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George Clinton had just imagined a young Barack Obama in

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the White House-

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That was Pete

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... with his album, Chocolate City, in April 1975.

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Excuse me.

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Now, just a few minutes later-

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Pete's clear.

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What?

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Yeah.

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What?

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We don't-

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I'm setting it up, man.

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I know we usually do that, but we don't need a bespoke intro for this

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show.

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We absolutely need an... We always do an introduction.

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This album comes with an introduction.

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Good evening. Do not attempt to adjust your radio.

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There is nothing wrong. We have taken control as to bring you this

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special show, and we will return it to you as soon as you are grooving.

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Welcome to station W-E-F-U-N-K, better

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known as WE FUNK, or deeper still, the Mothership

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Connection, home of the extraterrestrial brothers, dealers

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of funky music, P-Funk, uncut funk,

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the bomb.

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Coming to you directly from the mothership. Top off the chocolate milky way.

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500,000 kilowatts of P-Funk power.

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So, kick back, dig, while we do it to you in your eardrums. Oh, me?

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I'm known as Lollipop Man, alias The Long-haired Sucker.

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My motto is, "Peace,

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funk."

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I'm Adam Maness.

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And I'm Peter Martin.

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And you're listening to the You'll Hear It podcast.

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Music. Explore.

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Explore. Brought to you by Open Studio.

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Go to openstudiojazz.com for all-

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Ooh

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... your jazz lesson needs.

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Now, that was an introduction.

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Peter,

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I feel like our faces are gonna hurt today.

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Yes. Stank face.

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Both the stankness of the faces and the smiling of the

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faces.

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Yeah.

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Because this album is not only, and I'm talking about Parliament's

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Mothership Connection-

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Yes

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... 1975's Mothership Connection.

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Not only is it one of the funkiest recordings

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of music in the history of recordings of music-

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Yeah

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... but it's also just a pure work of joy.

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It is.

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It is so joyful, this album.

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It is.

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It is undeniably infectious.

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Yeah.

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You cannot not shake your a*s at least a little bit.

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Watch your mouth, Adam Maness.

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I will-

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Wow.

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I will not. It is so good, man.

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Yeah.

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The whole thing start to finish, it is truly a masterpiece, in my

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opinion. I love this album so much, man.

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I

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agree. Ditto. See above to what Adam said.

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You know-

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It's a dance party. It's a funk masterclass-

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100%

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... as we're gonna look at. There's

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virtuosic funk playing from every single corner, singing,

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harmonization. It's a finely tuned, engineered

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record-

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Yeah

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... that we always, we're getting, having fun talking about that.

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Oh. I mean, '75. That's right in-

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Yeah

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... our engineering wheelhouse right now.

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Yeah.

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But dude, this thing, the whole thing sounds great.

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It's with a bunch of incredible, incredible artists.

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Some legends.

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Of course, led by the one and only, truly one

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of one, George Clinton.

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Yes.

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But of course, Parliament, some key members, George Clinton,

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obviously.

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Yeah.

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Glenn Goins on guitar and vocals.

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Yeah.

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The legendary bassist, Bootsy Collins,

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who's really kind of like, in a lot of ways, the heart and soul of this band,

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Bootsy Collins.

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Yeah.

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He's sort of like everything underneath that's happening is literally bubbling

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underneath-

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Yeah

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... is coming from Bootsy's bass.

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The, I think, most underrated keyboard player, at

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least on this show.

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Interesting.

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This might be the second or third time ever we've mentioned Bernie

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Worrell-

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Yes

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... who is maybe one of the most influential keyboard players of the past 60

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years.

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I was gonna say, he's the Phil, Greg Phillinganes of keyboard players, but that's

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kind of redundant, isn't it?

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Well, that's the thing is every keyboard player after him owes a lot of-

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Yeah

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... debit to Bernie Worrell-

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Absolutely

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... who helped create how we think about a lot of modern synthesizer

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sounds.

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Yeah.

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He was a pioneer on that. Also, a very

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accomplished musician as well.

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Yeah.

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But

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then the horn section's ridiculous.

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We've got to talk about the rest of the, Jerome Brailey. Bigfoot.

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Bigfoot.

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The rest of the rhythm section there.

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The drums. Everything is on the one-

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Yeah

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... is something that's gonna be a theme for every single song on here, and it

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makes you bounce. It makes everything bounce off it.

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Legendary horn section,

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Maceo Parker, Fred Wesley.

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Also, Michael Brecker, Randy Brecker.

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Michael Brecker, Randy Brecker.

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Are of the Brecker Brothers fame.

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Yeah.

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And Joe Farrell making some appearances on the tenor saxophone.

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Pretty incredible.

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Yeah.

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Pretty incredible. And man,

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I love this band so much. So Parliament and the sort of

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sister band, I guess, Funkadelic.

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Yeah.

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These two sides of the coin.

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Yeah.

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The Funkadelic is the sort of psychedelic rock.

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Lot of distorted, crunchy guitars.

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Yeah.

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And Parliament, more of the funk, R&B, dance side of

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things, although they do dance in a lot of-

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And then later, Parliament Funkadelic, which was just a combination-

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And then P-Funk All Stars and, yeah.

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Anyway

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... which were pretty much the same, anyway.

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There's been a lot of different-

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Due to legal reasons, these were all entirely different bands, but-

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I don't think it gets-

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George Clinton was the constant, right?

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I don't think it gets much better, for me, around this era, than

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this band.

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That's interesting.

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I mean, they went on a run the entire '70s-

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Yeah

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... that is, I think, unmatched, as far as just

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unbelievable banger album after banger album.

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Classic hits, and just, thank you,

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Parliament.

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And then also, not only did they go on a run in terms of recording, but their

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live performances, in a number of different types of venues-

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You ever seen them live?

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I've seen them several times live.

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Me too.

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Unbelievable.

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Yeah. And you opened for them.

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I opened for them once. One of the greatest shows I've ever seen.

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Actually, the first time I saw them live was in the early '91,

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I believe. It might've been '92 in New Orleans at Tipitina's on Tchoupitoulas

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Street. Legendary club. It's still there.

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And The Galactic guys actually own it, I believe now.

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Talk about lineage from funk and we're gonna talk about New Orleans, of course.

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But it was such an amazing... They used to come and do these weekend shows.

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They'd play for like Friday and Saturday.

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They'd come in with their crazy tour buses.

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The shows would be three and a half, four hours long.

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I mean, it was the stuff of legends. In a club.

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Yeah.

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It was kind of a big club.

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Yeah.

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But they did that a bunch of places.

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I saw them at North Sea Jazz Festival in the late '90s, and

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they had institutionalized, in a very good way, this

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sound, this show, for a whole two, three

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generations now.

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I'm glad you mentioned New Orleans, because New Orleans has an

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unexpected influence on this.

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Here's George talking about origins of funk.

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When did you start thinking of funk as a genre? As the genre you were working in?

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After "Testify."

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After "Testify" and

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like I said, seeing

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Jimi Hendrix, Cream, they did rock and roll and

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blues. Like my mother, to me, the only genre that

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wasn't taken was that New Orleans

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version of R&B. Get out my life,

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woman.

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"Get out my life, woman"

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Lee Dorsey.

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Lee Dorsey, yeah.

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"If You Wanna Love Me."

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Which Allen Toussaint produced.

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The Meters are the backing band there.

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Absolutely.

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Yeah. Isn't that fascinating, though?

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Yeah.

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When you hear it, you're like, "Oh, of course."

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Yeah.

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Right? But it's not the first thing I think of.

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I think of spaceships and outer space when I think of Parliament and Funkadelic.

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Yeah.

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Don't necessarily go straight to

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Allen Toussaint. Man, let's go onto the next track.

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Yeah.

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This is,

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I don't want to spoil any categories later. But this is an important song for me.

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It's important.

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Well, all right.

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One of the great starts. We talk about off-tempo, out-of-tempo

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starts.

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We've got to do it again.

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Yeah.

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We've got to do it again. We've got to hear it again, Peter.

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But check it out. So we talked about

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Yeah.

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All these things where you're like, it's a very subtle thing, but they don't

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just go into that thick-ass groove.

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Ooh.

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There's a little bit of this, and that's very much a Meters, New Orleans thing,

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too, right?

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This one live, too. Mothership Connection live.

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Oh, yeah.

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Out of this world.

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Yeah.

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I mean, literally.

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Yeah.

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But a whole other experience.

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I think she's in there.

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Thank you. Okay.

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Yeah.

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But by the way-

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And then

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... there's a live concert film from the '70s from this

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band that is, it's on YouTube.

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There's like 30 of them, buddy.

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I know, but so worth checking out.

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There's one. Okay, got you.

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"Mothership Connection"

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Yeah.

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Woo.

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Well, all right.

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It's syncopated from the beginning. Before it turns.

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Citizens of the universe, recording.

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Ooh.

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Man, that hi-hat. Talk about the bass drum sound.

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"Pardon on the mothership. I am"

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Oh, that crash.

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"Connection"

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Big.

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"Getting down in 3D"

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Crash.

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Every time.

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On the one. Everything is on the one.

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Yeah. Every eight beats, it's hitting.

272
00:08:22,041 --> 00:08:23,462
"Hear the noise, ladies"

273
00:08:23,472 --> 00:08:23,492
Oh.

274
00:08:23,712 --> 00:08:24,122
"Make me move"

275
00:08:24,432 --> 00:08:24,442
Oh.

276
00:08:24,612 --> 00:08:26,832
I love sometimes too Bigfoot will just give a little space.

277
00:08:27,261 --> 00:08:27,601
"Get down"

278
00:08:27,612 --> 00:08:31,472
And it is always on the one, but he's still got some of that four and.

279
00:08:31,592 --> 00:08:31,932
Check it out.

280
00:08:34,492 --> 00:08:36,132
Oh. There's the extra bass drum.

281
00:08:36,802 --> 00:08:38,023
"Me and the boys"

282
00:08:38,172 --> 00:08:38,452
Woo.

283
00:08:39,132 --> 00:08:39,702
"Grooving"

284
00:08:39,913 --> 00:08:40,153
Woo.

285
00:08:40,362 --> 00:08:42,702
"You gotta hit the band. All right"

286
00:08:42,712 --> 00:08:43,012
Horns.

287
00:08:43,512 --> 00:08:43,523
"All right"

288
00:08:43,552 --> 00:08:44,572
Never been a funkier horn section.

289
00:08:44,592 --> 00:08:45,392
So, crash cymbal.

290
00:08:46,412 --> 00:08:46,832
Every eight.

291
00:08:47,432 --> 00:08:47,872
Hi-hat.

292
00:08:47,932 --> 00:08:48,292
Yeah.

293
00:08:48,372 --> 00:08:49,852
Yes. Crash.

294
00:08:50,182 --> 00:08:52,342
"Put a glide in your stride and a dip in your hip"

295
00:08:52,452 --> 00:08:52,502
Hi-hat.

296
00:08:52,522 --> 00:08:53,392
"And come onto the mothership"

297
00:08:53,452 --> 00:08:55,332
Yeah. Well, that was all sequenced, so.

298
00:08:55,352 --> 00:08:55,852
All that stuff, the

299
00:08:56,792 --> 00:08:57,452
Bernie Worrell, man.

300
00:08:58,792 --> 00:08:59,392
You say sequence?

301
00:08:59,472 --> 00:09:00,052
No, I'm just kidding.

302
00:09:00,112 --> 00:09:00,672
Cut it out, Peter.

303
00:09:02,492 --> 00:09:03,112
Oh, what do we got over there?

304
00:09:05,232 --> 00:09:05,962
And the horns-

305
00:09:05,981 --> 00:09:06,372
The horns is back

306
00:09:07,872 --> 00:09:11,432
... I don't need the wah all the time, but.

307
00:09:13,032 --> 00:09:14,652
F#9. You know what I'm saying?

308
00:09:14,702 --> 00:09:18,101
"Bass man"

309
00:09:19,572 --> 00:09:20,692
Maceo, Fred Wesley.

310
00:09:20,702 --> 00:09:20,732
Yeah.

311
00:09:20,742 --> 00:09:22,372
"Even your memory bank never got this far"

312
00:09:23,932 --> 00:09:26,012
Brother's.

313
00:09:26,352 --> 00:09:27,652
"Mothership Connection"

314
00:09:28,272 --> 00:09:29,672
Right there. There's a little-

315
00:09:30,132 --> 00:09:30,601
Little details

316
00:09:30,612 --> 00:09:31,321
... variances.

317
00:09:31,662 --> 00:09:34,022
"Home of the p-funk. The bomb"

318
00:09:34,332 --> 00:09:36,372
It's pattern, pattern, pattern, pattern interruption.

319
00:09:36,692 --> 00:09:39,682
But there's four different levels that's happening at the same time.

320
00:09:39,692 --> 00:09:42,412
I've had to play this live a couple of times, and like-

321
00:09:42,512 --> 00:09:43,132
Did it sound like this?

322
00:09:44,512 --> 00:09:47,412
Getting those details is super challenging, man.

323
00:09:48,261 --> 00:09:49,372
It is. Whoa, that break.

324
00:09:49,592 --> 00:09:51,172
Yeah, hold on. I've got to back it up. I've got to back it up.

325
00:09:51,472 --> 00:09:53,212
There's that Gb that happens.

326
00:09:53,252 --> 00:09:53,492
Yeah.

327
00:09:55,592 --> 00:09:56,592
The drum breaks.

328
00:09:58,492 --> 00:09:59,612
"Doing it in 3D"

329
00:10:00,472 --> 00:10:00,952
Right here.

330
00:10:02,632 --> 00:10:03,052
Oh.

331
00:10:03,932 --> 00:10:04,252
What?

332
00:10:06,152 --> 00:10:07,962
"Let me put on my sunglasses"

333
00:10:07,962 --> 00:10:08,952
Man, it's so...

334
00:10:10,132 --> 00:10:13,351
You think of them going crazy on this, but it's so disciplined.

335
00:10:13,702 --> 00:10:16,502
"Funk you up. Yeah, here we go"

336
00:10:16,502 --> 00:10:18,472
Oh, my face already hurts.

337
00:10:20,041 --> 00:10:23,821
"You better hit the band. You have overcome, for I

338
00:10:23,992 --> 00:10:24,512
am here"

339
00:10:26,032 --> 00:10:26,912
Oh, take it to the bridge.

340
00:10:26,932 --> 00:10:28,972
This is my favorite moment of 1975, probably.

341
00:10:29,732 --> 00:10:31,252
It's also apparently Dr. Dre,

342
00:10:32,152 --> 00:10:33,912
Snoop, and a bunch of people's favorite moment.

