun. I ain't heard Are you serious? Yeah, I
Speaker 1: don't listen to see to us because it's been sampled
Speaker 1: like it's it's something totally different. It's the beat nuts.
Speaker 1: Are you ready right? But it's still even in B
Speaker 1: boy circles like that has been played millions of you
Speaker 1: know times always asked me about songs that I played
Speaker 1: on and then I said, we'll play it for me.
Speaker 1: Because when finished that sentence, I don't listen to what
Speaker 1: you don't listen to your music. I don't listen to myself.
Speaker 1: I don't. I don't play with myself. Sometimes it could
Speaker 1: be healthy, okay already, you know, you know, no, I
Speaker 1: just um, you know, it was always so much coming
Speaker 1: in that I never had time to just take a
Speaker 1: break and listen to what I've did, what I've done,
Speaker 1: because I was never interested in what I've done. It
Speaker 1: was always what's coming next, because I always had something
Speaker 1: coming in, you know, and I was I'll tell you
Speaker 1: what it was. I was so full of it. Now,
Speaker 1: whatever that it was, I was full of it. I
Speaker 1: mean full of it, you know, because you know, we
Speaker 1: used to hang with the brothers on the corner that
Speaker 1: was our whole thing. Music got a chance to take
Speaker 1: us out of that and give us a place where
Speaker 1: we can crack on ourselves. You know. It's like looking
Speaker 1: in the mirror and laughing at yourself. It's like it
Speaker 1: gave us a chance to do that with ourselves, you know.
Speaker 1: And I just happened to run into somebody that liked
Speaker 1: that approach. George. You know that James was serious. That
Speaker 1: boy was sad read us, you know, so he kind
Speaker 1: of um helped me because he was like a father
Speaker 1: figure that wanted me to be a certain way. You know. Yeah,
Speaker 1: that this and I needed it. You know. We're just
Speaker 1: coming off the streets with the riots, you know, the
Speaker 1: one Molotov cocks, cocktail stealing, you know, and we was
Speaker 1: a part of all that, and James reached in, pulled
Speaker 1: us off the street, put us in the band. And
Speaker 1: the next thing, you know, man, we were in Africa
Speaker 1: with James Brown and then mugs over there bound down
Speaker 1: like we somebody and we're saying to us, say down,
Speaker 1: we just played benefits in the clubs and ain't made
Speaker 1: no money, you know. Now we were Jane Brown, you know,
Speaker 1: so it hit us like that and we didn't have
Speaker 1: just like the songs you're talking about, do I go
Speaker 1: back and listen? I never analyzed that part of how
Speaker 1: it felt with James Brown at that particularly because it
Speaker 1: was so unreal that I had no feelings. It was
Speaker 1: just deep. Do you think it's also a danger um?
Speaker 1: I You know, I tend to avoid favorites of whatever
Speaker 1: my audience expects because maybe there's a fear that you
Speaker 1: can't it replicate that or do it again. I mean, like, okay,
Speaker 1: I know that in your in your job of doing concerts,
Speaker 1: yes you have to do Bootsilla, you gotta do you know,
Speaker 1: Hollywood Squares or whatever. But just in terms of sitting
Speaker 1: back and listening to it, is it? Do you think
Speaker 1: it's more of a psychological thing of because I a
Speaker 1: lot of artists refused to listen to their record at work,
Speaker 1: you know, because it just it might be too haunting
Speaker 1: of an earlier time. Well, you know what, I think
Speaker 1: that's got something to do with it now. But but
Speaker 1: when I was coming up, I was, you know, I
Speaker 1: was really too full of it to listen, go back
Speaker 1: and listen, you know, because I had made up in
Speaker 1: my mind I wasn't gonna be listening to radios. I
Speaker 1: wasn't gonna be listening to how people do this and
Speaker 1: how people do that. Once I got on a path,
Speaker 1: it was like, I'm just listening into the universe and
Speaker 1: what they tell me, what what they sent me, you know,
Speaker 1: and that's actually, um, that's the way I was feeling,
Speaker 1: and that's what was going on at that time. But
Speaker 1: after all of that time, now it's like when I
Speaker 1: put stuff on, it's like dag, you start feeling those feelings.
Speaker 1: You know. It took all of that time though, for
Speaker 1: me to get to this point, you know, to where
Speaker 1: it's like, if I put it rather beyond with you on,
Speaker 1: that's that's gonna take me all the way back two
Speaker 1: not only what we were doing on stage, but where
Speaker 1: that actually came from in the first place, and who
Speaker 1: I was talking to, you know, And then all of
Speaker 1: those feelings start coming up, and it's like, wow, I
Speaker 1: don't want to feel that, you know. So that's understandable
Speaker 1: because to us, you know, I think of a barbecue
Speaker 1: if I hear you know, your uncle barbecue. Yeah, But
Speaker 1: for you, you could have been in a car accident
Speaker 1: a week before you recorded. I'm gonna tell you exactly
Speaker 1: what what where that came from. I was on the
Speaker 1: way to the studio and what happened a traffic jam.
Speaker 1: I'm called up this traffic jam. I was on the
Speaker 1: way to the studio to record that, and I was like,
Speaker 1: you know, and I was still coming up with you know, okay,
Speaker 1: what's the you know, I'll still come. So I kind
Speaker 1: of had to leave my mind. I'll always have my
Speaker 1: mind open because sometimes you don't get it until you
Speaker 1: right there on the mic and then bam, there it is,
Speaker 1: you know. Um But I was on the way to
Speaker 1: the studio to record Body Slam, and I had I
Speaker 1: got the lyrics. You know. I didn't know I was
Speaker 1: gonna get the lyrics that quick because you know, I
Speaker 1: had still had to record the song, you know, But
Speaker 1: then the lyrics can say that I'm called up. I mean,
Speaker 1: the whole the whole way I did, and everything came,
Speaker 1: you know, and I was like, I got it, you know.
Speaker 1: And and then when you get to the studio, so
Speaker 1: you didn't have the luxury of um, yeah, you didn't
Speaker 1: have that luxury, you know. So it was like you
Speaker 1: have to remember, I mean, that's why we used our brains.
Speaker 1: Now you don't have to use your brain like that.
Speaker 1: You got smartphones to do it all for you, you know.
