Archive for the P-Funk Category

Spanking in Time & Mowing the Air (Shock it to Circuit!)

Posted in Funk, Music, P-Funk on October 20, 2009 by trapperKeeper


Another Happy Parliafunkadelicment Thangday!  I’ve posted Electric Spanking of War Babies (1981) before, but the old link is inactive and I had started writing this post under the impression that I hadn’t yet done it.  When I checked again today, I discovered the original post.  Plus, I cringed multiple times reading the original post, so I decided to do a rewrite.  Anyhow, what’s old is new and what’s new is old, so let’s get on with the show.


“The Electric Spanking of War Babies” is a synthed-out effort delivered almost exclusively by Junie Morrison, who was credited for playing the bass, rhythm guitar, keyboards, and drums.  Opening with fuzzy guitar and an altered vocal, clearly this is a return to the Funkadelic of old, at least in spirit, after the relative softness of Uncle Jam Wants You.  Michael Hampton, my least favorite PFunk guitar player (keep playing those 17 minute long “Maggot Brain” solos),  shreds over a vicious groove while the lyrics reference sociopolitical events of the hippie generation.  The underneath touch adds so much to the sonic assault and the liquidy synth line starting around the 6:00 minute mark has a unique sound.

You can walk a mile in my shoes
But you can’t dance a step in my feet

Electrically charged “Electro-Cuties” has great whispered vocals, bass playing, and Junie provides just enough gritty synth groove to keep things dirty with a little help from the guitar.

Cuica makes an appearance on “Funk Gets Stronger (Part I).”  More importantly, Roger Troutman breaks his P-Funk cherry while playing rhythm guitar, bass, and moog.  Lige Curry, another a new addition, assisted on the low end with some bass of his own.  George and Bootsy share vocal duties, although I also think that Sly has a vocal part, but the esteemed Mothership doesn’t have him credited.  “Funk Gets Stronger (Part I)” is one of the finest Funkadelic songs with the synced up guitars generating a powerful groove.  Just before 5 minutes, the groove slow downs as a warm (rhodes?) organ comes in before morphing into a off-kilter closing jam.  All in all, the rhythm guitar line provided by Zapp is syrupy sweet and his moog work a tasty treat.

The cuica continues into “Brettino’s Bounce,” which is an interesting, and rare P-Funk, percussion instrumental.  Even more, it fits nicely into the flow of the album.  A fact aided by the cuica usage in “Funk Gets Stronger (Part I).”

Sly Stone pops up, playing keyboards, drums, synth, rhythm guitar and sharing lead vocal duties with GC, on “Funk Gets Stronger (Killer Millimeter Longer Version).”  Sly’s hazy warble and George’s rapping style fit together beautifully.  Family Stone member Cynthia Robinson, who discovered Dawn Mabry and later got her to join the Family Stone, which is how Dawn met George which lead to her becoming a Bride of Funkenstein, is credited for the trumpet part, which is the same riff heard in Pt. 1.  Pat Rizzo, who replaced Family Stone original member Jerry Martini, is credited as the saxophonist.  A rare appearance by Eddie Hazel on lead guitar definitely helps make add to early Funkadelic vibe.  At the very end of the song, the Beatles’ “She Loves You” is referenced.

Funk gets stronger
As it goes longer
Funk gets stronger
As they say in the great big state of Texas
An armadillo millimeter longer


Reggae’s influence is all stamped all over “Shockwaves,” which has odd lyrics to go with the odd tune.  I enjoy the Belle Isle reference and the line “Look at my shoes/They’re full of holes/Nobody cares, nobody but my toes.”

Great singing carries “Oh, I,” which has some vintage fuzzed-out Funkadelic guitar to go with the soulful vocal arrangement and a jazzy spirit.