343
00:10:33,992 --> 00:10:37,222
"Swing down, sweet chariot, stop, and

344
00:10:37,772 --> 00:10:41,052
let me ride. Swing down,

345
00:10:41,132 --> 00:10:44,502
sweet chariot, stop, and let me ride"

346
00:10:44,572 --> 00:10:45,232
Bernie Worrell.

347
00:10:45,432 --> 00:10:45,592
Yeah.

348
00:10:46,092 --> 00:10:47,792
Square wave synthesizers.

349
00:10:48,032 --> 00:10:48,042
New sounds. Yeah.

350
00:10:48,072 --> 00:10:48,752
Triangle wave.

351
00:10:49,872 --> 00:10:51,912
The clavinet with the wah-

352
00:10:52,132 --> 00:10:52,272
Yeah

353
00:10:52,332 --> 00:10:53,892
... effects. Unbelievable.

354
00:10:54,072 --> 00:10:57,182
"Let me ride. Swing down, sweet chariot"

355
00:10:57,182 --> 00:10:57,732
Going all

356
00:10:58,792 --> 00:10:58,802
Jaco Pastorius.

357
00:10:58,802 --> 00:10:59,302
"Let me ride"

358
00:10:59,172 --> 00:11:00,932
What's that, CC?

359
00:11:01,832 --> 00:11:04,012
"Swing down, sweet chariot, stop"

360
00:11:04,052 --> 00:11:04,272
Woo.

361
00:11:04,302 --> 00:11:05,522
"And let me ride"

362
00:11:05,552 --> 00:11:07,052
The timing on that wah, too.

363
00:11:08,302 --> 00:11:09,722
"Are you hip to Easter Island?"

364
00:11:09,932 --> 00:11:10,392
Uh.

365
00:11:11,502 --> 00:11:12,732
"The Bermuda Triangle.

366
00:11:15,032 --> 00:11:15,602
Well, all right"

367
00:11:15,772 --> 00:11:16,032
Man.

368
00:11:16,102 --> 00:11:16,961
"Ain't nothing but a party"

369
00:11:16,992 --> 00:11:18,212
I remember this coming on the radio.

370
00:11:18,312 --> 00:11:19,712
I thought these were two separate songs,

371
00:11:20,912 --> 00:11:22,212
because they'd fade it out before here.

372
00:11:22,242 --> 00:11:22,772
"Starchild here"

373
00:11:23,212 --> 00:11:23,252
Uh.

374
00:11:23,262 --> 00:11:26,752
"Citizens of the universe, I bring forth to you the good

375
00:11:26,832 --> 00:11:28,872
times on the mothership"

376
00:11:29,232 --> 00:11:30,112
Woo.

377
00:11:31,052 --> 00:11:33,172
"Are you here?"

378
00:11:34,352 --> 00:11:34,472
Uh.

379
00:11:36,712 --> 00:11:40,452
"Say, fellas. If you're here,

380
00:11:40,652 --> 00:11:42,852
hear the noise. Nobody but me and the boys.

381
00:11:42,872 --> 00:11:45,212
Me and the boys getting bad"

382
00:11:46,232 --> 00:11:48,912
I think Kirk Franklin was really influenced by this.

383
00:11:50,532 --> 00:11:50,732
I mean,

384
00:11:51,892 --> 00:11:53,112
the amount of genres-

385
00:11:53,232 --> 00:11:53,382
I know

386
00:11:53,412 --> 00:11:54,322
... that are influenced by this.

387
00:11:54,332 --> 00:11:54,572
Yeah.

388
00:11:54,702 --> 00:11:58,512
"Me and the boys getting bad. You gotta hit the

389
00:11:58,592 --> 00:11:59,372
band"

390
00:12:01,072 --> 00:12:02,772
Yeah, man.

391
00:12:04,672 --> 00:12:05,552
"Starchild here"

392
00:12:08,412 --> 00:12:09,052
This is all-

393
00:12:09,292 --> 00:12:12,212
"Doing it in 3D. So good, it's good to me"

394
00:12:18,456 --> 00:12:19,096
Hit the band.

395
00:12:20,176 --> 00:12:23,416
If you're

396
00:12:24,136 --> 00:12:26,976
feeling naughty. It's just me and the boy in the window.

397
00:12:27,036 --> 00:12:29,576
What I love about these tracks too, Peter, is we're not going anywhere.

398
00:12:29,596 --> 00:12:29,836
No.

399
00:12:30,176 --> 00:12:31,996
Let's take our time and settle in.

400
00:12:32,376 --> 00:12:36,136
And I said, they went to the bridge, it's almost like they fade to

401
00:12:36,156 --> 00:12:36,796
another song.

402
00:12:38,876 --> 00:12:42,616
Honestly, I don't know of any more life-affirming music than this music.

403
00:12:42,696 --> 00:12:43,856
I know that sounds dramatic.

404
00:12:44,396 --> 00:12:45,296
Oh! Man,

405
00:12:46,256 --> 00:12:48,526
but, so like I said earlier,

406
00:12:49,536 --> 00:12:50,756
Brailey, he's so

407
00:12:51,616 --> 00:12:55,276
disciplined in the way he's playing this pattern, but then when he

408
00:12:55,336 --> 00:12:56,975
mixes it up, oh.

409
00:12:57,436 --> 00:12:57,896
What's that?

410
00:12:58,996 --> 00:12:59,956
Let's take you higher.

411
00:13:00,936 --> 00:13:03,316
But when he does little details, you're like, "Oh."

412
00:13:03,956 --> 00:13:05,736
Do it for me, kid. I like it.

413
00:13:06,616 --> 00:13:07,196
There's that break.

414
00:13:12,656 --> 00:13:14,676
And you talk about taking the same chord-

415
00:13:14,756 --> 00:13:15,056
Yeah, man

416
00:13:15,076 --> 00:13:18,656
... the same material, and just stretching it out, and it's all this

417
00:13:20,636 --> 00:13:22,496
It's very modal. It's all mixolydian, right?

418
00:13:22,755 --> 00:13:25,596
I honestly, I can't take it without just

419
00:13:27,436 --> 00:13:28,056
losing my mind.

420
00:13:28,096 --> 00:13:28,156
I know.

421
00:13:28,216 --> 00:13:31,856
It's so good. The little details. That's the thing, too, is one

422
00:13:31,966 --> 00:13:32,376
chord,

423
00:13:33,236 --> 00:13:33,496
right?

424
00:13:33,746 --> 00:13:34,246
Yeah.

425
00:13:33,776 --> 00:13:36,896
You got one chord for a long time, and you have all these little

426
00:13:38,316 --> 00:13:39,766
subtle changes that-

427
00:13:39,766 --> 00:13:40,266
Yeah

428
00:13:39,766 --> 00:13:43,256
... are cued in here and there, and the textures that Bernie Worrell is playing are

429
00:13:43,276 --> 00:13:46,896
so genius. And then you mentioned Jerome "Bigfoot" Brailey just

430
00:13:47,996 --> 00:13:49,576
holding it down for the most part.

431
00:13:49,606 --> 00:13:50,106
Oh, my God.

432
00:13:49,616 --> 00:13:50,976
But then just every once in a while-

433
00:13:51,196 --> 00:13:51,566
Little change

434
00:13:51,596 --> 00:13:54,716
... every so often, he'll just put in the thing, or he'll just put in a pause.

435
00:13:54,896 --> 00:13:58,456
Just sometimes the silence that he'll put in sounds deafening.

436
00:13:58,616 --> 00:13:58,736
Yeah.

437
00:13:58,756 --> 00:13:59,196
You know what I mean?

438
00:13:59,476 --> 00:14:00,336
It's that kind of play.

439
00:14:01,216 --> 00:14:03,856
Great funk players can play,

440
00:14:04,836 --> 00:14:06,016
I'm going to state the obvious here. You ready?

441
00:14:06,056 --> 00:14:06,136
Yeah.

442
00:14:06,416 --> 00:14:06,696
State the obvious.

443
00:14:06,736 --> 00:14:06,996
Yeah.

444
00:14:07,736 --> 00:14:11,276
Can play in the groove, right? But there's that next level where you're

445
00:14:11,496 --> 00:14:12,756
stuck in the groove.

446
00:14:12,816 --> 00:14:13,436
Yeah.

447
00:14:13,476 --> 00:14:16,096
There's nothing they can do to leave the groove.

448
00:14:16,146 --> 00:14:19,256
And that doesn't mean that they play the exact same pattern, it means they play

449
00:14:19,576 --> 00:14:23,556
95% of the exact same pattern, and then the taste-making is when

450
00:14:23,596 --> 00:14:26,536
they change it up. It's not only the "step back" or

451
00:14:26,696 --> 00:14:30,576
he does a bass drum every 16 bars or

452
00:14:30,656 --> 00:14:34,296
so that's a little bit different that leads back into the one, but it's the

453
00:14:34,336 --> 00:14:37,016
decisions of not only how to do it, but when to do it.

454
00:14:37,096 --> 00:14:37,425
That's so brilliant.

455
00:14:37,425 --> 00:14:40,256
With the whole rest arrangement, with the horns.

456
00:14:40,496 --> 00:14:42,516
There's all these different layers going.

457
00:14:42,596 --> 00:14:42,856
Yeah.

458
00:14:42,906 --> 00:14:46,016
And it's already great if they just stay the same, but it's the little parts, the

459
00:14:46,056 --> 00:14:48,636
little patterns that interrupt that are just so joyful.

460
00:14:48,676 --> 00:14:51,896
So, in just a minute, we're going to listen to just the bass and the drums

461
00:14:51,976 --> 00:14:53,906
isolated, and you can hear the great Jerome Brailey-

462
00:14:53,946 --> 00:14:54,596
Can you take it?

463
00:14:54,626 --> 00:14:55,446
... and Bootsy Collins. I don't know.

464
00:14:55,446 --> 00:14:56,365
I don't know if you can take that.

465
00:14:56,416 --> 00:14:59,156
We're also going to listen to some people that have used this music in samples.

466
00:14:59,176 --> 00:14:59,936
But before we do that-

467
00:15:00,116 --> 00:15:00,126
Really?

468
00:15:00,126 --> 00:15:02,716
... Peter, I want to talk a little bit about Open Studio.

469
00:15:02,726 --> 00:15:05,216
I actually just recorded a lesson today.

470
00:15:05,296 --> 00:15:05,636
I heard it.

471
00:15:05,876 --> 00:15:08,376
We were talking about playing on one chord.

472
00:15:08,516 --> 00:15:08,636
Yeah.

473
00:15:08,916 --> 00:15:12,796
And so, this show is sponsored by Open Studio, where we teach piano

474
00:15:12,836 --> 00:15:13,216
lessons.

475
00:15:13,306 --> 00:15:13,806
Yeah.

476
00:15:13,316 --> 00:15:15,556
And we were talking about playing on this one chord.

477
00:15:15,896 --> 00:15:19,676
Can you play an E flat seven, like an E

478
00:15:19,716 --> 00:15:21,546
flat dominant seven chord, right?

479
00:15:22,296 --> 00:15:23,056
Yeah.

480
00:15:23,696 --> 00:15:26,856
So when you got just one chord for one time, and you hear this especially in James

481
00:15:26,936 --> 00:15:27,796
Brown's music-

482
00:15:27,876 --> 00:15:27,886
Yeah

483
00:15:27,886 --> 00:15:30,176
... and in Parliament, and in Sly & the Family Stone.

484
00:15:30,776 --> 00:15:34,716
But you have that E flat seven. Instead of just playing an E flat

485
00:15:34,796 --> 00:15:38,256
seven chord, Peter, could you play a B flat minor triad in

486
00:15:38,316 --> 00:15:40,236
the first inversion over E flat?

487
00:15:40,596 --> 00:15:41,296
First inversion.

488
00:15:42,136 --> 00:15:42,406
Yeah.

489
00:15:43,256 --> 00:15:46,876
So, we have that sound. That B flat minor triad over E flat, which is like an E

490
00:15:46,956 --> 00:15:48,736
flat seven sus two.

491
00:15:48,856 --> 00:15:49,056
Yeah.

492
00:15:49,256 --> 00:15:53,116
And you'll hear great keys players and great guitarists take that shape up-

493
00:15:53,136 --> 00:15:53,145
Yeah

494
00:15:53,145 --> 00:15:54,376
... a whole step to the C minor.

495
00:15:56,296 --> 00:15:58,376
Right? Now put a little funk on it, put a little

496
00:15:59,296 --> 00:15:59,696
grease.

497
00:16:02,876 --> 00:16:05,696
Right? So you just have, this is E flat, right? We're just in E flatness here.

498
00:16:05,776 --> 00:16:06,136
Yeah.

499
00:16:06,156 --> 00:16:08,316
But you can use those pairs of triads.

500
00:16:08,556 --> 00:16:11,406
Anyway, that's what we were talking about today on my course, "The Harmony Games."

501
00:16:11,576 --> 00:16:12,376
If you want to check it out,

502
00:16:13,236 --> 00:16:16,876
go to openstudiojazz.com. That's openstudiojazz.com for

503
00:16:17,176 --> 00:16:20,196
all your jazz lesson needs. Okay.

504
00:16:20,236 --> 00:16:23,596
Yeah, that's right. Okay, back to it. Man.

505
00:16:23,656 --> 00:16:24,306
Bass and drums. Ready?

506
00:16:24,496 --> 00:16:24,716
Yeah.

507
00:16:24,736 --> 00:16:25,056
Let's do it.

508
00:16:27,956 --> 00:16:28,316
Oh.

509
00:16:30,196 --> 00:16:30,936
So this is the bridge.

510
00:16:32,416 --> 00:16:33,236
Mothership connection.

511
00:16:36,636 --> 00:16:37,156
Let it ride.

512
00:16:40,936 --> 00:16:43,976
Ooh, the hi-hat on and the four. Ugh, love it.

513
00:16:44,756 --> 00:16:49,076
Ah.

514
00:16:49,236 --> 00:16:49,436
Ha.

515
00:16:52,536 --> 00:16:53,636
Oh, man, that's perfect crash.

516
00:16:54,836 --> 00:16:55,876
Everything Bootsy served.

517
00:16:59,936 --> 00:17:00,056
Oh!

518
00:17:00,996 --> 00:17:01,606
Did you hear that?

519
00:17:02,036 --> 00:17:06,017
Isn't that so fun? Man, you could literally listen to this whole album of just the

520
00:17:06,316 --> 00:17:09,956
stems of the bass and the drums and have the time of your life. It is.

521
00:17:09,977 --> 00:17:11,497
Could you imagine if Fagen and

522
00:17:12,396 --> 00:17:13,966
Steely Dan had got their hands on that bass?

