WEBVTT - QLS Classic: George Clinton Part 1

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>Hey all, It's on pay Bill from Team Supreme. For

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<v Speaker 2>this classic episode of Questlove Supreme, we are speaking with

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<v Speaker 2>the incredible, the Only George Cliffe Parliament Funkadelic Part one,

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<v Speaker 2>George updates QLs and something's going on with his music

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<v Speaker 2>while taking a look back at an incredible sixty five

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<v Speaker 2>year career. This was taped in mid twenty twenty during

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<v Speaker 2>those early days of the pandemic, so Team Supreme was

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<v Speaker 2>still learning to get along virtue. But the quality of

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<v Speaker 2>the conversation is amazing. I love this one.

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<v Speaker 3>I hope you enjoyed.

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<v Speaker 4>The Ladies and gentlemen Funk upon a Time and a

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<v Speaker 4>galaxy far away and the land of cheese steak Utopia. Well, well,

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<v Speaker 4>the five year old April head boy with dreams, aspirations

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<v Speaker 4>and power hour of creative abundance, and he wished upon

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<v Speaker 4>a star one day that this young and would utilize

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<v Speaker 4>his talents so that one day he could bug and

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<v Speaker 4>pester from the Jesus out of his musical idols who

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<v Speaker 4>raised him. And this is that moment. Ladies and gentlemen,

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<v Speaker 4>you know the show, and you know the crew. You

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<v Speaker 4>know Fonte. You know six Steve unpaid, Bill Laya. Let

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<v Speaker 4>us get into it. This is the moment I've been

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<v Speaker 4>waiting for all my life, my first real conversation with

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<v Speaker 4>God himself.

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<v Speaker 5>George Ship, Yes, yes, all of that, uh North Carolina building.

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<v Speaker 6>How that sounds like some ship I wanted to say

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<v Speaker 6>to Smokey Robinson and I was growing up. Man.

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<v Speaker 4>Now you know, I know, man, this is This is

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<v Speaker 4>a rare moment where you know, I have access to

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<v Speaker 4>somebody that has had major input on my all of

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<v Speaker 4>our creative juices, I mean all of us are everybody?

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<v Speaker 3>We all your sons?

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<v Speaker 6>Yea illegitimate?

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<v Speaker 4>All right. I'll try not to make it this like

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<v Speaker 4>it's your eulogy, but you know this is definitely Where

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<v Speaker 4>are you right now?

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<v Speaker 6>I'm at home. I'm in Tall, Florida. I'm sitting back

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<v Speaker 6>and kicking it, and I'm been painting and shit, I've

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<v Speaker 6>been chilling. This has been the RESTful part of my life.

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<v Speaker 4>Really good.

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<v Speaker 6>I ain't going nowhere.

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<v Speaker 4>Stay in that bubble wrap.

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<v Speaker 6>No, I'm cool.

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<v Speaker 4>Is this the first real rest that you you've gotten?

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<v Speaker 6>You know, since I was a teenager. I put it

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<v Speaker 6>like that, We've been on the road since we was

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<v Speaker 6>twenty two when Testifact came out, right, Okay, I had

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<v Speaker 6>never left the road since then. We lived on the

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<v Speaker 6>road and moved to city to city and you know,

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<v Speaker 6>raised kids, get married, moved country and c you know.

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<v Speaker 6>But this is probably the longest that we've been down

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<v Speaker 6>and not doing anything.

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<v Speaker 4>And you're not at all, are you?

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<v Speaker 6>Oh? Hell no, because I had to do it this time.

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<v Speaker 6>So I take it like, I don't stress myself. If

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<v Speaker 6>I can't do nothing about it, I do the best

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<v Speaker 6>I can and funk it. You know. I have a

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<v Speaker 6>good excuse to paint, and we make music now. I mean,

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<v Speaker 6>we were sending ship back and forth on nineteen studio

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<v Speaker 6>only about five miles from here. But I send this

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<v Speaker 6>ship down there in back. I don't even chance that ship.

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<v Speaker 6>But I don't know. I'm I have I go fishing.

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<v Speaker 4>Yeah, I was gonna say, I know you're big on fishing. Like,

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<v Speaker 4>are you doing a lot of that now?

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<v Speaker 6>Oh? Oh hell yeah, that's the only I sneak to

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<v Speaker 6>the boat, get on the boat, we mask up. But

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<v Speaker 6>I do a lot of that. Okay, I've been I've

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<v Speaker 6>been chilling for real, just and you know, luckily been

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<v Speaker 6>chilling that you know, ready for it this time, right,

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<v Speaker 6>because we got a lot of ship that's getting ready

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<v Speaker 6>to come out when this thing is go down. We

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<v Speaker 6>was working on some bad ship, you know, with the

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<v Speaker 6>group the kids, they was killing them. We was getting

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<v Speaker 6>ready to do some hell of ship. But it's good

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<v Speaker 6>because it gave us a chance to sit down and

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<v Speaker 6>get it together and do it properly.

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<v Speaker 4>That's good.

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<v Speaker 6>At the same time, you know, I just got a

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<v Speaker 6>lot of my catalog back, you know, yes, oh yeah,

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<v Speaker 6>I got it back. Now I'm going getting ready to

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<v Speaker 6>go through some things that publicize it. You're gonna see it.

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<v Speaker 6>Ben Crump is my lawyer, you know, civil rights part

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<v Speaker 6>of it.

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<v Speaker 4>Right right? What would this mean for funketeers everywhere? Like,

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<v Speaker 4>are we all?

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<v Speaker 6>I'm a matter of fact, I want everybody that has

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<v Speaker 6>worked with us that that's gotta be got a beef,

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<v Speaker 6>you know, the contact Sheila Jackson, Lee, we all we're

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<v Speaker 6>all doing together. She wants me to get all the

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<v Speaker 6>people that has a beef together so we can make

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<v Speaker 6>a one proper announcement. All those people get their copyrights back.

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<v Speaker 6>They can get them back right now. They you know,

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<v Speaker 6>recapture their copyrights. Said although this is this I'm telling

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<v Speaker 6>this is the civil rights. This is gonna be a

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<v Speaker 6>civil right. Yeah, like I said, yeah, how long is this? Well,

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<v Speaker 6>I've been I've been in the battle almost thirty years,

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<v Speaker 6>but I've been, you know, fighting to get it to

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<v Speaker 6>that level of you know, get it to where the Congress.

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<v Speaker 6>I was with John Kanye's he took it up for

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<v Speaker 6>a long time. You know, we couldn't get up the past.

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<v Speaker 6>But now every you know, it's the copyright capture thing

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<v Speaker 6>is over now. So I got a lot of min

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<v Speaker 6>in on time, and a lot of other people got

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<v Speaker 6>theirs in. They just don't know it, and they're not

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<v Speaker 6>telling and they're not telling them that they got it.

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<v Speaker 6>They trying to make them think that they have to

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<v Speaker 6>fight it something they don't have to fight. It's theirs now.

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<v Speaker 6>So we're gonna make a big announcement, especially everybody with us,

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<v Speaker 6>but not only us, a lot of people that work

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<v Speaker 6>with us, even the people that sample the music. They've

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<v Speaker 6>been in long enough now for some of their rights

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<v Speaker 6>to be coming back to them. Yeah, you know, Prince

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<v Speaker 6>Prince got his back, you know. So it's that it's

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<v Speaker 6>that time and this generational wealth. It's what it's about

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<v Speaker 6>you can't you can't pass it onto your airs if

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<v Speaker 6>they tie you up, which is what they're trying to do, right,

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<v Speaker 6>you know, trying to make it. There's a whole new

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<v Speaker 6>law thing going on that you know, you they tell

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<v Speaker 6>you just how they do it. And we got the help.

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<v Speaker 6>We got the writer report, the Child Jackson need to

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<v Speaker 6>explain all those things that needed done. So if you

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<v Speaker 6>know anybody that's stuff that's that's having a problem with

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<v Speaker 6>the copyright recapture, yeah, they should definitely get in touch

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<v Speaker 6>with Ben Crump and Child jacksually or myself.

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<v Speaker 4>Wow, So does this mean that for the first time

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<v Speaker 4>your post seventy six funk a deck delic catalog will

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<v Speaker 4>finally see the light of day, Like Yeah, Nomina One,

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<v Speaker 4>Nation on the Groove or Uncle Jim or Hardcore Jolly.

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<v Speaker 6>I got that album that masterback, Kneed Deep, I got

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<v Speaker 6>those back. I own those two. I was I was

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<v Speaker 6>hesitant to put them out till I got them all

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<v Speaker 6>off the market people that was putting them out illegally.

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<v Speaker 6>I had to clean it up first, So I got

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<v Speaker 6>I owned those been on those for a long time,

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<v Speaker 6>but lawyers was keeping me from getting to them. You know,

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<v Speaker 6>but I got those and especially need to be in

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<v Speaker 6>one nation. That's why you hear so much about Antomic Dog,

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<v Speaker 6>even your capital stuff. I got Atomic Dog, the computer game.

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<v Speaker 4>So loop Zilla all that stuff.

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<v Speaker 6>Yeah, so now we put all of them in. And

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<v Speaker 6>that's what we're making sure that that whole catalog recapture

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<v Speaker 6>thing is. You know, it's it's true for Elvin's president

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<v Speaker 6>and his family. It's true for John Lennon and his family,

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<v Speaker 6>So it need to be true for everybody that that

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<v Speaker 6>don't got nothing to do with race.

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<v Speaker 4>So what does this also mean for the westbound catalog?

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<v Speaker 6>Same thing?

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<v Speaker 3>Yeah, same thing. So is armand but lady and is

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<v Speaker 3>he still alive? Is he still alive?

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<v Speaker 6>He's still alive. He's still alive, and and all that.

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<v Speaker 6>That's all that's from a big issue. It's gonna be

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<v Speaker 6>a big issue because it's you read the book, the

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<v Speaker 6>book I put out, You read the Jane Peters thing

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<v Speaker 6>in the back.

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<v Speaker 4>That's you got to explain to the audience. Yeah, and

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<v Speaker 4>that's the thing recapture.

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<v Speaker 3>So I want to treat.

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<v Speaker 4>I'm gonna try to not ask such a your questions

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<v Speaker 4>because this is not just might be a book. So

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<v Speaker 4>I might have to break it down. Can you explain

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<v Speaker 4>to them the situation right now? I'm so elated that

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<v Speaker 4>that you own this stuff now, I know you've been

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<v Speaker 4>trying for the long.

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<v Speaker 6>Yeah, I had the book, the brother's video, like George,

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<v Speaker 6>ain't that phone count hard on? You know? That came

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<v Speaker 6>out and it was out for a while, and they

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<v Speaker 6>took me to court on that book. So I'm still

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<v Speaker 6>in court five years later for the book. Yeah, I

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<v Speaker 6>mean the thing was to kill that information, to kill

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<v Speaker 6>the information in that book. They said that the deformation

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<v Speaker 6>of the farm because I told everything that was he already

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<v Speaker 6>said himself, you know, in deposition. But yeah, they got

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<v Speaker 6>me in court right now. The main thing is to

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<v Speaker 6>keep it slowed down to where I can make no moves.

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<v Speaker 6>You know. Long. I've been in court for the last

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<v Speaker 6>fifteen years with my lawyers and and him and Armor

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<v Speaker 6>and the major record companies. So all of that's coming

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<v Speaker 6>to a head now because they're gonna investigate the whole

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<v Speaker 6>copyright recapture. We got our back, but we need everybody

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<v Speaker 6>to get out of the way to let us make

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<v Speaker 6>those collections because it's still hard to collect from the

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<v Speaker 6>different societies. If you know, if you ain't got your

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<v Speaker 6>powerful set of people behind you and lawyers. You know,

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<v Speaker 6>that's pretty hard for them because they got to be

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<v Speaker 6>in business. They got business with the companies, so they

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<v Speaker 6>mess up their business trying to protect you, especially a

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<v Speaker 6>catalog as big as ours. There's a lot nobody don't

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<v Speaker 6>nobody want to get at us. But they've been stealing

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<v Speaker 6>with that, you know, But they'll go down fighting. That's

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<v Speaker 6>a lot of you're talking about a lot of years,

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<v Speaker 6>a lot of careers of people that sample those songs,

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<v Speaker 6>use those songs, license those songs that we never not

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<v Speaker 6>only myself, but none of the band members. You hear

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<v Speaker 6>them all something. No, they didn't get money. I agree

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<v Speaker 6>with them, they didn't get it.

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<v Speaker 3>So I'm sorry, just for claborication.

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<v Speaker 7>You're saying that you guys never received anything from any

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<v Speaker 7>of these songs until.

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<v Speaker 6>No, No, I ain't gonna say never receive anything. I'm

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<v Speaker 6>talking about that sampling and that license, and no we don't.

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<v Speaker 6>We're not. We don't be participating in that at all.

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<v Speaker 6>You know, we got Atomic Dog recently in that three years. Okay,

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<v Speaker 6>but no, no, the money. Even since I got it,

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<v Speaker 6>I've been fighting my own lawyers to get the money

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<v Speaker 6>that's owed to me for it. The main thing was

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<v Speaker 6>to get it out of my possession right and you know,

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<v Speaker 6>and they did that for a long while. But I

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<v Speaker 6>thought it, I got it. I got it back, paid

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<v Speaker 6>four million dollars to my own lawyer. You know, take that,

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<v Speaker 6>pay got it back.