Ending with an intimate discussion of human sexuality, George dives into something even dirtier than the gutter and Funkadelic’s guitar sound, the human mind.  Fuzzed out and grimy, the guitar of the “Icka Pricka” immensely aids GC’s dirty rap and the twisted vocal hooks.  Lige Curry delivers the goods on bass, while David Lee Chong is knighted as an official member.  Building to a spiritual climax of enlightening obscenity, the demented groove is joined by a choir of angelic voices masks the last of perverse excrement.  The keyboard parts work against the guitar lines to help create the demented swing.  “Icka Pricka” is gleefully obscene, but due to the lyrical dexterity and the destigmatizing action of the words of the song “Icka” hovers on a sphere high above the sexually explicit, but conceptually empty, gutter trash of today’s pop and club music.


Fusing their funky minds with electronic circuits, George’s army, sans Bernie, pulled off one of the funkiest records of the ’80s.  George never hesitated about experimenting with new technology.  Thus, Electric Spanking utilized both live and electronic drums.  It also saw the infusion of new talent Uncle Jam’s Army including Blackbyrd McKnight and Roger Troutman.  A perfect demonstration that synthesizers don’t have to mean sterility; that dance music doesn’t have to mean vapid lyrical diarrhea, Electric Spanking is an album that need to be experienced.  Sadly, Electric Spanking was last album GC released under the Funkadelic name.  Conceived as a double LP, Warner Brothers denied that dream and censored the album artwork.


Track Listing:

The Electric Spanking of War Babies {G Clinton, Bob Bishop, Walter Morrison}  8:45
Electro-Cuties    {Ron Ford, J Ali, G Clinton}  6:13
Funk Gets Stronger (Part I)  {Michael Hampton, G Clinton}  6:46
Brettino’s Bounce  {Larry Fratangelo}  3:39
Funk Gets Stronger (Killer Millimeter Longer Version) {Sylvester Stewart, G Clinton}  4:26
She Loves You    {John Lennon, Paul McCartney}  :16
Shockwaves    {Ron Dunbar, DeWayne McKnight}  5:10
Oh, I    {Rodney Curtis, Garry Shider, G Clinton}  4:55
Icka Prick    {G Shider, G Clinton}  4:11


“Electric Spanking”
Vocals: George Clinton
Bass, Rhythm Guitar, Keyboards, Drums: Walter Morrison
Lead Guitar: Michael Hampton

Vocals: George Clinton
Bass: Jimmie Ali
Lead Guitar: Michael Hampton, Jerome Ali
Rhythm Guitar: Gordon Carlton
Drums: Kenny Colton

“Funk Gets Stronger I”
Lead Vocals: George Clinton
Vocals: Bootsy Collins
Bass: Lige Curry
Lead Guitar: Michael Hampton
Rhythm G, Bass & Moog: Roger Troutman
Drums: Tyrone Lampkin
Percussion: Larry Fratangelo
Trumpet: Cynthia Robinson
Saxophone: Pat Rizzo

“Brettino’s Bounce”
Drums, Percussion: Larry Fratangelo

“Funk Gets Stronger II”
Lead Vocals: George Clinton, Sly Stone
Lead Guitar: Eddie Hazel
Rhythm Gtr, Keyboards, Synth: Sly Stone
Trumpet: Cynthia Robinson
Sax: Pat Rizzo
Drums: Sly Stone

Lead Vocals: Donnie Sterling
Bass: Lige Curry
Guitar: DeWayne “Blackbyrd” McKnight
Drums: Kenny Colton
Percussion: Larry Fratangelo

“Oh, I”
Lead Vocals: Garry Shider
Bass: Rodney “Skeet” Curtis
Lead Guitar: Michael Hampton, Jerome Ali
Keyboards: Marion Saulsby
Rhythm Gtr: Gordon Carlton, Garry Shider
Drums: Tyrone Lampkin
Sax: Michael Brecker

“Icka Prick”
Lead Vocals: George Clinton
Bass: Lige Curry
Lead Guitar: Michael Hampton
Rhythm G: Gary Shider
Moog & Keyboards: David Lee Chong


Happiness is a side effect of doing something that has nothing to do with it (To The Boot Wing, Bobba!)