523
00:17:14,196 --> 00:17:14,796
So this is very-

524
00:17:14,856 --> 00:17:15,796
On that drum pattern.

525
00:17:15,936 --> 00:17:17,556
This is very, very interesting, right?

526
00:17:17,616 --> 00:17:20,396
Because we talked about this on that Steely Dan "Gaucho" episode.

527
00:17:20,477 --> 00:17:20,616
Yeah.

528
00:17:20,767 --> 00:17:24,636
About how they did all these takes and all of this like, "We got to get it

529
00:17:24,737 --> 00:17:28,247
just right." But there's something about this openness of being here.

530
00:17:28,296 --> 00:17:31,136
Not that these guys weren't doing takes and getting it right.

531
00:17:31,186 --> 00:17:31,686
Yeah.

532
00:17:31,196 --> 00:17:34,176
But it's just like there's a feeling of anything can happen.

533
00:17:34,416 --> 00:17:34,576
Right.

534
00:17:34,696 --> 00:17:38,436
That is so infectious. That makes me feel so alive when I listen to these

535
00:17:38,536 --> 00:17:40,536
albums, that I think sets Parliament.

536
00:17:40,756 --> 00:17:44,516
There's no other band I can think of where you feel like anything could happen.

537
00:17:44,556 --> 00:17:44,586
Well-

538
00:17:44,636 --> 00:17:47,426
Literally, a freaking spaceship could land on the stage, you know what I mean?

539
00:17:47,426 --> 00:17:48,176
No, it will. That's coming.

540
00:17:48,216 --> 00:17:48,556
And it will.

541
00:17:48,616 --> 00:17:51,416
But I mean, the thing is too, what was so great about that, I was talking about it

542
00:17:51,436 --> 00:17:54,556
earlier, their legendary live performances for decades, is

543
00:17:55,436 --> 00:17:58,776
their actual, especially the OG recordings, are very

544
00:17:58,816 --> 00:18:01,276
restrained in a way. I mean, they're definitely like a part-

545
00:18:01,316 --> 00:18:02,356
Oh, compared to the live shows.

546
00:18:02,536 --> 00:18:02,656
Yeah.

547
00:18:02,706 --> 00:18:03,206
Yeah.

548
00:18:02,736 --> 00:18:05,706
I mean, even just compared to how everybody's playing, because they'll play this

549
00:18:05,736 --> 00:18:08,466
stuff for 30 minutes straight, and crazy fills and-

550
00:18:08,466 --> 00:18:09,436
It's the greatest feeling in the world

551
00:18:09,446 --> 00:18:12,596
... I remember seeing Dennis Chambers with them. He played for, oh my God.

552
00:18:12,756 --> 00:18:13,126
Yeah, that is talent. Shut up.

553
00:18:13,176 --> 00:18:15,476
But I mean, the foundation of it is very

554
00:18:16,376 --> 00:18:20,136
architectural, right? In terms of the decisions about how these

555
00:18:20,176 --> 00:18:22,816
pieces are... I mean, the groove is there, the funk is there.

556
00:18:23,226 --> 00:18:23,726
Yeah.

557
00:18:23,236 --> 00:18:26,496
But then it's not just like, "Oh, we're going to groove out for 30 minutes." Man,

558
00:18:26,556 --> 00:18:29,896
it's like, no, this stuff is put together, and then you've created this world, and

559
00:18:29,916 --> 00:18:32,496
you've got these hits, and people know it, and these riffs-

560
00:18:32,556 --> 00:18:32,595
Yeah

561
00:18:32,606 --> 00:18:34,256
... and these choruses and stuff that people love.

562
00:18:34,536 --> 00:18:38,036
I don't know what your origin story with Parliament is, but I didn't really-

563
00:18:38,556 --> 00:18:39,426
I created the band. Yeah.

564
00:18:39,456 --> 00:18:43,356
I didn't really get hip to them till I was probably 16 or 17.

565
00:18:43,696 --> 00:18:47,416
However, I had been listening to them unknowingly for a couple of years

566
00:18:47,436 --> 00:18:47,786
before that-

567
00:18:47,796 --> 00:18:47,936
Yeah

568
00:18:47,996 --> 00:18:48,616
... with this.

569
00:18:48,736 --> 00:18:50,656
Then I be rolling in my six four.

570
00:18:51,896 --> 00:18:53,036
What everybody saying?

571
00:18:55,280 --> 00:18:56,380
When is the Dre, Snoop-

572
00:18:56,430 --> 00:18:58,460
"Let It Ride," Dr. Dre.

573
00:18:59,500 --> 00:18:59,720
When's

574
00:19:00,680 --> 00:19:01,750
this episode coming? Come on.

575
00:19:01,880 --> 00:19:02,660
The Chronic episode?

576
00:19:02,710 --> 00:19:03,040
Yeah. Come on, man.

577
00:19:03,220 --> 00:19:05,820
Any day you want, bro. Any day you want.

578
00:19:06,350 --> 00:19:07,920
Damn it. Tell us in the comments if you want that.

579
00:19:09,240 --> 00:19:10,340
Hell yeah.

580
00:19:10,530 --> 00:19:10,980
Hell yeah. Come on.

581
00:19:11,960 --> 00:19:13,180
I learned how to talk with this record.

582
00:19:13,200 --> 00:19:15,980
And I don't know if you remember the end of this video, but they show, they have

583
00:19:16,300 --> 00:19:19,420
superimposed footage of the live of the mothership landing.

584
00:19:19,460 --> 00:19:20,610
Oh, wow. Oh, yeah.

585
00:19:20,620 --> 00:19:22,070
And you see George Clinton singing this.

586
00:19:22,070 --> 00:19:23,270
And it looks like it's from the '40s or something.

587
00:19:23,280 --> 00:19:25,390
And that, I think, was my very first exposure, like-

588
00:19:25,420 --> 00:19:25,780
You're like, "Wait."

589
00:19:25,860 --> 00:19:27,360
"What the hell is going on-"

590
00:19:27,480 --> 00:19:27,620
Interesting. Yeah

591
00:19:27,940 --> 00:19:31,890
... in this Dr. Dre?" I've since learned, we had our great

592
00:19:32,000 --> 00:19:35,290
audio intern, Charlie, looking up different people that have used this.

593
00:19:35,340 --> 00:19:35,890
Did you know Wiz Khalifa-

594
00:19:35,890 --> 00:19:38,500
Somebody bit his finger, by the way. Anyway, go ahead.

595
00:19:38,620 --> 00:19:39,460
Oh my God.

596
00:19:39,470 --> 00:19:39,970
Go.

597
00:19:39,640 --> 00:19:42,030
Do you know that Wiz Khalifa did a whole, just a cover?

598
00:19:43,840 --> 00:19:44,480
Like straight up.

599
00:19:44,660 --> 00:19:44,860
Damn.

600
00:19:44,940 --> 00:19:45,330
All right.

601
00:19:45,660 --> 00:19:45,800
Oh.

602
00:19:46,160 --> 00:19:48,740
Earth, Wind & Fire, citizens of the universe.

603
00:19:48,800 --> 00:19:50,190
That's gutsy. That's gutsy.

604
00:19:50,190 --> 00:19:52,120
That's very gutsy. It's very gutsy.

605
00:19:52,670 --> 00:19:55,480
But man, the "Mothership Connection," I think,

606
00:19:55,720 --> 00:19:57,840
it's one of my-

607
00:19:57,880 --> 00:19:58,050
You like it?

608
00:19:58,050 --> 00:20:00,370
It's in my hall of fame for songs.

609
00:20:00,370 --> 00:20:01,170
It's good. Well, I know what you're-

610
00:20:01,260 --> 00:20:01,679
100%.

611
00:20:01,740 --> 00:20:03,520
I see where this is going, too, desert island track.

612
00:20:03,780 --> 00:20:03,850
I'm not gonna spoil it.

613
00:20:03,880 --> 00:20:04,880
Are we moving on to-

614
00:20:05,400 --> 00:20:06,260
You want to get a little unfunky?

615
00:20:06,340 --> 00:20:08,960
Man, I love, this is kind of a passed over track for some reason.

616
00:20:09,040 --> 00:20:10,140
I agree. This is underrated.

617
00:20:10,200 --> 00:20:13,500
There's always when you're at the end of the side A, there's always some question

618
00:20:13,540 --> 00:20:15,180
marks if people are tuning in.

619
00:20:15,220 --> 00:20:16,380
This is "Unfunky UFO."

620
00:20:16,580 --> 00:20:16,690
Yeah.

621
00:20:18,240 --> 00:20:18,420
Oh.

622
00:20:19,420 --> 00:20:21,500
Nothing unfunky about that, by the way.

623
00:20:24,040 --> 00:20:25,360
The lyrics are crazy on this.

624
00:20:28,300 --> 00:20:32,200
All that is really needed. To save

625
00:20:32,280 --> 00:20:35,300
a dying world is toughness and-

626
00:20:35,600 --> 00:20:35,980
Oh

627
00:20:36,020 --> 00:20:39,880
... stoically I forced a smile. My composure was

628
00:20:39,940 --> 00:20:40,630
a killer.

629
00:20:40,880 --> 00:20:42,380
Ah. I think that's Brecker.

630
00:20:42,580 --> 00:20:43,720
I won't take grief from men who wear-

631
00:20:44,100 --> 00:20:44,560
You think that's who?

632
00:20:44,790 --> 00:20:45,510
Brecker Brothers, I think.

633
00:20:45,520 --> 00:20:45,630
Oh.

634
00:20:46,040 --> 00:20:46,440
I think so.

635
00:20:46,580 --> 00:20:48,640
Like a streak of lightning, it came.

636
00:20:49,240 --> 00:20:49,250
Woo.

637
00:20:49,280 --> 00:20:50,960
Filling my brain with this pain.

638
00:20:50,980 --> 00:20:51,540
Woo.

639
00:20:51,560 --> 00:20:54,140
When I heard the word is what I heard.

640
00:20:54,220 --> 00:20:55,650
Give up the funk, you punks.

641
00:20:58,700 --> 00:21:00,150
Bootsy lays out some killer stuff on there.

642
00:21:00,160 --> 00:21:02,300
Bootsy and Bernie on this are just crushing it.

643
00:21:02,340 --> 00:21:02,830
Yeah. Keep going.

644
00:21:02,830 --> 00:21:04,010
Bernie Worrell, by the way-

645
00:21:04,179 --> 00:21:04,420
Sorry

646
00:21:06,300 --> 00:21:07,450
child prodigy on the keys.

647
00:21:07,520 --> 00:21:07,680
Yeah.

648
00:21:08,520 --> 00:21:10,020
Graduate of the New England Conservatory.

649
00:21:10,070 --> 00:21:10,080
Yeah.

650
00:21:10,120 --> 00:21:10,969
Studied at Juilliard.

651
00:21:10,969 --> 00:21:11,140
And went to Juilliard, yeah.

652
00:21:11,180 --> 00:21:12,740
Yeah. Unbelievable musician.

653
00:21:12,909 --> 00:21:13,860
Yeah. They didn't learn this at Juilliard.

654
00:21:14,720 --> 00:21:14,810
I can tell.

655
00:21:14,840 --> 00:21:15,940
They don't teach this at Juilliard.

656
00:21:16,000 --> 00:21:16,439
Check this out.

657
00:21:16,500 --> 00:21:17,060
Right now.

658
00:21:17,200 --> 00:21:17,940
Oh, woo.

659
00:21:18,420 --> 00:21:19,360
Right now.

660
00:21:20,320 --> 00:21:20,520
Uh.

661
00:21:21,120 --> 00:21:22,360
Oh, track.

662
00:21:23,580 --> 00:21:24,460
F*****g hell.

663
00:21:24,600 --> 00:21:25,580
I don't know who this is on bone.

664
00:21:25,800 --> 00:21:29,420
Love would be so much better.

665
00:21:29,880 --> 00:21:31,100
If you would show me-

666
00:21:31,360 --> 00:21:31,540
Oh

667
00:21:31,820 --> 00:21:33,320
... some funk like you do.

668
00:21:35,060 --> 00:21:35,820
Man, the fills.

669
00:21:36,720 --> 00:21:37,300
And that back.

670
00:21:37,800 --> 00:21:41,600
All that is really needed. To save a dying world

671
00:21:42,500 --> 00:21:43,129
is toughness and.

672
00:21:45,100 --> 00:21:46,129
Fish 'n' plains-

673
00:21:46,220 --> 00:21:46,540
Woo

674
00:21:46,760 --> 00:21:49,100
... is the name of some funky friends of mine.

675
00:21:49,160 --> 00:21:52,010
When they were on the road and getting it on.

676
00:21:52,060 --> 00:21:55,700
"Unfunky UFO." I mean, it doesn't get funkier than that, ironically.

677
00:21:55,960 --> 00:21:55,969
That's so great.

678
00:21:56,020 --> 00:21:58,030
Did you know too, that after they recorded that track-

679
00:21:58,300 --> 00:21:58,400
Yeah

680
00:21:58,760 --> 00:22:02,290
... apparently George and Bootsy actually saw a UFO.

681
00:22:02,660 --> 00:22:03,980
That's weird.

682
00:22:04,040 --> 00:22:05,140
We had just finished

683
00:22:06,280 --> 00:22:09,200
the Mothership album. That's what's weird about it.

684
00:22:09,620 --> 00:22:11,840
So on the way back, Bootsy and I are driving along.

685
00:22:11,880 --> 00:22:13,840
We happy we done finished the album.

686
00:22:14,370 --> 00:22:17,290
We gonna go to Bimini. We gonna go fishing.

687
00:22:17,600 --> 00:22:17,890
I think it's in the Bahamas.

688
00:22:17,890 --> 00:22:18,350
On the way back to the

689
00:22:19,160 --> 00:22:20,280
funkadelic house in Mississauga-

690
00:22:20,840 --> 00:22:21,080
Canada

691
00:22:21,100 --> 00:22:21,660
... we see a light.

692
00:22:21,670 --> 00:22:21,980
Oh, Canada

693
00:22:22,640 --> 00:22:26,340
Like a laser, like straight from the sky, clear

694
00:22:26,440 --> 00:22:29,460
day, and it's splattering like electricity, sparks,

695
00:22:30,340 --> 00:22:34,260
like two blocks away, and before I can see anything, it hits the

696
00:22:34,300 --> 00:22:36,800
other side of the street. It's like bam,

697
00:22:37,680 --> 00:22:39,720
bam. And the third one-

698
00:22:40,100 --> 00:22:41,400
Literally saw a UFO-

699
00:22:41,560 --> 00:22:42,080
Yeah

700
00:22:42,090 --> 00:22:43,400
... after they recorded this album.

