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  "sourcesContent": ["import{jsx as e,jsxs as t}from\"react/jsx-runtime\";import{ComponentPresetsConsumer as o,Link as n}from\"framer\";import{motion as a}from\"framer-motion\";import*as i from\"react\";import{Youtube as s}from\"https://framerusercontent.com/modules/NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js\";export const richText=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018333\u2019 by Flea\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=DmCv7lqUJwY\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Red Hot Chili Peppers\u2019 Flea was planning on a solo album during the band\u2019s \",/*#__PURE__*/e(\"em\",{children:\"One Hot Minute \"}),\"(1995) era. That was shelved, but he eventually released a 2012 EP, \",/*#__PURE__*/e(\"em\",{children:\"Helen Burns\"}),\", to benefit his Silverlake Conservatory of Music. The title track features Patti Smith, who wrote a poem for the prologue of Flea\u2019s memoir, \",/*#__PURE__*/e(\"em\",{children:\"Acid for the Children\"}),\".\"]}),/*#__PURE__*/e(\"p\",{children:\"\u2018333\u2019 opens the EP with trumpet and synths. The first trumpet riff seems to hint at more energy to come but it\u2019s not until 3 minutes in that Flea\u2019s manic, programmed drums and synths let loose. Ex-bandmate and Peppers founding member Jack Irons contributes a snare roll from 4:40, which ushers in a softer section.\"}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018American Ghost Dance\u2019 by Red Hot Chili Peppers\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=SxJEmWmtGRs\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Perhaps the Peppers\u2019 funkiest album, 1985\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Freaky Styley \"}),\"was produced by their idol George Clinton, who leant his voice to several tracks (and wrote a few lines, uncredited). Original guitarist and founding member Hillal Slovak rejoined after focusing on his other band, What Is This?.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Clinton recruited P-Funk hornsters \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/horns\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Fred Wesley, Maceo Parker\"})}),\"\\xa0and Benny Cowan for six tracks, including highlight \u2018American Ghost Dance\u2019. Irresistibly funky, it\u2019s still one of Flea\u2019s grooviest bass lines decades later \u2013 so good that it was revisited and tweaked for 2006\u2019s \u2018Hump De Bump\u2019. Early on in the band, Flea\u2019s penchant for filling space with breathless flurries of notes provided energy but lacked variations in rhythm. Here though, he plays with a maturity that would be developed further on 1991\u2019s \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/power\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Blood Sugar Sex Magik\"})})}),\". Flea hits \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0hard and leaves enough space elsewhere for his notes to have impact.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Anthony Kiedis\u2019 lyrics are similarly mature. While even the Chilis\u2019 self-titled debut had deeper moments like \u2018Green Heaven\u2019 \u2013 an ode to the beauty of nature and protest against racism and brutality \u2013 \u2018Ghost Dance\u2019 was a progression on Kiedis\u2019 early efforts. Rallying against white people\u2019s invasion and slaying of Native American land and people, Kiedis sing-raps with bustling energy, almost growling the line \u201CBut the burning flame, it turns to burning pain.\u201D He emphasises certain syllables in time with Flea\u2019s accents. With Wesley\u2019s horn arrangement providing extra spice, some restrained but deliciously funky guitar from Slovak, and Cliff Martinez\u2019s subtly syncopated hi-hat complimenting the bassline, \u2018Ghost Dance\u2019 was one of the Peppers\u2019 finest 1980s originals. (For more groovy goodness, check out \",/*#__PURE__*/e(n,{href:\"https://youtu.be/VcnjxEbaDQE\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Clinton joining the band\"})}),\" for an early version of Ghost Dance.)\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Wolves\u2019 by Wu-Tang Clan featuring George Clinton\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=p-dqgGId3pU\"})})}),/*#__PURE__*/t(\"p\",{children:[\"For their 2007 album \",/*#__PURE__*/e(\"em\",{children:\"8 Diagrams\"}),\", Wu-Tang Clan recruited George Clinton. Wu-Tang were one of the few classic \u201980s or \u201990s hip-hop artists \",/*#__PURE__*/e(\"em\",{children:\"not\"}),\"\\xa0to repeatedly sample Clinton\u2019s P-Funk. Clinton does two of his favourite things: twists a fairy tale for original lyrics, and talks about dogs. RZA, by this point, had become a master of constantly varying beats, with the drum patterns generally reliable but every supporting instrument shifting and colouring each verse (courtesy of U-God, Method Man, and Masta Killa) differently. The trumpets at the end of verses give an unusual brightness to Wu\u2019s sound, but the insistent backing vocals and strings are more familiarly eery. After George\u2019s third chorus, he sings a bridge: \u201CI\u2019m like the St. Bernard to ya, baby / When you\u2019re lost out in the snow.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018The Heart\\xa0Gently Weeps\u2019 by Wu-Tang Clan featuring Erykah Badu, Dhani Harrison, and John Frusciante\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=p-dqgGId3pU\"})})}),/*#__PURE__*/t(\"p\",{children:[\"On another track from \",/*#__PURE__*/e(\"em\",{children:\"8 Diagrams\"}),\", Wu-Tang Clan adapted The Beatles\u2019 classic \u2018While My Guitar Gently Weeps\u2019. Wu\u2019s version features original guitar and percussion by George Harrison\u2019s son, Dhani Harrison, as well as Chili Pepper John Frusciante. While not as famous as \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=dWRCooFKk3c\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Prince\u2019s pyrotechnics\"})}),\"\\xa0during a live version of the song, Frusciante\u2019s electric adds plenty of moodiness, and Dhani\u2019s acoustic melds well with RZA\u2019s compressed drums.\\xa0Method Man\u2019s snappy, vowel-heavy third verse pairs particularly well with the instrumentation. Erykah Badu sings the chorus with similar epicness to the original. While Beatles purists may cringe at Ghostface Killah using George Harrison\u2019s vocal melody to sing \u201CThat bitch is crazy\u201D, the Wu\u2019s street stories add an intriguing twist that George probably never imagined.\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Any Road\u2019 by George Harrison\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=r8fFdc-karA\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Dhani collaborated with George\\xa0Harrison\\xa0on the latter\u2019s 2002 album, \",/*#__PURE__*/e(\"em\",{children:\"Brainwashed\"}),\". On the opening track, \u2018Any Road\u2019, George plays acoustic and slide guitar and Dhani electric.\\xa0During the bridge (1:17), both guitarists play off the lead vocal with bluesy phrases.\"]}),/*#__PURE__*/e(\"p\",{children:\"The chorus\u2019s \u201CAh, yeah\u201D harmony on the One is very Beatles. The main lyric is an interesting one worth repeating: \u201CIf you don\u2019t know where you\u2019re going / Any road will take you there\u201D. It\u2019s more ambiguous than the jubilant chord progression and strumming.\"}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Happiness Is A Warm Gun\u2019 by The Beatles\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=vdvnOH060Qg\"})})}),/*#__PURE__*/t(\"p\",{children:[\"There\u2019s little predictability during \u2018Happiness Is A Warm Gun\u2019, but then there was little predictability across \",/*#__PURE__*/e(\"em\",{children:\"The Beatles, \"}),\"commonly referred to as \",/*#__PURE__*/e(\"em\",{children:\"The White Album \"}),\"(1968). Everything is slightly disorientating: from Ringo Starr\u2019s punchy drums, to that first demented electric guitar chord (0:14), to John Lennon\u2019s constant shifts in vocal tone from section to section, and his adding \u201Cmama\u201D to the titular lyric (1:44) \u2013 just as the song has briefly calmed with a key change back to the more soothing chorus progression. The basic track was reportedly built from takes 53 and 65, and the song was completed at 5am one morning, perhaps explaining some of the unorthodox decisions and delivery.\"]})]});export const richText1=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"Threads in Music is a new series exploring the links between artists.\"})}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Authority Stealing\u2019 by Fela Kuti and Afrika 70\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=e0JZLb55m14\"})})}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(\"em\",{children:\"Authority Stealing \"}),\"(1980) was released shortly\\xa0before most of Fela\u2019s Afrika 70 (sometimes spelled Africa 70) band quit over a pay dispute. Fela reportedly used their\\xa0touring fees to fund his presidential campaign. He then formed Egypt 80.\"]}),/*#__PURE__*/e(\"p\",{children:\"Fela always had multiple saxophone players; on this tune, he and Oyinade Adeniran play tenor, his eldest son Femi Kuti plays alto, Lekan Animashaun (commonly known as Baba Ani) plays baritone, and Mukoro Owieh plays second baritone. Femi had joined the band in 1978 and continued until leaving in 1986 to form Femi Kuti & The Positive Force. The saxophones combine for forceful, menacing riffs, heard in the opening. Then four-note phrases dovetail with the backing singers' repetitions of \u201CAuthority stealing\u201D. The lyrics rally against the Nigerian authorities abusing their power. Fela compares them to armed robbers: \u201CIf gun steal eighty thousand Naira / Pen go steal two billion Naira.\u201D\"}),/*#__PURE__*/t(\"p\",{children:[\"The song has some of the riveting \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/morefela\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"call-and-response\"})}),\"\\xa0sections in Fela\u2019s vast discography. From 9:55 the soloing sax anticipates the first verse\u2019s vocal melodies. During these verses, the rhythm guitar and bass hit \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0but the vocals rarely do, until the \u201CArgument, argument\u201D response.\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Water No Get Enemy\u2019 by D'Angelo, Femi Kuti + Macy Gray With Roy Hargrove, Nile Rodgers, The Soultronics + Positive Force\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=7FF0K2SAfGU\"})})}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(\"em\",{children:\"Red Hot + Riot\"}),\"\\xa0(2002) was a compilation album paying tribute to Fela and part of a Red Hot Organization series of AID benefit projects. An array of artists, several of whom played with Fela, reworked Fela songs, sometimes staying close to the originals and other times coming up with notably different arrangements and new parts (including raps from artists like Talib Kweli and Common).\"]}),/*#__PURE__*/e(\"p\",{children:\"On \u2018Water No Get Enemy\u2019 Femi brought his alto sax, with his band in support. The band play the main horn riff in a lower register, but the rest of the track sounds more optimistic than Fela\u2019s, with extra, heavily syncopated percussion and more laid-back vocals. As on the original, there\u2019s plenty of time for a sax solo before the vocals, and Femi puts all his energy into alternately cheery and bluesy riffs. A guitar then rallies through scratchy, wah-drenched chords, briefly taking centre stage, which was a rarity in Fela\u2019s music where the guitars were almost exclusively support instruments. Macy Gray, Femi and D'Angelo\\xa0trade lines and sometimes harmonise, their voices melding seamlessly.\"}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Sweet Baby\u2019 by Macy Gray\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=UeiSE9Jn9wE\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Macy Gray\u2019s \",/*#__PURE__*/e(\"em\",{children:\"the id \"}),\"(2001) starts with four funky tracks before slowing down and smoothing out with \u2018Sweet Baby\u2019. In the background of the lush arrangement with strings and organ (including that of Billy Preston), John Frusciante adds subtle, percussive guitar chords. Listen from 1:05 and his muted chord which seems to foreshadow the drum roll, leading to the first sweet chorus.\\xa0\"]}),/*#__PURE__*/t(\"p\",{children:[\"Though Erykah Badu (another \",/*#__PURE__*/e(n,{href:\"https://pitchfork.com/news/erykah-badu-curates-new-fela-kuti-box-set/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"fan of Fela\"})}),\") joins Gray on vocals, her role is similarly supportive, adding floaty \u201CDoo, doo-doo\u201Ds to the chorus. Rick Rubin (longtime producer of Frusciante in the Red Hot Chili Peppers) is credited with the vocal arrangement, along with Badu (a very unusual credit for Rubin).\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Dust\u2019 by Ataxia\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=e6iZUpTAOZM\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Frusciante, of Chili Peppers fame, had a short-lived side project named Ataxia, with Josh Klinghoffer (a future Chili Pepper, in between two Frusciante stints) on drums, and Joe Lally on bass. \",/*#__PURE__*/e(n,{href:\"https://invisible-movement.net/press/joe-lally-interview\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Originally Frusciante and Klinghoffer wanted Lally\"})}),\"\\xa0to join them playing shows of Frusciante\u2019s solo material. Lally says he\u2019s not a quick learner of other people\u2019s music, so they decided to write new songs. Lally\u2019s repetitive, hypnotic basslines form a foundation for Ataxia\u2019s lengthy, jammy improvisations, stretching over 12 minutes in the case of \u2018Montreal\u2019. Lally says, \u201Cif you were gonna leave me alone to play music, my goal was to play one bass line in a song. I wouldn\u2019t necessarily choose to play them for 10 minutes\u2026 but that is just a project of what we were trying to do \u2013 trying to write music to play a show and trying to fill up an hours worth of playing!