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Ah, the irrepressible Bootsy Collins. Where to begin?

As a child, I did not like that “race music”. I found it (and still find the vast majority of it) boring, repetitive, close-minded, and I just didn’t like the way it sounded. Then I heard Bootsy…

Bootsy was fun. Bootsy was silly. Bootsy was really, really cool. And Bootsy can definitely play some bass. But don’t just take my word for it. From Rolling Stone:

Bootsy’s Rubber Band has about as much intellectual content as a Saturday morning cartoon show, which really doesn’t separate it from most other funk and grind bands (or power-rock groups). What makes Bootsy stand out is a low-grade, comic-book sense of humor that producer George Clinton is able to fuse with some of the most lyrical post-James Brown funk this side of Parliament/Funkadelic. In fact, it’s impossible to mention Bootsy Collins without bringing up Parliament/Funkadelic, the band Bootsy has helped shape since his departure from James Brown.

If that isn’t a good reason to like a performer, I don’t know what is.

Mind you, it wouldn’t matter if the music weren’t any good. Thankfully such is not the case. What’s a Telephone Bill? is actually sort of a nice romantic sentiment–until you realize how incredibly silly and funny the song is. Bootsy’s spoken word delivery is way over the top, and his asides are reminiscent of Popeye’s from the 1930’s black and white cartoons. Plus, even if you take Bootsy out of the equation, it’s still a damned good song. In fact, it would quickly end up on the “music to get laid to” mix CD.

Here’s a link to a tribute video

And of course, the lyrics:

Hello baby
Yes, it’s your friendly phone fanatic again
Oh yeah I’m loaded
With verbal rap ability, baby
You know you inspire me to poetry
So listen while I recite naughty nothings
That’ll wet your eardrums

Maybe I’ll manicure your toenails
And uh, make sweet love to you baby!
Rub my body with yours
Wait a minute operator, I’m not talking to you!

I first heard this song about 3-6 months after Bust A Move hit, and I was impressed then. Later, I saw one of those Showtime at the Apollo type shows, this one featuring performances by East coast and West Coast rappers. This was during the beginning of the silly “East Coast/West Coast” rap feud, as well as also the feud between pop rappers and so-called gangsta rappers.

Young MC hit the stage and started performing this song. At the beginning, as a West Coast based pop rapper, he was booed soundly by the crowd. By the end of the song, he got a standing ovation. It’s that good a song–you enjoy it in spite of yourself, at least if that’s part of your thought process. It’s got a great bass line and rhythm, a nice chord progression, and it’s just a cool song.

Here’s a link to the video

And of course, the lyrics:

aah na-na, na-na

I come off. Yo baby, I come off. Here we go

This is just a good old fashioned shake your booty get down get back up again get funky with your bad self jam. It’s almost impossible for this song to not elevate your mood. Just listen to it and enjoy.

Here’s a link to a live performance

And of course, the lyrics:

Freddie: Feeling’s gettin stronger
Larry: Music’s gettin longer too
Rose: Music is flashin me
Sly: I want to take you higher
Baby baby baby light my fire

All Repeated: Boom shaka-laka-laka Boom shaka-laka-laka

For most people, True was how they first encountered Spandau Ballet, and that’s the impression that most people have of them. True is a great song, but well before then they had a slightly different sound.

Chant No. 1 (I Don’t Need This Pressure On) is a really well executed piece of pure funk. It’s one of those songs that makes you want to free your ass and your mind at the same time. I love the opening with the guitar quickly followed by the congas, and the trumpet solo in the bridge really just makes this song so much fun.

Here’s a link to the video

And of course the lyrics:

I checked the time, it was almost time
A curious smell,an intangible crime
I’m washing my clothes,but the stain still grows
cover your eyes,the stain still shows

I don’t need this pressure on
You go down,down
Pass the talk of town
You go down Greek street
Then it’s underground
Well it’s Soho life
For this mobile knife
It’s the place to shoot
Friday night Beat Route

This is just a great song, possibly my favorite Primus song.

