The Questlove Show - QLS Classic: George Clinton Part 2

Episode Date: February 12, 2024

In 2020, Questlove Supreme landed a bucket-list interview with the Funk captain himself, the legendary George Clinton. This episode hits all the topics you thought we missed and asks the questions you’ve been waiting to get answered. From Zapp to Prince and everything in between, ensure you complete your ride on the mothership with Questlove Supreme.   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.

Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to the Clivert Show on the I-Heart 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. 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 IHart Radio app, Apple Podcasts, all. wherever you get your podcast. What's up, everyone? I'm Ego Vodam. My next guest, it's Will Ferrell. Woo, woo, woo, woo.

My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be.

Right, it wouldn't be that. There's a lot of luck. Listen to thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. What's up, everybody? It's on Payville from Team Supreme. For this classic episode of Quest Love Supreme, we are speaking with the incredible the one, the only, George Clinton, the Parliament of Funkadel.

Last week, we reissued part one of this conversation. Now in part two, we did a deep dive and asked these sorts of rapists. full fan questions that make QLS unique. This was taped in mid-2020 during those early days of the pandemic. So Team Supreme was still learning how to get along virtually and in general. But the quality of the conversation is amazing. Make sure you check out all our interviews with Bootsie Collins, Larry Blackman of Cameo, and the late George Brown of Cool and Gay.

QLS loves bringing you that funk and it gets no better than George Clinton. You mentioned Boosie. I just wanted to ask you since we had him on the show and he told some awesome stories about you. But one of the stories he mentioned was something involving y'all creation. process in the Bermuda, was it the Bermuda Triangle? The Bermuda Triangle. He said that you guys used to do that, but he never knew why that place and to like be creative. Can you please tell you?

You went fishing in the Bermuda Triangle? Yeah, yeah, yeah. We was on one after the Mothership Connection. You know, the whole thing was Bimini, we went to Bimini and the hangout. and the number one Bimini Road and everything I saw all of the fish advertisement Mr. Wigger the Worm was a lure.

I was collecting information for the Moody Affair. Wow. He didn't know what I was doing. I was just gathering the topics from that topic and it all came together pretty good. You know, we was on a roll.

You had no fear of drowning in the Bermuda Triangle at all? I don't know. I have. I mean, it's all need to fear that shit everywhere. We ran it. He told you that we saw an alien spaceship. He tells you something happened to hear that.

Yes, he told us about this. For real. In Toronto? No, that's for real. I mean, we drove up there from Detroit after finishing the album, got there and went by Gary's house. It was like 10 o'clock in the morning now. We just got there.

We saw a light that looked like laser. you know, or light, but it was a straight beam. And I said, you see that? He said, what was it now? I don't know. Five minutes later, we would get off the highway, we'd be going down on a country road. The same light,

it sounded like two blocks in front of us right through the trees and hit the ground and spark, like, you know, electricity. On the right side, then on the left side of the highway, and the third time it hit the car right on the driver's side where I was sitting, it beat it up, like, you know, mercury out of a thermometer. You know, it would be like oil and water, you know, that consistency and roll right off the car. What the hell?

And at that time, what's weird about it, that we didn't realize this for years, the streetlights was going off. Now, remember the first time we saw this light, the weird thing was that you saw light in daylight. Right, right. You could see a streak of light in daylight. That was the weirdest thing. But when it happened and hit the car, the street lights was dimming. A car had his lights on in the back of us. I looked behind us.

And by the time we turned around, the street was completely dark. Our headlights was getting dark. We had to drive like five blocks. What's going on? We got five blocks, and you can look to your left. You can see street lights on again. And as we pull up, but by this time, it's night. time. We don't realize this. I don't, we don't talk about or I realize this for years.

My daughter said, well, y'all look like y'all seen the ghost. She said, give me kids, I'm getting ready to go to bed. Now, that should have let us, you know, let us know that 10 o'clock in the morning, she's going to bed this 7 o'clock at night. We did not realize that for years that that had taken place like that. That time elapsed. And I called Boots to ask him, what time did we get there? When we was coming from the student, he remembered, and then when I told him, the Barabella, what was she doing? She's going to be, how good she meet?

That same thing I said, we never thought about that for years. That's crazy. No, no, no, no, no, no. That's never, that's a funny. Trenny chemical substances involved. You have both cited, Mr. George Clinton. What was deep about it, we had just come across the border. We had just come across the border into Canada,

so we didn't have no trendy chemical substance. Oh. Do you have Canadian trendy chemical subcule? The whole of the world. Bill, do you truly believe that we are the only beings

of this level in this entire galaxy? No, but the fact that George Clinton saw aliens means everything is perfectly correct in the world. I don't believe it like all. Of course he did. I believe everything he's saying. You thought I see them before he did?

He saw them. They're there. Listen. George Clinton saw him. They're there. Let me ask you. So what is, what drew you to, I mean, you know, next to SunRah, I don't know any other black figure in music that deals with, oh, with the exception of Earth, Earth went and fire. That deals with Afrofuturism.

And, you know, I'll say that, and I'm glad you brought up... And Hendricks, yes, yes, absolutely, Jimmy Hendrick. And the thing is, is that I'm glad you brought up the UFO story because it's like, even in preparing for this interview, I know that with you, with, like, at the time in 76, 77, close encounters of the third kind, and Star Wars, I tried watching Star Wars. I'm famous for falling asleep during Star Wars for the

I'm sorry it's just a film that puts me to see any I, yo dog I've yet I've seen Star Wars but I've not gotten through one concurrent like that's what you're feeling I'm with you I've never seen of everything I'm with you but how are you able to get into because I think Richard Pryor once brought up the fact that you know a lot of black people aren't into science fiction because we rarely see us Like, we're not painted in the future in a lot of this production, but you were our vision of an Afrofuturist society.