\u201D\"]}),/*#__PURE__*/t(\"p\",{children:[\"On \u2018Dust\u2019, from \",/*#__PURE__*/e(\"em\",{children:\"Automatic Writing \"}),\"(2004), Lally plays a riff that hints at the moodiness that\u2019s prevalent through the album\u2019s 44 minutes. Klinghoffer\u2019s drumming is relentless, only occasionally consistent with a smashed snare on the two and four before a drum roll sets up the next burst of energy from Frusciante. In the words of \",/*#__PURE__*/e(n,{href:\"https://web.archive.org/web/20131225165846/http:/invisible-movement.net/articles/2005-press/01-jane\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Frusciante\"})}),\", \u201CIf you don't care about song structure, and you want powerful music with f**ked-up guitar-playing and songs that are really long, this record is the one.\u201D Though the song structures may be free, the group consciously or unconsciously found interesting arrangements. From 4:10, there\u2019s a brief chance to catch your breath after some particularly electricifying guitar playing, with the song suddenly sounding spacious, which makes Frusciante\u2019s almost deranged-sounding riff more thrilling when it returns.\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018That Thang\u2019 by The Messthetics and James Brandon Lewis\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=pwbvJIoPkto\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Anthony Pirog, Brendan Canty, and Lally formed the instrumental trio The Messthetics, whose sound has been neatly described as \u201C\",/*#__PURE__*/e(n,{href:\"https://www.orlandoweekly.com/music/the-messthetics-prove-to-be-more-than-the-sum-of-their-fugazi-parts-at-wills-pub-24885005\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"jazz punk jam\"})}),\"\u201D. They joined saxophonist James Brandon Lewis for a self-titled LP in 2024. The album mixes free improvisation with Lally and Canty\u2019s fidgety, adventurous rhythms, and in the case of \u2018That Thang\u2019, a snarling, funky riff. Brandon Lewis\u2019s sax joins Lally\u2019s bass in the main melody.\"]}),/*#__PURE__*/e(\"p\",{children:\"After the first minute, Pirog takes the main melody and runs wild with it, screeching and wailing unpredictably, before leading back to home. Then it\u2019s Brandon Lewis\u2019s turn to solo, and from 1:51 he plays a couple of long, persistent lines that rival Lally\u2019s bass for stankface inspiration.\"}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"strong\",{children:\"\u2018Furniture\u2019 by Fugazi\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=I6UJH1xHxBU\"})})}),/*#__PURE__*/e(\"p\",{children:\"The band Lally and Canty are\\xa0best known for, Fugazi, stood out in DC\u2019s hardcore scene for their dub and funk-influenced basslines, heavy guitar riffs, and creative song structures. On \u2018Furniture\u2019, the title track of a 2001 EP, Lally\u2019s bass is the lead instrument during verses, before dual guitars play the same melody\\xa0(in the manner of Brandon Lewis\u2019s sax, perhaps inspiring that tune).\\xa0That section where the three instruments play the same riff functions as a wordless chorus, brilliantly led up to by Ian MacKaye\u2019s furious lines (\u201CYeah, bullshit!\u201D, \u201CHow \u2019bout now?\u201D).\"}),/*#__PURE__*/e(\"p\",{children:\"The song flip flops between a bare bones arrangement (at one point only MacKaye\u2019s ominous vocal and Brendan Canty\u2019s drums) and a full band sound, giving that wordless chorus extra impact. MacKaye seems to reference that wordlessness with the repeated line, \u201CThis is a song with no words.\u201D Or perhaps he\u2019s\\xa0referencing the lack of original thoughts of the \u201Cyou\u201D he\u2019s addressing: \u201CHow many times have you felt like a bookcase / Sitting in a living room gathering dust / Full of thoughts already written?\u201D\"})]});export const richText2=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(\"em\",{children:\"In 2025, \"}),/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/morefela\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Further Explorations of Funk\"})})}),/*#__PURE__*/e(\"em\",{children:\"\\xa0will return with intermittent new parts. Before then, in our final Friday Funk, we enjoy one of Parliament\u2019s greatest, most impeccably composed, arranged, and performed songs. The track closed one of their classic albums, and here it closes 2024.\"})]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=TongFF8jsVA\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Parliament\u2019s The \",/*#__PURE__*/e(\"em\",{children:\"Clones of Dr. Funkenstein\"}),\"\\xa0(1976) continued the P-Funk tradition of sharing lead vocals through the album. Glen Goins, famed for calling down the \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/star-child\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Mothership\"})}),\", sings lead on \u2018Funkin\u2019 For Fun\u2019. Before listening to the song many, many times, it\u2019s tricky to gauge when each of Goins\u2019s lines will start. He sings with the freedom of a singer recording ad-libs and additional parts, but his voice has an authority that takes centre stage, even among all the brilliant rhythms and melodies. At 2:31, when he sings, \u201CWhen you see my mother\u201D, it feels like he\u2019s telling you about the end of the world, or the end of his life. He was a rare talent. Goins co-wrote the song with George Clinton and Garry Shider.\"]}),/*#__PURE__*/t(\"p\",{children:[\"The song as a whole mixes predictability\u2014the bass and the kick drum always take care of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\", the snare is on the two and four most bars, and the backing singers\u2019 \u201CGuy, guy, guy, guy\u201D is repeated\u2014with unpredictability. It\u2019s 2:10 minutes before the first chorus. Instruments drop out\\xa0for a bare bones bridge (2:51). The horns are wonderfully varied, with short bursts, longer lines, and chord changes.\"]}),/*#__PURE__*/t(\"p\",{children:[\"The horn arrangements on \",/*#__PURE__*/e(\"em\",{children:\"Dr. Funkenstein\"}),\" were split between \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/flex\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bernie Worrell\"})}),\"\\xa0and Fred Wesley. Though each song\u2019s horn arrangement was credited to one or the other, Clinton wrote in his autobiography, \u201CThey would do the same song: one would do half, and the other the other half. Bernie hated to do stock arrangements. I would tell him to do it artsy-fartsy, jazzy.\u201D \u2018Funkin\u2019\u2019 was credited to Bernie, and it does sound like his work. Bernie \",/*#__PURE__*/e(n,{href:\"https://www.redbullmusicacademy.com/lectures/bernie-worrell\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"said\"})}),\"\\xa0in a 2013 interview, \u201CI guess, I didn\u2019t know it at the time, but maybe it was unconventional, or... I don\u2019t know. But I had the pleasure of having \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/horns\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Maceo Parker, Fred Wesley\"})}),\"\\xa0from James Brown, and the \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/brecker\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Brecker Brothers, Michael\"})}),\"\\xa0and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/randy\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Randy\"})}),\", and Rick [Gardner] \u2013 he was the trumpeter from the group Chase \u2013 all on one session.\u201D (In the case of \u2018Funkin\u2019\u2019, Richard Griffith also plays trumpet.)\"]}),/*#__PURE__*/e(\"p\",{children:\"The guitar is the main instrument at times, and at other times is silent. This helps the vocals and horns shine. The guitar-then-horns philosophy is most evident from 2:32, when the guitar chords foreshadow what the horns will play. Then there\u2019s the bridge, which is a repeat of the intro, with guitar and hi-hat. At other times, the guitar is mixed very low. Listen from 3:45 when it plays that same \u201CWhen you see my mother\u201D chord progression. Clinton has a great feel as a producer for when instruments can be removed, or minimised, to maximise another part.\"}),/*#__PURE__*/e(\"p\",{children:\"Following the bridge, the song speeds up, and the final two minutes include two cathartic climaxes and joyous releases.\"}),/*#__PURE__*/e(\"p\",{children:\"Those releases are created in multiple ways. Listen from 4:08, when the tension really ramps up. The saxophone in the left speaker and Glen\u2019s voice have unresolved melodies and dramatic shifts in pitch. The drum pattern switches at 4:13 after a quick roll, and now plays the hi-hat on every eighth note, on the offbeat, making it feel like the track\u2019s going backwards. It\u2019s the same pattern as at 0:20-0:40, but paired with the left speaker\u2019s saxophone and insistent singing, it feels far more tense. The sax squeals and whines, playing free phrases that would sound like soloing if it wasn\u2019t for the continued vocals. The first release comes after another drum roll at 4:30. The sax on the right brilliantly sets up the One with an energetic three-note phrase.\"}),/*#__PURE__*/e(\"p\",{children:\"Through these last two minutes (and much of the song), Cordell Mosson\u2019s bass mostly follows\\xa0the same groove but touches of difference contribute to the most special moments. There are a few quick, higher-pitched notes from 4:30 during the drum roll.\"}),/*#__PURE__*/e(\"p\",{children:\"The next moment of release comes with a chord change and change of vocal melody, as Goins sings, \u201CHaving a good time\u201D at 4:54. The horns keep stabbing away, with some of their phrases sounding sure of themselves and some entirely unsure. There\u2019s soon a brief sax solo on the left, which repeats a phrase, and everything feels predictable for a moment, before the singers come in on the fourth beat: \u201CGiving up the P-Funk\u201D.\"}),/*#__PURE__*/e(\"p\",{children:\"There are other moments of joy, such as when Goins joins in on the One for the first of his \u201Cgood\u201Ds in \u201CI\u2019m having a good, good, good, good time\u201D from 5:02, and earlier in the song (1:10), with the backing singers\u2019 emphatic \u201CDon\u2019t\u201D on the One in the chorus. \u201CDon\u2019t worry about me / I\u2019m just funkin\u2019 around for fun\u201D.\"})]});export const richText3=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=mTXBfwFehlk\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Funkadelic\u2019s \",/*#__PURE__*/e(\"em\",{children:\"One Nation Under A Groove\"}),\"\\xa0(1975) rivalled \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/verge\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Standing On The Verge Of Getting It On\"})})}),/*#__PURE__*/e(\"em\",{children:\"\\xa0\"}),\"(1974) in its synthesis of funk and rock. Track 6, \u2018Cholly (Funk Getting Ready to Roll)\u2019 wasn\u2019t a huge hit like \u2018One Nation\u2019, but it has a similarly catchy refrain and irresistible bass work.\"]}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/pumpin\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Garry Shider\"})}),\"\\xa0delivers one of his many outstanding vocal performances. He tells a story of discovering funk: \u201CI was strung out on Bach / And Beethoven was my thing / I dug jazz, I dug rock / Anything with a swing / But I ran into a friend who told me there was so much more / Find the void that you miss / There is plenty to explore\u201D.\"]}),/*#__PURE__*/t(\"p\",{children:[\"The main rhythm guitar (likely played by Shider, though \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/stronger\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Michael Hampton\"})}),\"\\xa0also plays on the song) largely follows James Brown\u2019s \u201Ceverything is a drum\u201D philosophy. It emphasises \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0and in between plays scratchy chords on offbeats. It often goes a few bars without changing chords.\"]}),/*#__PURE__*/e(\"p\",{children:\"Variation is provided in part by the changes in vocal melodies, tones, and rhythms. The female backing singers \u2013 Dawn Silva and Lynn Mabry (who started with Sly and the Family Stone before joining P-Funk and forming Brides of Funkenstein), Debbie Wright and Mallia Franklin (of Parlet), Jeanette Washington (who sang with James Brown), Sheila Horne, and Linda Shider (wife of Garry) \u2013 create an almost hypnotising collage from 3:02. Their words are unintelligible and it doesn\u2019t matter in the slightest. Shider\u2019s own delivery is characteristically inventive. Sometimes he sings with power (\u201CI would dance / I would sing / I would get lost in my dreams\u201D) and at other times contorts his voice as if he\u2019s fiddling with knobs on effects pedals (\u201CSorry, but I got to leave y\u2019all / I gotta go with the funk\u201D).\\xa0\"}),/*#__PURE__*/e(\"p\",{children:\"It\u2019s that vocal collage section where the bass really lets loose. It still takes care of the One, but suddenly there are flurries of notes, with space tastefully left in certain beats. At 3:59, it dovetails with two guitars for a new riff. There sounds potential for a longer, jammier section, but the track fades out \u2013 P-Funk had jams for days, and plenty to say. The next track, \u2018Lunchmeataphobia (Think! It Ain\u2019t Illegal Yet)\u2019, repeats one of the many P-Funk slogans open to interpretation, before George Clinton talks about our \u201Cmental state of diarrhoea\u201D on \u2018P.E. Squad/DooDoo Chasers\u2019.\"})]});export const richText4=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/t(\"p\",{children:[\"After the dissolution of Parliament and Funkadelic, George Clinton started his solo career. When he signed with Capitol, Clinton had \u201Ctracks ready to go\u201D, he wrote in his autobiography, \",/*#__PURE__*/e(\"em\",{children:\"Brothas Be, Yo Like George, Ain\u2019t That Funkin\u2019 Kinda Hard on You?