Album Review: Soul of a Woman by Sharon Jones & the Dap-Kings


AlbumSoul of a Woman
ArtistSharon Jones & the Dap-Kings
Release Date: 17 November 2017
Favorite Tracks: “Matter of Time,” “Come and Be a Winner,” “Rumors,”  “Searching for a New Day,” and “Call on God”
Thoughts: It’s hard to listen to this album without feeling tearful, not just because of the music, but the knowledge that Sharon Jones’ voice was silenced forever with her death last year.  The final Sharon Jones & the Dap Kings album seems to recognize her mortality with more down tempo tracks, calls for reconciliation, messages of peace, and finish with the gospel hymn “Call on God.” It’s not intended as a final statement, but it’s what we get and serves as a reminder of the beauty and power that the great Sharon Jones brought to the world.
Rating: ***1/2

 

 

Podcasts of the Week Ending December 2


The Story Collider :: The Bats and the Bees

A reluctant field researcher finds purpose in showing drunk 17-year-olds how to tag bats with microchips, and a bee researcher who is allergic to bees.  Science!

Radiolab :: Stereothreat

Research into the effects of negative stereotypes and the difficulty of replicating that research.

Hit Parade :: The Queen of Disco Edition

Things I learned about Boston’s own Donna Summer: 1. she got her start in the Munich production of Hair where she became fluent in German, 2. she wrote or co-wrote most of her songs, 3. she and her producers basically invented electronic dance music, and 4. she continued to have club hits into the 2010s.

Afropop Worldwide :: A Brief History of Funk

A brief but beautiful story of funk with many funky classics and interviews with Bobby Byrd and George Clinton.

Slow Burn: A Podcast About Watergate

A new podcast that tells the story of the Watergate scandal with an as-it’s-happening approach focusing on long-forgotten key players in the scandal.

30 for 30 Podcasts :: The Lights of Wrigleyville

The story of the contentious battle between theChicago Cubs and their residential neighbors to install lights in Wrigley Field in the 1980s.

More Perfect :: Mr. Graham and the Reasonable Man

The story of a legal case that underlies our current crises in policing in America, and the legal fiction of the “Reasonable Man.”

Music Discoveries P-Funk, part 3 (1978-1982)


Here is my third and final post for my “discovery” series on the P-Funk collective of musicians in the 1970s and early 1980s.  In the first post I found myself impressed by the freshness and innovation of the music even though it was more than 40 years old.  The second post featured the familiar hit songs of P-Funk’s prolific peak.  This final post sadly marks the decline of P-Funk, and while there are some standout tracks and albums, I’m disappointed at how dated and tired much of the music from this period sounds.

Band: Funkadelic
Album: One Nation Under a Groove
Date: 4 September 1978
Favorite Tracks: “One Nation Under a Groove,” “Who Says a Funk Band Can’t Play Rock?,” and “Cholly”
Lyrics of Note:

Who says a jazz band can’t play dance music?
Who says a rock band can’t play funk?
Who says a funk band can’t play rock?
Ok. We’re gonna play some funk so loud
We’re gonna rock and roll the crowd
Just watch them dance, watch them dance – from “Who says a funk band can’t play rock?”

Thoughts: The title track has more of dance/disco sound than one is accustomed to hearing from Funkadelic.  That’s followed by the relaxed, smooth calypso sound of “Groovallegiance.” And if the genre shifts are not enough on the first two songs, on track three they gleefully declare “Who says a funk band can’t play rock?” All right I won’t go track by track, but the album’s theme of the power of funk is emphasized by making every genre funky.  It’s a great album, that loses a half-point for the the tedious track about poop.
Rating: ***1/2


Band: Parliament
AlbumMotor Booty Affair
Date: 28 November 1978
Favorite Tracks: “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop),”
Lyrics of Note:

You can dance underwater and not get wet – from “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)”