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<v Speaker 4>Just to clarify it, what I was going to say

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<v Speaker 4>is probably the most endearing thing about your personality is

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<v Speaker 4>the fact and your business acumen was the fact that

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<v Speaker 4>you were so open to working with rappers because unlike

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<v Speaker 4>your counterpart, and I use this word lightly, of course,

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<v Speaker 4>you know, people consider the pillars of soul music and funk,

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<v Speaker 4>you and James Brown. James Brown's attitude towards it was well,

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<v Speaker 4>I hate samplers, sampling, you know, rapper sampling my music

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<v Speaker 4>and all that stuff, but really not seeing that that's

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<v Speaker 4>going to just bring it back and make it. And

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<v Speaker 4>you called it early in an interview, like even in

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<v Speaker 4>the mid eighties that no, I like, they asked you, like,

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<v Speaker 4>what do you think about you know, day lost soul

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<v Speaker 4>taking you know, needy for me myself and I and

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<v Speaker 4>you were so open to it. You're like, that's great

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<v Speaker 4>because what it will do is it will lead a

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<v Speaker 4>whole flock of people to my music and to my

0:12:52.760 --> 0:12:55.319
<v Speaker 4>concerts and whatnot, Like you saw the vision of it.

0:12:55.800 --> 0:13:00.440
<v Speaker 4>So it's not that you're anti sampling and reached structuring

0:13:00.480 --> 0:13:02.199
<v Speaker 4>the music, but the fact.

0:13:01.960 --> 0:13:03.040
<v Speaker 3>That pave me my money.

0:13:03.360 --> 0:13:04.720
<v Speaker 4>Yeah, so many people have.

0:13:07.440 --> 0:13:12.880
<v Speaker 6>To you know, right part of it, the sampling part

0:13:12.920 --> 0:13:16.160
<v Speaker 6>of it, I welcome. I welcomed the sampling part of it.

0:13:16.559 --> 0:13:19.560
<v Speaker 6>You know, they got them too. Most of them didn't

0:13:19.559 --> 0:13:20.320
<v Speaker 6>get paid either.

0:13:21.360 --> 0:13:26.760
<v Speaker 4>I've gotten bit by armored a few times almost.

0:13:26.760 --> 0:13:29.240
<v Speaker 6>And we never got anything that and he was doing

0:13:29.280 --> 0:13:33.560
<v Speaker 6>that on behind of us. He's supposedly we never got

0:13:33.600 --> 0:13:37.120
<v Speaker 6>any of it, got any of it. So now that's

0:13:37.160 --> 0:13:41.079
<v Speaker 6>what's happening. And now that's getting meant to be open

0:13:41.200 --> 0:13:44.280
<v Speaker 6>up and everybody will be able to see that nobody

0:13:44.280 --> 0:13:47.120
<v Speaker 6>in the band got their money or the other artists

0:13:47.120 --> 0:13:50.280
<v Speaker 6>that had you know, all the companies band together on

0:13:50.320 --> 0:13:53.840
<v Speaker 6>those sampling because nobody wanted to acknowledge it. So now

0:13:53.920 --> 0:13:55.640
<v Speaker 6>it's going to come out because we didn't fade the wait,

0:13:55.760 --> 0:13:57.800
<v Speaker 6>we didn't die all. We're supposed to be out of

0:13:57.840 --> 0:14:00.880
<v Speaker 6>here by now. But we said one nation and the group.

0:14:00.960 --> 0:14:03.560
<v Speaker 6>We meant that we uncle Jim's Army. We was on

0:14:03.640 --> 0:14:07.079
<v Speaker 6>the March then, and the clones with the sampling, to

0:14:07.160 --> 0:14:09.679
<v Speaker 6>me was just the clones. You have to have DNA

0:14:09.880 --> 0:14:13.240
<v Speaker 6>clones to make something new. That's what making the music.

0:14:13.240 --> 0:14:16.400
<v Speaker 6>When we said clones of Dr Funkenstein, we meant that

0:14:16.400 --> 0:14:19.960
<v Speaker 6>that far back we knew it wasn't gonna be music

0:14:20.040 --> 0:14:25.120
<v Speaker 6>on television. How they sell those k tail packages that

0:14:25.360 --> 0:14:27.120
<v Speaker 6>you didn't have to worry about that, no more, nobody

0:14:27.120 --> 0:14:30.200
<v Speaker 6>got paid for that. The new thing was gonna be samples.

0:14:30.520 --> 0:14:32.040
<v Speaker 6>And they didn't know how far they were gonna get

0:14:32.080 --> 0:14:34.400
<v Speaker 6>away with it. Not the artists that do. A Kid's

0:14:34.440 --> 0:14:37.600
<v Speaker 6>gonna make music whatever way they can, whatever new way

0:14:37.600 --> 0:14:40.200
<v Speaker 6>they have to, they gonna make music. And I'm welcome that.

0:14:40.640 --> 0:14:42.760
<v Speaker 6>I just have to learn how to participate, how to

0:14:42.800 --> 0:14:46.760
<v Speaker 6>hang in there. But the business people around that used

0:14:46.840 --> 0:14:49.920
<v Speaker 6>us against each other. You know that he don't want

0:14:49.960 --> 0:14:53.720
<v Speaker 6>you to sample it, he charging you. Most artists wouldn't

0:14:53.720 --> 0:14:55.520
<v Speaker 6>even talk to me. They were scared to talk to

0:14:55.560 --> 0:14:58.280
<v Speaker 6>me because they thought I was mad about the samples.

0:14:58.680 --> 0:15:04.200
<v Speaker 6>They told them, you know, and and I'm assuming you

0:15:04.240 --> 0:15:07.120
<v Speaker 6>so everybody knew that. But like I said, it's coming

0:15:07.400 --> 0:15:11.720
<v Speaker 6>out now, and yeah, and they sued me for the book.

0:15:12.360 --> 0:15:15.640
<v Speaker 6>In the book, you know, I'm the last one in

0:15:15.720 --> 0:15:18.640
<v Speaker 6>five years. Everybody else they got sued with me got off,

0:15:18.680 --> 0:15:21.880
<v Speaker 6>and I'm still there, you know, hoping I would go away.

0:15:22.280 --> 0:15:25.640
<v Speaker 6>That's what I did, Shake Shake the Gate and Medicaid

0:15:25.640 --> 0:15:30.000
<v Speaker 6>Fraud Dog. I did those two albums just to reignite

0:15:30.560 --> 0:15:34.120
<v Speaker 6>my energy, you know, to start to get the kids

0:15:34.200 --> 0:15:37.680
<v Speaker 6>going and the and that's how I inspired I was.

0:15:38.120 --> 0:15:40.640
<v Speaker 6>Once I got the book out, I'm ready to make

0:15:40.720 --> 0:15:44.600
<v Speaker 6>brand new music with whatever we're going from here. This

0:15:44.640 --> 0:15:46.280
<v Speaker 6>is a new generation.

0:15:46.280 --> 0:15:49.480
<v Speaker 4>You know. I'm glad you mentioned that. Normally I start

0:15:49.520 --> 0:15:52.120
<v Speaker 4>from the beginning, but I think for this particular one,

0:15:52.160 --> 0:15:57.320
<v Speaker 4>I kind of wanted to start go backwards. Definitely, the

0:15:57.840 --> 0:16:02.360
<v Speaker 4>Medicaid Fraud Dog project. Can you, for one, what is

0:16:02.400 --> 0:16:11.120
<v Speaker 4>your obsession or what is the the ideology behind dogs

0:16:09.520 --> 0:16:15.520
<v Speaker 4>in the metaphor your metaphors for everything. But because that

0:16:15.640 --> 0:16:21.760
<v Speaker 4>album in particular is such a clever outlet, like political

0:16:21.760 --> 0:16:26.480
<v Speaker 4>commentary but using dogs as your main characters, what what

0:16:26.560 --> 0:16:28.600
<v Speaker 4>was the genesis of that album?

0:16:28.640 --> 0:16:33.120
<v Speaker 6>I did called Dope Dogs right, Yes, indeed, okay, Dope Dogs.

0:16:33.200 --> 0:16:36.560
<v Speaker 6>I have a whole story for that that I wanted

0:16:36.560 --> 0:16:39.600
<v Speaker 6>to do cartoons, animation and everything, but I never would

0:16:39.600 --> 0:16:41.920
<v Speaker 6>give it to anybody because I have all the characters,

0:16:42.240 --> 0:16:44.520
<v Speaker 6>and so I tried to do as many you know,

0:16:44.680 --> 0:16:48.960
<v Speaker 6>dog related songs just to keep that concept alive. So

0:16:49.120 --> 0:16:52.160
<v Speaker 6>I use it in Medicaid Fraud dog because it was

0:16:53.000 --> 0:16:56.400
<v Speaker 6>based on laboratory studies on dogs, when they used to

0:16:56.560 --> 0:16:59.960
<v Speaker 6>do studies on dogs for perfumes and ship like that.

0:17:00.040 --> 0:17:02.480
<v Speaker 6>That member, that's when the dope dogs come from. Not

0:17:02.560 --> 0:17:05.520
<v Speaker 6>only the drug dogs, but this time the dogs were

0:17:05.560 --> 0:17:12.119
<v Speaker 6>sniffing out the political bullshit in the in the Obamacare,

0:17:12.440 --> 0:17:14.760
<v Speaker 6>you know, all the different names they want to call it.

0:17:15.080 --> 0:17:19.440
<v Speaker 6>On the political drug scene, everything is about dope. Everything's

0:17:19.480 --> 0:17:22.280
<v Speaker 6>about drugs. The whole world is talking about how they're

0:17:22.280 --> 0:17:25.520
<v Speaker 6>gonna get their medicaid, okay, and so that whole thing.

0:17:25.840 --> 0:17:29.159
<v Speaker 6>The dogs are sniffing out that information, and most of

0:17:29.240 --> 0:17:33.480
<v Speaker 6>us are being hooked on stuff on medicine and create

0:17:33.640 --> 0:17:36.840
<v Speaker 6>new diseases with the drugs they give us. They given

0:17:36.840 --> 0:17:39.160
<v Speaker 6>the certain drugs and those drugs to give you side effects,

0:17:39.240 --> 0:17:43.919
<v Speaker 6>which to be a whole new flock of patience. Okay,

0:17:43.960 --> 0:17:49.160
<v Speaker 6>now they do. That's what I'm saying, And it's designer,

0:17:49.800 --> 0:17:54.000
<v Speaker 6>designer side effects, like designer drugs. That's the era we

0:17:54.040 --> 0:17:57.399
<v Speaker 6>live in now, where we evolve into some you know,

0:17:57.440 --> 0:18:01.280
<v Speaker 6>between robots, androids, human and that shit's gonna be a

0:18:01.280 --> 0:18:05.159
<v Speaker 6>blurred line in a minute, you know, it's you know

0:18:05.320 --> 0:18:09.000
<v Speaker 6>and wait, So the dog is take a dog to

0:18:09.040 --> 0:18:12.120
<v Speaker 6>sniff that out. The instincts of a dog is primal.

0:18:13.000 --> 0:18:16.440
<v Speaker 6>You know, whether this maiden or whether it's sniffing out

0:18:16.720 --> 0:18:22.760
<v Speaker 6>whatever you're training to sniff out, learn it. And if

0:18:22.800 --> 0:18:25.760
<v Speaker 6>he's sniffing out the drugs, you get high from sniffing

0:18:25.840 --> 0:18:29.239
<v Speaker 6>on drugs. So the dog's gonna have it, so they

0:18:29.280 --> 0:18:33.119
<v Speaker 6>have to. You know, the dogs are doped up. So

0:18:33.240 --> 0:18:35.920
<v Speaker 6>these are the dogs, the characters. I got this dope dog.

0:18:36.440 --> 0:18:39.840
<v Speaker 6>They all got their own relationship to drugs, whether it's

0:18:39.840 --> 0:18:42.920
<v Speaker 6>a police dog or whether it's a dope dealer who

0:18:43.000 --> 0:18:45.480
<v Speaker 6>like to make their dogs fight. And the dog and

0:18:45.520 --> 0:18:47.879
<v Speaker 6>the dogs are like, shit, you don't you used to

0:18:47.880 --> 0:18:49.600
<v Speaker 6>give me a reward, you know, used to give me

0:18:49.640 --> 0:18:53.640
<v Speaker 6>a joy, true sniff a treat. You know, that's how

0:18:53.640 --> 0:18:57.000
<v Speaker 6>they how they train the dogs so that they don't

0:18:57.000 --> 0:18:59.720
<v Speaker 6>even want to get a dog no treat. You know,

0:19:00.400 --> 0:19:04.320
<v Speaker 6>these dogs get together and they got their own like

0:19:04.480 --> 0:19:07.920
<v Speaker 6>you know, remember the Ninja Turtles. These dogs are like that,

0:19:08.520 --> 0:19:12.320
<v Speaker 6>you know, kind of like who Tang clan, you know.

