177 - Funkadelic - One Nation Under A Groove - Wayne Federman

Summary

Podcast Summary: The 500 with Josh Adam Meyers - Episode 177: Funkadelic - One Nation Under A Groove Featuring Wayne Federman

Introduction

In Episode 177 of The 500 with Josh Adam Meyers, host Josh Adam Meyers delves into Funkadelic's seminal 1978 album, One Nation Under a Groove. Joining him is the comedian and actor Wayne Federman, marking his sixteenth appearance on the podcast. This episode not only explores the musical genius of Funkadelic but also intertwines personal anecdotes and broader cultural discussions, offering listeners a comprehensive look at one of funk music's most influential albums.

Guest Introduction and Background

Wayne Federman, affectionately referred to as "the one and only Wayne Federman," brings a wealth of experience to the conversation. With a longstanding relationship with the podcast, Wayne has previously discussed artists like Curtis Mayfield, enhancing the depth of today's discussion on Funkadelic. Wayne's recurring presence underscores his passion for music and his insightful perspectives on the genre.

Curtis Mayfield and Musical Influences ([05:20] - [09:35])

The episode begins with a reflective discussion on Curtis Mayfield, highlighting his work with The Impressions and iconic soundtracks like Superfly. Wayne shares a humorous anecdote about almost covering Mayfield's "Pusher Man," contemplating the racial language in the lyrics and ultimately deciding against it:

Wayne Federman ([06:01]): "I thought you were a guitar guy. I didn't realize you were you."

This segues into a broader conversation about Mayfield's influence on Funkadelic and the evolution of funk music.

Funkadelic and George Clinton: The Musical Revolution ([09:35] - [21:33])

Josh and Wayne navigate the rich history of Funkadelic, focusing on One Nation Under a Groove as a transformative album in funk and rock fusion. They discuss George Clinton's role as the creative powerhouse behind the band, emphasizing his ability to blend genres seamlessly:

Jeremiah Watkins ([30:10]): "He is adding rock and roll. Did you talk about he. They had an epiphany when they were playing on the road..."

Wayne elaborates on Funkadelic's formation, their groundbreaking sound, and Clinton's visionary approach to music and stage performances. The conversation touches on the theatricality of their live shows, incorporating science fiction elements and elaborate costumes that set them apart from contemporaries like James Brown.

Legal Challenges and Streaming Rights ([32:19] - [39:49])

A significant portion of the discussion centers on the legal complexities surrounding Funkadelic's music, particularly One Nation Under a Groove. The album's absence from major streaming platforms like Spotify is attributed to ongoing lawsuits and contractual disputes between George Clinton and major record labels. Wayne explains the fragmentation caused by multiple band names and non-compete clauses:

Wayne Federman ([65:16]): "Difficulties arising from multiple names used by multiple groups."

This segment underscores the challenges artists face in maintaining control over their musical legacy in the digital age.

Personal Anecdotes and Side Conversations ([21:33] - [74:16])

Interwoven with the main discussion are personal stories and lighthearted banter between Josh and Wayne. Topics range from Wayne's experiences touring, his beloved pet dog Lekka, and humorous mishaps like Lekka's accidental consumption of a chocolate protein bar:

Wayne Federman ([21:02]): "But I wake up. I wake up... So when you have something like that, why do you."

Additionally, they touch on contemporary cultural events, such as Jaden Daniels' poised behavior during a high-stakes football game, reflecting on character traits that contribute to success.

Musical Analysis and Legacy ([44:44] - [64:37])

The duo delve deep into the musical intricacies of One Nation Under a Groove, analyzing its fusion of funk, rock, and psychedelic elements. They highlight standout tracks like "Flash Light" and discuss how Funkadelic's innovative sound paved the way for future genres, including hip-hop. Their analysis emphasizes George Clinton's role as a "Leonard Bernstein" of funk, orchestrating complex musical arrangements that remain influential:

Wayne Federman ([49:08]): "He can be the, you know, the. What's the Leonard Bernstein of it and conduct the thing."

Conclusion and Future Episodes

As the episode wraps up, Josh and Wayne reflect on the enduring impact of One Nation Under a Groove and its place within Rolling Stone's list of the 500 Greatest Albums of All Time. They express admiration for George Clinton's innovative spirit and anticipate future episodes, hinting at upcoming discussions on other legendary albums like Aerosmith's Rock in a Hard Place (Episode 176) and teasing potential guest appearances.