Thoughts: Another themed album, this one goes under the sea for the aquaboogie. Parliament can never be accused of not dedicating themselves to a theme and there are references to fish, water, swimming and Atlantis throughout as well as new characters like “Mr. Wiggles.” And Sir Nose finally gets dunked in  the funk.  It’s a fun and cohesive album but nothing about it really excites me much.
Rating: ***


Band: Funkadelic
AlbumUncle Jam Wants You
Date: 21 September 1979
Favorite Tracks: “(Not Just) Knee Deep,”  “Field Maneuvers,” and “Holly Wants to Go to California ”
Lyrics of Note:
Thoughts: Following on “One Nation Under a Groove,” Funkadelic plays with patriotic/militaristic phrases to promote the funk and “save dance music from the blahs.”  The epic jam “(Not Just) Knee Deep” defines the album and since it’s been sampled so many times that it sounds like a compilation of r&b and hip hop all by itself. The instrumental guitar jam “Field Maneuvers” and the melancholy ballad “Holly Wants to Go to California” are also standouts.  Despite drill instructors barking out dance moves, this album feels less gimmicky than its predecessors.
Rating: ****


Band: Bootsy’s Rubber Band
Album: This Boot Is Made for Fonk-N
Date: 1 June 1979
Favorite Tracks: “Bootsy (Get Live)”
Thoughts: Eschewing the slow jams of earlier Rubber Band albums, this is a non-stop party funk album. It coasts a lot on Bootsy Collins’ charma and charisma but it can coast a long way on that.
Rating: ***


Band: Parliament
Album: Gloryhallastoopid (or Pin the Tail on the Funky)
Date: 20 November 1979
Favorite Tracks: “Theme from the Black Hole”
Thoughts: Another concept album that attempts to explain the science behind the creation of the universe by way of funk.  It recycles a lot of ideas, lyrics, and grooves from previous albums and is awfully redundant in doing so.  And for all the criticism of disco this is is a disco-heavy album at the time of peak disco.  But it’s bland overall and doesn’t offer much.
Rating: *1/2


Band:Parliament
Album: Trombipulation
Date: 5 December 1980
Thoughts: OK, I’m officially sick of the Vocoder voice of D’Nose.  It’s a tired act and shows just how out of ideas Clinton & Co. were by 1980.  Kind of disappointing that Parliament goes out on such a bland album
Rating: **


Artist: Bootsy Collins
Album: Ultra Wave
Date: October 1980
Thoughts: Bootsy’s first album with a solo credit is fun and dance-able, but nothing that leaves an impression. From the r&b styles on display, one can tell that the 80s are here!
Rating: **1/2


Band: Funkadelic
Album: Connections & Disconnections
Date: 1980
Thoughts: Original P-Funk members Fuzzy Haskins, Calvin Simon and Grady Thomas split off to form their own band under the Funkadelic name as the demise of George Clinton’s P-Funk stable of musicians descended into acrimonious lawsuits and in-fighting. Many of the lyrics are critical of Clinton, and musically it makes an attempt to recapture the early Funkadelic sound, but only achieves greatness in fits and starts.
Rating: **


Band: Funkadelic
Album: The Electric Spanking of War Babies
Date: 14 April 1981
Favorite Tracks: “Funk Gets Stronger” and “Shockwaves”
Lyrics of Note:

You can walk a mile in my shoes
But you can’t dance a step in my feet – from “Electric Spanking of War Babies”

Thoughts:  The official Funkadelic offers a better farewell album with a sound that played off the soul, funk, and R&B of the early 80s with P-Funk innovation. The lyrics are strongly political on many tracks, something that had been missing in latter day P-Funk. As an added bonus,Sly Stone is featured on this album and there’s a great funky reggae track “Shockwave.”
Rating: ***1/2


Band: George Clinton
Album: Computer Games
Date: 5 November 1982
Favorite Tracks: “Man’s Best Friend/Loopzilla” and “Atomic Dog”
Thoughts: Although credited to Clinton, many P-Funk musicians appear on this album much like on Parliament, Funkadelic, and side projects in previous years.  I arbitrarily chose to end this series on this album as it seems to mark the end of the P-Funk era although there more Clinton solo albums, P-Funk All-Stars recordings, and other projects in the ensuing years.  It’s a good album to go out on as it is reliant more on synths and has an electro sound that ties in well with the rise of hip hop in this era.
Rating: ***

Okay, so that’s it for P-Funk.  Whew!