0:19:13.840 --> 0:19:16.960
<v Speaker 6>And they they got a thing on drugs. They don't,

0:19:17.720 --> 0:19:21.480
<v Speaker 6>you know, they impartial to the political book, you know, discrepancy.

0:19:22.160 --> 0:19:26.159
<v Speaker 6>They just deal with drugs. So that's my part, My

0:19:26.240 --> 0:19:29.200
<v Speaker 6>partiality to sucking with dogs and drugs.

0:19:31.080 --> 0:19:31.520
<v Speaker 3>Makes sense.

0:19:31.560 --> 0:19:33.280
<v Speaker 6>Now we can't hear the news.

0:19:33.359 --> 0:19:35.720
<v Speaker 4>You know, got more dogs for us.

0:19:36.320 --> 0:19:38.760
<v Speaker 6>I got one that's coming I got one that's coming out.

0:19:38.800 --> 0:19:45.119
<v Speaker 6>That's that's gonna hurt you. Oh man, oh yeah, who dogs?

0:19:46.440 --> 0:19:48.240
<v Speaker 6>You know it's gonna be they're gonna be stepping on it.

0:19:48.520 --> 0:19:51.560
<v Speaker 6>You know how they be doing dancing to Atomic Dog. Yeah,

0:19:51.920 --> 0:19:56.000
<v Speaker 6>they're gonna stop. They're gonna stepping on this. They're gonna

0:19:56.000 --> 0:19:58.920
<v Speaker 6>be stepping up. They're gonna be stepping up this and there.

0:20:00.640 --> 0:20:04.320
<v Speaker 6>I dare your booty not to move your but your butt,

0:20:04.760 --> 0:20:05.960
<v Speaker 6>your butt to betray you.

0:20:07.359 --> 0:20:09.960
<v Speaker 3>I when that happened, I love it, you know what

0:20:09.960 --> 0:20:10.320
<v Speaker 3>I'm saying.

0:20:11.119 --> 0:20:13.320
<v Speaker 6>From when she shaked by itself and you ain't got

0:20:13.400 --> 0:20:14.640
<v Speaker 6>nothing in voluntary?

0:20:17.480 --> 0:20:22.399
<v Speaker 4>Yeah, can How long did it take to make the

0:20:23.800 --> 0:20:28.919
<v Speaker 4>Medicaid Fraud Dog album? You know I I thirty eight

0:20:29.040 --> 0:20:31.840
<v Speaker 4>years but since the last Parliament record, but.

0:20:32.880 --> 0:20:36.960
<v Speaker 6>Well between that would shake the gate and that it

0:20:37.080 --> 0:20:40.760
<v Speaker 6>took about three years, you know. But I had a

0:20:40.840 --> 0:20:42.520
<v Speaker 6>couple of songs that I was hold on to the

0:20:42.760 --> 0:20:45.800
<v Speaker 6>I've done maybe five or six years ago. Then I

0:20:45.960 --> 0:20:48.479
<v Speaker 6>just kept them, kept them until I got them right.

0:20:48.560 --> 0:20:51.760
<v Speaker 6>I did them a thousand different ways, but medicaid fraud.

0:20:52.520 --> 0:20:54.960
<v Speaker 6>When I got the concept together, I got Fred Wesley

0:20:55.080 --> 0:20:58.960
<v Speaker 6>down there, I got you know, Chris Days. You know,

0:20:59.040 --> 0:21:02.400
<v Speaker 6>I knew the people that I needed for that outside

0:21:02.560 --> 0:21:07.199
<v Speaker 6>flavor to what we were doing now. And we were

0:21:07.280 --> 0:21:10.560
<v Speaker 6>sampling our own self, but now we're learned. Everybody else

0:21:10.640 --> 0:21:13.880
<v Speaker 6>was sampling, and then everybody got scared to sample anymore,

0:21:14.200 --> 0:21:15.680
<v Speaker 6>so we started sampling that self.

0:21:16.240 --> 0:21:18.520
<v Speaker 4>You're I think you're your best sample source.

0:21:18.880 --> 0:21:22.000
<v Speaker 6>So that's only right, but you know, it's still is

0:21:22.119 --> 0:21:24.040
<v Speaker 6>it's an art form to picking that shit out.

0:21:29.119 --> 0:21:35.480
<v Speaker 4>How many reels do you reckon of just unused source

0:21:35.600 --> 0:21:36.920
<v Speaker 4>material do you have?

0:21:37.640 --> 0:21:38.600
<v Speaker 3>And can we have them?

0:21:38.920 --> 0:21:39.120
<v Speaker 4>Yeah?

0:21:41.040 --> 0:21:43.040
<v Speaker 6>Because for me, for me.

0:21:44.080 --> 0:21:48.639
<v Speaker 4>Like my all time favorite p funk song is new Spaceship,

0:21:49.240 --> 0:21:53.359
<v Speaker 4>a song which musically is created twenty years before you

0:21:53.480 --> 0:21:57.600
<v Speaker 4>even completed it in ninety seven, So how many other

0:21:58.640 --> 0:22:01.720
<v Speaker 4>like uncooked is do you have just sitting in the

0:22:01.840 --> 0:22:05.240
<v Speaker 4>vault that could come out today and still work. Have

0:22:05.359 --> 0:22:05.720
<v Speaker 4>you heard?

0:22:05.920 --> 0:22:08.320
<v Speaker 6>Have you heard the sample some of this and sampled

0:22:08.359 --> 0:22:09.399
<v Speaker 6>some of that? All right?

0:22:09.720 --> 0:22:12.960
<v Speaker 4>I have a slight confessional, yes, so check this out.

0:22:13.920 --> 0:22:17.200
<v Speaker 4>I purchased sample some of this, sample some of that.

0:22:18.119 --> 0:22:22.359
<v Speaker 4>Never opened it because I think in my mind, I

0:22:22.440 --> 0:22:26.399
<v Speaker 4>always thought, well, this probably throwaway stuff. And you know,

0:22:27.280 --> 0:22:29.520
<v Speaker 4>I'm sure that all the prime P funk stuff is

0:22:29.600 --> 0:22:33.200
<v Speaker 4>on actual P funk records. And so it wasn't until

0:22:33.440 --> 0:22:37.359
<v Speaker 4>I talked to DJ Premiere. This is about four or

0:22:37.400 --> 0:22:41.720
<v Speaker 4>five years ago, and I asked him a question about

0:22:42.160 --> 0:22:45.920
<v Speaker 4>a sample. It was a NA sample and he says, oh, yeah,

0:22:46.040 --> 0:22:50.080
<v Speaker 4>these drums I got because my favorite premiere sounding drums.

0:22:50.160 --> 0:22:52.000
<v Speaker 4>I asked like, where do you get these drums from?

0:22:52.720 --> 0:22:54.760
<v Speaker 4>And he said, the George Clinton sampled some of this,

0:22:54.920 --> 0:22:59.000
<v Speaker 4>some of that PET like, so NAS's represent drums come

0:22:59.040 --> 0:23:02.720
<v Speaker 4>from that practice. All of the Hard to Earn album,

0:23:03.760 --> 0:23:07.480
<v Speaker 4>the drums come from that. Some of Jaybrew's second album,

0:23:07.960 --> 0:23:12.160
<v Speaker 4>The Wrath of the Math mind Blown. And then when

0:23:12.200 --> 0:23:14.439
<v Speaker 4>I went to it, I wanted to kick myself because

0:23:14.600 --> 0:23:18.800
<v Speaker 4>like it took me fifteen sixteen years to open up

0:23:18.880 --> 0:23:23.119
<v Speaker 4>this record. If I just had the patience and just

0:23:23.359 --> 0:23:26.000
<v Speaker 4>sat down and listened to it, I could have been

0:23:26.000 --> 0:23:26.840
<v Speaker 4>ahead of the game.

0:23:27.359 --> 0:23:30.520
<v Speaker 6>But you know, Eric Sermon used to use it of

0:23:30.680 --> 0:23:33.840
<v Speaker 6>that too. Yes, I gave I gave. I gave him

0:23:33.880 --> 0:23:37.560
<v Speaker 6>a copy of it down at Gallous Austin studio, and

0:23:38.280 --> 0:23:40.520
<v Speaker 6>most people, like you said you said, they didn't open

0:23:40.520 --> 0:23:42.680
<v Speaker 6>because people like, if you give it to them, then

0:23:42.760 --> 0:23:45.560
<v Speaker 6>it's not interesting that they could find it. So it

0:23:45.640 --> 0:23:47.960
<v Speaker 6>took a lot of people a long time to even

0:23:48.200 --> 0:23:51.320
<v Speaker 6>look at it because we were saying here, Now, what

0:23:51.400 --> 0:23:54.200
<v Speaker 6>I was saying about that album is that most of

0:23:54.200 --> 0:23:56.800
<v Speaker 6>where those samples came from, we have the whole tracks

0:23:56.880 --> 0:24:00.639
<v Speaker 6>to those songs. Those are songs came out in the

0:24:00.720 --> 0:24:03.840
<v Speaker 6>Family Series, but a lot of the them came out

0:24:03.880 --> 0:24:07.120
<v Speaker 6>at all. So those that's what A lot of those

0:24:07.160 --> 0:24:10.320
<v Speaker 6>samples came from. The songs that were released, you know,

0:24:11.000 --> 0:24:13.000
<v Speaker 6>except for maybe some of the film was in the

0:24:14.240 --> 0:24:16.160
<v Speaker 6>Family Series, which a lot of people don't know about

0:24:16.200 --> 0:24:16.840
<v Speaker 6>those Easterns.

0:24:17.320 --> 0:24:20.560
<v Speaker 4>Well, I was gonna say, even with the Family Series. Okay,

0:24:20.720 --> 0:24:24.080
<v Speaker 4>so there are some captain obvious questions. I'm gonna ask

0:24:24.119 --> 0:24:30.000
<v Speaker 4>you the Junior Marrison song on that family series Super Spirit,

0:24:30.680 --> 0:24:36.040
<v Speaker 4>Super Spirit. I think that's the most eccentric creative moment,

0:24:36.880 --> 0:24:40.600
<v Speaker 4>and in a life that was always eccentric. Can you

0:24:40.760 --> 0:24:46.720
<v Speaker 4>talk about Juni Morrison and how like, what's his what's

0:24:46.760 --> 0:24:49.399
<v Speaker 4>the process of his creativity? At least how did you?

0:24:49.520 --> 0:24:51.200
<v Speaker 4>My god, how did you utilize it?

0:24:52.040 --> 0:24:55.320
<v Speaker 6>Me and him, we did like person myself, I do

0:24:55.440 --> 0:24:57.760
<v Speaker 6>my part and do you you do your party and

0:24:57.840 --> 0:25:01.360
<v Speaker 6>say it back. We didn't question the Whatever I did

0:25:01.480 --> 0:25:05.159
<v Speaker 6>was lokay. Whatever he did, I knew. I just had

0:25:05.200 --> 0:25:07.680
<v Speaker 6>to figure out what my part was, and that's to me.

0:25:08.640 --> 0:25:10.920
<v Speaker 6>We started to do and it's a song on that

0:25:11.480 --> 0:25:16.800
<v Speaker 6>Famihi's called Tryune Yes. Yeah, that's when we actually was

0:25:16.920 --> 0:25:20.960
<v Speaker 6>getting ready to actually come up with a concept. He

0:25:21.080 --> 0:25:23.600
<v Speaker 6>thought I was weird and I thought he was weird.

0:25:24.080 --> 0:25:27.440
<v Speaker 6>So we got along really good on the weirdness part

0:25:27.520 --> 0:25:32.680
<v Speaker 6>of it. And we couldn't get quite together, you know,

0:25:32.800 --> 0:25:35.240
<v Speaker 6>because of the political stuff that was going on around

0:25:35.320 --> 0:25:39.760
<v Speaker 6>us that we had no idea who was actually being orchestrated,

0:25:40.240 --> 0:25:43.240
<v Speaker 6>you know, And that's a whole other story that we

0:25:43.320 --> 0:25:46.720
<v Speaker 6>could talk about later. But we could never get together

0:25:47.240 --> 0:25:50.040
<v Speaker 6>even when we was doing computer games I was, you know,

0:25:50.320 --> 0:25:51.840
<v Speaker 6>of course the you know at the time I was

0:25:52.359 --> 0:25:55.639
<v Speaker 6>into my drug thing. But I always commnaged to figure

0:25:55.640 --> 0:25:58.240
<v Speaker 6>a way the work, to get the work done. But

0:25:58.600 --> 0:26:01.520
<v Speaker 6>you can't get the work done and watch people that's

0:26:02.320 --> 0:26:05.240
<v Speaker 6>you know, intentionally trying to keep you from getting the

0:26:05.280 --> 0:26:08.600
<v Speaker 6>work done. That's a little more than you're bargaining from

0:26:08.640 --> 0:26:11.560
<v Speaker 6>what you say. I'm getting sucked up. You don't realize

0:26:11.560 --> 0:26:15.240
<v Speaker 6>when you get fucked up, you fuck up everything. You know,

0:26:15.400 --> 0:26:18.120
<v Speaker 6>everything around you get fucked up. You know, it takes

0:26:18.160 --> 0:26:20.440
<v Speaker 6>you a minute to grow up, if you know, to

0:26:20.600 --> 0:26:22.520
<v Speaker 6>get out of that, if you unless you can wigre

0:26:22.600 --> 0:26:26.680
<v Speaker 6>your ass out of it. Before the duo, but that's

0:26:26.720 --> 0:26:29.480
<v Speaker 6>what the Junie and I had a lot of stuff

0:26:29.560 --> 0:26:33.520
<v Speaker 6>we was was gonna do and even like a medicaid fronto.