701
00:22:43,420 --> 00:22:43,570
I know.

702
00:22:43,570 --> 00:22:44,530
The way back from recording the song.

703
00:22:44,560 --> 00:22:47,240
I remember hearing this story. I thought that was the inspiration from this, but it

704
00:22:47,280 --> 00:22:47,460
was-

705
00:22:47,520 --> 00:22:48,320
It happened flip side

706
00:22:48,330 --> 00:22:48,830
... but you know what?

707
00:22:48,340 --> 00:22:49,200
The aliens are watching, man.

708
00:22:49,220 --> 00:22:50,440
Because they're in another time zone.

709
00:22:51,060 --> 00:22:51,820
There is no time.

710
00:22:51,830 --> 00:22:53,380
There is no time. There's no space, no time.

711
00:22:53,400 --> 00:22:53,880
All right.

712
00:22:53,900 --> 00:22:54,939
And then.

713
00:22:56,240 --> 00:22:58,120
Do you know what's coming up next? Do you know the song that's coming up next?

714
00:22:58,400 --> 00:22:58,600
Oh.

715
00:22:58,620 --> 00:22:59,620
I just want to just hear you-

716
00:22:59,689 --> 00:23:00,340
Side B, right?

717
00:23:00,409 --> 00:23:01,460
... try to pronounce it is all.

718
00:23:01,740 --> 00:23:03,340
Oh, Super Groovalistic,

719
00:23:04,560 --> 00:23:08,180
Prozy, Funkasif... Super Califragilistic

720
00:23:08,200 --> 00:23:10,580
Funk-Funk, Gimme the Funk. Yeah.

721
00:23:10,640 --> 00:23:13,340
It's called Super Groovalistic Praizaphunkstication-

722
00:23:13,460 --> 00:23:13,969
Oh, that was very good

723
00:23:13,969 --> 00:23:14,640
... Da Bump's Bump.

724
00:23:19,880 --> 00:23:20,980
Oh. Oh, this percussion.

725
00:23:21,000 --> 00:23:22,760
All that s**t, man. All that s**t.

726
00:23:27,820 --> 00:23:31,480
Why didn't I play on... I wanted to play on this

727
00:23:31,520 --> 00:23:31,960
record.

728
00:23:33,120 --> 00:23:36,340
Baby, do the bump now. Give the people

729
00:23:37,400 --> 00:23:40,560
what they want when they want, and they want it all the time.

730
00:23:40,780 --> 00:23:42,880
Do the. Oh, oh.

731
00:23:43,040 --> 00:23:46,260
Give the people what they want when they want, and they want it all the time.

732
00:23:47,700 --> 00:23:51,140
Give the people what they want when they want, and they want it all the time.

733
00:23:51,180 --> 00:23:55,140
Give the people what they want when they want, and they want

734
00:23:55,380 --> 00:23:56,540
it all the time.

735
00:23:57,600 --> 00:23:57,609
Damn.

736
00:23:57,609 --> 00:23:58,140
Bump now.

737
00:23:59,660 --> 00:23:59,850
Baby, do the bump now.

738
00:23:59,860 --> 00:24:00,840
Oh, I love this.

739
00:24:02,740 --> 00:24:02,750
Baby.

740
00:24:02,780 --> 00:24:03,990
Ooh, baby, you know it.

741
00:24:05,040 --> 00:24:06,340
Bump now. Baby, do the bump now.

742
00:24:08,160 --> 00:24:08,559
Oh.

743
00:24:09,060 --> 00:24:10,190
Give the people what they want when they want, and they

744
00:24:11,040 --> 00:24:14,800
want it all the time. Give the people what

745
00:24:14,810 --> 00:24:17,130
they need when they need it, and they need it all the time.

746
00:24:17,220 --> 00:24:20,620
So I remember listening to this record, this B side,

747
00:24:21,160 --> 00:24:24,130
when, shout out, I'm not going to name any names, but I was like, I mean, I must've

748
00:24:24,130 --> 00:24:26,140
been like six or seven. No, maybe I was older.

749
00:24:26,840 --> 00:24:28,760
I wasn't nine or 10. In

750
00:24:29,840 --> 00:24:30,920
the neighborhood I grew up with-

751
00:24:30,970 --> 00:24:31,350
Give the people what they want when they want

752
00:24:31,350 --> 00:24:34,000
... with some older kids, and I remember this.

753
00:24:34,200 --> 00:24:35,360
I think it was actually this track.

754
00:24:35,400 --> 00:24:38,860
It was definitely on the B side, where all of a sudden we're listening and I'm

755
00:24:38,880 --> 00:24:40,560
like, "Man, this is kind of weird but cool.

756
00:24:40,620 --> 00:24:41,020
I like this."

757
00:24:41,080 --> 00:24:41,460
I know.

758
00:24:41,980 --> 00:24:45,080
On one of those old RCA record players.

759
00:24:45,120 --> 00:24:45,900
Yeah.

760
00:24:45,940 --> 00:24:48,850
With the frosted thing on top. And all of a sudden I was like,

761
00:24:49,840 --> 00:24:53,050
"Wow, these older kids are... What are they smoking?" Something was like-

762
00:24:53,050 --> 00:24:54,560
Something smells interesting.

763
00:24:54,900 --> 00:24:54,930
I was like-

764
00:24:54,930 --> 00:24:55,840
They call it funky.

765
00:24:55,850 --> 00:24:56,799
That was my first contact exposure.

766
00:24:56,840 --> 00:25:00,580
I wonder if everybody can actually remember the first time they

767
00:25:00,620 --> 00:25:01,680
heard Parliament like

768
00:25:02,304 --> 00:25:03,404
In the wild like that.

769
00:25:03,484 --> 00:25:07,184
Yeah. I remember. Shout out to Jason Moore of U City.

770
00:25:07,664 --> 00:25:07,924
Yeah.

771
00:25:07,984 --> 00:25:09,644
And his older brother, Steve-

772
00:25:09,654 --> 00:25:10,164
Jay Moore

773
00:25:10,183 --> 00:25:12,924
... Jay Moore, and his older brother, Steve. RIP, Steve Moore.

774
00:25:13,164 --> 00:25:13,284
Yeah.

775
00:25:13,524 --> 00:25:16,864
Who had a band here in St. Louis called The Son of Star Child that I was

776
00:25:17,984 --> 00:25:21,764
lucky enough to be in for a while, and I would just hang out at their mom's

777
00:25:21,784 --> 00:25:24,434
house in U City, and we would watch Parliament videos-

778
00:25:24,484 --> 00:25:24,514
Mm

779
00:25:24,514 --> 00:25:26,724
... and listen to music and learn these songs-

780
00:25:26,824 --> 00:25:26,964
Yeah

781
00:25:27,024 --> 00:25:28,784
... and play them for hours and hours and hours and hours.

782
00:25:28,904 --> 00:25:32,554
Yeah. At grungy, dank rehearsal spaces off Kingshighway.

783
00:25:33,204 --> 00:25:33,254
Yeah.

784
00:25:33,264 --> 00:25:34,024
So much fun, man.

785
00:25:34,584 --> 00:25:37,364
So before that, a little bit before, actually, right around the time of this

786
00:25:37,404 --> 00:25:38,904
record, Kelly Martin,

787
00:25:39,804 --> 00:25:43,744
the beautiful Kelly Martin, she saw them at the Checker Dome.

788
00:25:44,344 --> 00:25:44,664
What now?

789
00:25:44,944 --> 00:25:46,444
Yeah, and she went with the same kind of thing.

790
00:25:46,454 --> 00:25:46,474
She was-

791
00:25:46,474 --> 00:25:47,394
The Purina Checker Dome?

792
00:25:47,464 --> 00:25:50,604
The pre-Purina, I believe.

793
00:25:50,653 --> 00:25:51,153
Oh, gee.

794
00:25:50,664 --> 00:25:52,664
Or maybe it wasn't. Over around Oakland.

795
00:25:52,724 --> 00:25:52,924
Yeah.

796
00:25:52,984 --> 00:25:53,244
Oakland.

797
00:25:53,434 --> 00:25:53,644
Of course.

798
00:25:53,744 --> 00:25:56,644
And that was another. She said it was the first time...

799
00:25:56,664 --> 00:26:00,244
She said the whole place was like a contact high, because it's an enclosed

800
00:26:00,284 --> 00:26:03,544
arena. She said the whole thing was just Mary Jane.

801
00:26:04,084 --> 00:26:04,724
Man.

802
00:26:04,764 --> 00:26:04,864
Yeah.

803
00:26:05,444 --> 00:26:06,144
Check out some bass and drums-

804
00:26:06,163 --> 00:26:07,464
Her babysitter took her, I think.

805
00:26:07,724 --> 00:26:07,984
Okay.

806
00:26:08,184 --> 00:26:08,284
Yeah.

807
00:26:08,584 --> 00:26:12,524
Check out some bass and drums on Supergroovalisticprosifunkstication.

808
00:26:20,444 --> 00:26:21,734
Got that envelope filter on it-

809
00:26:21,764 --> 00:26:21,824
Yeah

810
00:26:21,864 --> 00:26:22,364
... for that slap.

811
00:26:22,484 --> 00:26:23,844
What is this, the Moo something

812
00:26:24,964 --> 00:26:26,724
that Bootsy used? The pedal, right?

813
00:26:27,044 --> 00:26:27,134
Yeah.

814
00:26:27,344 --> 00:26:28,884
Yeah. Oh.

815
00:26:32,064 --> 00:26:32,244
Oh.

816
00:26:34,244 --> 00:26:35,884
Yeah. What is that thing? Oh,

817
00:26:35,944 --> 00:26:39,724
I'll be right

818
00:26:39,744 --> 00:26:42,384
back.

819
00:26:44,064 --> 00:26:46,964
Man, that's some

820
00:26:48,384 --> 00:26:50,174
zigaboo bass drum pattern right there.

821
00:26:50,224 --> 00:26:51,064
I'm telling you, man, once you-

822
00:26:51,224 --> 00:26:51,554
We've got to talk about that

823
00:26:51,554 --> 00:26:53,344
... hear the New Orleans, you can't unhear-

824
00:26:53,404 --> 00:26:55,064
That's some zigaboo, more or less

825
00:26:55,104 --> 00:26:55,304
... the meters and the New Orleans drums.

826
00:26:55,314 --> 00:26:55,864
Pretty amazing.

827
00:26:55,924 --> 00:26:56,064
Yeah.

828
00:26:56,154 --> 00:26:56,644
Pretty amazing.

829
00:26:58,224 --> 00:27:01,954
So this song, I always thought is very connected with the

830
00:27:02,004 --> 00:27:05,604
last song on side B, "Night of the Thumpasorus Peoples," which we'll get to.

831
00:27:05,634 --> 00:27:05,694
I love that song so much, man.

832
00:27:05,694 --> 00:27:08,664
Like, the groove and the vibe and the weirdness of it.

833
00:27:08,674 --> 00:27:09,364
That is close to my-

834
00:27:09,374 --> 00:27:10,724
It's kind of nice bookends on side B.

835
00:27:11,244 --> 00:27:14,904
Here's a little bit... It's so funny because I love hearing Bootsy

836
00:27:15,044 --> 00:27:18,884
talk about George. Bootsy Collins is a little bit of a poet, a little

837
00:27:18,924 --> 00:27:22,084
bit of a prophet, a little bit of a-

838
00:27:22,314 --> 00:27:22,864
An actor. Theatrical.

839
00:27:23,194 --> 00:27:25,004
Listen to Bootsy talk about George. This is so cool.

840
00:27:25,304 --> 00:27:25,784
The one

841
00:27:27,104 --> 00:27:28,804
thing that

842
00:27:31,624 --> 00:27:35,544
I don't even think George wants to overcome real bad

843
00:27:35,684 --> 00:27:36,104
is

844
00:27:37,584 --> 00:27:40,484
he understands what the flesh is.

845
00:27:42,204 --> 00:27:43,534
And he understands that

846
00:27:45,364 --> 00:27:46,224
we are

847
00:27:48,544 --> 00:27:50,084
travelers, time travelers,

848
00:27:51,084 --> 00:27:52,804
and he understands that

849
00:27:53,844 --> 00:27:57,204
we are in these bodies, and these bodies are time machines.

850
00:27:57,484 --> 00:27:57,624
Mm.

851
00:27:58,104 --> 00:28:01,884
And these bodies take maintenance,

852
00:28:02,124 --> 00:28:04,104
a certain maintenance. You have to keep them up.

853
00:28:05,944 --> 00:28:06,944
And he's decided,

854
00:28:08,264 --> 00:28:10,404
like back in the '60s,

855
00:28:10,444 --> 00:28:13,844
all that whole crew in the '60s,

856
00:28:14,024 --> 00:28:17,304
everybody decided that

857
00:28:18,104 --> 00:28:21,284
funk it. I'm going for it

858
00:28:22,184 --> 00:28:24,404
I love that. I can't love that more.

859
00:28:24,584 --> 00:28:24,724
Yeah.

860
00:28:24,744 --> 00:28:28,044
I can't love that more. There's something actually very Buddhist about that.

861
00:28:28,064 --> 00:28:28,154
Yeah.

862
00:28:28,173 --> 00:28:29,824
There's something very mystical about-

863
00:28:30,144 --> 00:28:30,264
Yeah

864
00:28:30,544 --> 00:28:32,224
... about that idea, and I think you can...

865
00:28:33,144 --> 00:28:36,274
I don't know about you. Again, we're just talking about our own origin stories with

866
00:28:36,404 --> 00:28:36,644
music.

867
00:28:36,673 --> 00:28:37,173
Yeah.

868
00:28:36,684 --> 00:28:40,144
But I was not sheltered, but I feel like

869
00:28:41,584 --> 00:28:44,664
especially when I first heard this music, I was like, "This is music not made for

870
00:28:44,704 --> 00:28:46,024
me. This is not for me."

871
00:28:46,364 --> 00:28:46,523
Right.

872
00:28:46,684 --> 00:28:50,454
And not like I don't like it, but this was not made with

873
00:28:50,454 --> 00:28:52,824
a white kid in the suburbs in mind at all.

874
00:28:52,924 --> 00:28:53,244
Right.

875
00:28:53,324 --> 00:28:56,404
And I didn't understand what was happening.

876
00:28:56,444 --> 00:28:57,704
Right. But you were curious.

877
00:28:57,744 --> 00:28:58,833
But I was so curious-

878
00:28:58,944 --> 00:28:58,994
Yeah

879
00:28:59,064 --> 00:29:00,754
... and just infatuated with it.