Speaker 1: But you know, we had to put stuff in there
Speaker 1: and rely on that instant recall. Now, what was I
Speaker 1: thinking about about this? You know, this song I was
Speaker 1: gonna do, you know, and you had to recall that,
Speaker 1: you know, And that was a that was the thing
Speaker 1: that musicians had back in there in those days that
Speaker 1: I think it's a lost art, you know. And you
Speaker 1: won't even be thinking about that. Um, well, you don't
Speaker 1: think about it too much now, no way, But five
Speaker 1: or ten more years, that's gonna be you know, brain
Speaker 1: is gonna be useful as far as at all. Before
Speaker 1: I get to James Brown chapter, I just have to know,
Speaker 1: um just in the battle of the band situation and
Speaker 1: all those local bands, who what band unit scared you? Like,
Speaker 1: we're the Ohio Players players. Them boys was the baddest
Speaker 1: boys in the world as far as I was concerned,
Speaker 1: and as far as a lot of musicians, because any
Speaker 1: time they would play anywhere, you know, it was like
Speaker 1: the whole front line of seats would be nothing but
Speaker 1: musicians and they'd be there, you know, and and everybody
Speaker 1: knew it wasn't like everybody's trying to hide. You know,
Speaker 1: everybody knew. I mean, these are the baddest boys. And
Speaker 1: I'm gonna tell you something else. When they started making records,
Speaker 1: that wasn't. That wasn't when they were really the bomb.
Speaker 1: The bomb was one. They didn't have no records and
Speaker 1: they just played in them clubs. That's when they was killers.
Speaker 1: I mean them boys. I mean, you ain't never seen
Speaker 1: no show like this. You know how old at the
Speaker 1: time they had to be, like in their uh I say,
Speaker 1: late teens, early twenties. Always had that voice always well,
Speaker 1: he always had that voice, but he never used it
Speaker 1: like he used it on the records, you know, because
Speaker 1: it was always um uh. They always had a singer
Speaker 1: that would do you know, the singing part, so sugar.
Speaker 1: You know, he had that voice, but he never used
Speaker 1: it like because they always had someone else's. Yeah, somebody
Speaker 1: else sing it, you know, speaking of voice. All right,
Speaker 1: So we were working on a project like two thousand three.
Speaker 1: I forget the project, but you played me a demo.
Speaker 1: Uh you told me He's like, yeah, of course, I
Speaker 1: had a dream about Jimmie Hendricks and I want to
Speaker 1: play it for you and you played me the song,
Speaker 1: and then I had one of those those bootsy kind
Speaker 1: of the thinking black man means memed to me. Pointing
Speaker 1: to Temple, I was like, hey, you know what, you
Speaker 1: kind of sound like Jimmy Hendricks. Not totally going over
Speaker 1: my head that your whole voice is embodied Jimmy, and
Speaker 1: so out what even gave you that thought too? To
Speaker 1: take on his well, you know, continue to take the away. Well,
Speaker 1: you know, he was my hero anyway. I mean, um,
Speaker 1: and you know I used to have this room where
Speaker 1: it was about okay, say half of that half of
Speaker 1: the say half of this room from there to year.
Speaker 1: And we're in a very small room, right, yeah, very
Speaker 1: small and then pull the rest of the room all
Speaker 1: the way up to here. Okay. So in that little
Speaker 1: box was my room, and I had a black light,
Speaker 1: I had a bed and instant we l and and
Speaker 1: I ate track. Okay, um, and that's you know, that's
Speaker 1: what I played. I played Jimmy Hendrix. Jimmy's poster was
Speaker 1: up over the bed, okay, and all you could see
Speaker 1: when you walked in my own when you walked in
Speaker 1: my room, all you can see was that poster. You
Speaker 1: smelled the incense and you smelled the weed and that's
Speaker 1: what I did. You know, this is why I'm confused though,
Speaker 1: boot seat the weed LSD. But your memory is remarkable,
Speaker 1: like just help stoners. What don't well, it's just like
Speaker 1: I was saying, how you retain stuff? And that was
Speaker 1: some kind of gift, I mean, because you really don't
Speaker 1: supposed to remember that kind But I actually the important
Speaker 1: stuff that to me was the most important memory pretty
Speaker 1: much of all, was to be able to remember that.
Speaker 1: And I won't let that go. I won't let that
Speaker 1: go because, um, it was one of the best times
Speaker 1: in my life. You know, I was finding myself. I
Speaker 1: didn't know what the heck was on. You know, I'm
Speaker 1: sitting at listen to Howland Wolf, Santana, Jimmy, Um, I mean,
Speaker 1: Miles Davis, I mean, you name it. And I'm sitting
Speaker 1: there were not just sitting. I'm you know, doing something,
Speaker 1: you know, and it's usually you know me, uh my
Speaker 1: guitar on my base and I'm just sitting there and
Speaker 1: I'm listening and I'm freaking out, you know. Um. And
Speaker 1: it was always a good freak out, you know, it
Speaker 1: was always a good besides yeah, besides Ernie Einsley. I
Speaker 1: just don't know another figure in black music that was
Speaker 1: young at the time that really absorbed Jimmy's essence. And
Speaker 1: you know, I guess in the beginning, I was just
Speaker 1: led to think that he was so freakish and out
Speaker 1: there that the black community really didn't embrace it. Understand
Speaker 1: they didn't understand what what How did you're in the
Speaker 1: inner city? How did it speak to you? It was
Speaker 1: my year two not go with you know. It's it's
Speaker 1: just like we were talking about the um, the serious
Speaker 1: part of the blackness, and we took that and made
Speaker 1: not fun of it, but made it, you know where
Speaker 1: you could kind of laugh about us partying on the
Speaker 1: Mothership and you know, acting a fool and having a
Speaker 1: good time. So we had to kind of take the
Speaker 1: seriousness and show people that we can actually have fun
Speaker 1: with this with ourselves. You know, we can actually laugh
Speaker 1: with ourselves instead of you know, because we was making
Speaker 1: it through this deepness. You know, was so much deepness
Speaker 1: going on. It's like, if we keep going this deeper,
Speaker 1: everybody's gonna be dead in a minute. I mean, because
Speaker 1: they're killing everybody. So we gotta figure out a new approach.
Speaker 1: And it wasn't like we were sitting there analyzing, uh
Speaker 1: the next approach, you know, the one gave us certain
Speaker 1: talents and we just brought it to the people. You know. Um,
Speaker 1: it's just like we took the street drug rap and
Speaker 1: made it funny, you know, p funk the bomb. I mean,
Speaker 1: that's drug rap, you know. Now it's uncut, uncut, that's
Speaker 1: our street drug rap. So can you describe I'm glad
Speaker 1: your memories there. Yeah, I want you because I have
Speaker 1: so many questions about the day that Bobby Bird came
Speaker 1: to get you guys to play with James Brown, which
Speaker 1: is essentially you're your your moment, you know what quest
Speaker 1: Let me let me let me I didn't finish on Jimmy.
Speaker 1: Let me let me just let me just tell you
Speaker 1: how that came about. Um, what happened was we was
Speaker 1: in the studio, George and I was in the studio
Speaker 1: recording be my Beach, and and I was in that
Speaker 1: clowning around you know, um you know, and I said, yeah,
Speaker 1: be my Beach, and George said, oh that's it, man,
Speaker 1: that's it. And I was just clowning around, you know.