Music Discoveries P-Funk, part 2 (1975-1978)


This second post in the series covers a period where Parliament-Funkadelic is exploding, releasing some of the bands’ most popular albums and singles, touring with an increasingly elaborate stage show, and branching off to form new bands and solo projects (although those bands and artists were frequently backed up by the same stable of P-Funk musicians).  Unlike part 1 where I was in awe of the music produced by Parliament and Funkadelic, I’m finding myself with mixed feelings about the music from this period.  The highs are higher but the lows are lower, and I think they may have spread themselves thin with the sheer prolificness of their output.  Nevertheless, there is a lot of fantastic music to feast your ears upon here.

Band: Parliament
AlbumMothership Connection
Date: 15 December 1975
Favorite Tracks: “P-Funk (Wants to Get Funked Up),” “Mothership Connection (Star Child),” and “Give Up the Funk (Tear the Roof off the Sucker)”
Lyrics of Note:

You’ve got all that is really needed
To save a dying world from its funkless hell – from “Unfunky UFO”

Gaga googa ga ga googa
Ga ga goo ga ga
(x33) – from “Night of the Thumpasorus Peoples”

Thoughts: This brilliant concept album establishes the Mothership and the Afro-Futurist themes of black people in space.  The songs are party anthems and protest songs against radio’s refusal to play funk and discrimination against the black community in general.  Pretty much a must-have of the P-Funk catalog with three of the collective’s most important tracks, although you’ll probably want to skip over the misogynist “Handcuffs.”
Rating: ****


Band: Bootsy’s Rubber Band
AlbumStretchin’ Out in Bootsy’s Rubber Band
Date: 30 January 1976
Favorite Tracks: “Stretchin’ Out (In a Rubber Band),” “Psychoticbumpschool,” and  “Another Point of View”
Thoughts: Bootsy Collins, the break out start of Parliament-Funkadelic, gets his own band and album although Clinton and a lot of the P-Funk lineup are involved so it really sounds like a continuation of Mothership Connection musically.  Lyrically, the album is more focused on romance and sexy times, and with the troubled sexual politics it can be hit or miss.

Rating: **1/2


Band: Parliament
AlbumThe Clones of Dr. Funkenstein
Date: September 1976
Favorite Tracks: “Do That Stuff,” “Getten’ to Know You,” and “Funkin’ for Fun”
Lyrics of Note:

When you see my mother
Tell her I’m all right
I’m just funkin’ around
For fun – from “Funkin’ for Fun”

Thoughts: May I frighten you? The utterly weird Parliament album expands deeper into the P-Funk mythology and it’s fun if it doesn’t make much sense.  I kind of get the sense that the prolific nature of Parliament-Funkadelic caught up with them as there seems nothing new here.  It’s entertaining, but it’s also disposable.  By the way, am I the only one who hears “Diamonds are a Girl’s Best Friend” in “Do That Stuff”?
Rating:***


Band: Funkadelic
AlbumTales of Kidd Funkadelic
Date: 21 September 1976
Favorite Tracks:  “Undisco Kidd”
Thoughts: Learning that this was a “contractual obligation” album of outakes from recording a different album lowered my expectation, but this album is good enough if a bit generic.  Actually it sounds very familiar due to it being frequently sampled by other artists.  “Butt-to-Butt Resuscitation” may stand as the best song title in the P-Funk catalog.
Rating: **1/2