0:26:34.119 --> 0:26:36.040
<v Speaker 6>I had to call him get him out of retirement.

0:26:37.160 --> 0:26:39.800
<v Speaker 6>You know, you know he's going trying to do nothing.

0:26:39.880 --> 0:26:42.480
<v Speaker 6>He was doing some electronic music, but he wasn't trying

0:26:42.520 --> 0:26:45.680
<v Speaker 6>to deal with the business. But I got in the

0:26:45.760 --> 0:26:49.760
<v Speaker 6>same thing when we did, when we did the pour

0:26:49.800 --> 0:26:54.960
<v Speaker 6>a phone, got got Booty and him the you know

0:26:55.080 --> 0:26:58.960
<v Speaker 6>the summer swim, the some some swim song. I know

0:26:59.040 --> 0:27:01.440
<v Speaker 6>every time I do a song with him, it's gonna

0:27:01.440 --> 0:27:07.800
<v Speaker 6>be a level of cleverness and real and you know, intentional.

0:27:08.160 --> 0:27:10.760
<v Speaker 6>He know what he's doing. He can do what he wanted,

0:27:10.840 --> 0:27:12.720
<v Speaker 6>you know, he do what he wants to do. Once

0:27:12.760 --> 0:27:15.879
<v Speaker 6>he analyzed what era w in, that's all we have

0:27:15.960 --> 0:27:18.720
<v Speaker 6>to think about, is what era is this? It's not

0:27:18.960 --> 0:27:21.800
<v Speaker 6>our old days. It's knew whether they doing that, what

0:27:22.080 --> 0:27:25.639
<v Speaker 6>is the feel? He analyzed it like that, and he

0:27:25.760 --> 0:27:28.080
<v Speaker 6>used to come up with the arranger whatever the kids,

0:27:28.520 --> 0:27:30.840
<v Speaker 6>and we would relate to kids. I think I said

0:27:30.880 --> 0:27:33.960
<v Speaker 6>that before. I always try to relate to nine, ten, eleven,

0:27:34.040 --> 0:27:37.000
<v Speaker 6>and twelve. Then the ones you got bubble gum, they

0:27:37.040 --> 0:27:40.040
<v Speaker 6>get on your nerve everything they think about. But if

0:27:40.119 --> 0:27:44.159
<v Speaker 6>you notice, that's the music that always comes back, the

0:27:44.320 --> 0:27:47.479
<v Speaker 6>music that gets on your nerve that you know, how

0:27:47.520 --> 0:27:49.399
<v Speaker 6>could they get away with this? That's the way it was.

0:27:49.480 --> 0:27:52.879
<v Speaker 6>When we came out with powerful, powerful, power, powerful, What

0:27:53.000 --> 0:27:56.160
<v Speaker 6>the hell are y'all talking about? That was due same

0:27:56.240 --> 0:28:00.440
<v Speaker 6>thing come along, you know, kids, take get back to

0:28:00.520 --> 0:28:03.920
<v Speaker 6>elementary and it meant to get on your nerve, to

0:28:03.960 --> 0:28:06.720
<v Speaker 6>get your os out of the way. But if you

0:28:07.280 --> 0:28:11.920
<v Speaker 6>pay attention to him, how danced with you? As I can,

0:28:12.400 --> 0:28:14.800
<v Speaker 6>but otherwise I'm gonna recognize it and try to hang

0:28:15.400 --> 0:28:18.080
<v Speaker 6>at least paying attention to what they do. I can

0:28:18.160 --> 0:28:23.600
<v Speaker 6>spot a young artist even knowing anything about it. I

0:28:23.720 --> 0:28:27.200
<v Speaker 6>would have bet my life on let's say, Rihanna.

0:28:26.880 --> 0:28:27.720
<v Speaker 4>With S O S.

0:28:29.200 --> 0:28:32.960
<v Speaker 6>Cardi B as soon as I heard her. There's certain

0:28:33.040 --> 0:28:35.840
<v Speaker 6>type of styles that's meant to provoke him. But certain

0:28:35.880 --> 0:28:39.440
<v Speaker 6>people have an artistic thing about it. Certain people can

0:28:39.520 --> 0:28:43.720
<v Speaker 6>take like Frank Zapfler, he could do he could go

0:28:43.880 --> 0:28:47.440
<v Speaker 6>all the way out with but he was intelligent as

0:28:47.560 --> 0:28:50.600
<v Speaker 6>hell with what he was doing. And he wasn't even

0:28:50.680 --> 0:28:55.880
<v Speaker 6>doing drugs. That's that's really out there.

0:28:56.720 --> 0:29:00.760
<v Speaker 4>Was that always your theory because a lot of I'll

0:29:00.760 --> 0:29:05.400
<v Speaker 4>say that, a lot of the themes of your initial

0:29:05.720 --> 0:29:10.760
<v Speaker 4>wave of Funkadelic a p funk word ice yeah, laced

0:29:10.840 --> 0:29:13.160
<v Speaker 4>in the nursery rhymes and limericks. Yeah.

0:29:13.880 --> 0:29:18.640
<v Speaker 6>And me and Bernie Bernie myself only throw the cartoons

0:29:19.360 --> 0:29:24.760
<v Speaker 6>was you know, cartoon used classical music, Okay, you know,

0:29:25.200 --> 0:29:27.840
<v Speaker 6>so Bernie could play anything he wanted to play in them,

0:29:28.160 --> 0:29:31.720
<v Speaker 6>and at the height of it, how intense and intellectual

0:29:31.720 --> 0:29:33.800
<v Speaker 6>would get, he could still play Mary have a little

0:29:33.880 --> 0:29:34.480
<v Speaker 6>lamb in there.

0:29:35.280 --> 0:29:35.760
<v Speaker 4>He didn't that.

0:29:35.880 --> 0:29:38.640
<v Speaker 6>That's how comfortable he was, you know, and the jazz

0:29:38.760 --> 0:29:41.960
<v Speaker 6>thing he had his time was impeccable. He was just

0:29:42.080 --> 0:29:44.400
<v Speaker 6>free to do what he wanted to do. And at

0:29:44.480 --> 0:29:48.400
<v Speaker 6>the same time we had Eddie Hazel and Billy Bass

0:29:48.680 --> 0:29:52.360
<v Speaker 6>who was probably the Funkys Roys kids, and then Gary

0:29:52.400 --> 0:29:55.479
<v Speaker 6>Side later on. They even church kids. They all went

0:29:55.560 --> 0:29:59.400
<v Speaker 6>the church together, you know, Glenn going. The whole neighborhood

0:29:59.880 --> 0:30:02.840
<v Speaker 6>was and they was on fourteen and fifteen when I

0:30:02.960 --> 0:30:05.320
<v Speaker 6>met him, I had a barbers shop. They hung out

0:30:05.320 --> 0:30:09.760
<v Speaker 6>and bought Billy his first guitar. Eddie is Eddie had

0:30:09.800 --> 0:30:13.280
<v Speaker 6>the guitar, but I both Billy his person. Okay, really,

0:30:13.400 --> 0:30:17.240
<v Speaker 6>so you brought Eddie Hazel his first guitar, not Eddie's first.

0:30:17.560 --> 0:30:20.680
<v Speaker 6>Eddie had one the Big Gipson had the Big Gibson,

0:30:20.760 --> 0:30:23.160
<v Speaker 6>but he was like fifteen years old. I bought him

0:30:23.200 --> 0:30:25.880
<v Speaker 6>his first rock and roll and he played the Big Gibson.

0:30:25.520 --> 0:30:28.120
<v Speaker 4>For a long time really, but when he.

0:30:28.160 --> 0:30:30.720
<v Speaker 6>Got to the studio, you know, yeah, I had to

0:30:30.760 --> 0:30:33.160
<v Speaker 6>get him all because we didn't know we we played

0:30:33.200 --> 0:30:36.840
<v Speaker 6>with the Vanilla Fudge and they had the Damps and

0:30:38.400 --> 0:30:40.600
<v Speaker 6>they let us choose that ship and we heard what

0:30:40.720 --> 0:30:43.600
<v Speaker 6>we sounded like. We went back to Mannies in New

0:30:43.680 --> 0:30:47.280
<v Speaker 6>York and bought everything that We spent all the money

0:30:47.320 --> 0:30:50.760
<v Speaker 6>we had and got the loudest We was the loudest

0:30:51.360 --> 0:30:54.000
<v Speaker 6>member of the band in all of the East Coast.

0:30:54.800 --> 0:30:58.000
<v Speaker 5>I mean we Oh, I was I wanted to ask

0:30:58.040 --> 0:31:01.240
<v Speaker 5>you had mentioned him in passing Glenn Goings. He was

0:31:01.360 --> 0:31:05.600
<v Speaker 5>like my favorite singer out of the coming amazing and

0:31:05.720 --> 0:31:06.800
<v Speaker 5>he died so young.

0:31:07.320 --> 0:31:09.959
<v Speaker 3>What was his story kind of what was his deal?

0:31:10.840 --> 0:31:13.719
<v Speaker 6>Him and Gary shot all like I said, they all

0:31:13.840 --> 0:31:18.360
<v Speaker 6>went to church together. He was a ram Salent freak.

0:31:19.120 --> 0:31:24.239
<v Speaker 6>Really yeah, oh man, that was him and him and uh,

0:31:24.440 --> 0:31:27.960
<v Speaker 6>what's the d J Rogers. They saw the background, they

0:31:28.040 --> 0:31:32.360
<v Speaker 6>saw the background for Bobby woo mack okay, and they

0:31:32.400 --> 0:31:34.880
<v Speaker 6>were showing out so much in the background. Bobby said,

0:31:35.200 --> 0:31:40.280
<v Speaker 6>this is the Bobby, this is the Bobby show. This

0:31:40.440 --> 0:31:43.040
<v Speaker 6>is not y'all show. He fired both of them. That's

0:31:43.040 --> 0:31:47.880
<v Speaker 6>when good, That's when Glenn came with us. You know,

0:31:48.240 --> 0:31:51.120
<v Speaker 6>Gary them said, you know he was singing the background

0:31:51.200 --> 0:31:53.960
<v Speaker 6>with you know, Bobby wo mack. He said, but he

0:31:54.080 --> 0:31:57.560
<v Speaker 6>goes he ain't got no job. And Gary and Eddie

0:31:58.000 --> 0:32:00.600
<v Speaker 6>and now Edie can sing his ass of him. Any say,

0:32:00.680 --> 0:32:03.719
<v Speaker 6>somebody can say, you really want to hear what they

0:32:03.840 --> 0:32:14.440
<v Speaker 6>sound like? Yeah? That dreaming right, yeah, dream it's up

0:32:14.480 --> 0:32:17.480
<v Speaker 6>from the down stroke. It's a lot of stuff with

0:32:18.600 --> 0:32:24.480
<v Speaker 6>you hear Old Lord, Why Lord, Old Lord. I'm sorry

0:32:24.520 --> 0:32:26.840
<v Speaker 6>to take that back father, opened our eyes.

0:32:27.440 --> 0:32:30.720
<v Speaker 4>Yeah, that's some singing backwards. Okay, that's that he's saying.

0:32:31.000 --> 0:32:36.680
<v Speaker 6>No, you can you can hear forward too, yeah for yeah.

0:32:37.920 --> 0:32:40.960
<v Speaker 4>So that okay, because well I know that that's open

0:32:41.040 --> 0:32:42.320
<v Speaker 4>our eyes backwards.

0:32:41.960 --> 0:32:48.080
<v Speaker 6>On like you like, yeah, but have you heard it forward? Yeah?

0:32:48.120 --> 0:32:49.760
<v Speaker 4>Yeah, I've heard the four person yes.

0:32:50.280 --> 0:32:53.680
<v Speaker 6>Yeah, so that that group used to practice in my

0:32:53.760 --> 0:32:57.320
<v Speaker 6>bomber shop. That nade the gospel clubs, they're from Newark.

0:32:57.640 --> 0:33:00.320
<v Speaker 6>They used to practice in the barbershop. And so that's

0:33:00.360 --> 0:33:02.960
<v Speaker 6>why we was parted. We was partialshped to that song,

0:33:03.480 --> 0:33:06.520
<v Speaker 6>you know, uh from the gospel clefts they was they

0:33:06.640 --> 0:33:10.640
<v Speaker 6>was a mel and any just you know, we would

0:33:10.680 --> 0:33:14.680
<v Speaker 6>jump from gospel to jet you know anything. That's what

0:33:14.800 --> 0:33:16.560
<v Speaker 6>we did when we did free your mind, your ass

0:33:16.600 --> 0:33:19.640
<v Speaker 6>will follow. We were never gonna get caught in the

0:33:19.720 --> 0:33:23.440
<v Speaker 6>position of having to follow up. I want to testify,

0:33:23.920 --> 0:33:26.560
<v Speaker 6>you know. Forty five trying to get another forty five.

