(Above: George Clinton and the P-Funk All-Stars bust out the “Atomic Dog” at Crossroads KC on May 18, 2012.)
By Joel Francis
The Kansas City Star
George Clinton and the P-Funk All-Star’s concerts at Crossroads KC have become a rite of spring. The troupe has performed there almost every year since the venue opened. It was clear from the first song, however, that something was different at Friday night’s concert.
Clad in a white suite and hat and shorn of his trademark rainbow dreadlocks, Clinton was dressed for business. While he was content in the past to shuffle in and out of his stable of nearly two dozen musicians, this time he claimed the stage on the first number and left no doubt who was in charge.Performing without longtime foil Gary “Diaper Man” Shider, who succumbed to cancer in 2010, Clinton sang with an urgency and intensity.
As if reestablishing his legacy, Clinton pulled the first two songs of the night from the first two Funkadelic albums, both released in 1970. The lyrics to the second number, “I Wanna Know If It’s Good To You” set the tone: “Look out, here I come/right back where I started from.” Later in the night Clinton dug unearthed “The Goose That Laid the Golden Egg,” which dated to his pre-funk doo-wop days in the Parliaments in the late 1960s.
Time has not been kind to Clinton’s voice. The musical pioneer’s raspy growl resembled Tom Waits doing James Brown, but it didn’t keep the 70-year-old from commanding the stage, jumping, shouting, directing and passing the mic to his son, granddaughter and grandson. During extended solos he took a seat by the drum kit, surveying the scene and snapping his fingers.
It took nearly 30 minutes before Clinton dropped the first big hit of the evening. A lengthy reading of “Flash Light” went straight into an equally extensive performance of “Freak of the Week,” best known today as the basis for De La Soul’s hit “Me, Myself and I.” Following “Freak,” Clinton turned the stage over to guitarist Michael Hampton for “Maggot Brain,” the “Free Brid” of funk solos.The All-Stars’ nearly annual appearances at Crossroads may have saturated the market. Despite perfect weather, the venue was only half full to start the weekend. The crowd was a diverse mix of races and ages, ranging from under-21 fans possibly seeing Clinton for the first time to longtime listeners who grew up on P-Funk.
The loose arrangements allowed plenty of room for improvisation, solos and sidetracks. “Freak” featured a detour into the standard “Sentimental Journey” while Clinton’s son and grandchildren each got a chance to showcase their rapping skills. At one point Clinton led the band into a bit of “Bustin’ Loose” in tribute to the recently deceased Godfather of Go-Go, Chuck Brown.
Sometimes the arrangements were too free, though. Despite starting strong, the music meandered in the second half, particularly during “Up for the Downstroke” and “Aqua Boogie.” Just when the band seemed headed off the cliff, however, they caught second wind at the two-hour mark. “Give Up the Funk (Tear the Roof Off the Sucker)” seemed to invigorate both the crowd and musicians. A fun romp through “Atomic Dog” found many women from the crowd invited onstage to dance with the band and ended the night.
Review: Chuck Brown Winds Up Annapolis
George Clinton is bringing the funk
Review: George Clinton and the P-Funk All-Stars (2009)
By Joel Francis
When RZA needed a hook for “C.R.E.A.M.” he turned to the Charmels’ “As Long As I’ve Got You” and joined a large fraternity of rappers and producers who have leaned on the Stax catalog for their tracks. And though Stax has provided the samples for hits by Jay-Z, Public Enemy, Notorious B.I.G. and countless others, the source material has somehow remained in the secret province of crate-diggers.
Until now. “Stax: The Soul of Hip Hop” is 14 wonderfully selected, mostly obscure late-period Stax cuts released as part of Concord Record’s revitalization of the label. It’s unlikely that many Ghostface Killah fans listening to “Supreme Clientele” would have the urge to track down the source material for “The Grain.” But listening to Rufus Thomas’ “Do the Funky Penguin” on this compilation not only sheds light on the music that informed Ghostface – it’s fun enough to make the album more than a history lesson.
It’s great if De La Soul and Cypress Hill are the reasons these song sound familiar, but the collection succeeds because it dusts off great songs that are ignored on most retrospectives. 24-Carat Black’s lone album was ignored in 1973. That album’s title track “Ghetto: Misfortune’s Wealth” opens this compilation with a slab of socially conscious funk. The female trio the Emotions found their greatest success with Earth, Wind and Fire in the late ‘70s, but “Blind Alley” shows they were fully formed pop soul act long before Maurice White helmed their albums.
The Dramatics’ “Get Up and Get Down” foreshadows the disco movement, while Little Milton’s “Packed Up and Took My Mind” is the marriage of soul and blues that Robert Cray has been chasing for 20 years. The inclusion of Isaac Hayes and Booker T. and the MGs tosses a bone to casual fans, although two Hayes cuts may be one too many.
The only misstep is a song that dates from Stax’ early days with Atlantic Records. Wendy Rene’s 1964 track “After the Laughter (Come Tears)” is an unconvincing ballad whose best quality is a great calliope organ line. Complaining about this cut, the extra Hayes track and the wish that the producers would have packed the disc with more tracks, though, misses the point and spoils a great treasure.
This set not only proves that the hip hop samplers had immaculate taste, but that they weren’t just cherry picking. While they may have only mined 10 or 15 seconds from each track, the ore runs consistently deep through each performance.
If hip hop is the reason for this collection to exist and that marketing angle will draw those fans to this music, then so be it. But a celebration this fun doesn’t need an excuse.