So what brought that on? Like, what made you not just want to make people shake their ass and dance, like most people. Like, most people live in the present, I feel, in black music, whereas you're talking about years from now. I think Star Trek, I was addicted to that. by the time I saw Star Wars that was like a Cowboy and Western movie

that was like for kids but I liked it. It was for kids but already it was into the mothership theories and the sci-fi that Star Wars had more stories so I was always into that

and when it came time to make a record I want to do a funk opera that's when we started thinking about first we did Chocolate City And once I saw put black places where they weren't ordinarily seen, that was the cool thing to do. So the next one I was saying, but then put them out of space.

You hadn't seen no black people, nobody but Aurora. She was the only one you saw out there. But what about, you see this dude out there on a spaceship riding there like as a Cadillac. That's all of a sudden, it's a cool place to be, you know, mothership connection. That worked, you know, so then a. Clones is the weirdest one. Now, you want to hear the story. Clones was the second one at the mothership.

I got on a train in Dallas, Texas. There was a book on this train. This is the first day this train is running at Dallas between terminals. The very first day, the book is on the seat, nobody's on the train for me. I picked up the book. Steve Swanson has docked on spaceships over 50, hundred times, blah, blah, blah, blah.

But he could never get used to these trains at the Dallas airport. So I'm thinking, this got something to do with this train. And, you know, so I figured I'm reading it. I gets off the train in Portland, Oregon. Every book stand I saw had the book in that was called The Clones. I thought it was the way. So I went to the library and asked about what is cloned. And they told me it was protected by the freedom of information.

Now when he told me that My whole, you know, I got nosy for real Now I want to know And that's what the whole Dr. Funkenstein They gave me a book called Dr. Moreau Okay I'm under Dr. Monroe. That was the closest they gave to me

Without, you know, going home And they said I could get a book called The Charity of the Gods I already got that book And when I read that book, that was All my albums from then on, clones, Funkinteliki, motor booty. All of them was going in that same direction of all those theories, you know.

Yeah, I assure you that Smokey Robinson was not doing that in 2017. No, no. At all. No, he used to take kids' books and do all the nurses around and write songs from them. That sounds right. It was just another version of that. though. Speaking of which, I know I know that you are a massive fan of Sly Stone. I have two questions about Sly. And I've been, you know, as of this recording, happy belated birthday. You're,

you just celebrated your 79th birthday. And usually around your birthday time, I'll spend a month while I'll do nothing but dive into the P-Funkology of your work. So especially you quarantining, I've probably watched at least 10 of the concerts between 76 and the mid-80s, like at least four times each. I have a question, though, about the P-Funk Earth Tour. Now, knowing what role Sly plays in your life as a mentor, you've definitely been on record about how Woody is song. writing was and his arrangements and whatnot. But, you know, at that time, during the P-Funk Earth tour, you know, the torch has definitely been sort of passed.

And you're clearly now the alpha or the leader. And, you know, in 1976, I think that's when his heard you miss me while I'm back album was out, which, you know. Right. Creatively. He didn't do that. He didn't do that. Somebody else did that.

I get it. I get it. I get it. With the wink. But I want to know, how do you think that was psychologically? Because the thing is, is that usually when you're, when you are a maverick of that level that he was, usually you're supposed to have a really good history showing that you can have a good eight to 15 year run. you're clearly the leader. Like, Jay-Z has had a 15-20-year run.

Prince had, you know, I'm going to obsessing Prince fans. As far as the genius level, like, he's had that streak. Sly, I'll give him from a whole new thing to about small talk. So maybe seven, eight years. But clearly in 1976, here's the person that should be a man. Maverick, and he's kind of like in depth to you. Like, he's in an opening position. And I know that that was your hero.

Do you think that psychologically that messed with him a little bit, that it should have been in reverse? Like, you were the new kid on the block, and he should have been the person that should have been the episode. It may have, it may have, but at that time, we were, you know, we were doing other kind of drugs into that at that time. And you didn't have to contemplate shit like that. You know, it was less trendy for sure.

You know, and it was hard to actually, you know, and he was undoubtedly that motherfucker with all the shit that he had done. He may have felt a little bit. He would tell you, he'll tell you in a minute. You can headline this time. Let me headline now. And you headline next week. You know, not on stage, but just in socializing.

When he had to be the star, he'd asked you. Let me be the star right here. Wow. Really? You know, no, no, he's that kind of real. Hey, everybody knows that you're doing, let me showtime here, and let me look good. And, you know, it's some funny shit because you have to say, yeah, you can, but don't do me harsh because he can do your ass harsh when he wanted. Yeah, so you have to say, I'm going to be starring next week.

And he laughed, ah, I love my. I'm fucking know how to get in. But, you know. First of all, I just want to clarify it, because the thing is, this is about the fourth time you mentioned drugs. But I almost feel like for you, it's more of an enhancer. No, but I don't see it in that David Ruffin

sort of doubt. Like, for you at least. It was. It was. I was about to say it. No, but I think for you is more like a creative juice thing than it was. Or either that or you just hit it well.

I hit it well, man. I thought that I was cool, too. But I hit it well, but I was going through, because I wasn't doing what I really wanted to be doing. So, I mean, I couldn't get out of that. I was satisfied with my own self, but it really wasn't when you look back at it. It took a long time for me to say,

hey, no, let me come up and do a Medicaid fraud dog. Let me get that and do. That's hard to do when you get it. caught up in fighting for the rights and make music at the same time, you can lose your energy, you know what I'm saying? It can get cyphers, though. Let me ask, I'm not advocating, I'm not advocating, but let me ask you, if you were, let's say half clear.