0:33:26.880 --> 0:33:29.800
<v Speaker 6>We went so far out because I mean remembering that

0:33:29.880 --> 0:33:32.280
<v Speaker 6>we was at Motown and that during that time we

0:33:32.400 --> 0:33:35.720
<v Speaker 6>know how to make a straight record. They a clean record,

0:33:35.760 --> 0:33:40.680
<v Speaker 6>and we knew what was we intentionally you know, got wrecked,

0:33:40.880 --> 0:33:43.640
<v Speaker 6>got tripped out and just free your mind. Your ass

0:33:43.720 --> 0:33:46.480
<v Speaker 6>will follow, you know, we just we You know you

0:33:46.600 --> 0:33:49.720
<v Speaker 6>got Martha the van Bella singing in the background, or

0:33:49.800 --> 0:33:55.880
<v Speaker 6>you know she wanted to what Yeah, yeah, I mean

0:33:56.360 --> 0:33:59.320
<v Speaker 6>we was. I'm telling you we had all of them,

0:33:59.560 --> 0:34:04.000
<v Speaker 6>was doing had didn't uh what's his name? Did his coffee?

0:34:04.440 --> 0:34:05.880
<v Speaker 3>Did his coffee scorpio? Yeah?

0:34:06.440 --> 0:34:10.560
<v Speaker 6>Yeah, he played on I Gotta I Got a thing, Yeah,

0:34:10.600 --> 0:34:12.560
<v Speaker 6>I got a thing. He put on quite a few

0:34:12.560 --> 0:34:16.920
<v Speaker 6>of the songs, you know, Dennis Coffee. Really the engineers

0:34:16.960 --> 0:34:19.120
<v Speaker 6>didn't want to have his name put on the on

0:34:19.320 --> 0:34:23.600
<v Speaker 6>the record of Maggie Brain because we you know, I

0:34:23.719 --> 0:34:26.919
<v Speaker 6>was doing so much feedback and circling, you know, sound

0:34:27.000 --> 0:34:29.120
<v Speaker 6>on sound, and I ain't know what I ain't know

0:34:29.160 --> 0:34:31.440
<v Speaker 6>what I was doing. I was just doing what sounding

0:34:31.520 --> 0:34:34.360
<v Speaker 6>named Jimmy Hendrix, you know, And as long as I

0:34:34.440 --> 0:34:37.719
<v Speaker 6>keep it out of keeping out of the red, you know,

0:34:38.000 --> 0:34:40.359
<v Speaker 6>I was cool. And so I did. I did an

0:34:40.440 --> 0:34:43.160
<v Speaker 6>engineer when when he put his name on the record,

0:34:43.880 --> 0:34:47.480
<v Speaker 6>and years later like you.

0:34:47.520 --> 0:34:49.680
<v Speaker 4>Were engineer's nightmare even back then.

0:34:49.880 --> 0:34:52.640
<v Speaker 6>Like oh hell yeah, I was.

0:34:52.760 --> 0:34:56.520
<v Speaker 4>Really. They were dressing up in those lap coats and

0:34:57.440 --> 0:34:59.919
<v Speaker 4>still trying to maintain levels and all those things.

0:35:00.320 --> 0:35:03.920
<v Speaker 6>Oh they're trying to be you know, keep it normal.

0:35:04.040 --> 0:35:07.399
<v Speaker 6>But I mean, all we have to flashlight. I told

0:35:07.480 --> 0:35:10.400
<v Speaker 6>him when we did the handclaps on flash light, I

0:35:10.560 --> 0:35:13.520
<v Speaker 6>wanted they had to be so loud that if you

0:35:13.640 --> 0:35:16.560
<v Speaker 6>ran your hand across the CD, you feel the bumping it.

0:35:23.520 --> 0:35:25.560
<v Speaker 4>This is yo, this bro, you let them talk.

0:35:25.719 --> 0:35:27.880
<v Speaker 3>This is sixty years of music. Bro, Like we're not

0:35:27.960 --> 0:35:30.719
<v Speaker 3>gonna get it. This rapid fire like.

0:35:31.000 --> 0:35:33.719
<v Speaker 6>Just those other kind of those are the kind of

0:35:33.800 --> 0:35:37.560
<v Speaker 6>things that we you know. The baseline, Bernie was imitating

0:35:37.600 --> 0:35:42.200
<v Speaker 6>Larry Graham on a move. Yeah you hadn't heard no

0:35:42.360 --> 0:35:44.800
<v Speaker 6>moves do nothing but make sound effects. You're going to

0:35:44.840 --> 0:35:47.880
<v Speaker 6>make sound effects, but you didn't Nobody actually play the

0:35:48.000 --> 0:35:52.080
<v Speaker 6>bass line like a baby. Bernie had so much interpretation

0:35:52.440 --> 0:35:56.759
<v Speaker 6>of the mini move and the pro solos. He could

0:35:56.880 --> 0:36:00.440
<v Speaker 6>imitate anything he could. Joy was up there and they

0:36:00.520 --> 0:36:03.120
<v Speaker 6>programmed it and write it out and he'd be turning

0:36:03.200 --> 0:36:06.160
<v Speaker 6>off while Bernie's playing. And he can play like a

0:36:06.239 --> 0:36:10.160
<v Speaker 6>bass player, like on Flashlight. And we made Bernie the

0:36:10.320 --> 0:36:14.000
<v Speaker 6>lead instrument. The bass is the lead instrument on flash

0:36:14.120 --> 0:36:16.680
<v Speaker 6>Light in the hand class back up.

0:36:17.239 --> 0:36:20.120
<v Speaker 3>And that's just like you Bernie and.

0:36:22.560 --> 0:36:23.120
<v Speaker 6>His brother.

0:36:25.680 --> 0:36:28.640
<v Speaker 4>Whis He told me that he's playing drums on Flashlight?

0:36:28.719 --> 0:36:29.200
<v Speaker 4>Is that true?

0:36:29.680 --> 0:36:31.280
<v Speaker 6>Yeah? He played drums on Flashlight?

0:36:31.840 --> 0:36:32.160
<v Speaker 3>Wow?

0:36:32.880 --> 0:36:36.279
<v Speaker 6>Wow, he played drums on quite a few, you know.

0:36:36.600 --> 0:36:40.919
<v Speaker 6>And our our bass player, Boogie played drums on quite

0:36:40.920 --> 0:36:46.080
<v Speaker 6>a few of his balance you know the song yeah.

0:36:47.040 --> 0:36:51.120
<v Speaker 6>And Gary Cooper, Gary Cooper, he played yeah, yeah.

0:36:51.440 --> 0:36:55.239
<v Speaker 4>Okay, well boy, you brought up Glenn Goin's earlier. And

0:36:55.320 --> 0:37:00.840
<v Speaker 4>there's so many singers in the p funk year that

0:37:01.000 --> 0:37:06.080
<v Speaker 4>we can name. But dare I ask you of all

0:37:06.560 --> 0:37:10.919
<v Speaker 4>of the singers represented in that army, and that means

0:37:11.040 --> 0:37:18.800
<v Speaker 4>Gary down the winds, Davis for your money?

0:37:20.120 --> 0:37:22.279
<v Speaker 6>Who is your?

0:37:22.640 --> 0:37:26.040
<v Speaker 4>Who is your? Michael Jordan, who is your? Who is

0:37:26.120 --> 0:37:30.040
<v Speaker 4>the singer? And this is everyone singer?

0:37:30.120 --> 0:37:34.040
<v Speaker 6>Wow, that singer. It was gonna it would be Gary

0:37:34.120 --> 0:37:38.960
<v Speaker 6>and Juni because of the creativity. Not only did the

0:37:39.360 --> 0:37:42.520
<v Speaker 6>you know, the singing voice, they could come up with

0:37:42.760 --> 0:37:48.560
<v Speaker 6>parts and JUNI could come up with lyrics parts and

0:37:48.800 --> 0:37:53.839
<v Speaker 6>sing it. So, I mean, but then there's a lot

0:37:53.880 --> 0:37:59.680
<v Speaker 6>of me you can't take. You with Mayby, I mean,

0:38:00.320 --> 0:38:06.800
<v Speaker 6>she's like excellent. When Gary Cooper, you put Gary and Gary,

0:38:07.480 --> 0:38:11.560
<v Speaker 6>you get Gary, Peanut and Gary and them three together,

0:38:12.280 --> 0:38:15.200
<v Speaker 6>you can do anything. We never got a chance to

0:38:15.520 --> 0:38:17.280
<v Speaker 6>We never got a chance to see all what Glynn

0:38:17.400 --> 0:38:20.200
<v Speaker 6>was gonna do. He did everything in about two years

0:38:20.560 --> 0:38:21.480
<v Speaker 6>that he did with us.

0:38:22.080 --> 0:38:24.560
<v Speaker 3>Were you involved in that Quasar album that he did?

0:38:24.840 --> 0:38:28.200
<v Speaker 6>No, that's that's when they that he was he had

0:38:28.280 --> 0:38:30.480
<v Speaker 6>three months to live when he got with us. He

0:38:30.600 --> 0:38:33.920
<v Speaker 6>was with us three years and then he left and

0:38:34.040 --> 0:38:37.200
<v Speaker 6>they did the Quasar album, you know, and then they

0:38:37.719 --> 0:38:41.000
<v Speaker 6>think they did Mutiny album. I didn't have anything to

0:38:41.080 --> 0:38:42.000
<v Speaker 6>do with either one of those.

0:38:42.239 --> 0:38:44.800
<v Speaker 4>And he died at twenty four. Like to me still,

0:38:44.920 --> 0:38:49.560
<v Speaker 4>it's like when I hear when I hear Glenn Gons's voice.

0:38:57.080 --> 0:39:00.200
<v Speaker 6>That's what I'm saying. He had that rants Allen on

0:39:00.360 --> 0:39:04.120
<v Speaker 6>him and he had complete controlled over any tone that

0:39:04.200 --> 0:39:05.239
<v Speaker 6>come out of his mouth.

0:39:06.360 --> 0:39:13.440
<v Speaker 4>Wow, back to my bone. Gary, in my opinion, is

0:39:13.760 --> 0:39:20.680
<v Speaker 4>your best animated voice sounding character. How are you able

0:39:21.560 --> 0:39:25.880
<v Speaker 4>because you know most music fans don't even know that

0:39:27.320 --> 0:39:31.759
<v Speaker 4>Gary is the voice of the group's slide fox Let's

0:39:31.800 --> 0:39:35.360
<v Speaker 4>Go all the Way right of which you know that

0:39:35.480 --> 0:39:38.279
<v Speaker 4>was a big hit in nineteen eighty five. And he's

0:39:38.360 --> 0:39:43.320
<v Speaker 4>singing in his natural voice. But how are you able

0:39:43.400 --> 0:39:49.480
<v Speaker 4>to convince your frontline army to adapt to these new voices?

0:39:49.640 --> 0:39:52.440
<v Speaker 4>And the same for Bootsy Collins as well, Like, how

0:39:52.480 --> 0:39:57.719
<v Speaker 4>are you able to tell them, like adapt your voice

0:39:57.719 --> 0:40:00.600
<v Speaker 4>to more of an animated tone, because to me, like

0:40:00.760 --> 0:40:04.600
<v Speaker 4>my bone is has one of the greatest animated voices ever.

0:40:05.360 --> 0:40:07.759
<v Speaker 6>Well, when we we was on the roll, when and

0:40:07.800 --> 0:40:10.360
<v Speaker 6>when you got momentum going for you, when you're on

0:40:10.440 --> 0:40:12.600
<v Speaker 6>the road and you in that zone they call it,

0:40:13.760 --> 0:40:17.800
<v Speaker 6>and we had the character of Sir and those we

0:40:17.920 --> 0:40:23.440
<v Speaker 6>had the character of mister Wiggers uh cash for the

0:40:23.480 --> 0:40:28.560
<v Speaker 6>friendly Ghost. You know, we was into making cartoons, Rhymestone Rockstar,

0:40:28.760 --> 0:40:31.520
<v Speaker 6>Monster of a Dour Baby Baba. We was into making

0:40:31.640 --> 0:40:35.200
<v Speaker 6>toy music, you know, so it was easy for going

0:40:35.239 --> 0:40:40.080
<v Speaker 6>to go into it. Why are you asking that charge?

0:40:41.520 --> 0:40:46.040
<v Speaker 6>We had a thing in that zone. We was writing cartoons.