\"}),\"\\xa0George had been working with \u201Ctwo different production groups\u201D. His music with Garry Shider and David Spradley mostly ended up on the \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/pumpin\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"P-Funk All Stars\"})}),\"\\xa0album, \",/*#__PURE__*/e(\"em\",{children:\"Urban Dancefloor Guerillas\"}),\", but included\\xa0the megahit\\xa0\u2018Atomic Dog\u2019, from Clinton\u2019s first solo album, 1982\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Computer Games. \"}),\"George was also working with \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/onenation\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Junie Morrison\"})}),\", who co-wrote and co-produced three tracks, including \u2018One Fun At A Time\u2019.\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=DqeUqgyJ2js\"})})}),/*#__PURE__*/e(\"p\",{children:\"Clinton describes \u2018One Fun At A Time\u2019 as \u201Can ode to monogamy\u201D. Unlike James Brown\u2019s early funk, chord changes shift the song\u2019s mood with each section. George\u2019s voice sounds as good as it had in several years. His vocal melodies reflect the chord changes but throw in some unexpected notes: \u201CThere are so many funny things to do\u201D sounds almost wistful, contrasting intriguingly with the bolder bass and snappy snare.\"}),/*#__PURE__*/e(\"p\",{children:\"In the chorus (\u201COne fun at a time\u201D), the bass ascends in one bar, then descends in the next\\xa0\u2013 but even as its second phrase answers the first, it never seems to make a final statement. The tension seems to be reflected in George\u2019s cries in the latter half of the song, as his voice becomes more hoarse. The bass playing in the chorus in unusual for P-Funk in emphasising almost every quarter note. In the bridge (\u201CAny day now\u201D, 1:20), it leaves the One free for the first six bars, making that section seem less assertive.\"}),/*#__PURE__*/e(\"p\",{children:\"The horns, arranged by Fred Wesley,\\xa0are mostly boisterous, before six soft notes usher in an unusually melancholy section from 2:07. The album features Wesley, Larry Hatcher, Maceo Parker, and Richard Griffith, all of whom had been playing on latter day Parliament-Funkadelic records. The horns here are mixed more to the background\\xa0than they might have been in the \u201970s, with the synth dovetailing with many of the vocals. The synth is likely played by Junie, and it\u2019s possible he played the bass part on a keyboard too (its attack certainly sounds like a keyboard).\"}),/*#__PURE__*/e(\"p\",{children:\"It\u2019s easy to imagine another singer hearing the music and opting for a more straight ahead dance tune. George's vocal melodies and delivery are unpredictable throughout. At times he sounds mysterious \u201CAny day now, you will find me / Laughing with a smile\u201D before the last third when he sounds like he can\u2019t contain his energy.\"})]});export const richText5=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=l9fN-8NjrvI\"})})}),/*#__PURE__*/e(\"p\",{children:\"How many better opening tracks are there than Kendrick Lamar\u2019s \u2018Wesley\u2019s Theory\u2019?\"}),/*#__PURE__*/t(\"p\",{children:[\"Lamar is probably the biggest 21st century artist to record unwatered-down funk. For his magnum opus, \",/*#__PURE__*/e(\"em\",{children:\"To Pimp a Butterfly\"}),\"\\xa0(2015), Kendrick recruited several jazz and funk (and funk-inspired) musicians, among them George Clinton, Thundercat, Flying Lotus, Terrace Martin, Robert Glasper, Kamasi Washington, Bilal, Dr Dre, and Snoop Dogg.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Kendrick \",/*#__PURE__*/e(n,{href:\"https://youtu.be/AUEI_ep9iDs?t=200\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"raps about\"})}),\"\\xa0\u201Csomething that we weren\u2019t taught in school\u201D; how no one teaches young black males how to manage money before they\u2019re thrown in jail. (\u201CUneducated but I got a million dollar check.\u201D) The title is a reference to Wesley Snipes, who was imprisoned for tax evasion. Clinton sings, \u201CLookin\u2019 down is quite a drop / Lookin\u2019 good when you\u2019re on top\u201D.\"]}),/*#__PURE__*/t(\"p\",{children:[\"In his collaboration with Prince, \u2018Paradigm\u2019, from the sprawling George Clinton & The P-Funk All Stars album \",/*#__PURE__*/e(\"em\",{children:\"How Late Do U Have 2BB4UR Absent?\"}),\", Clinton sings, \u201CLook both ways before you cross my mind.\u201D\"]}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/bump\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bootsy Collins\"})}),\"\\xa0used the same idea in \u2018After The Storm\u2019, his collaboration with Tyler, The Creator and Kali Uchis: \u201CSo you gotta be careful, baby / And look both ways / Before you cross my mind\u201D.\"]}),/*#__PURE__*/e(\"p\",{children:\"Clinton revisited the lines on \u2018Wesley\u2019s Theory\u2019, which\\xa0took inspiration from several tunes.\"}),/*#__PURE__*/t(\"p\",{children:[\"The lyric \u201CEvery n* is a star\u201D is interpolated from a \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=3y56omFve_4\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Boris Gardiner song\"})}),\"\\xa0that itself interpolates a \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/ifyouwantmetostay\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Sly & The Family Stone\"})}),\"\\xa0song, \u2018\",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=3-1s2gqDs_U\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Everybody Is a Star\"})}),\"\u2019. Sly was one of George Clinton\u2019s idols (and later close friend and partner in getting high). Gardiner got a writing credit, along with Kendrick, Clinton, Thundercat, Flying Lotus, and Flippa (the latter two produced the track, with additional production from Sounwave and Thundercat). Interestingly, \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/thankful\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Sly\"})}),\"\\xa0didn\u2019t get a writing credit. Gardiner\u2019s song is, confusingly, not widely recognised as an interpolation.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Another guest on \u2018Wesley\u2019s\u2019,\\xa0Dr Dre, built a career on\\xa0interpolating Parliament songs. His first album mined the 1975 classic \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/star-child\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Mothership Connection\"})})}),\"\\xa0for Bernie Worrell\u2019s space synths and hooks like \u201CSlow down sweet chariot, stop, and let me ride\u201D (\u2018Let Me Ride\u2019), which itself was lifted from a African American spiritual.\"]}),/*#__PURE__*/e(\"p\",{children:\"Thundercat\u2019s bass is monstrous, a hip-hopped Bootsy bass dipped in molten lava. In his solo material, Thundercat often plays with more watery sounds. Here, his bass sounds like the gargled speech of a mythical beast emerging from a volcano.\"}),/*#__PURE__*/t(\"p\",{children:[\"Thundercat\u2019s playing has a flexibility that contrasts with the computerised bass drum. But he joins the drums on the One, adding to the footstomping snarl of the track, no matter how matter his phrases wander unpredictably. Listen from 0:58 and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0shortly after. \",/*#__PURE__*/e(\"em\",{children:\"Meeean\"}),\". His playing is a large part of why the song feels like it\u2019s always moving \u2013 listen as he shifts up in pitch at 1:56, giving Kendrick\u2019s swaggering lines unexpected melodicism.\"]}),/*#__PURE__*/e(\"p\",{children:\"There\u2019s quite a cast of musicians on the track (and album). Ash Riser and Whitney Alford sing along with Thundercat. Josef Leimberg plays trumpet (in the opening\u2019s Gardiner interpolation, and possibly in the 1:35-onwards section \u2013 \u201CWhen I get signed, homie, I\u2019ma act a fool\u201D). Terrace Martin plays alto saxophone (and unspecified \u201Chorns\u201D). The horns from 1:00 on sound digitalised, possibly a synth really (which maybe explains the \u201Chorns\u201D credit).\"}),/*#__PURE__*/e(\"p\",{children:\"The horns are already sounding Bernie-esque before the inspiration is unmistakable before 1:59 with that spacey synth, presumably played by Flying Lotus or Sounwave.\"}),/*#__PURE__*/e(\"p\",{children:\"The unpredictably throughout the track \u2013 Thundercat\u2019s burbling bass and refusal to stick to one line, Clinton and Kendrick trading vocals, backing vocals jumping from right to left speakers, the Dre voicemail \u2013 is a startling start to an album.\"}),/*#__PURE__*/e(\"p\",{children:\"After Dre\u2019s cameo, there\u2019s a new chord progression and ominous synth-strings as Kendrick raps as Uncle Sam, who tells him, \u201CAnd everything you buy, taxes will deny / I\u2019ll Wesley Snipe your ass before 35\u201D. The beat disappears for that last line before returning on the One.\"}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(n,{href:\"https://pitchfork.com/features/5-10-15-20/kamasi-washington-on-the-music-that-made-him-a-jazz-colossus/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Washington said\"})}),\"\\xa0of \",/*#__PURE__*/e(\"em\",{children:\"Butterfly\"}),\": \u201CThat record changed music, and we\u2019re still seeing the effects of it. It went beyond jazz; it meant that intellectually stimulating music doesn\u2019t have to be underground.\u201D\"]})]});export const richText6=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"Happy birthday to Randy Brecker, who turned 79 this week!\"})}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=NlmdQamO4Qo\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Randy Brecker formed The Brecker Brothers with his younger brother \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/brecker\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Michael\"})}),\". The pair may be two of the most prolific session musicians in history. Their time with \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/star-child\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Parliament\"})}),\" was the peak of P-Funk hornery. The Breckers both had solo careers, and Randy\u2019s \",/*#__PURE__*/e(\"em\",{children:\"34th\\xa0N Lex \"}),\"(2003) was some of the grooviest music he\u2019s made.\"]}),/*#__PURE__*/t(\"p\",{children:[\"\u2018Let It Go\u2019 is full of unpredictable fills, riffs, and registers from alternating horn players. There are three saxophones: David Sanborn on alto sax, Ronnie Cuber on baritone, and brother Michael on tenor. \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/horns\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Fred Wesley\"})}),\"\\xa0plays trombone. They play off each other delightfully, with the kind of precision and control of breath that comes with decades of playing.\"]}),/*#__PURE__*/e(\"p\",{children:\"The horn motif is the most playfully weird part of a playfully weird track. It sounds a little mocking, but then the bridge at 0:57 makes it feel like maybe it was doubting itself. It\u2019s the kind of melody that suggest both nervous, uncertain energy and derision.\"}),/*#__PURE__*/t(\"p\",{children:[\"Randy solos from 2:03, and is the only section to catch a breath. He plays bluesy phrases with slightly sad resolutions, sounding a little like \u201980s Miles Davis, then ramps up again along with the band, and by the wild conclusion of the track you could have easily have forgotten things were quiet for a moment. Randy has said he was always listening to \u201C\",/*#__PURE__*/e(n,{href:\"https://www.allaboutjazz.com/catching-up-with-randy-brecker-randy-brecker-by-mike-brannon\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Miles, Clifford Brown and Chet Baker\"})}),\"\u201D growing up.\\xa0\"]}),/*#__PURE__*/t(\"p\",{children:[\"George Whitty programmed the drums and bass, providing a solid foundation for the horn players to play on and offbeat. The bass hitting \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0is a rare thing you can rely on amid the unpredictability. But it doesn\u2019t stick to one line; in the first minute it\u2019s particularly free. Whitty\u2019s snare bites away during Randy\u2019s solo, and the drum roll at 3:00 perfectly sets up the return of the motif.\"]}),/*#__PURE__*/e(\"p\",{children:\"Gary Haase & The GH Vocal Machine\\xa0were credited with \u2018additional sound\u2019 and \u2018vocal effects\u2019. These are most present from 1:50, just before Randy\u2019s solo, and they\u2019re nattering away in the background during the solo.\"}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(\"em\",{children:\"34th\\xa0N Lex\"}),\"\\xa0won a Grammy for contemporary jazz album. The record was named after Randy\u2019s New York neighbourhood (34th Street and Lexington Avenue). His wife, Ava Rovatti, plays a tenor sax solo on the closing track, \u2018The Castle Rocks\u2019. Randy\u2019s still playing; his upcoming shows include two New York gigs in February.\"]})]});export const richText7=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(\"em\",{children:\"Happy birthday to \"}),/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/tomtom\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Tina Weymouth\"})})}),/*#__PURE__*/e(\"em\",{children:\", who turns 74 today!\"})]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=xphLY5ucIpQ\"})})}),/*#__PURE__*/e(\"p\",{children:\"Occasionally, Talking Heads\u2019 music would rival David Byrne\u2019s lyrics and vocal delivery for strangeness. Tina Weymouth\u2019s basslines in \u2018Making Flippy Floppy\u2019 made for one of those occasions.\"}),/*#__PURE__*/t(\"p\",{children:[\"Although Byrne was also credited with playing the instrument on \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/moonrocks\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Speaking Tongues\"})})}),/*#__PURE__*/e(\"em\",{children:\"\\xa0\"}),\"(1983), it\u2019s hard to imagine anyone but Weymouth having played bass on \u2018Floppy\u2019. The playing is utterly charateristic of her feel for space and when to play with emphasis. Weymouth had never played bass before Talking Heads, and her lack of technical virtuosity shows, but it\u2019s her disregard for flashiness that helps amplify the grooves across \",/*#__PURE__*/e(\"em\",{children:\"Tongues\"}),\", their funkiest album. Weymouth hits \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0every bar, but the rest of her verse phrases sound far less certain; it\u2019s as though the bass is questioning itself during the pitch-bends. \\xa0\"]}),/*#__PURE__*/t(\"p\",{children:[\"In the writing process for \",/*#__PURE__*/e(\"em\",{children:\"Tongues\"}),\"\\xa0and the preceding album, \",/*#__PURE__*/e(\"em\",{children:\"Remain in Light\"}),\", the band would build songs piece-by-piece, layering instruments on top of one another. \u2018Floppy\u2019 presumably started with bass, such is the extent to which it dominates the rhythms and melodic progressions. Weymouth leaves enough space for the stuttering guitar in the first minute, and the burbling synth in the chorus.