Band: Funkadelic
Album: Hardcore Jollies
Date: 29 October 1976
Favorite Tracks: “Comin’ Round the Mountain,” “Smokey,”  “Hardcore Jollies,” and “Cosmic Slop {Live],”
Lyrics of Note:

I thought I knew all there is to do
I stuck out my chest and dove into a love
With ego in charge, I charged into what seemed
To be the quickest way into manhood
You scared me, baby
You scared the love right outta me – from “You Scared the Lovin’ Outta Me”

Thoughts:  Holy crow, did they really funk up “She’ll Be Comin’ Around the Mountain”?!?!?  YES!!!  And it was better than most everything on Tales of Kidd Funkadelic.  And that’s just the start of a hard-rocking, emotionally raw yet joyously funky album with flashes of soul, gospel, and doo wop.  It feels like a return to form for Funkadelic, not that they’d been all that much out of shape.
Rating:****


Artist: Fuzzy Haskins
Album: A Whole Nother Thang
Date: 1976
Favorite Tracks:”Mr. Junk Man”
Thoughts: Haskins, one of the original five members of The Parliaments, and Funkadelic and Parliament, goes solo on this album with lots of support from the P-Funk stable of artists (but not George Clinton).  It’s entertaining and toe-tapping but ultimately bog standard funk and soul.
Rating:**


Band: Bootsy’s Rubber Band
Album: Ahh… The Name Is Bootsy, Baby!
Date: 14 January 1977
Favorite Tracks: “The Pinnochio Theory,” “Munchies for Your Love
Thoughts: Bootsy Collin’s second album is an interesting contrast to Fuzzy Haskins, loose with jazz-like improvisation compared to Haskins’ Motown-style tight pieces.  Just a theory, but Collins is a decade younger so maybe the age gap plays a part in the stylistic differences, and why I like the “full-band” sound of Parliament-Funkadelic albums better where the different styles can play off and complement one another.  This is a solid album though, with funk party anthems on side A and slow jams on the flip side.
Rating: ***1/2


Artist: Eddie Hazel
Album: Game, Dames and Guitar Thangs
Date: 1977
Favorite Tracks: “California Dreamin'” and “What About It?”
Thoughts: This is P-Funk’s guitar-virtuoso’s first and only album released during his lifetime, and what a treat it is to have it. Hazel interprets The Mamas and the Papas’ “California Dreamin’,” The Beatles’ “She’s So Heavy” (an interestingly restrained performance), and Bootsy Collins’ “Phsyical Love” as well as an instrumental remake of Funkadelic’s “Wars of Armageddon” called “What About It?”. A great album for guitar buffs.
Rating: ***1/2


Band: Fred Wesley And The Horny Horns
Album: A Blow for Me, A Toot for You
Date: 1977
Favorite Tracks: “A Blow for Me, A Toot for You” and “Four Play”
Thoughts: Another section of the P-Funk orchestra is split off for their own bit of prominence, this time the horn players: Fred Wesley (trombone), Maceo Parker (saxophone), Rick Gardner (trumpet), and Richard Griffith (trumpet). There’s heavy participation from the P-Funk stable of musicians so in many ways this sounds like a Parliament album with an emphasis on the horns, but the instrumental horn jams stand out as the best tracks. The string arrangements on some tracks remind me that this was recorded in the height of the disco era.
Rating: ***1/2


Band: Parliament
Album: Funkentelechy Vs. the Placebo Syndrome
Date: 28 November 1977
Favorite Tracks: “Bop Gun (Endangered Species),” “Wizard of Finance,” and “Flash Light”
Lyrics of Note:

To dance is a protection
Funk is your connection
All you got to do is
Funk and dance

