Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Bootsy Collins

Transcript

Bootsy Collins · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin Today Unbroken Record the One and only Bootsy Collins.
• 0:23
  Speaker 1: Bootsy first exploded onto the scene in the early seventies
• 0:26
  Speaker 1: as James Brown's young, electrifying bass player, but it was
• 0:30
  Speaker 1: with Parliament Funkadelic that Bootsy truly found his voice or voices,
• 0:34
  Speaker 1: balancing raw funk with a psychedelic, intergalactic persona that would
• 0:39
  Speaker 1: inspire everyone from Prince to Thundercat. In today's conversation, Bootsy
• 0:44
  Speaker 1: talks about learning to navigate life as both William Collins,
• 0:47
  Speaker 1: the introspective, spiritually grounded man from Cincinnati and Bootsy the
• 0:51
  Speaker 1: Ryanstone rimmed avatar of groove. He also reflects on his
• 0:55
  Speaker 1: writing partnership with George Clinton and keyboard wizard Bernie Warrel
• 1:00
  Speaker 1: and how the three of them cooked up some of
• 1:01
  Speaker 1: the most joyful and mind bending music in American history.
• 1:06
  Speaker 1: Even now, more than fifty years into his career, mains
• 1:09
  Speaker 1: on the vanguard, embracing new technology, collaborating with young artists,
• 1:14
  Speaker 1: and continuing to spread the one with his new record
• 1:17
  Speaker 1: album of the Year, Number one funk Teer. This is
• 1:22
  Speaker 1: Broken Record, real musicians, real conversations.
• 1:31
  Speaker 2: Here's my conversation with Bootsy Collins. So hopefully I can
• 1:35
  Speaker 2: answer hopefully.
• 1:37
  Speaker 1: I mean, look, I try not to, you know, I
• 1:40
  Speaker 1: try to have a more conversational stop so I trying
• 1:42
  Speaker 1: to have.
• 1:43
  Speaker 2: Notes with me with you. I'm like, oh my gosh,
• 1:46
  Speaker 2: too much. It's gonna it's gonna be flowing.
• 1:49
  Speaker 1: I don't know how you keep track of your life, man,
• 1:54
  Speaker 1: Actually I don't.
• 1:58
  Speaker 2: It just happens, man, you know, I just let it go.
• 2:02
  Speaker 2: Just let it go, just let it go, let it flow. Yeah.
• 2:06
  Speaker 1: Yeah, it's uh, it's got to feel like one short blur, right,
• 2:12
  Speaker 1: not even long in a way, right, Like it's like.
• 2:14
  Speaker 2: It's you know, just you know, I got to the
• 2:18
  Speaker 2: point where it's just all about you know, just watching observing,
• 2:26
  Speaker 2: you know, because it's a lot of time in there
• 2:29
  Speaker 2: that you know has been passed. And the onlyess way
• 2:34
  Speaker 2: I can learn is just watch and observe and then
• 2:37
  Speaker 2: try things. You know, Otherwise, you know, you know, you're
• 2:43
  Speaker 2: not staying with the time. And I don't have to
• 2:47
  Speaker 2: try to stay with the time because I watch it,
• 2:50
  Speaker 2: you know, observe it and learn from it, you know,
• 2:55
  Speaker 2: not scared of it. Yeah, you know, because a lot
• 2:58
  Speaker 2: of people get get scared when they start getting up
• 3:02
  Speaker 2: in the age thing.
• 3:03
  Speaker 1: And yeah, you know, but when you were young, you
• 3:05
  Speaker 1: weren't even trying to know, trying to fit.
• 3:08
  Speaker 2: In invincible man. I mean when you were young.
• 3:13
  Speaker 1: Even, it was like you're looking for what's this one
• 3:16
  Speaker 1: doing or that one doing?
• 3:17
  Speaker 2: Yeah? I know that it never ends, man, you know,
• 3:20
  Speaker 2: but come to find out, you know, it's sometimes to
• 3:24
  Speaker 2: do you know, that that kind of surge that you have,
• 3:29
  Speaker 2: it kind of ends and then you're like, what do
• 3:33
  Speaker 2: I do? Now? Wow? What what's what surge is that? Well,
• 3:37
  Speaker 2: it's that the young surge that we all have, you know,
• 3:41
  Speaker 2: coming up, and we always think that it'll always be that.
• 3:47
  Speaker 2: You know, you work with that and it's always going
• 3:50
  Speaker 2: to be that. Yeah, but it don't work out like that.
• 3:55
  Speaker 2: You know, you got you got a certain time. I
• 3:58
  Speaker 2: hope you recording that you got a certain time you
• 4:02
  Speaker 2: know to get through that one due to get through
• 4:04
  Speaker 2: that portal, you know, and if if you don't get
• 4:09
  Speaker 2: through it at that time, then you're a little more lost,
• 4:13
  Speaker 2: you know. I just happen to try to stay open
• 4:18
  Speaker 2: to what the universe is saying and what it's doing.
• 4:22
  Speaker 2: And the only reason I can watch and observe is
• 4:28
  Speaker 2: I know too, you know, to you know, to grab
• 4:32
  Speaker 2: hold of it and let it be yeah, you know, yeah,
• 4:38
  Speaker 2: because you know if you don't let it do its thing,
• 4:41
  Speaker 2: it's gonna it's gonna come back to get you. Yeah,
• 4:45
  Speaker 2: you know, So that's what I try to do.
• 4:48
  Speaker 1: You know, how do you try to counteract the losing
• 4:52
  Speaker 1: the surge or not having that surge?
• 4:55
  Speaker 2: You don't, I mean, because you know you have to.
• 4:58
  Speaker 2: Well for me, I mean, most people try to stop
• 5:01
  Speaker 2: it and try to do this, that and the other,
• 5:03
  Speaker 2: but I know that don't work. Yeah. Yeah, It's like
• 5:08
  Speaker 2: it's gonna happen, and you know, you just try to
• 5:14
  Speaker 2: get prepared for it. You know, there's really no way
• 5:18
  Speaker 2: to be prepared. It's just you just have to look
• 5:22
  Speaker 2: out for it and stay open minded. You know. It's
• 5:27
  Speaker 2: like playing piano was one thing, and then when the
• 5:32
  Speaker 2: era said, okay, synthesizers are coming in, being a piano player,
• 5:39
  Speaker 2: you don't want to hear nothing about no synthesizer. You know,
• 5:42
  Speaker 2: this is what I play piano, Acoustic piano. It's beautiful,
• 5:47
  Speaker 2: you know, but here's a sensitizer that does this, It
• 5:49
  Speaker 2: does that, it does this, and then you have to
• 5:52
  Speaker 2: make up your mind whether you're gonna go with something
• 5:56
  Speaker 2: new or stay with what you know, you know, and
• 6:01
  Speaker 2: a lot of people had problems with that. Bernie Warrell,
• 6:06
  Speaker 2: on the other hand, he had no I mean that's
• 6:09
  Speaker 2: what he grew up on, was piano and orgon, you know,
• 6:14
  Speaker 2: and so when these synthesizers came in, he was, you know,
• 6:18
  Speaker 2: supposed to not have a clue, you know. Uh, And
• 6:22
  Speaker 2: that's scary, that's scary for you know, for musicians to
• 6:28
  Speaker 2: run into a wall where Okay, I got to decide what,
• 6:32
  Speaker 2: you know, what I want to do, you know, because
• 6:35
  Speaker 2: my way of living is in jeopardy now because you know,
• 6:41
  Speaker 2: if I don't jump on that, don't nobody know that
• 6:44
  Speaker 2: that's gonna work. I mean, this is a beginning, you know,
• 6:48
  Speaker 2: the acoustic has already been established, you know, so you
• 6:52
  Speaker 2: have to make your mind up to either be a
• 6:55
  Speaker 2: part of the future or stay with the past where
• 6:59
  Speaker 2: you used to. And we've always been blessed with both,
• 7:06
  Speaker 2: you know, the past and the future. And for me,
• 7:11
  Speaker 2: you know, that works best. If you can't accept what's
• 7:16
  Speaker 2: getting ready to change, and you know it's getting ready
• 7:19
  Speaker 2: to change, you know, then you're gonna get stuck. You know. Drummers,
• 7:24
  Speaker 2: you know, they were like you know, they was like
• 7:28
  Speaker 2: spellbound when the drum machines come in. It's like the
• 7:32
  Speaker 2: drum machines start taking over gigs, you know. And then
• 7:36
  Speaker 2: Prince made them famous.
• 7:39
  Speaker 1: You know.
• 7:39
  Speaker 2: It's like that kick draw man. You can feel. I
• 7:43
  Speaker 2: mean you can you can walk in the club nowhere.
• 7:46
  Speaker 2: You know, you can come in anywhere. You'll feel that.
• 7:49
  Speaker 2: And so everybody wanted to change, you know, but drummers
• 7:52
  Speaker 2: was upset. You know. For me, you know, it's like
• 7:57
  Speaker 2: you should be you know, all you got to do
• 8:00
  Speaker 2: is shift you're thinking, you know, because it's like you
• 8:03
  Speaker 2: can play live drums and learn something new, what's happening today,
• 8:09
  Speaker 2: you know. But a lot of them casts was like
• 8:12
  Speaker 2: so mad, and they was like, you know, you should
• 8:16
  Speaker 2: be mad too. I'm like, you know, I mean, you know,
• 8:19
  Speaker 2: I play bass, I play guitar, I played drums, I
• 8:23
  Speaker 2: mean you know, and I also learned how to program
• 8:26
  Speaker 2: the lend drum. I got one, you know. And so
• 8:31
  Speaker 2: if you don't stay up with the time, the time
• 8:35
  Speaker 2: ain't gonna be good to you, you know. So you know,
• 8:39
  Speaker 2: I try to stay up, you know, hang with the
• 8:43
  Speaker 2: the new generation, the new era of musicians as well
• 8:47
  Speaker 2: as the old, you know. And the key is not
• 8:51
  Speaker 2: trying to not try to change nobody's thinking. You know,
• 8:55
  Speaker 2: they have to make that up themselves, you know. And
• 8:59
  Speaker 2: I think that's why I have a good rapport with everybody,
• 9:03
  Speaker 2: because I'm not trying to change nobody. You know. This
• 9:06
  Speaker 2: is just the way I came up, and it's the
• 9:08
  Speaker 2: way I got the you know. But you know, if
• 9:11
  Speaker 2: you see something you like, you're welcome to it. You know.