Tommy The Cat isn’t the deepest song in the world–essentially it’s the tale of an alleycat looking for love and boasting about his adventures–but it’s certainly fun. Tom Waits handles the voice of Tommy adroitly, giving the feeling of a top cat telling a story to a group of captivated younger cats, wishing to bask in his experience.

However, what really makes this song work for me is Les Claypool’s bass playing. I truly believe this is his peak, as he goes from outright funky to delivering a solo that might make John Entwistle roll in his grave with envy. Definitely the high point for me.

Here’s a link to the video

And of course, the lyrics:

“I remember as it were a meal ago”

“Say baby do you wanna lay down by me”

Maybe you’ve heard this before, but it’s highly likely you have not.

This was the precursor to Love Plus One, and in my opnion is a much better song. The funky beat and bassline, the horns, the rap break towards the end, it’s just a good time song. Don’t ask me what it means, however.

Here’s a link to the video

And of course, the lyrics:

Time can’t afford no time
Can’t afford the rhyme
Nevermind, someday maybe
Boy meets girl
And love, love is on its way
Boy meets girl
Boy meets girl
Bang, feel a little love
Carino dime
Never mind, someday Terry
Feel the pain
Hit, feel, rap, sweat
Why, feel the floor
Sweets for my way
Boy meets girl
Boy meets girl
Why, feel the floor
Sweets for my way
Boy meets girl
Boy meets girl
Feel the rhyme
Take the time
Go fighting to the top
Go number one
Stick a honeybun
Your mind begins to flop
How take in steam
Recall your dream
Hey, Camisas
Your favourite shirt is on the bed
Do a somersault on your head

I fell in love with this song from the first time I heard it. It’s a cool jam with a cool message and I think it’s just cool. Cool?

Okay, it’s got more going for it than that. I think it has a really good rhythm, and the violin really adds some extra flavor.

From Wikipedia

In 1997 Coppola had a big hit with “Legend of a Cowgirl,” a pop hit that mixed a sample lifted from Donovan’s “Sunshine Superman” with “with a sassy rap and a catchy hook.”[6] Coppola said at the time she recorded “Legend of a Cowgirl” that it was a fantasy about doing whatever she wanted and that now she was stuck with it.[9] “In ‘Legend of a Cowgirl,’ I talk about riding a horse. It’s a metaphor for doing whatever I want, about having sex with whoever I want and not feeling guilty, and riding on to the next town and starting all over again,” said Coppola.[9] “The song began as an idea for a movie: a fantasy about women who love ‘em and leave ‘em and ride off into the sunset. It was just a fantasy I was having for about a week,” she says with a sly grin, ‘and now I’m stuck with it.’”[9]

Part of Coppola’s marketing included a music video for “Legend of a Cowgirl,” that received heavy rotation on MTV.[7] The video showed Coppola in dream sequences as a a biker chick, a catsuit-wearing alien-type and a diva in heels and a huge afro.[7] In one scene Coppola dismounts her bike, marches up to a hitchhiking cowboy and plants a major kiss on him.[7] “It wasn’t that good of a kiss,” says Coppola.[7] “It was just like a big joke.”[7] In another scene Coppola, clad in a skintight, shiny black catsuit, is surrounded by nearly-naked dancing men in silver bodypaint and Speedos[7]. “It was very uncomfortable ’cause we had no room and their penises and their buns are just flopping around,” says Coppola.[7] “It was like, ‘Whoops, sorry. Didn’t mean to touch you!’ But they were all gay, so it didn’t really matter. They were cute though. It was a shame.

Here’s a link to the video

And of course, the lyrics:

I’m gonna drink my whiskey
I’m gonna have my man
I know you got nothing to say
I’m gonna have my man
Gonna steal their hearts
and save them for another day
Ain’t gonna hang my hat
Ain’t gonna take off my boots
Ain’t nothing gonna stop me in my pursuit
My stage, time to rehearse
Gonna see all the wonders of the universe

CH: Pack my bags and mount my horse
I’m gonna ride on into the next town
Spend all my money on absolutely nothing
Need no man to pay for anything
Ain’t got no shame, nobody knows my name
I’m gonna ride on into the next town
Pecos Bill, couldn’t hang for long
A female legend with a song…….