Thoughts:And George Clinton had thoughts on Disco and commercialized music in general which he called “the Placebo Syndrome” and personified in the character of the obstinately unfunky Sir Nose d’Voidoffunk who goes head-to-head with Starchild on this album. Perhaps listening to too many P-Funk albums in a row makes me feel like the mythology and humor are laid on too thick, but there are some classic tracks on this album. There are also synth sounds and arrangements that seem to be laying the ground for New Wave and early hip hop to come in just a few years.
Rating:***


Band: Bootsy’s Rubber Band
Album: Bootsy? Player of the Year
Date: 27 January 1978
Favorite Tracks: “Bootzilla”
Thoughts: The third album from Bootsy & Co. doesn’t break new ground. Love songs are in demand here ranging from the romantic to the raunchy.
Rating: ***


Band: The Brides of Funkenstein
Album: Funk Or Walk
Date:  September 1978
Favorite Tracks: “Disco to Go”
Thoughts: P-Funk is rather dominated by male musicians, so it was interesting to see what  P-Funk band lead by two women – Dawn Silva and Lynn Mabry – would sound like.  It should not be a surprise or even a bad thing that they basically sound a lot like Parliament with female vocalists.  There are disco and even Broadway showtune influences well.  But it doesn’t sound like they brought out the best material for this project, which is a shame.
Rating: **


Band: Parlet
Album: Pleasure Principle
Date: 1978
Favorite Tracks:  “Pleasure Principle” and “Love Amnesia”
Thoughts:Never to do things in small measures, there were two female P-Funk groups releasing their debut albums in 1978, this one featuring the vocal talents of Mallia Franklin, Jeanette Washington and Debbie Wright. Parlet sounds “harder” than The Brides of Funkenstein, the female Funkadelic to their female Parliament.  This album is pretty strong but most of the tracks are overlong.
Rating: ***


Band: Bernie Worrell
AlbumAll the Woo in the World
Date: 1978
Favorite Tracks: “I’ll Be With You” and “Much Thrust”
Thoughts: The legendary P-Funk keyboardist gets his star turn on this solo debut, with lots of P-Funk friends on board for the recording.  Worrell’s keyboard wizadry is on display and the vibe of the album harkens back to the psychedelia of the early Funkadelic.
Rating: ***


Whew! That is a lot of funk.  But I’ll be back in a couple of weeks to finish this series on P-Funk.

 

Music Discoveries: Janelle Monáe


Today I finally begin a new feature on this blog I’ve been planning for a long time called Music Discoveries.  The idea is to find musical artists and bands I’m familiar with and do a deep listen of their full catalog of recordings.  I was inspired by a fellow blogger on Desert Island Mix Tape when he listened to the entire back catalog of the Bee Gees and then wrote it up.  I’ve procrastinated a long time and hesitated posting at all because I’m not particularly skilled as a music critic.  But then again I’m not a book or beer critic and that hasn’t stopped me, and I can only get better with practice.  So please be patient with me as you read this and offer constructive criticism in the comments.

Let us begin with Janelle Monáe, a musician I first learned of a few years back from my wife (who is often more up to date on contemporary music). The 30-year-old artist from Kansas City, KS is a singer, song writer, producer, collaborator, and all around performer. Her musical style is eclectic bringing together soul, art music, R&B, hip-hop, funk, and even opera and cinematic scores.  In many ways she is a musical heir to the recently deceased David Bowie and Prince, a comparison heightened by her androgynous public image and signature tuxedo. Other clear influences on her work and style include Grace Jones, Annie Lennox, and the Afrofuturism of George Clinton and PFunk.

One thing for sure about Monáe is that she is committed to a high concept.  Her recordings are a series of suites called Metropolis inspired by Fritz Lang’s 1927 film of the same name.  The suites center on Monáe’s alter ego Cindi Mayweather, an android from the year 2719, who breaks the law by falling in love with a human and while a fugitive becomes a messianic figure to other androids.  While there’s a lot to be gained from listening to the suites in order, the songs have universal themes that allow them to succeed out of context.  They work as a science fiction story but also as love songs as well as commentaries on social issues such as inequality, social stratification, racism, and discrimination against LGBT communities.