• 9:15
  Speaker 2: If you don't, I'm cool with it. You know.
• 9:18
  Speaker 1: Do you spend a lot of time listening to new
• 9:20
  Speaker 1: music or any amount of you're listening time listening to
• 9:22
  Speaker 1: anything new?
• 9:24
  Speaker 2: Every since day one? You know, Day one, I was
• 9:29
  Speaker 2: listening because I didn't have nothing in there, you know
• 9:33
  Speaker 2: that I thought, you know, it's like I'm learning, you know,
• 9:36
  Speaker 2: I got to learn how to play, you know. But
• 9:39
  Speaker 2: my brother, Catfish, he was like playing guitar and he
• 9:45
  Speaker 2: was like eight years older than I. So I start
• 9:49
  Speaker 2: to want to be what he is, you know, And
• 9:53
  Speaker 2: that's what kicked my whole thing off, you know, not
• 9:56
  Speaker 2: having a father in the house, but having an older
• 10:00
  Speaker 2: brother that I really wanted to be like. I didn't
• 10:03
  Speaker 2: want to be like my dad because what I had
• 10:05
  Speaker 2: heard he was a womanizer, alcohol all, you know, and
• 10:11
  Speaker 2: all that, which I could have been, you know, because
• 10:13
  Speaker 2: that's the way I started, you know. And so my brother,
• 10:19
  Speaker 2: on the other hand, he was somebody that I admired.
• 10:24
  Speaker 2: You know. They had to close, you know, they had
• 10:26
  Speaker 2: the processes, you know. I mean it was during that
• 10:29
  Speaker 2: era that was like, you know, we didn't know who
• 10:33
  Speaker 2: we were yet, but we knew something was getting ready
• 10:36
  Speaker 2: to happen big, you know, and and so we just continue,
• 10:41
  Speaker 2: continue to continue, and getting involved with him and wanting
• 10:46
  Speaker 2: to be in a band with him was my dream.
• 10:50
  Speaker 2: That was the dream. The only dream I had was
• 10:53
  Speaker 2: to be in a band to get my mother out
• 10:57
  Speaker 2: of the ghetto where we were at, and so we
• 10:59
  Speaker 2: can live, you know, and you know, so she can
• 11:02
  Speaker 2: enjoyed life, because watching her come up was like, you know,
• 11:08
  Speaker 2: we'd go out to the places that she was working
• 11:11
  Speaker 2: and scrubbing floors and all that, you know, and that
• 11:15
  Speaker 2: made us sad. You know, It's like a sadness that
• 11:21
  Speaker 2: always sticks with you. And so I made up in
• 11:25
  Speaker 2: my mind, if I ever get together and make something happen,
• 11:29
  Speaker 2: Mama is always first, you know, which was your mom
• 11:33
  Speaker 2: happy that you guys were into music or was it
• 11:34
  Speaker 2: kind of like she was happy, She was supportive, she
• 11:38
  Speaker 2: knew you know, like a lot of mothers would try
• 11:41
  Speaker 2: to get in the way, she you know, she'd do
• 11:44
  Speaker 2: anything she could to help feed you know, that fire
• 11:49
  Speaker 2: that we had because she recognized it. You know, I think,
• 11:55
  Speaker 2: you know, this is just my thinking that if I
• 11:58
  Speaker 2: had had a father in the house, he would have
• 12:01
  Speaker 2: been trying to make me a certain way, you know,
• 12:04
  Speaker 2: So I didn't have that. You know, I wouldn't push
• 12:10
  Speaker 2: that on everybody, but for me, it worked without him
• 12:14
  Speaker 2: being in the house.
• 12:15
  Speaker 1: A mother's more sometimes nurturing nature was beneficial for us.
• 12:19
  Speaker 2: And that's what that's what we needed. She gave us
• 12:23
  Speaker 2: just what we needed. She showed us without showing us,
• 12:27
  Speaker 2: you know, she would instead of just telling us, she
• 12:31
  Speaker 2: would more show us. So that's what I picked up.
• 12:35
  Speaker 2: Like when I got out in the world, you know,
• 12:38
  Speaker 2: it was like I knew the street you know, the
• 12:41
  Speaker 2: street talk, I knew the street language. But at the
• 12:44
  Speaker 2: same time, it was like, you know, give what you
• 12:47
  Speaker 2: can give, be who you are and show people instead
• 12:51
  Speaker 2: of telling them what to do. Be who you are,
• 12:56
  Speaker 2: you know. So I learned that early and Thank god
• 13:00
  Speaker 2: I did, because that stuck with me through all the
• 13:05
  Speaker 2: changes we've been through, you know, and the power of
• 13:10
  Speaker 2: the one is the power of the one, you know,
• 13:14
  Speaker 2: and I grabbed onto it.
• 13:15
  Speaker 1: Yeah, as you started to develop as a as a
• 13:19
  Speaker 1: as who you would becoming, as you started to become
• 13:21
  Speaker 1: more bootsy, and you come home and see your mom,
• 13:25
  Speaker 1: what was her reaction?
• 13:28
  Speaker 2: That's funny, Oh man, she watched me. She let me
• 13:32
  Speaker 2: get away with a lot, you know, but she had
• 13:36
  Speaker 2: to remind me one time when I came home that
• 13:40
  Speaker 2: I'm still William Collins, you know, and I had forgot
• 13:43
  Speaker 2: who that guy was. You know, when you get caught
• 13:46
  Speaker 2: up in that fame thing, you know, and it happens
• 13:51
  Speaker 2: to pretty much everybody, you know, because you don't you know,
• 13:56
  Speaker 2: you don't know, you know, you don't know what that
• 13:58
  Speaker 2: fame and money and you know, we didn't know nothing
• 14:02
  Speaker 2: about none of that stuff, you know, And so I
• 14:06
  Speaker 2: got so caught up, you know that you know, I
• 14:10
  Speaker 2: didn't know. I'm supposed to come home, chill out, you know,
• 14:16
  Speaker 2: take out the garbage, you know, and do what I'm
• 14:20
  Speaker 2: supposed to do. Instead of coming back being bootsy, you know,
• 14:23
  Speaker 2: I bring the whole crew, you know, got the whole crew,
• 14:26
  Speaker 2: you know, because Mama liked to feed everybody, you know.
• 14:30
  Speaker 2: But this particular time, she had got fed up with
• 14:34
  Speaker 2: me coming home with all these chicks and you know,
• 14:38
  Speaker 2: just you know, just being bootsy, you know, and it's like,
• 14:42
  Speaker 2: she's going to prove to me that you when you
• 14:45
  Speaker 2: come home, you William. You ain't no bootsy, you know,
• 14:49
  Speaker 2: and she smacked my glasses off, you know, in front
• 14:53
  Speaker 2: of everybody, and I was like, okay, you know, I
• 14:58
  Speaker 2: went up ran up to my room, you know, and
• 15:03
  Speaker 2: you know, I got dealt with as far as what
• 15:07
  Speaker 2: I'm supposed to be and who I'm I'm supposed to
• 15:09
  Speaker 2: be when I'm home, you know, and you know that's
• 15:13
  Speaker 2: what helped me develop as a supposedly start out in
• 15:21
  Speaker 2: the world and come home, I can be me. You know.
• 15:25
  Speaker 2: That got so separated from me that I was lost,
• 15:30
  Speaker 2: you know, I was really lost, and I start figuring out,
• 15:33
  Speaker 2: like I see now what happened to those little young
• 15:38
  Speaker 2: child actors. You know, they learned that one way all
• 15:43
  Speaker 2: their life, and then when they get to be grown,
• 15:45
  Speaker 2: they don't know how to act because they don't know
• 15:47
  Speaker 2: who they are, you know. And so when I start
• 15:51
  Speaker 2: figuring out who I was. You know, that's when the
• 15:56
  Speaker 2: magic really started happening. As far as me realizing who
• 16:01
  Speaker 2: I am. You know, I had to go through a
• 16:02
  Speaker 2: lot of things, a lot of drugs, a lot of accidents.
• 16:07
  Speaker 2: You know. The last act that I was in with
• 16:11
  Speaker 2: the motorcycle, you know, reminded me of who and what
• 16:17
  Speaker 2: I am. And you're not invincible, you know. You know,
• 16:21
  Speaker 2: you take you know, forget the help, and you know,
• 16:24
  Speaker 2: you got your hair on, you know, you get riding
• 16:26
  Speaker 2: the bike, you got the chicks on the back. You know,
• 16:29
  Speaker 2: it's a whole other thing, a whole other world, you know.
• 16:32
  Speaker 2: And then once I flipped over about three times, you know,
• 16:36
  Speaker 2: riding in the woods, you know, a place I shouldn't
• 16:41
  Speaker 2: have had a street bike anyway, I found out that
• 16:46
  Speaker 2: you're not invincible, you know, loaded to the gills, you know.
• 16:51
  Speaker 2: And that's the thing that snapped me out of a
• 16:55
  Speaker 2: lot of you know, the fortune and fame thing, you know.