Okay, let's say that whatever you've done between the stuff with Timothy, Larry, all the way to, you know, I saw the Chelsea Clinton, Chelsea Clinton crack pipe story. Damn, you've been watching a lot of this shit. Dude, I know your whole life. The Chelsea Clinton crack pipe story. Let's make references and just drop them. It's not right.

Especially those two names. Come on, man. Okay. I need to know that. Can you tell the Chelsea Clinton crack pipe story? Clear that, clear that up, man. Don't need you. Yeah, I'm sorry. Sorry.

That ain't fair. Okay. Tell the story. Well, which one? The Chelsea. You tell that one. You tell that. Okay.

So basically. Chelsea Clinton goes to her first P-Funk show. Oh, I know this one. And, you know, his last name's Clinton, her last name's Clinton. And they're like, hey, guys, take a photo together. And George was sort of on the spot

and had a pipe in his hand. And he decided, yo, this is not going to look cool. It's perfect. This is not going to look cool with a crack pipe next to the first daughter. So he

hit it, but he had to hide it by it the crack pipe, which was burning his hand. It was burning hot. And that photo's in People magazine. Wow. Do they know? Do the Clintons know the real story behind? He told the story.

Yeah. Okay. I just didn't know if you had actually interacted with them. No, they didn't know. They didn't know then. Her in Hollerfield gave me a birthday cake on the stage. Right there was. Wow.

And while we own drugs, Is that you actually doing the bump on the, what you call it, cover? Placebo, a Funkatelity versus placebo syndrome. Where, like, where it's, is that you? It looked pretty convincing. Yeah, it looked pretty convincing. No, I didn't do that. Okay.

I was panamining, though. Okay. I don't even know if you know the first time I ever smelled secondhand smoke. What kind of smoke? Yeah, the C word. Oh, yeah, that's just dead? Yeah, it was

it was crazy. It's like a skunky type thing. Yeah, I walked into George's room one second and I took a whiff of second hand smoke and I thought I was going to die. I ran to everyone like, I'm going to crack now.

How did you get clean, George? Like, how did you? Because we're looking at you now, I mean, you look amazing. You regretting it. Yeah, how did you get clean? What was that process like? I got a good wife, first of all.

That was a good help. But, you know, I got sick one time. And it don't take me one time to get sick. You know, because I thought I was Superman, I guess. But I got sick one time. And then I realized, damn, you, you're 72 years old? You 72? 71, some rate.

And I say, no, you got a lot of work to do. You can't, I can't, I never look. You realize you have enough time to rest. You've been in the hospital a couple of days. And you realize you have enough time to rest. It's going to take a long time to get this shit straight now. The legal business, that's what got me going. Once I started getting on the mission of trying to get my legal business straight.

I started thinking about the airs and who I'm going to leave, what I'm going to leave. I got to get these copyrights straight. So from then on, that took up all my energy. And once I did that, I started feeling good about myself. And then when I started making records again, like I said, shake the gate and I wrote the book, all of those was part of my plan to be on this movement

until I get the copyrights back. And that started feeling like 1975 again when I started that. You know, when Medicaid fraud, I was really, really proud of that album. No, that was a dope record. It was, yeah, just the fact that it was, we got a new album from you and it sounded current, but it didn't sound like you were pandering, like trying to do it. We're trying to catch up, right? Yeah, trying to catch up.

Yeah, it was current, but it was still you. That was the harder thing, the balance that being of today and what we were about. But I have my grandkids in the group. So they know what's going on today. They know what was going on with us. So they helped me bridge the things. And I can put the concepts in it. And they helped me bridge it with their friends, you know.

And we got such a crew now. They was killing before the pandemic. We were played with the Chili Peppers, 90,000 people in Australia. And it was like, damn, it was like the mothership was landing. And that happened for a whole year and a half for the last two years. I was going to ask you about producing the chili peppers because you produced them. How did you land at you? Ricky Stiley, yeah.

And the up-left mofo party plan. They were, you know, they wanted to be funcadilly. They, you know, they put their work in. So it was easy to work with them. You know, they was already funkadelic fans. and they knew what they wanted to do, but they wanted to do it punk. They weren't trying to be slick.

They could actually play slick music, but they went out of their way. If they played something really good, they make it erase it. They wanted it to sound like punk. They was kind of like Garcia and him. You know, they didn't want to learn no better. I mean, plead them.

They're actually like jazz music. Right, yeah. They wasn't trying to play it. You know, I mean, he, Haleel, he could actually really, really played. But he went out of his way. Yeah. He went out of his way to, no, you ain't saving that shit.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver 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 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 IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at 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. What's up, everyone? I'm Ego Wodeham. My next guest, you know from Stepbrothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell.

Woo. Woo! My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place they come look for up and coming talent.

He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar. of, you know, the cat, just hang in there.

Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. 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 prospect.

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 Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in

someone's, correct? I doctored the test once. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian. Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I didn't get my question out because we got sidetracked by Chelsea. Can you please tell us, can you please tell us the David Ruffin Sly story? Oh, yeah, that's right.

It was a precursor to Clinton story. Just the question of his commercial for Questlove Supreme enough. George Clinton on the next Supreme case. That was the fun of me. That's some superstar drug stuff there. You know, once you've been a star, you're down, you don't realize that you ain't a star no more, especially if you drank, you own drugs.

And I felt that we were the typical, the three of us was the typical of that particular thing. That time we was going to see a friend of mine who was the dealer who loved us, who would give us anything we wanted. And so we just had to, like, play cool and let him do his thing. David wasn't in no, you know, mood to be, being nice to him. He was still a temptation,

but he wasn't. In his mind. Right. Yeah. You know, and so we tried to get him not to ruin it so we don't get our dose.