Monáe’s first recording is an extremely limited 2003 album called The Audition, which I wasn’t able to find so I’m going to skip ahead to her 2007 EP where the suites begin

AlbumMetropolis: Suite I (The Chase)
Release Date: August 24, 2007
Favorite Tracks: “Sincerely, Jane” and “Mr. President”
Thoughts:  This EP introduces the first of the Metropolis suites and introduces Cindi Mayweather and the science fiction plot line.  Pop and funk are mixed with opera and old standards (the special edition includes a rendition of the Charlie Chaplin song “Smile”). The album is short but epic and cinematic.  A good start
Rating: ***1/2

AlbumThe ArchAndroid
Release Date: May 18, 2010
Favorite Tracks: “Locked Inside” “Cold War”
Thoughts:  Suite’s II and III of Metropolis make up Monáe’s  first full-length major release.  The music here is upbeat belying the seriousness of the lyrics. Musically the album jumps among genres from song to song and even within songs.  Funk, soul, new wave, afrobeat, psychedelia, and even punk rock (“Come Alive” is reminiscent of the B52s).  The music gets a little slow and less interesting in Suite III, but this is definitely a masterpiece.
Rating: ****

AlbumThe Electric Lady
Release Date: September 6, 2013
Favorite Tracks:  “Givin’ Em What They Love” “Dance Apocalyptic” “Can’t Live Without Your Love”
Thoughts:  Monáe’s second full album and the fourth and fifth suites of the Metropolis opus is full of notable guest artists inluding  Miguel, Erykah Badu, Solange, Prince and Esperanza Spalding.  Musically this is smoother than The ArchAndroid with some slow jams, and jazz, hip-hop, and gospel influences. I could live without the radio breaks with the android DJ because the verisimilitude to a radio jock patter with callers is all to close.  Still this is a worth follow-up to The ArchAndroid  and shows Monáe’s s growth and range.
Rating: ***1/2

AlbumiTunes Festival: London 2013
Release Date: September 9, 2013
Favorite Tracks: “Dance Apocalyptic,” “Tightrope”
Thoughts: This live recording mixes together 5 previously released tracks, showing how well they work independent of the suites and more importantly the incredible energy Monáe brings to performance.  The horn section playing behind her is particularly fantastic. Definitely need to take the opportunity to see Monáe  in concert.
Rating: ***1/2

AlbumWondaland Presents: The Eephus
Release Date: August 14, 2015
Favorite Tracks: “Yoga”
Thoughts: Technically this is not a Monáe album but a compilation of songs by her collective at Wondaland Records (Jidenna, St. Beauty, Roman GianArthur and Deep Cotton).  There’s only once song by Monae, featuring Jidenna, called “Yoga” (which is, er, not really about yoga).  Monáe’s fingerprints are all over the recording though showing her capabilities as a collaborator and a producer.
Rating: ***

Speaking of collaboration, Janelle Monae appears as a guest on many other artists’ recordings.  Probably the most famous is “We Are Young” by fun.  Monae’s part on the bridge makes a great song – and music video – all the more epic.

Janelle Monae also brought together the Wondaland Records lineup last year on the powerful protest song “Hell You Talmbout” where they chant the names of African-Americans murdered by the police.

I will definitely continue to listen to Janelle Monáe’s music as her career continues.  I expect she will continue to grow as an artist and create some of the more innovative music of our time.  I’m sad to say that I somehow missed Janelle Monáe Day in my hometown of Boston a few years back, but I hope to see her in concert one day when she returns.

Stay tuned next week as I will tell you what I heard listening to every album by Kate Bush.

