1
00:00:00,160 --> 00:00:03,040
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:06,960 --> 00:00:08,960
Speaker 2: Hey all, It's on pay Bill from Team Supreme. For

3
00:00:09,039 --> 00:00:11,320
Speaker 2: this classic episode of Questlove Supreme, we are speaking with

4
00:00:11,360 --> 00:00:15,360
Speaker 2: the incredible, the Only George Cliffe Parliament Funkadelic Part one,

5
00:00:15,400 --> 00:00:17,880
Speaker 2: George updates QLs and something's going on with his music

6
00:00:17,880 --> 00:00:19,960
Speaker 2: while taking a look back at an incredible sixty five

7
00:00:20,040 --> 00:00:22,640
Speaker 2: year career. This was taped in mid twenty twenty during

8
00:00:22,680 --> 00:00:24,919
Speaker 2: those early days of the pandemic, so Team Supreme was

9
00:00:24,920 --> 00:00:27,200
Speaker 2: still learning to get along virtue. But the quality of

10
00:00:27,200 --> 00:00:29,440
Speaker 2: the conversation is amazing. I love this one.

11
00:00:29,440 --> 00:00:30,120
Speaker 3: I hope you enjoyed.

12
00:00:30,120 --> 00:00:45,120
Speaker 4: The Ladies and gentlemen Funk upon a Time and a

13
00:00:45,280 --> 00:00:53,320
Speaker 4: galaxy far away and the land of cheese steak Utopia. Well, well,

14
00:00:53,400 --> 00:00:59,480
Speaker 4: the five year old April head boy with dreams, aspirations

15
00:00:59,520 --> 00:01:03,800
Speaker 4: and power hour of creative abundance, and he wished upon

16
00:01:03,920 --> 00:01:07,520
Speaker 4: a star one day that this young and would utilize

17
00:01:07,520 --> 00:01:10,480
Speaker 4: his talents so that one day he could bug and

18
00:01:10,640 --> 00:01:15,040
Speaker 4: pester from the Jesus out of his musical idols who

19
00:01:15,160 --> 00:01:18,240
Speaker 4: raised him. And this is that moment. Ladies and gentlemen,

20
00:01:18,360 --> 00:01:21,160
Speaker 4: you know the show, and you know the crew. You

21
00:01:21,240 --> 00:01:26,240
Speaker 4: know Fonte. You know six Steve unpaid, Bill Laya. Let

22
00:01:26,280 --> 00:01:28,160
Speaker 4: us get into it. This is the moment I've been

23
00:01:28,200 --> 00:01:35,000
Speaker 4: waiting for all my life, my first real conversation with

24
00:01:35,200 --> 00:01:36,080
Speaker 4: God himself.

25
00:01:37,080 --> 00:01:46,880
Speaker 5: George Ship, Yes, yes, all of that, uh North Carolina building.

26
00:01:47,760 --> 00:01:50,800
Speaker 6: How that sounds like some ship I wanted to say

27
00:01:50,800 --> 00:01:57,240
Speaker 6: to Smokey Robinson and I was growing up. Man.

28
00:01:58,240 --> 00:02:01,480
Speaker 4: Now you know, I know, man, this is This is

29
00:02:01,480 --> 00:02:04,720
Speaker 4: a rare moment where you know, I have access to

30
00:02:05,040 --> 00:02:10,200
Speaker 4: somebody that has had major input on my all of

31
00:02:10,200 --> 00:02:13,320
Speaker 4: our creative juices, I mean all of us are everybody?

32
00:02:13,320 --> 00:02:14,320
Speaker 3: We all your sons?

33
00:02:17,120 --> 00:02:19,120
Speaker 6: Yea illegitimate?

34
00:02:21,960 --> 00:02:23,840
Speaker 4: All right. I'll try not to make it this like

35
00:02:23,880 --> 00:02:27,799
Speaker 4: it's your eulogy, but you know this is definitely Where

36
00:02:27,840 --> 00:02:28,720
Speaker 4: are you right now?

37
00:02:29,080 --> 00:02:32,120
Speaker 6: I'm at home. I'm in Tall, Florida. I'm sitting back

38
00:02:32,160 --> 00:02:35,160
Speaker 6: and kicking it, and I'm been painting and shit, I've

39
00:02:35,160 --> 00:02:38,880
Speaker 6: been chilling. This has been the RESTful part of my life.

40
00:02:39,280 --> 00:02:40,440
Speaker 4: Really good.

41
00:02:41,240 --> 00:02:42,959
Speaker 6: I ain't going nowhere.

42
00:02:44,560 --> 00:02:45,600
Speaker 4: Stay in that bubble wrap.

43
00:02:46,440 --> 00:02:47,480
Speaker 6: No, I'm cool.

44
00:02:47,840 --> 00:02:51,920
Speaker 4: Is this the first real rest that you you've gotten?

45
00:02:52,400 --> 00:02:54,800
Speaker 6: You know, since I was a teenager. I put it

46
00:02:54,840 --> 00:02:57,080
Speaker 6: like that, We've been on the road since we was

47
00:02:57,120 --> 00:03:01,920
Speaker 6: twenty two when Testifact came out, right, Okay, I had

48
00:03:02,000 --> 00:03:05,200
Speaker 6: never left the road since then. We lived on the

49
00:03:05,280 --> 00:03:08,640
Speaker 6: road and moved to city to city and you know,

50
00:03:09,320 --> 00:03:12,160
Speaker 6: raised kids, get married, moved country and c you know.

51
00:03:12,600 --> 00:03:16,960
Speaker 6: But this is probably the longest that we've been down

52
00:03:17,040 --> 00:03:18,280
Speaker 6: and not doing anything.

53
00:03:19,600 --> 00:03:21,760
Speaker 4: And you're not at all, are you?

54
00:03:21,919 --> 00:03:24,800
Speaker 6: Oh? Hell no, because I had to do it this time.

55
00:03:25,360 --> 00:03:28,440
Speaker 6: So I take it like, I don't stress myself. If

56
00:03:28,480 --> 00:03:30,560
Speaker 6: I can't do nothing about it, I do the best

57
00:03:30,600 --> 00:03:33,560
Speaker 6: I can and funk it. You know. I have a

58
00:03:33,600 --> 00:03:37,480
Speaker 6: good excuse to paint, and we make music now. I mean,

59
00:03:37,480 --> 00:03:41,160
Speaker 6: we were sending ship back and forth on nineteen studio

60
00:03:41,200 --> 00:03:43,840
Speaker 6: only about five miles from here. But I send this

61
00:03:43,960 --> 00:03:47,320
Speaker 6: ship down there in back. I don't even chance that ship.

62
00:03:48,080 --> 00:03:50,880
Speaker 6: But I don't know. I'm I have I go fishing.

63
00:03:51,520 --> 00:03:53,760
Speaker 4: Yeah, I was gonna say, I know you're big on fishing. Like,

64
00:03:53,840 --> 00:03:55,200
Speaker 4: are you doing a lot of that now?

65
00:03:56,000 --> 00:03:58,040
Speaker 6: Oh? Oh hell yeah, that's the only I sneak to

66
00:03:58,080 --> 00:04:01,720
Speaker 6: the boat, get on the boat, we mask up. But

67
00:04:01,800 --> 00:04:05,080
Speaker 6: I do a lot of that. Okay, I've been I've

68
00:04:05,080 --> 00:04:08,240
Speaker 6: been chilling for real, just and you know, luckily been

69
00:04:08,360 --> 00:04:12,720
Speaker 6: chilling that you know, ready for it this time, right,

70
00:04:12,960 --> 00:04:14,800
Speaker 6: because we got a lot of ship that's getting ready

71
00:04:14,800 --> 00:04:18,240
Speaker 6: to come out when this thing is go down. We

72
00:04:18,240 --> 00:04:20,279
Speaker 6: was working on some bad ship, you know, with the

73
00:04:20,320 --> 00:04:22,960
Speaker 6: group the kids, they was killing them. We was getting

74
00:04:23,000 --> 00:04:25,120
Speaker 6: ready to do some hell of ship. But it's good

75
00:04:25,120 --> 00:04:27,280
Speaker 6: because it gave us a chance to sit down and

76
00:04:27,320 --> 00:04:29,000
Speaker 6: get it together and do it properly.

77
00:04:29,520 --> 00:04:30,520
Speaker 4: That's good.

78
00:04:30,839 --> 00:04:32,599
Speaker 6: At the same time, you know, I just got a

79
00:04:32,600 --> 00:04:39,520
Speaker 6: lot of my catalog back, you know, yes, oh yeah,

80
00:04:39,520 --> 00:04:41,760
Speaker 6: I got it back. Now I'm going getting ready to

81
00:04:41,760 --> 00:04:45,480
Speaker 6: go through some things that publicize it. You're gonna see it.

82
00:04:46,480 --> 00:04:50,840
Speaker 6: Ben Crump is my lawyer, you know, civil rights part

83
00:04:50,880 --> 00:04:51,080
Speaker 6: of it.

84
00:04:51,520 --> 00:04:58,800
Speaker 4: Right right? What would this mean for funketeers everywhere? Like,

85
00:04:58,960 --> 00:04:59,760
Speaker 4: are we all?

86
00:05:00,160 --> 00:05:02,320
Speaker 6: I'm a matter of fact, I want everybody that has

87
00:05:02,839 --> 00:05:05,839
Speaker 6: worked with us that that's gotta be got a beef,

88
00:05:06,560 --> 00:05:11,039
Speaker 6: you know, the contact Sheila Jackson, Lee, we all we're

89
00:05:11,040 --> 00:05:13,320
Speaker 6: all doing together. She wants me to get all the

90
00:05:13,320 --> 00:05:17,240
Speaker 6: people that has a beef together so we can make

91
00:05:17,279 --> 00:05:22,920
Speaker 6: a one proper announcement. All those people get their copyrights back.

92
00:05:23,360 --> 00:05:25,640
Speaker 6: They can get them back right now. They you know,

93
00:05:25,800 --> 00:05:31,240
Speaker 6: recapture their copyrights. Said although this is this I'm telling

94
00:05:31,440 --> 00:05:33,760
Speaker 6: this is the civil rights. This is gonna be a

95
00:05:33,760 --> 00:05:39,160
Speaker 6: civil right. Yeah, like I said, yeah, how long is this? Well,

96
00:05:39,200 --> 00:05:41,599
Speaker 6: I've been I've been in the battle almost thirty years,

97
00:05:41,640 --> 00:05:44,159
Speaker 6: but I've been, you know, fighting to get it to

98
00:05:44,200 --> 00:05:48,200
Speaker 6: that level of you know, get it to where the Congress.

99
00:05:48,200 --> 00:05:50,800
Speaker 6: I was with John Kanye's he took it up for

100
00:05:50,839 --> 00:05:53,680
Speaker 6: a long time. You know, we couldn't get up the past.

101
00:05:53,760 --> 00:05:57,960
Speaker 6: But now every you know, it's the copyright capture thing

102
00:05:58,080 --> 00:05:59,919
Speaker 6: is over now. So I got a lot of min

103
00:06:00,360 --> 00:06:02,720
Speaker 6: in on time, and a lot of other people got

104
00:06:02,760 --> 00:06:05,280
Speaker 6: theirs in. They just don't know it, and they're not

105
00:06:05,520 --> 00:06:08,040
Speaker 6: telling and they're not telling them that they got it.

106
00:06:08,040 --> 00:06:09,799
Speaker 6: They trying to make them think that they have to

107
00:06:10,080 --> 00:06:12,640
Speaker 6: fight it something they don't have to fight. It's theirs now.

108
00:06:13,240 --> 00:06:17,240
Speaker 6: So we're gonna make a big announcement, especially everybody with us,

109
00:06:17,240 --> 00:06:19,039
Speaker 6: but not only us, a lot of people that work

110
00:06:19,839 --> 00:06:22,159
Speaker 6: with us, even the people that sample the music. They've

111
00:06:22,160 --> 00:06:25,039
Speaker 6: been in long enough now for some of their rights

112
00:06:25,080 --> 00:06:28,400
Speaker 6: to be coming back to them. Yeah, you know, Prince

113
00:06:28,560 --> 00:06:32,000
Speaker 6: Prince got his back, you know. So it's that it's

114
00:06:32,040 --> 00:06:35,680
Speaker 6: that time and this generational wealth. It's what it's about

115
00:06:36,360 --> 00:06:39,400
Speaker 6: you can't you can't pass it onto your airs if

116
00:06:39,400 --> 00:06:42,680
Speaker 6: they tie you up, which is what they're trying to do, right,

117
00:06:42,760 --> 00:06:45,159
Speaker 6: you know, trying to make it. There's a whole new

118
00:06:45,320 --> 00:06:48,599
Speaker 6: law thing going on that you know, you they tell

119
00:06:48,640 --> 00:06:50,800
Speaker 6: you just how they do it. And we got the help.

120
00:06:51,320 --> 00:06:53,520
Speaker 6: We got the writer report, the Child Jackson need to

121
00:06:53,520 --> 00:06:56,919
Speaker 6: explain all those things that needed done. So if you

122
00:06:56,960 --> 00:07:00,360
Speaker 6: know anybody that's stuff that's that's having a problem with

123
00:07:00,400 --> 00:07:04,320
Speaker 6: the copyright recapture, yeah, they should definitely get in touch

124
00:07:04,400 --> 00:07:08,640
Speaker 6: with Ben Crump and Child jacksually or myself.

125
00:07:09,560 --> 00:07:12,760
Speaker 4: Wow, So does this mean that for the first time

126
00:07:13,640 --> 00:07:18,040
Speaker 4: your post seventy six funk a deck delic catalog will

127
00:07:18,040 --> 00:07:22,200
Speaker 4: finally see the light of day, Like Yeah, Nomina One,

128
00:07:22,280 --> 00:07:25,120
Speaker 4: Nation on the Groove or Uncle Jim or Hardcore Jolly.

129
00:07:26,240 --> 00:07:29,280
Speaker 6: I got that album that masterback, Kneed Deep, I got

130
00:07:29,280 --> 00:07:34,240
Speaker 6: those back. I own those two. I was I was

131
00:07:34,280 --> 00:07:37,000
Speaker 6: hesitant to put them out till I got them all

132
00:07:37,080 --> 00:07:40,120
Speaker 6: off the market people that was putting them out illegally.