Posted in Funk, Music, P-Funk on October 12, 2009 by trapperKeeper


Happy Parliafunkadelicment Thangday!  It has been a long time coming, but I am finally back with a P-Funk post.  I hope to make it more regular again as the fall is now here and I will be spending more time at home.  Getting back into writing was more enjoyable than I thought it was going to be.  Anyhow, I am tapped out for words right now.  Enjoy.

Bootsy’s Fresh Outta ‘P’ University (1997) is a fine funk album.  Bootsy was way ahead of his time, so he didn’t have to update his sound much.  Bootsy isn’t giving you anything new with this album.  You get the usual mix of slower, love and some funky faster paced grooves.  Old riffs are heard throughout and Bootsy doesn’t explore new territory lyrically.  But none of that matters because the positive, funky vibes Bootsy put out are original, authentic, and seductive.  Rather than being a sad, hackneyed attempt by an established artist to capitalize on the popular sound, Fresh Outta ‘P sounds fresh and vital.  It shouldn’t be surprising Bootsy can pull off hip hop so well considering how important his bass playing is to the foundations of hip hop.  His guests are inspired and funky.  On FO’P’U, Bootsy blends the new with the old while, of course, bringing the funk on a spectacularly solid hip hop album.  Show em how you play your space bass Bootzilla!

James Brown says a few words about Bootsy before the groove starts on “I’m Busy (Off Da Hook),” which is moderately heavy slower jam with some jazzy flourishes.  Bootsy’s early work was more experimental, conceptual, and out there.  Over the years, the outrageousness of Bootsy’s funkativity has mellowed while also becoming more acceptable to larger society.  Despite being more conventional, Bootsy’s parameters are a bit broader than most everyone’s.  Short interludes appear throughout the album, but are mostly short and effective transition pieces.


Panning feedback, reminiscent of Hendrix, opens “Funk Ain’t Broke,” a funky uptempo cut with fuzzy guitar.  Liquid guitar and a thumping bottom create a nice low/high contrast and a throbbing groove on “Party Lick-A-Ble’s.”  Getting autobiographical over a house beat, Bootsy goes into how he met James Brown and got aboard the Mothership.  Smoothing it out a bit, Bootsy makes you wiggle on “Wind Me Up” before raising the freaks.  “I’m Leavin’ U (Gotta Go Gotta Go)” is an effective r&b/rap ballad.  Eddie Hazel’s “Maggot Brain” plays in the background of “Final,” a pointless message machine interlude.

Diving into heavy, seductive funk on “Good-N-Nasty,” Bootsy reimagines an old classic.  Clean, but dirty, lyrically as well as sonically, Bootsy’s “Good-N-Nasty” is the kind of funk that spawned Rick James and Prince.  Space bass will never get old, at least as long as Bootsy’s playing it.  “An-Gel-Lick ‘Angel'” is one of the weakest songs on the album.  I usually just skip ahead to the climax.  “Pearl Drops” continues the slow mood of the second disc.  Highly suggestive and being just the right length with some ending aural variety, such as the low-end synthesizer, “Pearl Drops” is a song that holds up better than I expected.  There is another mix of “I’m Leavin’ U (Gotta Go Gotta Go),” which is lighter than the version found on disc one.  Exotic slinkiness lurks in the background of “Fragile (So Sensitive),” another ballad.  I am surprised I am not tired yet of this disc due to its’ mood.  Plus, it can be hard to keep a two disc album sounding fresh.  Yet, Bootsy and his band are such pros that they proved capable of pulling it off.

george bootsy-1

“Ever Lost Your Lover” is a killer dance song anchored by fat, bouncy bass and accentuated by warm vibraphone tones.  Heavy funk makes a welcome appearance on “Holly-Wood-If-She-Could,” which is another reinterpretation of old school Bootsy.  “Penetration (In Funk We Trust)” ups the thump and brings in some Funkadelic guitars while maintaining Bootsy’s trademark smoothness.  Closing with “Fresh Outta ‘P’ (University),” Bootsy walks the end of the song out.