Speaker 1: And next thing I know, George just like go ahead
Speaker 1: do that. That's that's the voice, and that is where
Speaker 1: it started. I was doing my invitation of Jimmy. Okay,
Speaker 1: so um, I'm sorry. So well, yeah, I'm explained to
Speaker 1: you that that because of of of of financial reasons, uh,
Speaker 1: the team of James Brown his band decided that they
Speaker 1: were gonna will uh strike out mutiny the morning of
Speaker 1: a gig. I think it's around eleven in the morning,
Speaker 1: that we are not gonna go on stage until you
Speaker 1: get the money straight that you owe us. He was
Speaker 1: a real Republican. There you go. So James decided to
Speaker 1: call their bluff and he told his h his A
Speaker 1: spoon coom, Bobby Birt, his his his AJ two, his
Speaker 1: O J may see sports, I'm bad with sports. Uh,
Speaker 1: to get on the leridge at the private plane and
Speaker 1: go to Cincinnati and go grab them kids and put
Speaker 1: them on the plane and bring him down here. So
Speaker 1: come showtime now. So they broke the line, y'all. Broke
Speaker 1: the strike line, y'all. So tell me I got My
Speaker 1: question was what parents in their right mind would just
Speaker 1: let their teenage kids like go with James? Right? All right,
Speaker 1: I'm how teenage? He was nine? You were so first
Speaker 1: of all, who is it and how old were you guys?
Speaker 1: I assume that your brother was the oldest, right. And
Speaker 1: if he said, okay, so give me everything. What time
Speaker 1: did Bobby Bird come to the club and tell you guys,
Speaker 1: stop what you're doing, come with me. We'll actually called
Speaker 1: he called first, and uh we was playing a benefit,
Speaker 1: um and you know we we would get whatever coming
Speaker 1: the door. And did nobody know us? I mean, you know,
Speaker 1: so it was pretty much you know, um the fam
Speaker 1: you know um, and so uh we wasn't really getting
Speaker 1: no benefit, I mean as far as no money. So um.
Speaker 1: When Bobby called, you know, I thought he was I
Speaker 1: thought it was he was joking, you know, like, yeah,
Speaker 1: what do you say? He said, Mr Brown want y'all
Speaker 1: to come down here, and you know and uh play
Speaker 1: on the show. You know. So it wasn't like he
Speaker 1: wants y'all, y'all to come down here and play with him.
Speaker 1: It's like he wants y'all to come down here and
Speaker 1: play on the show. So it was like, oh, man,
Speaker 1: come on man, you know, yeah, man, I'm coming to
Speaker 1: get you. I'm coming to get you. In forty five
Speaker 1: minutes on James Lerige and so y'all just be ready,
Speaker 1: you know. And I'm like, okay, So I go back,
Speaker 1: hang up because I'm still thinking he's joking. But I
Speaker 1: go back and tell the boys, you know, I tell Cat,
Speaker 1: you know, like Bobby, I just got off the phone
Speaker 1: with Bird and he um, he said, James want us
Speaker 1: to come down and play on the show. And so
Speaker 1: everybody's eyes lit up. You know, It's like, oh man,
Speaker 1: he gotta be joking. It's like, no, man, I say.
Speaker 1: He said, well, you better go tell mama, you know,
Speaker 1: because you know Mama. You know, Mama ain't going for that,
Speaker 1: you know. And I said, well, if you go, I
Speaker 1: know she won't have a problem with it, you know.
Speaker 1: So UM called Mama, and you know, I asked her.
Speaker 1: I said, Mama, you know, um uh, we got an
Speaker 1: offer to go down here play, you know on James Show.
Speaker 1: Where oh where it was Columbus, Georgia and you're in Cinati.
Speaker 1: I'm in Cincinnati. How far is that flight wise? Like
Speaker 1: you probably make that move like two hours maybe. I mean, now,
Speaker 1: so what time is it when you get He had
Speaker 1: a lear yet, I mean to go fast. I never
Speaker 1: understood the leader part that means faster private, but no, no, no,
Speaker 1: they don't fool around. Them boys go straight up into
Speaker 1: the egg. They don't, you know, they don't. James Brown
Speaker 1: was that famous. Oh yeah, like I just got to
Speaker 1: maybe private jet status, like yeah, no, he was that famous,
Speaker 1: you know, and I got you know, that was the
Speaker 1: first time we ever got on the plane. You know.
Speaker 1: So he actually came, Bobby Bird and you know, let's
Speaker 1: see what time was it. Now, See that's what my
Speaker 1: memory forgotten. I wasn't I wasn't clocking it in, so
Speaker 1: it had to be it had to be around I
Speaker 1: would say at least six seven somewhere around in there.
Speaker 1: And when he when he actually came and got us,
Speaker 1: we game. We went straight into the limo, straight to
Speaker 1: the plane, straight up in the air. It wasn't no
Speaker 1: you know what, no fooling around. What about luggage? And
Speaker 1: oh we just took our instruments. You know that that
Speaker 1: green base. I was telling that twenty nine dollars, that's
Speaker 1: what I had. And I'll tell you about Remind me
Speaker 1: to tell you about what James thought about that base.
Speaker 1: All right, So so we um we get there, Okay,
Speaker 1: we land, we get there, We go to the auditorium,
Speaker 1: UM and then we hear all this ruckus going on
Speaker 1: riding kind of vibe which we were used to. But
Speaker 1: it's like we didn't realize it was directed at us,
Speaker 1: you know, and you know because the band is late,
Speaker 1: well that the band is and they're pointing at us,
Speaker 1: and we like, we didn't know. We didn't even know
Speaker 1: he was walking into that into the front door where
Speaker 1: we was getting ready to walk in the front door
Speaker 1: into James Brown's famous enough to be in a theater. Yeah,
Speaker 1: they didn't think, hey, let's not first. They was just
Speaker 1: gonna you know, they wanted to show the people that
Speaker 1: the band had a rack called They didn't want to
Speaker 1: put it on James. It's the band's fault, you know.
Speaker 1: And see we ain'tn't even have to tell you the
Speaker 1: band's fault because they didn't shume. He didn't come through
Speaker 1: the front door, you know. And we fools, I mean,
Speaker 1: we we don't know what's that. We don't even know
Speaker 1: that we're actually playing with James Brown. He didn't tell
Speaker 1: you that. They told us that we were coming to
Speaker 1: play on James show. But wait a minute, you meaning
Speaker 1: that two hour during that Bird's not going to Bird.
Speaker 1: James told Bird this is what I'm guessing that he
Speaker 1: bet not say nothing about they coming, you know, coming
Speaker 1: down here to play with me. Just go get him.