133
00:07:40,640 --> 00:07:43,000
Speaker 6: I had to clean it up first, So I got

134
00:07:43,040 --> 00:07:45,760
Speaker 6: I owned those been on those for a long time,

135
00:07:45,880 --> 00:07:49,520
Speaker 6: but lawyers was keeping me from getting to them. You know,

136
00:07:49,560 --> 00:07:52,280
Speaker 6: but I got those and especially need to be in

137
00:07:52,280 --> 00:07:55,600
Speaker 6: one nation. That's why you hear so much about Antomic Dog,

138
00:07:55,920 --> 00:08:01,240
Speaker 6: even your capital stuff. I got Atomic Dog, the computer game.

139
00:08:01,280 --> 00:08:02,920
Speaker 4: So loop Zilla all that stuff.

140
00:08:03,640 --> 00:08:06,880
Speaker 6: Yeah, so now we put all of them in. And

141
00:08:06,920 --> 00:08:10,720
Speaker 6: that's what we're making sure that that whole catalog recapture

142
00:08:10,760 --> 00:08:14,280
Speaker 6: thing is. You know, it's it's true for Elvin's president

143
00:08:14,320 --> 00:08:17,239
Speaker 6: and his family. It's true for John Lennon and his family,

144
00:08:17,720 --> 00:08:21,160
Speaker 6: So it need to be true for everybody that that

145
00:08:21,160 --> 00:08:22,560
Speaker 6: don't got nothing to do with race.

146
00:08:23,200 --> 00:08:26,239
Speaker 4: So what does this also mean for the westbound catalog?

147
00:08:27,520 --> 00:08:28,080
Speaker 6: Same thing?

148
00:08:28,840 --> 00:08:33,240
Speaker 3: Yeah, same thing. So is armand but lady and is

149
00:08:33,240 --> 00:08:34,800
Speaker 3: he still alive? Is he still alive?

150
00:08:36,320 --> 00:08:40,200
Speaker 6: He's still alive. He's still alive, and and all that.

151
00:08:40,200 --> 00:08:43,520
Speaker 6: That's all that's from a big issue. It's gonna be

152
00:08:43,559 --> 00:08:46,520
Speaker 6: a big issue because it's you read the book, the

153
00:08:46,559 --> 00:08:49,760
Speaker 6: book I put out, You read the Jane Peters thing

154
00:08:49,800 --> 00:08:50,400
Speaker 6: in the back.

155
00:08:50,880 --> 00:08:54,160
Speaker 4: That's you got to explain to the audience. Yeah, and

156
00:08:54,160 --> 00:08:56,119
Speaker 4: that's the thing recapture.

157
00:08:56,360 --> 00:08:57,520
Speaker 3: So I want to treat.

158
00:08:57,720 --> 00:09:00,760
Speaker 4: I'm gonna try to not ask such a your questions

159
00:09:00,800 --> 00:09:04,920
Speaker 4: because this is not just might be a book. So

160
00:09:04,960 --> 00:09:07,400
Speaker 4: I might have to break it down. Can you explain

161
00:09:07,480 --> 00:09:11,400
Speaker 4: to them the situation right now? I'm so elated that

162
00:09:11,400 --> 00:09:13,319
Speaker 4: that you own this stuff now, I know you've been

163
00:09:13,320 --> 00:09:14,080
Speaker 4: trying for the long.

164
00:09:14,760 --> 00:09:18,400
Speaker 6: Yeah, I had the book, the brother's video, like George,

165
00:09:18,440 --> 00:09:21,240
Speaker 6: ain't that phone count hard on? You know? That came

166
00:09:21,280 --> 00:09:24,400
Speaker 6: out and it was out for a while, and they

167
00:09:24,480 --> 00:09:26,319
Speaker 6: took me to court on that book. So I'm still

168
00:09:26,320 --> 00:09:31,720
Speaker 6: in court five years later for the book. Yeah, I

169
00:09:31,720 --> 00:09:35,040
Speaker 6: mean the thing was to kill that information, to kill

170
00:09:35,040 --> 00:09:38,800
Speaker 6: the information in that book. They said that the deformation

171
00:09:39,679 --> 00:09:42,760
Speaker 6: of the farm because I told everything that was he already

172
00:09:42,880 --> 00:09:47,760
Speaker 6: said himself, you know, in deposition. But yeah, they got

173
00:09:47,760 --> 00:09:49,840
Speaker 6: me in court right now. The main thing is to

174
00:09:49,920 --> 00:09:53,320
Speaker 6: keep it slowed down to where I can make no moves.

175
00:09:53,760 --> 00:09:56,040
Speaker 6: You know. Long. I've been in court for the last

176
00:09:56,360 --> 00:10:00,640
Speaker 6: fifteen years with my lawyers and and him and Armor

177
00:10:00,800 --> 00:10:05,120
Speaker 6: and the major record companies. So all of that's coming

178
00:10:05,200 --> 00:10:08,240
Speaker 6: to a head now because they're gonna investigate the whole

179
00:10:09,200 --> 00:10:12,720
Speaker 6: copyright recapture. We got our back, but we need everybody

180
00:10:12,800 --> 00:10:14,800
Speaker 6: to get out of the way to let us make

181
00:10:14,960 --> 00:10:17,680
Speaker 6: those collections because it's still hard to collect from the

182
00:10:17,720 --> 00:10:21,600
Speaker 6: different societies. If you know, if you ain't got your

183
00:10:22,160 --> 00:10:25,840
Speaker 6: powerful set of people behind you and lawyers. You know,

184
00:10:25,880 --> 00:10:27,680
Speaker 6: that's pretty hard for them because they got to be

185
00:10:27,720 --> 00:10:30,439
Speaker 6: in business. They got business with the companies, so they

186
00:10:30,520 --> 00:10:33,480
Speaker 6: mess up their business trying to protect you, especially a

187
00:10:33,559 --> 00:10:37,520
Speaker 6: catalog as big as ours. There's a lot nobody don't

188
00:10:37,720 --> 00:10:39,960
Speaker 6: nobody want to get at us. But they've been stealing

189
00:10:40,080 --> 00:10:44,320
Speaker 6: with that, you know, But they'll go down fighting. That's

190
00:10:44,360 --> 00:10:46,400
Speaker 6: a lot of you're talking about a lot of years,

191
00:10:46,720 --> 00:10:50,360
Speaker 6: a lot of careers of people that sample those songs,

192
00:10:50,480 --> 00:10:54,960
Speaker 6: use those songs, license those songs that we never not

193
00:10:55,120 --> 00:10:58,120
Speaker 6: only myself, but none of the band members. You hear

194
00:10:58,160 --> 00:11:00,960
Speaker 6: them all something. No, they didn't get money. I agree

195
00:11:00,960 --> 00:11:02,360
Speaker 6: with them, they didn't get it.

196
00:11:02,600 --> 00:11:04,160
Speaker 3: So I'm sorry, just for claborication.

197
00:11:04,320 --> 00:11:07,440
Speaker 7: You're saying that you guys never received anything from any

198
00:11:07,480 --> 00:11:08,880
Speaker 7: of these songs until.

199
00:11:08,720 --> 00:11:11,640
Speaker 6: No, No, I ain't gonna say never receive anything. I'm

200
00:11:11,720 --> 00:11:15,760
Speaker 6: talking about that sampling and that license, and no we don't.

201
00:11:15,800 --> 00:11:19,360
Speaker 6: We're not. We don't be participating in that at all.

202
00:11:20,200 --> 00:11:25,520
Speaker 6: You know, we got Atomic Dog recently in that three years. Okay,

203
00:11:25,840 --> 00:11:30,400
Speaker 6: but no, no, the money. Even since I got it,

204
00:11:30,679 --> 00:11:34,000
Speaker 6: I've been fighting my own lawyers to get the money

205
00:11:34,000 --> 00:11:36,920
Speaker 6: that's owed to me for it. The main thing was

206
00:11:36,960 --> 00:11:40,960
Speaker 6: to get it out of my possession right and you know,

207
00:11:41,080 --> 00:11:43,760
Speaker 6: and they did that for a long while. But I

208
00:11:43,800 --> 00:11:46,200
Speaker 6: thought it, I got it. I got it back, paid

209
00:11:46,760 --> 00:11:50,760
Speaker 6: four million dollars to my own lawyer. You know, take that,

210
00:11:50,880 --> 00:11:52,800
Speaker 6: pay got it back.

211
00:11:53,520 --> 00:11:55,880
Speaker 4: Just to clarify it, what I was going to say

212
00:11:56,000 --> 00:12:01,840
Speaker 4: is probably the most endearing thing about your personality is

213
00:12:01,880 --> 00:12:04,440
Speaker 4: the fact and your business acumen was the fact that

214
00:12:04,480 --> 00:12:11,600
Speaker 4: you were so open to working with rappers because unlike

215
00:12:11,800 --> 00:12:17,160
Speaker 4: your counterpart, and I use this word lightly, of course,

216
00:12:17,200 --> 00:12:20,600
Speaker 4: you know, people consider the pillars of soul music and funk,

217
00:12:21,120 --> 00:12:25,000
Speaker 4: you and James Brown. James Brown's attitude towards it was well,

218
00:12:25,000 --> 00:12:28,960
Speaker 4: I hate samplers, sampling, you know, rapper sampling my music

219
00:12:29,000 --> 00:12:32,960
Speaker 4: and all that stuff, but really not seeing that that's

220
00:12:33,040 --> 00:12:35,400
Speaker 4: going to just bring it back and make it. And

221
00:12:35,440 --> 00:12:37,640
Speaker 4: you called it early in an interview, like even in

222
00:12:37,679 --> 00:12:40,960
Speaker 4: the mid eighties that no, I like, they asked you, like,

223
00:12:40,960 --> 00:12:42,520
Speaker 4: what do you think about you know, day lost soul

224
00:12:42,640 --> 00:12:45,719
Speaker 4: taking you know, needy for me myself and I and

225
00:12:45,800 --> 00:12:48,000
Speaker 4: you were so open to it. You're like, that's great

226
00:12:48,080 --> 00:12:50,040
Speaker 4: because what it will do is it will lead a

227
00:12:50,080 --> 00:12:52,680
Speaker 4: whole flock of people to my music and to my

228
00:12:52,760 --> 00:12:55,319
Speaker 4: concerts and whatnot, Like you saw the vision of it.

229
00:12:55,800 --> 00:13:00,440
Speaker 4: So it's not that you're anti sampling and reached structuring

230
00:13:00,480 --> 00:13:02,199
Speaker 4: the music, but the fact.

231
00:13:01,960 --> 00:13:03,040
Speaker 3: That pave me my money.

232
00:13:03,360 --> 00:13:04,720
Speaker 4: Yeah, so many people have.

233
00:13:07,440 --> 00:13:12,880
Speaker 6: To you know, right part of it, the sampling part

234
00:13:12,920 --> 00:13:16,160
Speaker 6: of it, I welcome. I welcomed the sampling part of it.

235
00:13:16,559 --> 00:13:19,560
Speaker 6: You know, they got them too. Most of them didn't

236
00:13:19,559 --> 00:13:20,320
Speaker 6: get paid either.

237
00:13:21,360 --> 00:13:26,760
Speaker 4: I've gotten bit by armored a few times almost.

238
00:13:26,760 --> 00:13:29,240
Speaker 6: And we never got anything that and he was doing

239
00:13:29,280 --> 00:13:33,560
Speaker 6: that on behind of us. He's supposedly we never got

240
00:13:33,600 --> 00:13:37,120
Speaker 6: any of it, got any of it. So now that's

241
00:13:37,160 --> 00:13:41,079
Speaker 6: what's happening. And now that's getting meant to be open

242
00:13:41,200 --> 00:13:44,280
Speaker 6: up and everybody will be able to see that nobody

243
00:13:44,280 --> 00:13:47,120
Speaker 6: in the band got their money or the other artists

244
00:13:47,120 --> 00:13:50,280
Speaker 6: that had you know, all the companies band together on

245
00:13:50,320 --> 00:13:53,840
Speaker 6: those sampling because nobody wanted to acknowledge it. So now

246
00:13:53,920 --> 00:13:55,640
Speaker 6: it's going to come out because we didn't fade the wait,

247
00:13:55,760 --> 00:13:57,800
Speaker 6: we didn't die all. We're supposed to be out of

248
00:13:57,840 --> 00:14:00,880
Speaker 6: here by now. But we said one nation and the group.

249
00:14:00,960 --> 00:14:03,560
Speaker 6: We meant that we uncle Jim's Army. We was on

250
00:14:03,640 --> 00:14:07,079
Speaker 6: the March then, and the clones with the sampling, to

251
00:14:07,160 --> 00:14:09,679
Speaker 6: me was just the clones. You have to have DNA

252
00:14:09,880 --> 00:14:13,240
Speaker 6: clones to make something new. That's what making the music.

253
00:14:13,240 --> 00:14:16,400
Speaker 6: When we said clones of Dr Funkenstein, we meant that

254
00:14:16,400 --> 00:14:19,960
Speaker 6: that far back we knew it wasn't gonna be music

255
00:14:20,040 --> 00:14:25,120
Speaker 6: on television. How they sell those k tail packages that

256
00:14:25,360 --> 00:14:27,120
Speaker 6: you didn't have to worry about that, no more, nobody

257
00:14:27,120 --> 00:14:30,200
Speaker 6: got paid for that. The new thing was gonna be samples.

258
00:14:30,520 --> 00:14:32,040
Speaker 6: And they didn't know how far they were gonna get

259
00:14:32,080 --> 00:14:34,400
Speaker 6: away with it. Not the artists that do. A Kid's

260
00:14:34,440 --> 00:14:37,600
Speaker 6: gonna make music whatever way they can, whatever new way

261
00:14:37,600 --> 00:14:40,200
Speaker 6: they have to, they gonna make music. And I'm welcome that.

262
00:14:40,640 --> 00:14:42,760
Speaker 6: I just have to learn how to participate, how to

263
00:14:42,800 --> 00:14:46,760
Speaker 6: hang in there. But the business people around that used

264
00:14:46,840 --> 00:14:49,920
Speaker 6: us against each other. You know that he don't want

265
00:14:49,960 --> 00:14:53,720
Speaker 6: you to sample it, he charging you. Most artists wouldn't

266
00:14:53,720 --> 00:14:55,520
Speaker 6: even talk to me. They were scared to talk to

267
00:14:55,560 --> 00:14:58,280
Speaker 6: me because they thought I was mad about the samples.