I’ve listened to sound closely for a long time, particularly since I began working on music.  Fresh Outta ‘P’ University is a great record to listen to from a production standpoint.  The frequencies share space nicely while the combination of live instrumentation and studio experimentation generates soulful sounds.  Fresh Outta ‘P’ is also great to listen to for fun.  Be sure to share with your friends.  Funk get stronger.


Disc 1

01. Intro
02. I’m Busy (Off Da Hook)
03. Interlude
04. Funk Ain’t Broke
05. Interlude
06. Party Lick-A-Ble’s
07. Interlude
08. Do The Freak
09. Toxic Waste
10. Interlude
11. Wind Me Up
12. Interlude
13. Home Of Da Freaks
14. I’m Leavin’ U (Gotta Go Gotta Go)
15. Final

Disc 2

01. Good-N-Nasty
02. Interlude
03. An-Gel-Lick ‘Angel’
04. Interlude
05. Pearl Drops
06. Interlude
07. I’m Leavin’ U (Gotta Go Gotta Go) (C&J Fulltime Mix)
08. Interlude
09. Fragile (So Sensitive)
10. Interlude
11. Ever Lost Your Lover
12. Interlude
13. Holly-Wood-If-She-Could
14. Penetration (In Funk We Trust)
15. Interlude
16. Fresh Outta ‘P’ (University)
17. Final


Guitars – Ron Jennings, Garry Shider, Wilbur Longmire, Fan Fan La Tulipe, Boogieman
Keyboards – Bernie Worrell, Johnny Davis, Bootsy Collins, Anthony Cole, Joel Johnson, Greg Fitz, Joel Johnson, Mousse T
Horns – Fred Wesley, Allan Barnes, Dwight Adams, Ed Jones, Chris de’Margary, Avi Leibovich, Duncan Mackay
Drums – Tony Byrd, Bootsy Collins
Vibraharp – Vincent Monatana
Vocals – Gary Cooper, Henry Benefield, Michael Gatheright, Inaya Davis, Kristen Gray, Melanie Eiland, Garry Shider, Linda Shider, Michael Anthony, April Woods, Kyle Jason, Bootsy Collins, William Hagan, Phil Brown and Gospel Group, Mike Marshall, Herbert, Cash, Nathalie, Eugen, Caspar, and Terry
Rappers – Be-Wise, Rodney O, MC Lyte, Omeka Sykes, Dru Down, Da Lesson, Ono, Da Brixx,   Eugen, Caspar, AJ, Gizmo, Teray

Mothership (Rainbow) Connection

Posted in Adventures, Art, P-Funk, Photos on September 9, 2009 by trapperKeeper


I still have some older photos to post, but here are some photos from this past saturday.  A friend of a friend was having his 28th birthday party at a chill spot out in the mountains east of Seattle.  He brought out some sound gear and there was a fire pit, although fires aren’t technically allowed.  I guess a deputy sheriff showed up on his horse to lay down the law, but as he got to the word fire, as in “You can’t have a…,” the horse totally freaked out and almost tossed him off.  He fled scared to death and didn’t return.  The energy was too much I guess.  Anyways, it was a great time.  The reward for staying up all night was an incredible morning rainbow while “Mothership Connection” played over the sound system.

Blowing a Funky Load (Funk Begets Funk)

Posted in Funk, Music, P-Funk on July 8, 2009 by trapperKeeper


Here is a pleasing twelve-incher.  If you desire a funky good time and don’t recognize the song title or the above artwork, download it on faith.  I personally guarantee it will be good to your earhole.

Happy Parliafunkadelicment Thangday! It’s Sticknasty

Posted in Funk, P-Funk on July 6, 2009 by trapperKeeper


Happy Parliafunkadelicment Thangday!

