Bootsy Collins Songs I D Rather Be With You

"Stretchin' Out " features the guitar work of Hampton & Shider, and one of the hardest bass grooves ever. It introduces the spectral Casper, bringing us the 'elastic music' of his Rubber Band. This is truly prototypical Rubber Band, with an out-front bass groove, horns providing hooks, a Bootsy vocal/rap, ethereal keyboards, and delightful backup vocals. The song would prove to the set closer for many years.

"PsychoticBumpSchool" is the album's true work of genius, with another hardcore groove matched against one of the greatest horn riffs of all time. The horn arrangement is today worked into the live arrangement of "Give Up The Funk". The guitar work is also rather intricate and subtle. The song works as the introduction to the band, talking about how the band is going to make all the hip kids gather 'round. It concludes with some mind-boggling bass licks from Bootsy matched against the horns. Truly, one of the greatest dance tunes of all time.

"Another Point Of View" is a hard-rocking tune, with Bootsy's early leads giving over to Mudbone as the music swells. This is the closest to Funkadelic that the Rubber Band got, a reflection of Bootsy's days with the House Guests and Complete Strangers. "I'd Rather Be With You" is the first major showcase song for Mudbone, and also has an amazing solo from Bootsy.

This one would become a live solo spotlight for Bootsy in the years to come. It's nicely accented by the drumming and finger-snap percussion. "Love Vibes" is the spotlight song for Leslyn Bailey, who had a beautiful voice that matched Mudbone's well. They could both hit the high notes with great skill. The intro to this song is great, with a piano, trumpet and snare setting up the initial vocals from Mudbone. Bailey's vocals are accented with the light percussion and quiet piano.

"Physical Love" is a rather amusing tune about the virtues of, well, physical love. Eddie Hazel is the featured guitarist here, providing a soulful counterbalance to the upfront bass sound. "Vanish In Our Sleep" is a gorgeous send-off for the album, a mellow, dreamy tune that challenges societal approval for love. Bootsy's almost sleepy vocals make the song perfect, along with the weird keyboard effects. He didn't want to have me around, but the band that he always rehearsed with loved to have me around because I was always excited to watch them play.

My brother didn't like when I was around until one day he needed a bass player. But I explained to him that if he got me four bass strings that I would put the bass strings on this guitar and I would be the bass player for that night. The thing that got me wanting to be a musician was when I had to play at King Records and we became studio musicians. We met Gene Redd who was one of the top A&R engineers over there.

Henry Glover, who produced all the bluegrass, the country, the R&B, gospel, was producing everything over there. Out on the road with Hank Ballard was the first hooked-up gig that we did with James Brown. I guess at the time James Brown was trying us.

We had no idea he was testing, because maybe later on like, "Yeah, we might be in his band," but we had no idea it was in his mind. But little did we know, he wanted us to be his band. He sent his jet to Cincinnati, Ohio with Bobby Byrd.

Man, explaining that whole story in sentences, you really can't do it. In 1990, Collins collaborated with Deee-Lite on their biggest hit "Groove Is in the Heart", and he contributed additional vocals. Although he also appeared in the music video playing the bass, the bassline in the song is actually a sample of a Herbie Hancock song called "Bring Down the Birds". Bootsy's Rubber Band became the de facto backing musicians for Deee-Lite during a world tour. The Rubber Band also recorded the EP Jungle Bass, their first recording in 11 years.

An edited version of the song was made into a music video which features cameos by many other Bengals players. Collins appeared with Little Richard, Bernie Worrell, and other notable musicians as the band playing with Hank Williams, Jr. for the Monday Night Football opening during for the 2006 season. Collins was the only all star to return with Williams for the 2007 season. His influence in popular culture is seen in that he has been referenced by a number of television series. Bootsy's uptempo tunes were heavily bass-driven, with a large spotlight given to the Horny Horns. Catfish Collins held down the guitar chores, and this mostly was rhythm work.

On this album, the uptempo songs introduce Bootsy as Casper the Ghost , who's "kind of friendly when I want to be, and funky otherwise." These songs are funny and very, very funky. The slow tunes are nearly pornographic and off-the-wall--certainly not your standard ballad. Gary "Mudbone" Cooper and Robert "P-Nut" Johnson handle most of the vocals on the slow tunes. Mudbone was a key element in the Rubber Band's success, as his distinctive, sweet, high tones were the final piece of the puzzle for many songs. But his versatility as a singer was also important, being able to sing many different kinds of parts. Having a great vocalist was key to widespread commercial success, and to making the ballads effective.