And he's like, fuck this. And Slide trying to, he's trying to, referee telling him, no, George got to, he's right, man. You got to listen to George. I say, boy, we had a picture of the three,

of us here trying to do this. You know, this is a funny shit. I don't think it's a funny man. Let's go get the shit. Fuck it. It sounds like the scene in Boogie Nights with the firecrack. I know, exactly.

Wait. It is. It is that. Is this the story with the reel-to-reel tape with Sly? Oh, no, no, that's another. That's another story. I thought this is the whole story.

No, no. I meant the real-to-reel-ta-reel tape, yes. Oh, man. No, that's the deal with it. He had the dope dealer. He told the dope dealer, I'm going to let you keep my reel. This is the real to my album.

Just give me some dope on credit. You can hold the album. But what nothing on the real? And so we do that a couple of times, but I'm getting scared. I'm getting scared. So, you know, I said, no. I don't, ain't nothing on the tape, man.

I tell the dude, ain't nothing on the tape. Oh, it ain't nothing on the tape. I mean, this, after we don't get it two or three times, the dude tell me, don't you have to love him? Don't you just love him? Nobody would get mad at it. Nobody can get mad at it. Yeah.

Really? You know, that's. You must be a medical, not for nothing. And I said this to Buttee, too. I was like, y'all are like medical marvels. Like, not only do you look the way you do, but you also, your memories are, like, perfectly intact. Like, what do you?

Well, I understand it because he reminded me about, I forgot I put all that shit in the book. book. Yeah, but it's still at the words, you was like, oh, yeah, I know what you're talking about? Like it was yesterday. Oh, yeah, yeah. Yeah, so it was, yeah.

Yeah, that was some funny shit. Um, go ahead, Fonzie. What was your question? Oh, I was just going to ask you, um, of all the, just the lyrics that you've written, you know, you were a big inspiration to me as, as an

as an emce because you would have, there's all these amazing plays on words and these puns and, and, you know, this fish tail begins where most fish tails in, like, all that stuff. You just did really inventive stuff with language, and I just always wondered, did you have, like, a journal that you would write this stuff in,

or would it all just be off the top? What was just the writing process for your lyrics like? I had people who were, you know, the band members, like peanut, anytime he heard me say something or laugh, and I hear something, and I repeated it, he would write it down. And all I have to do is say it, And he was in the studio

When I get ready to go in this studio He just give me a list of things They have nothing to do with each other That I said And then when we get a concept We just start throwing puns at it And using Like I say using the Smokey Robinson theory

Of, you know, pun on top of pun But we add two more to it to make it To make it absurd You know We use synonyms Antonims or hominem It didn't matter We just used all

of it, if it sound the same, we throw it in there and we could actually get them, especially with Bootsie. We could say anything to Bootsy. And if he said in that voice, you know, it was actually work. You know, like, um, be my beach. Right. You know, he says some of the stupid and the dumber it was, the funny it was if he said it, because he had that over tone like Jimmy Hendricks, oh, well, I'm walking on your boy, blah, blah. And I had to- The octopus jokes and all that stuff? Yeah, oh, yeah.

Oh, my God. So is he making that up at the microphone, or is there just a list of stuff that he's reading? We've been feeding it to him in his earphone. Oh, wow. We would say to him, and he said after, so he'd land at the next available spot, but I would be doing it to,

boogie would be doing it to him. And once we got a concept, we can just say anything. Now, it sounds like Ryan Sloan, Rockstar, Monster, with Da, Baby, Baba. I would write those parts all the way out. I asked him this question. Now I've got to ask you. Probably, you know, in the history of all the songs that you've written,

I don't think that to be alive in 1978, when that song was at its most popular, I've never seen it. And I was seven years old at the time. but if a seven-year-old knows that song, then you know it's something. Why did you guys just not call that song, Wind Me Up?

It could have just called it, Wine Me Up. It took me forever to find it because I didn't know what Bootsilla was. Like, why did y'all not call it, Wind Me Up? He was a rock star monster of a doll, baby. That was a tall.

That was a toy called Boozily. Made by the makers of funky things to play with. That was a whole concept. So you wanted to sell him as a toy, but not as the hook, okay. No, no, no, as the toy. But then he got scared after he got so big. I told him, it's going to be hard to live up to this.

So don't equate yourself with being this character, because it's way bigger than you're going to possibly because we was on a role then. I had done it with, we love to you, Funkinstein. You can talk about yourself and not believe it. The main thing is don't believe this shit. Because if it works, you're going to be in a hell

of a position to try to live up to it. Just do it and leave alone. And that was hard for them because I told him, the boots got bigger, the glasses got bigger. Everything gets bigger until it's too heavy to carry. Part two of this question. Part two of this question.

Do you think part of him kind of wanted to sabotage this boot was made for Funkin? Because that album was the complete opposite of... That's when he... Stretching out. Play the year. Yeah, that's when he wanted to control and let him have control of that album. It was different. No, it wasn't the same. Yeah, but the thing was, it was so like, ah, I always always...

Like, I listened to it. I appreciate it now 40 years after the fact. But back then, I was like, wait, something's different about this record than the other three. What did he say? No, no, no. I mean, I never asked him about it, but I think as I got older,

I was thinking, like, there was a point where Bootsie could have actually overshadowed the entire P-Funk universe. He had started to let him headlined the shows. That's where it had got to that point to where he was that, you know. Do you think that scared him? He had scared him.

He has to scare him. He got shingled. That's when he got this chingle on his very first date by himself. But at the same time, you know, we had the political business of the trolls was entering the picture, trying to tear it apart. It was getting too big. There wasn't going to be another motel.