880
00:29:00,904 --> 00:29:01,494
But that's what made it-

881
00:29:01,494 --> 00:29:05,214
It was so amazing to me that you could even think about music like

882
00:29:05,284 --> 00:29:07,924
this and connect it to our souls-

883
00:29:08,144 --> 00:29:08,364
Right

884
00:29:08,524 --> 00:29:12,444
... in a way that I had never heard, and it really opened not just my musical

885
00:29:12,504 --> 00:29:15,944
taste, but my entire mind to life. And I know that, again, I'm being very

886
00:29:15,984 --> 00:29:16,554
hyperbolic here, but-

887
00:29:16,584 --> 00:29:16,764
No

888
00:29:16,904 --> 00:29:20,814
... this band means so much to me for making me who I am,

889
00:29:20,884 --> 00:29:21,304
honestly.

890
00:29:21,463 --> 00:29:21,904
I know. It's

891
00:29:23,344 --> 00:29:26,944
so important. We talk about different styles, different

892
00:29:26,984 --> 00:29:30,964
genres, but once you just get to great art, great culture,

893
00:29:31,424 --> 00:29:32,724
a lot of that stuff

894
00:29:33,724 --> 00:29:37,654
just fades away. And that's the great thing about, even though there's

895
00:29:37,704 --> 00:29:39,794
certain things about

896
00:29:41,584 --> 00:29:44,824
Parliament's thing that seem like if you just go to the surface

897
00:29:44,864 --> 00:29:48,124
level and stop, yeah, it's not for a lot of people.

898
00:29:48,704 --> 00:29:52,344
The invitation for everybody

899
00:29:52,904 --> 00:29:55,584
is once you get inside of it, once you're able to

900
00:29:56,444 --> 00:30:00,264
just go up a little bit level besides, "Oh, this is

901
00:30:00,364 --> 00:30:04,024
weird. Look, he's getting... Oh, no, this isn't for me." But once you're

902
00:30:04,084 --> 00:30:06,684
curious and you do that, there's so much there for everybody.

903
00:30:06,784 --> 00:30:10,324
I was thinking about, and look, this is an area I know very little about, but I do

904
00:30:10,344 --> 00:30:12,524
know this concept of Afrofuturism-

905
00:30:12,624 --> 00:30:12,804
Mm

906
00:30:12,904 --> 00:30:16,824
... and I don't think George Clinton invented that, but he tapped into that

907
00:30:16,844 --> 00:30:19,094
and was a big part of that story with science fiction-

908
00:30:19,244 --> 00:30:19,984
It's a big deal

909
00:30:19,994 --> 00:30:20,654
... from African American-

910
00:30:20,704 --> 00:30:21,314
It's a big, big deal

911
00:30:21,314 --> 00:30:22,004
... authors as well.

912
00:30:22,014 --> 00:30:22,514
Yeah.

913
00:30:22,024 --> 00:30:25,924
It's such a cool field that I want to learn more about, but it's

914
00:30:26,764 --> 00:30:30,704
very much... And then the connection with the Black American church.

915
00:30:31,054 --> 00:30:34,424
There's so much. A lot of people would be like, "No, this is the opposite of that."

916
00:30:34,444 --> 00:30:37,514
The way the songs unfold, and even the pacing.

917
00:30:37,524 --> 00:30:39,824
There's quartet singing in the choruses.

918
00:30:39,864 --> 00:30:39,894
Yeah.

919
00:30:39,894 --> 00:30:40,244
You know what I mean?

920
00:30:40,284 --> 00:30:43,274
Yeah. And P-Funk is almost like the deacon speaking, and then there's the

921
00:30:43,344 --> 00:30:43,804
in-between-

922
00:30:43,834 --> 00:30:44,334
100%

923
00:30:43,834 --> 00:30:44,724
... where the music's playing.

924
00:30:44,764 --> 00:30:45,424
100%.

925
00:30:45,464 --> 00:30:47,394
So it's a fascinating cultural

926
00:30:49,564 --> 00:30:52,944
artifact as well, but this whole thing, like that Bootsy's talking about

927
00:30:52,984 --> 00:30:56,124
connecting with the future and the past, there's something there.

928
00:30:56,144 --> 00:30:56,574
And also,

929
00:30:57,604 --> 00:31:01,314
even if, like you said, anybody can look at this, almost everybody would be like,

930
00:31:01,324 --> 00:31:03,244
"Whoa, that's not meant for me," or whatever.

931
00:31:03,264 --> 00:31:06,536
But, and yetIt's still inviting you in.

932
00:31:06,976 --> 00:31:07,116
Yes.

933
00:31:07,176 --> 00:31:10,096
It's bringing you in and said, "That's okay.

934
00:31:10,256 --> 00:31:11,956
Just come hang with us for a minute."

935
00:31:11,996 --> 00:31:12,116
Yeah.

936
00:31:12,126 --> 00:31:13,576
"Just come see what this is all about."

937
00:31:14,516 --> 00:31:15,206
And hopefully-

938
00:31:15,206 --> 00:31:17,016
It's impossible not to get sucked in.

939
00:31:17,216 --> 00:31:17,476
Yeah.

940
00:31:17,516 --> 00:31:21,396
It's impossible not to see your perspective shift

941
00:31:21,596 --> 00:31:22,416
when you get sucked in.

942
00:31:22,536 --> 00:31:23,486
Yeah, and if you've ever been

943
00:31:24,376 --> 00:31:25,126
curious about this,

944
00:31:26,096 --> 00:31:28,396
you don't have to just be a young person.

945
00:31:28,406 --> 00:31:31,016
This is available for you at any time, and it's just like any music.

946
00:31:31,816 --> 00:31:34,236
There's classical music, which I love so much.

947
00:31:34,296 --> 00:31:35,496
We've got to do a classical record here.

948
00:31:35,616 --> 00:31:36,136
I know we've-

949
00:31:36,176 --> 00:31:37,716
We have some Beethoven on deck, for sure.

950
00:31:37,816 --> 00:31:37,916
Yeah.

951
00:31:38,096 --> 00:31:38,256
Yeah.

952
00:31:38,536 --> 00:31:42,356
But it's the same thing for me to a lot of people. I came up a lot in that world.

953
00:31:43,096 --> 00:31:45,256
But I also came up listening to this stuff and s**t.

954
00:31:45,276 --> 00:31:48,705
But it's like the classical world, European classical music,

955
00:31:49,216 --> 00:31:51,616
there's so much pomp and circumstance surrounding it.

956
00:31:51,676 --> 00:31:51,776
Yeah.

957
00:31:51,796 --> 00:31:54,576
But the music itself, it's the same thing.

958
00:31:54,636 --> 00:31:58,056
You got to get past that little surface level thing, and once you get inside the

959
00:31:58,136 --> 00:32:00,496
music, there's so much humanity there that's inclusive-

960
00:32:00,696 --> 00:32:00,876
Yeah

961
00:32:00,956 --> 00:32:02,716
... to anybody who's interested.

962
00:32:02,756 --> 00:32:05,916
Just let the poetry of it wash over you. And by the way, it's almost summer.

963
00:32:06,176 --> 00:32:09,896
Nothing feels better than riding your car with some Mothership Connection

964
00:32:10,355 --> 00:32:12,136
banging with your windows down, just saying.

965
00:32:12,196 --> 00:32:14,566
Yeah, exactly. And before we get into New Orleans, I don't know if you want to do

966
00:32:14,596 --> 00:32:15,356
that now or later, but,

967
00:32:16,436 --> 00:32:18,626
well, we talked about it some. But the idea of,

968
00:32:19,456 --> 00:32:21,706
I want to put out Plainfield, New Jersey. I was trying to remember.

969
00:32:21,736 --> 00:32:25,636
I know it was close to Newark, where George Clinton's from, where Jerome

970
00:32:25,696 --> 00:32:28,316
Brailey and a bunch of the band, I'm trying to remember everybody.

971
00:32:28,416 --> 00:32:31,996
Who's the guy who's singing on the next song we're going to hear, which is

972
00:32:32,696 --> 00:32:34,216
"Boom Boom Boom Boom?"

973
00:32:34,536 --> 00:32:35,076
Well, there's Gary Shider.

974
00:32:35,096 --> 00:32:36,466
I know Gary Shider's from there, too, guitarist.

975
00:32:36,476 --> 00:32:37,436
And Glenn Goins, yeah.

976
00:32:37,636 --> 00:32:38,136
Glenn Goins.

977
00:32:38,256 --> 00:32:38,376
Yeah.

978
00:32:38,446 --> 00:32:38,946
Yeah.

979
00:32:39,676 --> 00:32:43,396
A lot of them met in George Clinton's barber shop.

980
00:32:43,456 --> 00:32:43,556
Yeah.

981
00:32:43,736 --> 00:32:46,116
Where he literally owned it and was doing hair and stuff.

982
00:32:46,176 --> 00:32:49,776
Well, we kind of skipped over this, but this whole band, Parliament, started off as

983
00:32:49,836 --> 00:32:50,436
The Parliaments.

984
00:32:50,456 --> 00:32:50,836
Yeah.

985
00:32:50,856 --> 00:32:53,656
And the background band to The Parliaments were called Funkadelic.

986
00:32:53,816 --> 00:32:53,936
Yeah.

987
00:32:53,976 --> 00:32:55,836
So it was Parliaments and the Funkadelic.

988
00:32:55,936 --> 00:32:56,276
Yep.

989
00:32:57,576 --> 00:32:58,316
And this is them.

990
00:32:58,376 --> 00:32:58,696
Yeah.

991
00:33:01,696 --> 00:33:05,296
Friends, inquisitive friends, are

992
00:33:05,416 --> 00:33:07,346
asking me what's going on with me.

993
00:33:07,356 --> 00:33:08,936
Is that Glenn Goins? Is that Glenn Goins?

994
00:33:08,976 --> 00:33:10,896
And this, by the way, came out of a doo-wop-

995
00:33:11,056 --> 00:33:11,396
Yeah

996
00:33:11,416 --> 00:33:11,916
... circumstance.

997
00:33:11,956 --> 00:33:12,196
Yeah.

998
00:33:12,316 --> 00:33:14,476
So it evolved into something really special.

999
00:33:14,516 --> 00:33:17,996
Yeah. And then, of course, George Clinton was staff writer at Motown.

1000
00:33:18,076 --> 00:33:18,376
Yeah.

1001
00:33:18,385 --> 00:33:22,016
And I always felt like that's where he got from that Motown machine, that

1002
00:33:22,056 --> 00:33:23,306
precision, that crafting.

1003
00:33:23,336 --> 00:33:23,605
100.

1004
00:33:23,656 --> 00:33:27,516
Everybody always thought this was sloppy. Musically, it's very highly crafted.

1005
00:33:27,596 --> 00:33:30,956
It's highly crafted. This is, by the way, the fourth mention of the Motown machine.

1006
00:33:31,016 --> 00:33:31,256
Yeah.

1007
00:33:31,336 --> 00:33:34,716
This is maybe the fourth genius that we talked about that got crafted by that

1008
00:33:34,756 --> 00:33:34,996
Motown machine.

1009
00:33:35,196 --> 00:33:39,136
This is a record that would've survived the QA meetings at

1010
00:33:39,316 --> 00:33:41,516
Motown, right? Where they check quality assurance.

1011
00:33:41,556 --> 00:33:42,736
They used to have that whole thing.

1012
00:33:42,836 --> 00:33:44,836
Would Berry Gordy release this album? I don't know.

1013
00:33:45,776 --> 00:33:48,036
It sold a lot, so you would think so.

1014
00:33:48,996 --> 00:33:49,916
All right. "Handcuffs" is next.

1015
00:33:49,996 --> 00:33:50,796
Yep. Okay.

1016
00:33:51,656 --> 00:33:54,476
Do I have to put handcuffs on you, mama?

1017
00:33:54,976 --> 00:33:55,136
Yeah.

1018
00:33:56,356 --> 00:34:00,076
Do I have to keep you under lock and key?

1019
00:34:00,136 --> 00:34:02,716
All right. This is easier to decipher.

1020
00:34:02,836 --> 00:34:05,696
Do I have to put handcuffs on you, mama?

1021
00:34:05,796 --> 00:34:07,356
Listen to the kick drum.

1022
00:34:07,956 --> 00:34:11,556
Now we both know that's not how it should be.

1023
00:34:13,406 --> 00:34:13,906
Oh.

1024
00:34:14,256 --> 00:34:14,806
Do I have to put handcuffs on you, mama?

1025
00:34:15,156 --> 00:34:16,136
This is another classic

1026
00:34:17,776 --> 00:34:20,776
pre-breakup song, right? Trying to avoid the breakup, right?

1027
00:34:20,836 --> 00:34:22,937
When you could do without.

1028
00:34:23,736 --> 00:34:24,786
Fun fact about this. This line-

1029
00:34:24,796 --> 00:34:25,736
All these BVs here.

1030
00:34:26,437 --> 00:34:28,516
Do I have to put handcuffs on you, mama?

1031
00:34:28,676 --> 00:34:31,676
When I was a kid, I thought they were saying, "Do I have to put handcuffs on your

1032
00:34:31,756 --> 00:34:35,696
mama?" Because in the '70s, "your mama" jokes were big, but they say, "On

1033
00:34:35,816 --> 00:34:36,276
you, mama."

1034
00:34:38,056 --> 00:34:39,536
If I have to keep you-

1035
00:34:40,076 --> 00:34:40,086
Whoa!

1036
00:34:40,086 --> 00:34:42,036
... barefoot and pregnant.

1037
00:34:42,256 --> 00:34:43,357
Oh, can't say that anymore.

1038
00:34:43,457 --> 00:34:45,076
Do I have to keep you doing my rent?

1039
00:34:45,296 --> 00:34:46,957
Bob DeBoo is over there grooving. Come on.

1040
00:34:48,096 --> 00:34:51,046
Right on, girl. Right on. Let's keep on getting loose.

1041
00:34:51,127 --> 00:34:54,707
I know. This is the bass player's pick here, so we got to do a little "Handcuffs"

1042
00:34:54,816 --> 00:34:55,076
here.

1043
00:34:55,926 --> 00:34:58,336
Do I have to put handcuffs?

1044
00:35:00,656 --> 00:35:01,056
Let's break it down.

1045
00:35:01,096 --> 00:35:03,376
That's good. You can take out the problematic lyrics. That's good.

1046
00:35:05,156 --> 00:35:05,456
Oh,

1047
00:35:16,796 --> 00:35:20,096
slah.

1048
00:35:20,716 --> 00:35:21,316
All the guitars.

1049
00:35:21,356 --> 00:35:21,656
Slah.