My writing has been slacking as work has immensely increased.  Music making and seeing a few peeps has taken up most other time.  There are always too many ideas and not enough time.  Still, I have some photos to put up.  I don’t have too much new music.  Musically, I’ve been busy learning the Kaossilator and jamming w/ a friend.  But my new purchases should make beat making easier and definitely looser.  Instead of having to arrange everything in ableton, I now have the ability to play beats into ableton and manipulate within ableton through touch pads.

Huhzah!  I still haven’t exactly figured out the layout, but it is getting close.  Once figured out, the new arrangement will allow for beats to be made quicker and easier.  Touch pads are the shit.  Anyhow, I have been slacking on posts.  At the same time, I haven’t been listening to as much music as before.  Still, I have some P-Funk for you.  I am working on a funky mix (got plenty of tracks on the backburner), we’ll see when I finish it.

A few nights ago, after a long ass session of work I came home fairly tired.  A little chill time and some live P-Funk soon had me worked up.  Here are the grooves that reinvigorated my body and soul.  Anyone who says music isn’t medicine hasn’t heard the Funk.  Glenn gets spine-tingling, tear-inducing soulful on the Mothership calldown.  Don’t fake the funk or your nose will grow.


Recorded live at the Los Angeles Forum, January 19, 1977, A.D. &
the Oakland Coliseum, January 21, 1977, A.D.

Track Listing:

P. Funk (Wants To Get Funked Up)  6:13
Dr. Funkenstein’s Supergroovalisticprosifunkstication Medley:
a) Let’s Take It to The Stage
b) Take Your Dead Ass Home (Say Som’n Nasty)  4:58
Do That Stuff  5:14
The Landing (of the Holy Mothership) {G Clinton}  3:04
The Undisco Kidd (The Girl is Bad!)  7:02
Children of Productions  2:50
Mothership Connection (Star Child)  5:51
Swing Down, Sweet Chariot  5:06
This Is The Way We Funk With You {G Clinton, B Worrell, Eddie Hazel, Glen Goins}  5:03
Dr. Funkenstein  15:07
Gamin’ On Ya!  4:09
Tear The Roof Off The Sucker Medley
a) Give up the Funk (Tear the Roof off the Sucker)
b) Get Off Your Ass and Jam  4:57
Night of the Thumpasorus Peoples  6:13


Produced & Refereed: George Clinton
Vocals: George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis,
Grady Thomas, Garry Shider, Glen Goins, Debbie Wright, Jeanette Washington
Horns: Fred Wesley, Maceo Parker, Rick Gardner, Richard Griffith
Bass: Cordell Mosson, Bootsy Collins
Guitars: Garry Shider, Michael Hampton, Glen Goins, Eddie Hazel
Drums & Percussion: Jerome Brailey
Keyboards & Synthesizers: Bernie Worrell
Extra-Singing Clones: Lynn Mabry, Dawn Silva, Gary Cooper
Lead Snore on “This Is The Way We Funk With You”: Michael Hampton
Horn Arrangements: Bernie Worrell & Fred Wesley
Rhythm Arrangements: Bootsy Collins & George Clinton

Happy Parliafunkadelicment Thangbday! Beating the Summer Heat with Frosty’s Cold Treats

Posted in Funk, Music, P-Funk on June 15, 2009 by trapperKeeper


Well here I am finally posting again.  Lately, the inspiration to blog has been lacking.  With my time scrunched, due to working much more and the running around getting paperwork in order to work, blogging has slipped down my list of priorities.  Breakthroughs in ableton have resulted in a lot more creativity expanded musically rather than on writing, or even photography.  Adjusting to a solo lifestyle after being in a relationship for a year and a half , has been an interesting experience.  I’m settling in a bit (the above and below photos do not represent my home), but between work and friends, who I have been seeing a lot more because of the better location, life has been a bit of a whirlwind.  In short, I am still figuring out a routine.


