The Questlove Show - QLS Classic: Bootsy Collins (Part 2)

Episode Date: August 24, 2020

In part 2 of 2, Bootsy talks about his partnership with George Clinton, what he was doing night-fishing in the Bermuda Triangle and becoming Bootzilla. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media.

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Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode.

Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends.

Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Quest Love Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. Previously on KLS Classic with Booty Collins, he told us about growing up in Cincinnati, Ohio, me and his idol, James Brown. and James Brown taking him under his wing, taking him all the way to Africa to see Felaa, and then coming back to build the P-Funk Empire.

You do not want to miss part two of the Bootsie Collins episode. On QLS, y'all, QLS Classic to be a matter of fact. Hey, what in the hell are we going to do now? You know, because I knew that was it. You know, it's like we got to go. So we're sitting on the bus. we all the whole band sitting on the bus you know looking at each other on trailway

I know we're right here I remember taking them trailway bus man and you know we're looking at each other and then they're looking at me like okay what we're gonna do now since you went in there and you know you messed it up you're not right you didn't ask right

and so you know that was where me out. I start feeling like, dang, what are we going to do? So the next thing came to my mind is you're going to go to Cincinnati. You're going to practice. You're going to get in that basement. You're going to practice. You're going to get tight. And you're going to go to Detroit, you know, and see what happens. Because, you know, that's what we were into taking people's gigs. You know. Why Detroit? Did you think like maybe Motown could sign us or was Westbound a thing? Well, actually, let me tell you why Detroit. Billy from the spinners call.

and asked, well, told us that he needed a band, and he also needed a lead singer. And, you know, Felipe Wynn, which is Phil So Walker, he was singing with us before we got with James, after we got left James, right after we got, you know, left. And so we already had the lead singer. We didn't know it. But I told him, I was like, Billy, we got the lead singer you need, man.

I said we'll play behind y'all, you know. You know, but seriously, we did not want to play behind another set of singers if, you know, if it killed us, you know, because you got to understand the time that it was coming through sliding them, these bands was coming up. We wanted to be a band. Crazy ideas. Yeah. You know, we wanted to dress crazy, act of fool, and do anything we wanted to do.

singers wouldn't let us do it. Shoot and tie. Yeah, yeah. And so we was really through with that. So we go to Detroit, you know, on Billy's dime. And once we get to Detroit, we play and take

a few gigs, right? We take it to the stage. Okay. All right. Take some gigs. And when we did that, I met this young lady named Malia Franklin. And she was tied with George Clinton

because her sister was dating George so she knew him and she wanted to take me over to meet him because you know y'all y'all look just like Funkadelic, y'all sound like him you know y'all need to hook up so she convinced me and I'm like yeah I got to go meet this mom

I say yeah we've been wanting to take it to the stage on the mama because anyway you know where they're at you were fully aware of Funkadelic by this point? Not fully. We had just been hearing about it. You know, it's like everywhere we went, it's like, man, y'all look like fuck a dollar.

Y'all sound like them. You know, so everywhere we went, it was like, it followed us. It's about what year is this around? This is like 72. Okay. Gotcha. Yeah. And so, we heard that so much, you know, it was like,

then when we got to Detroit, you know, it was like, okay, I need to meet George, you know. So Malia sets up the meeting. I go over there, get with George, you know. That's a whole story in itself, which is another three or four hours, you know. Was it love at first sight when y'all first met each other? Yeah.

Basically, you know, I knocked on the door and the door kind of, the creepy thing, Adam's family thing. So it kind of creeped open. I heard a boy say, come on, come on in. And so I kind of walked in and I saw this black light. And I immediately, it was like, oh, shoot. I went straight to the black light. You know, then I looked right down below it.

This mug is sitting in a Buddhist stance, right? With a white sheet on. Now picture this in a black light. White sheet on and chicken feet. No, yeah, yellow. Yellow chicken feet. Yeah, he's sitting there like this on the floor, like this, you know. And he's just sitting there in the corner.

And he's got a half moon on one side, star on the other, the rest of his ball is he. And he is looking just as crazy. I mean, you know, and when I seen it, it was like, whatever he's talking about, I won't in. Whatever it is. I mean, whatever he says, you know, I already know about the money thing, you know, and why, you know, I was not into that. I was into, if you just let me get in, I will, I will produce. I will give it to you. I lay it on you, you know.

And, you know, I didn't have to go through all that with George. He was like, you know, you just come on in here and help me with this parliament, this funkadelic, these records I got to do. Just come on in here and do that. And on down the line, you know, I'll get you a deal, a record deal, you and the band. It wasn't, at that point, it wasn't about getting me a deal. It was about getting the band again, you know. And he's the one, George is the one to talk me into doing the solo thing. because I wasn't, you know, I wasn't down with that.

It was like, man, we're a band. I mean, you know, I had always been used to being a band, and I never even entertained the idea of me doing so. I can't sing, man, what am I going to do, you know? Be boozy. That's what, that's exactly what he's in. I mean, you're the first larger-than-life character. Like, your persona supersedes your already powerful catalog.

and, you know, your name is associated with a lot of Megaton hits in the P-Funk, you know, songbook, yeah. Right. So how, how did he finally truly convince you that this has to happen and, you know? You know what? He didn't have to convince me. I mean, he already knew about us, you know, from the James Brown. thing. So he knew more about us than I knew about him.

So he studied you guys. Yeah. Yeah, he knew. I mean, George is a silent genius. I mean, that mug is, I can't say enough about him and how he have moved through not only the music, but to business. All of us could use a bit more of what we lack. but him as a person he you know the thing that that messes us all up is the flesh if we didn't have flesh we'd be cool

we'd be really cool because we wouldn't have to take care of this you know and we wouldn't be so addicted you know or addictive you know and so those are the things that called him you know what it catches not just him It catches all of us. Yeah, you know.

And so, but his mind was just so, I mean, he's the one that got me in the reading and being up on the mothership and, you know, clones. Let me ask you this, style-wise, at this point, where were you and how did you get there from James, right? Because when you met George, I'm imagining that you were. I was already there. Okay, so how did-offstage he was dressing crazy. On stage, he had to suit and tie with James.

Okay. Okay, okay. And then, so George didn't enhance that. You did influence James a little bit because, like, he started dressing. A little dashiki, you know. Yeah. Where you got, what was the turn Hank Belley?

Blackenized. Right. Well, actually, that's what James named us first. Are you always blackenized? The Blackenizers. Wow. Wow. That was, you know, he named us that before the J.Bs.

We was the Blackenized. And he sent us out with Hank Ballot. So it was Hank Ballot. Hank Ballard, the Midnighters, and the Blackenizers' band. So you guys are the band on that record as well? On the Hank Ballard record? Which one? Now, the ones like around in the Twist Time, we wouldn't.

No, no, no, no. I'm talking about the James Brown. How you're going to give respect if you haven't cut your brother? No, no, that was, that was Macy on him. From the love side at least, or? I knew he had one record out in 70. That was. That was us.