1050
00:35:26,416 --> 00:35:28,646
Why did they have to invent a drum machine when they had this?

1051
00:35:30,176 --> 00:35:30,356
Oh.

1052
00:35:30,426 --> 00:35:33,376
Yeah, they got Jerome Brailey. Boom, boom, on that tom? Come on.

1053
00:35:35,176 --> 00:35:36,106
I mean, man.

1054
00:35:36,156 --> 00:35:37,366
It does not get better.

1055
00:35:37,366 --> 00:35:37,866
No.

1056
00:35:37,376 --> 00:35:40,856
It does not get better. Sorry, Steely Dan. It doesn't. It just doesn't.

1057
00:35:40,896 --> 00:35:41,376
It just doesn't.

1058
00:35:41,636 --> 00:35:43,906
Well, no, they hit a groove in a different way.

1059
00:35:43,916 --> 00:35:44,316
I know. It's different.

1060
00:35:44,416 --> 00:35:47,676
But it was like, yeah. There's other things to that.

1061
00:35:47,816 --> 00:35:48,096
All right.

1062
00:35:48,996 --> 00:35:52,476
So yeah, that's always been sort of the

1063
00:35:52,556 --> 00:35:54,016
outlier a little bit on there.

1064
00:35:54,176 --> 00:35:57,996
But here's how good this album is, right? We're to the penultimate track, right?

1065
00:35:58,236 --> 00:35:58,286
Yeah.

1066
00:35:58,306 --> 00:36:02,276
There's two tracks left, and the second to last song would become a wedding

1067
00:36:02,336 --> 00:36:02,696
band-

1068
00:36:03,156 --> 00:36:03,396
Yeah

1069
00:36:03,416 --> 00:36:03,836
... staple.

1070
00:36:04,556 --> 00:36:05,746
This is the biggest hit on there, I think.

1071
00:36:05,936 --> 00:36:08,036
Tear the roof off. We gonna tear the roof off the m**********r.

1072
00:36:08,436 --> 00:36:09,066
M**********r.

1073
00:36:09,066 --> 00:36:10,866
Tear the roof off, sucker. Tear the roof off.

1074
00:36:10,876 --> 00:36:14,096
We gonna tear the roof off the m**********r. Tear the roof off the sucker.

1075
00:36:14,696 --> 00:36:15,676
Tear the roof off. We gonna-

1076
00:36:15,716 --> 00:36:15,916
Man.

1077
00:36:16,116 --> 00:36:16,806
Every party band-

1078
00:36:17,016 --> 00:36:19,496
The mix and master on this, masterful

1079
00:36:19,576 --> 00:36:20,716
... in America, you still, as a party band-

1080
00:36:20,756 --> 00:36:20,806
Yeah

1081
00:36:20,856 --> 00:36:22,335
... have to have something like this.

1082
00:36:22,346 --> 00:36:22,846
Yes.

1083
00:36:23,356 --> 00:36:27,256
You've got a real type of thing going down, get

1084
00:36:27,296 --> 00:36:29,696
down.

1085
00:36:30,636 --> 00:36:31,206
Let me pull out a real hardcore pound.

1086
00:36:31,236 --> 00:36:31,626
Absolutely ridiculous.

1087
00:36:31,636 --> 00:36:32,396
That's going to come back.

1088
00:36:32,416 --> 00:36:32,426
Ridiculous.

1089
00:36:32,576 --> 00:36:33,416
That's going to come back.

1090
00:36:33,476 --> 00:36:36,016
You've got a real type of thing going down, get down.

1091
00:36:36,176 --> 00:36:37,676
All the stuff Bernie's doing.

1092
00:36:37,936 --> 00:36:38,096
Yeah.

1093
00:36:39,076 --> 00:36:40,036
Let me pull out a real hardcore pound.

1094
00:36:40,076 --> 00:36:41,976
Those strings, those synth strings.

1095
00:36:42,186 --> 00:36:43,696
Oh, we want the funk.

1096
00:36:44,936 --> 00:36:45,095
Yeah.

1097
00:36:45,176 --> 00:36:45,976
This is my favorite of all.

1098
00:36:46,376 --> 00:36:48,186
Oh, we need the funk.

1099
00:36:49,396 --> 00:36:49,876
Randy Brecker.

1100
00:36:50,236 --> 00:36:52,416
Man, you're home playing a wedding band, you have to know that line.

1101
00:36:53,016 --> 00:36:56,416
Yeah,

1102
00:36:57,076 --> 00:36:59,746
funk the funk. Oh, we need the funk. You gotta have the funk.

1103
00:37:01,216 --> 00:37:01,326
Na, na, na, na. Do,

1104
00:37:04,176 --> 00:37:04,356
do, do, do, do, do, do, do.

1105
00:37:06,896 --> 00:37:07,176
Oh,

1106
00:37:08,036 --> 00:37:09,216
Bootsy goes up for that harmony

1107
00:37:15,126 --> 00:37:18,066
You've got a real type of thing going

1108
00:37:18,626 --> 00:37:20,666
down. Get down

1109
00:37:20,706 --> 00:37:21,926
The guitar's in the background.

1110
00:37:22,266 --> 00:37:25,436
Oh, let's keep this rolling. We can go right into my, if you want, my apex moment.

1111
00:37:25,476 --> 00:37:26,626
All right. Let's go into the apex moment.

1112
00:37:26,806 --> 00:37:27,146
Yeah.

1113
00:37:27,786 --> 00:37:30,926
You've got a real type of thing going down.

1114
00:37:30,936 --> 00:37:32,336
Get down

1115
00:37:32,446 --> 00:37:33,316
2:30. Oh, it's-

1116
00:37:33,316 --> 00:37:36,046
There's a whole lot of rhythm going around.

1117
00:37:36,166 --> 00:37:36,486
Oh.

1118
00:37:36,616 --> 00:37:39,346
How we want the funk. Give up the funk.

1119
00:37:39,866 --> 00:37:41,046
Break it down. Oh.

1120
00:37:41,166 --> 00:37:42,036
How we need the funk.

1121
00:37:42,126 --> 00:37:43,626
No keys.

1122
00:37:43,806 --> 00:37:44,546
Everything's on the one, man.

1123
00:37:44,606 --> 00:37:45,246
Oh, my God.

1124
00:37:45,766 --> 00:37:47,626
How we want the funk.

1125
00:37:48,826 --> 00:37:52,106
Give up the funk. How we need the funk.

1126
00:37:53,246 --> 00:37:54,506
We gotta have the funk.

1127
00:37:57,506 --> 00:37:57,516
Da,

1128
00:37:58,966 --> 00:38:03,726
da,

1129
00:38:03,735 --> 00:38:04,235
da, da, da,

1130
00:38:06,926 --> 00:38:09,166
doo, doo, doo, doo, doo, doo, doo, yeah.

1131
00:38:09,206 --> 00:38:09,396
It's coming up.

1132
00:38:09,396 --> 00:38:10,196
Doo, doo, doo, doo, doo, doo, doo, yeah.

1133
00:38:10,196 --> 00:38:11,066
Da, da, da, da, doo, doo, doo, doo, doo, doo, doo, yeah.

1134
00:38:11,446 --> 00:38:12,506
I think it's coming up.

1135
00:38:13,266 --> 00:38:16,166
We're gonna turn this mother out.

1136
00:38:17,866 --> 00:38:20,706
We're gonna turn this mother out.

1137
00:38:22,046 --> 00:38:23,696
You've got a real type of thing

1138
00:38:24,586 --> 00:38:25,966
going down.

1139
00:38:26,076 --> 00:38:26,576
Bernie.

1140
00:38:26,136 --> 00:38:26,216
Get down.

1141
00:38:26,216 --> 00:38:27,586
Bootsy's going to hit this bassline.

1142
00:38:27,626 --> 00:38:27,946
It's just-

1143
00:38:28,566 --> 00:38:29,016
There's a whole lot of rhythm going around

1144
00:38:29,026 --> 00:38:30,546
... he already hinted at it, but-

1145
00:38:31,106 --> 00:38:32,276
You've got a real type of thing going down

1146
00:38:32,276 --> 00:38:33,946
... yeah, all those strings are so hip.

1147
00:38:34,156 --> 00:38:37,906
Get down. There's a whole lot of rhythm

1148
00:38:37,926 --> 00:38:39,266
going around.

1149
00:38:39,306 --> 00:38:40,486
Pentatonic. Here we go.

1150
00:38:40,606 --> 00:38:42,106
You've got a real type of thing going down.

1151
00:38:42,426 --> 00:38:43,526
He's starting to hint at it.

1152
00:38:44,226 --> 00:38:48,076
Get down. There's a whole lot of rhythm going around.

1153
00:38:48,086 --> 00:38:49,145
Oh. Woo.

1154
00:38:49,226 --> 00:38:52,196
You've got a real type of thing going

1155
00:38:52,306 --> 00:38:53,516
down. Get down.

1156
00:38:53,546 --> 00:38:53,806
Yeah.

1157
00:38:53,906 --> 00:38:57,646
There's a whole lot of rhythm going around.

1158
00:38:57,686 --> 00:38:58,146
Here we are again. Here it again.

1159
00:38:58,506 --> 00:39:02,456
How we want the funk. Give up the funk.

1160
00:39:02,456 --> 00:39:03,486
Oh, love it.

1161
00:39:04,086 --> 00:39:04,806
How we need the funk.

1162
00:39:05,966 --> 00:39:09,156
We gotta have the funk. How we want the funk.

1163
00:39:09,926 --> 00:39:10,166
All right.

1164
00:39:10,706 --> 00:39:14,106
Geez Louise. Okay, I know, I hate to do this again, but we just have to get to

1165
00:39:14,166 --> 00:39:16,266
every single one of these.

1166
00:39:16,326 --> 00:39:16,725
Yeah. So great.

1167
00:39:19,506 --> 00:39:20,066
I'm going to skip ahead-

1168
00:39:20,186 --> 00:39:20,216
Drum solos

1169
00:39:20,216 --> 00:39:21,686
... to where we just were.

1170
00:39:25,186 --> 00:39:25,386
Oh.

1171
00:39:26,306 --> 00:39:27,066
Listen to Bootsy here.

1172
00:39:32,466 --> 00:39:33,266
A tickle, tickle.

1173
00:39:34,306 --> 00:39:36,486
That's what I'm saying. This whole album was just based on drum stems.

1174
00:39:36,726 --> 00:39:36,906
Yeah.

1175
00:39:36,916 --> 00:39:37,526
It's unbelievable.

1176
00:39:40,306 --> 00:39:41,406
But listen to the guitars, too.

1177
00:39:41,446 --> 00:39:41,825
Chicka, dang.

1178
00:39:42,246 --> 00:39:43,226
Listen to what the guitar's doing.

1179
00:39:47,446 --> 00:39:49,306
So you got one guitar just open strumming.

1180
00:39:49,386 --> 00:39:49,706
Yeah.

1181
00:39:50,026 --> 00:39:50,206
Like a pad.

1182
00:39:50,226 --> 00:39:51,146
Oh, wow. I never noticed that.

1183
00:39:51,186 --> 00:39:52,686
Yeah. Check that out. I'm going to back it up.

1184
00:39:57,466 --> 00:39:58,426
Oh, that's so killer.

1185
00:39:59,046 --> 00:40:00,126
It's like a big open chord.

1186
00:40:00,226 --> 00:40:00,526
Yeah.

1187
00:40:00,566 --> 00:40:01,706
And the other one doing the little-

1188
00:40:01,806 --> 00:40:01,906
Yeah

1189
00:40:02,086 --> 00:40:02,656
... the chicken scratch.

1190
00:40:04,606 --> 00:40:05,756
Oh, and it goes up to that 11th.

1191
00:40:06,686 --> 00:40:06,996
And then,

1192
00:40:07,926 --> 00:40:08,646
Bernie Worrell-

1193
00:40:09,326 --> 00:40:09,586
Oh.

1194
00:40:13,006 --> 00:40:13,086
De

1195
00:40:15,686 --> 00:40:16,266
boo deep,

1196
00:40:17,686 --> 00:40:19,586
be boo, be boo, be boo deep.

1197
00:40:20,686 --> 00:40:24,506
I remember trying to find these sounds on the Roland

1198
00:40:24,686 --> 00:40:26,266
XP50 back in '97.

1199
00:40:26,366 --> 00:40:26,566
Right.

1200
00:40:27,086 --> 00:40:27,706
Wasn't happening.

1201
00:40:29,106 --> 00:40:30,586
Yeah, he's doing so much of that great pent-

1202
00:40:30,706 --> 00:40:33,936
How we want the funk

1203
00:40:33,946 --> 00:40:34,866
... major pentatonic.

1204
00:40:34,926 --> 00:40:37,366
It's unbelievable, man. It's unbelievable.

1205
00:40:39,326 --> 00:40:42,566
There's a really cool... Yeah, I know. Here's Bernie's story on joining the band.

1206
00:40:42,746 --> 00:40:44,735
George had called my wife and-

1207
00:40:45,086 --> 00:40:45,966
Bernie Worrell, keys

1208
00:40:46,066 --> 00:40:47,436
... and me. I was with Maxine Brown at the time-

1209
00:40:47,446 --> 00:40:48,666
Arranger, composer, too

1210
00:40:49,506 --> 00:40:50,086
... in Bermuda,

1211
00:40:51,266 --> 00:40:53,266
and George called her from the Apollo,

1212
00:40:54,726 --> 00:40:58,316
because he had said one day when he could afford me, he'd

1213
00:40:58,406 --> 00:41:01,926
call me. So I had gone through college and everything then, and

1214
00:41:02,926 --> 00:41:05,186
the call came and moved from

1215
00:41:06,246 --> 00:41:09,746
Long Island. That's where I was staying with Maxine Brown.

1216
00:41:09,906 --> 00:41:11,626
She's a famous R&B vocalist.

1217
00:41:12,666 --> 00:41:12,926
And

1218
00:41:13,766 --> 00:41:15,586
moved to Detroit, and the rest is history.

1219
00:41:15,606 --> 00:41:18,286
We should mention, too, that Bootsy didn't come out of nowhere either.

1220
00:41:18,356 --> 00:41:18,856
Yeah.

1221
00:41:18,366 --> 00:41:20,326
Bootsy was in a pretty famous band. Ever heard of it?

1222
00:41:20,446 --> 00:41:22,146
Fellas, I'm ready to get up and do my thing.

1223
00:41:22,266 --> 00:41:23,346
Go ahead.

1224
00:41:23,706 --> 00:41:24,766
I want to get into it, man.

1225
00:41:25,226 --> 00:41:25,866
A young Bootsy.