Book Reviews: Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You? by George Clinton


Author: George Clinton
TitleBrothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?
Publication Info: New York : Atria Books, 2014
Summary/Review:

The memoirs of George Clinton, the talented songwriter and band leader and creator of P-Funk, starts with a story of band members and their costumes having trouble getting to a show in Richmond in 1978.  This is coincidental in that I saw George Clinton and the P-Funk All-Stars play in Richmond in the 1990s, although that was at University of Richmond which felt incongruous since it’s about as far from Richmond’s black community as one can get.

Clinton traces his story back to coming of age in New Jersey and from his barbershop pulling together the singers and musicians of the area to create The Parliaments, a 50’s-style doo-wop group that evolved into a Motown-style soul act.  Inspired by the likes of James Brown and Sly and the Family Stone, as well as psychedelic blues rock acts like Cream and Jimi Hendrix, Clinton creates the blueprint for P-Funk.  Two bands with largely the same personnel would alternate recordings with two takes on funk: Funkadelic inspired by the psychedelic rock and Parliament taking the soul/R&B approach.  With a revolving roster of performers, a whole new mythology of P-Funk, stunning stage shows, and an innovative approach to music, Clinton would dominate the 1970s music scene.  The volume of music released not just by Parliament and Funkadelic, but many of the offshoot bands like Bootsy’s Rubber Band, is remarkable, and they all toured together on a tireless schedule of concerts.

The wheels come off in the 1980s, and while Clinton has some success as a solo artist and with new versions of the P-Funk All-Stars, much of the later part of the book is consumed by descriptions of Clinton’s drug abuse exploits and endless legal squabbles.  And yet, Clinton becomes something of a respected elder statesman of funk, writing and producing for the early Red Hot Chili Peppers whom he saw as the white band that would bring funk to the mainstream.  He also had a great influence on hip-hop, encouraging sampling of P-Funk sounds, and working with young rappers.

Clinton is one of the great musicians of the 20th-century, and this book is at its best when he’s talking about creating the sounds of funk, his love of music, and the talented musicians he worked with.  This book is at it’s worst when Clinton describes smoking another vial of crack or belabor his legal vendettas.  If you like funk or are interested in music and how it’s created, this book is worth a read.
Favorite Passages:

“Even without the music, I loved living in Newark, in part because I was royalty. All you had to do was look at the signs. One of the main drags in Newark was called Clinton Avenue, and there was a whole area called Clinton Hills. They were all named after the early American politician George Clinton, who had been the governor of New York and the vice president under Thomas Jefferson and James Madison. Some days the world seemed to revolve around me, a George Clinton who could go walking down a street named for him in an area named for him.”

On dropping acid for the first time in Harvard Square, which I believe should be on a Cambridge historic plaque: “The next day we went over to Harvard Square and all of us took some. That was a Noah’s Ark day, rain so hard you couldn’t even see your hand in front of your face, and the gutters were filling up with water, making little rivers in the street. We dropped acid and stood looking at the rain: sometimes it seemed to slow down, sometimes each individual drop came into perfect, sharp focus. And then, all of a sudden, everyone started taking off their clothes and wading in the rivers the streets had become. There were students, but there were faculty members, too. There were couples and there were single girls. There were fat people and skinny people and every other kind: older white women naked there in the water, with polka-dot freckles on their titties, and dozens of cute little girls getting bare-ass naked. Everyone was in the water, flopping around like fish, just feeling it.”

“Somewhere along the way it became clear to me that we had a strong young group of players who were, to us, what the Funk Brothers were to Motown, and because we were so deep into psychedelic rock we started adding the -delic to it. The result was Funkadelic. I think I had the idea for the name first, but you’ll probably get a debate from two or three others. Everyone knew that it felt right, though. White rock groups had done the blues, and we wanted to head back in the other direction, to be a black rock group playing the loudest, funkiest combination of psychedelic rock and thunderous R&B.”

“In truth, underneath the image, I was a much more reserved, centered, circumspect person. In fact, that’s why I was able to carry off those crazy looks. It was freedom generated by misdirection, and it allowed me to focus on my real self, the identity I was nurturing away from any kind of spotlight.”