\"]}),/*#__PURE__*/t(\"p\",{children:[\"When the main rhythm guitar part comes in at 1:09, and Weymouth switches to more straightforwardly bouncy, happy melodies, it comes as a relief. The choruses on \",/*#__PURE__*/e(\"em\",{children:\"Speaking Tongues \"}),\"often served this purpose: the verses would be uneasy before a joyful, singalong release.\"]}),/*#__PURE__*/e(\"p\",{children:\"After the first instrumental passage (starting at 2:43), the next section is a kind of chorus but with different words. That was a theme on this album, where Byrne would keep the vocal melody but change the lyrics. There\u2019s a great transition, with the rhythm guitar subtly coming in on the right speaker toward the end of the instrumental passage and then the guitar on the left speaker playing more obviously with the return of the vocals.\"}),/*#__PURE__*/t(\"p\",{children:[\"Some of Byrne\u2019s lyrics are open to interpretation (\u201CThere are no big secrets\u201D). The line \u201CStill don\u2019t make no sense\u201D has been \",/*#__PURE__*/e(n,{href:\"https://www.allmusic.com/album/speaking-in-tongues-mw0000196011\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"interpreted\"})}),\"\\xa0as a comment on the ambiguous nature of the lyrics themselves. Some of them are just really fun: \u201CWe have great big bodies / We got great big heads\u201D. After his final lines (\u201CWe kill the beast / Kill it!\u201D), there\u2019s a chance to enjoy Weymouth\u2019s bassline without as much accompaniment, before the great scratchy guitar returns and a wailing guitar (probably played by Alex Weir) takes us out.\\xa0\"]})]});export const richText8=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"Happy birthday to Michael Hampton, Kidd Funkadelic, who turns 68 today!\"})}),/*#__PURE__*/t(\"p\",{children:[\"In 1974, Funkadelic were touring \",/*#__PURE__*/e(\"em\",{children:\"Standing on the Verge of Getting It On\"}),\", a guitar tour de force heavy on \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/verge\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Eddie Hazel\"})}),\". Backstage at a at a show in Cleveland, someone told the band that a seventeen-year-old could play\\xa0the 10-minute\\xa0\u2018Maggot Brain\u2019 \u2013 another Hazel classic \u2013 \u201Clike he had written it\u201D, wrote George Clinton. The band went to the kid\u2019s house and watched him play the whole solo.\"]}),/*#__PURE__*/t(\"p\",{children:[\"That kid was\\xa0Michael Hampton, who joined them on tour\\xa0and played with Parliament-Funkadelic for decades. His renditions of \u2018Maggot Brain\u2019 became staples of live shows.\\xa0Hampton took a starring role on Funkadelic\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Let\u2019s Take It To The Stage \"}),\"(1975) and even had the next album named after him (\",/*#__PURE__*/e(\"em\",{children:\"Tales of Kidd Funkadelic\"}),\", 1976).\"]}),/*#__PURE__*/t(\"p\",{children:[\"By 1981, record labels weren\u2019t supporting Parliament or Funkadelic like they had done, but George was perservering \u2013 for now, before starting his solo career with 1982\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Computer Games\"}),\". The last Funkadelic album before a 33-year gap (which 2014\u2019s \",/*#__PURE__*/e(\"em\",{children:\"First Ya Gotta Shake the Gate\"}),\"\\xa0gave a nod to with its 33 tracks) was 1981\u2019s \",/*#__PURE__*/e(\"em\",{children:\"The Electric Spanking of War Babies\"}),\". The album, in Clinton\u2019s words, \u201Cexamined the darker side of patriotism\u201D.\"]}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=2qWWfaOBWR0\"})})}),/*#__PURE__*/e(\"p\",{children:\"Clinton described \u2018Funk Gets Stronger\u2019 as \u201Cour way of reminding people that we could take a punch.\u201D The song was \u201Can antidote to the electric spanking, the pure and powerful force that could stop the deception from happening.\u201D\"}),/*#__PURE__*/t(\"p\",{children:[\"\u2018Part 1\u2019 features Hampton on lead guitar with Roger Troutman on rhythm guitar.\\xa0There\u2019s a whole lot going on in the opening minute. The track starts with only percussion, including what sounds like a cu\\xedca, the peculiar friction drum (named after a possum that emits a high pitched cry). This was likely played by Larry Fratangelo, percussionist on multiple P-Funk albums and credited on \",/*#__PURE__*/e(\"em\",{children:\"Electric Spanking\"}),\".\"]}),/*#__PURE__*/t(\"p\",{children:[\"The main guitar riff starts, implying a drum beat before there is one. It sounds like the kind of riff that could loop for the entire song, but just as you\u2019ve become accustomed to it, the guitar drops out for a percussion and vocal section with Bootsy telling us to put it on \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\".\"]}),/*#__PURE__*/t(\"p\",{children:[\"Soon there are two guitars, one in each speaker. The main riff is on the right and dovetails nicely with the horn riff (listen with from 1:12). Saxophonists Pat Rizzo and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/brecker\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Michael Brecker\"})}),\"\\xa0joined trumpeter \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/thankful\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Cynthia Robinson\"})}),\", in making this one of the few Funkadelic albums to feature horns. (The general rule, Clinton has said, was \u201CNo psychedelic guitars for Parliament and \",/*#__PURE__*/e(n,{href:\"https://www.rollingstone.com/music/music-news/george-clinton-the-rolling-stone-interview-230616/2/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"no horns on Funkadelic\"})}),\".\u201D) Sometimes the guitar plays with the horns, sometime takes up where they left off, and sometimes seems independent.\"]}),/*#__PURE__*/e(\"p\",{children:\"The horn riff that persists through much of \u2018Part 1\u2019 and the second part of the song, \u2018(Killer Millimeter Longer Version)\u2019, only teases us to begin with. It\u2019s not until nearly 3 minutes in that it returns. Luckily there\u2019s a lot of other aspects to enjoy, with the cu\\xedca popping up at unexpected moments and the guitar on the right sometimes playing the main riff and sometimes improvising.\"}),/*#__PURE__*/e(\"p\",{children:\"Desire the unpredictability, the song is really built on repetition: the guitars, the bass, the lyrics (\u201CFunk gets stronger\u201D, \u201CRoll call, she boogie\u201D, \u201CYou keep holding me back\u201D). There are no verses, quite, but rather a few phrases repeated through the song. But until you\u2019ve listened to the song many times, you couldn\u2019t guess which musical elements would accompany these lyrics. This is something P-Funk did so well: blending repetition with unpredictability.\"}),/*#__PURE__*/t(\"p\",{children:[\"George Clinton joins Bootsy on vocals. His \u201CRoll call\u201D lines add another rhythm that you could sway to or bounce to: the song is full of rhythm, but more restrained than much of Parliament\u2019s funk, and Funkadelic\u2019s \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/onenation\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"One Nation Under a Groove\"})})}),\". George\u2019s \u201Ccall\u201D satisfyingly hits the One along with the band.\"]}),/*#__PURE__*/e(\"p\",{children:\"At a bridge section at 4:25, the bass switches to a gnarly slapped and popped line, and the cu\\xedca has another moment to shine. Listen to how rarely the cu\\xedca\\xa0plays on the beat \u2014 it\u2019s always hopping away from the metre.\"}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=_AVP0_2WYUA\"})})}),/*#__PURE__*/e(\"p\",{children:\"\u2018Killer Millimeter Longer Version\u2019 has Hazel on lead guitar and Sly Stone on rhythm guitar. Sly also sings, and the song has some of his \u201Cmost poetic lyrics\u201D, wrote Clinton. Sly\u2019s voice is an intriguing rasp. The guitar in the left speaker gives his vocals space then plays scratchy, wah-wahed chords in between lines.\"}),/*#__PURE__*/e(\"p\",{children:\"George sounds energised in this version. His laid back \u201CRoll call\u201D lines are gone, and he sings \u201CYou keep holding me back\u201D with urgency.\\xa0Sly was one of Clinton\u2019s idols, and George sounds so thrilled to have him on a Funkadelic record: \u201CI think I see Sly! Hey, Sly!\u201D\\xa0(You can also hear George say, \u201CYo, Sly!\u201D at 1:43 during Sly\u2019s verse. It\u2019s not clear whether one part was overdubbed or whether George was so hyped to have Sly there he was shouting out during Sly\u2019s recording.)\"}),/*#__PURE__*/e(\"p\",{children:\"Sly references boxers Sonny Liston, Cassius Clay (Muhammad Ali), and Joe Frazier, as well as the latter two\u2019s Thrilla in Manila fight. (Funk is a \u201Csilly millimeter longer\u201D, and\u201CAs they say in the great big state of Texas / An armadillo millimeter longer\u201D, and \u201CA gorilla millimeter longer\u201D, and \u201Ca Thrilla In Manila longer\u201D.)\"}),/*#__PURE__*/e(\"p\",{children:\"Sly & The Family Stone rarely mentioned funk\\xa0explicitly. But Sly is fully onboard the power of funk train here. \u201CEverything I do from now on is gonna be funky!\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"At the end, the band sing a little of \u2018She Loves You\u2019 by The Beatles.\"}),/*#__PURE__*/t(\"p\",{children:[\"Though Funkadelic were about to take a 33-year break, the P-Funk gang continued to make great records with George Clinton, George Clinton\u2019s Family Series, \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/shine\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bootsy Collins\"})}),\", \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/pumpin\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"P-Funk All Stars\"})}),\", \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/flex\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bernie Worrell\"})}),\", and an array of \u2018solo\u2019 acts that featured many P-Funkers. \u201CFunkadelics say, \u2018Funk gets stronger!\u2019\u201D\"]})]});export const richText9=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"October was Bassist Month, paying tribute to Flea and Bootsy Collins. Two more funk legends were born in October. John \u201CJabo\u201D Starks would have turned 87 this year, and Phelps \u201CCatfish\u201D Collins 81. Today we look back on a James Brown classic that features some all-time grooving from Jabo and Catfish.\"})}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=N-2skqUNHwU\"})})}),/*#__PURE__*/e(\"p\",{children:\"Back in 1970, it was common to release a single on two sides of a 7-inch vinyl. James Brown's \u2018Super Bad\u2019 had Part 1 and Part 2 on the a-side and Part 3 on the b-side. Like he did with \u2018Get Up (I Feel Like Being a) Sex Machine\u2019, Brown released a faux-live version of the song as the lead track of an album a little while later (1971 in the case of \u2018Super Bad\u2019).\\xa0The original song hit #1 on the R&B chart.\"}),/*#__PURE__*/e(\"p\",{children:\"It\u2019s funny to think Catfish and Bootsy Collins might never have had the chance to make such impact on funk if not for a pay dispute in Brown\u2019s previous band. In 1970, before a gig in Columbus, Georgia, the band threatened not to go on. \u201CThey wanted more money,\u201D James wrote in his autobiography. \u201CI wouldn\u2019t give in to a threat like that\u2014never. You cannot lose control of your group. Once you give in to that kind of thing, there\u2019s no stopping it.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"The Pacesetters, a group from Cincinnati, had already played on \u201Cseveral things\u201D for Brown at the King studio. Phelps \u201CCatfish\u201D Collins played guitar, his younger brother William \u201CBootsy\u201D Collins bass, Frank \u201CKash\u201D Waddy drums, Clayton \u201CChicken\u201D Gunnells trumpet, and Robert McCullough sax. They replaced the outgoing musicians, including Melvin and Maceo Parker and Jimmy Nolen. Some musicians soon returned: Fred Wesley, Hearlon \u201CSharp Cheese\u201D Martin, and drummers Clyde Stubblefield and John \u201CJabo\u201D Starks (which meant Brown had three drummers on the road). James also \u201Cadded a couple of trumpet players called Hasaan and Jasaan.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"On \u2018Super Bad\u2019, Darren \u201CHasaan\u201D Jamison plays trumpet, McCullough plays sax solos, and Johnny Griggs adds congas to Jabo\u2019s drums. As Brown\u2019s right hand man, Bobby Byrd stuck around this time (though repeatedly quit and returned) and played Hammond organ.\"}),/*#__PURE__*/t(\"p\",{children:[\"Catfish would later make his name \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/aquaboogie\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"with Jimmy Nolen-esque scratchy strumming\"})}),\",\\xa0but plays a picked guitar part during the main groove on \u2018Super Bad\u2019. There's no guitar until after 15 seconds: it\u2019s just Jabo Starks\u2019s drums, Bootsy Collins\u2019s bass, and a few stabs of trumpet. Bootsy\u2019s bassline hints at the restlessness he played with when Brown first met him (in Brown\u2019s words, Bootsy was playing \u201Ca lot of bass--the ifs, the ands, and the buts\u201D). But by now, Bootsy had absorbed the lesson of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\", making sure to emphasise that crucial beat. The line is still pretty relentless, constantly pitch-hopping and covering all four strings.