Wow. Yeah. Okay. Yeah. So the sound of P-Funk is actually the opposite of James Brown. Yeah. So who's crafting the sound of it? And was it that much of a science or was it just whatever you felt?

Let me tell you exactly how it was. Everybody that was involved brought their signature and was allowed to use. it. In other words, George gave me an opportunity to get in the studio and find myself, you know, and that is what, you know, I didn't get from James. So what I got from James was the ABC, like the discipline. Fundamentals. You know, then what I got with George, what George's whole thing was whatever the funk you got. bring it and so I wouldn't ever at a standstill I was always that's why I wasn't ever going back listening I was always it's like George said whatever I got so I got to see what I got you know he allowed

of freedom he allowed me to have that freedom to find myself he allowed Bernie to have that freedom to find himself and it just so happened that all that stuff worked. The magic was coming from each mug. You know, it wasn't like we planned it or planned the sound or, you know, the sound was, anytime I'm with Bernie

with catfish, you know, it's gonna sign that way. How long were all those records did they take? I've read stories of them, y'all cutting records in like a week, week and a half. How would the average studio session work. Well, we didn't have no plan.

Just whatever it happens. Yeah, yeah, you know, we just go in the studio and start cutting. George said, I like this for Funkadelic. I like that for Parliament. I like that for Pallet and da-da-da-da-di, you know, so it went like that. We was just recording. We wasn't thinking. We wasn't thinking about what we had to cut.

One question I always had, Glenn Goans, because you're the only person I met that, you know, I actually worked with him. What was he like, man? He was such an incredible voice, dude. Well, not only was he incredible voice, his songwriting ability along with his guitar playing. Actually, that's him playing 12-string on Monchies. Ah.

Yeah, that's Glenn playing 12-string guitar. So, okay, not many people know that for a lot of those parliament songs, you're drumming on it. Yeah. Which I want to know. I mean, now I appreciate it, But for me, like, the sound of funk and the sound of raw soul was always James Brown-esque, like, tight snares, high-tuned stuff.

You guys were the opposite of that. So what was the ideology behind, like, the lowest-tuned snare ever? And, you know, playing, like, unorthodox rhythms. Like, I know Jerome also, you know, he shouldn't be slept on as far as his... Jerome Bigfoot, Brett. Yeah. But just with the age of synthesizers, which I know, like, everyone, especially with Stevie, that sounded futuristic and right up there with you guys.

But just as far as, like, slowing the pace down, like, Dr. Funkenstein is so slow. Well, that was. And anti-disco, like, what? That, for me, was what funk was. I mean, it felt like that. I mean, you know, you don't do the rabbit thing. I mean, you know, when you get on a chick, you know, it's like making love. You know, it ain't about being a rabbit, you know.

You got to be a slow go. Slow go that fog down so she can feel it. He needs his own love advice. She wants to feel it, man. Yes, she does. Just in case you needed a witness. I'm jumping all over the place, but I know that we might as well start the regret questions now. I know right, yeah.

So, okay. Now. You say start the questions now? No, the ones that we know we're going to forget. We have regret questions that we think of now and then forget about it because we're on a tangent. Okay, so in 78, and again, I'm just jumping all over the place. In 78, Bootsila is absolutely an escape. It's absolutely inescapable.

Yeah. You know, I mean, what Brickhouse was for 76 and what, uh, uh, what flashlight was for 77. Right. Right. I mean, at this point, I felt like your second album was slightly bigger. Yeah. Yeah.

So my question is, with Bootsila, it never occurred to none of you to just call that song, wind me up. because I'm just saying that to buy that record in the record store let me explain it we just say you got to understand the mentality wasn't by this the mentality was I was building a character and Boozila was the character not wind me up

but not even in parentheses like no no no no And if you notice, on the album, there's nothing about Bootsila on that album. Bootsie question mark. I always wanted to know about that. So it wasn't, we wanted to go break all the rules, all of the things you just sing. You know, we wanted to break all of those.

So we put emphasis on, okay, what we're going to call it? And George would say, well, and I say, well, how about. rubber ducky. It had nothing to do with the song. I realize this. There's a lot of titles in which are never... But we only pretty much did that on my stuff. You know, some of the other things did that. But if you notice on the Bootsie Rubber Band stuff, a lot of the titles had nothing to do with the songs. How did y'all come up with what's the telephone bill?

Hello, Bubba. Yes, it's your friendly phone fanatic again. Well, that's one of my love songs, man. I love that song. What it is is, I used, you know, when I used to go to school, it was like this one girl I just, you know, I messed around and got some mouth from, right? Nick, yo.

You know, check it out. Check it out. Check it out. You know, her daddy was a preacher. Yes. You know, and some kind of way I was planted to where I got in, I hit that mouth, and I got out. You know what I'm saying? So, you know, in doing so, I got real, you know, I don't think it was, well, it might have been love, but I think it was more so lust.

Turned out. Yeah, I think it was more so lust. And then every chance I got, I was on the, you know, the phone. booth. I was in the phone booth calling her talking about what time can I get some more of that mouth. I need some mouth right now. Okay. And so, you know, that was the whole conversation. And, you know, I would carry that conversation out because if I couldn't see her, because, you know, dad got the strict, you know, preacher thing going on. So I had to make, you know, make adjustments here and there whatever time I can get that mouth I had to sneak in sneak out so and I did all that on the

telephone okay and so the whole thing came down to if I can get your loving I mean what's a telephone bill I mean it didn't matter I mean you know if I can get that some of that mouth telephone bill ain't shit because I was I was getting the nickel back anyway right right you know because, you know, we knew how to work them telephone booths. Oh, my God. And so are these lyrics like the, so the hook, but then all the stuff you're saying in the middle, that's just you, are you making that up as you go along? Is that living?

And then George wrote a lot of that one, too. Yeah. But the hook of it, the hook of the whole thing was, you know, the whole purpose of it was to get the word out about, you know, if I can get some of that mouth, what's the telephone bill? And that was it. Yeah, what Fonte was saying. So when you're in concert,

and a lot of these songs don't have traditional verses to it. Verse hook, yeah. It's just you doing dialogue, like Hollywood Squares or, or, whatever, I mean, just talking. Yeah. Would your audience mouth that back to you as if, and would they be disappointed if you went off script? Like, would you have to recite your dialogue?

Pretty, I mean, they want to hear it. They don't have to hear it exact, exact, but they want to hear it. They want to hear some of it. You know, they would love to hear all of it. But if for some reason I don't do it that night, it's all right because they're going to get some of it anyway, you know.

But I don't know. The audience has been really good for me throughout the career. So it's like Funker, is funk of tears, man. I mean, you know, they just come to, you know, they want to give up some funk and then they want to get some funk. What was the touring like for you? Because, I mean, by that point, black theater really wasn't invented.

I mean, you know, your typical night in watching your favorite act was more like a review, like the Motown Review, again, suit and tie. Yeah. Nothing close to theatrics and play. props and lasers. We had the phantom of the opera going on like a mug. I mean, I mean, you know, it was a, it was a stage. It was bigger than all of us.