The industry had made up the amount there was not going to be another motel. And we was at that level to that was beginning to be you know, after we got on the Jam Lami, they thought we'd have Shaka and Larry because all of us was together by then.

Yeah. Right. You're all on the same label. I forgot that. Yep. Speaking of clones, I always wanted to know what were your thoughts on all of the P-Funk music that didn't come from the P-Funk camp.

That was obviously so derivative of the P-Funk sound. And I'm talking about... Oops upside your head. I'm talking about Gap Band. I'm talking about a dukey stick by... George Duke. George Duke and Stanley Clark. I mean, the thing is that you...

That would have to scared us. Really? Really? Yeah. I told Boots, you better get on your... Get on your thing, because that one's close. That's stupid thing. And reach for it, reach for it.

Yes, yeah. I said, damn, did you sneak off and do a record with them or something? I felt like it was going to give me that to be a genre. I wanted it to be, you know, especially Ohio players. They were like, God, damn, they were like one of the funkiest ones, you know. But them. And then Prince, you know, him like Stevie, they was inclined to do pop music. But they could be funky as all the hell.

You know, they just knew that they could get away with doing the pop music. And that's where, you know, the money was that. Or you could do a variety of songs. But all of them, Prince and Jimmy Jam at the time, all of them, that was funky Rick. Man. All of them was beginning to be, you know, a funk genre. Irwin and Fire was popping at first, but then they started embracing it as funk after a while.

You know, we asked Philip Bailey, what was his thoughts on Let's Take It to the Stage? He said he'd never heard of it. Boots he said, right? Villa Bailey said, we played, let's take it to the stage. He had no clue that he, was being this record.

I took it as playful ribbing. Did anyone, did any of those groups ever try to approach you, you know, snoofists and slipping the flammily brick

and. Smoothest, yeah. Crazy. Chocolate. So I can say that's fucked up. She was cool. That was,

no, nobody never said that. It was, you know, only people we mention with people that we like. You know, and I think that's what a lot of the people, to the distant thing, when they start disson each other, that was like playing the dozens when I was in school, and you started getting paid for it.

You know, that's what hip-hop, you know, and jailhouse rhyme, you know, once that became pop, once that became the music, okay, I saw that, that makes sense, especially when I heard somebody like Raq Kim, you know, that's just like, damn, You can do it this fucking good. And then I didn't realize we had the mother right there in our town, M&M.

He was 15 years old. And we didn't even pay attention to him. Let me shade it on our ass. And we knew him. We knew he was bad. But we had no idea that mother was all that that. We knew he was bad. But we watched him just like, right on our nose,

right in the studio, right? Why were you there? Can you tell us a print story that we don't know? You were on Paisley Park for... Before we got on Paisley, he sent me a tape. He sent me a tape he wanted me to work on. He sent it to the... And so we told him we didn't want to be responsible for the tape.

Send it to the studio, the engineer, let the engineer get it set up. I would go in there and do a part of it. I ain't trust, you know, doing nothing with his, you know, his tapes. I'm going to be responsible. So we get to the studio, and I'm getting ready to put my part on, and it was called Cookie Jar. Oh, okay.

We had already did a cookie job, but it was different than that. The engineer put the tape on backwards. You know how you roll the tape off backwards? Some people roll the tape off, tail out. And so when he put it on, he tried to clean the tape to get him some, you know, clean the tape,

get him some space. But it was tail out. He raised half of the song on the tail end of the song. Oh, shit. So I gets to the studio, and he's looking wild and scary and crazy. I wouldn't even go in the studio.

I said, I'm not going, I'm not even going in. I want this to be, I was not here. I had nothing to do it. This is the first time I had interaction with them, you know. And I know, you know, I would have got blamed for all of that. So I'm not going in there, y'all can tell me what happened and let him know that I was nowhere near him. Oh, my God.

And so hopefully it was a duplica. No, they never got a chance to do it again. Shit. We heard the beginning of it was good, but about a minute. happened to the song, it goes blank. And that was the only one he had of it. Man, damn. I'm glad I'm, let's pour some water out for that.

That's not the story you wanted to hear, Mir. That's the president. Oh, okay. Yeah. Did he ever play you when you did Weekend Funk for Graffiti Bridge? Did he ever play you the original Weekend Funk? Uh-huh. He did?

What we thought? I like it. I like that. That and soul psychedelicide. Both of those, he played me both of those their versions. Oh, what is it, booty and how I knew? I'm shaking it. Yeah.

He told us to go crazy on it and do, you know, what we do. And me and Gary just went to lunch on it. And then he mixed them both together. Have you heard the Long Virgin? Yeah, I got it. Yeah. I said, y'all crazy. Actually, you know what?

I was shocked. What's weird is that you're technically, the weekend funk that you're on on graffiti bridge is technically the... Of all the stuff that reworked. The base of it is still the 84 version, which to me speaks more of how far-headed Prince's time, Prince was, the fact that he could send you a reel

that he worked on probably in 1983 and it still works for 1990 and you know still works 35 years after that fact you know

I mean once it was finally released back in 2017 it still sounds you know fresh and right have you ever have you ever heard Paradine No.

No? Wow, you mean... I've not heard of it. Check that one out. Him and just him and myself. Really? Okay. It's on out. It's one of my records. Okay. This is not with T.C. Ellis on it, right?

No, no, no, not that. No, no T. T.L. His jokes. No, no. Ah. No. No. It's a... It's on how late, I think. You know what? It is.

It is. It is. I did hear it. I heard it. And it was, it came out 96, 97, I think. No, no, no, no. It came on 2000. There was a song that while we were still working on Voodoo,

you sent to DeAngelo. It was like 98, 99. It was a CD. a cassette that he played us. I don't know when it came out, but you sent a song to him that was you and Prince. And I think

the vocals were very speeded to sound cartoonish. I don't know the title of the song was. Check out Google paradigm. Okay.