• 16:59
  Speaker 2: And I watch it every day as I see the
• 17:04
  Speaker 2: young era coming in, and you know, so I get
• 17:07
  Speaker 2: a chance to watch it now as opposed to just
• 17:10
  Speaker 2: be in it and stuck.
• 17:12
  Speaker 1: Yeah, you also collaborate with a lot of young artists
• 17:15
  Speaker 1: there too, and like do they ever Do they ever?
• 17:19
  Speaker 1: I mean you kind of can't insert yourself when you're
• 17:21
  Speaker 1: not wanting, But did they ever come to you and
• 17:23
  Speaker 1: ask you how did you survive?
• 17:25
  Speaker 2: They do? They do it all the time, and you know,
• 17:28
  Speaker 2: I try to explain it in a way where that's
• 17:30
  Speaker 2: what I do because you know, for me, you know,
• 17:34
  Speaker 2: to tell a person not to do something and you know,
• 17:37
  Speaker 2: it didn't work on me. I mean, you know, James
• 17:40
  Speaker 2: Brown was telling me not to do this and not
• 17:42
  Speaker 2: to do that, and it didn't work. Yeah, you know,
• 17:45
  Speaker 2: as a matter of fact, it pushed me further and
• 17:48
  Speaker 2: further away from him, you know, because he was trying
• 17:51
  Speaker 2: to be my father, you know, and it's like, you know,
• 17:54
  Speaker 2: I couldn't tell him you can't be my father. But
• 17:57
  Speaker 2: at the same time, it was like he was doing
• 18:00
  Speaker 2: that because that's what he you know, that's what he felt,
• 18:04
  Speaker 2: you know, he felt like a father figure and you know,
• 18:08
  Speaker 2: so I had to I gave him that respect. And
• 18:11
  Speaker 2: at the same time, it was like, I see what
• 18:15
  Speaker 2: helped push me, you know, over the edge. Like if
• 18:18
  Speaker 2: you tell me to not do something, I'm gonna do it,
• 18:21
  Speaker 2: you know, So I figured the kids now they think
• 18:26
  Speaker 2: the same way, and so I really stay away from
• 18:29
  Speaker 2: trying to tell them what to do, and I show
• 18:33
  Speaker 2: them how I am, you know, and then if they
• 18:36
  Speaker 2: pick up something, cool if they don't, you know, but
• 18:40
  Speaker 2: don't look for me to actually tell you what to
• 18:43
  Speaker 2: do in your life. You know, I'll show you what
• 18:46
  Speaker 2: I did if you ask, you know. But other than that,
• 18:51
  Speaker 2: you know, it's like we're cool, you know. Yeah, yeah,
• 18:55
  Speaker 2: when when did you get sober? Really sober?
• 19:01
  Speaker 3: And when I met Peppermint Patty, I faked like I
• 19:05
  Speaker 3: was sober in nineteen eighty three, you know, but.
• 19:14
  Speaker 2: It kept coming back, you know, up until nineteen eighty eight.
• 19:19
  Speaker 2: Is when I made my mind up that you know,
• 19:22
  Speaker 2: I'm gonna do it, you know, and I called Turkey.
• 19:26
  Speaker 1: You know.
• 19:27
  Speaker 2: It was like it was really really deep. But she
• 19:31
  Speaker 2: helped me. A lot of people helped by just being themselves,
• 19:36
  Speaker 2: you know, and talking a lot of faith and works
• 19:42
  Speaker 2: and how it goes together. But the difference for me
• 19:46
  Speaker 2: was everybody that talked about faith had a particular way
• 19:51
  Speaker 2: that they wanted you to dive in, you know, and
• 19:56
  Speaker 2: to me, I had a problem with that because for me,
• 19:59
  Speaker 2: it's like respect everybody's father, whoever they choose, respect it,
• 20:06
  Speaker 2: you know. To me, it's really simple, you know, And
• 20:10
  Speaker 2: I don't have to. I don't feel like I have
• 20:12
  Speaker 2: to change nobody. You know, they'll change it's like I did,
• 20:16
  Speaker 2: or they won't, you know, So that's all up to
• 20:20
  Speaker 2: the person. But I'm not to be the judge of that,
• 20:23
  Speaker 2: you know, And that's that makes me feel good when
• 20:27
  Speaker 2: I see how God has changed me and how it
• 20:31
  Speaker 2: affects people without me trying to be the number one.
• 20:35
  Speaker 2: You know, I'm not number one. You're not number one either.
• 20:40
  Speaker 2: You know. We're a part of the one, you know,
• 20:44
  Speaker 2: and anybody that feels like they are the one, I
• 20:48
  Speaker 2: let them have it. You are the one, you know.
• 20:51
  Speaker 2: But I know that all of us together equals the one.
• 20:59
  Speaker 2: You know. If we ain't all together on it ain't
• 21:02
  Speaker 2: nobody to one.
• 21:04
  Speaker 1: Yeah, it's interesting here you say that because you also,
• 21:07
  Speaker 1: I mean, you know, because you in a way you
• 21:11
  Speaker 1: do have like like Boots, Like there's a such a
• 21:15
  Speaker 1: bravado to the character of Bucy that's fun and amazing.
• 21:19
  Speaker 1: But it's incredible you say that, like you know, I'm
• 21:23
  Speaker 1: not number one, Like I'm not like am.
• 21:24
  Speaker 2: I saying boots to me, I'm not I'm not fooling
• 21:27
  Speaker 2: myself anymore. I mean I went for it. When it happened,
• 21:31
  Speaker 2: you know, it blew up so big. You know, it
• 21:33
  Speaker 2: was scary. You know, it's like Frankenstein invented the monster
• 21:38
  Speaker 2: and then the monster turned on him, you know, and
• 21:42
  Speaker 2: that's what happened to me. When did you realize it
• 21:44
  Speaker 2: was scary?
• 21:45
  Speaker 1: Like?
• 21:45
  Speaker 2: What was there an incident or it was a whole
• 21:49
  Speaker 2: lot of incidents, oh man, but you know, one at
• 21:56
  Speaker 2: one thing after another. I mean, you have to actually
• 22:00
  Speaker 2: pay to be that star, you know, to be that
• 22:06
  Speaker 2: gigantic being. You have to pay for that. You know.
• 22:10
  Speaker 2: It's not like, you know, you learn all this and
• 22:13
  Speaker 2: then you know, you know, you get up there and
• 22:16
  Speaker 2: everything's cool. Everything was cool, but you got to realize
• 22:21
  Speaker 2: there's a cost, you know, and you never you never
• 22:24
  Speaker 2: learned about that. Nobody explains that to you because all
• 22:28
  Speaker 2: you want to do is play, make money, be successful,
• 22:33
  Speaker 2: Da da da da day, you know, and you don't
• 22:36
  Speaker 2: even think about that, you know, until it starts crumbling
• 22:41
  Speaker 2: down on you. Like you know, wow, I didn't go
• 22:43
  Speaker 2: out there to you know, pay the bills, like for
• 22:47
  Speaker 2: the truck. I gotta pay the account. I gotta pay
• 22:51
  Speaker 2: the ban I gotta. I didn't go out there for that.
• 22:55
  Speaker 2: I went out there because I wanted to play to
• 22:57
  Speaker 2: the people, period. You know. I didn't want all those
• 23:00
  Speaker 2: other responsibilities, you know, but all of that falls on
• 23:04
  Speaker 2: you when you're out front doing the thing and becoming
• 23:08
  Speaker 2: this big, major star, you know. So I wasn't ready.
• 23:13
  Speaker 2: I wasn't and I'll never be ready for that because
• 23:17
  Speaker 2: I don't want to, you know, I don't want that
• 23:19
  Speaker 2: kind of responsibility, responsibility that I got now. I feel
• 23:24
  Speaker 2: like I can take care of that. But if it
• 23:27
  Speaker 2: gets any bigger, I will be prepared because I'm being
• 23:31
  Speaker 2: prepared now, you know, otherwise, and then I can see
• 23:36
  Speaker 2: it coming because I know it's coming. But then you
• 23:40
  Speaker 2: can't see nothing, you know, all you see is the
• 23:44
  Speaker 2: good things. You know. I can get all this, I
• 23:46
  Speaker 2: can get all that. I can do her, I can
• 23:48
  Speaker 2: do her. Yeah, I can do that. I can do that.
• 23:51
  Speaker 2: You know. You can do everything, you know, And so
• 23:54
  Speaker 2: you guys were yeah, yeah, yeah, And to make it
• 23:58
  Speaker 2: through that is enough for me to just be like,
• 24:03
  Speaker 2: if you want that, you got it, got you know, yeah,
• 24:07
  Speaker 2: And I'm here for you if you need me.
• 24:09
  Speaker 1: We'll be right back with more from Bootsy Collins after
• 24:12
  Speaker 1: the break. When you put out Bootsi's Rubber Band, for instance,
• 24:18
  Speaker 1: and you sort of start becoming your own entity within
• 24:22
  Speaker 1: the Parliament organization, the Parliament Funkadelic organization. Did you feel
• 24:26
  Speaker 1: that coming? Did you know you were gonna be like
• 24:29
  Speaker 1: the guy to be?
• 24:31
  Speaker 2: I didn't want to be the guy, that's first off.
• 24:34
  Speaker 2: I didn't want. All I wanted to do was play
• 24:36
  Speaker 2: in the band, you know, and that's stuck with me
• 24:40
  Speaker 2: throughout the whole thing, and I couldn't figure out, well,
• 24:44
  Speaker 2: I figured out why I was in the front, you know,
• 24:48
  Speaker 2: because George really wanted me to be the front of
• 24:52
  Speaker 2: my own band as opposed to just being in Parliament Funkadelic,
• 24:57
  Speaker 2: and I really didn't want that, you know, But he
• 25:02
  Speaker 2: starts showing me ways that it would be beneficial if I,
• 25:07
  Speaker 2: you know, took off on another another band, because I
• 25:11
  Speaker 2: had been playing with all of them, you know, and
• 25:14
  Speaker 2: I had my own band when I first got there,
• 25:17
  Speaker 2: and I still had them, so it was like, you
• 25:19
  Speaker 2: should take them on the road, and I'll take parliam
• 25:22
  Speaker 2: and fro Unkadella. He had a great The concept was great.