268
00:14:58,680 --> 00:15:04,200
Speaker 6: They told them, you know, and and I'm assuming you

269
00:15:04,240 --> 00:15:07,120
Speaker 6: so everybody knew that. But like I said, it's coming

270
00:15:07,400 --> 00:15:11,720
Speaker 6: out now, and yeah, and they sued me for the book.

271
00:15:12,360 --> 00:15:15,640
Speaker 6: In the book, you know, I'm the last one in

272
00:15:15,720 --> 00:15:18,640
Speaker 6: five years. Everybody else they got sued with me got off,

273
00:15:18,680 --> 00:15:21,880
Speaker 6: and I'm still there, you know, hoping I would go away.

274
00:15:22,280 --> 00:15:25,640
Speaker 6: That's what I did, Shake Shake the Gate and Medicaid

275
00:15:25,640 --> 00:15:30,000
Speaker 6: Fraud Dog. I did those two albums just to reignite

276
00:15:30,560 --> 00:15:34,120
Speaker 6: my energy, you know, to start to get the kids

277
00:15:34,200 --> 00:15:37,680
Speaker 6: going and the and that's how I inspired I was.

278
00:15:38,120 --> 00:15:40,640
Speaker 6: Once I got the book out, I'm ready to make

279
00:15:40,720 --> 00:15:44,600
Speaker 6: brand new music with whatever we're going from here. This

280
00:15:44,640 --> 00:15:46,280
Speaker 6: is a new generation.

281
00:15:46,280 --> 00:15:49,480
Speaker 4: You know. I'm glad you mentioned that. Normally I start

282
00:15:49,520 --> 00:15:52,120
Speaker 4: from the beginning, but I think for this particular one,

283
00:15:52,160 --> 00:15:57,320
Speaker 4: I kind of wanted to start go backwards. Definitely, the

284
00:15:57,840 --> 00:16:02,360
Speaker 4: Medicaid Fraud Dog project. Can you, for one, what is

285
00:16:02,400 --> 00:16:11,120
Speaker 4: your obsession or what is the the ideology behind dogs

286
00:16:09,520 --> 00:16:15,520
Speaker 4: in the metaphor your metaphors for everything. But because that

287
00:16:15,640 --> 00:16:21,760
Speaker 4: album in particular is such a clever outlet, like political

288
00:16:21,760 --> 00:16:26,480
Speaker 4: commentary but using dogs as your main characters, what what

289
00:16:26,560 --> 00:16:28,600
Speaker 4: was the genesis of that album?

290
00:16:28,640 --> 00:16:33,120
Speaker 6: I did called Dope Dogs right, Yes, indeed, okay, Dope Dogs.

291
00:16:33,200 --> 00:16:36,560
Speaker 6: I have a whole story for that that I wanted

292
00:16:36,560 --> 00:16:39,600
Speaker 6: to do cartoons, animation and everything, but I never would

293
00:16:39,600 --> 00:16:41,920
Speaker 6: give it to anybody because I have all the characters,

294
00:16:42,240 --> 00:16:44,520
Speaker 6: and so I tried to do as many you know,

295
00:16:44,680 --> 00:16:48,960
Speaker 6: dog related songs just to keep that concept alive. So

296
00:16:49,120 --> 00:16:52,160
Speaker 6: I use it in Medicaid Fraud dog because it was

297
00:16:53,000 --> 00:16:56,400
Speaker 6: based on laboratory studies on dogs, when they used to

298
00:16:56,560 --> 00:16:59,960
Speaker 6: do studies on dogs for perfumes and ship like that.

299
00:17:00,040 --> 00:17:02,480
Speaker 6: That member, that's when the dope dogs come from. Not

300
00:17:02,560 --> 00:17:05,520
Speaker 6: only the drug dogs, but this time the dogs were

301
00:17:05,560 --> 00:17:12,119
Speaker 6: sniffing out the political bullshit in the in the Obamacare,

302
00:17:12,440 --> 00:17:14,760
Speaker 6: you know, all the different names they want to call it.

303
00:17:15,080 --> 00:17:19,440
Speaker 6: On the political drug scene, everything is about dope. Everything's

304
00:17:19,480 --> 00:17:22,280
Speaker 6: about drugs. The whole world is talking about how they're

305
00:17:22,280 --> 00:17:25,520
Speaker 6: gonna get their medicaid, okay, and so that whole thing.

306
00:17:25,840 --> 00:17:29,159
Speaker 6: The dogs are sniffing out that information, and most of

307
00:17:29,240 --> 00:17:33,480
Speaker 6: us are being hooked on stuff on medicine and create

308
00:17:33,640 --> 00:17:36,840
Speaker 6: new diseases with the drugs they give us. They given

309
00:17:36,840 --> 00:17:39,160
Speaker 6: the certain drugs and those drugs to give you side effects,

310
00:17:39,240 --> 00:17:43,919
Speaker 6: which to be a whole new flock of patience. Okay,

311
00:17:43,960 --> 00:17:49,160
Speaker 6: now they do. That's what I'm saying, And it's designer,

312
00:17:49,800 --> 00:17:54,000
Speaker 6: designer side effects, like designer drugs. That's the era we

313
00:17:54,040 --> 00:17:57,399
Speaker 6: live in now, where we evolve into some you know,

314
00:17:57,440 --> 00:18:01,280
Speaker 6: between robots, androids, human and that shit's gonna be a

315
00:18:01,280 --> 00:18:05,159
Speaker 6: blurred line in a minute, you know, it's you know

316
00:18:05,320 --> 00:18:09,000
Speaker 6: and wait, So the dog is take a dog to

317
00:18:09,040 --> 00:18:12,120
Speaker 6: sniff that out. The instincts of a dog is primal.

318
00:18:13,000 --> 00:18:16,440
Speaker 6: You know, whether this maiden or whether it's sniffing out

319
00:18:16,720 --> 00:18:22,760
Speaker 6: whatever you're training to sniff out, learn it. And if

320
00:18:22,800 --> 00:18:25,760
Speaker 6: he's sniffing out the drugs, you get high from sniffing

321
00:18:25,840 --> 00:18:29,239
Speaker 6: on drugs. So the dog's gonna have it, so they

322
00:18:29,280 --> 00:18:33,119
Speaker 6: have to. You know, the dogs are doped up. So

323
00:18:33,240 --> 00:18:35,920
Speaker 6: these are the dogs, the characters. I got this dope dog.

324
00:18:36,440 --> 00:18:39,840
Speaker 6: They all got their own relationship to drugs, whether it's

325
00:18:39,840 --> 00:18:42,920
Speaker 6: a police dog or whether it's a dope dealer who

326
00:18:43,000 --> 00:18:45,480
Speaker 6: like to make their dogs fight. And the dog and

327
00:18:45,520 --> 00:18:47,879
Speaker 6: the dogs are like, shit, you don't you used to

328
00:18:47,880 --> 00:18:49,600
Speaker 6: give me a reward, you know, used to give me

329
00:18:49,640 --> 00:18:53,640
Speaker 6: a joy, true sniff a treat. You know, that's how

330
00:18:53,640 --> 00:18:57,000
Speaker 6: they how they train the dogs so that they don't

331
00:18:57,000 --> 00:18:59,720
Speaker 6: even want to get a dog no treat. You know,

332
00:19:00,400 --> 00:19:04,320
Speaker 6: these dogs get together and they got their own like

333
00:19:04,480 --> 00:19:07,920
Speaker 6: you know, remember the Ninja Turtles. These dogs are like that,

334
00:19:08,520 --> 00:19:12,320
Speaker 6: you know, kind of like who Tang clan, you know.

335
00:19:13,840 --> 00:19:16,960
Speaker 6: And they they got a thing on drugs. They don't,

336
00:19:17,720 --> 00:19:21,480
Speaker 6: you know, they impartial to the political book, you know, discrepancy.

337
00:19:22,160 --> 00:19:26,159
Speaker 6: They just deal with drugs. So that's my part, My

338
00:19:26,240 --> 00:19:29,200
Speaker 6: partiality to sucking with dogs and drugs.

339
00:19:31,080 --> 00:19:31,520
Speaker 3: Makes sense.

340
00:19:31,560 --> 00:19:33,280
Speaker 6: Now we can't hear the news.

341
00:19:33,359 --> 00:19:35,720
Speaker 4: You know, got more dogs for us.

342
00:19:36,320 --> 00:19:38,760
Speaker 6: I got one that's coming I got one that's coming out.

343
00:19:38,800 --> 00:19:45,119
Speaker 6: That's that's gonna hurt you. Oh man, oh yeah, who dogs?

344
00:19:46,440 --> 00:19:48,240
Speaker 6: You know it's gonna be they're gonna be stepping on it.

345
00:19:48,520 --> 00:19:51,560
Speaker 6: You know how they be doing dancing to Atomic Dog. Yeah,

346
00:19:51,920 --> 00:19:56,000
Speaker 6: they're gonna stop. They're gonna stepping on this. They're gonna

347
00:19:56,000 --> 00:19:58,920
Speaker 6: be stepping up. They're gonna be stepping up this and there.

348
00:20:00,640 --> 00:20:04,320
Speaker 6: I dare your booty not to move your but your butt,

349
00:20:04,760 --> 00:20:05,960
Speaker 6: your butt to betray you.

350
00:20:07,359 --> 00:20:09,960
Speaker 3: I when that happened, I love it, you know what

351
00:20:09,960 --> 00:20:10,320
Speaker 3: I'm saying.

352
00:20:11,119 --> 00:20:13,320
Speaker 6: From when she shaked by itself and you ain't got

353
00:20:13,400 --> 00:20:14,640
Speaker 6: nothing in voluntary?

354
00:20:17,480 --> 00:20:22,399
Speaker 4: Yeah, can How long did it take to make the

355
00:20:23,800 --> 00:20:28,919
Speaker 4: Medicaid Fraud Dog album? You know I I thirty eight

356
00:20:29,040 --> 00:20:31,840
Speaker 4: years but since the last Parliament record, but.

357
00:20:32,880 --> 00:20:36,960
Speaker 6: Well between that would shake the gate and that it

358
00:20:37,080 --> 00:20:40,760
Speaker 6: took about three years, you know. But I had a

359
00:20:40,840 --> 00:20:42,520
Speaker 6: couple of songs that I was hold on to the

360
00:20:42,760 --> 00:20:45,800
Speaker 6: I've done maybe five or six years ago. Then I

361
00:20:45,960 --> 00:20:48,479
Speaker 6: just kept them, kept them until I got them right.

362
00:20:48,560 --> 00:20:51,760
Speaker 6: I did them a thousand different ways, but medicaid fraud.

363
00:20:52,520 --> 00:20:54,960
Speaker 6: When I got the concept together, I got Fred Wesley

364
00:20:55,080 --> 00:20:58,960
Speaker 6: down there, I got you know, Chris Days. You know,

365
00:20:59,040 --> 00:21:02,400
Speaker 6: I knew the people that I needed for that outside

366
00:21:02,560 --> 00:21:07,199
Speaker 6: flavor to what we were doing now. And we were

367
00:21:07,280 --> 00:21:10,560
Speaker 6: sampling our own self, but now we're learned. Everybody else

368
00:21:10,640 --> 00:21:13,880
Speaker 6: was sampling, and then everybody got scared to sample anymore,

369
00:21:14,200 --> 00:21:15,680
Speaker 6: so we started sampling that self.

370
00:21:16,240 --> 00:21:18,520
Speaker 4: You're I think you're your best sample source.

371
00:21:18,880 --> 00:21:22,000
Speaker 6: So that's only right, but you know, it's still is

372
00:21:22,119 --> 00:21:24,040
Speaker 6: it's an art form to picking that shit out.

373
00:21:29,119 --> 00:21:35,480
Speaker 4: How many reels do you reckon of just unused source

374
00:21:35,600 --> 00:21:36,920
Speaker 4: material do you have?

375
00:21:37,640 --> 00:21:38,600
Speaker 3: And can we have them?

376
00:21:38,920 --> 00:21:39,120
Speaker 4: Yeah?

377
00:21:41,040 --> 00:21:43,040
Speaker 6: Because for me, for me.

378
00:21:44,080 --> 00:21:48,639
Speaker 4: Like my all time favorite p funk song is new Spaceship,

379
00:21:49,240 --> 00:21:53,359
Speaker 4: a song which musically is created twenty years before you

380
00:21:53,480 --> 00:21:57,600
Speaker 4: even completed it in ninety seven, So how many other

381
00:21:58,640 --> 00:22:01,720
Speaker 4: like uncooked is do you have just sitting in the

382
00:22:01,840 --> 00:22:05,240
Speaker 4: vault that could come out today and still work. Have

383
00:22:05,359 --> 00:22:05,720
Speaker 4: you heard?

384
00:22:05,920 --> 00:22:08,320
Speaker 6: Have you heard the sample some of this and sampled

385
00:22:08,359 --> 00:22:09,399
Speaker 6: some of that? All right?

386
00:22:09,720 --> 00:22:12,960
Speaker 4: I have a slight confessional, yes, so check this out.

387
00:22:13,920 --> 00:22:17,200
Speaker 4: I purchased sample some of this, sample some of that.

388
00:22:18,119 --> 00:22:22,359
Speaker 4: Never opened it because I think in my mind, I

389
00:22:22,440 --> 00:22:26,399
Speaker 4: always thought, well, this probably throwaway stuff. And you know,

390
00:22:27,280 --> 00:22:29,520
Speaker 4: I'm sure that all the prime P funk stuff is

391
00:22:29,600 --> 00:22:33,200
Speaker 4: on actual P funk records. And so it wasn't until

392
00:22:33,440 --> 00:22:37,359
Speaker 4: I talked to DJ Premiere. This is about four or

393
00:22:37,400 --> 00:22:41,720
Speaker 4: five years ago, and I asked him a question about

394
00:22:42,160 --> 00:22:45,920
Speaker 4: a sample. It was a NA sample and he says, oh, yeah,

395
00:22:46,040 --> 00:22:50,080
Speaker 4: these drums I got because my favorite premiere sounding drums.

396
00:22:50,160 --> 00:22:52,000
Speaker 4: I asked like, where do you get these drums from?