I will do that. I wanted to ask you a question about the Brown. of Funkenstein and how you came up with the concept of putting them together. The song, Bertie, is just, I love that damn song. What was the, what was the concept of putting them together and then versus what, in your mind as a producer was going to be the difference between them versus parley? Okay, now check.

We did Neil Bogart asked for a group after we were successful at Casablanca. And so we gave him the. the Brides of Funkenstein. That was kind of, that was dark for him. You know, he was bubblegummy. He thought that was too dark. He wanted something really simple deGrasse. So we took those two girls, Lynn and Dawn, and gave them to Atlantic.

We did the whole album. And that album was actually done for Julia Phillips. She did Close Encounters, the girl that produced, directed in. She wanted a disco version of, remember they was doing soundtracks of all the shows, all the big, so she wanted a version of that. So we did a warship two shots for, you know, for her, and we was going to give it to Neil. Neil wanted to pop. He wanted parlette. So we gave that record to Atlantic, and then we did Parlette for, you know, Castle Blas. That's how we end up with the two-girl groups. So was Neil a traditional label head? I meant like, but I'm saying, though, are you going to him plan,

do that stuff and he has an opinion on it? Or is he telling me. You're just turning in the record. Give me a three-minute-and-32nd version of your fish and I'm a water. No, no. Is he not just letting you do what you want? He pretty much let us do what he want, but he'd do that. In the beginning, he knew what kind of group he wanted once we got there.

We could do what we wanted with him. But he was so good at being a record man that you tried to give him what he wanted. You know, because you know he's going to put everything in the world behind promoting it. When I said, I wanted a spaceship, he just got me a bank, and they got together, and I was able to get the spaceship. You know, he was on Cameo Parkway. He was out of... So he was from that school of records.

He knew how to do from the Cameo Parkway version. Then Buddha, he was like, God. He was like the bubble gum king. So by the time he got to Casablanca, he was getting his shot. He could do pretty much what he wanted, and he did it. He was a real record man that spent everything on promotion.

He was a promotion man. That's why I liked him. I knew I could do a concert. called mothership or, you know, and he would give me the props that I need to, you know, to promote the record. He understood that. A win is a win. A win is a win. I don't care what you're saying.

Yep, that's me, Clever 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,

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And for more behind the scenes, follow at Clifford and at 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. What's up, everyone? I'm Ego Wodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo, woo.

My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundline. I'm working my way up through and I know it's a place they come look for up and coming talent. He said if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot.

He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, The cat, just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your

podcast. 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 best. 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. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that fall. revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct?

I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini. My mind was blown.

I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I should have asked this question at the beginning because you're a lot of,

that you're the you're the you're the north star of this whole stratosphere but how taxing is it to maintain personalities and deal with business and because you're you're dealing with 12 groups and across like three or four different labels yeah it's everyone has their record deal and you know you got a you know parliament funkadel it was a original Woutain. George Facts. George Clinton was the original Rizza. He was the first dude.

So how are you maintaining, you know, at this member and at that member makes your payroll gets in time and, ah, we left that at the bus station and getting into the gigs on time and one of the light rigs went out or the drummer. Oh, you? Someone OD backstage. Like, how are you? You got to deal. You got to be everyone.

father and collaborator and... And still be free. And go home to your wife. Right. How, not how, but why? Why would you ever want to do that to yourself? That was my mission. That's my mission. I mean, that's, I started this at 13, and I wanted to be that, you know,

in this business and I never changed it. I got Motown was my aspiration. Phil Specter was my aspiration. Jimmy Hendricks, my aspiration, you know, and then whoever else come in

and do it hard, that becomes my aspiration. When I hear it slide, that was my Beatles turned me completely to fuck out. That's what, oh my God, I wanted to a funk opera once I told Sergeant Pepper.

Uh-huh. You know, from a song, Right of standpoint, that was impeccable, you know, the lyrics was nonsensical and but melodic and still you had a mother doing an arrangement, like big band, arrangement on a rock and roll band. They had a concept that were cream,

all of those things influenced me. So. Are there other genres, are there other genres of music that we don't know that you're into? Like, how big is your jazz book? Go-Go. Go-Go. What?

I was about to ask about your relationship with D.C. Because it's... Go-Go. Go-Go just had it a little harder than funk did. Because Gogo is religion. Go-go is religious. They don't want that shit to get out of D.C. No, they do, but nobody will take it.

They don't get it. No, I mean, the D.C. people wanted to get out, but I'm saying the industry don't... That's some other kind of Uga. We call it Uga-Buga. I mean, that works. I don't care. I big a star, but go-go band

get up on stage before you. You imagine that's a bad. You better hope they don't play your record, Go-Go. Better than you? Better than you, okay? I didn't see that happen. Me and Chuck,

me and Chuck, we worked together before he was calling it, Go-Go. One of his first songs that he did was, I don't care about the cold baby When you're hot You're too much And when you're hot

You're hot Tiki was playing with us Then and played there with them And that was they grew for years Before they became You know, a go-go band They were just the soul searcher Yeah

You know what There's an interview That I heard from you In 1980 I think this is when 1980, what was that? Oh, Parliament's Trumpipulation?

Trumbipulation. You did a month-long residency. I think you were promoting doing the month-long residency at the Apollo Theater. Yeah, we kept the theater open. They was getting ready to close it down. Yeah, I was going to say, could you talk about,

how does one do a month-long residency at the Apollo? We needed someplace to rehearse the new theatrical show called Popsicle Stick. That was a Trump manipulation album. And we needed some place to rehearse. Felipe was with us. Uh-huh. That's when he was Uncle Jam's army.