Speaker 1: That was that was, you know, that's what That was
Speaker 1: my take, okay. And then then I found out my
Speaker 1: take was the truth when I got down there and
Speaker 1: we walked through start walking through the band once we
Speaker 1: once we went around because we couldn't come through the front.
Speaker 1: They was too deep. They was gonna start some some
Speaker 1: serious you know. So Bird took us around to the
Speaker 1: stage door. We went in the stage door, and the
Speaker 1: next thing, you know, we started looking around and the vibe.
Speaker 1: As soon as we got in the door, the vibe changed,
Speaker 1: you know, it like jumped on us, like okay, something
Speaker 1: is wrong. We didn't know what it was, but it's
Speaker 1: like something is wrong. And then I looked over and
Speaker 1: I saw Fred and good, look at you. No, no, no,
Speaker 1: I'm looking at it. They still arguing at James, at James,
Speaker 1: you know, and you know at short you know what, James,
Speaker 1: They're looking down at it and it's like, you know,
Speaker 1: to me, it looked like they was getting ready to
Speaker 1: choking or do something, you know, and I was like,
Speaker 1: what is that all about? He's like, oh, oh, yeah,
Speaker 1: I was gonna tell y'all. I was gonna tell you
Speaker 1: that's why I wanted to get y'all back in here.
Speaker 1: And then come on, we need to go into Jade
Speaker 1: Brown dressing room because we need to talk. So he
Speaker 1: takes us back in James Brown dressing room. Next thing
Speaker 1: you know, James comes in you know Fellers Fellers. Yeah, yeah, glad,
Speaker 1: y'all made it. Uh, you know, I need y'all live
Speaker 1: to play my set tonight, and we like, huh, you know,
Speaker 1: we ain't rehearsed. I thought we was gonna open it now, sir,
Speaker 1: y'all playing on the James Brown Show. Y'all playing tonight, Andy,
Speaker 1: And I said, well, how are we how are we
Speaker 1: gonna know what to play? You know? He said, well,
Speaker 1: when I do like this in, I'm gonna call out
Speaker 1: the song Cold Sweat. And that's the way we did it.
Speaker 1: Two questions. Was his music so inescapable that you guys
Speaker 1: as a unit, I just knew it, like you knew
Speaker 1: Mary had a little lamb, Like yeah, what it was
Speaker 1: was at that time you got to realize that James
Speaker 1: was the hottest mug, you know, black performer. It was
Speaker 1: I mean and all the bands, every band knew his stuff.
Speaker 1: You know, at least that's something that would never happen again.
Speaker 1: You're not that is like I knew they know my materials?
Speaker 1: Like who is that up today? No one that that
Speaker 1: can never happen, that that will never happen again. It's
Speaker 1: not only will it never happen again, but when I
Speaker 1: get with these artists like Stevie Wonder, don't know half
Speaker 1: his songs now, like it's the opposite. We gotta remind them,
Speaker 1: don't remember you know what I mean? Like it's the
Speaker 1: opposite song right now. Nah, I'll fake it till I'll
Speaker 1: make it so okay. And my second question is that
Speaker 1: funk wasn't invented yet. You guys have yet to do.
Speaker 1: Sex Machine is a week later, so like literally a
Speaker 1: week later. And so the thing is is that the
Speaker 1: transformation of his music from the sudent tie soul thing
Speaker 1: and to the gritty How first of all did the
Speaker 1: audience by it? They've freaking loved it, they love And
Speaker 1: how did you interpret those songs? Like did you just
Speaker 1: approximated as his band would have done it? Well? You
Speaker 1: gotta understand too that we needed to be polished, you know.
Speaker 1: I mean we came in with what we came in with,
Speaker 1: and that's raw energy, raw talent which needed to be
Speaker 1: put on the one, as James would call it. And
Speaker 1: you know, me not being a like a talkt bass player,
Speaker 1: I really didn't know, um the the purpose of the
Speaker 1: base other than you know, just play these low notes,
Speaker 1: you know. But I played them like it was a
Speaker 1: guitar because that's what I learned on And James was
Speaker 1: responsible for telling me that. All right, son, look yeah, yeah,
Speaker 1: I love all that stuff you're doing that, Son, I
Speaker 1: love it. I love it. But the only thing you
Speaker 1: gotta do, if you're gonna play with the Jane round, yo,
Speaker 1: you got to give me the one. That's what I need, Son,
Speaker 1: I need the one. You can play all that other stuff,
Speaker 1: but I need the one. Can you hit me with
Speaker 1: the one? That's where the one comes from? So I
Speaker 1: learned the one. The one was birth. One was birth
Speaker 1: every member of the roots. I want you to listen
Speaker 1: to this again because there is there. Can we explain
Speaker 1: to the list of what the one is like. It's
Speaker 1: it's it's an establishing pulse in music. You gotta have
Speaker 1: a four count one two three four now for for
Speaker 1: soul music, even though the emphasis is on you might
Speaker 1: are the snare on the tuone of four one two
Speaker 1: four fun too, it's that what is first, that is
Speaker 1: what it hits you and oh my god, okay, okay.
Speaker 1: And the thing is is that it's it's a certain
Speaker 1: repetition after like African drum repetition. It there's joy and repetition,
Speaker 1: avoiding saying that I was trying to think of like, um, like,
Speaker 1: I don't want nobody to tell me nothing. I don't
Speaker 1: want nobody to give me no, but not have a one.
Speaker 1: I don't understand how you don't have a one, like
Speaker 1: you gotta start somewhere. So how was this doesn't have one?
Speaker 1: That one? Right? Right right? I'll give you a bad example. Well,
Speaker 1: here's weird. This is what's weird. Technically seven seven, seven
Speaker 1: eleven doesn't have a one. Okay, I'll even make it
Speaker 1: easier for you. Uh, the Whisper song by the Yang
Speaker 1: Twins doesn't have well, most snap music has no high hat.
Speaker 1: You need a metronome. You need something that establishes the
Speaker 1: pace of a song. You need a metronome. Now you know,
Speaker 1: not every song is gonna have a like a one
Speaker 1: to three four, but it's insinuated in your head. You
Speaker 1: don't realize it, but you're being hypnotized every time a
Speaker 1: loop happens. So I think James Brown's music really isn't
Speaker 1: a linear structure of song like thinking like John Coltrane
Speaker 1: or jazz. Jazz is linear. James Brown is circular. And
Speaker 1: he has a whole bunch of people playing repeated notes
Speaker 1: all over again. P funk is even crazier because they'll
Speaker 1: have counter stuff, yeah, but repeating the same thing over again.
Speaker 1: So by the seventh minute, like don't stop. Do you
Speaker 1: get enough? You remember how it just breaks down today
Speaker 1: it's just stopped, playing over and over and over again.