397
00:22:52,720 --> 00:22:54,760
Speaker 4: And he said, the George Clinton sampled some of this,

398
00:22:54,920 --> 00:22:59,000
Speaker 4: some of that PET like, so NAS's represent drums come

399
00:22:59,040 --> 00:23:02,720
Speaker 4: from that practice. All of the Hard to Earn album,

400
00:23:03,760 --> 00:23:07,480
Speaker 4: the drums come from that. Some of Jaybrew's second album,

401
00:23:07,960 --> 00:23:12,160
Speaker 4: The Wrath of the Math mind Blown. And then when

402
00:23:12,200 --> 00:23:14,439
Speaker 4: I went to it, I wanted to kick myself because

403
00:23:14,600 --> 00:23:18,800
Speaker 4: like it took me fifteen sixteen years to open up

404
00:23:18,880 --> 00:23:23,119
Speaker 4: this record. If I just had the patience and just

405
00:23:23,359 --> 00:23:26,000
Speaker 4: sat down and listened to it, I could have been

406
00:23:26,000 --> 00:23:26,840
Speaker 4: ahead of the game.

407
00:23:27,359 --> 00:23:30,520
Speaker 6: But you know, Eric Sermon used to use it of

408
00:23:30,680 --> 00:23:33,840
Speaker 6: that too. Yes, I gave I gave. I gave him

409
00:23:33,880 --> 00:23:37,560
Speaker 6: a copy of it down at Gallous Austin studio, and

410
00:23:38,280 --> 00:23:40,520
Speaker 6: most people, like you said you said, they didn't open

411
00:23:40,520 --> 00:23:42,680
Speaker 6: because people like, if you give it to them, then

412
00:23:42,760 --> 00:23:45,560
Speaker 6: it's not interesting that they could find it. So it

413
00:23:45,640 --> 00:23:47,960
Speaker 6: took a lot of people a long time to even

414
00:23:48,200 --> 00:23:51,320
Speaker 6: look at it because we were saying here, Now, what

415
00:23:51,400 --> 00:23:54,200
Speaker 6: I was saying about that album is that most of

416
00:23:54,200 --> 00:23:56,800
Speaker 6: where those samples came from, we have the whole tracks

417
00:23:56,880 --> 00:24:00,639
Speaker 6: to those songs. Those are songs came out in the

418
00:24:00,720 --> 00:24:03,840
Speaker 6: Family Series, but a lot of the them came out

419
00:24:03,880 --> 00:24:07,120
Speaker 6: at all. So those that's what A lot of those

420
00:24:07,160 --> 00:24:10,320
Speaker 6: samples came from. The songs that were released, you know,

421
00:24:11,000 --> 00:24:13,000
Speaker 6: except for maybe some of the film was in the

422
00:24:14,240 --> 00:24:16,160
Speaker 6: Family Series, which a lot of people don't know about

423
00:24:16,200 --> 00:24:16,840
Speaker 6: those Easterns.

424
00:24:17,320 --> 00:24:20,560
Speaker 4: Well, I was gonna say, even with the Family Series. Okay,

425
00:24:20,720 --> 00:24:24,080
Speaker 4: so there are some captain obvious questions. I'm gonna ask

426
00:24:24,119 --> 00:24:30,000
Speaker 4: you the Junior Marrison song on that family series Super Spirit,

427
00:24:30,680 --> 00:24:36,040
Speaker 4: Super Spirit. I think that's the most eccentric creative moment,

428
00:24:36,880 --> 00:24:40,600
Speaker 4: and in a life that was always eccentric. Can you

429
00:24:40,760 --> 00:24:46,720
Speaker 4: talk about Juni Morrison and how like, what's his what's

430
00:24:46,760 --> 00:24:49,399
Speaker 4: the process of his creativity? At least how did you?

431
00:24:49,520 --> 00:24:51,200
Speaker 4: My god, how did you utilize it?

432
00:24:52,040 --> 00:24:55,320
Speaker 6: Me and him, we did like person myself, I do

433
00:24:55,440 --> 00:24:57,760
Speaker 6: my part and do you you do your party and

434
00:24:57,840 --> 00:25:01,360
Speaker 6: say it back. We didn't question the Whatever I did

435
00:25:01,480 --> 00:25:05,159
Speaker 6: was lokay. Whatever he did, I knew. I just had

436
00:25:05,200 --> 00:25:07,680
Speaker 6: to figure out what my part was, and that's to me.

437
00:25:08,640 --> 00:25:10,920
Speaker 6: We started to do and it's a song on that

438
00:25:11,480 --> 00:25:16,800
Speaker 6: Famihi's called Tryune Yes. Yeah, that's when we actually was

439
00:25:16,920 --> 00:25:20,960
Speaker 6: getting ready to actually come up with a concept. He

440
00:25:21,080 --> 00:25:23,600
Speaker 6: thought I was weird and I thought he was weird.

441
00:25:24,080 --> 00:25:27,440
Speaker 6: So we got along really good on the weirdness part

442
00:25:27,520 --> 00:25:32,680
Speaker 6: of it. And we couldn't get quite together, you know,

443
00:25:32,800 --> 00:25:35,240
Speaker 6: because of the political stuff that was going on around

444
00:25:35,320 --> 00:25:39,760
Speaker 6: us that we had no idea who was actually being orchestrated,

445
00:25:40,240 --> 00:25:43,240
Speaker 6: you know, And that's a whole other story that we

446
00:25:43,320 --> 00:25:46,720
Speaker 6: could talk about later. But we could never get together

447
00:25:47,240 --> 00:25:50,040
Speaker 6: even when we was doing computer games I was, you know,

448
00:25:50,320 --> 00:25:51,840
Speaker 6: of course the you know at the time I was

449
00:25:52,359 --> 00:25:55,639
Speaker 6: into my drug thing. But I always commnaged to figure

450
00:25:55,640 --> 00:25:58,240
Speaker 6: a way the work, to get the work done. But

451
00:25:58,600 --> 00:26:01,520
Speaker 6: you can't get the work done and watch people that's

452
00:26:02,320 --> 00:26:05,240
Speaker 6: you know, intentionally trying to keep you from getting the

453
00:26:05,280 --> 00:26:08,600
Speaker 6: work done. That's a little more than you're bargaining from

454
00:26:08,640 --> 00:26:11,560
Speaker 6: what you say. I'm getting sucked up. You don't realize

455
00:26:11,560 --> 00:26:15,240
Speaker 6: when you get fucked up, you fuck up everything. You know,

456
00:26:15,400 --> 00:26:18,120
Speaker 6: everything around you get fucked up. You know, it takes

457
00:26:18,160 --> 00:26:20,440
Speaker 6: you a minute to grow up, if you know, to

458
00:26:20,600 --> 00:26:22,520
Speaker 6: get out of that, if you unless you can wigre

459
00:26:22,600 --> 00:26:26,680
Speaker 6: your ass out of it. Before the duo, but that's

460
00:26:26,720 --> 00:26:29,480
Speaker 6: what the Junie and I had a lot of stuff

461
00:26:29,560 --> 00:26:33,520
Speaker 6: we was was gonna do and even like a medicaid fronto.

462
00:26:34,119 --> 00:26:36,040
Speaker 6: I had to call him get him out of retirement.

463
00:26:37,160 --> 00:26:39,800
Speaker 6: You know, you know he's going trying to do nothing.

464
00:26:39,880 --> 00:26:42,480
Speaker 6: He was doing some electronic music, but he wasn't trying

465
00:26:42,520 --> 00:26:45,680
Speaker 6: to deal with the business. But I got in the

466
00:26:45,760 --> 00:26:49,760
Speaker 6: same thing when we did, when we did the pour

467
00:26:49,800 --> 00:26:54,960
Speaker 6: a phone, got got Booty and him the you know

468
00:26:55,080 --> 00:26:58,960
Speaker 6: the summer swim, the some some swim song. I know

469
00:26:59,040 --> 00:27:01,440
Speaker 6: every time I do a song with him, it's gonna

470
00:27:01,440 --> 00:27:07,800
Speaker 6: be a level of cleverness and real and you know, intentional.

471
00:27:08,160 --> 00:27:10,760
Speaker 6: He know what he's doing. He can do what he wanted,

472
00:27:10,840 --> 00:27:12,720
Speaker 6: you know, he do what he wants to do. Once

473
00:27:12,760 --> 00:27:15,879
Speaker 6: he analyzed what era w in, that's all we have

474
00:27:15,960 --> 00:27:18,720
Speaker 6: to think about, is what era is this? It's not

475
00:27:18,960 --> 00:27:21,800
Speaker 6: our old days. It's knew whether they doing that, what

476
00:27:22,080 --> 00:27:25,639
Speaker 6: is the feel? He analyzed it like that, and he

477
00:27:25,760 --> 00:27:28,080
Speaker 6: used to come up with the arranger whatever the kids,

478
00:27:28,520 --> 00:27:30,840
Speaker 6: and we would relate to kids. I think I said

479
00:27:30,880 --> 00:27:33,960
Speaker 6: that before. I always try to relate to nine, ten, eleven,

480
00:27:34,040 --> 00:27:37,000
Speaker 6: and twelve. Then the ones you got bubble gum, they

481
00:27:37,040 --> 00:27:40,040
Speaker 6: get on your nerve everything they think about. But if

482
00:27:40,119 --> 00:27:44,159
Speaker 6: you notice, that's the music that always comes back, the

483
00:27:44,320 --> 00:27:47,479
Speaker 6: music that gets on your nerve that you know, how

484
00:27:47,520 --> 00:27:49,399
Speaker 6: could they get away with this? That's the way it was.

485
00:27:49,480 --> 00:27:52,879
Speaker 6: When we came out with powerful, powerful, power, powerful, What

486
00:27:53,000 --> 00:27:56,160
Speaker 6: the hell are y'all talking about? That was due same

487
00:27:56,240 --> 00:28:00,440
Speaker 6: thing come along, you know, kids, take get back to

488
00:28:00,520 --> 00:28:03,920
Speaker 6: elementary and it meant to get on your nerve, to

489
00:28:03,960 --> 00:28:06,720
Speaker 6: get your os out of the way. But if you

490
00:28:07,280 --> 00:28:11,920
Speaker 6: pay attention to him, how danced with you? As I can,

491
00:28:12,400 --> 00:28:14,800
Speaker 6: but otherwise I'm gonna recognize it and try to hang

492
00:28:15,400 --> 00:28:18,080
Speaker 6: at least paying attention to what they do. I can

493
00:28:18,160 --> 00:28:23,600
Speaker 6: spot a young artist even knowing anything about it. I

494
00:28:23,720 --> 00:28:27,200
Speaker 6: would have bet my life on let's say, Rihanna.

495
00:28:26,880 --> 00:28:27,720
Speaker 4: With S O S.

496
00:28:29,200 --> 00:28:32,960
Speaker 6: Cardi B as soon as I heard her. There's certain

497
00:28:33,040 --> 00:28:35,840
Speaker 6: type of styles that's meant to provoke him. But certain

498
00:28:35,880 --> 00:28:39,440
Speaker 6: people have an artistic thing about it. Certain people can

499
00:28:39,520 --> 00:28:43,720
Speaker 6: take like Frank Zapfler, he could do he could go

500
00:28:43,880 --> 00:28:47,440
Speaker 6: all the way out with but he was intelligent as

501
00:28:47,560 --> 00:28:50,600
Speaker 6: hell with what he was doing. And he wasn't even

502
00:28:50,680 --> 00:28:55,880
Speaker 6: doing drugs. That's that's really out there.

503
00:28:56,720 --> 00:29:00,760
Speaker 4: Was that always your theory because a lot of I'll

504
00:29:00,760 --> 00:29:05,400
Speaker 4: say that, a lot of the themes of your initial

505
00:29:05,720 --> 00:29:10,760
Speaker 4: wave of Funkadelic a p funk word ice yeah, laced

506
00:29:10,840 --> 00:29:13,160
Speaker 4: in the nursery rhymes and limericks. Yeah.

507
00:29:13,880 --> 00:29:18,640
Speaker 6: And me and Bernie Bernie myself only throw the cartoons

508
00:29:19,360 --> 00:29:24,760
Speaker 6: was you know, cartoon used classical music, Okay, you know,

509
00:29:25,200 --> 00:29:27,840
Speaker 6: so Bernie could play anything he wanted to play in them,

510
00:29:28,160 --> 00:29:31,720
Speaker 6: and at the height of it, how intense and intellectual

511
00:29:31,720 --> 00:29:33,800
Speaker 6: would get, he could still play Mary have a little

512
00:29:33,880 --> 00:29:34,480
Speaker 6: lamb in there.

513
00:29:35,280 --> 00:29:35,760
Speaker 4: He didn't that.

514
00:29:35,880 --> 00:29:38,640
Speaker 6: That's how comfortable he was, you know, and the jazz

515
00:29:38,760 --> 00:29:41,960
Speaker 6: thing he had his time was impeccable. He was just

516
00:29:42,080 --> 00:29:44,400
Speaker 6: free to do what he wanted to do. And at

517
00:29:44,480 --> 00:29:48,400
Speaker 6: the same time we had Eddie Hazel and Billy Bass

518
00:29:48,680 --> 00:29:52,360
Speaker 6: who was probably the Funkys Roys kids, and then Gary

519
00:29:52,400 --> 00:29:55,479
Speaker 6: Side later on. They even church kids. They all went

520
00:29:55,560 --> 00:29:59,400
Speaker 6: the church together, you know, Glenn going. The whole neighborhood

521
00:29:59,880 --> 00:30:02,840
Speaker 6: was and they was on fourteen and fifteen when I

522
00:30:02,960 --> 00:30:05,320
Speaker 6: met him, I had a barbers shop. They hung out

523
00:30:05,320 --> 00:30:09,760
Speaker 6: and bought Billy his first guitar. Eddie is Eddie had

524
00:30:09,800 --> 00:30:13,280
Speaker 6: the guitar, but I both Billy his person. Okay, really,

525
00:30:13,400 --> 00:30:17,240
Speaker 6: so you brought Eddie Hazel his first guitar, not Eddie's first.

526
00:30:17,560 --> 00:30:20,680
Speaker 6: Eddie had one the Big Gipson had the Big Gibson,

527
00:30:20,760 --> 00:30:23,160
Speaker 6: but he was like fifteen years old. I bought him

528
00:30:23,200 --> 00:30:25,880
Speaker 6: his first rock and roll and he played the Big Gibson.

529
00:30:25,520 --> 00:30:28,120
Speaker 4: For a long time really, but when he.