So we needed some place to rehearse, and they needed to keep the theater open because they was getting ready to tear it down. We did our stunt there, Bart Mali played there after us, and Jane Brown played after him. And we kept it open. It froze our ass off in there because they didn't have no heat in there. Yeah, I was going to say,

Now it's nice and furnished and no more rats. But back in 1980, what was it? That was the labor of love, was it not? It was almost closed. Like I said, it hadn't been open that much. And I forget the people who owned it at the time. There was some hustlers. Some hustlers owned, but they kept it alive.

I'm rapid fire now. I got it headed back to the 60s. Is it true? I heard a rumor that you are one of the background singers on Barbara Lewis's Hello Stranger? No. That's not you? No.

Okay. I always love that song. Pat Lewis, a friend of mine, who's pretty much singing on everything I did, she was one of the hot butter and soul. Yeah. She sang on all of them. Dion Jackson and Barbara Lewis, all of those songs that sounded like smoking. Oh, okay, okay.

I asked you this when I was doing the DJ set. So you're telling me that some random guy came up to you and said, I can play guitar pretty good if you give me 25 bucks. And just for kicks, you decided to let him see what would happen. Yeah, that takes a lot of nerve. I think a lot of nerve. So that first note that he hit on Get Off Your Ass and Jam is him,

that shrill? Yeah. That is my favorite shrill noise of all times. He kept our attention from that shrill all the way to the song was finished. So is that you guys acting, is that you guys reacting to him as you? Because you hear, I don't know if his Lynn Marble,

but he said, God, like, you hear, it's almost, in sample ology, Yeah. That her reaction is almost as much as a sample as what he was playing. So you guys are laughing at what you're hearing. And literally, it just all went down at once. That's it.

The song wasn't written beforehand. I was just like, all right, play anything. Yeah, no, it was just a track. We did shit. God damn. I didn't want to get in the way of that. That's why I made it so simple. You know, don't say nothing.

just shit goddamn get off your hands. And then he left and you never heard from him again. Never. We wanted to talk to him because I gave me $50. I wanted to give me more. Man, I wanted to ask you about your work with Outcast and the dungeon family because they were certainly, you know, a fruit, you know, from your tree, you know, sent from the P-Funk family.

And you did synthesizer on stankonia. But then you also did another record. It wasn't as well known. but I loved it. It was called Black Mermaid, but it was on the society. So, out, yeah, do you remember anything about those sessions? Yeah.

I was like, I'm like, they reminded me of Parliament Funkadelic, too, because all them were the Outcast, Dungeon, Family, and Goody Mob. They was all together at that time, and they hadn't separated into those. So I didn't know who the wreck was going to be, you know, but I just knew all sleepy and all of you, Big boy, all of them, they were, you know, they just come down in the dark. You know, I stay, I pretty much lived in dark, you know,

and the Dallas from the climax days. Yeah. And so that was like, I loved that my part-time in Atlanta. Yeah. Was that old Dungeon family, they had a bunch of good songs. How did you get up with, oh, I was going with more of your hip-hop collabs. You and Kendrick Lamar on Pimper Butterfifference. fly. How did that come about?

One of my grandkids said that he wanted to do a song with me and that I should do it with him, that he talked the same shit that I talked. I knew what that meant. But when I met him, he was a smart kid. God damn. I mean, you know, he went to school and he still had the street thing, you know. He was like well aware. You know, and I know most of the people from Compton, you know,

He was a whole other energy from that. And he's really, he put work in. He reminds you of like, you're like Beyonce or like Prince. They put work in like Michael Jackson put work in. He's another one of those people that puts the work in. Did you say at one point you had to babysit the Jackson's when you were, I don't know if I heard that right. You were staff writer at Motown.

And no, I was saying baby said it was Carrie Gordy. Oh, okay, Carrie, who was, uh, when they were, when they lived in New York, when we worked at the Brill Building. Oh, Carrie Gordon. Wait, you worked at the Brill Building? I worked at the Brill Building in 62, three. What the hell was that like? Joe, Joe Bett was there.

I did not know that. Joe Bet was on the ninth floor. I never knew that. So you were running to Carol King and Neil Sedaka and Jerry Gauphin? Yeah, all of that. Dude, no wonder your lyric game is so tight. No, I would, I've been, Don Kirchner. Jesus Christ.

Cold picks. Really? Yeah. You ever hear Gene Red? Yes. Cool in the game, Gene Red. Cool, okay? Yeah.

Gene Redd, Cecil Holmes, Buzzy Willis, we all worked together. Before they went to work with Neil Bogart at Buda, we all worked for Gene Red. He did Cool in the gang, the soul sisters, Anez, and Charlie Fox. Really? Gene was that one.

That's Penny Ford's brother. Penny Ford formerly of Snap and... Yeah, that's her brother. Well, of her own right. She used to be on total experience records. Yeah. That was got-man label. She's on our album, too.

Wait, when did she join? When did Penny Ford join? She was on one of my album. She's on the Paisley Park album. Really? Yeah. This is, I got the power voice. Yes.

That's her. I got one. That's her. You know everything we're talking about. You just don't know. Okay. You just don't know that you know. So, okay, this is another question I had in reflection.

The chronic was such a flag-planting album of your legacy. You damn near produced it yourself. Why have you and Dr. Dre? In listening to it, I was like, yo, why hasn't George and Dr. Dre just made an album together? Because he clearly made The Chronic as an audition love letter to you. I know. I don't know. I would like to see that happen, too.

I work with Cube and Snoop too. Snoop all the time. You know what I'm saying? But, you know, have you and Dre ever talked about, hey, let's get together? We never had a chance to kick it. You know, we just state. No, we haven't. Make it happen, Amir.