0:40:46.120 --> 0:40:49.880
<v Speaker 6>Then that's what motive. Booty Affair is the motion picture underwater,

0:40:50.960 --> 0:40:55.960
<v Speaker 6>you know them the rhythm it takes the you know

0:40:55.960 --> 0:40:58.120
<v Speaker 6>what saying, oh that's from you know. That's when your

0:40:58.160 --> 0:41:03.000
<v Speaker 6>boy Eli, you know, I bid off of that and

0:41:03.080 --> 0:41:05.879
<v Speaker 6>when I so DJ was getting ready to be the thing,

0:41:07.200 --> 0:41:10.120
<v Speaker 6>and that's when we did Mothership Connection. I was imitating

0:41:10.160 --> 0:41:13.239
<v Speaker 6>Frankie Krocker, in In Jocko and all of them. So

0:41:13.440 --> 0:41:16.640
<v Speaker 6>I could tell DJ was beginning to be the thing

0:41:16.760 --> 0:41:19.160
<v Speaker 6>because they was cutting them off of the radio. They

0:41:19.239 --> 0:41:22.320
<v Speaker 6>started to play five songs and no commercials and you

0:41:22.400 --> 0:41:27.520
<v Speaker 6>start missing, You start missing that DJ talking dedicated song

0:41:27.640 --> 0:41:30.759
<v Speaker 6>to your girl and da da and on that. Uh.

0:41:30.840 --> 0:41:35.279
<v Speaker 6>DJ started getting political, especially in Philly Georgie Woods. That

0:41:35.440 --> 0:41:39.799
<v Speaker 6>was my boy, you know. So we intentionally played our

0:41:39.840 --> 0:41:42.920
<v Speaker 6>own record on our record, w E f U k

0:41:43.160 --> 0:41:48.600
<v Speaker 6>we funk Cody freaking habit. For me, that was all

0:41:48.719 --> 0:41:51.759
<v Speaker 6>the sit that you're on your favorite DJ. You wasn't

0:41:51.800 --> 0:41:54.480
<v Speaker 6>hear it on the radio no more, so, I mean

0:41:54.800 --> 0:41:57.200
<v Speaker 6>let me hear it from me. We love dude, funk you.

0:41:57.719 --> 0:42:00.560
<v Speaker 6>All of that was our version of DJ. As soon

0:42:00.640 --> 0:42:04.040
<v Speaker 6>as we did that, they started having what you call

0:42:04.160 --> 0:42:07.200
<v Speaker 6>DJ pools. You started taking your record to the DJ

0:42:07.880 --> 0:42:10.359
<v Speaker 6>and they would tell you they record pools. They would

0:42:10.400 --> 0:42:14.640
<v Speaker 6>tell you who records should get played, you know, radio was,

0:42:16.120 --> 0:42:18.799
<v Speaker 6>and then no sooner than that. Then hip hop came

0:42:18.840 --> 0:42:22.560
<v Speaker 6>along the bucket. We just DJ's on record.

0:42:22.320 --> 0:42:26.400
<v Speaker 3>And and that's what it's, that mothership connection. I have

0:42:26.560 --> 0:42:29.279
<v Speaker 3>to have to ask. It sounds like you got a

0:42:29.320 --> 0:42:31.319
<v Speaker 3>three on it to me, what is what does that mean?

0:42:32.440 --> 0:42:33.560
<v Speaker 4>You know what that means?

0:42:36.719 --> 0:42:37.200
<v Speaker 3>It was cool.

0:42:41.480 --> 0:42:45.680
<v Speaker 6>All all that was was that what we called it,

0:42:45.840 --> 0:42:50.239
<v Speaker 6>a trendy chemical substance, whatever it's trending at that time,

0:42:50.760 --> 0:42:53.920
<v Speaker 6>the chemical consumption was happening. That's where we were at.

0:42:54.080 --> 0:42:56.920
<v Speaker 6>You know. It was just that language that people was

0:42:57.000 --> 0:43:01.080
<v Speaker 6>conveying with you. The street talk they do it nowadays

0:43:01.120 --> 0:43:04.120
<v Speaker 6>to just seem harsh because their kids they gonna make

0:43:04.120 --> 0:43:07.160
<v Speaker 6>it worse than yours. They're gonna do your ass no

0:43:07.280 --> 0:43:11.680
<v Speaker 6>matter how bad you did it. They gonna I don't

0:43:11.719 --> 0:43:13.960
<v Speaker 6>even say nothing to them, because if you say something

0:43:13.960 --> 0:43:15.239
<v Speaker 6>to them, you gonna make him do it work. They

0:43:15.320 --> 0:43:18.399
<v Speaker 6>know they got your attention, you know so. But that's

0:43:18.440 --> 0:43:22.799
<v Speaker 6>what it was, trending, chemical septance on it. Funk would

0:43:22.800 --> 0:43:23.399
<v Speaker 6>take a ten.

0:43:24.080 --> 0:43:27.680
<v Speaker 5>That is is it true that for the for maggot

0:43:27.719 --> 0:43:31.440
<v Speaker 5>brain that you told Eddie Hazel to play like his

0:43:31.600 --> 0:43:32.200
<v Speaker 5>mom had died.

0:43:32.480 --> 0:43:37.840
<v Speaker 8>I've always heard that story, and he said, fuck you,

0:43:38.280 --> 0:43:43.279
<v Speaker 8>and I knew that once I said it, he understood

0:43:44.320 --> 0:43:48.160
<v Speaker 8>the intense because it was a regular three quarter blue song.

0:43:48.880 --> 0:43:51.360
<v Speaker 6>Ain't too much. But when you if he played it

0:43:51.880 --> 0:43:55.040
<v Speaker 6>psychedelically like he could do it, and with all the

0:43:55.080 --> 0:43:58.040
<v Speaker 6>echoplexes we had on it, and he was beginning to

0:43:59.000 --> 0:44:02.759
<v Speaker 6>manipulate the echo next, and I was manipulating the echoplex

0:44:03.000 --> 0:44:05.800
<v Speaker 6>in the studio on top of his. So it was

0:44:05.920 --> 0:44:08.840
<v Speaker 6>just a vibe. He could play all of the blues

0:44:08.880 --> 0:44:12.120
<v Speaker 6>and soul like Jimmy was doing all that he wanted,

0:44:12.239 --> 0:44:15.480
<v Speaker 6>and all those echoes on top of each other. But

0:44:15.680 --> 0:44:17.640
<v Speaker 6>that was some brilliant shit, especially when you took the

0:44:17.719 --> 0:44:20.960
<v Speaker 6>instrument other instruments out, take the base and drums out.

0:44:21.320 --> 0:44:24.239
<v Speaker 6>You ain't got nothing of the rhythm, guitar and the lead.

0:44:24.920 --> 0:44:27.200
<v Speaker 6>You could take up all the space with all those delays,

0:44:28.080 --> 0:44:31.040
<v Speaker 6>and it worked pretty real good with it because he

0:44:31.120 --> 0:44:33.800
<v Speaker 6>was so soulful. An't even the sound he made was

0:44:33.960 --> 0:44:34.480
<v Speaker 6>you felt it.

0:44:36.200 --> 0:44:37.560
<v Speaker 3>You were born in North Carolina.

0:44:37.640 --> 0:44:42.200
<v Speaker 6>Correct in Connapolis, Napolis, right outside of Charlotte, Canapolist.

0:44:42.280 --> 0:44:45.480
<v Speaker 3>Oh yeah, I'm from Greensboro, so I know I got a.

0:44:45.440 --> 0:44:48.439
<v Speaker 6>Whole bunch of family in Greenboro right now, a whole

0:44:48.520 --> 0:44:52.719
<v Speaker 6>bunch of family. I got a whole bunch of family, sisters, nieces, brothers.

0:44:54.840 --> 0:44:58.600
<v Speaker 3>It might be that's home. How did you get from?

0:44:58.800 --> 0:45:01.680
<v Speaker 7>Go ahead, say you're born in North Carolina, But I've

0:45:01.680 --> 0:45:04.439
<v Speaker 7>been to Plainfield a lot, and that's all they talk

0:45:04.560 --> 0:45:06.160
<v Speaker 7>about is y'all in you.

0:45:06.480 --> 0:45:07.600
<v Speaker 3>So it's interesting.

0:45:07.760 --> 0:45:10.200
<v Speaker 7>It's like it's two different towns that got that you

0:45:10.360 --> 0:45:10.800
<v Speaker 7>the pride of.

0:45:11.080 --> 0:45:15.040
<v Speaker 6>But I came from North Caroline plumb about ten years old,

0:45:15.800 --> 0:45:18.839
<v Speaker 6>to Virginia, Chase City, Virginia. In about ten. I went

0:45:18.880 --> 0:45:21.839
<v Speaker 6>to Newark, New Jersey, Okay, And that's where I went

0:45:21.880 --> 0:45:24.920
<v Speaker 6>to school that Nork I went to, you know Avon,

0:45:25.160 --> 0:45:29.360
<v Speaker 6>that was south side, same school. Shack went to Mars, Okay,

0:45:29.440 --> 0:45:32.440
<v Speaker 6>I went there. But I had a barber shop ten

0:45:32.520 --> 0:45:36.120
<v Speaker 6>miles outside of New York, which is Plainfield. I never

0:45:36.239 --> 0:45:38.440
<v Speaker 6>lived there. I just had the barber shop and shoveled

0:45:38.480 --> 0:45:42.640
<v Speaker 6>there every morning on the bus. The surs so funny,

0:45:43.680 --> 0:45:47.520
<v Speaker 6>and Plainfield was like suburbia. It was like, you know,

0:45:47.719 --> 0:45:50.839
<v Speaker 6>for rich folks, you know, middle class people, and then

0:45:50.880 --> 0:45:54.359
<v Speaker 6>they got really funk, got really funky. Hitting the late

0:45:54.520 --> 0:45:58.880
<v Speaker 6>sixties in the early seventies, you know, their riots and everything,

0:45:59.440 --> 0:46:02.800
<v Speaker 6>but it was some soul for folks there. You know what.

0:46:03.040 --> 0:46:03.719
<v Speaker 6>It just hit me.

0:46:04.239 --> 0:46:07.839
<v Speaker 4>I worked with Nona Hendricks on a project a couple

0:46:08.640 --> 0:46:11.640
<v Speaker 4>a couple of years. A few decades back. She told

0:46:11.719 --> 0:46:14.239
<v Speaker 4>me that you were her original hairdresser.

0:46:14.440 --> 0:46:19.719
<v Speaker 6>Is that undress I did? I did what you mean?

0:46:20.040 --> 0:46:20.239
<v Speaker 4>Said?

0:46:22.120 --> 0:46:24.560
<v Speaker 6>No, no, no, I used to wave here. They used

0:46:24.560 --> 0:46:27.080
<v Speaker 6>to have, you know, waves close to the end.

0:46:27.520 --> 0:46:29.640
<v Speaker 3>O used to make the waves, the finger waves.

0:46:31.880 --> 0:46:37.239
<v Speaker 6>Yeah, and she was she's living uh Jillian Trenton. Yeah, yeah,

0:46:37.239 --> 0:46:39.840
<v Speaker 6>I did both of them there and that you know,

0:46:39.920 --> 0:46:42.279
<v Speaker 6>we we we worked together for years though known. I

0:46:42.360 --> 0:46:46.480
<v Speaker 6>didn't know us in parents, you know, years later, just

0:46:46.600 --> 0:46:51.880
<v Speaker 6>for you know magazine, you know, PR but there in

0:46:52.120 --> 0:46:57.520
<v Speaker 6>Patty Sarah, they were like neighborhood punk and they were

0:46:57.520 --> 0:47:02.200
<v Speaker 6>spunking a long time. Eliament started fifty six. I think

0:47:02.239 --> 0:47:04.040
<v Speaker 6>they might have started in like fifty nine.

0:47:04.719 --> 0:47:06.239
<v Speaker 4>Really, so you.

0:47:07.800 --> 0:47:11.800
<v Speaker 6>Let me ask you something. Yes, was your family Andrew

0:47:11.840 --> 0:47:12.400
<v Speaker 6>and the Hearts?

0:47:13.160 --> 0:47:14.360
<v Speaker 4>My father was Lee Andrews.

0:47:14.560 --> 0:47:18.440
<v Speaker 6>Yes, okay, I thought so, yeah, yeah, I'll go that

0:47:18.560 --> 0:47:19.000
<v Speaker 6>far back.

0:47:19.200 --> 0:47:21.279
<v Speaker 4>Yeah. When I yeah, when I read that in the book, man,

0:47:21.320 --> 0:47:24.200
<v Speaker 4>I was like, Wow, this is my dad would love this,

0:47:24.560 --> 0:47:29.080
<v Speaker 4>Like my dad gets mentioned and divided soul in George's book. Well, no,

0:47:29.560 --> 0:47:32.440
<v Speaker 4>explain to me, You're like, I know that the Parliament

0:47:32.560 --> 0:47:36.839
<v Speaker 4>started off in uh as a do op group, as

0:47:36.960 --> 0:47:40.000
<v Speaker 4>typical for the day. Could you just explain like that

0:47:40.200 --> 0:47:43.960
<v Speaker 4>that that what that environment was like with trying to

0:47:44.320 --> 0:47:48.240
<v Speaker 4>break into do wop? And really I want to I'm obsessed.

0:47:48.320 --> 0:47:52.480
<v Speaker 4>I'm obsessed with Ray Davis for me, more than Melvin Franklin,

0:47:52.600 --> 0:47:56.480
<v Speaker 4>more than Barry White, more than anyone with a deep voice.