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Catfish does switch to strumming in the \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/bridge\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"bridge\"})}),\"\\xa0sections (as at 0:53). You could call them choruses, and they do include the titular lyric (\u201CI got soul / And I\u2019m super bad\u201D), but there\u2019s no chord change, Bootsy sticks with the same bassline, and the section only lasts four bars. Then the next bridge lasts just two bars (1:27) before a kind of middle eight section (that lasts far more than eight bars). There\u2019s little point in using conventional song structure terms with James Brown\u2019s music \u2013 he did what he pleased, and what pleased him was funky.\"]}),/*#__PURE__*/e(\"p\",{children:\"The song features an absolutely\\xa0classic\\xa0Brown lyric: \u201CSometimes I feel so nice / Good God / I jump back / I wanna kiss myself\u201D. It also features some of his best screeches.\\xa0One of them comes at 2:21 in that middle eight-ish section, just before the first of very strange, tormented-sounding sax solos from McCullough.\"}),/*#__PURE__*/e(\"p\",{children:\"In the next verse, after a typically seamless transition (how can James come in that smoothly after the wailing sax?), there\u2019s another great line: \u201CGot the move that tells me what to do.\u201D Brown leads to the next \u201CI got soul\u201D with surely the coolest sounding repetitions of \u201CI\u201D ever recorded.\"}),/*#__PURE__*/e(\"p\",{children:\"The end of Part 2 and Part\\xa03 sound\\xa0way more improvised, and the band seemed to wind down a couple of times before Brown ramps things up again. There are some classic  shoutouts to the band. \u201CBlow me some \u2019Trane, brother!\u2019, Brown instructs\\xa0McCullough, referencing John Coltrane.\\xa0\u201CDo your thing, Robert! \u2019Trane!\u201D he says later. Brown also shouts out Bootsy, Hasaan, and Johnny, whose percussion makes the first of McCullough\u2019s solos seem particularly frenzied.\"}),/*#__PURE__*/t(\"p\",{children:[\"Jabo\u2019s drums aren\u2019t quite as fidgety as the bass but add plenty of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/meters\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"syncopation\"})}),\". Like many classic Brown grooves, the drums\u2019 syncopation comes mainly in the second half of each bar. Jabo plays the kick on the One, then not again until the \u2018and\u2019 of \u201Cthree and four\u201D, and then again on the last \u2018and\u2019 (the last eighth note) of the bar. This sets up the return of the One, which the rest of the band hit.\"]}),/*#__PURE__*/t(\"p\",{children:[\"And like many Brown grooves, not too much of the drum kit was used \u2013 only the kick, snare, and hi-hat. (This was something Stubblefield \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=2SFEoK8ENxU\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"joked\"})}),\"\\xa0about: \u201C[Starks and I] didn\u2019t use the toms much. We just used the snare and the bass drum and the cymbals. (...) But we never used the toms, never, for nothing, and it\u2019s amazing. I was wondering why we have these drums up here.\u201D)\"]})]});export const richText10=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=xBcpaB8lq44\"})})}),/*#__PURE__*/t(\"p\",{children:[\"The Gap Band\u2019s core members were brothers Charlie, Ronnie, and Robert Wilson, all multi-instrumentalists and singers (Charlie sang lead). They were as much about R&B and soul as they were groovin\u2019, but \u2018Outstanding\u2019, from 1982's \",/*#__PURE__*/e(\"em\",{children:\"Gap Band IV\"}),\", brought plenty of foottapping, headnodding funk. The song has been extensively sampled in hip-hop. Ice Cube used it for his \u2018\",/*#__PURE__*/e(n,{href:\"https://www.whosampled.com/sample/9598/Ice-Cube-True-to-the-Game-The-Gap-Band-Outstanding/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"True to the Game\"})}),\"\u2019 (1991) and Redman for \u2018\",/*#__PURE__*/e(n,{href:\"https://www.whosampled.com/sample/3651/Redman-Blow-Your-Mind-The-Gap-Band-Outstanding/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Blow My Mind\"})}),\"\u2019 (1992).\"]}),/*#__PURE__*/t(\"p\",{children:[\"The bassline is a great example of leaving space to make the notes that \",/*#__PURE__*/e(\"em\",{children:\"are\"}),\"\\xa0played out stand out more. Most importantly, this gives the note on the One extra emphasis. Bassist Robert hits every other One. In the bridge (\u201CYou light my fire\u201D), the bass melody changes, but the groove broadly the same. That\u2019s true for the chorus too, which stands out for the extended syllables at the start of \u201COutstanding\u201D and \u201CExcited\u201D.\\xa0The chorus is interesting because both the One and are emphasised: the One with the deep, staccato bass note and drum kick, and the two with a trumpet shriek and the vocals.\"]}),/*#__PURE__*/e(\"p\",{children:\"The second verse is differentiated by the long \u201Clooooove\u201D in \u201CI really love the way you love me\u201D. In the second bridge, the song feels fuller\\xa0with Ronnie\u2019s trumpet imitating\\xa0the vocal melody.\"}),/*#__PURE__*/e(\"p\",{children:\"In the verses, the band play a few chords, hitting G# almost every bar. In the bridge, we get C# for the first time, and there\u2019s no G#, giving the section a really different feel. Then the chorus returns to G#, and it\u2019s like coming back home.\"}),/*#__PURE__*/e(\"p\",{children:\"\u2018Outstanding\u2019 was written by drummer Raymond Calhoun. Calhoun-composed tracks were fairly rare for The Gap Band, but tended to steer away from the group\u2019s vocal-focused songs in favour of groove. He wrote the funky \u2018I Found My Baby\u2019 (1984) and the more robotic, but still interesting \u2018I Know We\u2019ll Make It\u2019 (1985).\"}),/*#__PURE__*/e(\"p\",{children:\"Later in the song (2:37, 2:48, 2:53, and 2:59) the trumpet adds new melodies, helping to make the song feel like it\u2019s progressing. But the groove remains the same, with the bass and drums providing a funky platform for Charle\u2019s more free singing as the song nears its fadeout. From 2:30, he starts to let loose. \u201CGirl, you know, you know, you know you knock me out / I really looove the way you way you knock me out\u201D. From what was a restrained opening, with carefully delivered lines (\u201CWish that I could love you right / In a special way, girl\u201D), the song now feels like it represents the overwhelming feeling those shrieks of trumpet hinted at since the first chorus.\"}),/*#__PURE__*/t(\"p\",{children:[\"Sheila Brody (previously known as Sheila Horne), who contributed backing vocals to \u2018Outstanding\u2019 (and also sang with Brides of Funkenstein, George Clinton & P-Funk All Stars), \",/*#__PURE__*/e(n,{href:\"https://15questions.net/interview/fifteen-questions-interview-sheila-brody-george-clinton-public-enemy-gap-band/page-1/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"says\"})}),\", \u201CIt\u2019s powerful to tell someone that they are outstanding\u201D.\"]})]});export const richText11=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"We continue Bassist Month with a Bootsy Collins classic. Happy birthday to Bootsy, who turns 73 tomorrow \u2013 and is still funkin\u2019!\"})}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=OM2k-FGmN3U\"})})}),/*#__PURE__*/t(\"p\",{children:[\"In 1982, Bootsy Collins released \",/*#__PURE__*/e(\"em\",{children:\"The One Giveth, The Count Taketh Away\"}),\", the first of a few Bootsy album titles to mention funk or \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\". Following were \",/*#__PURE__*/e(\"em\",{children:\"Tha Funk Capital of the World\"}),\"\\xa0(2011), \",/*#__PURE__*/e(\"em\",{children:\"World Wide Funk \"}),\"(2017), \",/*#__PURE__*/e(\"em\",{children:\"The Power of the One \"}),\"(2020), and the upcoming \",/*#__PURE__*/e(\"em\",{children:\"Album of the Year #1 Funkateer\"}),\". \"]}),/*#__PURE__*/e(\"p\",{children:\"The album opened with \u2018Shine-O-Mite (Rag Popping)\u2019. Most of the track is dominated by Bootsy\u2019s fuzz bass and a heavy emphasis on the One. Bootsy\u2019s elder brother, Catfish Collins, plays typically irresistibly fidgety guitar. It sounds like he might have palm muted his entire part, achieving a scratchy sound that adds to song\u2019s restless feel. That restlessness is partly due to an abundance of syncopation, with Bootsy, Catfish, and synths all hitting offbeats, keeping almost every bar unpredictable. It also comes through a lack of structure. There aren\u2019t really clear verses or choruses. The primary hook is Bootsy\u2019s main bassline. He leads up to the One with different, short phrases, and leaves plenty of space in each bar for the other instrumentation.\"}),/*#__PURE__*/t(\"p\",{children:[\"Bootsy has talked about the power of the One, to borrow his title, in almost mystical terms. He told \",/*#__PURE__*/e(n,{href:\"https://www.rollingstone.com/music/music-news/bootsy-collins-power-of-the-one-interview-video-1058663/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Rolling Stone\"})}),\":\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"\u201CI\u2019ve started to realize \u2018the one\u2019 is bigger than musical terms,\u201D he says. \u201CIt means all of us collectively together, we\u2019re equal. We are the one. We\u2019re the ones that take care of this planet. We\u2019re the ones that make the music and invent stuff. And regardless of our differences, we all are still on this mothership, which is the Earth. It\u2019s one planet, and we\u2019re all on it. There\u2019s millions of us on the planet, but we\u2019re all one people. If we go at it that way, we can do anything. That\u2019s the power of the one.\u201D\"})}),/*#__PURE__*/t(\"p\",{children:[\"And \",/*#__PURE__*/e(n,{href:\"https://www.theguardian.com/music/2020/jun/15/bootsy-collins-were-all-funky-just-not-all-of-us-know-it\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"The Guardian\"})}),\":\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"\u201CFunk just brings people together, from the ground up. It doesn\u2019t have nothing to do with colour. It has nothing to do with status. It just brings you to \u2018the one\u2019, and the one thing that we all have in common is that we all just want to live. That\u2019s what it\u2019s really all about. It\u2019s making something from nothing, like me.\u201D\"})}),/*#__PURE__*/t(\"p\",{children:[\"And \",/*#__PURE__*/e(n,{href:\"https://relix.com/articles/detail/bootsy-collins-on-james-brown-george-clinton-and-the-power-of-the-one/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Relix\"})}),\":\"]}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"\u201CEventually, out of all of those experiences [with James Brown and Parliament-Funkadelic], I realized that it\u2019s much deeper than just a band being on the one. The power of the one is all of us collectively going in the same direction together. Everybody\u2019s a part of the one, no matter what their beliefs are. The one is that light in everybody\u2019s soul, no matter what they call it. The power of the one breaks down barriers. The goal is to bring everybody together, without the name calling. We\u2019re all on one planet\u2014spinning around in space\u2014and we have to work and live together. That\u2019s the power of the one.\u201D\"})}),/*#__PURE__*/t(\"p\",{children:[\"In pretty typical P-Funk fashion, some of the lyrics are difficult to make out: \",/*#__PURE__*/e(n,{href:\"https://genius.com/Bootsy-collins-shine-o-myte-rag-popping-lyrics\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Genius\"})}),\"\\xa0reckon the chant at 0:27 is \u201COotsy-be that-play unky-fe\u201D. That seems speculative, but matches CD reissue \",/*#__PURE__*/e(n,{href:\"https://www.discogs.com/release/2192792-William-Bootsy-Collins-The-One-GivethCount-Taketh-Away/image/SW1hZ2U6MTgyOTI4MjI=\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"liner notes\"})}),\". Well, alright then \u2013 it sure feels good!\"]}),/*#__PURE__*/t(\"p\",{children:[\"By \u201982, Parliament and Funkadelic had been recently dissolved, but the album is full of P-Funk playfulness, and P-Funk musicians. Like on\\xa0\",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/bump\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:/*#__PURE__*/e(\"em\",{children:\"Stretchin\u2019 Out In Bootsy\u2019s Rubber Band\"})})}),\", Fred Wesley helped Bootsy arrange the horns. The horn section was made up of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/horns\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Maceo Parker, \\xa0Fred Wesley\"})}),\", and Richard \u201CKush\u201D Griffith, but horns are absent on \u2018Shine-O-Mite\u2019, with the many vocal parts taking care of melodies that horns might have provided. The standout lyric might have come courtesy of George Clinton, who co-wrote and co-produced \u2018Shine-O-Mite\u2019 with Bootsy: \u201CThe secret to walking on water is knowing where the rocks are.\u201D\"]}),/*#__PURE__*/t(\"p\",{children:[\"George doesn\u2019t sing much but pops up for one of the bridge sections: \u201CBootsy gonna shine like the light from shiny shoes.\u201D Bootsy then goes back to the line that opened the song, referencing his own \u2018\",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=husf6po76mU\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bootzilla\"})}),\"\u2019 megahit by imitating the \u201CWiiiiiiiiiind me up!\u201D hook: \u201CShiiiiiiiiiine-O-Mite!\u201D That 'Bootzilla' line was previously borrowed by Parliament \u2013 twice \u2013 for \u2018\",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/deep\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Deep\"})}),\"\u2019 and \u2018\",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/rump\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Rumpofsteelskin\"})}),\"\u2019.\"]}),/*#__PURE__*/t(\"p\",{children:[\"After 3:20, there\u2019s some very \u201980s vocoder, but listening decades later, it\u2019s saved from sounding pastiche by the fidgety, offbeat percussion that arrives at 3:25. It sounds like possibly claps or drum hits filtered through rubbery effects. Bootsy\u2019s bass comes back in at 3:49 \u2013 on the One, of course.