I mean, because we wasn't going for the, the sure PA system, you know, the little baby microphones. I mean, we were going for the big boy stuff, you know. And that was partially Georgia's idea and my idea as. as far as we want to do it like the white boys. You know? I mean, why put us on stage with a baby PA when you know we're going to blow that shit up?

You know? So, you know, but that's the way we were always treated. So we had to start taking our own money and invest in. Reinvested. Yeah, investing in PA. I had Maryland Sound make this thing I call the space base station. it was up in the middle of the Coliseum and it would spin in a certain

certain part of the show and the bass solo stuff would come out of it you know and that was in that year you're talking about 1978 so the speakers would rotate yeah well they would they would turn okay while it's in the middle of the the Coliseum or auditorium it would turn and the speakers

you know were rotate yeah with rotate and the sound would come off the stage and up here so it's like an earlier version of a 3d effect um with sound what does a writer look like for you guys at this point i would be scared as a promoter like um because there's so many of y'all yeah yeah it was different yeah yeah it was pretty deep but again we wouldn't i don't i don't think we would that kind of band where you know, everybody was tripping. You know, if a mug and get a sandwich, we was cool.

Oh, that's it. Not a special kind of drink that y'all needed. I mean, just because we could. I think a lot of them did it. But, you know, it wasn't really about none of that with us. You know, it was more about we came to give up the funk and we're going to turn this mother out. That was the whole thing, you know.

When I was a kid, I read about problems with, using the name of the rubber band sweat band. Yeah, yeah, yeah. What was the... Sweat band president? No, no, the rubber band. Like, oh, did someone try to sue for the rubber band? It was a country and western guy.

That's funny you said that because I was just reading over the... Because there's always been Bucci's rubber band to me, but... Yeah. Well, they were saying that we took his name, rubber band. And we, nobody knows. never heard of him. I mean, you know, he came in and, you know, just because

we were being successful and, you know, wanted some money. Wanted to get paid. Did a, didn't a rubber band exist in? I don't want to. Yeah, that's what he meant. Well, but I mean, I mean, the actual rubber band that was in existence. So yeah. How could you claim that?

Well, I mean, you know, they'll acclaim anything. Ownership. You're right. I mean, ownership, come on, man. I mean, we would blessed to get away with, they didn't sue me. Right, the rubber band. Yeah. Right. Yeah. Well, no, I think you're saying

the actual literal, no. Yes. When you are a unit, you have to register your name. Right. Right. Right. Like, we, I own the roots as if you're a group, you can't be named the roots. Right. But then a movie can be made or, yeah, yeah, yeah. Or a clothing brand.

And then today, you got to understand that what, what Quest is saying, you know, that's like, that's everyday known fact. Then brothers didn't know nothing. But see, juicy fruit still tried to come after James and Tume.

But they just didn't win. That's why I was like, you know, they're going to try her. Yeah. Oh, they're going to, oh, yeah. Oh, yeah, that's their thing. They come and take it. You know, they come and take it. They don't care, you know, it's like, it's mine.

You know, I don't care who came up with it. I mean, it is mine. So was that why y'all, was that why y'all, when you started you did the one off the sweat band project was that because of that the um well sweat band didn't have nothing to do with well i think what quest is talking about quest talking about uh the rubber band oh okay yeah and um and then we didn't call it the rubber band it was always boosie's rubber band right so that's the other part of it that we had in our favorite we wasn't going around trying to sell the rubber band you know it was boosie's rubber band so i think that's

how we won that. Warners came in and blew because they were so cocky because dude had already got with them about, you know, give me a little settlement and everything's cool. They were like, man, you know, we own this. You know, we, you know, so it's Warner brothers. What was it like deal with Moe, Austin and the cats at Warner's? Did you have a relationship with them at all? I did, but not with Mo. Bob Krasnall was the cat. We had a good, good relationship. relationship real good, you know, at the time. At the time I was, you know, doing really good and doing what I'm supposed to do. So, yeah, it was good, you know, but they wasn't, they wasn't into investing in something that they had no idea that, you know, we look like maniacs, man.

Come on. But they knew it worked. Well, no, no, I can't say that. They knew somebody loved it. They knew, yeah, there you go. They knew somebody, and they know who to somebody was. We don't get it, but somebody was like that. Oh, so that's the.

So if Neil Bogart hadn't come in and basically financed the, was it the 77 tour? Right. Like, where do you think P-Funk would have been? Well, I think we would have been somewhere, but, you know, something would have happened. I don't exactly know what, but we was at a point that it had to happen, you know, and it just happened that Neil stepped up. He's like pretty much the only one

I guess you can see that. He's the only one. He's the only one. You, I mean, by 78, you were such a character figure. Was there any talk whatsoever about you having your own cartoon? Because you guys would have fun blown. You would have comic books inside the record.

That's all we, that's all in, within our crew, within Wow, Bill is pulling out. Oh, man. Wow. Oh, man. Overton Lord. I've seen it since I was like. Overton Lord.

Yeah. I mean, it was so much talent around that whole P-Funk thing, man. It was just incredible. But what it was Quest was they didn't want that kind of thing. That was too, you know, it had to be lightweight. You had to be talking about just love. Just, you know, I love you, baby. And da-da-da-da-da-di.

and dressing nice and they didn't want that raw pee crap and you know on Saturday mornings they didn't want none of that man but it's definitely ready for adult swim now though like oh yeah oh yeah oh yeah oh yeah well it's just the way that the shows began and all that stuff you guys were still like the the three four-minute cartoons at the beginning and but but guess who bought those we did I mean what wasn't nobody helping what nobody helping with George you know had to come up with the money with the uh you know, with the mothership. Wasn't nobody helping?

Wow. You know? And they knew, they knew how big it was getting. But at the same time, it was like, don't touch them crazy, mom. I mean, you know, especially George. That boy's out of his mind. Okay.

So is there any truth to the myth that you and George would purposely go fishing in the Bermuda triangle? Yeah, that's not enough. That's actually true. in hopes to get abducted or to see what happens. Loving to get it. Oh, y'all was fucked up. Oh, yeah.

Oh, yeah. What is it like being fucked up in the Bermuda Triangle? Well, now, that's one I can't remember. But why go fishing in the Bermuda Triangle? Because it's kind of like Ashton for it. Wait, do you know how heavy the tides are in the Bermuda Triangle? No, but I'm just saying, like, if you're trying to get a- Take a robe?

They did not take a robo. They ain't take, come on. What I'm saying is I understand the logic behind it. I was a yacht. Yeah. Or there was one night George told me about the night you were in Detroit driving, and you and George saw UFOs. Well, actually, we drove from Detroit to Toronto.

Okay. Yeah, we was coming out of Detroit. And, yeah, that's one of the ones that I know. really happened. Come on, man. You were sober when you're... I mean, I mean, I didn't say I was sober. Okay, well, how are we going to believe you?

I'm just saying that I know... I believe in other life forces. Yeah, I know that that happened. I mean, I know that that happened. And I know, also know that there's some missing time that happened that day, night, whatever it was. First, it was day. And next thing we know, it was night.