Stephen Lee Bruner, aka Thundercat, known first for his session bass playing for the likes of Flying Lotus and Kendrick Lamar, has gone on to perform and produce a solo mini album, which features Them Changes. Opening with a sample of the Isley Brothers 'Footsteps in the Dark', the bass line soon brings back the funk. Listen to Bruner talking about how Them Changes became a funk track via song exploder on Wired. Funk originated in African-American communities in the late 60's and draws influences from soul music, jazz and rhythm and blues. Melody takes a back seat and rhythm and groove dominate - usually played by an electric bassist together with the drummer in the foreground. Like much of African-inspired music, funk typically consists of a complex groove with rhythm instruments playing interlocking grooves.

In July 2010, Collins, in partnership with former child actor Cory Danziger, launched Funk University ("Funk U"), an online-only bass guitar school in which he also serves as curator and lead professor. Funk University offers an intense curriculum tailored for intermediate to advanced bass players as well as anyone interested in a deeper understanding of funk. He guests with big names, most recently Snoop Dogg and his live band, who are eager for a dash of his vintage, unquenchable sparkle.

He has his online Funk University and campaigns to get musical instruments into the hands of disadvantaged kids. He clearly longs to see some musicianship, some bands, spring from young black America. "We depended on each other and that encouraged unity, togetherness. We learned to play with what we had – that's what funk is." By the late 1970s, Collins was a huge star with his own side-project, Bootsy's Rubber Band. Funkadelic were creating hit records, and everyone was making serious money.

"He started getting pussy and having a good time, and that killed the magic. He was the bad guy and I was the good guy – that was our power, but it became showbiz. Then that powder came into play. If LSD brought us together, cocaine surely split us up." The Bootsy albums had very loose themes, if you could call them that. Rather than telling a specific story, the songs centered on the various characters that Bootsy came up with, all of whom were funky. An emphasis was placed on puns and wordplay, taking every concept to its logical conclusion.

It was all very tongue-in-cheek and lighthearted, but still quite clever. The lyrics belied the heaviness of the music, with feedback-oriented solos appearing on the ballads, and supertight arrangements on the jams. It was a perfect blend of James Brown's fanatical precision and George Clinton's harmonized anarchy, with a band that was capable of playing any style of music at any time.

No one had as much stage charisma as Bootsy, and no one could whip up a crowd like the Rubber Band. Rising to prominence during his session work with James Brown in the early 1970' and later with Parliament-Funkadelic, Collins famous driving bass guitar and himourous vocals established him as one of the great legends and leading names in funk. 'I'd rather be with you' is off Stretchin' Out Bootsy's Rubber Band, the first album by Bootsy's Rubber Band, an offshoot of Parliament-Funkadelic led by Bootsy. The track has been sampled by at least 40 hip-hop and R&B tracks.

And, with that, Bootsy called on a few of his humble musician friends to join him and let the real party begin. Now, for the pure funk track we call the "Funkship Area-51," Collins channeled his P-Funk days with fellow James Brown band member Christian McBride. Snoop Dogg takes the lead on "Jam On" along with Brandon "Taz" Niederauer on lead guitar, and the song "Creepin'" features blues guitarist Christone "Kingfish" Ingram. While still in his early teens, Collins joined his brother's band, the Pacemakers. They would hang out and play at Cincinnati's King Records, which began as a specialist country label in the early 1940s and, thanks to James Brown was, by the mid-60s, the sixth biggest label in America. Brown had a seriously fractious relationship with his band, the Famous Flames and one night they upped and left him en masse.

The next day the Pacemakers – who'd recently cut a demo called, rather wonderfully, More Mess on My Thing – were put on a private plane to Columbus, Georgia, and told they were Brown's new band. The band originally was going to be called Bootsy's Early Sunn before Clinton & Collins hit on the Rubber Band concept, hitting on Clinton's love for puns and wordplay. Leslyn Bailey left the group after the first album/tour, totally freaked out by the wildness of the experience. Frederick Allen apparently didn't even play with the group, despite his album credit, according to Bootsy. For their first collaboration, Branford Marsalis appears on two songs, "Club Funkateers" with Victor Wooten and Collins's arrangement of Sly and the Family Stone's "WantMe2Stay" with the great Larry Graham on bass and American Idol singer Uché.