Despite all the chaos, spontaneous thoughts pop in more frequently due to the disappearance of so much of the uncertainty previously stalking me.  Lightning strikes of verse, prose, beats, and visuals increasingly drip into my consciousness.  As my 25th birthday approaches, more of me wants to grow up. Creative projects have been helpful tools in this process.  At least for now, they work as a tool for personal improvement, broaden my perspectives, skills, and ideas, and make me a much happier person.

I just needed to get a few thoughts out of my head.  Gotta make room for new ones, I have major sound shaping to do this week in addition to a 48 hour work week.  All right, enough about me.  Speaking of birthdays, a friend of mine turns 23 today.  Happy Birthday!


In honor of Parliafunkadelicment Thangday (the first one in a while, I apologize), I obviously have P-Funk to share.  I had been planning on posting this live 1974 Boston show anyways, but it is even more fitting considering he is originally from John Winthrop’s “City on a Hill.”  This Funkadelic show is pure, unkut Funk all in one big funky chunk.  It even has a rare live appearance by the guitar slinging “polyester soul-powered token white devil.”


Track Listing

01 The Goose
02 Cosmic Slop
03 Maggot Brain
04 Red Hot Mama
05 Loose Booty
06 Up For The Downstroke

Vocals – George Clinton, Ray Davis, Grady Thomas, Calvin Simon, Fuzzy Haskins
Drums – Tiki Fulwood
Guitars – Mike Hampton, Garry Shider, Ron Brykowski
Bass – Cordell Boogie Mosson
Keyboards – Bernie Worrell

Who In The Funk Do You Think You Are?

Posted in Funk, Music, P-Funk on May 19, 2009 by trapperKeeper


Happy Parliafunkadelicment Thangday!  Life is a bit stressful right now with all the change that is coming in less than two weeks.  As a result, my brain is a bit scattered, making writing even harder.  So today, will be short but sweet.  Plus, you can listen to George shed some light on the music found on the album and the P-Funk army.  Enjoy.

George Clinton Family Series 1: Go Fer Yer Funk was released in 1992.  The material that appears on this archive release, and the other Family Series releases, is mostly post 1978, really post 1980.  A lot of that has to do with George not owning the rights to older work.  Still, there is killer among the filler on the Family Series as long as you are willing to overlook the mediocre, hollow sounding 80s material.  As a hardcore funker, it is nice to hear more P-Funk even if the works aren’t among their greatest.

Go Fer Yer Funk opens with “Go Fer Yer Funk,” a strong, hook-filled dance number and one of the best songs on the release. Sterling Silver Starship was a side project that didn’t get far.  “Funk It Up” is one of the songs that had been recorded.  Gary Fabulous, the world’s first white rapper, gets loose on “Funkin’ For My Mama’s Rent.”

Catching Sly warming up, George secretly recorded “Who In The Funk Do You Think You Are.” Trey Lewis, also known as Tracey Lewis, is a son of GC.  “Michelle” is one of Trey’s earliest songs.  Later released on Way of the Drum (2007), “Sunshine of Your Love,” is a wicked Cream cover by Blackbyrd, who plays all the instruments.  Recorded in the 80s for the Way of the Drum, MCA rejected the album and then lost the tapes.  Almost twenty years later, the tapes were found and the full album finally saw the light of day.


Track Listing

Go Fer Yer Funk {G Clinton, W Collins}  9:52
Funk It Up {Donnie Sterling}  8:46
Funkin’ For My Mama’s Rent {Gary Sinkow, Lige Curry}   5:58
Send A Gram {G Clinton}  5:32
Who In The Funk Do You Think You Are (demo) {Sylvester Stewart}  1:33
Better Days {Marvin Williams}  4:10
The Chong Show {W Collins, David Spradley}  5:07
Michelle {G Clinton, Tracey Lewis}  12:24
Sunshine Of Your Love {Jack Bruce}  5:33
The Archeological Dig-Storytime with George (interview)  12:14

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