And Chuck Berry was on there singing, uh, Johnny B. Good. On the radio. On the radio. Oh, wow. And that's when George told me, after we saw this, it was kind of. Nobody going to believe this? Yeah. Yeah. After we actually saw this come down and hit the car.

What? Yeah. Yeah. We, I looked at George because I'm always looking up to George like, you know, he's the savior. He knows everything, you know. And, you know, I'm not afraid. That's like, you know, being out there on, with the Bermuda Triang? I'm with George, you know.

I mean, I'll be anywhere. We're night fishing, you know, and you can't even see your hand. Wait, you're doing it at night? You can't see your hand. Was there a full moon out too? No, no, no. Oh, y'all just. Right, right.

We was asking for it, man. I mean, and George caught this, we don't know what it was. We never got a chance to pull it in. It went under the boat, and he couldn't, you know, couldn't pull it in. So we don't know what happened at night because you can't see your, hand in front of your face you know so yeah it was some deep uh it was some deep experiences um that one you was talking about dough in uh detroit toronto yeah we went to we went to george's house over in toronto after that experience knocked on the door and his daughter answered the door

and she was in shock by the way we looked she said what is wrong with you monobuggis because we would lit up. She said we would lit up. Okay, now this is her rap. Right. And she, she don't know. I mean, you know, she's a little girl growing up. Barbarella.

That's her name? Yeah. Yeah. And, you know, she, what happened to y'all? You know, and we thinking we just, you know, we just got scared out of our mind. We didn't know we had a certain look and showed enough. soon as she saw us,

what's wrong with y'all? You know? So, and we never talked about it. George and I never talked about it because I wasn't sure about, you know, the, facts, and I knew he wasn't sure because he was

more confused than I was. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clipper Taylor the 4th. might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeard radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From

hidden traits teams look for, to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Tim

Slice of Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, oh my God, this is the same man.

A group of women discover they've all dated. the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed.

I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Another singer I had a question about was Leslyn Bailey. Yeah.

and sings on love vibes. What's the deal with her? You know, I met Leslie in, let's see, in 1973 or four. And we started doing, you know, little recordings and stuff. Okay. Like around Cincinnati. And I first thought that, well, actually, she was a part of the band in the very first record. What was the love vibes?

and um uh because I hadn't really put the whole band together yet so you know um it was uh myself bone uh cat um Frankie

and Fred now I had called them to come in to do the horn thing but uh yeah the band the actual touring band wasn't together yet okay you know so I was trying to find myself

find out who the actually rubber band was going to be, you know. And she was part of that. Okay. And, yeah, she was, she was a heck of a songwriter with those kind of love, you know, love vibes and that kind of like, yeah, yeah, that's my girl. So, so by the late 70s, when you guys are just in full mood, does it get overwhelming? Because you're dealing with parlette, brides, bootsy, fungodelic. Parliament and all these acts. Yeah, every, like, how do you know our first phase?

I mean, because it never technically ran out, I guess. Yeah. But how did you know, like, we need a break or that sort of? I'm going to tell you the truth. You know, I think the worst part about music is the business. Right. And music is so blissful.

It's such a blessing. But that's, the business is the thing that separates everybody. And that's what happens. It didn't only happen to us. That's what happens to pretty much everybody. You know, you start making money. You know, because when we weren't making no money, hey, I mean, you know, it was like,

That was the best time in my life. It was when we weren't making no money. I mean, you know, when you start making the money, people start wanting to separate. Oh, you can come over here and do this with me. And you don't need them. And so that all that rap starts happening. The one thing they couldn't do is separate me and George, you know. And, you know, because that came up a lot wanting to separate, you know.

but that's one thing that didn't happen, you know. But everything else, when I start figuring out that I needed a drug to go to the studio, I knew something was wrong with me, not something wrong with anybody else. The blame stopped right here, because I started realizing, that ain't, that ain't what I do, you know.

I used to go to the studio because I love to do music. you know but now I can't go out the house without doing drugs first you know I knew something was wrong with me and so I think that hit everybody at a certain in this time period that maybe not the same way it hit me but it was hitting everybody do you think it was was it trying to deal with the fame like being like actually famous you think that's what it was nobody give us no manual on how to you know I mean question them they know more about you know everything You know, we was just out there. We was just out there, you know, for the experience and the love of music, you know.

George is the only one in the camp, I think, even had a clue about how Motown worked or how, you know. The business works. Yeah, the business work. You're supposed to, you know, try to get a hit, try to make sure you got a hook, try to make sure you got, you got, you know, he was the only one that had a little clue. You know, but he didn't have nobody to push him, you know, he was it. So what were your thoughts once? Whoa, whoa, whoa, whoa, even before that.

You technically are the producer of the first Zapp album. You're listed in a house. Yeah, yeah. Describe, I still don't think that the world knows what a virtuoso Roger Troutman was as a musician. Well, you know, I knew Roger before any of that stuff. So you knew him from the hood. Yeah, yeah. And we used to play in the same clubs.

I mean, you know, when he was Roger in the human body, you know. And so we used to go to their gigs. They used to come to high gigs. And we used to joke a lot about his dad. You know, his dad always used to come. down on me about I stole his cigarettes and I'm like come on dad I don't even smoke well not them not that no and you know we always had a big joke about that and Roger NEM always had a big motor home because dad had it going on no dad had it going on what did he do um he was in construction

and you know he did yeah they still have a big construct like yeah they invested in They have a big giant construction. Oh, they had it going on. Out of all the bands, they had it going on with music or without it, you know. And so, you know, we always made a, it's kind of like a pledge to each other that if I make it first, you know, I'm going to reach back and grab you. If you make it first, you reach back and grab me. That was our whole thing. And Catfish didn't let me forget it.

You know, when we mess around, start making it, Cassie, don't forget about Roger now. And that's when we start, you know, I was like, okay, let's, where they plan at. Kat always was in tune with the street, you know. He always knew, oh, yeah, them are they playing up in Dayton the night? Let's roll up there, you know. We jump in the limo, oh, we was big time in like a mug then.

You know, we jump in the limo right up, call Roger. Come on, man, come on, jump in the limo. Let's rap, man. That's right. We can ready to get this deal, man. You know, so we talked about it and they was all up for it. Next thing you know, we're raving the studio. United Sounds in Detroit City. Y'all may move to the house at United Sounds?

Yeah. What was the United Sounds like? Was it just a regular studio to you or just, was there anything magical about it? I hear that it's, it was a magical place. And for, well, I guess I would have to say. it's a magical place because that's where I found myself. Right. I was going to say, right?