0:47:56.719 --> 0:48:00.320
<v Speaker 4>Ray Davis to me is the yeah he was to me,

0:48:01.440 --> 0:48:02.760
<v Speaker 4>how did you guys like form?

0:48:03.160 --> 0:48:06.120
<v Speaker 6>Well? Which form? Like you know most kids in grade school?

0:48:06.480 --> 0:48:08.439
<v Speaker 6>I had two or three other people in the band

0:48:08.520 --> 0:48:11.520
<v Speaker 6>before them, but by the time we got to that lineup,

0:48:12.239 --> 0:48:15.719
<v Speaker 6>we went out to Detroit auditioned, didn't make it, but

0:48:15.880 --> 0:48:18.399
<v Speaker 6>I ended up writing songs for him. Then I did

0:48:18.440 --> 0:48:21.799
<v Speaker 6>a song called I Want to Testify, and I did

0:48:21.880 --> 0:48:26.839
<v Speaker 6>that song with Ron Banks from the Dramatics, Wow, Pat

0:48:26.960 --> 0:48:30.960
<v Speaker 6>Lewis from the Hot Butter and Soul, myself and the

0:48:31.000 --> 0:48:34.239
<v Speaker 6>guy named Eddie from the Holidays. That was the background. Course.

0:48:34.320 --> 0:48:37.000
<v Speaker 6>Parliament couldn't make it out to Detroit. We got a

0:48:37.080 --> 0:48:40.200
<v Speaker 6>hit record on that song, and that was the beginning.

0:48:40.600 --> 0:48:43.359
<v Speaker 6>That record carried us out into the world. I'm want

0:48:43.360 --> 0:48:46.800
<v Speaker 6>to test by it. Like I said, Vanilla for Lenister

0:48:47.000 --> 0:48:52.200
<v Speaker 6>guitars nams. That changed our life. We became Funkadelic that night.

0:48:52.760 --> 0:48:55.440
<v Speaker 6>Were getting tired of with the record companies with the

0:48:55.520 --> 0:48:58.759
<v Speaker 6>name Parliament couldn't use the name, so we took our

0:48:58.920 --> 0:49:03.759
<v Speaker 6>backup band, which Billy Edding burning them made them Funkadelli.

0:49:04.920 --> 0:49:08.560
<v Speaker 6>We became their backup singers and so you see the

0:49:08.680 --> 0:49:12.200
<v Speaker 6>five of them on the Funkadelic first Bunkadelic album. But

0:49:12.360 --> 0:49:14.320
<v Speaker 6>that that's how I did it with the record company.

0:49:14.960 --> 0:49:17.880
<v Speaker 6>And when funk Partmer got his name back, we did

0:49:17.920 --> 0:49:23.680
<v Speaker 6>a Parliament album called Osmia with Hollandoja. Holland stayed tied

0:49:23.800 --> 0:49:26.760
<v Speaker 6>up there for years and ended up on Castle Blanca

0:49:26.840 --> 0:49:27.760
<v Speaker 6>with Neil Bogart.

0:49:29.719 --> 0:49:32.160
<v Speaker 4>How did you How did you meet Neil Boardguard and

0:49:32.520 --> 0:49:34.880
<v Speaker 4>how did you stay out of the disco phray because

0:49:35.640 --> 0:49:40.000
<v Speaker 4>everything that Neil did was theater and disco. How did

0:49:40.040 --> 0:49:41.400
<v Speaker 4>you stay before that?

0:49:41.719 --> 0:49:44.839
<v Speaker 6>Before that, Neil was the king of bubble gum, thember

0:49:44.960 --> 0:49:49.799
<v Speaker 6>Neil did. He had Buddha Records. Oh, Wow.

0:49:50.400 --> 0:49:51.279
<v Speaker 4>He had Border.

0:49:51.080 --> 0:49:54.680
<v Speaker 6>Records, and he had Gladys Knight and The Fifty the

0:49:54.800 --> 0:49:58.959
<v Speaker 6>Stairs Steps and Curtis Mayfield and all of that. Neil

0:49:59.040 --> 0:50:03.520
<v Speaker 6>had that labor first. Then he had Hot Wax with

0:50:03.640 --> 0:50:08.840
<v Speaker 6>Hollandojo Holland, which was the Honeycombs. So he wanted us

0:50:08.920 --> 0:50:11.480
<v Speaker 6>to be on his label when he had Hot when

0:50:11.520 --> 0:50:15.160
<v Speaker 6>they had Hot Wax, you know, Hollandoji Holland. But they

0:50:15.239 --> 0:50:18.759
<v Speaker 6>put us on Invictis, so we missed Neil. A couple

0:50:18.800 --> 0:50:21.880
<v Speaker 6>of years later, when we got up for Invictis, I

0:50:21.960 --> 0:50:24.120
<v Speaker 6>looked Neil up and he had a new labor called

0:50:24.200 --> 0:50:29.200
<v Speaker 6>Castle Blanker. He took us and Kiss and Donna at

0:50:29.239 --> 0:50:33.520
<v Speaker 6>the same time. Wow, and we all went three different directions,

0:50:34.120 --> 0:50:37.200
<v Speaker 6>and he was so hot. They went through the disco thing. No,

0:50:37.320 --> 0:50:40.040
<v Speaker 6>I wasn't going. As close as I got to disco

0:50:40.280 --> 0:50:43.560
<v Speaker 6>was knee deep. That was my dad rescue dance music

0:50:43.640 --> 0:50:47.480
<v Speaker 6>from the blogs. You know, I like, I like disco,

0:50:47.640 --> 0:50:49.759
<v Speaker 6>but I didn't want to do the same beat on

0:50:49.880 --> 0:50:54.160
<v Speaker 6>every song. He you know, there was a silver Convention.

0:50:54.719 --> 0:51:02.480
<v Speaker 6>I was a civil convention free you know, no that

0:51:03.000 --> 0:51:06.000
<v Speaker 6>you know, but you can't. You can't do every song

0:51:06.280 --> 0:51:09.000
<v Speaker 6>like that. That's what that was my own thing. They

0:51:09.080 --> 0:51:12.160
<v Speaker 6>had measured your heartbeat. And when you start fucking with

0:51:12.280 --> 0:51:16.960
<v Speaker 6>music like that, no, it gets you know the facts

0:51:17.040 --> 0:51:18.680
<v Speaker 6>that shit in you know?

0:51:19.800 --> 0:51:23.800
<v Speaker 4>So is that okay? Because also probably the most notable

0:51:23.840 --> 0:51:28.640
<v Speaker 4>thing about your your your concerts versus you're probably the

0:51:28.760 --> 0:51:33.880
<v Speaker 4>only act I know that will do a song slower

0:51:34.840 --> 0:51:41.160
<v Speaker 4>in concert than you do on the album. The anytime

0:51:41.280 --> 0:51:45.799
<v Speaker 4>I've ever seen Doctor Funkenstein performed, and any of those

0:51:45.960 --> 0:51:51.040
<v Speaker 4>like those seventies concerts, you guys go half the speed

0:51:51.120 --> 0:51:54.960
<v Speaker 4>of that and each song is like fourteen minutes, like longer,

0:51:55.040 --> 0:51:56.480
<v Speaker 4>way longer, and way slower?

0:51:57.320 --> 0:52:00.560
<v Speaker 6>Is there? Like where you get we got got that from?

0:52:00.760 --> 0:52:05.440
<v Speaker 6>You ever see feel a Cool? Yes? Yes, they used

0:52:05.480 --> 0:52:09.120
<v Speaker 6>to do songs all day long for an hour, one

0:52:09.520 --> 0:52:13.279
<v Speaker 6>one song and it start on the song to me

0:52:13.680 --> 0:52:16.000
<v Speaker 6>in the afternoon and be dust and they be still

0:52:16.080 --> 0:52:19.759
<v Speaker 6>playing another version of that same song all kind of

0:52:19.960 --> 0:52:23.040
<v Speaker 6>And we used to do that back in the sixty

0:52:23.080 --> 0:52:26.040
<v Speaker 6>eight sixty nine when we first started Funkadelic. It was

0:52:26.520 --> 0:52:30.160
<v Speaker 6>a groove like a boom boom boom boom boom, and

0:52:30.320 --> 0:52:33.760
<v Speaker 6>we vamped that ship forever, and people were so fucked

0:52:33.800 --> 0:52:38.040
<v Speaker 6>up that they just we always fucked up. Everybody enjoyed

0:52:38.560 --> 0:52:43.480
<v Speaker 6>the groove all, you know, and it took us. We

0:52:43.680 --> 0:52:50.120
<v Speaker 6>are reels of the same song. We are reel we got.

0:52:50.320 --> 0:52:52.640
<v Speaker 6>They put up another reel and we keep going.

0:52:53.960 --> 0:52:56.040
<v Speaker 4>And you tape them ships together. It's just one long

0:52:56.120 --> 0:52:56.759
<v Speaker 4>reel we got.

0:52:57.520 --> 0:53:00.840
<v Speaker 6>You know how they say they have twenty four he

0:53:00.960 --> 0:53:02.320
<v Speaker 6>had seventy two tracks?

0:53:03.120 --> 0:53:12.520
<v Speaker 4>Okay, and a man. Now we're doing rapid fire.

0:53:13.239 --> 0:53:16.239
<v Speaker 3>Yeah, I don't know other way to do this.

0:53:17.280 --> 0:53:22.040
<v Speaker 4>Can you explain how pedro Bell comes into the system?

0:53:22.280 --> 0:53:26.360
<v Speaker 6>And oh, that's good, that's good. When I moved to Toronto,

0:53:27.120 --> 0:53:29.920
<v Speaker 6>he's he's a you know, fan, used to write me letters,

0:53:30.440 --> 0:53:33.400
<v Speaker 6>you know, a fan, and he would draw on the envelope.

0:53:34.760 --> 0:53:37.160
<v Speaker 6>On the envelope, it looked just like the album covers,

0:53:37.800 --> 0:53:42.200
<v Speaker 6>the whole cartoon whatever, even they even drawing. He was

0:53:42.320 --> 0:53:46.360
<v Speaker 6>drawn on the envelope. The postmaster general. I thought I

0:53:46.520 --> 0:53:49.640
<v Speaker 6>was part of some kind of organization and they were

0:53:50.239 --> 0:53:53.320
<v Speaker 6>getting upset with me. But you know, was I asking me,

0:53:53.520 --> 0:53:55.640
<v Speaker 6>was I part of some And I told him, you know,

0:53:55.760 --> 0:53:58.080
<v Speaker 6>blah blah. But then I said, I want this dude

0:53:58.120 --> 0:54:01.360
<v Speaker 6>to do the album. Now says if draw that much attention,

0:54:02.000 --> 0:54:05.320
<v Speaker 6>and it sounded so clever. He was right out of

0:54:05.400 --> 0:54:08.960
<v Speaker 6>high school. I contacted him and he did had him

0:54:09.000 --> 0:54:13.680
<v Speaker 6>do Cosmic Slot. Yes. From then on it was like

0:54:14.000 --> 0:54:15.600
<v Speaker 6>I would have to tell him the story of what

0:54:15.680 --> 0:54:19.080
<v Speaker 6>I'm talking about, and he would give me his interpretation

0:54:19.800 --> 0:54:22.480
<v Speaker 6>of whatever that meant to him, and his and his

0:54:22.680 --> 0:54:28.160
<v Speaker 6>own weird ass language. He could write. He could write

0:54:28.239 --> 0:54:31.520
<v Speaker 6>his ass song, you know. But he did it intentionally

0:54:31.560 --> 0:54:34.040
<v Speaker 6>the same way he could draw, draw. He could paint

0:54:34.040 --> 0:54:36.800
<v Speaker 6>a picture that looked like a photo. Okay, but he

0:54:37.000 --> 0:54:39.800
<v Speaker 6>was he was fed up with that. He didn't like

0:54:39.960 --> 0:54:43.480
<v Speaker 6>doing that, so he did his own pagro bell art

0:54:44.000 --> 0:54:47.000
<v Speaker 6>and his own payro bell language, and that It was

0:54:47.080 --> 0:54:49.799
<v Speaker 6>funny to hear his interpret And I got him when

0:54:49.880 --> 0:54:52.800
<v Speaker 6>I did an album called some of My Best Jokes

0:54:52.840 --> 0:54:54.560
<v Speaker 6>of Friends Friends.

0:54:54.680 --> 0:54:55.800
<v Speaker 3>Yes, I did that.

0:54:55.960 --> 0:54:58.799
<v Speaker 6>He did what you talk about? I said, you come

0:54:58.880 --> 0:55:01.080
<v Speaker 6>up what you think I think? To think I'm talking about?

0:55:01.480 --> 0:55:03.279
<v Speaker 6>That was the funniest one in the bowl because I

0:55:03.320 --> 0:55:04.320
<v Speaker 6>didn't give him nothing to go.

0:55:05.000 --> 0:55:07.960
<v Speaker 4>He would do the commentary and and all the the

0:55:08.360 --> 0:55:10.600
<v Speaker 4>mythology on it was that you were.