530
00:30:28,160 --> 00:30:30,720
Speaker 6: Got to the studio, you know, yeah, I had to

531
00:30:30,760 --> 00:30:33,160
Speaker 6: get him all because we didn't know we we played

532
00:30:33,200 --> 00:30:36,840
Speaker 6: with the Vanilla Fudge and they had the Damps and

533
00:30:38,400 --> 00:30:40,600
Speaker 6: they let us choose that ship and we heard what

534
00:30:40,720 --> 00:30:43,600
Speaker 6: we sounded like. We went back to Mannies in New

535
00:30:43,680 --> 00:30:47,280
Speaker 6: York and bought everything that We spent all the money

536
00:30:47,320 --> 00:30:50,760
Speaker 6: we had and got the loudest We was the loudest

537
00:30:51,360 --> 00:30:54,000
Speaker 6: member of the band in all of the East Coast.

538
00:30:54,800 --> 00:30:58,000
Speaker 5: I mean we Oh, I was I wanted to ask

539
00:30:58,040 --> 00:31:01,240
Speaker 5: you had mentioned him in passing Glenn Goings. He was

540
00:31:01,360 --> 00:31:05,600
Speaker 5: like my favorite singer out of the coming amazing and

541
00:31:05,720 --> 00:31:06,800
Speaker 5: he died so young.

542
00:31:07,320 --> 00:31:09,959
Speaker 3: What was his story kind of what was his deal?

543
00:31:10,840 --> 00:31:13,719
Speaker 6: Him and Gary shot all like I said, they all

544
00:31:13,840 --> 00:31:18,360
Speaker 6: went to church together. He was a ram Salent freak.

545
00:31:19,120 --> 00:31:24,239
Speaker 6: Really yeah, oh man, that was him and him and uh,

546
00:31:24,440 --> 00:31:27,960
Speaker 6: what's the d J Rogers. They saw the background, they

547
00:31:28,040 --> 00:31:32,360
Speaker 6: saw the background for Bobby woo mack okay, and they

548
00:31:32,400 --> 00:31:34,880
Speaker 6: were showing out so much in the background. Bobby said,

549
00:31:35,200 --> 00:31:40,280
Speaker 6: this is the Bobby, this is the Bobby show. This

550
00:31:40,440 --> 00:31:43,040
Speaker 6: is not y'all show. He fired both of them. That's

551
00:31:43,040 --> 00:31:47,880
Speaker 6: when good, That's when Glenn came with us. You know,

552
00:31:48,240 --> 00:31:51,120
Speaker 6: Gary them said, you know he was singing the background

553
00:31:51,200 --> 00:31:53,960
Speaker 6: with you know, Bobby wo mack. He said, but he

554
00:31:54,080 --> 00:31:57,560
Speaker 6: goes he ain't got no job. And Gary and Eddie

555
00:31:58,000 --> 00:32:00,600
Speaker 6: and now Edie can sing his ass of him. Any say,

556
00:32:00,680 --> 00:32:03,719
Speaker 6: somebody can say, you really want to hear what they

557
00:32:03,840 --> 00:32:14,440
Speaker 6: sound like? Yeah? That dreaming right, yeah, dream it's up

558
00:32:14,480 --> 00:32:17,480
Speaker 6: from the down stroke. It's a lot of stuff with

559
00:32:18,600 --> 00:32:24,480
Speaker 6: you hear Old Lord, Why Lord, Old Lord. I'm sorry

560
00:32:24,520 --> 00:32:26,840
Speaker 6: to take that back father, opened our eyes.

561
00:32:27,440 --> 00:32:30,720
Speaker 4: Yeah, that's some singing backwards. Okay, that's that he's saying.

562
00:32:31,000 --> 00:32:36,680
Speaker 6: No, you can you can hear forward too, yeah for yeah.

563
00:32:37,920 --> 00:32:40,960
Speaker 4: So that okay, because well I know that that's open

564
00:32:41,040 --> 00:32:42,320
Speaker 4: our eyes backwards.

565
00:32:41,960 --> 00:32:48,080
Speaker 6: On like you like, yeah, but have you heard it forward? Yeah?

566
00:32:48,120 --> 00:32:49,760
Speaker 4: Yeah, I've heard the four person yes.

567
00:32:50,280 --> 00:32:53,680
Speaker 6: Yeah, so that that group used to practice in my

568
00:32:53,760 --> 00:32:57,320
Speaker 6: bomber shop. That nade the gospel clubs, they're from Newark.

569
00:32:57,640 --> 00:33:00,320
Speaker 6: They used to practice in the barbershop. And so that's

570
00:33:00,360 --> 00:33:02,960
Speaker 6: why we was parted. We was partialshped to that song,

571
00:33:03,480 --> 00:33:06,520
Speaker 6: you know, uh from the gospel clefts they was they

572
00:33:06,640 --> 00:33:10,640
Speaker 6: was a mel and any just you know, we would

573
00:33:10,680 --> 00:33:14,680
Speaker 6: jump from gospel to jet you know anything. That's what

574
00:33:14,800 --> 00:33:16,560
Speaker 6: we did when we did free your mind, your ass

575
00:33:16,600 --> 00:33:19,640
Speaker 6: will follow. We were never gonna get caught in the

576
00:33:19,720 --> 00:33:23,440
Speaker 6: position of having to follow up. I want to testify,

577
00:33:23,920 --> 00:33:26,560
Speaker 6: you know. Forty five trying to get another forty five.

578
00:33:26,880 --> 00:33:29,800
Speaker 6: We went so far out because I mean remembering that

579
00:33:29,880 --> 00:33:32,280
Speaker 6: we was at Motown and that during that time we

580
00:33:32,400 --> 00:33:35,720
Speaker 6: know how to make a straight record. They a clean record,

581
00:33:35,760 --> 00:33:40,680
Speaker 6: and we knew what was we intentionally you know, got wrecked,

582
00:33:40,880 --> 00:33:43,640
Speaker 6: got tripped out and just free your mind. Your ass

583
00:33:43,720 --> 00:33:46,480
Speaker 6: will follow, you know, we just we You know you

584
00:33:46,600 --> 00:33:49,720
Speaker 6: got Martha the van Bella singing in the background, or

585
00:33:49,800 --> 00:33:55,880
Speaker 6: you know she wanted to what Yeah, yeah, I mean

586
00:33:56,360 --> 00:33:59,320
Speaker 6: we was. I'm telling you we had all of them,

587
00:33:59,560 --> 00:34:04,000
Speaker 6: was doing had didn't uh what's his name? Did his coffee?

588
00:34:04,440 --> 00:34:05,880
Speaker 3: Did his coffee scorpio? Yeah?

589
00:34:06,440 --> 00:34:10,560
Speaker 6: Yeah, he played on I Gotta I Got a thing, Yeah,

590
00:34:10,600 --> 00:34:12,560
Speaker 6: I got a thing. He put on quite a few

591
00:34:12,560 --> 00:34:16,920
Speaker 6: of the songs, you know, Dennis Coffee. Really the engineers

592
00:34:16,960 --> 00:34:19,120
Speaker 6: didn't want to have his name put on the on

593
00:34:19,320 --> 00:34:23,600
Speaker 6: the record of Maggie Brain because we you know, I

594
00:34:23,719 --> 00:34:26,919
Speaker 6: was doing so much feedback and circling, you know, sound

595
00:34:27,000 --> 00:34:29,120
Speaker 6: on sound, and I ain't know what I ain't know

596
00:34:29,160 --> 00:34:31,440
Speaker 6: what I was doing. I was just doing what sounding

597
00:34:31,520 --> 00:34:34,360
Speaker 6: named Jimmy Hendrix, you know, And as long as I

598
00:34:34,440 --> 00:34:37,719
Speaker 6: keep it out of keeping out of the red, you know,

599
00:34:38,000 --> 00:34:40,359
Speaker 6: I was cool. And so I did. I did an

600
00:34:40,440 --> 00:34:43,160
Speaker 6: engineer when when he put his name on the record,

601
00:34:43,880 --> 00:34:47,480
Speaker 6: and years later like you.

602
00:34:47,520 --> 00:34:49,680
Speaker 4: Were engineer's nightmare even back then.

603
00:34:49,880 --> 00:34:52,640
Speaker 6: Like oh hell yeah, I was.

604
00:34:52,760 --> 00:34:56,520
Speaker 4: Really. They were dressing up in those lap coats and

605
00:34:57,440 --> 00:34:59,919
Speaker 4: still trying to maintain levels and all those things.

606
00:35:00,320 --> 00:35:03,920
Speaker 6: Oh they're trying to be you know, keep it normal.

607
00:35:04,040 --> 00:35:07,399
Speaker 6: But I mean, all we have to flashlight. I told

608
00:35:07,480 --> 00:35:10,400
Speaker 6: him when we did the handclaps on flash light, I

609
00:35:10,560 --> 00:35:13,520
Speaker 6: wanted they had to be so loud that if you

610
00:35:13,640 --> 00:35:16,560
Speaker 6: ran your hand across the CD, you feel the bumping it.

611
00:35:23,520 --> 00:35:25,560
Speaker 4: This is yo, this bro, you let them talk.

612
00:35:25,719 --> 00:35:27,880
Speaker 3: This is sixty years of music. Bro, Like we're not

613
00:35:27,960 --> 00:35:30,719
Speaker 3: gonna get it. This rapid fire like.

614
00:35:31,000 --> 00:35:33,719
Speaker 6: Just those other kind of those are the kind of

615
00:35:33,800 --> 00:35:37,560
Speaker 6: things that we you know. The baseline, Bernie was imitating

616
00:35:37,600 --> 00:35:42,200
Speaker 6: Larry Graham on a move. Yeah you hadn't heard no

617
00:35:42,360 --> 00:35:44,800
Speaker 6: moves do nothing but make sound effects. You're going to

618
00:35:44,840 --> 00:35:47,880
Speaker 6: make sound effects, but you didn't Nobody actually play the

619
00:35:48,000 --> 00:35:52,080
Speaker 6: bass line like a baby. Bernie had so much interpretation

620
00:35:52,440 --> 00:35:56,759
Speaker 6: of the mini move and the pro solos. He could

621
00:35:56,880 --> 00:36:00,440
Speaker 6: imitate anything he could. Joy was up there and they

622
00:36:00,520 --> 00:36:03,120
Speaker 6: programmed it and write it out and he'd be turning

623
00:36:03,200 --> 00:36:06,160
Speaker 6: off while Bernie's playing. And he can play like a

624
00:36:06,239 --> 00:36:10,160
Speaker 6: bass player, like on Flashlight. And we made Bernie the

625
00:36:10,320 --> 00:36:14,000
Speaker 6: lead instrument. The bass is the lead instrument on flash

626
00:36:14,120 --> 00:36:16,680
Speaker 6: Light in the hand class back up.

627
00:36:17,239 --> 00:36:20,120
Speaker 3: And that's just like you Bernie and.

628
00:36:22,560 --> 00:36:23,120
Speaker 6: His brother.

629
00:36:25,680 --> 00:36:28,640
Speaker 4: Whis He told me that he's playing drums on Flashlight?

630
00:36:28,719 --> 00:36:29,200
Speaker 4: Is that true?

631
00:36:29,680 --> 00:36:31,280
Speaker 6: Yeah? He played drums on Flashlight?

632
00:36:31,840 --> 00:36:32,160
Speaker 3: Wow?

633
00:36:32,880 --> 00:36:36,279
Speaker 6: Wow, he played drums on quite a few, you know.

634
00:36:36,600 --> 00:36:40,919
Speaker 6: And our our bass player, Boogie played drums on quite

635
00:36:40,920 --> 00:36:46,080
Speaker 6: a few of his balance you know the song yeah.

636
00:36:47,040 --> 00:36:51,120
Speaker 6: And Gary Cooper, Gary Cooper, he played yeah, yeah.

637
00:36:51,440 --> 00:36:55,239
Speaker 4: Okay, well boy, you brought up Glenn Goin's earlier. And

638
00:36:55,320 --> 00:37:00,840
Speaker 4: there's so many singers in the p funk year that

639
00:37:01,000 --> 00:37:06,080
Speaker 4: we can name. But dare I ask you of all

640
00:37:06,560 --> 00:37:10,919
Speaker 4: of the singers represented in that army, and that means

641
00:37:11,040 --> 00:37:18,800
Speaker 4: Gary down the winds, Davis for your money?

642
00:37:20,120 --> 00:37:22,279
Speaker 6: Who is your?

643
00:37:22,640 --> 00:37:26,040
Speaker 4: Who is your? Michael Jordan, who is your? Who is

644
00:37:26,120 --> 00:37:30,040
Speaker 4: the singer? And this is everyone singer?

645
00:37:30,120 --> 00:37:34,040
Speaker 6: Wow, that singer. It was gonna it would be Gary

646
00:37:34,120 --> 00:37:38,960
Speaker 6: and Juni because of the creativity. Not only did the

647
00:37:39,360 --> 00:37:42,520
Speaker 6: you know, the singing voice, they could come up with

648
00:37:42,760 --> 00:37:48,560
Speaker 6: parts and JUNI could come up with lyrics parts and

649
00:37:48,800 --> 00:37:53,839
Speaker 6: sing it. So, I mean, but then there's a lot

650
00:37:53,880 --> 00:37:59,680
Speaker 6: of me you can't take. You with Mayby, I mean,

651
00:38:00,320 --> 00:38:06,800
Speaker 6: she's like excellent. When Gary Cooper, you put Gary and Gary,

652
00:38:07,480 --> 00:38:11,560
Speaker 6: you get Gary, Peanut and Gary and them three together,

653
00:38:12,280 --> 00:38:15,200
Speaker 6: you can do anything. We never got a chance to

654
00:38:15,520 --> 00:38:17,280
Speaker 6: We never got a chance to see all what Glynn

655
00:38:17,400 --> 00:38:20,200
Speaker 6: was gonna do. He did everything in about two years

656
00:38:20,560 --> 00:38:21,480
Speaker 6: that he did with us.

657
00:38:22,080 --> 00:38:24,560
Speaker 3: Were you involved in that Quasar album that he did?

658
00:38:24,840 --> 00:38:28,200
Speaker 6: No, that's that's when they that he was he had

659
00:38:28,280 --> 00:38:30,480
Speaker 6: three months to live when he got with us. He

660
00:38:30,600 --> 00:38:33,920
Speaker 6: was with us three years and then he left and

661
00:38:34,040 --> 00:38:37,200
Speaker 6: they did the Quasar album, you know, and then they

662
00:38:37,719 --> 00:38:41,000
Speaker 6: think they did Mutiny album. I didn't have anything to

663
00:38:41,080 --> 00:38:42,000
Speaker 6: do with either one of those.