Yeah, yeah, I would have to say that because when I first started going there, you know, it was like the engineer, you know, he'd hate to see me coming because I always had some kind of pedal to hook up. And, you know, he's like, man, you know, because he was used to doing like Motown stuff. You just plug it in and play, you know, just come on there and throw. that you in the wall is it it you know but i'll come in you know i'll be figuring out my my gadgets you know trying to get this sound and he's like what do you just play the part you know i'm like no man you don't understand see i didn't even understand what i was doing i was just trying to get some

different things going on you know and um and so i would have to um always hear this going into the studio. I would know I would have to deal with Jim. Jim, Jim is his name. Jim Vitty. I'll put him on a lot. On Loss. Yeah, Jim Vitt. He was a smash, though, man. That mug, you know, once he called on to what I was doing, he was like, you know, is that all the pedals you got? You know, he's like, bring up, bring him, you know, because he started understanding, oh, I see what you're doing. So, since you've mentioning engineering. The claps or to all people on. Jim Vick.

How? Yeah. Because the electronic technology wasn't out. Harmonizer. The even tide harmonizer. And even ties were out back then? Even time. And AM, what was that thing? AmS?

Did it only sample for a minute? So he would be tuned in? No, it wasn't even a minute. It was five or ten seconds. Really? Yeah. Yeah. Yeah. That was, you know, Jim, Jim Vetti came up with that vibe. And is that y'all clapping or y'all, how are you creating that?

We all out in the studio, you know, all out in the studio, clapping at the same time. You know, and it's making that, clasily brothers once told me that. Wetting your hands? Yeah, they put their hands in a bucket and then start clapping. Well, I don't know. That might work for them. But not for you guys. Yeah, you know, we just,

all went out and just clap, you know. So how, were you surprised at how your catalog slowly started to come back into fashion in the late 80s and early 90s? You know what, because I was never really surprised. Yeah, I mean, on the real. You know, I was always kind of just looking forward to the experience. experience and when they started sampling and stuff like that, it was like, oh, great. I got, you know, great. I'm glad somebody really like.

You're like, we won't easy. Can we talk about I rather fuck with you? Yeah. Because that's like my favorite use of a oopsie sample. I remember the first time I heard it in high school and it was like, what the fuck is this? It's amazing. When the first time you heard it and were asked, is it cool? Can we use this?

Well, actually, he played it for me before it even came out. Right, right. You know, and... To get the permission, right? Yeah, yeah. And, you know, we would just... Exactly. Yeah, not even a question.

Just... Right. Just go ahead and hit it, you know. And you know what? We weren't even really getting paid at that point. Right. You know, so it was more... For me, it was more about the re-birth, like you was talking about.

Yeah, because when you started doing it in concert, then it's like, oh, this is where. Yeah, yeah. So for me, it was, you know, it was more of that. And then James, I think, was the first one that started, you know, what do you call, suing and for the samples and stuff. But George and I was pretty cool with, you know. They legendarily cut great deals. I think the not just needy rate was I think half a penny an album sold

Yeah Because George's theory was like It was like crap Yeah Let's sell it for cheap And then everybody will come and use us So in comparison I'm wondering where James would charge Oh, James.

I mean he's not Picture this, Learjet True that Picture this, $250,000 a week for gas for gas. He wasn't as with the suit. I mean he definitely went back to get his money

but I think he also realized that you know where the bread's being buttered now you know the state just absolutely encourages it. And I'm like well you all know like James Brown hasn't been sampled like 25 years now they're like yeah anytime he won't use it. Here's some more things right

Boozie, at this point in your career, like, where's most of your money coming from? Is it shows? Is it, like, publishing or royalties on your records? You want to know the truth. I don't know when there is money coming from. I mean, you know, and I think by me not caring, it just comes. And that's the way it's been all my life. Wow.

So you have a very trusting individual in your life. Well, it ain't like, it ain't, like, trust. It's more like I depend on the one, period. You know, and the one is bigger than music. The one is all of us. It's the essence of all it is. And so that's what I depend on. You know, it's no religion.

Okay. You know, it's no nothing. It's no color. You know, it's the one. Whatever that one is, our minds can't grasp what it is. And so I don't even try to figure it out. I never have. Like Bootsie.

Yeah, I never try to figure it out. It's like, oh, that's what it is? Okay. So you've done some collaborations with a lot of artists. Like people might know you. Delight project, but there's one particular, this one particular project, I will never, for the life of me.

When it happened? What was it, man? The Bill Laswell was going? The Bill Laswell was going? No. You were in Columnie badge band. Oh yeah. Oh, second album.

Oh, second album. If you remember the, if you remember the very beginning sketch of Fat Cat on. I thought I was on a roll, man. Fantastic volume one. Okay. When they were like, hook, I'm up a good deal. Yeah, yeah. A time.

Yeah. Like, I thought I was on a roll. You're good, you're good. But what, what, what Frank, Dank, and Diller are talking about. This is the intro to time and chance. Yeah, yeah, time and chance by coming band. They did it on the Soul Training Awards the night before. And even I was like, wait, is Bootsie playing with Colony Bad?

Like, is he? Yeah. He's on the album, too. But, you know, I think, too, what I was doing was trying to get, prepare myself to get back into band. You know, and it wasn't so much as whose band. it was like, let me see where I can fit in. I'm not clowning. I mean, it actually made sense.

How they get the lottery like that? I don't. But they... That's when they were hot kind of at that time. They were hot. After I wanted sex. Okay. And it just seemed like I said, how the one takes care of me.

The one, yeah. I mean, with delight now. I mean, of all times, of all people, and house music, really? Right. You know, even George said, man, you can't do that. Really? Yeah.

Yeah. Yeah. And then I invited him to the gig. He came to the gig. He said, oh, I see. I get it. I see. I mean, you know, all this festival and all of them jumping, he was like, okay, I get it. See, this is all making sense now. You're taking chances because I was wondering when I heard you were doing something with Billy Ray Cyrus. I was like, yeah. But then I'm like, okay, this is Boosie. He's on the one. He's taking a chance. You never know what could come out of this. I don't want to do it with who you would think I would.

You know what? I forgot. all the stuff we did together. I'm totally forgetting. So, Booty and I once did they like redid the Monday Night Football theme and they had a All-Star.

That was the bomb. It was me, Bootsie, Little Richard. Yeah. A whole bunch of people, but one of the craziest moments was on break. Charlie Daniels. Oh, you remember.

You remember that? Starts playing the P-Funk catalog. I didn't realize. Wow. How deep into soul music Charlie Daniels was. And he was eating it up, the whole fact that, like, oh, y'all underestimated me. Yeah, yeah, I know my people.

But, I mean, he was doing, like, like, good to your earhole. Oh, yeah. Oh, yeah. Yep. Wow. And I was like, what the hell? And I did not know that. That's crazy.

Yeah, these people were just jamming, like, people and stuff. But you know, you know what's funny, too, is I run into a lot of, cast that ain't you know you ain't supposed to be really down with and I find out that they know more about you than you do undercover fucketeers yeah yeah you don't want the world to know yeah and it's like wow you know so you're a living legend bootsie I don't know that I told you you're yeah you're a timeless living legend well you know like I said I didn't get into it to be to be what that is because I don't even know but I'm just glad to still be a able to, you know, to sit here and be amongst people and to vibe, the good vibe, because

it's so much mess, you know, it's so much mess is going on. And, you know, just to be able to use your platform. That's what I feel like, whatever I have done, I want to use the platform for these young mugs that's coming up now because they don't, they didn't get, they didn't get the platform to play live music like we did. You know, they, you know, they got an iPhone. They got an iPhone and that's all they need, you know. But we needed, you know, we needed to be able to touch and feel people, you know, and have those private moments, you know, because you can't even have a secret now.