Wayne Federman ([73:07]): "What a fun record, What a fun album, What a fun group of songs. What a fun dude. And what a fun podcast."

Listeners are left with a profound appreciation for Funkadelic's contribution to music and a keen interest in exploring more albums from the iconic list.

Notable Quotes

• Wayne Federman ([05:35]): "I love him so much. Curtis Mayfield."
• Wayne Federman ([06:44]): "It's very gospel. Yeah. Oh, that's the real."
• Wayne Federman ([30:23]): "He is adding rock and roll. Did you talk about he. They had an epiphany when they were playing on the road..."
• Wayne Federman ([49:08]): "He can be the, you know, the. What's the Leonard Bernstein of it and conduct the thing."
• Jeremiah Watkins ([70:11]): "It was a mix of funk, science fiction theatricality, and a love of performing for the old school chitlin circuit."

Conclusion

Episode 177 of The 500 with Josh Adam Meyers offers an engaging and insightful exploration of Funkadelic's One Nation Under a Groove. Through rich dialogue with Wayne Federman, listeners gain a deeper understanding of the album's artistic significance, its challenges, and its lasting legacy in the world of music. This episode is a must-listen for enthusiasts seeking to appreciate the intricate tapestry of funk and its evolution over the decades.

Transcript

[Josh Adam Myers]

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[Wayne Federman]

This episode is brought to you by Amazon. Sometimes the most painful part of getting sick is the getting better part. Waiting on hold for an appointment, sitting in crowded waiting rooms, Standing in line at the pharmacy. That's painful. Amazon One Medical and Amazon Pharmacy remove those painful parts of getting better with things like 247 virtual visits and prescriptions.

[Josh Adam Myers]

Delivered to your door.

[Wayne Federman]

Thanks to Amazon Pharmacy and AmazonOne. Medical Healthcare just got less painful. This show is brought to you by Distrokid. Bring your music to the masses. The 500 the 500 JM been walking us down through that 2012 edition so it ain't nothing too knew hundreds more to go and in need of a friend the king of peaceful angelo talking the 500 until the end talking the 500 until the end with my man JL on the 500 talking the 500 until the end that is one nation under a groove. It is by Funkadelic from their 1978 record of the same name and it's 177 out of 500 on the 500 with Josh Adam Myers. What's up party people? It is me. I am your host and we are going through Rolling Stone magazine's list of the 500 greatest albums from 500 all the way down to one. I'm a comic. Hopefully it's funny. Either way. We're learning. We're burning. We're having a squirming. Want to watch the podcast episodes? Drop YouTube every Thursday. Search the 500 podcast channel, watch my YouTube YouTube.com Josh Adam Myers and subscribe to the Patreon. Ladies and gentlemen. Watch the full episodes on YouTube every Thursday or get it a day earlier by Signing up for the Patreon for $5 a month. And if you want to rep the 500 at your next concert or show, 25amonth will get you some really cool merch. Go to patreon.com backslash the 500 podcast and join the fleece army. I am in a real hurry, so I gotta run through this because we had to tape this episode extremely late because our guest that was originally supposed to do it, he had to deal with the fire in la. And so this is either going to come out in the middle of like, basically it usually comes out Wednesday. It was probably going to come out Friday. So I was like, fuck it, let's get Wayne Federman. By the way, I'm on tour. Go to joshadamyers.com for tickets. I gotta run. I really don't have time to go through everything. Next month, though. Reno, Atlanta, Connecticut, L.A. moon Tower. A bunch of cool Josh Adamyers.com Punchup Live. Punch up live backslash. Josh Adam Myers. Yeah, dude. At Josh Adam Myers on all social media. I love you guys. Our guest, the one and only Wayne Fetterman. You know him, you love him. He's on for his 16th time. He should do the podcast with me because I love him that much. Raid review and most Importantly, subscribe to the 500 listen free on all platforms or anywhere you get your pods. Follow me at Josh Adamyers on all social media. Follow the podcast at the 500 podcast. Email the [e-mail] Follow the Facebook group run by Crazy Evan. And for all things 500, go to the website the 500podcast.com. By the way, I don't want to come off tone deaf by just skirting over the fire like that. What's going on in LA is horrible and we'll have links of how to support it to help people. Let's dig into the episode, guys. 177 with one nation under a groove by Funkadelic. Anytime we get a Fetterman, I'm happy and all.