664
00:38:42,239 --> 00:38:44,800
Speaker 4: And he died at twenty four. Like to me still,

665
00:38:44,920 --> 00:38:49,560
Speaker 4: it's like when I hear when I hear Glenn Gons's voice.

666
00:38:57,080 --> 00:39:00,200
Speaker 6: That's what I'm saying. He had that rants Allen on

667
00:39:00,360 --> 00:39:04,120
Speaker 6: him and he had complete controlled over any tone that

668
00:39:04,200 --> 00:39:05,239
Speaker 6: come out of his mouth.

669
00:39:06,360 --> 00:39:13,440
Speaker 4: Wow, back to my bone. Gary, in my opinion, is

670
00:39:13,760 --> 00:39:20,680
Speaker 4: your best animated voice sounding character. How are you able

671
00:39:21,560 --> 00:39:25,880
Speaker 4: because you know most music fans don't even know that

672
00:39:27,320 --> 00:39:31,759
Speaker 4: Gary is the voice of the group's slide fox Let's

673
00:39:31,800 --> 00:39:35,360
Speaker 4: Go all the Way right of which you know that

674
00:39:35,480 --> 00:39:38,279
Speaker 4: was a big hit in nineteen eighty five. And he's

675
00:39:38,360 --> 00:39:43,320
Speaker 4: singing in his natural voice. But how are you able

676
00:39:43,400 --> 00:39:49,480
Speaker 4: to convince your frontline army to adapt to these new voices?

677
00:39:49,640 --> 00:39:52,440
Speaker 4: And the same for Bootsy Collins as well, Like, how

678
00:39:52,480 --> 00:39:57,719
Speaker 4: are you able to tell them, like adapt your voice

679
00:39:57,719 --> 00:40:00,600
Speaker 4: to more of an animated tone, because to me, like

680
00:40:00,760 --> 00:40:04,600
Speaker 4: my bone is has one of the greatest animated voices ever.

681
00:40:05,360 --> 00:40:07,759
Speaker 6: Well, when we we was on the roll, when and

682
00:40:07,800 --> 00:40:10,360
Speaker 6: when you got momentum going for you, when you're on

683
00:40:10,440 --> 00:40:12,600
Speaker 6: the road and you in that zone they call it,

684
00:40:13,760 --> 00:40:17,800
Speaker 6: and we had the character of Sir and those we

685
00:40:17,920 --> 00:40:23,440
Speaker 6: had the character of mister Wiggers uh cash for the

686
00:40:23,480 --> 00:40:28,560
Speaker 6: friendly Ghost. You know, we was into making cartoons, Rhymestone Rockstar,

687
00:40:28,760 --> 00:40:31,520
Speaker 6: Monster of a Dour Baby Baba. We was into making

688
00:40:31,640 --> 00:40:35,200
Speaker 6: toy music, you know, so it was easy for going

689
00:40:35,239 --> 00:40:40,080
Speaker 6: to go into it. Why are you asking that charge?

690
00:40:41,520 --> 00:40:46,040
Speaker 6: We had a thing in that zone. We was writing cartoons.

691
00:40:46,120 --> 00:40:49,880
Speaker 6: Then that's what motive. Booty Affair is the motion picture underwater,

692
00:40:50,960 --> 00:40:55,960
Speaker 6: you know them the rhythm it takes the you know

693
00:40:55,960 --> 00:40:58,120
Speaker 6: what saying, oh that's from you know. That's when your

694
00:40:58,160 --> 00:41:03,000
Speaker 6: boy Eli, you know, I bid off of that and

695
00:41:03,080 --> 00:41:05,879
Speaker 6: when I so DJ was getting ready to be the thing,

696
00:41:07,200 --> 00:41:10,120
Speaker 6: and that's when we did Mothership Connection. I was imitating

697
00:41:10,160 --> 00:41:13,239
Speaker 6: Frankie Krocker, in In Jocko and all of them. So

698
00:41:13,440 --> 00:41:16,640
Speaker 6: I could tell DJ was beginning to be the thing

699
00:41:16,760 --> 00:41:19,160
Speaker 6: because they was cutting them off of the radio. They

700
00:41:19,239 --> 00:41:22,320
Speaker 6: started to play five songs and no commercials and you

701
00:41:22,400 --> 00:41:27,520
Speaker 6: start missing, You start missing that DJ talking dedicated song

702
00:41:27,640 --> 00:41:30,759
Speaker 6: to your girl and da da and on that. Uh.

703
00:41:30,840 --> 00:41:35,279
Speaker 6: DJ started getting political, especially in Philly Georgie Woods. That

704
00:41:35,440 --> 00:41:39,799
Speaker 6: was my boy, you know. So we intentionally played our

705
00:41:39,840 --> 00:41:42,920
Speaker 6: own record on our record, w E f U k

706
00:41:43,160 --> 00:41:48,600
Speaker 6: we funk Cody freaking habit. For me, that was all

707
00:41:48,719 --> 00:41:51,759
Speaker 6: the sit that you're on your favorite DJ. You wasn't

708
00:41:51,800 --> 00:41:54,480
Speaker 6: hear it on the radio no more, so, I mean

709
00:41:54,800 --> 00:41:57,200
Speaker 6: let me hear it from me. We love dude, funk you.

710
00:41:57,719 --> 00:42:00,560
Speaker 6: All of that was our version of DJ. As soon

711
00:42:00,640 --> 00:42:04,040
Speaker 6: as we did that, they started having what you call

712
00:42:04,160 --> 00:42:07,200
Speaker 6: DJ pools. You started taking your record to the DJ

713
00:42:07,880 --> 00:42:10,359
Speaker 6: and they would tell you they record pools. They would

714
00:42:10,400 --> 00:42:14,640
Speaker 6: tell you who records should get played, you know, radio was,

715
00:42:16,120 --> 00:42:18,799
Speaker 6: and then no sooner than that. Then hip hop came

716
00:42:18,840 --> 00:42:22,560
Speaker 6: along the bucket. We just DJ's on record.

717
00:42:22,320 --> 00:42:26,400
Speaker 3: And and that's what it's, that mothership connection. I have

718
00:42:26,560 --> 00:42:29,279
Speaker 3: to have to ask. It sounds like you got a

719
00:42:29,320 --> 00:42:31,319
Speaker 3: three on it to me, what is what does that mean?

720
00:42:32,440 --> 00:42:33,560
Speaker 4: You know what that means?

721
00:42:36,719 --> 00:42:37,200
Speaker 3: It was cool.

722
00:42:41,480 --> 00:42:45,680
Speaker 6: All all that was was that what we called it,

723
00:42:45,840 --> 00:42:50,239
Speaker 6: a trendy chemical substance, whatever it's trending at that time,

724
00:42:50,760 --> 00:42:53,920
Speaker 6: the chemical consumption was happening. That's where we were at.

725
00:42:54,080 --> 00:42:56,920
Speaker 6: You know. It was just that language that people was

726
00:42:57,000 --> 00:43:01,080
Speaker 6: conveying with you. The street talk they do it nowadays

727
00:43:01,120 --> 00:43:04,120
Speaker 6: to just seem harsh because their kids they gonna make

728
00:43:04,120 --> 00:43:07,160
Speaker 6: it worse than yours. They're gonna do your ass no

729
00:43:07,280 --> 00:43:11,680
Speaker 6: matter how bad you did it. They gonna I don't

730
00:43:11,719 --> 00:43:13,960
Speaker 6: even say nothing to them, because if you say something

731
00:43:13,960 --> 00:43:15,239
Speaker 6: to them, you gonna make him do it work. They

732
00:43:15,320 --> 00:43:18,399
Speaker 6: know they got your attention, you know so. But that's

733
00:43:18,440 --> 00:43:22,799
Speaker 6: what it was, trending, chemical septance on it. Funk would

734
00:43:22,800 --> 00:43:23,399
Speaker 6: take a ten.

735
00:43:24,080 --> 00:43:27,680
Speaker 5: That is is it true that for the for maggot

736
00:43:27,719 --> 00:43:31,440
Speaker 5: brain that you told Eddie Hazel to play like his

737
00:43:31,600 --> 00:43:32,200
Speaker 5: mom had died.

738
00:43:32,480 --> 00:43:37,840
Speaker 8: I've always heard that story, and he said, fuck you,

739
00:43:38,280 --> 00:43:43,279
Speaker 8: and I knew that once I said it, he understood

740
00:43:44,320 --> 00:43:48,160
Speaker 8: the intense because it was a regular three quarter blue song.

741
00:43:48,880 --> 00:43:51,360
Speaker 6: Ain't too much. But when you if he played it

742
00:43:51,880 --> 00:43:55,040
Speaker 6: psychedelically like he could do it, and with all the

743
00:43:55,080 --> 00:43:58,040
Speaker 6: echoplexes we had on it, and he was beginning to

744
00:43:59,000 --> 00:44:02,759
Speaker 6: manipulate the echo next, and I was manipulating the echoplex

745
00:44:03,000 --> 00:44:05,800
Speaker 6: in the studio on top of his. So it was

746
00:44:05,920 --> 00:44:08,840
Speaker 6: just a vibe. He could play all of the blues

747
00:44:08,880 --> 00:44:12,120
Speaker 6: and soul like Jimmy was doing all that he wanted,

748
00:44:12,239 --> 00:44:15,480
Speaker 6: and all those echoes on top of each other. But

749
00:44:15,680 --> 00:44:17,640
Speaker 6: that was some brilliant shit, especially when you took the

750
00:44:17,719 --> 00:44:20,960
Speaker 6: instrument other instruments out, take the base and drums out.

751
00:44:21,320 --> 00:44:24,239
Speaker 6: You ain't got nothing of the rhythm, guitar and the lead.

752
00:44:24,920 --> 00:44:27,200
Speaker 6: You could take up all the space with all those delays,

753
00:44:28,080 --> 00:44:31,040
Speaker 6: and it worked pretty real good with it because he

754
00:44:31,120 --> 00:44:33,800
Speaker 6: was so soulful. An't even the sound he made was

755
00:44:33,960 --> 00:44:34,480
Speaker 6: you felt it.

756
00:44:36,200 --> 00:44:37,560
Speaker 3: You were born in North Carolina.

757
00:44:37,640 --> 00:44:42,200
Speaker 6: Correct in Connapolis, Napolis, right outside of Charlotte, Canapolist.

758
00:44:42,280 --> 00:44:45,480
Speaker 3: Oh yeah, I'm from Greensboro, so I know I got a.

759
00:44:45,440 --> 00:44:48,439
Speaker 6: Whole bunch of family in Greenboro right now, a whole

760
00:44:48,520 --> 00:44:52,719
Speaker 6: bunch of family. I got a whole bunch of family, sisters, nieces, brothers.

761
00:44:54,840 --> 00:44:58,600
Speaker 3: It might be that's home. How did you get from?

762
00:44:58,800 --> 00:45:01,680
Speaker 7: Go ahead, say you're born in North Carolina, But I've

763
00:45:01,680 --> 00:45:04,439
Speaker 7: been to Plainfield a lot, and that's all they talk

764
00:45:04,560 --> 00:45:06,160
Speaker 7: about is y'all in you.

765
00:45:06,480 --> 00:45:07,600
Speaker 3: So it's interesting.

766
00:45:07,760 --> 00:45:10,200
Speaker 7: It's like it's two different towns that got that you

767
00:45:10,360 --> 00:45:10,800
Speaker 7: the pride of.

768
00:45:11,080 --> 00:45:15,040
Speaker 6: But I came from North Caroline plumb about ten years old,

769
00:45:15,800 --> 00:45:18,839
Speaker 6: to Virginia, Chase City, Virginia. In about ten. I went

770
00:45:18,880 --> 00:45:21,839
Speaker 6: to Newark, New Jersey, Okay, And that's where I went

771
00:45:21,880 --> 00:45:24,920
Speaker 6: to school that Nork I went to, you know Avon,

772
00:45:25,160 --> 00:45:29,360
Speaker 6: that was south side, same school. Shack went to Mars, Okay,

773
00:45:29,440 --> 00:45:32,440
Speaker 6: I went there. But I had a barber shop ten

774
00:45:32,520 --> 00:45:36,120
Speaker 6: miles outside of New York, which is Plainfield. I never

775
00:45:36,239 --> 00:45:38,440
Speaker 6: lived there. I just had the barber shop and shoveled

776
00:45:38,480 --> 00:45:42,640
Speaker 6: there every morning on the bus. The surs so funny,

777
00:45:43,680 --> 00:45:47,520
Speaker 6: and Plainfield was like suburbia. It was like, you know,

778
00:45:47,719 --> 00:45:50,839
Speaker 6: for rich folks, you know, middle class people, and then

779
00:45:50,880 --> 00:45:54,359
Speaker 6: they got really funk, got really funky. Hitting the late

780
00:45:54,520 --> 00:45:58,880
Speaker 6: sixties in the early seventies, you know, their riots and everything,

781
00:45:59,440 --> 00:46:02,800
Speaker 6: but it was some soul for folks there. You know what.

782
00:46:03,040 --> 00:46:03,719
Speaker 6: It just hit me.

783
00:46:04,239 --> 00:46:07,839
Speaker 4: I worked with Nona Hendricks on a project a couple

784
00:46:08,640 --> 00:46:11,640
Speaker 4: a couple of years. A few decades back. She told

785
00:46:11,719 --> 00:46:14,239
Speaker 4: me that you were her original hairdresser.

786
00:46:14,440 --> 00:46:19,719
Speaker 6: Is that undress I did? I did what you mean?

787
00:46:20,040 --> 00:46:20,239
Speaker 4: Said?

788
00:46:22,120 --> 00:46:24,560
Speaker 6: No, no, no, I used to wave here. They used

789
00:46:24,560 --> 00:46:27,080
Speaker 6: to have, you know, waves close to the end.

790
00:46:27,520 --> 00:46:29,640
Speaker 3: O used to make the waves, the finger waves.