Ain't nothing private, you know, you can't even get lost. You know this. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clivert Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media.

Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment,

and the next we'll talk about life, mental health, purpose, and even music. The Cliverts Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to the Clivert Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a

special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by.

Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck.

I thought, how could this happen to me? The cops didn't seem to care, so they take matters into their own hands. I said, oh, hell no. I vowed, I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts,

or wherever you get your podcast. I had a question about the record, instant replay by Michael Wade. Yeah. Is that you playing on that? He produced the record. Oh, you produced the record. I'm trying to think.

Instant. See, play you and me. Yeah. One more. Play another love song. Right, right. Right. I remember the record, but I'd have to hear the song

to know if I'm playing on it. Oh, okay, okay. That's how much he's done. But you did produce the order you. Okay, you produced, okay. Cooking from that side out. I love that record. Yeah, sort of.

Cooking from the inside out. I had that tape. Man, Kwasse, you got everything, man. None, we're just nerds, man. Quasar, or the gling going side. Were you on that? Were you playing on that as well? You weren't on that one.

Okay. Oh, but the boys was bad, man. Okay. Jersey, man. Come on, man. Wait, when you... Plains. When Paul, billionaire, Billionaire.

Paul. Paul. Oh, I don't know. You're crazy. I was like, I'm thinking. Bill Gates, former partner. Oh, almost a metaphor. Music experience in Seattle.

Oh, I can't remember. So Paul Allen. Paul Allen. Paul Allen reunited you guys to do the, you guys as in the JBs. Yeah. Yeah. What was that, was that the first time? that you guys played together in

well you mean all of us like all of us it had to been like 2000 it was 2002 yeah yeah actually that was um as far as um

all of us like country yeah the original yeah the original crew yeah yeah that was definitely the first time you know and check this out um you know so So, you know, they asked James, you know, now we got your original band, you know, cats here. You know, now, why don't you want to play with them?

Yeah, yeah, he didn't want to play with us. Wow. And he didn't play with us. So we had, we went on before him, tore it up, all right, mind you, playing his stuff, mind you. and then he came home with his band and you know people kind of

yeah they kind of saw him later what did he say to you did he speak to y'all oh well you know he came in the room come on in you know and what me and cat do you know we get a mug sitting in the middle of us right because we like them headphones you know it's like

we get the mug sitting in the middle and we wear that mug out then we start cracking on them and what's with the shoes man so you know we had a thing where we didn't even think about you know like what we're going to do

it's like oh Mr. Brown wanted to come in and see y'all come on tell him come on in and then I move over cat move over James going to sit right there and we put our because you know he ain't used to that hugging shit you know so you know we hook first thing he do it

He's sitting out and hug him, then he get all uncomfortable. It's like, yeah, that's exactly the way we want you, this is the way you made us feel. Ah, man, we know his love. We know his love. So is there anything that you've not done that you wish you could do? What I've not done is... You scored a movie.

I forgot you even scored... Super bad, yeah. Yeah, yeah. Well, actually, that was... Almost a J. Almost all of them. Clyde was there, Jabbo, and Bernie,

Bernie World Real Kid, man. Catfish. Actually. A mash-up all-stars. Yeah, yeah. It was really, that was a cool time now that you've mentioned it. I got some great tapes of Jabbo and Clyde, you know, during that session.

Really? Yeah, and we had to video. I got tapes. I mean, they was killing. They was killing. I know, I already know. I already know. What does your archives look like?

Because, you know, there's a lot of your shows like on YouTube or whatever, but like. You know, you know what I do, I just, I just stacked up, you know, and it's just like my music. I don't go back and listen to it. I just know I got it. Do you need an archive? Did he do? He does, Bill. Yes, he does.

At some point, yeah. I'm volunteering. Yeah, yeah, because that, I think that's coming, it's coming around, you know, because everybody's really asking me. And I got, it's so many different artists that's been through there that, you know, like, for instance, Bobby Warmac, man, people have no idea how bad that boy is on the guitar, you know, and I mean, singing, he's killing it. But the guitar, he's killing it even more.

And I got these tracks that we did when we did the record before this one. And, you know, he brings you in. It's this spiritual thing with Bobby. He just brings you in and whatever he's feeling, you feel it. Actually, you mentioned Bobby Woolman. Yeah. which made me think of breezing. Yep.

Which made me think of him recording in the same studios. There's a ride going on. Yep. Yeah. Okay. Can you, as honest as you can be about it, what was that miniature sly period like when sly kind of joined P. Funkins? Yeah.

Yeah. Because the thing is that I know that during that P-Funk Earth Tour or which I think it was the Funkintel. Oh, no, it was Motibouti Fair, 78. I know that he was opening for you guys.

Right, right. And, you know, George Hadamore on a few records. It was okay. But I, every time I look at the footage of, of, of, any old footage of sly in the the the peafunk era i gotta wonder how much of a psychological part of my french mind fuck that was for him yeah to like you're right him as a captain

kind of he has to go down to minion status and he's opening for me yeah how how awkward was that period. I know that had to be really stupid for him, really for him, and it felt stupid to me. I can't speak for nobody else. But I know that, you know, you guys had nothing but love for him. And he's like, my hero. And, you know, to actually see him going through that,

at that time, I thought it was good because at least he had came back out of his shell. Right. You know, so I thought that part of it was good. But the agony that I can feel that, you know, was coming from him to have to do that to get his legs back. Right. You know, I know that agony too. I felt that.

I felt that before. When did you feel that? I can't say exactly when I felt it. But I know I felt that. Who was the artist that you were looking at that you saw as, if not the next you? Well, it didn't necessarily have to be in that same way that it happened. It's just that feeling I've felt that before. See, I would, that's, okay, that's news to me because I would still feel as though you are still booty,

unmistakably Bootsie Collins. Like your presence is such If you're standing with Snoop If you're doing stuff with You know, rapper the moment, whatever Yeah And you know, millennials aside Somebody knows that's Bootsie Collins

Whereas I'll tell you when it was Sly was kind of still Oh good I know now This is one of the times When you plan to a audience That they don't have a clue

Of who the hell is this mom's standing up there with, you know, got, you know, the star glasses on. And the mugs don't have a clue of who you are. And all the mugs that's on the show is like, what do you call, um, funketeers from,

from what, you know, that's a time that you feel like, damn. I mean, you know, it's like, and it ain't got nothing to do with the artists.

this has something to do with they don't know and ain't nothing you can do again fucking millennials well it happens but it wasn't like you know

it was their fault right well it's the parents fault parents didn't school this is why we have Quest love Supreme yeah parents didn't school

but that's that's you know that's the closest time I think that I've you know that kind of feeling would come out. It's like, you know, when you come on and you know these mugs supposed to know something, somebody's supposed to know something, and they don't. Damn. You know, and, but, but then, you know, me being a man of the world, I kind of

understand why they don't, you know, because funk was a bad word when we first came out, you know, and they wanted us to do interviews on the real. radio, but they didn't want us to talk about funk. So I understand that stupid part, you know, like, how are we going to tell y'all about what the funk, you know, is about if we can't say funk, you know, so right there, that was so stupid, you know, and then it was the people that drove at home that made them realize, hey, man, you're going to, you know, y'all better catch up because the people going for it. You know, the people was in it.