• 25:26
  Speaker 2: You know. But the downside was I wasn't ready to
• 25:31
  Speaker 2: be a front man, you know, and so all those
• 25:36
  Speaker 2: years that I was learning, I was losing interest in
• 25:40
  Speaker 2: being because that ain't what I wanted to be.
• 25:43
  Speaker 1: You really didn't want to that when you know, I
• 25:45
  Speaker 1: call that first album cover at Thrasher Design with that
• 25:48
  Speaker 1: you want to well.
• 25:49
  Speaker 2: Well, that's part of what helped turn into oh this
• 25:53
  Speaker 2: this might be all right? You know, you know everybody
• 25:58
  Speaker 2: checked this out. Yeah, that's the part that gets you.
• 26:02
  Speaker 2: You know, when when it you know, when it first
• 26:05
  Speaker 2: starts and then something happened would Warner Brothers. Wow? Then
• 26:09
  Speaker 2: it starts hitting you like wow, you know, and then
• 26:13
  Speaker 2: gigs start coming up. And I was just talking to
• 26:17
  Speaker 2: my man out here about you know, Dave Liebert. He
• 26:20
  Speaker 2: came in and started booking us, and you know, it's
• 26:24
  Speaker 2: just start growing so fast. And I wasn't ready for that,
• 26:28
  Speaker 2: you know, I wouldn't all what I was ready for
• 26:30
  Speaker 2: was playing with Parliam and Funkadella. You really still just
• 26:33
  Speaker 2: wanted to be part of that, hey man. That was
• 26:36
  Speaker 2: that was the beauty, the beauty of you know, a
• 26:39
  Speaker 2: band is playing together, you know. Uh. And I knew
• 26:44
  Speaker 2: that if I if we separated them. You know, I
• 26:48
  Speaker 2: knew that the weight was going to fall on me.
• 26:50
  Speaker 2: You know, if I didn't have no sense at all,
• 26:53
  Speaker 2: I knew it was gonna follow on me if I
• 26:55
  Speaker 2: take that, you know, that approach of being a solo artist.
• 26:59
  Speaker 2: You know. But when I saw seeing all the good
• 27:02
  Speaker 2: parts that is going to benefits, you know, I was like, Okay, George,
• 27:06
  Speaker 2: you know I do it. So I cave in, you know,
• 27:10
  Speaker 2: and sure enough it turned out the way I was thinking,
• 27:15
  Speaker 2: you know, and you can call that stinking thinking, you know,
• 27:20
  Speaker 2: but that ain't what I wanted. You know. What I
• 27:23
  Speaker 2: wanted was to be with the band and make people
• 27:26
  Speaker 2: feel good about themselves, having fun. You know. Actually fun
• 27:32
  Speaker 2: had more to do with it than making money. You know,
• 27:36
  Speaker 2: when we got with James Brown, I thought we had
• 27:40
  Speaker 2: to pay him, you know, I mean that's how you know,
• 27:45
  Speaker 2: we just didn't know, you know, like the artists now
• 27:49
  Speaker 2: musicians now know about getting paid. You know, we were
• 27:53
  Speaker 2: just having a good time. We want to have fun.
• 27:57
  Speaker 2: You know. It wasn't about the era of making money
• 28:01
  Speaker 2: for us. You know, we just he snatched us off
• 28:03
  Speaker 2: the street. You know, we was riding having a great
• 28:07
  Speaker 2: time doing that. You know, and he snatched us off
• 28:10
  Speaker 2: the street. How did he find you? Well, we played
• 28:14
  Speaker 2: at King and King Records. That's the King fellow right there,
• 28:19
  Speaker 2: he's the head here guy King and and so that's
• 28:24
  Speaker 2: where we met James Brown. So that's a whole nother
• 28:29
  Speaker 2: long story. But Charles Berling brought us the King Records
• 28:35
  Speaker 2: because he thought that we were such an energetic you know,
• 28:40
  Speaker 2: rhythm section that you know, we could cut his records
• 28:45
  Speaker 2: and cut you know, different sessions for and we wound
• 28:49
  Speaker 2: up working with Hank Ballard Wow. Uh, Bill Doggett Uh,
• 28:56
  Speaker 2: I mean, what's what's my man's name? Henry Glover was
• 29:00
  Speaker 2: the first black producer you know of you know, not
• 29:05
  Speaker 2: just rhythm and blues, but you know folk music. He
• 29:10
  Speaker 2: was doing everything at King Records. Wow. And you know
• 29:15
  Speaker 2: his dad, ODIs Williams, was the head of Oldest Williams
• 29:20
  Speaker 2: and the Charms Wow nowhere Yeah. Yeah, and so you
• 29:25
  Speaker 2: know you never know, yeah, I mean you know, so
• 29:29
  Speaker 2: so you know all of that, you know, I was
• 29:32
  Speaker 2: growing into you know what those are?
• 29:35
  Speaker 1: Guys like like Hank Ballard and Bill Doggett are incredible Yeah,
• 29:40
  Speaker 1: musicians from bang Bood, incredible front man even Yeah, talks
• 29:45
  Speaker 1: about these days.
• 29:45
  Speaker 2: What was it like hanging around them? What were they like?
• 29:48
  Speaker 2: Man very encouraging because they were true musicians, I mean,
• 29:55
  Speaker 2: true to the bone, you know, and it was such
• 30:00
  Speaker 2: a pleasure to be around them. And they treat you
• 30:03
  Speaker 2: like regular people, you know, and so being around them
• 30:09
  Speaker 2: kind of help set myself up to I want to
• 30:13
  Speaker 2: be like that, you know. I want to be, you know,
• 30:17
  Speaker 2: like able Town. I'm down to earth where you know,
• 30:21
  Speaker 2: I might look crazy, you know, and I probably do.
• 30:25
  Speaker 2: But at the same time, it's like I want to
• 30:27
  Speaker 2: be able to. I want people to have fun with me,
• 30:30
  Speaker 2: you know, I want to I want them to chill,
• 30:32
  Speaker 2: have a good time, and and if they whatever they
• 30:36
  Speaker 2: want to say, say it, you know. And so I
• 30:39
  Speaker 2: try to carry that, you know, once once I start
• 30:43
  Speaker 2: picking up from them, you know, it's like we live
• 30:46
  Speaker 2: on their backs. And that's what I talk about. You know,
• 30:52
  Speaker 2: a lot of people want to put it all on me,
• 30:54
  Speaker 2: but I have to tell them, you know, you know,
• 30:57
  Speaker 2: I'm really not the one. You know. I worked at
• 31:00
  Speaker 2: being on the one, but I'm not. Well, I'm not
• 31:03
  Speaker 2: the one. The one is bigger than all of us,
• 31:07
  Speaker 2: you know, because it's all all of us collectively together.
• 31:11
  Speaker 1: Well, you know what's funny, It's like you're talking about
• 31:13
  Speaker 1: how James was almost like a father figure, and like
• 31:18
  Speaker 1: most father figures when you're when you're that age, you
• 31:20
  Speaker 1: kind of want to like buck buck against him. Yeah,
• 31:25
  Speaker 1: but his lesson about the one, oh all, seems to
• 31:28
  Speaker 1: have always really stuck with you boys.
• 31:30
  Speaker 2: Yeah, what was like?
• 31:32
  Speaker 1: And you then you even go and introduce that to
• 31:33
  Speaker 1: George and part of my funk delic in that because
• 31:36
  Speaker 1: so how did that stick?
• 31:38
  Speaker 2: That stuck because I was in it and I got
• 31:43
  Speaker 2: to see it work. You know, it wasn't just him talking,
• 31:48
  Speaker 2: you know about the one. It was when I put
• 31:51
  Speaker 2: it into effect in my music. That's when I found
• 31:56
  Speaker 2: out he ain't just rapping. You know, this is real
• 32:00
  Speaker 2: because soon as I start doing that because I played
• 32:03
  Speaker 2: a lot of you know, playing guitar, and I got
• 32:07
  Speaker 2: stuck on bass because my brother the play guitar and
• 32:11
  Speaker 2: he needed a bass player. So that's how I got
• 32:13
  Speaker 2: stuck on bass. And once that happened, you know, and
• 32:18
  Speaker 2: I'm with my brother, I'm happy. You know, I'm happy
• 32:21
  Speaker 2: because I don't care what I play, a flute, clarinet,
• 32:24
  Speaker 2: whatever with my brother, you know, that was the key.
• 32:28
  Speaker 2: And we just happened to get picked up over there
• 32:32
  Speaker 2: King Records, you know, because we was tearing it up.
• 32:35
  Speaker 2: We were street kids, and we wasn't letting nothing get
• 32:39
  Speaker 2: in the way nothing. I mean, oh you won't pay us,
• 32:42
  Speaker 2: Oh that ain't no problem, you know, let us put
• 32:45
  Speaker 2: let us put this funk down for you, you know.
• 32:48
  Speaker 2: And that was the attitude, you know. So but you
• 32:51
  Speaker 2: were playing, and it's true you were playing a guitar.
• 32:55
  Speaker 2: At first.
• 32:55
  Speaker 1: I learned rung like a bass, yeah, like a six
• 32:58
  Speaker 1: strings guitar, but with four bass strings.