Speaker 1: Shake your body down to the ground. Another example, And
Speaker 1: that's a loop that's like a one bar. Yeah, there's
Speaker 1: no that's it. That's the song. So the one is
Speaker 1: just it's just it's it needs to be super obvious sometimes.
Speaker 1: And you know with my band, you know, and this this,
Speaker 1: this is the one downfall of worship Jay Dilla because
Speaker 1: he kind of throws out the manual of of meat
Speaker 1: and potatoes rhythm and it's causing a lot of cats
Speaker 1: like thunder Thundercat Chris Dave a lot of a lot
Speaker 1: of post Jay Diller's disciples to just kill this Bart
Speaker 1: numbers the time, stretching drummers. It sounds almost sad, though,
Speaker 1: I mean no, it's I mean it's like filling these
Speaker 1: monks sort of having sub notes. I mean it's creative.
Speaker 1: But the thing is is, I believe that you should
Speaker 1: study the Old Testament, master it and then you expand
Speaker 1: you learn the rules before you break them. Right now,
Speaker 1: you've just got cats coming and breaking the rules. And
Speaker 1: then Chris Dave, he still comes back to the one. Well,
Speaker 1: Chris is the Jeanes, but he has a lot of
Speaker 1: disciples that are just like watching his YouTube videos and
Speaker 1: then just going from that. But you know, and it's
Speaker 1: the one is important. The one is it's meaning potatoes.
Speaker 1: There's something really cool about the sex machine, uh session
Speaker 1: that I guess well, Boss Bill and I were alerted
Speaker 1: to it because we have the um, the pro tools,
Speaker 1: the master reel, and do we not occasionally teach that,
Speaker 1: m y un, But I don't have the se Well,
Speaker 1: you know, we share every I mean, come on now,
Speaker 1: but my the point was that you guys did two
Speaker 1: takes of it, and the the the kind of in
Speaker 1: between banner. I guess there's like a two or three
Speaker 1: minute break between take one, which was the master take,
Speaker 1: and take two, which was like, let's just get a
Speaker 1: second one for safety's sake. And every James Brown expert
Speaker 1: that's ever heard that their jaw dropped because their jaw
Speaker 1: dropped simply because of the nurturing, kind of tender father
Speaker 1: like way that he's communicating with you guys, Whereas with
Speaker 1: anyone else if you were run the engineer or or
Speaker 1: you know whatever, he's just like, no, man, that was wrong.
Speaker 1: And even you know, giving up return of loose you
Speaker 1: you hear him like starting all over again, like in
Speaker 1: the song you know that sort of thing, but he
Speaker 1: actually stops this. No, no, no, you know, don't do
Speaker 1: it again. You can make it work, you know. No,
Speaker 1: you're doing good, You're doing good. Just they they've never
Speaker 1: heard James Brown actually be nice. Yeah, that's the thing.
Speaker 1: So with Sex Machine, the first time that you guys
Speaker 1: were in the studio or like, was that your first
Speaker 1: professional you mean with James or well, I know that
Speaker 1: was your first. Was that your first with James? Actually? No? Um,
Speaker 1: what was before? Um? What was um? The first time
Speaker 1: I played with James. Of course he didn't use it,
Speaker 1: but his band took a break while they were recording,
Speaker 1: Um licking stick and yeah, most monks don't know nothing
Speaker 1: about this, you know, I mean with the story, and
Speaker 1: so um, his band went on a break and James
Speaker 1: get this horrific idea. And you know we outside, you know,
Speaker 1: me and my brother, you know, the band. We outside,
Speaker 1: always outside, waiting on a chance to get in because
Speaker 1: they didn't let nobody in. You know, it was like, um,
Speaker 1: we don't care who you are. You know, nobody's coming
Speaker 1: in but James and who he needs. And so his
Speaker 1: band wait, you would just be outside outside the studio hanging.
Speaker 1: I mean, every time James came to Cincinnati, we was there.
Speaker 1: And so you know, he said, but I know, boots
Speaker 1: in them out dead, go out there and get boosted in.
Speaker 1: The next thing, I know, they opened the door, Bird said, pussy,
Speaker 1: come on in it. And we were shocked. We was shot.
Speaker 1: It's like we were shocked. But at the same time,
Speaker 1: we was all waiting for that, you know, because before that,
Speaker 1: he ain't never call us in the studio, you know,
Speaker 1: so he called us in. I want you to play
Speaker 1: the play this part from it. Uh. It goes something
Speaker 1: like this. Uh uh I think uh, I said, you
Speaker 1: mean do do do do? Do Do? Do do do do do? Yeah? None,
Speaker 1: that's it. That's what I'm doing. That's how songs were
Speaker 1: getting made. He would just sing something. You have to
Speaker 1: decipher what it was like you from here America. You
Speaker 1: go to Japan and they don't have no idea what
Speaker 1: the are you talking about? But if you play it
Speaker 1: in mut music, they can say, okay, so James. The
Speaker 1: whole thing is when he's communicating with you, you don't
Speaker 1: know what the hell he's talking about. God, he don't
Speaker 1: being down so African I got. So that's what you're
Speaker 1: going on? Oh you mean dude, dud DoD. Yeah, that's
Speaker 1: what I'm talking about. That glad I thought of it
Speaker 1: to wear work, and I was glad he thought of
Speaker 1: it too. This being in his presence was that was
Speaker 1: enough for me? And they then the mugs him. You
Speaker 1: mean you didn't get paid for that? Get paid? You know,
Speaker 1: we wasn't thinking about getting paid. You mean your name
Speaker 1: and name on what? You know? We was just so inspired,
Speaker 1: lifted from being in this Catt present. What nobody thinking
Speaker 1: at that time? You know you gotta remember what time
Speaker 1: that was. You know, that was like you know, writers
Speaker 1: publishing all that stuff was unheard of for musicians. You know,
Speaker 1: you'd be lucky to come in and they give you,
Speaker 1: uh thirty dollars for a session, you know, and don't
Speaker 1: even speak about you know, rotes a bass part or
Speaker 1: you know, or Jabboon came up with a drum part
Speaker 1: and clydet no that belonged to Jane Brown. You know,
Speaker 1: couldn't nobody tell um Clyde to play that, uh play
Speaker 1: play that, play that funking drumma likeness in let me
Speaker 1: show your high go And James used to do that,
Speaker 1: let me show your go and he get on that
Speaker 1: and play some four four nothing happening, ain't nothing happening.