You know, they was in it already. And the DJs and, you know, the radio, they was like, no, we can't play that shit. You know, they got airplanes in the records and, you know, alarms going off. You know, we can't play that on the radio. You know, so, you know, we had seen that story before. I also think it's on us because we just can't take for granted

that someone's, if I say flashlight, you'll know what I'm talking about. I mean, you know, there's sports events. You see, each one, teach one. Yeah. If you leave this earth and didn't at least teach 20 people about your playlist or whatever is on it, then that's what's going to happen.

I still blame the parents because it was in my house where I learned about Miles and the both field, you know, Ted. Like, it's just, yeah. But I'll do that too. But you know what? it's a lot of kids that they get it like that

and then you have a lot that don't you know so it's like you know so it's like you get the best of both worlds every now and then. You also have to look at the way people's music collections are these days like it's not necessarily like a physical object in your house like there's not a stack of vinyl

sitting in the corner of most people's houses 80,000 records are in this telephone right now right yeah and so it's current and when you have access to that much you kind of lose context for it all so so quince let me ask you how do you feel now you know because you you have moved checked it out just let me ask okay just let me ask you have moved from crates right uh-huh and then just to have the availability what does that make you feel like i mean you know um you know i missed i missed the i miss the immersive experience of

record shopping mainly because that was the bonding thing with my dad and I. My dad and I would go to the mom and pop store. And he was a bin shopper the way I am now. So, you know, after school, go to a record store and just buy every 45, every record. So I miss, you know, the incense in the store and, you know, him playing this record and that record. I miss that experience. Well, just think about this.

But on the other hand, I'm fully embracing technology. now and there's so much music out there on the internet. I mean, it's overwhelming and I'm probably not even going to get through 25% of it. It's overwhelming. But, you know, I, you know, I'm kind of a board for the ride. Yeah. Well, I guess the same thing, the same kind of thing you're dealing with there is kind of what we're dealing with as well, you know, because the crate, you know, the crate, you know,

The crate is what we do, you know. That's the crate of music. And what they're doing now is they're making it where you don't have to carry the crate. You know, so if you don't carry the crate, which then they give you a replacement, you know, which the replacement, you know, yeah. It's your phone. I mean, and that's what a future. I mean, and that's what a few. I mean, people play guitar on that phone.

That's kind of crazy. I know. I know. But that's where it's going. That's where it's going. That's where it is. Yeah. All right.

Are there any regret questions? What was your thoughts on Redbone first time you heard? My child is Gambino? Yeah. I thought it was pretty good. I mean, I liked it. Okay. You know, I knew the Rother Be With You was, I knew that was all up in there.

You know, it wasn't sample, but they, you know, they recreated the way they heard it. Yeah. You know, yeah, I thought it was a great record. Wait, so that doesn't. Bill might hint that you're being. diplomatic right now, but, you know. Yeah, because there was a big debate online about this. Well, let me tell you,

you know, I'm just, you can be honest here. Yeah, I'm going to be honest. Thank you. Okay. Oh, no, why I opened this door? Now, I'm a fan of that song. My partner, George, he's actually, what I understand is he's going after him,

you know, and you know, that's, that's what, George do. Because I was going to ask, was there a sample check or how does the... They didn't sample it. They didn't sample it or interpolate it's just... It's kind of...

Oh, I didn't know that. What, did that was I rather be with you? No, I thought that there was some clearance going on. You mean, it was done and not even... Inspired by. It's just inspired by. Oh, wait. Some blurred minds.

Wait, so... They just gave you that nigg. No, no, I just... No, no, not. I wasn't doing it at you. I'm like... But even I knew... I remember when I called you that when I texted,

I was like, yo, I heard that work, I was like, yo, he might be in blurred lines. Here's the thing, though, because we don't have physical copies of it. Nobody knows. I've never read the credits of that album. Of that album. I've just heard the song, naturally assumed, oh, yeah, they cleared that shit.

Yeah. Oh, I, everyone knows this derivative of I'd rather be with you. That was the debate because they said, remember y'all said a lot of millennials will not know where this comes from. Oh, damn, Donald, you don't fuck come up. I remember that. That's why Bill being fuck with it in the first place.

So y'all are not credited as like co-writers on that song or nothing. That's okay. All right. Ooh. Anyway. Bill just got happy and we have to wrap up this.

Wait, wait. That's what I was going to ask about. We were supposed to go back to talk about this. What did James think about your guitar? You didn't forget that. I wrote it down so I wouldn't forget it. Oh my goodness. Okay.

That first night we played, that green $29 silver tone guitar which I turned into a bass and I played it. I thought you know, the color of it was just, let me see if y'all got a green.

Man, nothing. Not green black around here? Yeah. Okay, take this blue and neon green it. Okay, so that's the color of this base, okay? And James looked at that

mother and he was like, son son now this is what he would do not nah nah nah ain't gonna work ain't gonna work to life that thing you got there can't ever be on my stage again on my stage you play wherever the hell else you won't did you stand out too much uh i don't think it was that it's just he didn't under he wasn't he didn't know the story he didn't know that I was blessed just to have that to have it. So did he buy you a base? He bought me a base.

Do you have that base? Actually, I don't. What was the story about it turning into a snake on the... Yeah, yeah, I heard that story too. That was what happened. Bad tripping. Well, it actually, I thought it was pretty good. But obviously other people that was looking thought it was bad.

Right. So what happened was James Zahn, look at your eyes. They all read, I know you're doing them drugs. I'm like, I don't do it on your set. I do not, you know. And anybody would be crazy outside of catfish to. I was a loaded statement. I mean, to do drugs on James' set.

with all the movements, hits. I mean, everything he did was a band. Yeah. And it was like, I can't be high on this. You know, even I know that. So you don't have to drill me on doing drugs because, yeah, I'm going to do them. I ain't going to do them on your set. So that's what I told him.