\",/*#__PURE__*/e(\"br\",{}),/*#__PURE__*/e(\"br\",{}),\"Today, Bootsy released 'The JB's Tribute Pastor P' from his upcoming album. The track is \",/*#__PURE__*/e(n,{href:\"https://x.com/Bootsy_Collins/status/1844014516972978601\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"dedicated\"})}),\" to drummers \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/morefela\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Jabo Starks and Clyde Stubblefield\"})}),\".\",/*#__PURE__*/e(\"br\",{}),/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})]}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=YZcMeybo8Ek\"})})})]});export const richText12=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=Hi_86tumn-0\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Bootsy Collins has said that once he\u2019d absorbed the lesson of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\" from James Brown, he took it to George Clinton, \",/*#__PURE__*/e(n,{href:\"https://relix.com/articles/detail/bootsy-collins-on-james-brown-george-clinton-and-the-power-of-the-one/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"who ran with it\"})}),\" and took it further. Well Bootsy kept on running. \u2018Psychoticbumpschool\u2019 hits the One and hits it hard, almost comically so in places. The song is a co-write between the classic P-Funk trio of Bootsy, Clinton, and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/insurance\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Bernie Worrell\"})}),\", and Bootsy\u2019s elder brother Catfish Collins, who had been playing with Bootsy since before their days in James Brown\u2019s original J.B.\u2019s.\"]}),/*#__PURE__*/t(\"p\",{children:[\"\u2018Psychoticbumpschool\u2019 was track 2 on the debut of Bootsy\u2019s Rubber Band, \",/*#__PURE__*/e(\"em\",{children:\"Stretchin\u2019 Out In Bootsy\u2019s Rubber Band\"}),\". Clinton had recognised Bootsy\u2019s star potential back when the Collins brothers were playing in Cincinnati. Bootsy's character concept grew with Mu-Tron-bass on tracks like Parliament\u2019s \u2018Ride On\u2019 and his \u201Cgentle, cartoony falsetto\u201D on Funkadelic\u2019s \u2018Be My Beach\u2019.\"]}),/*#__PURE__*/e(\"p\",{children:\"In 1976, during their days hanging out in New York, Clinton \u201Ccame up with a little lyrical hook: \u2018Stretching out in a rubber band.\u2019\u201D Bootsy expanded on it, adding the \u201Changing loose\u201D and the mighty \u201CHallelujah!\u201D Clinton described Bootsy\u2019s character as \u201Calmost like a human cartoon, but with a true-believer kind of evangelism about the power of the funk.\u201D\"}),/*#__PURE__*/e(\"p\",{children:'The Rubber Band, in Clinton\u2019s words, were \u201Cbasically Bootsy\u2019s group from Cincinnati\u2014him, Catfish, and Frank Waddy\u2014and we added in lots of P-Funk personnel: Garry Shider and Glen Goins and Bernie and myself. Boogie [Mosson], who played bass in the main group, switched over to drums on some of Bootsy\u2019s recordings.\u201D Singers Robert \"P-Nut\" Johnson and Gary \"Mudbone\" Cooper took on many of the leads on the album.'}),/*#__PURE__*/t(\"p\",{children:[\"Fred Wesley helped Bootsy arrange the horns. The horn section was made up of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/horns\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Fred, Maceo Parker\"})}),\", Rick Gardner, and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/brecker\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the Brecker Brothers, Michael and Randy\"})}),\", on saxophone and trumpet. The record was released a year after Parliament\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Mothership Connection \"}),\"and the same year as \",/*#__PURE__*/e(\"em\",{children:\"The Clones of Dr. Funkenstein\"}),\", the two records that were perhaps the peak of P-Funk hornery.\"]}),/*#__PURE__*/e(\"p\",{children:\"In the intro, after a chorus of kids have chanted something unidentifiable (sounding overjoyed to be at the Psychoticbumpschool), and Bootsy\u2019s given a hint of things to come with unignorable bass, Randy\u2019s trumpet comes in. But there are several fidgety stop-starts before we really get going after a minute. Mixed to the right speaker, the trumpet dovetails with the vocals: \u201CAll you\u2019ve got to do is free your mind, free your mind.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"The band get to introduce themselves with pitch-shifted vocals (\u201CI\u2019m Rick / Maceo\u201D) before \u201CHere comes Fred\u201D as Fred\u2019s trombone blows. It\u2019s also this section (1:35) where Bootsy introduces gnarly, deep, ringing bass notes that hint at things gearing up. He barely needs to play anything else after that deep note on the One. And it\u2019s here that Michael Brecker starts playing the song\u2019s main riff on his sax, almost two minutes on. It\u2019s a P-Funk classic, one to keep you coming back for lessons on bumping. It\u2019s so good the singers join in: \u201CDadadadada dahh-dadadada\u201D (2:18).\"}),/*#__PURE__*/t(\"p\",{children:[\"A few lines echo the chorus of Parliament\u2019s \u2018\",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/star-child\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Mothership Connection (Star Child)\"})}),\"\u2019\u2014\u201CIf you hear any noise, it\u2019s just me and the boys / Hit me. You gotta hit the band.\u201D\u2014as Bootsy tells us, \u201CIf you hear some funky fuss / It ain\u2019t nobody but us / So get on down, baby.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"Bootsy joins Catfish in stepping on a wah pedal as he raps about psychotic bumps. There\u2019s a couple of delicious quick licks (4:21 and 4:30) as Bootsy\u2019s class of funksters party in the background. Bernie plays \u2018Chameleon\u2019-esque keys sounding like chirping birds as the class comes to a close.\"}),/*#__PURE__*/e(\"p\",{children:\"P-Funk were on a roll, and Bootsy stepped out in front, becoming the biggest star of the P-Funk universe, partly powered by the success of the first Bootsy ballad, \u2018I\u2019d Rather Be With You\u2019.\\xa0\"}),/*#__PURE__*/e(\"p\",{children:\"Clinton wrote that the album was the first time he understood what music industry people had told him: \u201Cthat art needed something bright to pop so the people could see it.\u201D Bootsy sure popped in that white suit and star glasses on his motorcycle. \u201CFans liked his persona, the way he came on like a cross between a blaxploitation movie character and a Saturday-morning cartoon.\u201D\"})]});export const richText13=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"October is Bassist Month on Edge of the Line. We\u2019re celebrating the birthdays of Flea (16 October) and Bootsy Collins (26 October).\"})}),/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"br\",{className:\"trailing-break\"})}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\" https://www.youtube.com/watch?v=MIABpVRDb-I\"})})}),/*#__PURE__*/e(\"p\",{children:\"\u2018Aquatic Mouth Dance\u2019 is a song about Anthony Kiedis, Flea, and California; an ode to their early adventures discovering music and days as homeless free spirits. Kiedis sings of Flea, \u201CThe colour of your eyes was stolen from the sky\u201D. The pair formed the Chili Peppers when they were 20, after meeting at 15, with high school friends Hillel Slovak and Jack Irons.\\xa0The opening line\\xa0shouts out Grandmaster Flash & The Furious Five\u2019s \u2018The Message\u2019, the song that inspired Kiedis to rap.\\xa0\"}),/*#__PURE__*/t(\"p\",{children:[\"Producer Rick Rubin hosted Flea on the \",/*#__PURE__*/e(n,{href:\"https://youtu.be/6bBTj0pwoRk\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/t(a.a,{children:[/*#__PURE__*/e(\"em\",{children:\"Broken Record \"}),\"podcast\"]})}),/*#__PURE__*/e(\"em\",{children:\"\\xa0\"}),\"shortly after the release of \",/*#__PURE__*/e(\"em\",{children:\"Unlimited Love\"}),\" (2022). Flea spoke of his and Kiedis\u2019s\\xa0\u201Cstreet kid mentality\u201D in the \u201980s. Flea says at 17:45, \u201CRecord companies wanted to sign us and stuff, and it was kind of later on, and they\u2019re taking us out to lunch and we\u2019re still in the mindset of hustling a lunch, so it\u2019s getting different guys to take us out to lunch, like, \u2018Yeah, we\u2019ll get this guy on Tuesday and that guy on Wednesday.\u2019\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"They had been \u201Cgrowing up in [their] own weird, misguided way, without real mature guidance\u201D and still living, as Kiedis sings in \u2018Aquatic Mouth Dance\u2019, \u201CDay to day\u201D:\\xa0\u201CWell, I don\u2019t know where / I\u2019m gonna sleep tonight / Please tell me, can you spare / A pillow for my head and hair?\u201D\"}),/*#__PURE__*/t(\"p\",{children:[\"\u2018Aquatic\u2019 is one of the \",/*#__PURE__*/e(\"em\",{children:\"Unlimited Love\"}),\"-era songs to call back to the Chili Peppers\u2019 purest funk album, \",/*#__PURE__*/e(\"em\",{children:\"Freaky Styley\"}),\"\\xa0(1985), produced by George Clinton. Rather than the more urgent guitar and drums of \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/power\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/t(a.a,{children:[/*#__PURE__*/e(\"em\",{children:\"Blood Sugar Sex Magik\"}),\"\u2019s funk rock\"]})}),\", the emphasis is very much on groove. Though Chad Smith's drumming does give certain bars bite \u2013 listen to the beats in the last, floaty line of the first chorus (1:01).\"]}),/*#__PURE__*/t(\"p\",{children:[\"The latter half of the choruses features horns, making the mostly sparse song now feel lush and full. Flea jumps on trumpet, \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/joshjohnson\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!1,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Josh Johnson\"})}),\"\\xa0plays saxophone, Vikram Devasthali plays trombone, and Nate Walcott also plays trumpet. The horn melodies add some ambiguity to the song, which is mostly driven by Flea\u2019s boysterous bassline.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Frusciante has said he sees Flea\u2019s bass as the lead instrument, which is very evident in \u2018Aquatic\u2019. In the choruses, Frusciante\u2019s delicate guitar melodies come late in the measure and set up Flea\u2019s bass and the horns to hit on \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\".\\xa0At other times, quick strums set up horn blows (3:19, 3:30).\"]}),/*#__PURE__*/t(\"p\",{children:[\"Three decades after \",/*#__PURE__*/e(\"em\",{children:\"Blood Sugar\"}),\", Rubin\u2019s hip-hop method of essentially muting certain instruments for parts of the song is still in use. Following the second chorus, Frusciante\u2019s guitar drops out for four bars, letting Flea\u2019s bass shine, and in turn, meaning Frusciante\u2019s part has more impact in the next verse. In that vocalless section, Mauro Refosco adds percussion in the left speaker, helping emphasise the One and the sixteenth note following it. Refosco first played on \",/*#__PURE__*/e(\"em\",{children:\"I\u2019m With You \"}),\"(2011) and toured with the band during the Josh Klinghoffer era. \\xa0\"]}),/*#__PURE__*/t(\"p\",{children:[\"At 2:53, Frusciante adds synthesizer (as he does on much of \",/*#__PURE__*/e(\"em\",{children:\"Unlimited Love \"}),\"and \",/*#__PURE__*/e(\"em\",{children:\"Return of the Dream Canteen\"}),\"). He uses the synth pretty sparingly here, just adding a sci-fi-esque sound effect, giving Kiedis\u2019 ambiguous lyrics more weight.\"]}),/*#__PURE__*/e(\"p\",{children:\"Late in the song the horn section has space for a free jazz freakout, with the four players blowing wildly. Their melodies sometimes cooperate (3:12), and sometimes compete (3:52); their dissonance and the fullness of the song, after the earlier, sparse verses, makes the outro stand out.\\xa0\"}),/*#__PURE__*/e(\"p\",{children:\"Even without the additional musicians (and Flea\u2019s trumpet), \u2018Aquatic Mouth Dance\u2019 stands up at live shows, and has been\\xa0one of the new songs performed more regularly on the Chilis\u2019 mammoth world tour.\\xa0Let\u2019s boogie to the song\u2019s live debut.\"}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=Lm9JV0doMt0\"})})})]});export const richText14=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"October is Bassist Month on Edge of the Line. We\u2019re celebrating the birthdays of Flea (16 October) and Bootsy Collins (26 October).\"})}),/*#__PURE__*/t(\"p\",{children:[\"The \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/shesalover\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Red Hot Chili Peppers\"})}),\"\\xa0album\\xa0\",/*#__PURE__*/e(\"em\",{children:\"Mother\u2019s Milk\\xa0\"}),\"had been certified gold, partly powered by the single of \u2018Higher Ground\u2019, a \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/maybe\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Stevie Wonder\"})}),\"\\xa0classic made funk-metal. \u2018Knock Me Down\u2019, from the same album, was a glimpse at the prodigal musicianship and unique chordal and melodic sense of guitarist John Frusciante.\"]}),/*#__PURE__*/t(\"p\",{children:[\"1991\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Blood Sugar Sex Magik\"}),\",\",/*#__PURE__*/e(\"em\",{children:\"\\xa0\"}),\"contained slow, downbeat songs (\u2018Breaking the Girl\u2019, \u2018I Could Have Lied\u2019, and \u2018Under the Bridge\u2019) whose emphasis on melody would have been alien on their debut seven years before. But it also combined funk and rock as successfully as any band since \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/verge\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Funkadelic\"})}),\".\"]}),/*#__PURE__*/e(\"p\",{children:\"Producer Rick Rubin had met the Chili Peppers several years before, but was spooked by the band\u2019s dark energy. He experienced them differently in 1990, and agreed to produce an album.