Speaker 1: But see the thing is, I don't want to. I
Speaker 1: don't want to make a sound like you know, he
Speaker 1: was that far gone. He wasn't gone at all. He
Speaker 1: knew what he wanted. But you had to give it
Speaker 1: to him, you know, you had to. He knew it
Speaker 1: when he heard it. You know. It's like you know,
Speaker 1: if you if you didn't play it right, No no, no, son,
Speaker 1: yet you ain't got it. No, no, no, no, that
Speaker 1: that ain't gonna work. Not not No, he'll give it
Speaker 1: to you like that. But if you play it, if
Speaker 1: you play what he wants to hear. Yeah, that's it's. Uh,
Speaker 1: that's it. So I know that you guys were wept
Speaker 1: behind the ears, um, just being thrown in this situation,
Speaker 1: say the least. So what were the because Alan Weeds
Speaker 1: told me that there was a lot of rigorous hours
Speaker 1: of rehearsing it. What were the rehearsals like? And why
Speaker 1: why did Clyde and Jabbo cross the picket line or
Speaker 1: oh you mean come back? Um, I don't you know what.
Speaker 1: I never I never even thought about that. Uh. And
Speaker 1: I didn't ever look at it like they crossed the
Speaker 1: picket line. It was like, you know, well the band
Speaker 1: left and then Clyde stayed. Yeah, but he came back.
Speaker 1: Clyde came back. He didn't actually leave when the band left.
Speaker 1: He came back about maybe a couple of weeks after
Speaker 1: we started getting things together. Jabbo is the one that
Speaker 1: didn't leave. He stayed, so you know, Um, but Jabbo
Speaker 1: was that kind of lofty guy that you know he
Speaker 1: was gonna he was like bird, kind of like bird,
Speaker 1: Bobby Bird. He wasn't gonna leave James, you know. Um
Speaker 1: at that particular time, it was like, you know, Jabbo
Speaker 1: was like, this is it, you know, and he was
Speaker 1: the he was the foundation for us because he was
Speaker 1: the only one with him and Bobby Bird was the
Speaker 1: only one that was there the first couple of weeks
Speaker 1: that we could rely on. Did you know to kept
Speaker 1: us steady? That's another question, because your your style is
Speaker 1: you're you're James Brown style then was pretty much James
Speaker 1: Jamison one on steroids. I mean, you're going all over
Speaker 1: and I know you're saying, like James just wanted that one.
Speaker 1: You could do all that other stuff, but someone had
Speaker 1: to be the bad guy to say you're playing too much,
Speaker 1: Like you guys are virtual so musicians. But who's the
Speaker 1: person that has to reel it in said you're playing
Speaker 1: too much? Just give me James would James would be
Speaker 1: the bad guy. You know, he didn't need no help
Speaker 1: on that. You know. It was like but he was
Speaker 1: liked what we was doing, you know, he just liked it. Um.
Speaker 1: I mean, we we heard all of the stories and
Speaker 1: we you know, we would see how he treated the
Speaker 1: other guys, but with us, just like you were saying
Speaker 1: about that story about how he nurtured us. You know,
Speaker 1: that's the kind of father figure he was. Us. Finding us, No,
Speaker 1: finding us didn't work because we didn't have no money anyway.
Speaker 1: So it's like, yeah, take my money, I mean, you know,
Speaker 1: to take whatever you are. I'm here with you. I'm
Speaker 1: here here with you. You know, you know you can
Speaker 1: have my money. It don't even matter. So he did
Speaker 1: kind of slightly take advantage of y'all being younger with
Speaker 1: the whole the pay cut thing I'm imagining, and you
Speaker 1: know everybody else didn't come back. Well, I wouldn't even
Speaker 1: say take advantage. Um, it was just a law. That
Speaker 1: was just what he did. You know, That's what he did.
Speaker 1: When he get to a certain point. It's like if um,
Speaker 1: and he could be just going through a thing where
Speaker 1: he feels like he needs to change, you know what
Speaker 1: I'm saying, And um, if he needs to change, then
Speaker 1: he'll start a ruckus, you know, as man funk y'all.
Speaker 1: You know. So you know, Um, they had me going
Speaker 1: in asking for raises when I didn't even feel like
Speaker 1: a raise. I mean, you know, yeah, we just got here,
Speaker 1: we're having a great time. What is wrong with you people.
Speaker 1: But if the thing is is that, uh, it seems
Speaker 1: amazing enough, but you guys were only there for less
Speaker 1: than you were there for eleven months. But that everything
Speaker 1: that you guys did, it was some life changing funk,
Speaker 1: like next to sly Stone. I mean, you guys single
Speaker 1: handedly like rewriting the book of of what soul music was.
Speaker 1: What was the last gig? Like before you guys were
Speaker 1: like like James, let you guys go, or was it
Speaker 1: you guys said we have to go? Or you know,
Speaker 1: it's funny, it's funny. The last gig was here in
Speaker 1: New York at the Copa Cabana. We was we was there,
Speaker 1: supposed to be there for two weeks. Right, We just
Speaker 1: came back from Europe. We had did uh to three
Speaker 1: weeks over in Europe. We had did a couple of
Speaker 1: weeks over in Africa. We come back and the first gigs,
Speaker 1: the first gig that we do is the Copa Cabana.
Speaker 1: So we played for a week. We're supposed to be
Speaker 1: you're doing two weeks. We played the first week and UM,
Speaker 1: but the troubles started over in Africa before we got back.
Speaker 1: The trouble started with UM. While we went to the president.
Speaker 1: Uh what was his name? No, no, this one was
Speaker 1: the president of Zambia. Yeah. Yeah, well we went. He
Speaker 1: invited us to his you know, it was kind of
Speaker 1: it was like the White House name. So, um, he
Speaker 1: invited us there, and um what happened was there's been
Speaker 1: some rumbling going on about we need to raise you know,
Speaker 1: and so I'm the Mikey. You know, I'm like Mikey.
Speaker 1: You know that commercial that let's get Mikey to do.
Speaker 1: So I was always the Mikey character where they tell
Speaker 1: me what they wanted because James was always kind of
Speaker 1: soft with me, you know, he you know, okay man, okay,
Speaker 1: yeah you okay, you can get away with it, okay, yeah,
Speaker 1: you know yeah yeah yeah, and and remind me to
Speaker 1: well maybe I shouldn't tell that story, okay, but anyway, no,
Speaker 1: it's kind of personal with his you know. But um
Speaker 1: uh so we go to dinner and they say, um, Boosey,
Speaker 1: you're gonna tell him. You know, you need to tell
Speaker 1: him now. You need to tell him now because we're
Speaker 1: the president and we want to embarrass him, right, so
Speaker 1: check it out. So check it out. Yeah, yeah, yeah,
Speaker 1: that's what I said. You know, you need to go
Speaker 1: tell him now because we gotta play, you know, after
Speaker 1: we leave it dinner, we gotta go play. But you
Speaker 1: need to tell him now so he can agree to it,
Speaker 1: you know. So, and I ain't gonna tell the names
Speaker 1: that told me this to do this, but um, so
Speaker 1: I said, okay, I'll do it. So I went and
Speaker 1: told him. And you know, actually I didn't tell him.