And every time he commented, look at your eyes, son. And I'll be looking crazy. but it was because of the sweat you know the sweat then dripped in my eyes maybe I stayed up all night you know

with this that and the other one and you know and all of that played into seven nights a week so every night he called me in there I'm gonna look crazy you know it ain't gonna be one good night so he called me in

this one night and that was after I had the snake experience you know I'm on stage you know because I said if he's going to accuse me I'm going to let it be real I'm going to take I'm going to take some LSD tonight

and so I might as well do it I might as well I mean he's going to accuse me anyway so I took it now you're talking about recalling that night I have no idea and no mess ups either huh and no mess up nobody

complained about nothing I played You know It's like the Doc Ellis No Hitter Right I don't even know how I got through that night But I wind it up in

James room And you know He said to me Come in son Sit down Sit down Sit down Sit down

Sit down on bed And he put me right next to I mean right next to him You know It was like You know I need a little room Because I need You know

It's like I'm tripping You know And you know I couldn't tell that but it's like don't you know and see what he's so deep is he knew that I was tripping and he just

going to mess my trip up he going to mess it up so he called me get real close to him because he don't never have me getting that close right you know so I got so close to him that when he was talking I had to look

at him you know and when I looked at him his face started like you know how volcanoes look the volcano with the stuff spewing out of him I started seeing his pores just

you know all over his face and the next thing you know I fell out on the floor check it out fell out dying laughing he was so through with me

me? He said, no go. Get your ass up out of him. He told the bodyguards, throw me out. And that was the last time that he called me back in his room to talk, to give me a lecture. A drug talk. Yeah. Yeah. You know, because every night he would call me in the room to tell me how bad I would, how messed up, you know, how I wasn't on the one. Son, you ain't got it. You still ain't got it. And so See, we be done killed the people. The people be like, damn, that boy, oh, man, the mother's, oh, that. So you get all that rap. Then James call you in the back.

Nah. Ha! Ha! Ha! Son, you ain't got it. You wasn't on the one tonight. So every day we went in there, that's the story I got. And you think that was this way just kind of keeping y'all humble not getting the big hit?

But check it out. It was a little deeper than that. the more he said that, the more it made me want to practice. I never knew it at the time. But once I got out of the thing and looked back, I was practicing hard in a mug because I thought we wasn't happening. You know? And I don't think he was doing it for that purpose.

I think he was doing it just to wear me out because that's what he do. You know, he wear a mug out. But if you take it in a positive way, you can help your situation, you know, and that's why, you know, a lot of negative stuff that come down, some of it's good for you. Some of it will, you know, if you take it in the positive way, some of it will make you get on it. So that particular one made me get on it and what nothing nobody could say that was deeper than James Brown about, ah, you ain't on it.

You know, because I hear that voice all the time. Do you still hear it now? I still hear it now, man, you know. And it makes me want to do that much better, you know. But I know the reasoning now, but then I didn't know why he was doing. I thought he was just doing it just to wear me out, you know, to make me throw my instrument down, you know, and say I can't handle it, you know. But it made me grab my instrument more, you know, and take a hold of that. You know, and like I said, I don't think he, I don't think he was doing that on purpose,

but then again, he might have because James was deep. Any other? No, I think I'm good for this. You good for her? Yeah, I think we covered it. Why? Random question. Anybody, any stylist ever tried to get up in your business and be like,

I think I could do some things. You mean stylist? He's clearly his own style. No, clearly he is, but at some point, somebody was like, Oh, yeah. Yeah. I mean, you know, it was lots, lots of people that did that. But, well, it was only a select few that would come in and, you know, I always drew what I wanted. You know, because if I hadn't been a musician, I was going to definitely, yeah, because that's all I did in school was draw. Well, I do want to know, how many star glasses do you have? and have you ever

do you ever go out and disguise yourself by not dressing like you just so you get to you know you gotta go to Whole Foods and get some bread I had to figure that out I mean once you make that monster you know the monster turns on you I didn't find that out until it turned on me

you know that Boozila we was talking about when that moment turned on me I was like I didn't know what to do I didn't know who I was you know and when he turns on you, you just, you know, so I had to find myself again, you know, find out the William.

You know, I had to find William again. William Earl. Yeah, my mother named him, William. I had to find that boy that took out the garbage. Don't go on out there, take that garbage out. I had to find him again because I was so into Bootsie and Boozila that I lost that boy, you know, until I came home one day. and mama slapped these same glasses off my face

and said, nigga, get out there and take out that damn garbage. And I had all my friends with me. I don't do that no more, Mama. No, I didn't say that. I wouldn't say that. No, no, my.

No. That's right. That's exactly what I did. I was fully dressed. She was like, you better get your ass and then take out that damn garbage. I went straight to the garbage. She was talking to William.

She was talking to wood. And that's where I found, start to find, William again. It's when she did that. Yeah, that's a true story. Steve? The star glasses. Do they pinch your nose or dig into your cheeks at all? You know what?

The points of the stars? Does that hurt at all? No, it might look like it, but. Actually, that's a great question, Steve. And then the other part of the question is, I got asked this a few times. to what is the star glasses all about and the star period because on your hat too yeah yeah and why um why did you uh uh make your glasses mirror you know and my answer was I did it in mirror so

who's ever looking at me you know at the time it was key you know it was a lot of kids that would come to the show and you know because I dealt with a lot of geepies the fans that the funcadelic was too oh you know older kids right but I could start getting the younger kids six the seven eights so I start calling geepies and so I got these glad to start glasses so when the kid look at my eyes instead of them seeing me they see themselves and that's yeah that's beautiful that's the main drive moment yeah now but that's that's that's what this was all about. And with the base, if you notice the first space base, it's got the mirror on the, you know, as a bodyguard. And what I did with that was I wanted the lights when they

hit me from the stage. I wanted those lights to hit the base and bounce off the base. So all of that, now all of that was thought out. You know, now I'd admit most of the stuff, we never even, you know, but the glasses and the image I was already on that in school that was important when I said I was drawing a lot in school stick men with the star glasses

with the star base that was the beginning of it I didn't know that I was going to wind up actually being that guy but that's what came to me that's amazing you know so and then when George gave me the opportunity to to front the boot the Bootsie rubber band

it's like oh I already know what I'm going to do. I got to find somebody to make these star glasses and I got to find somebody to make this star base. And I was on a mission. Well, yeah. William Earl Bootsie Collins, we thank you very much for sharing your experience.

Man, thank you, man. I never knew I remembered all of that stuff myself. Oh, man. Jesus. That was more than I bargained for. I didn't think you remember these stories. Yeah, those ones there, but a lot of stuff, I don't have a clue. We won't ask you about that.

But those stories, yeah. Thank you. Just for the record, because they're all over your hands. You are Scorpio? Yeah. Okay. Yeah. That says a lot.

All right. Oh, yeah. You know about that, right? He will be 23 next month. Anyway, on behalf of Boss Bill, unpaid bill, Fon Tigolo, Sikis, Steve, Lai, it's, like, yeah. I'm sorry. I'm consistent.

This is Quest Love. My brother, Bootsie and Collins. Oh, yeah, Bob. There you go. All right. Over and out. See all the... Yeah, that's fine.

See you on the next go-round. Questlove Supreme, baby. Questlove Supreme is a production of I-HartRadio. This classic episode was produced by the team at Pandora. For more podcasts from I-Hart Radio, visit the I-Hart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what you're saying.

Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw,

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And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl,

Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed, I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends.

Listen to the girlfriends. Trust me, babe, on the IHeart radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.