1226
00:41:26,146 --> 00:41:26,216
Yeah.

1227
00:41:26,216 --> 00:41:26,926
A young Bootsy.

1228
00:41:26,956 --> 00:41:27,586
Like the Machine Man.

1229
00:41:27,746 --> 00:41:27,956
Yeah.

1230
00:41:28,146 --> 00:41:28,295
Moving-

1231
00:41:28,366 --> 00:41:29,166
And his brother Catfish -

1232
00:41:29,196 --> 00:41:29,476
... and grooving, you know

1233
00:41:29,566 --> 00:41:29,666
Yeah

1234
00:41:29,786 --> 00:41:30,206
... on guitar.

1235
00:41:30,266 --> 00:41:30,826
Can I count it off?

1236
00:41:30,966 --> 00:41:31,485
Go ahead.

1237
00:41:31,606 --> 00:41:32,766
One, two, three, four.

1238
00:41:34,826 --> 00:41:36,216
Get up. Get on up.

1239
00:41:37,045 --> 00:41:37,446
Get up.

1240
00:41:37,476 --> 00:41:41,056
Bootsy was in James Brown's band, famously, after James Brown fired his whole band,

1241
00:41:41,066 --> 00:41:44,866
and then hired basically the band that Bootsy and his brother Catfish had

1242
00:41:44,926 --> 00:41:45,286
started.

1243
00:41:45,526 --> 00:41:45,626
Yeah.

1244
00:41:45,766 --> 00:41:46,446
A bunch of young

1245
00:41:47,746 --> 00:41:48,666
very hip players.

1246
00:41:48,806 --> 00:41:52,306
I never really thought about, I should have, but it's like this connection, like

1247
00:41:52,326 --> 00:41:53,546
you take the Meters,

1248
00:41:55,326 --> 00:41:58,966
Allen Toussaint, the New Orleans thing, and then you take James Brown,

1249
00:41:59,566 --> 00:42:01,326
and then a little bit of...

1250
00:42:05,066 --> 00:42:08,226
Well, I mean, there's other influences for sure. I don't want to oversimplify.

1251
00:42:08,246 --> 00:42:11,935
But those two influences on George Clinton, who was already writing and doing

1252
00:42:11,966 --> 00:42:13,126
Motown stuff and whatever else-

1253
00:42:13,446 --> 00:42:13,456
Yeah

1254
00:42:13,456 --> 00:42:17,026
... but crystallizing into this is like you really see the lineage and the

1255
00:42:17,106 --> 00:42:19,006
influences, and how unique it is.

1256
00:42:19,026 --> 00:42:20,336
Well, and then how influential-

1257
00:42:20,386 --> 00:42:21,626
Idris Muhammad, too.

1258
00:42:21,666 --> 00:42:22,056
Idris Muhammad.

1259
00:42:22,206 --> 00:42:24,366
That's a big influence on this kind of sound.

1260
00:42:24,426 --> 00:42:25,966
And then how influential this was.

1261
00:42:25,996 --> 00:42:26,496
I mean-

1262
00:42:26,006 --> 00:42:26,876
Which is New Orleans as well

1263
00:42:26,886 --> 00:42:30,546
... I've heard even people like Dave Grohl of Nirvana talk about-

1264
00:42:30,596 --> 00:42:31,096
Mm

1265
00:42:30,596 --> 00:42:32,546
... how influential these albums were for him.

1266
00:42:32,806 --> 00:42:32,926
Yeah.

1267
00:42:33,666 --> 00:42:35,926
Certainly Michael Jackson, Prince.

1268
00:42:36,006 --> 00:42:36,566
Here's actually-

1269
00:42:36,606 --> 00:42:36,856
Oh, yeah

1270
00:42:36,886 --> 00:42:40,806
... Prince inducting Funkadelic into the Rock & Roll Hall of Fame in 1997.

1271
00:42:40,846 --> 00:42:41,226
Check this out.

1272
00:42:41,766 --> 00:42:44,986
Let me just say something about George, since he's a good friend of mine.

1273
00:42:45,846 --> 00:42:49,736
One time he sent me a tape and says, "You pee

1274
00:42:49,866 --> 00:42:51,346
on it and then send it back to me."

1275
00:42:53,986 --> 00:42:56,246
"And I'll pee on it, and then we'll see what we got."

1276
00:42:57,266 --> 00:42:57,446
So

1277
00:43:05,726 --> 00:43:08,566
this is what George is all about to me and mine.

1278
00:43:11,866 --> 00:43:13,566
It's the body again, though. It's the body.

1279
00:43:13,686 --> 00:43:13,736
I went to see him-

1280
00:43:13,736 --> 00:43:14,526
It's a dying body

1281
00:43:14,566 --> 00:43:16,945
... at the theater, and it was frightening.

1282
00:43:17,426 --> 00:43:19,846
14 people singing Knee Deep in

1283
00:43:19,926 --> 00:43:23,654
unison. That night I

1284
00:43:23,774 --> 00:43:26,034
went to the studio and recorded Erotic City.

1285
00:43:29,494 --> 00:43:29,794
Hmm.

1286
00:43:30,514 --> 00:43:31,314
This is Erotic City.

1287
00:43:31,514 --> 00:43:31,714
Yeah.

1288
00:43:46,374 --> 00:43:46,674
There it is.

1289
00:43:46,714 --> 00:43:46,894
Yeah.

1290
00:43:47,154 --> 00:43:47,314
You know?

1291
00:43:47,434 --> 00:43:48,934
That is cool.

1292
00:43:48,974 --> 00:43:50,014
It's right there at the surface.

1293
00:43:50,234 --> 00:43:50,394
Yeah.

1294
00:43:50,914 --> 00:43:51,974
We got one more track on this.

1295
00:43:51,984 --> 00:43:53,914
Yeah, Prince and '90s, early 2000 hip-hop.

1296
00:43:54,114 --> 00:43:56,314
For sure. Yeah, so much hip-hop influence.

1297
00:43:56,364 --> 00:43:58,514
There's been documentaries made about it, actually.

1298
00:43:58,583 --> 00:43:59,974
Yeah. Sampling, interpolation, of course.

1299
00:44:00,034 --> 00:44:03,674
Of course, the closer is unbelievable.

1300
00:44:03,774 --> 00:44:05,814
The whole album, there's not a bad track on this whole album.

1301
00:44:05,903 --> 00:44:06,403
Yeah. This is an amazing album.

1302
00:44:05,934 --> 00:44:09,884
Everything is a banger. This is maybe a perfect album as far as accomplishing what

1303
00:44:09,894 --> 00:44:10,514
they're setting out to do.

1304
00:44:10,554 --> 00:44:11,374
Is this the weirdest track?

1305
00:44:11,894 --> 00:44:12,223
This is

1306
00:44:13,154 --> 00:44:15,374
the fartiest track on the album-

1307
00:44:15,494 --> 00:44:15,944
The fartiest

1308
00:44:15,944 --> 00:44:19,574
... in the funkiest way. This is Night of the Thumpasorus Peoples.

1309
00:44:24,114 --> 00:44:26,574
First diminished chord of the record right there.

1310
00:44:31,594 --> 00:44:35,574
We

1311
00:44:35,594 --> 00:44:37,654
can learn that at Open Studio no problem.

1312
00:44:44,074 --> 00:44:44,834
Unbelievable.

1313
00:44:44,854 --> 00:44:45,564
Bass, bass.

1314
00:44:45,994 --> 00:44:47,194
All that bass s**t happening.

1315
00:44:53,714 --> 00:44:55,814
It's about to get even funkier up in here,

1316
00:44:57,334 --> 00:44:58,313
though.

1317
00:44:58,384 --> 00:45:02,274
I am love.

1318
00:45:02,314 --> 00:45:02,574
Woo.

1319
00:45:09,634 --> 00:45:09,934
We are love.

1320
00:45:10,794 --> 00:45:11,014
I am

1321
00:45:12,034 --> 00:45:16,014
love.

1322
00:45:16,034 --> 00:45:19,404
We are love.

1323
00:45:24,574 --> 00:45:28,334
The Thumpasorus is both a caveman and a space creature. Did you know that?

1324
00:45:32,934 --> 00:45:36,843
Woo. I'm going

1325
00:45:36,854 --> 00:45:37,614
to jump ahead a little bit.

1326
00:45:37,634 --> 00:45:38,434
Man, that bass line.

1327
00:45:43,294 --> 00:45:44,454
This is unreal here.

1328
00:45:44,594 --> 00:45:48,494
Gaga goo ga. Gaga goo ga. Gaga goo ga ga.

1329
00:45:51,334 --> 00:45:53,614
Funk contrapuntal.

1330
00:45:57,034 --> 00:45:57,234
Ah.

1331
00:45:57,294 --> 00:45:57,634
Ah.

1332
00:45:59,654 --> 00:46:02,683
That

1333
00:46:09,434 --> 00:46:11,114
whole thing. Wonderful.

1334
00:46:11,934 --> 00:46:15,894
If this album doesn't make you want to play bass,

1335
00:46:16,014 --> 00:46:17,074
I don't know what album would.

1336
00:46:17,234 --> 00:46:17,494
Oh, my God.

1337
00:46:17,834 --> 00:46:20,214
There can't be a more satisfying bass album.

1338
00:46:20,344 --> 00:46:20,844
Yeah.

1339
00:46:20,374 --> 00:46:23,514
It just feels unbelievable, these grooves that Bootsy's laying down.

1340
00:46:23,654 --> 00:46:26,734
Bootsy recorded so much great stuff, but this may be...

1341
00:46:27,074 --> 00:46:30,934
And it's not his craziest playing, but man, it's

1342
00:46:31,014 --> 00:46:34,974
so primal and foundational and

1343
00:46:35,074 --> 00:46:37,934
so well-crafted. Everything on this record.

1344
00:46:38,354 --> 00:46:39,154
Okay, this is a good one.

1345
00:46:39,214 --> 00:46:41,214
My cheeks hurt, my jaw hurts. I feel my whole face is-

1346
00:46:41,254 --> 00:46:41,774
You okay, man?

1347
00:46:41,864 --> 00:46:44,334
... I'm worn out. I'm emotionally drained.

1348
00:46:44,374 --> 00:46:45,754
Let's get through some categories before you-

1349
00:46:45,874 --> 00:46:46,174
I'm like-

1350
00:46:46,274 --> 00:46:47,004
While you still have some

1351
00:46:47,004 --> 00:46:49,734
... I have the list out, but I'm, holy smokes.

1352
00:46:49,794 --> 00:46:50,594
Let's get through some categories.

1353
00:46:50,634 --> 00:46:51,734
All right, Desert Island Track. What do you got?

1354
00:46:52,324 --> 00:46:53,214
"Give Up the Funk."

1355
00:46:53,494 --> 00:46:54,334
This is a great call.

1356
00:46:54,494 --> 00:46:54,594
Yeah.

1357
00:46:54,614 --> 00:46:54,994
It's a great call.

1358
00:46:55,054 --> 00:46:55,234
Yeah.

1359
00:46:55,374 --> 00:46:56,484
I've got "Mothership Connection."

1360
00:46:56,714 --> 00:46:57,614
Okay. Another good call.

1361
00:46:57,714 --> 00:46:58,024
"Starchild."

1362
00:46:58,054 --> 00:46:58,734
You could've said anything.

1363
00:46:59,734 --> 00:47:00,514
Apex moment, what do you got?

1364
00:47:00,574 --> 00:47:02,614
So, that was that. We played that bass line.

1365
00:47:02,794 --> 00:47:03,494
Oh, on "Give Up the Funk."

1366
00:47:03,504 --> 00:47:03,874
Yeah, the Bootsy.

1367
00:47:03,884 --> 00:47:03,934
Yeah.

1368
00:47:03,954 --> 00:47:04,414
But what you got?

1369
00:47:04,754 --> 00:47:06,683
I got "Ga Ga Goo Ga." Ga ga goo ga ga.

1370
00:47:06,754 --> 00:47:06,954
Oh.

1371
00:47:07,254 --> 00:47:08,214
Ga ga goo ga ga.

1372
00:47:08,354 --> 00:47:08,764
Well, we just heard-

1373
00:47:08,774 --> 00:47:09,814
I love that .

1374
00:47:10,334 --> 00:47:12,394
Yeah.

1375
00:47:12,434 --> 00:47:13,764
That

1376
00:47:14,654 --> 00:47:17,934
section we just left off is one of my all-time favorite moments on any album.

1377
00:47:18,014 --> 00:47:18,024
Yeah.

1378
00:47:18,034 --> 00:47:21,594
And the ga ga goo ga, ga ga goo ga ga- ... I think is so beautiful.

1379
00:47:21,724 --> 00:47:22,034
It is, yeah.

1380
00:47:22,114 --> 00:47:23,104
It's so beautiful.

1381
00:47:23,114 --> 00:47:24,194
I don't know where I got this note, though.

1382
00:47:24,214 --> 00:47:27,874
It says, "The Mothership is both a UFO and a chariot, and the

1383
00:47:27,894 --> 00:47:31,574
Thumpasorus is both a caveman and a space creature," in case you're keeping score-

1384
00:47:31,774 --> 00:47:31,894
Yeah

1385
00:47:31,904 --> 00:47:32,243
... at home.

1386
00:47:32,834 --> 00:47:34,683
So the actual Mothership itself-

1387
00:47:35,243 --> 00:47:35,743
Yeah

1388
00:47:35,243 --> 00:47:39,174
... is from the 1951 sci-fi film "The Day the Earth Stood Still." Did you

1389
00:47:39,234 --> 00:47:39,713
know that?

1390
00:47:39,754 --> 00:47:40,134
No.

1391
00:47:40,174 --> 00:47:40,504
Yeah.

1392
00:47:40,674 --> 00:47:42,374
I've visited it, though. I've not touched it.

1393
00:47:42,414 --> 00:47:43,394
The one on the cover

1394
00:47:44,934 --> 00:47:45,733
is from that film.

1395
00:47:45,894 --> 00:47:46,674
Yeah. Oh, I didn't know that.

1396
00:47:46,754 --> 00:47:47,234
Yeah.

1397
00:47:47,254 --> 00:47:50,254
Well, the one that they used on the tour was, I saw it at the Smithsonian, the

1398
00:47:50,324 --> 00:47:51,514
African American Museum in DC.

1399
00:47:51,594 --> 00:47:52,374
I think that's a replica-

1400
00:47:52,574 --> 00:47:52,844
That's a replica

1401
00:47:52,844 --> 00:47:54,074
... but it's of their stage one. But yeah.

1402
00:47:54,134 --> 00:47:55,094
It's called Replica.

1403
00:47:55,334 --> 00:47:56,034
Replica.