This is a great song, and the video is even better. If you’ve not seen it before, I definitely recommend clicking the link below.

I love the sense of humor of this song, as well as the genre styles of the band. Alternating from rock and funk to a bluegrass feel at times, this song is just plain fun. It’s your basic silly Primus song, seemingly about nothing other than a humorous double entendré, but it’s still got a depth of it’s own from within the music.

Here’s a link to the video

And of course, the lyrics:

Wynona’s got herself a Big Brown Beaver
and she shows it off to all her friends.
One day you know that beaver tried to leave her
so she caged him up with cyclone fence.
Along came Lou with the old baboon
and said “recognize that smell?”
“Smells like seven layers,
that beaver eats at Taco Bell.”

Wynona took her Big Brown Beaver and
stuck ‘em up in the air.
Said, “I sure do love this Big Brown Beaver,
and I wish I did have a pair.”
Wynona loved her Big Brown Beaver
and she stroked ‘em all the time.
She pricked her finger one day,
and it ocured to her:
She might have a porcupine!

Crosseyed and Painless is one of those ultra-funky songs that is just a buzz to get down to on the dance floor. I’m not really sure what it’s about–perhaps about how politicians and other leaders twist and manipulate data and statistics to make you believe what they want–but I cannot say that for sure.

And of course, the lyrics:

Lost my shape,
tyring to act casual.
Can’t stop,
I might end up in the hospital.
Changing my shape,
I feel like an accident.
They’re back,
to explain their experience

I’m still waiting (repeat)

Strawberry Letter 23 is a cool, funky song that I’ve always loved, even back in the days when I completely despised anything R&B. It’s got a great guitar solo, some really funky bass playing, and some awesome lyrics. From Wikipedia:

“Strawberry Letter 23″ is a song written by Shuggie Otis, although known most prominently by the version done by The Brothers Johnson. Otis wrote the song for a girlfriend, who used strawberry-scented paper in letters to him. George Johnson of The Brothers Johnson was dating one of Otis’ cousins when he came across Freedom Flight, Otis’ 1972 album that featured the song. The group would later record it for their 1977 album Right On Time, under legendary producer Quincy Jones. The album would go platinum. “Strawberry Letter 23″, as recorded by The Brothers Johnson, in a funkier, more dance oriented vein than the original Otis version, hit the Hot 100 #5 and R&B #1 in 1977. The famous solo in this song was originally recorded by Shuggie Otis. Studio guitar player Lee Ritenour later recreated Shuggie Otis original solo for the Brothers Johnson 1977 album.

The song’s title appears to be a misnomer, the actual lyrics reading in part: “…a present from you, Strawberry Letter 22.” This however is not true. Otis wrote it for his girlfriend, who liked to send him letters written on strawberry scented paper. The song describes the feelings evoked by “Strawberry Letter 22,” the title indicating the hopes of another letter. Another explanation is that the song is a reply to strawberry letter 22 and the title refers to the song being like a “strawberry letter 23″

The Brothers Johnson version of the song featured prominently in the penultimate “Ecotone” episode of the HBO series Six Feet Under when main character Nate Fisher and his brother David experienced a shared dream which included their deceased father.

It was used in Quentin Tarantino’s Jackie Brown. It was featured in the second episode of the third season of Nip/Tuck. It was also included in the Collector’s Edition of the Pulp Fiction soundtrack. It was also featured in a commercial for Special K Red Berries breakfast cereal. In addition, the song’s melody was sampled for the verses on Beyoncé’s “Be With You” from her 2003 debut solo album, Dangerously In Love .

Here’s a link to a fan video

And of course, the lyrics:

Hello, my love
I heard a kiss from you
Red magic satin playing near, too

Ooh…ooh…ooh…ooh…ooh…