“For that matter, the two bands could continue to function as separate entities, where Parliament was a group of singers backed by a band and Funkadelic was a band backing a group of singers.”

“When you parody something, you have to pay attention. When you pay attention, you’re taking something seriously. So isn’t parody the most serious form of imitation?”

“Funkadelic had always been a hybrid of other things—at first, of the original Parliaments and the psychedelic rock that was happening all around it—and the second wave of musicians reaffirmed my belief in the way to grow. Absorb youth and you will be absorbed by youth. Take on new influences without fear and you need not fear what is new. Change the people around you by changing the people around you.”

“I never wanted that responsibility, not the responsibility of a political spokesperson like Malcolm X or Martin Luther King, and not even the responsibility of a musical spokesperson like Bob Marley. He was almost like a Dalai Lama. Critics and fans were thrusting him into that position even before he knew he was in it. We went the other way, played so crazy that nobody wanted to be connected to us at that level.”

“So in my mind, the concept of Mothership Connection wasn’t just Star Trek in the ghetto, but pirate radio coming in from outer space. It’s not thought of in that way as much, at least anymore, but that’s at the heart of the album.”

“When I got money, I didn’t think about jewelry or cars or houses. I thought about experiences. Again, some of them were sex, and some were drugs, but most of them were rock and roll. I kept studios running all the time. I cut tracks with all the artists I knew and shaped them into songs, which in turn were shaped into records. What did I need with possessions? I had a spaceship and that was going to be enough for a long while.”

“Maybe funk itself was a form of evolution. Maybe if you refused to participate in it, you were holding yourself back. We had already created and deployed Star Child, an agent of interplanetary funk. Did he have the secret for improving the species, funkateer by funkateer? There had always been a strain of self-actualization in our music, though it had also always been sharpened by humor and irony and dirty jokes.”

“When people start out in groups, everybody imagines making it, but no one thinks hard about what that means. Does it mean being a star, staying in the top hotels, headlining arenas? Or is it enough to be able to do what almost no one in the world does, and sustain a career as a professional musician? The mere fact of surviving in this industry is a huge victory. But survivors forget that the alternative is annihilation. They think that the choice is between a good career and a great one. They reach for stardom. And those unrealistic expectations are compounded by creative ability, or the lack of ability. People don’t have a clear idea of what they can and can’t do as artists. I knew my limits. I knew what I couldn’t do. I couldn’t play an instrument. I couldn’t sing as well as some and I couldn’t arrange as well as some others. But I could see the whole picture from altitude, and that let me land the planes.”

“Living things find nourishment where they can. The point of music is to take what exists and to make it matter again, in your own style, with your own stamp. To talk about “original” and “unoriginal” is as unoriginal as talking about genres or categories. You never want to be in a bag, let alone someone else’s bag. Music is music, and bands become what they are. They play because they want to, and audiences sense that and listen because they want to.”

“The grace note with Public Enemy is that I had something to do with their name. For years, I didn’t know that it was my voice saying “Public Enemy” on their record. They had sampled from “Undisco Kidd” and slowed the vocals down.”

Recommended books: My Song: A Memoir by Harry Belafonte and Life by Keith Richards
Rating: ***

Songs of the Week: The Island of Dr. Electrico by The Bombay Royale


Australia-based band The Bombay Royale recreates the feel of Bollywood in the 1960s and 1970s with a mix of funk, disco, and surf music.  Honestly, I always wonder with these kind of things if it wouldn’t be better to just listen to Bollywood recordings from the 60s and 70s, but The Bombay Royale are entertaining enough to be worth a least one listen.  I can’t seem to break down the SoundCloud tracks one by one, so I’m just embedding their entire 2014 album The Island of Dr. Electrico below.  I’m also posting the video for “Henna, Henna” which isn’t my favorite song but it does show the band’s unique aesthetic.