0:55:11.920 --> 0:55:13.560
<v Speaker 6>Me and him. Yeah, tell him what I'm I'm telling

0:55:13.719 --> 0:55:16.000
<v Speaker 6>what I'm talking about. But he would interpreted and put

0:55:16.040 --> 0:55:17.560
<v Speaker 6>it in his language.

0:55:17.920 --> 0:55:22.239
<v Speaker 4>Speaking of cosmic slop. Okay, the question I always wanted

0:55:22.280 --> 0:55:26.600
<v Speaker 4>to know, the first time that I ever heard cosmic

0:55:26.719 --> 0:55:33.319
<v Speaker 4>slop was in the most unlikely platform. I first heard

0:55:33.440 --> 0:55:40.920
<v Speaker 4>cosmic slop on the Cosby Show. Yeah, of which Robert

0:55:41.040 --> 0:55:45.200
<v Speaker 4>and Vanessa I remember that are doing their homework and

0:55:45.560 --> 0:55:49.319
<v Speaker 4>I hear cosmic slop and this is you know, it's

0:55:49.400 --> 0:55:55.799
<v Speaker 4>so weird because you know, now, Phil, a lot.

0:55:55.719 --> 0:55:58.160
<v Speaker 6>Of music does not get a twist. He definitely was.

0:55:58.800 --> 0:55:59.440
<v Speaker 6>He definitely was.

0:56:06.840 --> 0:56:11.279
<v Speaker 3>He yes, he will. That's that's one way we could

0:56:11.280 --> 0:56:12.719
<v Speaker 3>describe it. That's one way.

0:56:16.560 --> 0:56:17.560
<v Speaker 4>That was revenge.

0:56:18.120 --> 0:56:18.600
<v Speaker 3>Okay, So.

0:56:20.280 --> 0:56:25.000
<v Speaker 4>Yeah, and you know I let it. I didn't know

0:56:25.080 --> 0:56:27.520
<v Speaker 4>what it was, but it was. It was during the

0:56:27.600 --> 0:56:31.520
<v Speaker 4>era in which like VCRs like at first started infiltrating

0:56:31.600 --> 0:56:34.520
<v Speaker 4>everyone's household and you recorded every show on the show,

0:56:34.960 --> 0:56:37.960
<v Speaker 4>and so I recorded and watched that episode like forty

0:56:38.000 --> 0:56:43.560
<v Speaker 4>two times. So, uh, my history teacher tells me, yeah,

0:56:43.600 --> 0:56:48.680
<v Speaker 4>that's from caadelic cosmic slop, And you know, it really

0:56:48.760 --> 0:56:50.960
<v Speaker 4>didn't hit me until I started digging in the crates

0:56:51.080 --> 0:56:54.959
<v Speaker 4>and then once I heard the lyric output. Of course,

0:56:55.160 --> 0:56:58.320
<v Speaker 4>you know, cosmic slaps about a sort of a regretful

0:56:58.440 --> 0:56:59.719
<v Speaker 4>mother that's treated.

0:56:59.400 --> 0:57:02.919
<v Speaker 6>Like a jes because she has to turn tricks meet

0:57:02.960 --> 0:57:03.399
<v Speaker 6>her kids.

0:57:04.160 --> 0:57:07.080
<v Speaker 4>And I'm like, how did this song wind up on

0:57:07.160 --> 0:57:10.080
<v Speaker 4>The Cosby Show? Did you have any warning whatsoever that

0:57:10.200 --> 0:57:12.920
<v Speaker 4>they used that song so prominently on that episode?

0:57:13.520 --> 0:57:15.160
<v Speaker 6>No, I was surprised when I heard it too, But

0:57:15.360 --> 0:57:18.920
<v Speaker 6>I know he I know, he like Parliament. You know,

0:57:19.080 --> 0:57:21.440
<v Speaker 6>he was in Detroit for a while himself with a

0:57:21.520 --> 0:57:25.120
<v Speaker 6>record label, so he knew of us and it didn't

0:57:25.120 --> 0:57:25.720
<v Speaker 6>surprise me.

0:57:26.480 --> 0:57:26.720
<v Speaker 4>Wow.

0:57:27.680 --> 0:57:30.000
<v Speaker 5>Well, speaking of TV, while we're on the TV movie

0:57:30.080 --> 0:57:34.840
<v Speaker 5>side House Party, you'll count your uh your cameo housewrights

0:57:34.880 --> 0:57:35.200
<v Speaker 5>the DJ?

0:57:35.920 --> 0:57:37.760
<v Speaker 3>How did how that play?

0:57:38.360 --> 0:57:41.440
<v Speaker 6>That was really fun? I still see play out in Tallahasse.

0:57:41.800 --> 0:57:45.040
<v Speaker 6>He comes here a lot of fam you but Reggie

0:57:45.160 --> 0:57:50.760
<v Speaker 6>husband that was his when he first got out of college. Yes, yeah,

0:57:51.920 --> 0:57:53.800
<v Speaker 6>his mother told me he was like that when he

0:57:53.920 --> 0:57:57.040
<v Speaker 6>was a kid. So he had posters and stuff. She thought, I,

0:57:57.440 --> 0:57:59.840
<v Speaker 6>you know, because that skirt I had on on one

0:57:59.880 --> 0:58:03.400
<v Speaker 6>of those boats, she say in the Wig at the

0:58:03.480 --> 0:58:05.560
<v Speaker 6>Wig on TV. She didn't know what was gonna happen

0:58:05.600 --> 0:58:12.480
<v Speaker 6>to him. And that's the same thing, same thing with Humpty.

0:58:12.840 --> 0:58:15.640
<v Speaker 6>He had that same poster. His mother says, she used

0:58:15.680 --> 0:58:19.919
<v Speaker 6>to carry it around with him. Yeah.

0:58:20.560 --> 0:58:24.760
<v Speaker 5>Boy, So seeing all those groups that you influenced, man, Like,

0:58:24.920 --> 0:58:26.600
<v Speaker 5>what was that like for you? Did you feel like

0:58:26.880 --> 0:58:28.840
<v Speaker 5>inspired by? Did you feel like they were copying?

0:58:28.960 --> 0:58:32.480
<v Speaker 6>Like what was your? You know, I love it. You

0:58:32.560 --> 0:58:35.400
<v Speaker 6>know that you're gonna feel good as hell, you know.

0:58:35.520 --> 0:58:39.160
<v Speaker 6>But it was always always like the one to be

0:58:39.280 --> 0:58:43.000
<v Speaker 6>like Motown, you know, all the different artists that was around.

0:58:43.560 --> 0:58:46.120
<v Speaker 6>That was family that that was a hell of a place.

0:58:46.400 --> 0:58:48.000
<v Speaker 6>We used to just ride by there and watch them

0:58:48.000 --> 0:58:50.720
<v Speaker 6>all in the front yard, so many stuffs, And that's

0:58:50.760 --> 0:58:55.240
<v Speaker 6>the way we felt, you know, with Boots scene Roger.

0:58:55.280 --> 0:58:57.200
<v Speaker 6>A lot of people don't know we did Roger more

0:58:57.200 --> 0:59:01.080
<v Speaker 6>about to the Elms, you know, all about making that record,

0:59:01.240 --> 0:59:04.520
<v Speaker 6>like how that was Funky Bounce, the song he had

0:59:04.560 --> 0:59:07.320
<v Speaker 6>called Punky Bounce. We took the little snippet of the

0:59:07.360 --> 0:59:11.600
<v Speaker 6>first part of that song and cut tate. We copied it,

0:59:11.760 --> 0:59:14.440
<v Speaker 6>copied it, cut it with a tape, copy, copy, cut it,

0:59:14.720 --> 0:59:19.440
<v Speaker 6>and then tape tape and tape it together. Second we

0:59:19.520 --> 0:59:22.360
<v Speaker 6>stampled it. They didn't have a sample machine yet, so

0:59:22.480 --> 0:59:26.160
<v Speaker 6>we just know just loop, just cut that loop piece

0:59:26.480 --> 0:59:29.880
<v Speaker 6>until we got like ten seconds or something like that,

0:59:30.280 --> 0:59:32.640
<v Speaker 6>and then we looped around a pencil round the head

0:59:32.680 --> 0:59:34.600
<v Speaker 6>of the two track machine and just let it loop

0:59:35.280 --> 0:59:38.320
<v Speaker 6>around it and until we got ten minutes of it.

0:59:39.040 --> 0:59:41.160
<v Speaker 6>The ten minutes and then put that on two on

0:59:41.280 --> 0:59:45.160
<v Speaker 6>the twenty four track and back and then called Roger

0:59:45.200 --> 0:59:51.520
<v Speaker 6>back and he hated it. He hated Oh, he hated it.

0:59:52.520 --> 0:59:55.760
<v Speaker 6>But that was the deal. We gave him the deal. Yeah,

0:59:56.640 --> 0:59:59.880
<v Speaker 6>that's why we got him this deal that it wasn't

1:00:00.320 --> 1:00:02.800
<v Speaker 6>We had to use that as the name because that's

1:00:02.840 --> 1:00:05.080
<v Speaker 6>his younger brother. I told him, make up another He

1:00:05.120 --> 1:00:08.960
<v Speaker 6>didn't want it to be Roger. Make up another name.

1:00:09.400 --> 1:00:12.439
<v Speaker 6>You know, there's some money for you this. We was waiting.

1:00:12.520 --> 1:00:17.720
<v Speaker 6>His record was gonna be on Uncle Jam. Remember Yeah,

1:00:18.080 --> 1:00:20.919
<v Speaker 6>his record was gonna be on that. So we made

1:00:21.120 --> 1:00:23.600
<v Speaker 6>that just in the meantime so you can get some money.

1:00:24.280 --> 1:00:26.080
<v Speaker 6>We put it out in the record hit so Big,

1:00:26.920 --> 1:00:29.280
<v Speaker 6>They had to become zap and he hated it.

1:00:32.600 --> 1:00:34.720
<v Speaker 3>Circle back to you. After that, After hit what was

1:00:34.760 --> 1:00:35.120
<v Speaker 3>he was?

1:00:35.800 --> 1:00:36.640
<v Speaker 4>They ended up leaving.

1:00:37.680 --> 1:00:40.960
<v Speaker 6>They were they were, they were so big, they were

1:00:41.040 --> 1:00:43.080
<v Speaker 6>so big. And then then we then they put out

1:00:43.440 --> 1:00:47.280
<v Speaker 6>I did grape Vine, You did that the grape Vine,

1:00:47.720 --> 1:00:53.480
<v Speaker 6>More Bounce, and there's one more Uh only have eyes

1:00:53.560 --> 1:00:58.880
<v Speaker 6>for you? Yeah, I just I just started him to

1:00:58.960 --> 1:01:01.520
<v Speaker 6>doing it. I didn't finish with him. But and there's

1:01:01.600 --> 1:01:07.280
<v Speaker 6>one that Wilson picking up again with thing great by

1:01:07.440 --> 1:01:11.120
<v Speaker 6>midnight hours and I said, those songs you can always

1:01:11.200 --> 1:01:13.760
<v Speaker 6>do and and get you know, get on the radio

1:01:14.120 --> 1:01:16.360
<v Speaker 6>back at that time and end up doing them all

1:01:16.480 --> 1:01:17.960
<v Speaker 6>and they worked pretty good for him.

1:01:18.400 --> 1:01:21.000
<v Speaker 4>Did you work on the Roger solo album as well?

1:01:21.240 --> 1:01:23.400
<v Speaker 6>Or just the first album that was that was that

1:01:23.600 --> 1:01:25.360
<v Speaker 6>was the album that was supposed to have been on

1:01:25.520 --> 1:01:27.960
<v Speaker 6>Uncle Jam. That was Uncle Jam's album.

1:01:28.000 --> 1:01:30.320
<v Speaker 4>We paid so doing Roger do it? All that stuff is?

1:01:30.520 --> 1:01:32.360
<v Speaker 6>All that stuff was done from Uncle Jam.

1:01:35.640 --> 1:01:38.200
<v Speaker 7>Wait, hold up, As you can see, we are just

1:01:38.360 --> 1:01:41.400
<v Speaker 7>scratching the surface when it comes to the legendary and

1:01:41.920 --> 1:01:43.320
<v Speaker 7>iconic George Clinton.

1:01:43.440 --> 1:01:45.000
<v Speaker 6>So I'll tell you what we're gonna do.

1:01:45.440 --> 1:01:48.200
<v Speaker 7>We're gonna split this thing into coming up next Wednesday,

1:01:48.320 --> 1:01:50.560
<v Speaker 7>Part two of George Clinton. And if you think you

1:01:50.800 --> 1:01:55.919
<v Speaker 7>found out something this episode, wait until episode two. Yeah,

1:01:56.080 --> 1:01:59.520
<v Speaker 7>Part two of our sit down with George Clinton. Quest

1:01:59.560 --> 1:02:03.360
<v Speaker 7>Loves of Heart Radio and everywhere you listen to podcasts.

1:02:08.240 --> 1:02:15.000
<v Speaker 1>What's Love Supreme is a production of Iheartened Radio. For

1:02:15.160 --> 1:02:19.360
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:02:19.800 --> 1:02:21.480
<v Speaker 1>or wherever you listen to your favorite shows.