Another Collins signature instrument is a custom-built star-shaped bass guitar he also calls the Space Bass, built for him by Manuel "Manny" Salvador of GuitarCraft in 1998. In 2006 Collins made an agreement with Traben to make a signature Collins model bass, the Bootzilla. During the 2010 NAMM Show, Collins's new signature bass was released by Warwick, a customized Infinity Bass called "Bootsy Collins Black Star Signature Bass" or "Bootsy Collins Orange Star Signature Bass", depending on the color of the stars on it. In July 2007, Collins also told Billboard magazine that he was working on a project named Science Faxtion and an album called Living on Another Frequency in which he serves as bassist and co-producer along with his lead vocalist Greg Hampton.

The band also features guitarist Buckethead and drummer Brain. In 1995, Collins played in the remake of Jimi Hendrix's "If 6 Was 9," for Axiom Funk, a Funkadelic-like one-off supergroup produced by Bill Laswell and featuring George Clinton, Bernie Worrell, Collins, Eddie Hazel, Gary Shider and Laswell. The group released only one album , and the song also appeared in the soundtrack of the movie Stealing Beauty. He also adopted his trademark "space bass" around this time.

In other words, for DJs who are harmonically matchings songs, the Camelot key for this track is 10B. So, the perfect camelot match for 10B would be either 10B or 11A. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop.

Next Collins moved to Detroit, Michigan, after Philippé Wynne suggested joining The Spinners, for whom Wynne had been singing. However, following the advice of singer and future Parliament member Mallia Franklin, Collins had another choice. Franklin there introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Collins played bass on most of Funkadelic and Parliament albums through the early 1980s, garnering several songwriting credits as well. Born in Cincinnati in 1951, Collins grew up without a father but with a mother who worked multiple jobs to get him and his older brother Phelps (known as Catfish because, well, "he looked like one") whatever they wanted. What both brothers wanted by the time they were approaching their teens was guitars.

And before Hendrix, Collins idolised Indiana-born guitarist Lonnie Mack, whose records were largely instrumental. Plus, Bootsy's Rubber Band live circa may very well be the all time funk performance by any band before or since. In March 2011, Collins and his wife visited Franklin L. Williams M.S #7's Little Kids Rock program, donated a bass guitar, gave the children a bass lesson, and rapped with them while they played the blues.

He is now an honorary board member of the organization. Collins is an honorary member of Phi Beta Sigma fraternity. On December 14, 2018 Collins played a show with Detroit-based funk artist GRiZ, and also collaborated on a new song with GRiZ. Later that same year, Collins released the holiday album Christmas Is 4 Ever.

This represents the first Christmas-themed album made by a member of the P-Funk musical collective. The album features re-workings of Christmas standards as well as original compositions. Collins provided lead vocals for the Fatboy Slim song "Weapon of Choice" from his 2000 album Halfway Between the Gutter and the Stars. Collins vocals quote the book Dune ("Walk without rhythm and you won't attract the worm").

The song won multiple MTV Video Music Awards and a Grammy Award for Best Music Video. In 1989, Collins played bass on and produced several tracks of Malcolm McLaren's album Waltz Darling, credited to Malcolm McLaren and the Bootzilla Orchestra. Rising to prominence with James Brown in the early 1970s, and later with Parliament-Funkadelic, Collins's driving basslines and humorous vocals established him as one of the leading names in funk. He later formed his own P-Funk side project known as Bootsy's Rubber Band. He was a frequent collaborator with other musicians from a variety of genres, including dance music (Deee-Lite's "Groove Is in the Heart"), electronic big beat (Fatboy Slim's "Weapon of Choice"), and alternative metal (Praxis's Transmutation ), among others. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with 15 other members of Parliament-Funkadelic.

"I'd Rather Be With You" is the fourth song on Bootsy's Rubber Band album "Stretchin' Out in Bootsy's Rubber Band". This song was written by Gary Cooper, Bootsy Collins & George Clinton. The song is about preferring to be with a particular lover. The song still stands the test of time to this day. Collins was with Brown's band for only 11 months.

Famously, he left soon after running off stage, hallucinating wildly. It was a state he would grow used to when, after a stint with the Brit-rock- and Sun Ra-influenced House Guests, he joined George Clinton's Funkadelic outfit for their fourth album, America Eats Its Young. In Funkadelic there were no rules, only a desire to experiment more, thrill more, terrify more. Collins's face actually lights up when he talks about the band. I just wanted to learn from every source I could.

I feel like I've been to that mountain when we were peaking as Bootsy's Rubber Band. That world, that fame, that stardom, I never want to be that ever again. If I can be a platform for others, I prefer to do that. I always wanted to be in the band, but never wanted to front the band. For some reason, I always knew that that was the mug that had the target on his back, on his face, and on everything else. It was a curse and a blessing at the same time.