• 33:00
  Speaker 2: Well I had to do that because my brother needed
• 33:04
  Speaker 2: a bass player, not a guitar player. And I just
• 33:07
  Speaker 2: asked him, can you get me four bass strings? He
• 33:11
  Speaker 2: got me four bass strings. And that night, you know,
• 33:15
  Speaker 2: was our first gig. And the place was, the place was,
• 33:21
  Speaker 2: let's see, it was about from here to the door,
• 33:29
  Speaker 2: the whole place, the whole place, you know, no stage.
• 33:34
  Speaker 2: We were standing on the floor and people were like
• 33:37
  Speaker 2: this in your faith and drunk as I don't you know,
• 33:42
  Speaker 2: And here I am. I'm like fifteen, fourteen fifteen, and
• 33:47
  Speaker 2: I got into place, you know, because of my brother.
• 33:51
  Speaker 2: You know, he's like eight years older than I, so
• 33:55
  Speaker 2: I get it in because, you know, because of him,
• 33:59
  Speaker 2: and people are just getting off because I'm so young,
• 34:03
  Speaker 2: you know, and I'm knowing, I'm knowing that they're getting
• 34:06
  Speaker 2: off because I'm young, but I'm also playing what they like,
• 34:10
  Speaker 2: you know. And so when I got with when we
• 34:13
  Speaker 2: all got with James Brown, he tightened us up and
• 34:17
  Speaker 2: told us about the one once. Once that happened, you know,
• 34:23
  Speaker 2: we all started knowing where the one was at, and
• 34:26
  Speaker 2: it was like, oh, you mean like this, and James said, yeah,
• 34:31
  Speaker 2: I'm glad, I'm glad I thought of it. You know.
• 34:34
  Speaker 2: So everything he thought of which was great, you know,
• 34:38
  Speaker 2: which at the time, you know, then, wasn't nobody telling us, man,
• 34:42
  Speaker 2: y'all should be you know, y'all should be doing this, y'all.
• 34:45
  Speaker 2: You know, when the rappers came out and started sampling,
• 34:50
  Speaker 2: everybody's telling me what I should be getting, you know,
• 34:54
  Speaker 2: you know, And if it had been that era instead
• 34:57
  Speaker 2: of the era I grew up in, they would have
• 34:59
  Speaker 2: been right. Yeah. But the era I grew up in was,
• 35:02
  Speaker 2: you know, we was what do you call working? What
• 35:08
  Speaker 2: do you call that? Uh? You know, we was kind
• 35:11
  Speaker 2: of like worked for hire. Oh yeah, freelance. Yeah, And
• 35:15
  Speaker 2: it wasn't about you know, you know, us getting paid.
• 35:19
  Speaker 2: It was about you mugs are here with James Brown,
• 35:23
  Speaker 2: and y'all better pay attention, you know. And that's what
• 35:26
  Speaker 2: we did. We paid attention. And if somebody paid us, cool,
• 35:30
  Speaker 2: If didn't, nobody pay us. We had a couple of
• 35:32
  Speaker 2: dollars to go get some wine. A couple of girls
• 35:35
  Speaker 2: in the backseat were good, were good.
• 35:38
  Speaker 1: And he had a way of for I guess for
• 35:40
  Speaker 1: people who don't understand the one, it's just a way
• 35:43
  Speaker 1: of organizing your playing where you're emphasizing.
• 35:46
  Speaker 2: You're emphasizing that one on every four you know, four bards.
• 35:51
  Speaker 2: And you know that's so true to this day. Even
• 35:55
  Speaker 2: the computers, you know, they they got it shows you
• 36:02
  Speaker 2: what the one is. That that's it. That's it, I mean,
• 36:06
  Speaker 2: And no computers worked like you know, they don't don't
• 36:10
  Speaker 2: work like that. They work like that, you know. And
• 36:13
  Speaker 2: for James to be told us about the one way
• 36:17
  Speaker 2: back in those years and then to this day, it's
• 36:21
  Speaker 2: it's still a give them a nye. I mean, it's
• 36:30
  Speaker 2: still there, you know. And once you start doing that,
• 36:34
  Speaker 2: you put the emphasis on that people feel that they
• 36:37
  Speaker 2: vibe off of that. You know, it's like a internal clock,
• 36:41
  Speaker 2: you know, it's the heartbeat of the world. You know.
• 36:45
  Speaker 1: So what about like when you go into play with
• 36:48
  Speaker 1: like you did a Herbie Hancock record with Sugar for
• 36:51
  Speaker 1: Bonner from Ohio players. Can you can you do that
• 36:57
  Speaker 1: on a on a Herbie record?
• 36:59
  Speaker 2: Well, it's it's it's all the same thing, but it's
• 37:02
  Speaker 2: in different measures, you know, different bars. You know. You
• 37:07
  Speaker 2: know they they got a one too, but you know,
• 37:11
  Speaker 2: them being jazz musicians, they got a certain count, you know.
• 37:16
  Speaker 2: But it all, if you know, it all comes back
• 37:19
  Speaker 2: to one. You know, they got they got to come
• 37:21
  Speaker 2: to the one too. Everybody got to come to the one.
• 37:24
  Speaker 2: I don't care what it is. You know, it's just
• 37:27
  Speaker 2: not four four, you know, it can be five, you know, five, seven,
• 37:32
  Speaker 2: you know, you know whatever whatever that is. But it
• 37:36
  Speaker 2: all has to come back to one.
• 37:39
  Speaker 1: And when you when when you're introducing this concept of
• 37:41
  Speaker 1: parliament funk dialect, this thing that James taught you would
• 37:44
  Speaker 1: it have been big Foot Bradley on drums at that
• 37:47
  Speaker 1: time or Tiki Fu was.
• 37:49
  Speaker 2: Both of them? Both of them were there? Yeah, Well
• 37:51
  Speaker 2: it was Tiki first, Tyrone and then Bigfoot. Yeah yeah,
• 37:58
  Speaker 2: and for me, I think bigfootre Braley brought home the
• 38:05
  Speaker 2: p funk. You know, Tiki brought home on the funkadelic side.
• 38:11
  Speaker 2: You know. Tyron Lapkin, he was just an all out
• 38:17
  Speaker 2: next level drummer, you know. I mean he made you
• 38:21
  Speaker 2: stop and like watch him. You know. You know, it
• 38:25
  Speaker 2: wasn't really about the one with him. You know, he'd
• 38:29
  Speaker 2: do it if you, you know, told him to, but
• 38:33
  Speaker 2: it was about he was like a jazz drummer. Yeah,
• 38:36
  Speaker 2: you know, he was all over the place, you know,
• 38:39
  Speaker 2: and he find his own one, you know, so you know,
• 38:43
  Speaker 2: which was cool because he always he always had to
• 38:46
  Speaker 2: come back. You know, I don't know what his count was,
• 38:50
  Speaker 2: but he knew what you know, he knew what it was.
• 38:53
  Speaker 2: And that's what matters. You guys.
• 38:55
  Speaker 1: You guys were playing that just completely different feels going.
• 38:57
  Speaker 1: But that would maybe be some of the magic is
• 38:59
  Speaker 1: that's what you're feeling one thing, he's feeling a different post.
• 39:03
  Speaker 2: And you are allowed to do it. You know, that
• 39:07
  Speaker 2: has a big emphasis on how you feel about doing
• 39:12
  Speaker 2: what you're doing, you know, because if you're not allowed
• 39:15
  Speaker 2: to do it, you know, then you feel like you're constricted.
• 39:19
  Speaker 2: You can't express you can't self express yourself, you know,
• 39:23
  Speaker 2: the way you want to. And in that era, it
• 39:27
  Speaker 2: was very important to express yourself, you know, just like
• 39:31
  Speaker 2: the record express yourself, you know, your boy I mean
• 39:35
  Speaker 2: The Boys was funky or the original exactly Charles Wright. Yes, yes, yeah,
• 39:43
  Speaker 2: so you know, and we had all of that that
• 39:47
  Speaker 2: we was growing up in and today, you know, it's
• 39:52
  Speaker 2: like where is that at? You know, I mean we
• 39:56
  Speaker 2: had we grew up in such a great musical era,
• 39:59
  Speaker 2: you know, to have all that around you, you know,
• 40:03
  Speaker 2: to absorb all of that and then wake up one
• 40:05
  Speaker 2: day and it's not there. You know, it's like, how
• 40:09
  Speaker 2: does that feel? You know, people like ask me, how
• 40:11
  Speaker 2: does that feel? You know? I had to learn, you know.
• 40:16
  Speaker 2: The good thing for me is learning while I'm on
• 40:19
  Speaker 2: the job. You know, I'm sure I'm learning, you know.
• 40:23
  Speaker 2: And when we got to this part here, it's like
• 40:27
  Speaker 2: I was kind of prepared, you know, to accept, Okay,
• 40:32
  Speaker 2: it's done change, you know, because I was in the
• 40:35
  Speaker 2: changing while it was changing. Yeah, you know, so I
• 40:38
  Speaker 2: got a chance to adjust. And most people that I'm
• 40:43
  Speaker 2: not gonna stop playing the acoustic. I'm not gonna you know,
• 40:48
  Speaker 2: play the electric. Yeah, but I love this acoustic you know.
• 40:52
  Speaker 2: That's how I observed it and was like, whatever comes in,
• 40:58
  Speaker 2: I'm gonna learn how to you know, or if I
• 41:00
  Speaker 2: can't do it, I'm getting somebody else to do it.
• 41:03
  Speaker 2: You know.
• 41:05
  Speaker 1: After the last break, we'll be back with the rest
• 41:07
  Speaker 1: of Bootsy Collins. Were you getting blowback then, like, because
• 41:14
  Speaker 1: you know you Larry Graham all right around that same time. Yeah,
• 41:18
  Speaker 1: really changing the nature of bass playing, you know, like
• 41:21
  Speaker 1: and really making it a different a different instrument.