\"}),/*#__PURE__*/t(\"p\",{children:[\"After the band had written music, Rubin took them into a Hollywood mansion to record, freeing them from the pressures of a traditional studio. \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=hXFlTdM3UDc\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Frusciante, speaking to Rubin\"})}),\"\\xa0on \",/*#__PURE__*/e(\"em\",{children:\"Broken Record\"}),\", said of the drum sound: \u201CWe were so excited by stuff, just like hearing all that natural room sound on the snare and stuff. When I hear it today, it sounds really overblown, but that was exciting. (...) It was perfect for that record and how we arranged the tunes, because \u2013\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"\u201CHow sparse they were,\u201D said Rubin.\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CYeah, exactly. It filled up the space. Whenever the guitar wasn\u2019t playing, or the bass wasn\u2019t playing, the drums \u2013 it almost sounded like you didn\u2019t need anything but drums to fill up the space. Everything else sounded like extra.\u201D\"}),/*#__PURE__*/t(\"p\",{children:[\"Rubin praised the power of Smith\u2019s drumming. \u201CIf you think about what drummers in funk bands sound like, like if you think about \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/new-bag\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"James Brown\u2019s drummers\"})}),\", they\u2019re super groovy, but they play almost like jazz, very subdued. Groovy, but not loud. And Chad\u2019s rocking like crazy, which is not your typical funk drumming.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"\u201CRight,\u201D said Frusciante, \u201Cbut he\u2019s got a good funk groove.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CThe feel. Absolutely. It\u2019s incredible. It\u2019s a great combination.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CYeah, it\u2019s just like there\u2019s this heaviness to it, but it\u2019s still got this funk thing, but it\u2019s also got this extra speed to it.\u201D\"}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=H3tdhMazGC8\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Around the end of the tour for \",/*#__PURE__*/e(\"em\",{children:\"Mother\u2019s Milk\"}),\", Frusciante had \u201Csome epiphanies\u201D regarding his own playing and taking it in a new direction. He had previously played guitar to fit his \u201Cidea of what a Chili Pepper was.\u201D Frusciante was largely replicating Slovak\u2019s style (although \",/*#__PURE__*/e(\"em\",{children:\"Mother\u2019s Milk\"}),\"\u2019s guitar sound was heavily influenced by producer Michael Beinhorn\u2019s preference for overdubbed, dominating guitar parts).\"]}),/*#__PURE__*/e(\"p\",{children:\"Now, Frusciante was more confident and closer to his bandmates, ready to \u201Ctry being more [himself].\u201D He was enjoying Velvet Underground, Television, and Peter Gabriel-era Genesis, and \u201Crealising that a lot of power can come from not hitting the strings super hard all the time, from not filling up all the spaces with notes, from leaving big spaces\u201D and learned not to \u201Ccompete with Flea, as far as being busy, and stuff like that. I finally had it through my head \u2013 Flea\u2019s allowed to be busy. Somehow, he can be busy and not sound like he\u2019s showing off.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"Frusciante was inspired by the \u201Cspacious\u201D guitar playing in Bow Wow Wow and \u201Chow well it supported the bass.\u201D He was also inspired by Jimmy Page\u2019s playing in Led Zeppelin and how he \u201Cgives so much space to the drums\u201D. Frusciante said, \u201CHe\u2019ll often hold a note and leave it to allow the snare drum to be the maximum size that it can be.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"The guitar part in \u2018Power\u2019 sounds Public Enemy-inspired, and little like a guitar at all. Kiedis nods to P.E.\u2019s influence in the lyrics: \u201CI got tapes, I got CDs / I got my Public Enemy / A lily white ass is tickled pink / When I listen to the music that makes me think\u201D. (Following those lines is a lyric Kiedis was fond enough to use twice, first for the \u2018Higher Ground\u2019 acapella b-side, \u2018Politician (Mini Rap)\u2019: \u201CNot another motherfuckin\u2019 politician doing nothing but something for his own ambition\u201D.\"}),/*#__PURE__*/t(\"p\",{children:[\"The song is directly impacted by Rubin\u2019s hip-hop experience. By \u201991, Rubin had produced for artists like LL Cool J, Beastie Boys, Run-DMC, and executive-produced \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/workitout\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Public Enemy\"})}),\". Frusciante talked about Rubin\u2019s influence on \",/*#__PURE__*/e(\"em\",{children:\"Blood Sugar\"}),\"\u2019s arrangements.\"]}),/*#__PURE__*/e(\"p\",{children:\"\u201CA lot of it was about creating space. We were all being more conscious of the space that we were leaving between each other\u2019s instruments, and each other\u2019s notes, and you emphasised that same thing, telling me not to play for a whole verse, or telling Chad to lay out for this part, or Flea to lay out for this part, or, \u2018Everybody do a complete silent pause right here.\u2019\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"Frusciante asked, \u201CHad you worked with a lot of real drummers at that point?\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CNo,\u201D Rubin said, \u201Cmostly drum machines. I had mostly programmed everything.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CIt was really neat when you were helping Chad with a kick drum pattern or whatever, and it really seemed like it was this drum machine mentality going to a real drummer. And it was really inspiring, and it felt really fresh and new.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"Rubin was thinking, \u201CHow can we create more space? And how can we do things that allow the material to develop without having to keep adding more things later? If you take something away in the beginning, then when the normal third instrument comes in, it feels like an event. We haven\u2019t had to add anything. We did it by taking away.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"Frusciante said, \u201CI\u2019m assuming that your experience producing hip-hop was an influence on it because \u2013\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CFor sure,\u201D said Rubin.\"}),/*#__PURE__*/e(\"p\",{children:\"\u201C\u2013 the constant muting and unmuting that takes place when you\u2019re making that kind of music.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CAbsolutely.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CIt was basically like you were muting the guitar and saving it for the second verse. We were all conscious that that was where you were coming from, and it was so neat to hear those ideas being applied to a rock band.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"In \u2018The Power of Equality\u2019, Chad Smith\u2019s\\xa0bombastic drums are joined after a second by John Frusciante\u2019s wailing, unresolved intro guitar part. Flea\u2019s bass arrives after 11 seconds, but the song feels full before then, which is testament to both Smith\u2019s playing and the sound of his drums.\"}),/*#__PURE__*/e(\"p\",{children:\"There are brief moments in the song with only bass. Following the first verse and chorus, for example, there\u2019s a brief instrumental passage with the drums, guitar, and bass, before the drums and guitar drop out. Then the drums, guitars, and vocals come crashing back in.\"}),/*#__PURE__*/e(\"p\",{children:\"During Frusciante\u2019s solo at 3:02, where he would previously have tried to cram in notes, he plays just a couple of eery bending notes. Much of the space unoccupied by guitar is taken up the drums. There\u2019s a second of silence before the next verse.\"}),/*#__PURE__*/t(\"p\",{children:[\"Despite Flea\u2019s busyness (and there\u2019s definitely a hint of the frenetic energy of early Chilis songs like \u2018Out In La\u2019 and \u2018Get Up And Jump\u2019), he was learning, like Frusciante, to simplify. In \",/*#__PURE__*/e(\"em\",{children:\"Funky Monks\"}),\", which documented the making of \",/*#__PURE__*/e(\"em\",{children:\"Blood Sugar\"}),\", \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=sg9tTubH-js\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Rubin is seen encouraging Flea\"})}),\" to simplify his phrases in \u2018Give It Away\u2019.\"]}),/*#__PURE__*/t(\"p\",{children:[\"In \u2018Power\u2019, Flea\u2019s verse part leaves space as he slides the first note, and soon holds a note as the drums fill up space. Flea usually hits \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\", and this beat is given extra impact by the pauses discussed by Frusciante and Rubin.\"]}),/*#__PURE__*/e(\"p\",{children:\"Flea\u2019s bass tone is mostly very dry, as most of the sounds of the album are, but he uses a wah-wah pedal in the bridge (1:56). This is another section where Rubin\u2019s muting philosophy is at work: Smith plays really minimally for a few bars, before coming in again after 2:06. There\u2019s a great drum roll before the next verse. The song closes with Kiedis lamenting the \u201Cinsanity\u201D around him: \u201CWhatever happened to humanity?\u201D\"})]});export const richText15=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/morefela\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Part 5\"})}),\"\\xa0of our Further Explorations of Funk made the case that \u2018Zombie\u2019 (1976) was the closest Fela Kuti ever got to 1970s James Brown funk. Fela later used \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"the One\"})}),\"\\xa0more unpredictability; his arrangements became larger, his compositions lengthier and more elaborate on tracks like \u2018Teacher Don\u2019t Teach Me Nonsense\u2019 and \u2018O.D.O.O.\u2019 Another contender for the funkiest Fela song may be \u2018Yellow Fever\u2019, released the same year as \u2018Zombie\u2019.\"]}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=XlqcrC1I4fs\"})})}),/*#__PURE__*/e(\"p\",{children:\"The kick drum, guitar, and bass all hit the One, and during the motif, the horns join in on that beat as well. We start with a single-note melody line from one of the guitars, then the bass, then the rhythm guitar. Then Tony Allen\u2019s drums and Isaac Olaleye\u2019s maracas join in.\"}),/*#__PURE__*/e(\"p\",{children:\"Fela\u2019s keyboards are free to wander over the web of polyrhythms \u2013 the One\u2019s taken care of, and so is a whole lot besides: Allen\u2019s hi-hat is constant, itchy-feet energy and his snare arrives on unpredictable offbeats, as well as the slightly more predictable last eighth note in each measure (the last \u2018and\u2019 in \u201Cone-and-two-and-three-and-four\u201D), which sets up our return to the One.\"}),/*#__PURE__*/e(\"p\",{children:\"One major difference between Brown\u2019s funk and \u2018Yellow Fever\u2019 is that Fela and his band jam for over 7 minutes until the first vocal. Fela\u2019s songs often take inspiration from the jazz format of head-solo-head. \u2018Head\u2019 in jazz refers to the motif, or the main riff, which functions a little like the chorus in a pop song. In \u2018Yellow Fever\u2019, we\u2019re introduced to the head, the main horn riff, after a minute and a half. This motif is followed by a kind of call-and-response among the horns, with the baritone sax of Lekan Animashaun\\xa0(commonly known as Baba Ani) playing ominous two-note replies, before joining in with the motif on its return.\"}),/*#__PURE__*/t(\"p\",{children:[\"In his essay \u2018Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat\u2019, \",/*#__PURE__*/e(n,{href:\"https://journals.ku.edu/amsj/article/view/4463/4304\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Alexander Stewart\"})}),\"\\xa0notated several Fela and Brown drum patterns (\u2018Yellow Fever\u2019 and all of the other chosen Fela tracks feature Tony Allen on drums). Stewart showed the similarity in the vast majority of Allen and Brown\u2019s drummers in almost always playing the kick drum on the One. Allen used his kick more than Brown\u2019s drummers (most famously Jabo Starks and Clyde Stubblefield), which \u201Cseems reflective of traditional West African practices in which the largest drum is often the lead drum\u201D, writes Stewart.\"]}),/*#__PURE__*/e(\"p\",{children:\"Another difference was the \u201Cmore balanced syncopation (occurring in Allen\u2019s grooves in the first half of the measure as well as the second half)\u201D. Yellow Fever, though, is more similar to Brown\u2019s grooves, in saving the syncopation for the second half of the measure. However, Allen plays his kick drum on not just the One but also on the sixteenth note immediately after it. A sixteenth note is the \u201Ce\u201D in \u201COne-e-and-a-two\u201D. In other words, it comes extremely quickly after the One. None of the twelve Brown songs that Stewart discusses feature a kick drum on this offbeat (and only two feature a snare hit), whereas each of the nine Fela tracks feature either a kick or snare here.\"}),/*#__PURE__*/e(\"p\",{children:\"When Fela does start singing, he repeats a line four times: \u201CDifferent different fever na him dey\u201D before one of many vocal call-and-response sections starts. Fela criticises the practice of Nigerian women bleaching their skin to make it appear lighter. Aside from the societal or political content of his lyrics, the song is a great example of his unique feel for vowel sounds. It\u2019s right there from the start of the lyrics, when the \u2018ey\u2019 sound rings out at the end of the line. The sound is repeated in many of the backing singers responses (\u201CHe dey\u201D, \u201CYou say\u201D).\"}),/*#__PURE__*/t(\"p\",{children:[\"The final section of the song features some wild and brilliantly energetic horn playing. Tunde Williams\u2019 trumpet sets up replies from the sax players (Fela and Animashaun). The horn interplay is not dissimilar to the vocal call-and-response. As \",/*#__PURE__*/e(n,{href:\"https://pitchfork.com/reviews/albums/19772-fela-kuti-london-sceneshakaragentlemanafrodisiaczombieupside-downitt/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Aaron Leitko wrote of Fela\u2019s music\"})}),\", it is \u201Cconstantly moving and mutating, but [it] also conveys a sense of stasis. Unlike jazz, the songs aren\u2019t shaped by chord changes or modulations, but the gradual accumulation and subtraction of melodic and rhythmic gestures.