William "Bootsy" Collins cut his teeth playing bass with the James Brown band in 1970, but when he landed in George Clinton's Parliament/Funkadelic crew in the mid-70s, he quickly became a figurehead of Clinton's messier, trippier cartoon funk. Throughout the 1976-82 period condensed into this two-disc set, Bootsy and his Rubber Band were essentially P-Funk for kids. His records had all the stage-crowding chaos of the Mothership, with the politics and priapism replaced by goofy spiels about the excellence of, well, Bootsy, plus squelchy, googly sounds and his infamous star-shaped shades. The tone he got out of his star-shaped bass, like huge bubbles surfacing from the bottom of a lake, was heavy enough that he could slow things way, way down–"Jam Fan (Hot)" crawls like no other hard-funk record. That, in turn, let him be the half-serious love-man Clinton couldn't risk being (check out the wacky, spacey slow jam "Munchies for Your Love"). Glory B mostly collects unedited album tracks, though it also throws in 1980's lost demi-hit "Freak to Freak" (credited to Sweat Band) and the 1982 single "Body Slam!".
Can it get any better? If aliens came down needing to know what funk was all about, in all its talented, embrace-anything-and-everything, screw with your head and get your butt down glory, then this is a prime candidate for what to give them. The man, his voice, his bass, the backing of a prime core band including his guitarist brother Catfish, Fred Wesley, and Maceo Parker leading the brass – beautiful, hilarious, and just plain great. This one-disc collection could easily be a two-disc or more if one wanted to include every last highlight from Collins' up-down-all-around career – his work with James Brown alone is beyond the bomb – but when it comes to solo work, this is as perfect a place to start as any. Drawing mostly on the albums done with the active help of George Clinton in the late '70s, Back in the Day is a model for what a good compilation should be. Sound is excellent throughout, while full details on who plays what and where, along with where everything came from in the first place, all appear in exhaustive detail.
Following three straight masterworks that balanced hard funk workouts with laid-back bedroom jams, This Boot Is Made for Fonk-N ditched the balancing act, offering up straight, relentless hard funk. This is great for those who just want the sweaty workouts Bootsy Collins had proven himself well capable of delivering on his own as well as with Parliament-Funkadelic. In fact, if that's what you're looking for – hard-hitting, unrelenting funk – look no further, for This Boot Is Made for Fonk-N is absolutely teeming with it. …
Bootsy Collins' debut solo album, Stretchin' Out in Bootsy's Rubber Band, was an extremely tough act to follow, but thankfully, there are no signs of a sophomore slump (either creatively or commercially) on his second album, Ahh … The Name Is Bootsy, Baby! Most P-funk addicts consider this 1977 LP essential listening, and it isn't hard to see why they feel that way. Everything on the album is excellent; …
This star-studded musical tribute to Jimi Hendrix is highlighted by contributions by artists from rock, R&B, blues and funk. Each of these artists bears witness to Hendrix’s imprint on their own music. From the contemporary R&B stylings of Musiq to the deep country blues of John Lee Hooker, Jimi’s creative spirit-the pure inventive freedom he drew upon to originate these signature songs-stands undiminished. This special project features new interpretations of Hendrix’s classics from a host a music’s biggest stars including Lenny Kravitz, Sting, Prince, Santana, Eric Clapton, John Lee Hooker, Stevie Ray Vaughan, George Clinton, Bootsy Collins, Earth Wind & Fire, and numerous others.
Produced by Metallica's Robert Trujillo in association with Passion Pictures, Jaco includes some incredible insights from an array of artists including Flea, Joni Mitchell, Sting, Wayne Shorter, Herbie Hancock, Geddy Lee, Bootsy Collins, Carlos Santana and others as well as Jaco's family, and friends. It unveils the story of his music, his life, his demise, and ultimately the fragility of great artistic genius. There are few musicians who fundamentally change their instrument, and even fewer still who transcend their instrument altogether. Jaco Pastorius did both. In 1976, Jaco's melodic singing bass style redefined the role of the bass in modern music.
' Nicknamed the "Female Preacher," Lyn Collins was discovered in the early '70s along with her relatives Bootsy and Catfish Collins by James Brown, who was making the transition to the hardest funk phase of his career. In 1972, Brown's People Records label released Collins' self-penned single "Think (About It)"; produced by Brown, it became her first and biggest hit, made her the most commercially successful female singer in Brown's camp. Collins' first full-length album, also titled Think (About It), was released later in the year. Collins continued to record singles for Brown through 1973, also fulfilling her heavy touring commitments as a member of the Revue. Collins' second album, "Check It Out if You Don't Know Me by Now", was released in 1975. In addition, Collins' work has appeared on Polydor compilations like James Brown's "Funky People" and James Brown's "Original Funky Divas", as well as the bootleg singles comp "Female Preacher"; she continued to tour and perform. Shortly after returning from a European tour in February of 2005, Lyn Collins passed away on March 13 at the age of 56.' Steve Huey at AMG