• 41:25
  Speaker 2: You know. Well, I was so glad to be a
• 41:28
  Speaker 2: part of that, you know, you know, because it was
• 41:32
  Speaker 2: only a few of us, you know, and you know,
• 41:36
  Speaker 2: it's like James Jamison was the cat that really changed
• 41:42
  Speaker 2: my mind about bass playing, you know, because he had
• 41:46
  Speaker 2: he played with one finger. All of that stuff he
• 41:49
  Speaker 2: was playing, he used one finger, you know. Wow. Yeah,
• 41:54
  Speaker 2: and he I'm glad you mentioned that. He all those
• 42:00
  Speaker 2: hit records beforehand. He played upright, upright bass. He got
• 42:06
  Speaker 2: introduced to Defender P bass and he wanted to play
• 42:12
  Speaker 2: the P bass. Motown said, now you know you can't
• 42:17
  Speaker 2: play that. You ain't made no money with you know,
• 42:20
  Speaker 2: playing that. So they didn't want to change, but he
• 42:23
  Speaker 2: said if you want me, I'm playing the p bass
• 42:28
  Speaker 2: and then all after all after that, you know, the
• 42:32
  Speaker 2: upright base, all the stuff after that. He made much
• 42:37
  Speaker 2: more money for them, And you know, he was a
• 42:41
  Speaker 2: perfect example to accept and embrace that change that we're
• 42:46
  Speaker 2: talking about right now that most musicians don't want to
• 42:50
  Speaker 2: don't want to deal with. You know, we're always gonna
• 42:53
  Speaker 2: run into that change that we don't want to change.
• 42:57
  Speaker 2: You know. It's like sampling. You know, it's like, you know,
• 43:01
  Speaker 2: oh man, God, the sampling. What we're gonna do? It's
• 43:05
  Speaker 2: you know, it's just like AI, what we're gonna do.
• 43:08
  Speaker 2: You know, they're coming in and they're coming to get us.
• 43:10
  Speaker 2: They coming, you know, take our gigs, you know, And
• 43:13
  Speaker 2: so it's the same thing, you know. So I'm getting
• 43:17
  Speaker 2: ready to face this along with the rest of the world.
• 43:21
  Speaker 2: But the only difference is I know it's coming, you know,
• 43:25
  Speaker 2: and we made it through the sampling era. You know,
• 43:29
  Speaker 2: we can make it through this one too, you know.
• 43:32
  Speaker 2: So you know, and I can't tell nobody how to
• 43:36
  Speaker 2: do it because I don't know. I didn't know how
• 43:38
  Speaker 2: to do the sampling though, you know, I didn't even
• 43:40
  Speaker 2: know that was coming, you know, until you in it.
• 43:44
  Speaker 2: You know, once you're in it, then you you know,
• 43:46
  Speaker 2: you have to try to figure out, you know, like, wow,
• 43:49
  Speaker 2: what do you do? You know? And so that's what
• 43:53
  Speaker 2: I have to say about the AI because because everybody's
• 43:56
  Speaker 2: talking asking me about that, you know, and you know,
• 44:00
  Speaker 2: we'll learn, We'll all learn how to deal with it,
• 44:03
  Speaker 2: you know, because it ain't no way you're gonna keep
• 44:05
  Speaker 2: it from coming. That.
• 44:06
  Speaker 1: That's sort of that sensibility of just have taken things
• 44:10
  Speaker 1: as they come and working with it.
• 44:12
  Speaker 2: I've heard you talk about.
• 44:15
  Speaker 1: Getting lost as a part of your creative process, and
• 44:21
  Speaker 1: that seems to.
• 44:21
  Speaker 2: Kind of fit with that. And that's like, well, we
• 44:24
  Speaker 2: don't know where it's going, but but we're going anyway.
• 44:27
  Speaker 2: We're going anywhere, you know, and there we go. That
• 44:29
  Speaker 2: was one of my whole sayings is I don't know
• 44:33
  Speaker 2: where I'm going, but I'm going. That's one of my
• 44:38
  Speaker 2: whole you know, it's like very short sentence, but you know,
• 44:44
  Speaker 2: I'm committed to that, you know, and people be hanging
• 44:48
  Speaker 2: their hopes on well, somebody tell us what to do. Hey,
• 44:53
  Speaker 2: I don't know where I'm going, but I'm going. You know,
• 44:57
  Speaker 2: that right there just tells you that you have to
• 45:01
  Speaker 2: prepare yourself because it's coming, whatever that it is, you know,
• 45:06
  Speaker 2: it's definitely coming, you know, and so you have to
• 45:11
  Speaker 2: try to prepare yourself the best you can. I'm glad
• 45:13
  Speaker 2: you're not running from it. And oh no, on the
• 45:17
  Speaker 2: only thing I'm scared of is flying. He hasn't asked
• 45:20
  Speaker 2: me about it because you pulled up in R and V.
• 45:24
  Speaker 2: When did the flying things start? Oh that's all enough,
• 45:27
  Speaker 2: that's all. When did that happened? Since you brought it up,
• 45:30
  Speaker 2: that happened? That happened in nineteen seventy nine. You know,
• 45:35
  Speaker 2: I wanted to fly on the the concord, you know,
• 45:39
  Speaker 2: when Meg for what.
• 45:42
  Speaker 1: You could get seed or.
• 45:46
  Speaker 2: Not light, speeding sound or whatever. That's it. That's it.
• 45:52
  Speaker 2: So I wanted to fly on it because you know,
• 45:54
  Speaker 2: it was our first time going to Europe, you know,
• 45:57
  Speaker 2: and me headlining. You know, it's like I don't you know,
• 46:01
  Speaker 2: just breaking off from Parliament Funkadelic and we getting ready
• 46:05
  Speaker 2: to go a headline in London and all England in Paris,
• 46:09
  Speaker 2: frank all that, you know, And and so I wants
• 46:13
  Speaker 2: to fly on the concord, and so I get to
• 46:17
  Speaker 2: fly on the concord you know, So forty five minutes
• 46:22
  Speaker 2: into the flight, you know, everybody's you know, you know, happy, beautiful,
• 46:27
  Speaker 2: And forty five minutes into the flight, the captain comes
• 46:31
  Speaker 2: on and says, you know, because I knew something was
• 46:34
  Speaker 2: wrong because the plane was you know, we was flying
• 46:37
  Speaker 2: like this, you know, and it's like, you know, and
• 46:40
  Speaker 2: I'm sitting there and I'm looking out the wonder and
• 46:44
  Speaker 2: then I saw fire shooting out the engine and I
• 46:48
  Speaker 2: was like, oh, like, im like, we just we just
• 46:54
  Speaker 2: made it, you know. And then not only that Jaws
• 46:58
  Speaker 2: was a big movie. Then it's like, okay, if you
• 47:01
  Speaker 2: make the crash right you falling in Jaw's territory, the
• 47:07
  Speaker 2: right Atlantic, all this come to me, I mean, you know,
• 47:12
  Speaker 2: and it's like, oh, man, if I ever get on
• 47:14
  Speaker 2: the ground again, I would never ever fly, you know.
• 47:20
  Speaker 2: And sure enough I got. We made He turned the
• 47:24
  Speaker 2: plane around. You know, we were just getting ready to
• 47:27
  Speaker 2: cross the line, you know, but he turned the plane around,
• 47:31
  Speaker 2: and we was flying like this all the way back
• 47:34
  Speaker 2: to New York. Got back to New York. He landed
• 47:38
  Speaker 2: the plane some kind of way, I mean, told us
• 47:40
  Speaker 2: to put our heads down. You know. We went through
• 47:42
  Speaker 2: the whole drill the whole drill, you know, and the
• 47:48
  Speaker 2: tool was so big though that they talked me in
• 47:52
  Speaker 2: the you know, taking the next flight out, which was
• 47:55
  Speaker 2: a seven forty seven. Yeah, and then and then they
• 47:59
  Speaker 2: gave me some drugs to just sleep. I didn't wake
• 48:03
  Speaker 2: up until I got over there, so, you know. And
• 48:06
  Speaker 2: then when I got back, no more flying. That was it.
• 48:11
  Speaker 2: Nineteen seventy nine, Well that was it up until I
• 48:16
  Speaker 2: think it was more like two thousand.
• 48:18
  Speaker 1: Yeah, it's a bad time to start back, I know,
• 48:20
  Speaker 1: I know, and I did it.
• 48:23
  Speaker 2: I did, and you know, I lost that fear until COVID.
• 48:26
  Speaker 2: Once COVID hit, you know, it was like, okay, I
• 48:30
  Speaker 2: got I can't fly no more. I can't. What happened
• 48:33
  Speaker 2: is how you watch Jaws again more. I didn't watch it.
• 48:37
  Speaker 2: I didn't watch it, but but you know, it's always
• 48:41
  Speaker 2: I get these signals, you know, and I call it
• 48:45
  Speaker 2: the universe. You know, it's like, Okay, you can't fly now.
• 48:49
  Speaker 2: And I don't even question it if I hear that,
• 48:52
  Speaker 2: you know, because you know, because I'm, like I said,
• 48:54
  Speaker 2: I'm really not afraid, you know, until unless it's heights. Yeah,
• 48:59
  Speaker 2: I'm scared of heights and flying.
• 49:01
  Speaker 1: That's why you didn't tell me you're not afraid.
• 49:06
  Speaker 2: I'm letting you know. I'm letting you know. When it
• 49:08
  Speaker 2: comes out, all heights I'm through. I mean, you know,
• 49:12
  Speaker 2: the roller coasters, I love it, you know, and you
• 49:16
  Speaker 2: know we we rode on them thousands of times, you know.