We got to make this happen. Make it happen, man. I would love to do that. Jesus Christ. I mean, it's such a Captain obvious moment. Wow. Be the bridge, man.

Put the bridge. I'll be the bridge. Three questions. And then I'll stop. Can I ask a dumb question before you ask your real smart one? There's no such thing as dumb questions. Go ahead.

Because I know he's answered it, but I just really wanted to know. What was with the, you mentioned your life changed with the copyright stuff and everything, but visually when it's, your life changed because I feel like I saw you at the Roos Jam

in L.A. like years and years ago, but that was the first time I saw you in a suit with a hat looking fine. The hat. I thought it was, yo, I thought it was Torek. Yo, you, I don't know. Who is that? When he walked in the door, I was like, wait, Teree's wearing a suit. Oh, my God, that's George Clinton.

That is some real shit. Yeah, I had to go through that period for a minute, for a minute, you know, just to straighten up for a second. But then And as soon as I did that, Cube told me, they said, man, put the costumes back on. Fuck that shit.

What made you do it? What made you do it? Period. In the first place. Well, I just figured it was time to change again. I always trying to change. And people don't, you know, they think it's a new dude.

They did. Yeah, we did. Accomplished. I thought it was Tarek. Okay. I have a question about the 20 grand in Detroit. Is there any truth to the rumor that you,

Yep. I need to get the question out yet. Is there any truth to the rumor that you got butt naked? Yep. I need to get the question out. The answer is, yeah. Barry Gordy's table or Dinah Ross's table.

I didn't pee. I didn't pee. Okay, I heard that you. I love it. Okay. I just rub her. I pulled wine. I pulled.

old wine on my head. It dripped down my body. So it appeared that I peed on the drink. Obie Chardonnay. I can't even imagine Barry Gordy and Dinah Ross at a Funkadelic show. They used to call it slumming.

They used to go slumming. Whenever we was at 20 grand, you put on your jean with holes in them and patches that say, fuck you. And you go slumming with peefo. That was the thing. They have minks on and jeans with holes, and they would be coming down to get funky.

But the thing is, is that Hendricks could not sit, I mean, who knows if he would have finally broken through the other side had he lived? How are you guys in facing black people trying to sell this radical concept? Yeah. And how did it work? Because we were two black for white folks and two white for black folks. But the people that liked us stayed with us forever.

They went slowly, but you built slowly, but the one that came with you stayed forever. But it was definitely too white for black folks. And it was too black for white, for most white folks. But like I said, the fans that liked us was a cult. And they still, I mean, I got them out there my age right now. Still want to put on a diaper. Was it a specific choice to keep Funkadelic the more kind of rock side of what you're doing in Parliament, the more Army, kind of your soul side? That was intentional.

But coming to One Nation under a group. Yeah, we get out of sync every once in a while. So did the Funkadelic members feel a certain way like, yeah, wait a minute. This sounds like Parliament. No, they was all on all the records anyway. Everybody was on both records, so it didn't matter. So when songs get released, are you like, okay, this is definitely going to, like, at any point was One Nation under groove about to be a Parliament record, or you were just like? No, that was, that was straight from the moment we cut it, we was cutting from Funkadelic.

Junie had just got with us, say, on One Nation. Okay. Junior just got with us, so we took the equipment out of the box. They were playing on brand new equipment, so they was enthused as hell. And that track just came off, and we did it. It was freestyle. A girl gave me that title from D.C. Of course.

We said, y'all, the audience was like One Nation on the group. So I just started singing, you know, One Nation. And that was a chant, and that was a quick song. and first Funkadelic, like, really hit. But that was, yeah, that was going to be Funkadel. And Need Deep was definitely for Funkadel. How do you know when a song is done? Because a lot of your songs are maybe eight to nine miniature courses or many parts

that add up to a bigger picture. For any of you... Atomic Dog is like 12 chords. Yeah, I was going to say, if you just type in Atomic Dog, I'm certain that you'll find someone's version of the song and which you'll hear parts of the song that you never knew existed before. But like with you, it's just like any idea works, just put it on tape and it'll find a home.

Or like, how do you structure what goes here for eight bars? Well, I have to change my theory on that lately because they got Snapchat's and short songs and TikTok. So they can't be. long songs too much no more. So I have to like make myself stop. Otherwise, I just go, I'd just be going creative crazy. And then I know now that they can edit and take parts out.

So that really makes me, you know. No, but I mean, you're the originator of that. Like, because, you know, if you tell somebody sing not just needy, there's eight parts you can choose and it's still, And I identify it's eight hooks. And we all know which one. We still know the same song. That's what the prince said.

He said, man, you got eight songs in the deep. He said, you can sample each part and make a whole song out of it. Yeah, absolutely. That's what made it great. How many grandbabies do you have, Mr. Clayne? Man, I'm going to count them up so I remember that. I got quite a few. Okay.

He's footworking. No. This conversation is long over. I thank you. Thank you. Thank you. Thank you. Thank you, man. Let's do this. Let's do this, man. We will do this. And congrats on your freedom and your legacy. Thank you very much. And getting your shit back, for real. Yes, absolutely. And if you find, if you got anybody that really wants to join in on getting their stuff, let me know. Hey, I'm on it. I'll be called. Okay. Yes, Laiaea. And I'm Pete Bill and Sugar Steve and Flon Tigolo. This Questleaf Supreme

Grand Imperial God himself, George Clinton. George Clinton. Thank you very much. We will see on the next year round of Westlove Supreme. Thanks. Push Love Supreme is a production of IHeart Radio. For more podcasts from IHart Radio, visit the IHart 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 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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