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"The guitars, relentlessly repetitive, of \u2018Yellow Fever\u2019 indeed feature no chord changes or modulations, but are like a steady boat somehow navigating a wild river: the horns of different tones, registers, and melodies are like animals flitting in and out, one second seeming like they want a ride and the next jumping off in unexpected directions.\"})]});export const richText16=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=pMKyIu5q3Xg\"})})}),/*#__PURE__*/e(\"p\",{children:\"The 1980s saw the rise of sampling after DJs and MCs had helped to birth hip-hop in the early \u201970s. By 1990, sampling technology was fit for the imagination of Public Enemy\u2019s production group, The Bomb Squad. \u2018Brothers Gonna Work It Out\u2019 was one of many imaginative sound collages\\xa0by Hank Shocklee, Carl Ryder, Eric Sadler, and Keith Shocklee, who used a treasure trove of others\u2019 recordings to create something entirely new.\\xa0It was fitting that one of rap\u2019s most politically charged yet thrillingly fun groups were big James Brown fans. Public Enemy\\xa0managed a rare musical feat in sounding furious yet danceable.\"}),/*#__PURE__*/t(\"p\",{children:[\"\u2018Brothers Gonna Work It Out\u2019 takes its title from a comparatively melancholy Willie Hutch tune from 1973. The Public Enemy track was written by Shocklee, Sadler, and Chuck D (credited as his real name, C. Ridenhour), as were nearly all of the tracks on \",/*#__PURE__*/e(\"em\",{children:\"Fear of a Black Planet\"}),\". Public Enemy envision a then-futuristic 1995 where black people unite: \u201CIn 1995, you\u2019ll twist to this / As you raise your fist to the music / United we stand, yes divided we fall / Together we can stand tall\u201D.\"]}),/*#__PURE__*/t(\"p\",{children:[\"As\\xa0well as including self-referential vocal samples from \u2018Rebel Without a Pause\u2019, \u2018Bring the Noise\u2019, and \u2018Don\u2019t Believe the Hype\u2019, P.E.\\xa0dip into their bag of funk to sample\\xa0Brown,\\xa0George Clinton (\u2018Atomic Dog\u2019, from Clinton\u2019s first solo album, \",/*#__PURE__*/e(\"em\",{children:\"Computer Games \"}),\"and almost ubiqutious in \u201990s hip-hop),\\xa0Prince, Roy Ayers Ubiquity, and \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/booty\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Sly & The Family Stone\"})}),\". Brown, Clinton, and Sly & The Family Stone are among the artists namechecked as influences in the album\u2019s liner notes.\"]}),/*#__PURE__*/t(\"p\",{children:[\"In the first verse, Flavor Flav says, \u201C\",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/new-bag\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Papa got a brand new\"})}),\" funk.\\\" In the final verse, Chuck raps, \u201CBrothers that try to work it out / They get mad, revolt, revise, realise / They're super bad\u201D, referencing Brown\u2019s 1971 \",/*#__PURE__*/e(n,{href:\"https://www.youtube.com/watch?v=XV9a3tUPqTo\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"hit\"})}),\". Those lines (along with the earlier \u201CTalking, no walking, driving, arriving and stylin\u2019 / Tell \u2019em \u2013 soon you\u2019ll see what I\u2019m talking about\u201D) are an example of Chuck\u2019s willingness to change his flow as he jumps on and offbeat, adding extra fidgetiness to the music. Flav's interjections throughout recall the \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/feelin\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"skittery nature of Brown's lines\"})}),\" and improvised grunts. \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"The One\"})}),\" is emphasised throughout the song (listen to where the piano phrase starts with the higher note); this is pure James Brown.\"]}),/*#__PURE__*/t(\"p\",{children:[\"The chorus samples Bobby Byrd\u2019s \u201CGet involved!\u201D from Brown\u2019s classic \",/*#__PURE__*/e(n,{href:\"https://www.edgeoftheline.co/articles/theone\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"\u2018Get Up, Get Into It, Get Involved\u2019\"})}),\". Chuck trades vocals with Byrd as if they were in the studio together. The nod to Redding is more subtle, borrowing his \",/*#__PURE__*/e(n,{href:\"https://youtu.be/ZqR-u5cxsHI?t=243\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"line\"})}),\", \u201CWe\u2019re gonna do a song that you never heard before.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"Sly Stone\u2019s\\xa0cry of \u201CYaaa!\u201D from \u2018Sing a Simple Song\u2019 is brilliantly looped and rings on each beat of certain bars, reimagined into something like a hard-hit keyboard chord or blast of horns.\"}),/*#__PURE__*/t(\"p\",{children:[\"Rivalling that Sly cry for the most creative sample in the song is Prince\u2019s wailing guitar. \",/*#__PURE__*/e(n,{href:\"https://www.whosampled.com/sample/3199/Public-Enemy-Brothers-Gonna-Work-It-Out-Prince-The-Revolution-Let%27s-Go-Crazy/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Lifted from \u2018Let\u2019s Go Crazy\u2019\"})}),\", a Prince and The Revolution track from \",/*#__PURE__*/e(\"em\",{children:\"Purple Rain OST \"}),\"(1984), the original guitar was Prince letting loose in the outro; never intended to be a main component of a structured song. It provides much of the dissonance in P.E.\u2019s track, jarring with the repetitive bass\u2019s few notes and Chuck D and Flavor Flav\u2019s vocal tones.\\xa0The drums and bass (\",/*#__PURE__*/e(n,{href:\"https://www.whosampled.com/sample/13062/Public-Enemy-Brothers-Gonna-Work-It-Out-George-Clinton-Atomic-Dog/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"from \u2018Atomic Dog\u2019\"})}),\") are the only elements that stay steady.\"]}),/*#__PURE__*/t(\"p\",{children:[\"P.E. also lift a \",/*#__PURE__*/e(n,{href:\"https://www.whosampled.com/sample/920901/Public-Enemy-Brothers-Gonna-Work-It-Out-Run-DMC-Is-It-Live/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"scratch effect from \u2018Is It Live\u2019\"})}),\", a 1986 song by Run-DMC, who get a shoutout in the liner notes for their \u201Cshow inspiration\u201D. P.E. also name as \u201Cinfluential aspirations\u201D Muhammad Ali and Last Poets, among others.\"]}),/*#__PURE__*/e(\"p\",{children:\"Chuck D made every Public Enemy song sound important. His unmistakable baritone gives power to every line. Chuck knew how to use space and rhythm for maximum impact. In the last verse, there\u2019s a tantalising wait after \u201CBut one day...\u201D\\xa0before the words you suspect are coming back, which hit heavier after the pause: \u201CBrothers gonna work it out.\u201D\"}),/*#__PURE__*/e(\"p\",{children:\"The album named its \u201Clyrical inspiration\u201D: \u201CDaddy O (Stetsasonic), Kane, Melle Mel, L.L. Cool J, Kool Moe Dee, Willie Dee Rakim, KRS-One\u201D. While Daddy O is less celebrated than the rest, these rappers (along with Chuck) have since been recognised as some of the greats.\\xa0\"}),/*#__PURE__*/e(\"p\",{children:\"During the outro, Chuck steps away and lets The Bomb Squad's beat shine, with Prince's shrieking guitar taking centre stage.\"})]});export const richText17=/*#__PURE__*/t(i.Fragment,{children:[/*#__PURE__*/e(\"p\",{children:/*#__PURE__*/e(\"em\",{children:\"This year marked the 50th\\xa0anniversary of Parliament\u2019s second album, Up for the Down Stroke.\"})}),/*#__PURE__*/t(\"p\",{children:[\"George Clinton\u2019s first foray into the music biz was with The Parliaments, a doo-woop vocal group formed in 1955 and named after a cigarette brand. They released their debut album, 1970\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Osmium\"}),\", under the simplified Parliament name; by that time the singers were Clinton, Ray Davis, Fuzzy Haskins, Calvin Simon, and Grady Thomas. You could still hear the doo-wop in \",/*#__PURE__*/e(\"em\",{children:\"Osmium\"}),\", but it was tinged with the psychedelic influences of records like The Jimi Hendrix Experience\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Are You Experienced\"}),\"\\xa0and The Beatles\u2019 \",/*#__PURE__*/e(\"em\",{children:\"Sgt. Pepper\u2019s Lonely Hearts Club Band\"}),\", particularly beloved by Clinton.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Clinton has spoken of The Parliaments\u2019 records like they were dreams he had not quite captured upon waking. Studio technology eventually caught up with the sounds in his head, the pool of world-class musicians around him grew, and Clinton recorded revolutionary, spacier albums like Funkadelic\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Free Your Mind\u2026 and Your Ass Will Follow\"}),\"\\xa0and Parliament\u2019s \",/*#__PURE__*/e(\"em\",{children:\"Mothership Connection\"}),\".\"]}),/*#__PURE__*/t(\"p\",{children:[\"The Parliaments had had a single called \u2018The Goose (That Laid the Golden Egg)\u2019. In his memoir, \",/*#__PURE__*/e(\"em\",{children:\"Brothas Be, Yo Like George, Ain\u2019t That Funkin\u2019 Kinda Hard on You?\"}),', Clinton wrote\\xa0that in 1967, \u201CIf there was an overall plot, it was that we were moving slightly toward rock and slightly away from conventional R&B.\"']}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=TCS9MVEOTJw\"})})}),/*#__PURE__*/t(\"p\",{children:[\"Around the time of recording \",/*#__PURE__*/e(\"em\",{children:\"Osmium\"}),\",\\xa0Parliament\u2019s naming rights were tangled up in record label confusion, so their backing band stepped up front and the group signed a deal as Funkadelic. They packed stages with big amps and shifted further away from doo-wop towards Hendrix-indebted funk rock.\"]}),/*#__PURE__*/e(\"p\",{children:\"Clinton also wrote of how Vanilla Fudge showed the power of slowing things down and playing at \u201Ca glacial pace.\u201D Fudge did covers of R&B songs like The Impressions\u2019 \u2018People Get Ready\u2019 and the Supremes\u2019 \u2018You Keep Me Hanging On\u2019. The Parliaments were listening, and after starting with \u2018Testify\u2019, they recorded 'All Your Goodies Are Gone' and \u2018Goose\u2019, before getting slower with \u2018Good Old Funky Music\u2019.\"}),/*#__PURE__*/e(\"p\",{children:\"\u201CWe had covered quite a bit of ground, from doo-wop through Motown to the brink of this unexplored land. But we also knew that if you\u2019re going to call on something to change, then you\u2019re going to have to change what you call that thing.\u201D\"}),/*#__PURE__*/t(\"p\",{children:[\"\u201CSomewhere along the way it became clear to me that we had a strong young group of players who were, to us, what the Funk Brothers were to Motown, and because we were so deep into psychedelic rock we started adding the \",/*#__PURE__*/e(\"em\",{children:\"-delic\"}),\"\\xa0to it.\u201D\"]}),/*#__PURE__*/e(\"p\",{children:\"And Funkadelic was born.\"}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=b07E3ok4-RE\"})})}),/*#__PURE__*/t(\"p\",{children:[\"George wrote of the Vanilla Fudge revelation: \u201CIf you could hold a song at that slower tempo without getting monotonous, the result was amazing.\u201D Funkadelic\u2019s first song, \u2018Music for My Mother\u2019 was slow, dirty, \u201Craw funk\u201D. The album, released in the same year as Parliament's \",/*#__PURE__*/e(\"em\",{children:\"Osmium\"}),\", was one of the clearest representations of Funkadelic's name: funk mixed with psychedelic rock.\"]}),/*#__PURE__*/t(\"p\",{children:[\"Four years later, Parliament, having recovered their naming rights, released their second album, \",/*#__PURE__*/e(\"em\",{children:\"Up for the Down Stroke\"}),\".\",/*#__PURE__*/e(\"em\",{children:\" \"}),\"(Funkadelic released five albums before \u201974.) It\\xa0wasn\u2019t a concept album with the larger-than-life characters that came to characterise Parliament, but it was a step towards the styles and structures that differentiated them from Funkadelic.\\xa0\u201CIn the \",/*#__PURE__*/e(\"em\",{children:\"Osmium\"}),\"\\xa0era,\u201D Clinton wrote, \u201CParliament had been an outlet for the Motown side of our personality, the place where more traditional material went\u201D, but with a fresh Parliament era starting, Clinton\u2019s vision was crystallising. \u201CI wanted to do a record in the style of the Beatles\u2014horns, strings, complex arrangements\u2014but also aim straight for radio R&B. It was like jazzy James Brown, or a pop Pink Floyd.\u201D\"]}),/*#__PURE__*/t(\"p\",{children:[/*#__PURE__*/e(n,{href:\"https://www.rollingstone.com/music/music-news/george-clinton-the-rolling-stone-interview-230616/2/\",motionChild:!0,nodeId:\"E7GHsAote\",openInNewTab:!0,scopeId:\"contentManagement\",smoothScroll:!1,children:/*#__PURE__*/e(a.a,{children:\"Clinton later said\"})}),\": \u201CNo psychedelic guitars for Parliament and no horns on Funkadelic. We broke those rules a couple of times, but for the most part, that was the main difference. Funkadelic was the rock & roll band, with guitars dominating, the crazy stream-of-consciousness lyrics. Parliament was going to be as close to structure as we could get. I later used a lot of Funkadelic theory to do Parliament, but it was more structured. There were melodies, real songs, a straightforward message.\u201D\"]}),/*#__PURE__*/e(\"div\",{className:\"framer-text-module\",style:{\"--aspect-ratio\":\"560 / 315\",aspectRatio:\"560 / 315\",height:\"auto\",width:\"100%\"},children:/*#__PURE__*/e(o,{componentIdentifier:\"module:NEd4VmDdsxM3StIUbddO/zzGLuFF4YkasKl1lrsW9/YouTube.js:Youtube\",children:t=>/*#__PURE__*/e(s,{...t,borderRadius:0,bottomLeftRadius:0,bottomRightRadius:0,isMixedBorderRadius:!1,isRed:!0,play:\"Off\",shouldMute:!0,thumbnail:\"Off\",topLeftRadius:0,topRightRadius:0,url:\"https://www.youtube.com/watch?v=iV9gcw4HidY\"})})}),/*#__PURE__*/e(\"p\",{children:\"Songs like \u2018The Goose (That Laid the Golden Egg)\u2019 were remade \u201Cwith our new sound in mind\u201D. 'The Goose' is updated into a funkier, more rhythm-focused song with fewer chord changes. It still doesn't hide its Motown influences: the \u201COoh, aah, yeah, you\u2019re so sweet\u201D could slot right in to a Four Tops or Temptations hit. 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