791
00:46:31,880 --> 00:46:37,239
Speaker 6: Yeah, and she was she's living uh Jillian Trenton. Yeah, yeah,

792
00:46:37,239 --> 00:46:39,840
Speaker 6: I did both of them there and that you know,

793
00:46:39,920 --> 00:46:42,279
Speaker 6: we we we worked together for years though known. I

794
00:46:42,360 --> 00:46:46,480
Speaker 6: didn't know us in parents, you know, years later, just

795
00:46:46,600 --> 00:46:51,880
Speaker 6: for you know magazine, you know, PR but there in

796
00:46:52,120 --> 00:46:57,520
Speaker 6: Patty Sarah, they were like neighborhood punk and they were

797
00:46:57,520 --> 00:47:02,200
Speaker 6: spunking a long time. Eliament started fifty six. I think

798
00:47:02,239 --> 00:47:04,040
Speaker 6: they might have started in like fifty nine.

799
00:47:04,719 --> 00:47:06,239
Speaker 4: Really, so you.

800
00:47:07,800 --> 00:47:11,800
Speaker 6: Let me ask you something. Yes, was your family Andrew

801
00:47:11,840 --> 00:47:12,400
Speaker 6: and the Hearts?

802
00:47:13,160 --> 00:47:14,360
Speaker 4: My father was Lee Andrews.

803
00:47:14,560 --> 00:47:18,440
Speaker 6: Yes, okay, I thought so, yeah, yeah, I'll go that

804
00:47:18,560 --> 00:47:19,000
Speaker 6: far back.

805
00:47:19,200 --> 00:47:21,279
Speaker 4: Yeah. When I yeah, when I read that in the book, man,

806
00:47:21,320 --> 00:47:24,200
Speaker 4: I was like, Wow, this is my dad would love this,

807
00:47:24,560 --> 00:47:29,080
Speaker 4: Like my dad gets mentioned and divided soul in George's book. Well, no,

808
00:47:29,560 --> 00:47:32,440
Speaker 4: explain to me, You're like, I know that the Parliament

809
00:47:32,560 --> 00:47:36,839
Speaker 4: started off in uh as a do op group, as

810
00:47:36,960 --> 00:47:40,000
Speaker 4: typical for the day. Could you just explain like that

811
00:47:40,200 --> 00:47:43,960
Speaker 4: that that what that environment was like with trying to

812
00:47:44,320 --> 00:47:48,240
Speaker 4: break into do wop? And really I want to I'm obsessed.

813
00:47:48,320 --> 00:47:52,480
Speaker 4: I'm obsessed with Ray Davis for me, more than Melvin Franklin,

814
00:47:52,600 --> 00:47:56,480
Speaker 4: more than Barry White, more than anyone with a deep voice.

815
00:47:56,719 --> 00:48:00,320
Speaker 4: Ray Davis to me is the yeah he was to me,

816
00:48:01,440 --> 00:48:02,760
Speaker 4: how did you guys like form?

817
00:48:03,160 --> 00:48:06,120
Speaker 6: Well? Which form? Like you know most kids in grade school?

818
00:48:06,480 --> 00:48:08,439
Speaker 6: I had two or three other people in the band

819
00:48:08,520 --> 00:48:11,520
Speaker 6: before them, but by the time we got to that lineup,

820
00:48:12,239 --> 00:48:15,719
Speaker 6: we went out to Detroit auditioned, didn't make it, but

821
00:48:15,880 --> 00:48:18,399
Speaker 6: I ended up writing songs for him. Then I did

822
00:48:18,440 --> 00:48:21,799
Speaker 6: a song called I Want to Testify, and I did

823
00:48:21,880 --> 00:48:26,839
Speaker 6: that song with Ron Banks from the Dramatics, Wow, Pat

824
00:48:26,960 --> 00:48:30,960
Speaker 6: Lewis from the Hot Butter and Soul, myself and the

825
00:48:31,000 --> 00:48:34,239
Speaker 6: guy named Eddie from the Holidays. That was the background. Course.

826
00:48:34,320 --> 00:48:37,000
Speaker 6: Parliament couldn't make it out to Detroit. We got a

827
00:48:37,080 --> 00:48:40,200
Speaker 6: hit record on that song, and that was the beginning.

828
00:48:40,600 --> 00:48:43,359
Speaker 6: That record carried us out into the world. I'm want

829
00:48:43,360 --> 00:48:46,800
Speaker 6: to test by it. Like I said, Vanilla for Lenister

830
00:48:47,000 --> 00:48:52,200
Speaker 6: guitars nams. That changed our life. We became Funkadelic that night.

831
00:48:52,760 --> 00:48:55,440
Speaker 6: Were getting tired of with the record companies with the

832
00:48:55,520 --> 00:48:58,759
Speaker 6: name Parliament couldn't use the name, so we took our

833
00:48:58,920 --> 00:49:03,759
Speaker 6: backup band, which Billy Edding burning them made them Funkadelli.

834
00:49:04,920 --> 00:49:08,560
Speaker 6: We became their backup singers and so you see the

835
00:49:08,680 --> 00:49:12,200
Speaker 6: five of them on the Funkadelic first Bunkadelic album. But

836
00:49:12,360 --> 00:49:14,320
Speaker 6: that that's how I did it with the record company.

837
00:49:14,960 --> 00:49:17,880
Speaker 6: And when funk Partmer got his name back, we did

838
00:49:17,920 --> 00:49:23,680
Speaker 6: a Parliament album called Osmia with Hollandoja. Holland stayed tied

839
00:49:23,800 --> 00:49:26,760
Speaker 6: up there for years and ended up on Castle Blanca

840
00:49:26,840 --> 00:49:27,760
Speaker 6: with Neil Bogart.

841
00:49:29,719 --> 00:49:32,160
Speaker 4: How did you How did you meet Neil Boardguard and

842
00:49:32,520 --> 00:49:34,880
Speaker 4: how did you stay out of the disco phray because

843
00:49:35,640 --> 00:49:40,000
Speaker 4: everything that Neil did was theater and disco. How did

844
00:49:40,040 --> 00:49:41,400
Speaker 4: you stay before that?

845
00:49:41,719 --> 00:49:44,839
Speaker 6: Before that, Neil was the king of bubble gum, thember

846
00:49:44,960 --> 00:49:49,799
Speaker 6: Neil did. He had Buddha Records. Oh, Wow.

847
00:49:50,400 --> 00:49:51,279
Speaker 4: He had Border.

848
00:49:51,080 --> 00:49:54,680
Speaker 6: Records, and he had Gladys Knight and The Fifty the

849
00:49:54,800 --> 00:49:58,959
Speaker 6: Stairs Steps and Curtis Mayfield and all of that. Neil

850
00:49:59,040 --> 00:50:03,520
Speaker 6: had that labor first. Then he had Hot Wax with

851
00:50:03,640 --> 00:50:08,840
Speaker 6: Hollandojo Holland, which was the Honeycombs. So he wanted us

852
00:50:08,920 --> 00:50:11,480
Speaker 6: to be on his label when he had Hot when

853
00:50:11,520 --> 00:50:15,160
Speaker 6: they had Hot Wax, you know, Hollandoji Holland. But they

854
00:50:15,239 --> 00:50:18,759
Speaker 6: put us on Invictis, so we missed Neil. A couple

855
00:50:18,800 --> 00:50:21,880
Speaker 6: of years later, when we got up for Invictis, I

856
00:50:21,960 --> 00:50:24,120
Speaker 6: looked Neil up and he had a new labor called

857
00:50:24,200 --> 00:50:29,200
Speaker 6: Castle Blanker. He took us and Kiss and Donna at

858
00:50:29,239 --> 00:50:33,520
Speaker 6: the same time. Wow, and we all went three different directions,

859
00:50:34,120 --> 00:50:37,200
Speaker 6: and he was so hot. They went through the disco thing. No,

860
00:50:37,320 --> 00:50:40,040
Speaker 6: I wasn't going. As close as I got to disco

861
00:50:40,280 --> 00:50:43,560
Speaker 6: was knee deep. That was my dad rescue dance music

862
00:50:43,640 --> 00:50:47,480
Speaker 6: from the blogs. You know, I like, I like disco,

863
00:50:47,640 --> 00:50:49,759
Speaker 6: but I didn't want to do the same beat on

864
00:50:49,880 --> 00:50:54,160
Speaker 6: every song. He you know, there was a silver Convention.

865
00:50:54,719 --> 00:51:02,480
Speaker 6: I was a civil convention free you know, no that

866
00:51:03,000 --> 00:51:06,000
Speaker 6: you know, but you can't. You can't do every song

867
00:51:06,280 --> 00:51:09,000
Speaker 6: like that. That's what that was my own thing. They

868
00:51:09,080 --> 00:51:12,160
Speaker 6: had measured your heartbeat. And when you start fucking with

869
00:51:12,280 --> 00:51:16,960
Speaker 6: music like that, no, it gets you know the facts

870
00:51:17,040 --> 00:51:18,680
Speaker 6: that shit in you know?

871
00:51:19,800 --> 00:51:23,800
Speaker 4: So is that okay? Because also probably the most notable

872
00:51:23,840 --> 00:51:28,640
Speaker 4: thing about your your your concerts versus you're probably the

873
00:51:28,760 --> 00:51:33,880
Speaker 4: only act I know that will do a song slower

874
00:51:34,840 --> 00:51:41,160
Speaker 4: in concert than you do on the album. The anytime

875
00:51:41,280 --> 00:51:45,799
Speaker 4: I've ever seen Doctor Funkenstein performed, and any of those

876
00:51:45,960 --> 00:51:51,040
Speaker 4: like those seventies concerts, you guys go half the speed

877
00:51:51,120 --> 00:51:54,960
Speaker 4: of that and each song is like fourteen minutes, like longer,

878
00:51:55,040 --> 00:51:56,480
Speaker 4: way longer, and way slower?

879
00:51:57,320 --> 00:52:00,560
Speaker 6: Is there? Like where you get we got got that from?

880
00:52:00,760 --> 00:52:05,440
Speaker 6: You ever see feel a Cool? Yes? Yes, they used

881
00:52:05,480 --> 00:52:09,120
Speaker 6: to do songs all day long for an hour, one

882
00:52:09,520 --> 00:52:13,279
Speaker 6: one song and it start on the song to me

883
00:52:13,680 --> 00:52:16,000
Speaker 6: in the afternoon and be dust and they be still

884
00:52:16,080 --> 00:52:19,759
Speaker 6: playing another version of that same song all kind of

885
00:52:19,960 --> 00:52:23,040
Speaker 6: And we used to do that back in the sixty

886
00:52:23,080 --> 00:52:26,040
Speaker 6: eight sixty nine when we first started Funkadelic. It was

887
00:52:26,520 --> 00:52:30,160
Speaker 6: a groove like a boom boom boom boom boom, and

888
00:52:30,320 --> 00:52:33,760
Speaker 6: we vamped that ship forever, and people were so fucked

889
00:52:33,800 --> 00:52:38,040
Speaker 6: up that they just we always fucked up. Everybody enjoyed

890
00:52:38,560 --> 00:52:43,480
Speaker 6: the groove all, you know, and it took us. We

891
00:52:43,680 --> 00:52:50,120
Speaker 6: are reels of the same song. We are reel we got.

892
00:52:50,320 --> 00:52:52,640
Speaker 6: They put up another reel and we keep going.

893
00:52:53,960 --> 00:52:56,040
Speaker 4: And you tape them ships together. It's just one long

894
00:52:56,120 --> 00:52:56,759
Speaker 4: reel we got.

895
00:52:57,520 --> 00:53:00,840
Speaker 6: You know how they say they have twenty four he

896
00:53:00,960 --> 00:53:02,320
Speaker 6: had seventy two tracks?

897
00:53:03,120 --> 00:53:12,520
Speaker 4: Okay, and a man. Now we're doing rapid fire.

898
00:53:13,239 --> 00:53:16,239
Speaker 3: Yeah, I don't know other way to do this.

899
00:53:17,280 --> 00:53:22,040
Speaker 4: Can you explain how pedro Bell comes into the system?

900
00:53:22,280 --> 00:53:26,360
Speaker 6: And oh, that's good, that's good. When I moved to Toronto,

901
00:53:27,120 --> 00:53:29,920
Speaker 6: he's he's a you know, fan, used to write me letters,

902
00:53:30,440 --> 00:53:33,400
Speaker 6: you know, a fan, and he would draw on the envelope.

903
00:53:34,760 --> 00:53:37,160
Speaker 6: On the envelope, it looked just like the album covers,

904
00:53:37,800 --> 00:53:42,200
Speaker 6: the whole cartoon whatever, even they even drawing. He was

905
00:53:42,320 --> 00:53:46,360
Speaker 6: drawn on the envelope. The postmaster general. I thought I

906
00:53:46,520 --> 00:53:49,640
Speaker 6: was part of some kind of organization and they were

907
00:53:50,239 --> 00:53:53,320
Speaker 6: getting upset with me. But you know, was I asking me,

908
00:53:53,520 --> 00:53:55,640
Speaker 6: was I part of some And I told him, you know,

909
00:53:55,760 --> 00:53:58,080
Speaker 6: blah blah. But then I said, I want this dude

910
00:53:58,120 --> 00:54:01,360
Speaker 6: to do the album. Now says if draw that much attention,

911
00:54:02,000 --> 00:54:05,320
Speaker 6: and it sounded so clever. He was right out of

912
00:54:05,400 --> 00:54:08,960
Speaker 6: high school. I contacted him and he did had him

913
00:54:09,000 --> 00:54:13,680
Speaker 6: do Cosmic Slot. Yes. From then on it was like

914
00:54:14,000 --> 00:54:15,600
Speaker 6: I would have to tell him the story of what

915
00:54:15,680 --> 00:54:19,080
Speaker 6: I'm talking about, and he would give me his interpretation

916
00:54:19,800 --> 00:54:22,480
Speaker 6: of whatever that meant to him, and his and his

917
00:54:22,680 --> 00:54:28,160
Speaker 6: own weird ass language. He could write. He could write

918
00:54:28,239 --> 00:54:31,520
Speaker 6: his ass song, you know. But he did it intentionally

919
00:54:31,560 --> 00:54:34,040
Speaker 6: the same way he could draw, draw. He could paint

920
00:54:34,040 --> 00:54:36,800
Speaker 6: a picture that looked like a photo. Okay, but he

921
00:54:37,000 --> 00:54:39,800
Speaker 6: was he was fed up with that. He didn't like

922
00:54:39,960 --> 00:54:43,480
Speaker 6: doing that, so he did his own pagro bell art

923
00:54:44,000 --> 00:54:47,000
Speaker 6: and his own payro bell language, and that It was

924
00:54:47,080 --> 00:54:49,799
Speaker 6: funny to hear his interpret And I got him when

925
00:54:49,880 --> 00:54:52,800
Speaker 6: I did an album called some of My Best Jokes

926
00:54:52,840 --> 00:54:54,560
Speaker 6: of Friends Friends.