1404
00:47:56,094 --> 00:47:59,754
Yeah. Okay, so that's Apex Moment. What's your Bespoke Playlist?

1405
00:47:59,824 --> 00:48:00,164
"On the One."

1406
00:48:00,974 --> 00:48:00,984
That's good.

1407
00:48:00,984 --> 00:48:03,174
And you put some Prince on there, you put some James Brown on there.

1408
00:48:03,214 --> 00:48:03,554
Yeah.

1409
00:48:03,614 --> 00:48:05,374
And everything's okay.

1410
00:48:05,754 --> 00:48:07,934
This is corny.

1411
00:48:08,154 --> 00:48:09,214
Morris Day on the time?

1412
00:48:09,734 --> 00:48:10,334
Yeah, for sure.

1413
00:48:10,434 --> 00:48:10,614
Good.

1414
00:48:10,854 --> 00:48:12,174
I got Give Me the Real Funk.

1415
00:48:12,354 --> 00:48:12,814
Yeah, that's corny.

1416
00:48:12,874 --> 00:48:13,034
Okay.

1417
00:48:13,994 --> 00:48:14,474
Quibble Bits.

1418
00:48:14,614 --> 00:48:17,494
We miss every shot that we don't take, Brian.

1419
00:48:17,554 --> 00:48:20,614
Okay, so now our new category here is Quibble Bits/Hot Takes, because if you don't

1420
00:48:20,634 --> 00:48:23,894
have a quibble bit, which oftentimes we don't, because we're listening to all-timer

1421
00:48:23,934 --> 00:48:24,394
albums here-

1422
00:48:24,654 --> 00:48:24,754
Yeah

1423
00:48:24,974 --> 00:48:26,974
... you can have a hot take. And my hot take is,

1424
00:48:28,654 --> 00:48:32,434
this is the most important band of the '70s. There's a lot of bands in the '70s.

1425
00:48:32,474 --> 00:48:34,194
Oh, I like the way you looked at me as you said that.

1426
00:48:34,254 --> 00:48:34,974
It was both with-

1427
00:48:35,034 --> 00:48:35,564
There's important-

1428
00:48:35,603 --> 00:48:37,204
... with a stern disposition-

1429
00:48:37,254 --> 00:48:37,964
Bro, there's important-

1430
00:48:37,964 --> 00:48:39,554
... confidence, but a little bit of inquisitiveness as well.

1431
00:48:39,774 --> 00:48:42,514
We're talking bands. There's a lot of bands, right? In the '70s.

1432
00:48:42,554 --> 00:48:44,614
You still got the look of like, "Can we focus in on this?"

1433
00:48:44,754 --> 00:48:45,294
Let me cook.

1434
00:48:46,594 --> 00:48:49,934
All right. Obviously, you got '70s hard rock bands, right?

1435
00:48:49,994 --> 00:48:51,514
You got Led Zeppelin.

1436
00:48:51,734 --> 00:48:51,814
Yeah.

1437
00:48:51,874 --> 00:48:53,704
You know what I mean? That's an important band.

1438
00:48:53,704 --> 00:48:53,904
Is Stevie Wonder a band?

1439
00:48:53,974 --> 00:48:55,454
No, Stevie's an artist, right?

1440
00:48:55,514 --> 00:48:55,674
Okay.

1441
00:48:55,834 --> 00:48:56,594
But you do have-

1442
00:48:56,654 --> 00:48:57,154
Headhunters

1443
00:48:57,974 --> 00:48:58,524
... Headhunters.

1444
00:48:58,734 --> 00:48:59,254
That's a good band.

1445
00:48:59,284 --> 00:49:01,384
Sure, I'll allow it. You got Steely Dan. Can we count Steely Dan?

1446
00:49:01,394 --> 00:49:02,103
Are they a band, though?

1447
00:49:02,174 --> 00:49:02,694
That's a band.

1448
00:49:02,834 --> 00:49:02,874
Okay.

1449
00:49:02,894 --> 00:49:03,814
That's technically a band.

1450
00:49:03,894 --> 00:49:04,354
Sorry, Reddit.

1451
00:49:04,634 --> 00:49:06,853
But you also have Earth, Wind & Fire. That's an important band.

1452
00:49:06,864 --> 00:49:07,214
Oh, my God.

1453
00:49:07,254 --> 00:49:07,434
You know?

1454
00:49:07,574 --> 00:49:09,694
Yeah. You've got some other, yeah.

1455
00:49:09,854 --> 00:49:10,844
You've got a lot of bands, basically.

1456
00:49:10,854 --> 00:49:11,304
Keith Jarrett.

1457
00:49:11,404 --> 00:49:11,874
The Band.

1458
00:49:12,074 --> 00:49:13,394
Keith Jarrett. Oh, yeah, The Band.

1459
00:49:13,514 --> 00:49:13,874
The Band.

1460
00:49:13,914 --> 00:49:15,224
Keith Jarrett solo piano, that's a band, kind of.

1461
00:49:15,254 --> 00:49:15,934
That's not a band.

1462
00:49:15,954 --> 00:49:16,254
No, not a band.

1463
00:49:16,294 --> 00:49:17,564
Peter... No, that's not a band. But-

1464
00:49:17,594 --> 00:49:19,194
Oscar Peterson Trio was still kicking.

1465
00:49:19,254 --> 00:49:19,474
Okay.

1466
00:49:19,544 --> 00:49:20,044
Okay.

1467
00:49:19,554 --> 00:49:19,644
But

1468
00:49:20,754 --> 00:49:21,794
I am going to put it out there.

1469
00:49:22,114 --> 00:49:22,814
I got one more.

1470
00:49:22,844 --> 00:49:23,344
Parliament.

1471
00:49:22,854 --> 00:49:23,934
I got two more for you. Hold up.

1472
00:49:23,974 --> 00:49:25,774
Parliament and Funkadelic, as a

1473
00:49:26,774 --> 00:49:30,346
two-headed monsterIs the most important band of the 1970s.

1474
00:49:30,646 --> 00:49:30,776
Fight me.

1475
00:49:30,826 --> 00:49:30,986
Okay.

1476
00:49:31,126 --> 00:49:31,386
Fight me.

1477
00:49:31,706 --> 00:49:33,385
I'm not going to fight you. I'm going to throw out two other bands.

1478
00:49:33,446 --> 00:49:33,866
Okay.

1479
00:49:33,906 --> 00:49:36,746
And you're going to be surprised that I'm going to say these. Queen.

1480
00:49:36,806 --> 00:49:37,906
Great band. No doubt.

1481
00:49:38,286 --> 00:49:38,906
Led Zeppelin.

1482
00:49:39,326 --> 00:49:40,065
I already said Led Zeppelin.

1483
00:49:40,106 --> 00:49:40,565
Oh, you did? Okay.

1484
00:49:40,606 --> 00:49:40,706
Yeah.

1485
00:49:41,126 --> 00:49:41,386
Got you.

1486
00:49:41,746 --> 00:49:43,286
Okay. I'm not going to fight you. More important.

1487
00:49:44,046 --> 00:49:45,866
Okay. So that's your quibble bit.

1488
00:49:46,066 --> 00:49:46,566
That's my hot take.

1489
00:49:46,686 --> 00:49:47,036
That's your hot take.

1490
00:49:47,126 --> 00:49:48,386
Right? Quibble bit/hot take.

1491
00:49:48,726 --> 00:49:49,426
I have a quibble bit.

1492
00:49:49,566 --> 00:49:49,866
What you got?

1493
00:49:50,186 --> 00:49:51,166
Is this too funky?

1494
00:49:51,986 --> 00:49:52,206
Yes.

1495
00:49:52,326 --> 00:49:53,046
Or is that a hot take?

1496
00:49:53,346 --> 00:49:53,806
That's a hot take.

1497
00:49:54,146 --> 00:49:54,746
The bombeter.

1498
00:49:54,886 --> 00:49:55,506
I got a five.

1499
00:49:56,746 --> 00:49:57,346
Oh, I got a five.

1500
00:49:57,706 --> 00:50:01,606
Perfect. So how snobby is it on a scale of one to 10, is one being not

1501
00:50:01,686 --> 00:50:03,566
snobby at all, and 10 being snobby?

1502
00:50:04,066 --> 00:50:07,966
I am going to put this one at a five because it is obviously,

1503
00:50:08,266 --> 00:50:11,086
you are going to dance, but there is

1504
00:50:12,366 --> 00:50:12,586
a-

1505
00:50:14,906 --> 00:50:17,206
George Clinton with high-heel-

1506
00:50:18,366 --> 00:50:18,635
Hot boots

1507
00:50:18,646 --> 00:50:22,326
... knee-high sparkly silver boots coming out crotch first of a

1508
00:50:22,506 --> 00:50:22,986
spaceship,

1509
00:50:23,846 --> 00:50:24,166
and it is-

1510
00:50:24,206 --> 00:50:27,426
How snobby is it? Yeah. Are you saying that makes it snobby or accessible?

1511
00:50:27,526 --> 00:50:28,126
I don't know.

1512
00:50:29,026 --> 00:50:31,196
Yeah, that's why I went five. I was like, "I can't tell if it's-

1513
00:50:31,326 --> 00:50:31,626
I know

1514
00:50:31,646 --> 00:50:32,236
... super snobby or super fun."

1515
00:50:32,266 --> 00:50:33,205
It's a perfect five, actually.

1516
00:50:33,226 --> 00:50:33,306
Yeah.

1517
00:50:33,446 --> 00:50:34,746
Is it better than Innervisions?

1518
00:50:35,666 --> 00:50:35,716
No.

1519
00:50:36,326 --> 00:50:36,536
I agree.

1520
00:50:36,886 --> 00:50:37,165
Yep.

1521
00:50:37,426 --> 00:50:38,316
Accoutrements, what do you got?

1522
00:50:38,826 --> 00:50:42,706
I'm going nine, and I'm very close to a 10 on this one, but I

1523
00:50:42,786 --> 00:50:44,336
reserve... It's great.

1524
00:50:44,336 --> 00:50:45,366
It's very close to a 10.

1525
00:50:45,566 --> 00:50:46,966
You know what is a 10, is this font.

1526
00:50:47,026 --> 00:50:47,806
The font is unbelievable.

1527
00:50:47,826 --> 00:50:48,026
Yeah.

1528
00:50:48,066 --> 00:50:50,826
The font of the logo of Parliament is unbelievable, and the font of Mothership

1529
00:50:50,886 --> 00:50:51,326
Connection.

1530
00:50:51,546 --> 00:50:52,426
Yeah. And the colors.

1531
00:50:52,626 --> 00:50:56,106
And then there's a good gravy spaceship in the whole thing,

1532
00:50:56,186 --> 00:50:56,725
Peter.

1533
00:50:56,756 --> 00:50:57,256
Yeah.

1534
00:50:56,786 --> 00:50:57,196
It's very, very close to a 10.

1535
00:50:57,196 --> 00:50:58,436
And then the back. This is what I was saying-

1536
00:50:58,466 --> 00:50:58,646
I know

1537
00:50:58,706 --> 00:51:01,116
... because you look at the front, because the front, he's come, and then-

1538
00:51:01,146 --> 00:51:01,726
And he's in Newark

1539
00:51:01,766 --> 00:51:04,856
... he's in Newark. Yeah. He's chilling. In Plainfield, New Jersey, so.

1540
00:51:04,866 --> 00:51:05,506
It's so good.

1541
00:51:05,586 --> 00:51:05,906
Yeah.

1542
00:51:05,986 --> 00:51:08,726
Up next. What do you got?

1543
00:51:09,246 --> 00:51:12,586
I got Meters' Look-Ka Py Py. That particular record was an early one for the

1544
00:51:12,626 --> 00:51:16,466
Meters, 1969. So it's interesting because it's...

1545
00:51:17,166 --> 00:51:18,706
Can I play a little bit? This would be janky.

1546
00:51:18,766 --> 00:51:19,436
I'm going to play a little out here.

1547
00:51:19,486 --> 00:51:20,006
No, I got you.

1548
00:51:20,486 --> 00:51:20,496
No.

1549
00:51:20,546 --> 00:51:21,606
I got you. Oh, you're going to play it on there?

1550
00:51:21,616 --> 00:51:23,216
Because I'm about to play mine on the system, buddy.

1551
00:51:23,226 --> 00:51:24,706
Okay. See who can get to it first.

1552
00:51:24,766 --> 00:51:25,526
Oh, here's mine.

1553
00:51:28,306 --> 00:51:30,666
Yo, this is Mood Control.

1554
00:51:31,296 --> 00:51:31,796
Yo.

1555
00:51:31,366 --> 00:51:33,586
Saying you might as well pay attention.

1556
00:51:33,766 --> 00:51:34,266
Wait, what is that?

1557
00:51:34,486 --> 00:51:38,306
Mine is their 1977, Parliament's 1977 album,

1558
00:51:38,385 --> 00:51:41,806
Funkentelechy vs. the Placebo Syndrome, and that's the track "Funkentelechy." That

1559
00:51:41,886 --> 00:51:42,046
is

1560
00:51:43,626 --> 00:51:46,986
Look-Ka Py Py, obviously. Great call. They're both good calls.

1561
00:51:47,306 --> 00:51:48,026
You could also put

1562
00:51:49,006 --> 00:51:51,326
any of the early Prince would be a great after this.

1563
00:51:54,986 --> 00:51:55,626
I can barely hear it.

1564
00:51:56,566 --> 00:51:57,886
Don't worry. It's on your iPhone speaker.

1565
00:51:57,966 --> 00:51:58,616
Okay. All right.

1566
00:51:59,066 --> 00:51:59,646
Sam is in there-

1567
00:51:59,686 --> 00:52:00,186
Yeah, it's on your iPhone

1568
00:52:00,266 --> 00:52:02,746
... Sam is in there scowling at you right now, just so you know.

1569
00:52:03,246 --> 00:52:03,946
Good. He said, "Good."

1570
00:52:04,026 --> 00:52:04,235
Peter?

1571
00:52:04,706 --> 00:52:05,235
He said, "Thumbs up."

1572
00:52:05,286 --> 00:52:06,656
This was a freaking blast, man. Thank you so much.

1573
00:52:06,656 --> 00:52:07,886
This was awesome. High five.

1574
00:52:08,946 --> 00:52:09,166
Okay.

1575
00:52:09,246 --> 00:52:11,066
I wanted to be weird with it because we're in a weird...

1576
00:52:13,326 --> 00:52:14,006
Until next time.

1577
00:52:14,306 --> 00:52:14,805
You'll hear it.

1578
00:52:15,986 --> 00:52:18,046
Hey. I got your glasses.