• 49:22
  Speaker 2: But she didn't never know I was scared of heights,
• 49:25
  Speaker 2: you know, until one day I just broke out into it,
• 49:29
  Speaker 2: you know, because we was up in one of those
• 49:30
  Speaker 2: hotels that you know, you ride up in the elevator
• 49:34
  Speaker 2: and you could see yourself going up, but then you know,
• 49:37
  Speaker 2: then it's like, oh, man, I couldn't even look over
• 49:41
  Speaker 2: the you know, like if you're up on the forty
• 49:43
  Speaker 2: floor or whatever window, look, man, I couldn't do that.
• 49:47
  Speaker 2: I couldn't do that. But you know, that's that's the
• 49:51
  Speaker 2: two things that got me scared to death. You go
• 49:54
  Speaker 2: to the Grand Canyon or anything. Yeah, yeah, yeah, yeah.
• 49:58
  Speaker 2: If it's natural, is that okay? That that's okay? Because
• 50:02
  Speaker 2: I'm not going to go to the edge, you know,
• 50:04
  Speaker 2: and look over I'm not you know, I'm staying away
• 50:06
  Speaker 2: from that, okay. You know.
• 50:08
  Speaker 1: So it's something you do do you navigate around bridges
• 50:11
  Speaker 1: on the r v or no is that Okay, that's.
• 50:14
  Speaker 4: Kind of deep, that's kind of we don't go there,
• 50:20
  Speaker 4: not sorry that trail bike, trail bike in in the
• 50:25
  Speaker 4: you know, that's cool.
• 50:28
  Speaker 2: You know, as long as it ain't no way up
• 50:31
  Speaker 2: in the air, I'm good with. Okay, okay, you know, okay, yeah, okay, I.
• 50:36
  Speaker 1: Get that though, because honestly, to a COVID, once you're grounded,
• 50:39
  Speaker 1: you're not going anywhere.
• 50:40
  Speaker 2: You're not driving.
• 50:41
  Speaker 1: To the point too, I used to love to drive,
• 50:43
  Speaker 1: like everywhere I could drive.
• 50:44
  Speaker 2: See that now you four hours, now you hit it.
• 50:46
  Speaker 2: But I'm like, now, I'm like, now driving that's all.
• 50:50
  Speaker 2: That's all I used to do. I would take George
• 50:52
  Speaker 2: from New Jersey down to Miami, Florida, and all we're
• 50:57
  Speaker 2: doing is listening to music, getting loaded, and me driving
• 51:00
  Speaker 2: because he couldn't drive. He didn't have a license, didn't
• 51:03
  Speaker 2: want a license. Really, yeah, that was a getaway for us.
• 51:08
  Speaker 2: You know, we go to Florida and fish. You know,
• 51:12
  Speaker 2: we rent a yacht and that was our getaway because
• 51:16
  Speaker 2: we was under a lot of pressure trying to get
• 51:20
  Speaker 2: these groups and getting the songs and the albums. Because
• 51:24
  Speaker 2: George was developing a whole new concept where each group
• 51:32
  Speaker 2: was on a different label, and you know, we didn't
• 51:37
  Speaker 2: realize at the time what he was doing. He didn't
• 51:40
  Speaker 2: really realize, but he thought, you know, that would have
• 51:45
  Speaker 2: them fighting against each other to make sure that they
• 51:48
  Speaker 2: pushed their own group. And it worked.
• 51:52
  Speaker 1: It worked.
• 51:53
  Speaker 2: Like did he get sued for that or no?
• 51:56
  Speaker 1: No?
• 51:56
  Speaker 2: No, I mean you know at that particular time, you know,
• 52:01
  Speaker 2: it's like sampling comeing in and you don't know what
• 52:04
  Speaker 2: to do with it. They didn't know what to do
• 52:05
  Speaker 2: with that. You know, he was a genius as far
• 52:08
  Speaker 2: as the you know, it's like, damn, how do you
• 52:10
  Speaker 2: figure that out? You know? So no, I mean all
• 52:14
  Speaker 2: of them felt like fools, you know. So you know,
• 52:17
  Speaker 2: they didn't want you to know that they were that stupid,
• 52:20
  Speaker 2: you know. So you know he got away with it.
• 52:23
  Speaker 2: That's incredible. Yeah.
• 52:24
  Speaker 1: And then you guys, eventually, because it was like Casablanca
• 52:27
  Speaker 1: and west Bound exactly, then you guys throw a Warner.
• 52:31
  Speaker 2: Yeah, Warner Atlantic had horny horns. Wow. Uh uh. Columbia
• 52:39
  Speaker 2: I think had the Brides and so and Paul add
• 52:45
  Speaker 2: it was on I can't remember, maybe they were on Westbound,
• 52:49
  Speaker 2: I can't remember what. But every group was on a
• 52:52
  Speaker 2: different you know, and and then Boosy rubber Band was
• 52:57
  Speaker 2: on Warners you know. Yeah, so that was the whole thing.
• 53:01
  Speaker 2: That's where doctor Dre and Snoop got that whole concept from.
• 53:07
  Speaker 2: You know, it's because that's that whole empire that we
• 53:12
  Speaker 2: kind of you know, came came through and we didn't
• 53:15
  Speaker 2: know what we was doing. Dre and Snoop they know
• 53:18
  Speaker 2: what they're doing. You know, they take care of business.
• 53:21
  Speaker 2: We wasn't taking care of no business. We were just
• 53:23
  Speaker 2: doing what we thought, you know, what would help us
• 53:27
  Speaker 2: at the moment. You know. It wasn't like we was
• 53:30
  Speaker 2: looking for longevity or we were looking you know, for legacy,
• 53:36
  Speaker 2: you know, none of that. You know. It was like, man,
• 53:39
  Speaker 2: I can get some more drugs, you know, like did
• 53:46
  Speaker 2: you get because you know, I know like Hendrix was
• 53:48
  Speaker 2: a big you know for all you guys, big poster
• 53:52
  Speaker 2: on you you know, like his passing, that's that didn't
• 53:57
  Speaker 2: spook anyone, like no, because you know, we kind of
• 54:01
  Speaker 2: kind of felt the inside story. You know. I used
• 54:04
  Speaker 2: to yeah, yeah, I used to go out with his uh,
• 54:08
  Speaker 2: his friend Litho Fame.
• 54:11
  Speaker 1: You I was just talking about her because she's in
• 54:13
  Speaker 1: the she's like the star of his documentary that came
• 54:16
  Speaker 1: for him like seventy one or two.
• 54:18
  Speaker 2: Well, she was on the road with us with James Brown,
• 54:21
  Speaker 2: and she would ride the bus with us, you know. Uh,
• 54:24
  Speaker 2: and she was gonna take me to meet Jimmy, you know.
• 54:28
  Speaker 2: But what happened was, you know, when he was working,
• 54:33
  Speaker 2: we were working, you know, because everybody was on the
• 54:36
  Speaker 2: road at that time, you know, and so we never
• 54:40
  Speaker 2: got a chance to hook up. Wow yeah yeah, it
• 54:44
  Speaker 2: was deep wow yeah. And she told you what yeah wow, yeah, yeah,
• 54:52
  Speaker 2: they do. And the rap was they don't ever want
• 54:55
  Speaker 2: another one of those kind of talents to to reach
• 54:59
  Speaker 2: that level because they can rule the world, you know,
• 55:04
  Speaker 2: and we can't have that, you know. So you know,
• 55:09
  Speaker 2: and then when we came on the scene, it was like, oh,
• 55:12
  Speaker 2: let's make sure these mother you know, we got to
• 55:14
  Speaker 2: shut these mothers down because they a big threat. Yeah,
• 55:18
  Speaker 2: you know. And we wasn't trying to do nothing but
• 55:20
  Speaker 2: play music and express ourselves. Yeah, you know, but it
• 55:25
  Speaker 2: was a it was complicated.
• 55:27
  Speaker 1: Did you have a relationship with with with Kiss beyond
• 55:31
  Speaker 1: just a label?
• 55:32
  Speaker 2: Just a label, you know, as far as the label,
• 55:35
  Speaker 2: you know, and we both used the same clothes designer,
• 55:41
  Speaker 2: you know, Lugaspi Lagasy yeah in New York, you know, so,
• 55:48
  Speaker 2: and then Patty LaBelle and then they used them too,
• 55:52
  Speaker 2: and they were they had the same lawyer we had,
• 55:55
  Speaker 2: so it was all kind of all you know, kind
• 55:58
  Speaker 2: of screwed up there.
• 55:59
  Speaker 1: Yeah, okay, yeah, I'm getting the picture now, groupe, same lawyer,
• 56:06
  Speaker 1: right right?
• 56:09
  Speaker 2: What once?
• 56:11
  Speaker 1: Talk about the new album too before we get there.
• 56:14
  Speaker 1: The song like your songwright songwriter you George and Bernie
• 56:20
  Speaker 1: as like a songwriting unit.
• 56:22
  Speaker 2: Yeah, how did how did that start? Oh? Wow, I
• 56:28
  Speaker 2: see how did it start? I guess it started with
• 56:32
  Speaker 2: going in cutting tracks, and then Bernie and I would
• 56:40
  Speaker 2: cut tracks, and then George would come in with the party,
• 56:45
  Speaker 2: you know, because he always brought the party and we're
• 56:47
  Speaker 2: trying to get some music down, and he'd bring the
• 56:50
  Speaker 2: party in and busted up, you know, and he'd come
• 56:53
  Speaker 2: in loud, you know, and he had this microphone you know,
• 56:57
  Speaker 2: in the control room that he would get on, you know,
• 57:00
  Speaker 2: as soon as he walk in. You know, he heard the
• 57:03
  Speaker 2: music and he was live. I mean, he was so
• 57:07
  Speaker 2: live and loud. You know, it's like we was like,
• 57:11
  Speaker 2: wait a minute, George, hold up man, we're trying to
• 57:13
  Speaker 2: you know, figure this arrangement out, you know, but he
• 57:17
  Speaker 2: was so hyped up about whatever we was doing, you know,
• 57:20
  Speaker 2: and he would come up with words, you know, and
• 57:24
  Speaker 2: lyrics and stuff right on the spot.