927
00:54:54,680 --> 00:54:55,800
Speaker 3: Yes, I did that.

928
00:54:55,960 --> 00:54:58,799
Speaker 6: He did what you talk about? I said, you come

929
00:54:58,880 --> 00:55:01,080
Speaker 6: up what you think I think? To think I'm talking about?

930
00:55:01,480 --> 00:55:03,279
Speaker 6: That was the funniest one in the bowl because I

931
00:55:03,320 --> 00:55:04,320
Speaker 6: didn't give him nothing to go.

932
00:55:05,000 --> 00:55:07,960
Speaker 4: He would do the commentary and and all the the

933
00:55:08,360 --> 00:55:10,600
Speaker 4: mythology on it was that you were.

934
00:55:11,920 --> 00:55:13,560
Speaker 6: Me and him. Yeah, tell him what I'm I'm telling

935
00:55:13,719 --> 00:55:16,000
Speaker 6: what I'm talking about. But he would interpreted and put

936
00:55:16,040 --> 00:55:17,560
Speaker 6: it in his language.

937
00:55:17,920 --> 00:55:22,239
Speaker 4: Speaking of cosmic slop. Okay, the question I always wanted

938
00:55:22,280 --> 00:55:26,600
Speaker 4: to know, the first time that I ever heard cosmic

939
00:55:26,719 --> 00:55:33,319
Speaker 4: slop was in the most unlikely platform. I first heard

940
00:55:33,440 --> 00:55:40,920
Speaker 4: cosmic slop on the Cosby Show. Yeah, of which Robert

941
00:55:41,040 --> 00:55:45,200
Speaker 4: and Vanessa I remember that are doing their homework and

942
00:55:45,560 --> 00:55:49,319
Speaker 4: I hear cosmic slop and this is you know, it's

943
00:55:49,400 --> 00:55:55,799
Speaker 4: so weird because you know, now, Phil, a lot.

944
00:55:55,719 --> 00:55:58,160
Speaker 6: Of music does not get a twist. He definitely was.

945
00:55:58,800 --> 00:55:59,440
Speaker 6: He definitely was.

946
00:56:06,840 --> 00:56:11,279
Speaker 3: He yes, he will. That's that's one way we could

947
00:56:11,280 --> 00:56:12,719
Speaker 3: describe it. That's one way.

948
00:56:16,560 --> 00:56:17,560
Speaker 4: That was revenge.

949
00:56:18,120 --> 00:56:18,600
Speaker 3: Okay, So.

950
00:56:20,280 --> 00:56:25,000
Speaker 4: Yeah, and you know I let it. I didn't know

951
00:56:25,080 --> 00:56:27,520
Speaker 4: what it was, but it was. It was during the

952
00:56:27,600 --> 00:56:31,520
Speaker 4: era in which like VCRs like at first started infiltrating

953
00:56:31,600 --> 00:56:34,520
Speaker 4: everyone's household and you recorded every show on the show,

954
00:56:34,960 --> 00:56:37,960
Speaker 4: and so I recorded and watched that episode like forty

955
00:56:38,000 --> 00:56:43,560
Speaker 4: two times. So, uh, my history teacher tells me, yeah,

956
00:56:43,600 --> 00:56:48,680
Speaker 4: that's from caadelic cosmic slop, And you know, it really

957
00:56:48,760 --> 00:56:50,960
Speaker 4: didn't hit me until I started digging in the crates

958
00:56:51,080 --> 00:56:54,959
Speaker 4: and then once I heard the lyric output. Of course,

959
00:56:55,160 --> 00:56:58,320
Speaker 4: you know, cosmic slaps about a sort of a regretful

960
00:56:58,440 --> 00:56:59,719
Speaker 4: mother that's treated.

961
00:56:59,400 --> 00:57:02,919
Speaker 6: Like a jes because she has to turn tricks meet

962
00:57:02,960 --> 00:57:03,399
Speaker 6: her kids.

963
00:57:04,160 --> 00:57:07,080
Speaker 4: And I'm like, how did this song wind up on

964
00:57:07,160 --> 00:57:10,080
Speaker 4: The Cosby Show? Did you have any warning whatsoever that

965
00:57:10,200 --> 00:57:12,920
Speaker 4: they used that song so prominently on that episode?

966
00:57:13,520 --> 00:57:15,160
Speaker 6: No, I was surprised when I heard it too, But

967
00:57:15,360 --> 00:57:18,920
Speaker 6: I know he I know, he like Parliament. You know,

968
00:57:19,080 --> 00:57:21,440
Speaker 6: he was in Detroit for a while himself with a

969
00:57:21,520 --> 00:57:25,120
Speaker 6: record label, so he knew of us and it didn't

970
00:57:25,120 --> 00:57:25,720
Speaker 6: surprise me.

971
00:57:26,480 --> 00:57:26,720
Speaker 4: Wow.

972
00:57:27,680 --> 00:57:30,000
Speaker 5: Well, speaking of TV, while we're on the TV movie

973
00:57:30,080 --> 00:57:34,840
Speaker 5: side House Party, you'll count your uh your cameo housewrights

974
00:57:34,880 --> 00:57:35,200
Speaker 5: the DJ?

975
00:57:35,920 --> 00:57:37,760
Speaker 3: How did how that play?

976
00:57:38,360 --> 00:57:41,440
Speaker 6: That was really fun? I still see play out in Tallahasse.

977
00:57:41,800 --> 00:57:45,040
Speaker 6: He comes here a lot of fam you but Reggie

978
00:57:45,160 --> 00:57:50,760
Speaker 6: husband that was his when he first got out of college. Yes, yeah,

979
00:57:51,920 --> 00:57:53,800
Speaker 6: his mother told me he was like that when he

980
00:57:53,920 --> 00:57:57,040
Speaker 6: was a kid. So he had posters and stuff. She thought, I,

981
00:57:57,440 --> 00:57:59,840
Speaker 6: you know, because that skirt I had on on one

982
00:57:59,880 --> 00:58:03,400
Speaker 6: of those boats, she say in the Wig at the

983
00:58:03,480 --> 00:58:05,560
Speaker 6: Wig on TV. She didn't know what was gonna happen

984
00:58:05,600 --> 00:58:12,480
Speaker 6: to him. And that's the same thing, same thing with Humpty.

985
00:58:12,840 --> 00:58:15,640
Speaker 6: He had that same poster. His mother says, she used

986
00:58:15,680 --> 00:58:19,919
Speaker 6: to carry it around with him. Yeah.

987
00:58:20,560 --> 00:58:24,760
Speaker 5: Boy, So seeing all those groups that you influenced, man, Like,

988
00:58:24,920 --> 00:58:26,600
Speaker 5: what was that like for you? Did you feel like

989
00:58:26,880 --> 00:58:28,840
Speaker 5: inspired by? Did you feel like they were copying?

990
00:58:28,960 --> 00:58:32,480
Speaker 6: Like what was your? You know, I love it. You

991
00:58:32,560 --> 00:58:35,400
Speaker 6: know that you're gonna feel good as hell, you know.

992
00:58:35,520 --> 00:58:39,160
Speaker 6: But it was always always like the one to be

993
00:58:39,280 --> 00:58:43,000
Speaker 6: like Motown, you know, all the different artists that was around.

994
00:58:43,560 --> 00:58:46,120
Speaker 6: That was family that that was a hell of a place.

995
00:58:46,400 --> 00:58:48,000
Speaker 6: We used to just ride by there and watch them

996
00:58:48,000 --> 00:58:50,720
Speaker 6: all in the front yard, so many stuffs, And that's

997
00:58:50,760 --> 00:58:55,240
Speaker 6: the way we felt, you know, with Boots scene Roger.

998
00:58:55,280 --> 00:58:57,200
Speaker 6: A lot of people don't know we did Roger more

999
00:58:57,200 --> 00:59:01,080
Speaker 6: about to the Elms, you know, all about making that record,

1000
00:59:01,240 --> 00:59:04,520
Speaker 6: like how that was Funky Bounce, the song he had

1001
00:59:04,560 --> 00:59:07,320
Speaker 6: called Punky Bounce. We took the little snippet of the

1002
00:59:07,360 --> 00:59:11,600
Speaker 6: first part of that song and cut tate. We copied it,

1003
00:59:11,760 --> 00:59:14,440
Speaker 6: copied it, cut it with a tape, copy, copy, cut it,

1004
00:59:14,720 --> 00:59:19,440
Speaker 6: and then tape tape and tape it together. Second we

1005
00:59:19,520 --> 00:59:22,360
Speaker 6: stampled it. They didn't have a sample machine yet, so

1006
00:59:22,480 --> 00:59:26,160
Speaker 6: we just know just loop, just cut that loop piece

1007
00:59:26,480 --> 00:59:29,880
Speaker 6: until we got like ten seconds or something like that,

1008
00:59:30,280 --> 00:59:32,640
Speaker 6: and then we looped around a pencil round the head

1009
00:59:32,680 --> 00:59:34,600
Speaker 6: of the two track machine and just let it loop

1010
00:59:35,280 --> 00:59:38,320
Speaker 6: around it and until we got ten minutes of it.

1011
00:59:39,040 --> 00:59:41,160
Speaker 6: The ten minutes and then put that on two on

1012
00:59:41,280 --> 00:59:45,160
Speaker 6: the twenty four track and back and then called Roger

1013
00:59:45,200 --> 00:59:51,520
Speaker 6: back and he hated it. He hated Oh, he hated it.

1014
00:59:52,520 --> 00:59:55,760
Speaker 6: But that was the deal. We gave him the deal. Yeah,

1015
00:59:56,640 --> 00:59:59,880
Speaker 6: that's why we got him this deal that it wasn't

1016
01:00:00,320 --> 01:00:02,800
Speaker 6: We had to use that as the name because that's

1017
01:00:02,840 --> 01:00:05,080
Speaker 6: his younger brother. I told him, make up another He

1018
01:00:05,120 --> 01:00:08,960
Speaker 6: didn't want it to be Roger. Make up another name.

1019
01:00:09,400 --> 01:00:12,439
Speaker 6: You know, there's some money for you this. We was waiting.

1020
01:00:12,520 --> 01:00:17,720
Speaker 6: His record was gonna be on Uncle Jam. Remember Yeah,

1021
01:00:18,080 --> 01:00:20,919
Speaker 6: his record was gonna be on that. So we made

1022
01:00:21,120 --> 01:00:23,600
Speaker 6: that just in the meantime so you can get some money.

1023
01:00:24,280 --> 01:00:26,080
Speaker 6: We put it out in the record hit so Big,

1024
01:00:26,920 --> 01:00:29,280
Speaker 6: They had to become zap and he hated it.

1025
01:00:32,600 --> 01:00:34,720
Speaker 3: Circle back to you. After that, After hit what was

1026
01:00:34,760 --> 01:00:35,120
Speaker 3: he was?

1027
01:00:35,800 --> 01:00:36,640
Speaker 4: They ended up leaving.

1028
01:00:37,680 --> 01:00:40,960
Speaker 6: They were they were, they were so big, they were

1029
01:00:41,040 --> 01:00:43,080
Speaker 6: so big. And then then we then they put out

1030
01:00:43,440 --> 01:00:47,280
Speaker 6: I did grape Vine, You did that the grape Vine,

1031
01:00:47,720 --> 01:00:53,480
Speaker 6: More Bounce, and there's one more Uh only have eyes

1032
01:00:53,560 --> 01:00:58,880
Speaker 6: for you? Yeah, I just I just started him to

1033
01:00:58,960 --> 01:01:01,520
Speaker 6: doing it. I didn't finish with him. But and there's

1034
01:01:01,600 --> 01:01:07,280
Speaker 6: one that Wilson picking up again with thing great by

1035
01:01:07,440 --> 01:01:11,120
Speaker 6: midnight hours and I said, those songs you can always

1036
01:01:11,200 --> 01:01:13,760
Speaker 6: do and and get you know, get on the radio

1037
01:01:14,120 --> 01:01:16,360
Speaker 6: back at that time and end up doing them all

1038
01:01:16,480 --> 01:01:17,960
Speaker 6: and they worked pretty good for him.

1039
01:01:18,400 --> 01:01:21,000
Speaker 4: Did you work on the Roger solo album as well?

1040
01:01:21,240 --> 01:01:23,400
Speaker 6: Or just the first album that was that was that

1041
01:01:23,600 --> 01:01:25,360
Speaker 6: was the album that was supposed to have been on

1042
01:01:25,520 --> 01:01:27,960
Speaker 6: Uncle Jam. That was Uncle Jam's album.

1043
01:01:28,000 --> 01:01:30,320
Speaker 4: We paid so doing Roger do it? All that stuff is?

1044
01:01:30,520 --> 01:01:32,360
Speaker 6: All that stuff was done from Uncle Jam.

1045
01:01:35,640 --> 01:01:38,200
Speaker 7: Wait, hold up, As you can see, we are just

1046
01:01:38,360 --> 01:01:41,400
Speaker 7: scratching the surface when it comes to the legendary and

1047
01:01:41,920 --> 01:01:43,320
Speaker 7: iconic George Clinton.

1048
01:01:43,440 --> 01:01:45,000
Speaker 6: So I'll tell you what we're gonna do.

1049
01:01:45,440 --> 01:01:48,200
Speaker 7: We're gonna split this thing into coming up next Wednesday,

1050
01:01:48,320 --> 01:01:50,560
Speaker 7: Part two of George Clinton. And if you think you

1051
01:01:50,800 --> 01:01:55,919
Speaker 7: found out something this episode, wait until episode two. Yeah,

1052
01:01:56,080 --> 01:01:59,520
Speaker 7: Part two of our sit down with George Clinton. Quest

1053
01:01:59,560 --> 01:02:03,360
Speaker 7: Loves of Heart Radio and everywhere you listen to podcasts.

1054
01:02:08,240 --> 01:02:15,000
Speaker 1: What's Love Supreme is a production of Iheartened Radio. For

1055
01:02:15,160 --> 01:02:19,360
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1056
01:02:19,800 --> 01:02:21,480
Speaker 1: or wherever you listen to your favorite shows.