Speaker 1: They wrote they wrote it down. They wrote it down,
Speaker 1: they gave it to me. Okay, take it to it.
Speaker 1: Take it to James. James down on this end of
Speaker 1: the table. And then you got the president on the
Speaker 1: other end of the table, you know, and everybody else
Speaker 1: is sitting you know, around right, long long table. So
Speaker 1: I gets up, I go down. I had a note
Speaker 1: to James. Okay, he said, what's his ends? So what
Speaker 1: do you know? Him? The band just want, you know,
Speaker 1: just to just read it, you know, let us know
Speaker 1: what's happening. You know, he knew I was full of it.
Speaker 1: He knew it, you know, so, um you know, once
Speaker 1: he read it, he jumped up from the table. Oh
Speaker 1: ship you mother, President. I knew it. I knew it.
Speaker 1: I knew it. Y'all coming at y'all got busy doing
Speaker 1: all this. I know it ain't him. Good, no, it
Speaker 1: ain't him, and y'all ain't got but one more time
Speaker 1: to try this is he's and that's gonna be it.
Speaker 1: That's gonna be it. So you know, well, you know,
Speaker 1: the whole thing was, well, do we get a raised
Speaker 1: all right, I'm gonna give it to y'all this time.
Speaker 1: I'm gonna give it to you, but don't try it again.
Speaker 1: And so that's stuck. That's stuck in my head. You know,
Speaker 1: I don't try it again. So we get back from Africa.
Speaker 1: Everything's cool. It was a blast, man. I never, I
Speaker 1: mean never could imagine what Africa was really like unless
Speaker 1: I had really been there. You know, I was thinking
Speaker 1: tars and the animals and Jane Nia Lagos, Baby, did
Speaker 1: you go? Did I go? Did I have to come home?
Speaker 1: What was that like for you? To see him in
Speaker 1: his prime? Then? Man? I mean, words can't even do that. Justice.
Speaker 1: Words can't do that justice, man, because okay, I got
Speaker 1: a story, man, But yes, oh, come on, y'all as right,
Speaker 1: all right, So we are on the way to see failor. Right,
Speaker 1: all right? We off one night, so we're on the
Speaker 1: way to see failor and then at this time, you
Speaker 1: gotta understand in Nigeria, the police was the army. It
Speaker 1: was an army. Serious. They didn't they didn't play. They
Speaker 1: didn't play, I mean with nobody. You know. It's like, um,
Speaker 1: so we are car, you know, riding, you know, riding
Speaker 1: to the gig, and I'm like, you know, we're in
Speaker 1: the back seat. We're smoking, you know. And of course
Speaker 1: I got the weed, right, I got the bomb. Yeah,
Speaker 1: and Nigeria, oh, I got I got friends everyone, I
Speaker 1: got hilf friends and high places, having a little places
Speaker 1: and even lord than that. So so I got the weed,
Speaker 1: you know. And what I ain't gonna call a non
Speaker 1: other name because you already know I'm guilty. So so, um,
Speaker 1: I'm passing around and and so all of a sudden,
Speaker 1: this car pulls up on each side, one pulls up
Speaker 1: on this side, one pulls up on that, and get
Speaker 1: out the car. And you know, we're looking at each
Speaker 1: other because we don't know what's going on. Only the
Speaker 1: driver knows what that means. I mean, you know, get
Speaker 1: out the car. Well he didn't say get out the
Speaker 1: car like in English whatever whatever the liners. Yeah, we
Speaker 1: didn't know what was that. So so you know. The
Speaker 1: driver looked at us and said, won't you step out,
Speaker 1: you know, step out. So and I'm looking at this
Speaker 1: person saying what do I do with the we you know,
Speaker 1: and she said, put it in you put it in
Speaker 1: the boot. Put it in the boot. I was like, oh,
Speaker 1: then I snuck it, put it in my boot. And
Speaker 1: then the driver said, no, no, open the boot, open
Speaker 1: the boot. Check it out, open de boot, open de boot.
Speaker 1: I'm like, how did he see me put that in
Speaker 1: my boot? Yeah, And so next thing I know, the
Speaker 1: driver got out, open the trunk, and I was like,
Speaker 1: and then this other person said, he meant the trunk. Man,
Speaker 1: my heart, you know, you know, my heart jumped out
Speaker 1: the one that was on the floor. I didn't know what,
Speaker 1: you know, because the stories of what these cats would
Speaker 1: do to you, you know, it's like, yeah, man. So
Speaker 1: you know, when he said the boot and meant the trunk,
Speaker 1: I was like, okay, cool. Then he checked the trunk nothing,
Speaker 1: you know, because we had everything on us, you know.
Speaker 1: And so after that he said, okay, y'all can go,
Speaker 1: you know, and I right right there. I was through.
Speaker 1: You know. The only thing to save me was the
Speaker 1: rhythm of the drum, you know, the closer. We got
Speaker 1: the rhythm of the drums, rhythm of the drums, because
Speaker 1: that's what drove drove me out of the state I
Speaker 1: was in afterwards in the boot. Oh man. So we
Speaker 1: got down to Faylor's place. He had he had this big,
Speaker 1: big room. Um, it's kind of like back in the
Speaker 1: gladiator days where there was no roof so you couldn't
Speaker 1: tear the roof off. The roof was already too off.
Speaker 1: It wasn't no roof. And all you can hear when
Speaker 1: you're on the way there, it's the rhythms. It's the rhythms,
Speaker 1: you know. And actually that's where I you know, I
Speaker 1: put in my memory bank that beat pop pop. If
Speaker 1: you listen to stretching out, which I know you have,
Speaker 1: that's where I got the emphasis of that. And I
Speaker 1: saw the females there. Did you know I feels of
Speaker 1: music ahead of time or I had no idea. So
Speaker 1: tell us when you walked in the door, like, oh
Speaker 1: my god, what you saw? Well, well, it was before
Speaker 1: I walked in the door. We was already freaked out.
Speaker 1: Like I was telling you. The rhythms, I mean, that
Speaker 1: was like you know, and the way they was treating us,
Speaker 1: was like we was God's and I'm like, y'all got
Speaker 1: this twisted. You know, I'm saying to myself, you muz
Speaker 1: got the goal, you know. And of course I told
Speaker 1: him that, but they didn't. You know. They was like, no,
Speaker 1: it's y'all, you know, because they all they praised James Brown.