• 57:27
  Speaker 1: Man, Let's talk about the new album, I mean, talk
• 57:30
  Speaker 1: about not being afraid.
• 57:32
  Speaker 2: Yeah, not not.
• 57:36
  Speaker 1: I mean, you know, there's no boundaries still with your
• 57:41
  Speaker 1: there's still he wasn't now me like there's no world
• 57:43
  Speaker 1: box or boundaries in which well, you know, after what
• 57:48
  Speaker 1: we've all kind of been through, it's like.
• 57:52
  Speaker 2: Ain't nothing new they can do to us. I mean,
• 57:55
  Speaker 2: you know, you know, we pretty much know, we pretty
• 58:01
  Speaker 2: much know the game, you know, and so that allows
• 58:06
  Speaker 2: me to do more of what are you to do?
• 58:09
  Speaker 2: But even more than that, you know, because I'm not afraid,
• 58:14
  Speaker 2: you know, it's more like I got a bigger audience
• 58:21
  Speaker 2: to play too. And not only that, you know, I'm
• 58:28
  Speaker 2: standing in front of them trying to show them that
• 58:31
  Speaker 2: they can do it too. That's my whole thing about
• 58:33
  Speaker 2: the mirror star glasses I had, you know, made was
• 58:39
  Speaker 2: when the people looking, when the kid looks into my eyes,
• 58:42
  Speaker 2: he sees itself, you know, And to me, that meant
• 58:47
  Speaker 2: more than him seeing me, you know, And that's why
• 58:50
  Speaker 2: I had the star glasses make you know, the same
• 58:53
  Speaker 2: thing with the bass the space base. If you notice
• 58:56
  Speaker 2: this mirror all on the you know, and that was
• 59:00
  Speaker 2: when the lights hit the space Base. It's gonna hit
• 59:04
  Speaker 2: you too, you know. And so all of that was
• 59:10
  Speaker 2: you know, I thought of that beforehand, before I actually
• 59:14
  Speaker 2: had it done, you know, because it had to have meaning,
• 59:19
  Speaker 2: you know, not just me being a superhero or star.
• 59:23
  Speaker 2: It had to be something deeper than that. Yeah, you know.
• 59:26
  Speaker 1: Yeah, these days when you're making music, Yeah, what's your
• 59:32
  Speaker 1: how do you organ like?
• 59:34
  Speaker 2: Is there a there's no certain way. There's no certain way. No,
• 59:37
  Speaker 2: it can come at any time. It can come through
• 59:40
  Speaker 2: somebody else, or somebody else might spark you to go
• 59:44
  Speaker 2: in a certain direction. You know. I don't ever put
• 59:49
  Speaker 2: it on How do should I come up with this music?
• 59:54
  Speaker 2: It just comes. It always come.
• 59:56
  Speaker 1: You might be doing something, yeah, and what like a
• 1:00:01
  Speaker 1: line or a melody will hit you or a line.
• 1:00:05
  Speaker 2: It either comes in a riff or melody or a beat.
• 1:00:11
  Speaker 2: You know, if you got to be you know, if
• 1:00:15
  Speaker 2: you got to beat down. I'm more comfortable now with
• 1:00:18
  Speaker 2: having a beat, you know. Uh, just something you can
• 1:00:21
  Speaker 2: go back, even if it's just a metrono, you know.
• 1:00:25
  Speaker 2: And and then you can put this idea, doo doo
• 1:00:29
  Speaker 2: doo dooo. Do do do do do do Do Do
• 1:00:33
  Speaker 2: Do Do Do Do Do Do Do do do do
• 1:00:36
  Speaker 2: do doo. You know, you can take that in a
• 1:00:39
  Speaker 2: whole parliament thing, you know, put some collaps on that mode,
• 1:00:42
  Speaker 2: you know. Do doo doo doo doo dooo doo doo dooo.
• 1:00:48
  Speaker 2: You put that, you get at the George, He'll kill it.
• 1:00:51
  Speaker 2: He'll kill it, you know. So you know, that's the
• 1:00:55
  Speaker 2: way it came then, that's the way it comes now.
• 1:00:58
  Speaker 2: But it comes even more so now because of what
• 1:01:03
  Speaker 2: I got around me, you know, different things. You know.
• 1:01:06
  Speaker 2: It used to be all about out the musicians, you know,
• 1:01:11
  Speaker 2: like because they're there, which yeah, you know. Now I
• 1:01:15
  Speaker 2: had to up my game and figure out how to
• 1:01:18
  Speaker 2: work the boy in the box, you know, and instead
• 1:01:22
  Speaker 2: of putting it down, you know, I picked it up
• 1:01:25
  Speaker 2: and started learning. My son start teaching me how to
• 1:01:29
  Speaker 2: work it.
• 1:01:29
  Speaker 1: You know.
• 1:01:30
  Speaker 2: I'm not like a professional engineer, none of that, but
• 1:01:35
  Speaker 2: I know how to record myself, you know, and anytime
• 1:01:38
  Speaker 2: something comes bang, I'm on it, you know. And I
• 1:01:41
  Speaker 2: put the idea down and then I come back to
• 1:01:44
  Speaker 2: it if I feel like, yeah, that's popping, you know.
• 1:01:48
  Speaker 2: So that's that's kind of the way we do it now, because,
• 1:01:51
  Speaker 2: like I said before, we always had the band with us.
• 1:01:55
  Speaker 2: You know, I had to get used to not having
• 1:01:58
  Speaker 2: the band, you know, And so I know how teased
• 1:02:03
  Speaker 2: and how hectic that is without the band because I've
• 1:02:06
  Speaker 2: been through that, you know, and I learned how to
• 1:02:09
  Speaker 2: deal with it, you know. And rejection is another thing
• 1:02:13
  Speaker 2: that the younger generation has to deal with, and they
• 1:02:17
  Speaker 2: don't know how to deal with that, you know. Rejection
• 1:02:20
  Speaker 2: is that's a heck of a thing to be rejected,
• 1:02:23
  Speaker 2: you know. And like the Funk has always been rejected,
• 1:02:27
  Speaker 2: you know. That's why we ain't never been in the
• 1:02:30
  Speaker 2: you know, the Grammys and all that big stuff that
• 1:02:33
  Speaker 2: you know, you know, mugs make you know, they ain't
• 1:02:36
  Speaker 2: give they don't give a funk about that funk. You know.
• 1:02:39
  Speaker 2: That's why we cut Album of the Year. We'll give
• 1:02:41
  Speaker 2: it to ourselves number one funk tier. Now y'all funk
• 1:02:46
  Speaker 2: with that. They gonna have to funk with that.
• 1:02:49
  Speaker 1: I love that, man, The ability of funk to give
• 1:02:53
  Speaker 1: to the audience man, a feeling of of joy and
• 1:02:58
  Speaker 1: eliminating vulnerability. And it's like before hip hop was was
• 1:03:02
  Speaker 1: sort of the language of giving people confidence and that's
• 1:03:05
  Speaker 1: what I feel it was like that was that's where
• 1:03:07
  Speaker 1: funk lived, you know.
• 1:03:08
  Speaker 2: Yeah, yeah, that's it. Yeah, that's totally it. And you know,
• 1:03:13
  Speaker 2: for me, it's like the more I stay committed to that,
• 1:03:19
  Speaker 2: the more I'll still be around and able to speak
• 1:03:25
  Speaker 2: the language of today whatever it is, or I can
• 1:03:28
  Speaker 2: speak the language of it yesterday. It don't make a difference,
• 1:03:32
  Speaker 2: you know. It's being able to hang with whoever it is. Yeah,
• 1:03:36
  Speaker 2: you know, and so when you feel started feeling comfortable
• 1:03:41
  Speaker 2: with that, you start to feel comfortable with yourself, you know.
• 1:03:44
  Speaker 2: And now it's like the sky is not the limit
• 1:03:49
  Speaker 2: because there's walls behind the sky. Yeah.
• 1:03:54
  Speaker 1: Yeah, we're so blessed to have you still making music
• 1:03:58
  Speaker 1: and it's still just giving us that the bootsy energy man,
• 1:04:02
  Speaker 1: because it's needed in the world.
• 1:04:04
  Speaker 2: Man, So thank you for everything. Oh, thank you man,
• 1:04:06
  Speaker 2: thank you.
• 1:04:09
  Speaker 1: In episode description, you'll find a playlist of some of
• 1:04:12
  Speaker 1: our favorite boots of tracks, along with songs from his
• 1:04:15
  Speaker 1: new album album of the Year number one, Funk Tier.
• 1:04:18
  Speaker 1: Be sure to check out YouTube dot com slash Broken
• 1:04:20
  Speaker 1: Record Podcast to see all of our video interviews, and
• 1:04:23
  Speaker 1: be sure to follow us on Instagram at the Broken
• 1:04:26
  Speaker 1: Record Pod.
• 1:04:27
  Speaker 2: You can follow us on Twitter at broken Record.
• 1:04:30
  Speaker 1: Broken Record is produced and edited by Leah Rose, with
• 1:04:33
  Speaker 1: marketing help from Eric Sandler and Jordan McMillan. Our engineer
• 1:04:36
  Speaker 1: is Ben Tollin. Broken Record is a production of Pushkin Industries.
• 1:04:41
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• 1:04:51
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• 1:04:59
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• 1:05:01
  Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.