Speaker 1: Was he with you? He was with you guys. He
Speaker 1: wasn't want it now. This was now you gotta remember
Speaker 1: this was after you know we you know, so he
Speaker 1: was mad. You know, I'm mad, so he was. He
Speaker 1: wasn't going down that at first. He was going before that.
Speaker 1: But no, he saw us later, you know, and I
Speaker 1: can dig it because it wouldn't have been cool. You know,
Speaker 1: we couldn't have did We couldn't have been smoking, you know,
Speaker 1: no fun at all, you know. So um, it worked
Speaker 1: out really good. Got to me faila. He was he
Speaker 1: did the ONRN thing, he sung and the people. I mean,
Speaker 1: it was just you know, it was something like I
Speaker 1: never never experienced. Since I said like that, yeah, yeah,
Speaker 1: because it was it was all natural, all raw, you know.
Speaker 1: And then he invited us back to the room and
Speaker 1: we had these little you know, the little joints you know,
Speaker 1: you know, you know them, I mean seriously, you know,
Speaker 1: and and expensive ship. I mean, it's like, what are y'all?
Speaker 1: And it was like an insult to offer. You know,
Speaker 1: you're a little bit of man. You know, it's like, okay,
Speaker 1: I'm putting this away because it was you know, it
Speaker 1: was massive, man, I mean it was massive. And we
Speaker 1: stayed pretty much all night in that room. After they
Speaker 1: came off stage, it was did they come to see you?
Speaker 1: What was it like for them to see the James
Speaker 1: Brown Show? Because it was just it was the same
Speaker 1: kind of you know, the same kind of experience for them,
Speaker 1: you know, because I knew that feel like Cootie worshiped
Speaker 1: James Brown, and yeah, it was the same. It was
Speaker 1: that same kind of vibe we had when we saw them.
Speaker 1: That's why I couldn't understand personally myself why they was
Speaker 1: so why I understood it, But at the same time,
Speaker 1: it was like we had nothing compared to what y'all
Speaker 1: are doing, you know, and they couldn't Yeah, they couldn't
Speaker 1: find them. Because I think that just the myth of
Speaker 1: America and what it's supposed to represent is larger. The
Speaker 1: idea of America is larger than Yeah, it's it's by product.
Speaker 1: So you guys flew home to the Copa after that, ye,
Speaker 1: right after that, and what happened. We did about two
Speaker 1: or three gigs because we had six it was six
Speaker 1: was it six or seven? It was seven nights, I
Speaker 1: mean seven, yes, seven shows and two on Sunday because
Speaker 1: we had to do to Madendee. Okay. So um, James
Speaker 1: was gonna cut the salary, okay. Uh And we were
Speaker 1: playing seven days and twice on Sunday and he just
Speaker 1: asked to cut the salary. And the same people came
Speaker 1: to me like, we can't let him do this. You know,
Speaker 1: you gotta go in there, Mikey, and you gotta get
Speaker 1: it straight man, you know. And I'm like, what the
Speaker 1: problem is? You know? Yeah, I'm I mean, I'm you know,
Speaker 1: I got all these girls, and you know, I got
Speaker 1: my weed and I got my ls. Then I'm cool. Yeah,
Speaker 1: you know, I ain't got no responsibilities. You know. The
Speaker 1: only responsibility I have is playing, you know, because I
Speaker 1: love to play, you know, And so you know, these
Speaker 1: mugs with responsibilities, you know. Um, that's what they were
Speaker 1: really concerned about, you know. And I understood it after
Speaker 1: I got away. But while I was there, it was like,
Speaker 1: what the problem is? You know, and so um they
Speaker 1: talked me into it again, you know, go in saying
Speaker 1: tell him either he pays full sary um or else
Speaker 1: we walk. And so I didn't feel good about it.
Speaker 1: All the other times I felt like, you know, you
Speaker 1: can go in and do it, you know, but this
Speaker 1: particular time I didn't feel good about it. You know.
Speaker 1: I was like to myself, I was saying, Okay, now,
Speaker 1: if I do this, you know, and if it don't work,
Speaker 1: you know, we're walking, you know, the whole you know,
Speaker 1: the band that came with me, we're walking. You know.
Speaker 1: It's like, oh he he give you everything by you
Speaker 1: coach your babe, He buy you all that. You know.
Speaker 1: I'm like, okay, So I go in there and dropping
Speaker 1: on him. You know, he says, Son, I knew you're
Speaker 1: gonna do it. I knew you're gonna do it. They've
Speaker 1: been using you. They just using you. Man, did you
Speaker 1: see that? And I'm like this this is the what
Speaker 1: they you know, this is what they're saying. Well, Son,
Speaker 1: you know what, I ain't gonna let you get away
Speaker 1: with it this time. You go back then and tell him,
Speaker 1: they all five, I ain't. I ain't going for it.
Speaker 1: You know, he said, I know what they're doing to you,
Speaker 1: and you you know you you should know. So if
Speaker 1: y'all gotta walk walk, that was it. I went back
Speaker 1: and told him, and they was like uh. They started
Speaker 1: looking up in the air and stuff, and you know,
Speaker 1: I'm like, I can't go back on my word. If
Speaker 1: I told him man, I got to go. If he
Speaker 1: can't do nothing, then I got yeah. So and then
Speaker 1: and then in my mind it's like, okay, what are
Speaker 1: we gonna do now, you know, because I knew that
Speaker 1: was it. You know, it's like, we gotta go. So
Speaker 1: we're sitting on the bus, we all the the whole
Speaker 1: band sitting on the bus, you know, looking at each
Speaker 1: other on trailway. I know, we're here trailway bus man,
Speaker 1: and you know, we're looking at each other. And then
Speaker 1: they're looking at me like, okay, well we're gonna do
Speaker 1: now since you went in there and you know you
Speaker 1: and and so you know, that was whin me out.
Speaker 1: I started feeling like, dag, what are we gonna do?
Speaker 1: So the next thing came to my mind is you're
Speaker 1: gonna go to Cincinnati you're gonna practice, you're gonna get
Speaker 1: in that basement, you're gonna practice, you're gonna get tight,
Speaker 1: and you're gonna go to Detroit, you know, and see
Speaker 1: what happens, because you know that's what we were into,
Speaker 1: taking people's gigs. Check this out, y'all. We gotta continue
Speaker 1: next week with more Bodzilla. Sorry, you hate to see
Speaker 1: it done, but you gotta do it. Come back next
Speaker 1: time for our two of our Very Strange Journey with
Speaker 1: Bootsy Collins born q LS Classic of Course Love Supreme
Speaker 1: is a production of my Heart Radio. This classic episode
Speaker 1: was produced by the team at Pandora. For more podcasts
Speaker 1: from my heart Radio, visit the I Heart Radio app,
Speaker 1: Apple podcast, or wherever you listen to your favorite shows.