[Jeremiah Watkins]

Right.

[Wayne Federman]

I mean, yeah. What do you want me. What do you want me to tell you? What do you want me to tell you? It's like, this is. This is what it's about. This is what it's about. This is the show.

[JT]

This is the show.

[Wayne Federman]

Is this the first one of you for 2025?

[Jeremiah Watkins]

Yes. Yeah, I believe so. Right?

[JT]

Trying to surpass the.

[Jeremiah Watkins]

Rolling Stones was the last one. I did, I think, Right? I almost did. I almost did. Curtis Mayfield. God damn that. I love that guy so much. Curtis Mayfield.

[Wayne Federman]

Well, luckily, here's what was cool about that is luckily, I. I didn't throw it. What do you call it?

[Jeremiah Watkins]

Godfrey. I, you know, he. I'm a huge fan of that kid. Yeah.

[Wayne Federman]

So Godfrey was great. And, dude. And we need. And that was last week. We needed you for this week. We could do you twice in a month like we did with. With Professor Longfoot and. And Billy Bob Blues. You're just. Just do the show every month. Just do it every week.

[Jeremiah Watkins]

Can we talk just a little about Curtis Mayfield before we jump into this?

[Wayne Federman]

Like, of course.

[Jeremiah Watkins]

What did you learn about him? What do you like that guy?

[Wayne Federman]

I love him. Well, you know what's funny? So it was so funny was that, like, you know, we talked about the old stuff, the he did with the Impressions. Is that the band?

[Jeremiah Watkins]

Yes, yes.

[Wayne Federman]

And it's good. But man, oh, man, oh, man.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

Superfly. The soundtrack. The Superfly, Freddy's Dead, Superfly and Pusher Man. But I, I, you know, it was funny because I reached out to Burr and I was like, dude, we should cover Pusher Man. And he goes, you know what they say a lot in that. And it's like one of the first lyrics. And I was like, oh, the N word. Yes. Yeah, maybe I shouldn't. Let's do it. Yeah. I'm your mom I'm your papa I'm your daddy I'm that N word in the alley Want some. Something, well, some sweet. Want some coke? Got your weed? So it's so funny that. That, that. That's what you're attracted to. I thought you were a guitar guy. I didn't realize you were you.

[Jeremiah Watkins]

I usually. I am a Guitar hero guy, but that hit me, right. Like, at the right age, especially that song Freddy's Dead. I just. I. The. The narrative. The. It's like a movie in the movie. It's like a movie in the movie. That song is so good.

[Wayne Federman]

So. So we did it with. We did it with Godfrey.

[Jeremiah Watkins]

Yeah, yeah.

[Wayne Federman]

He. He was. He was great. And he's, like, super fun to talk about it. And someone like Curtis Mayfield was that. You find out that this guy is called the Gentle Giant, right?

[Jeremiah Watkins]

Yep. Yes.

[Wayne Federman]

And then he's writing all these, like, songs. The early stuff. Very like, get on the Train. We got it with changes coming. Right, Right. Why do you know? And I. I asked. I think I asked God for this. I was like, why is every. Every black civil rights song about a train? What do you. What do you think, Wayne? From a white guy from the church.

[Jeremiah Watkins]

It's from the church, man. That's all church stuff. To get on the train. The train's taking you to heaven. The Judgment day. To Jordan. The train. Like, you're getting. There's no. You don't need no ticket. You just get on board. Like, it's. That's. You're going to heaven. That's the whole thing.

[Wayne Federman]

It's very.

[Jeremiah Watkins]

It's very gospel. Yeah. Oh, that's the real. Oh, no, there's a famous, like, gospel song about the train and stuff. That's. That's. That's. That's a good question, though.

[Wayne Federman]

Damn. You were on. You were on three episodes ago. You were on three episodes. We're getting lazy on the podcast.

[Jeremiah Watkins]

Who books this show?

[Wayne Federman]

Emily. And it's her birthday. It's. It's nothing.

[Jeremiah Watkins]

Emily.

[Wayne Federman]

It's not.

[Jeremiah Watkins]

Get her on. Get her on.

[Wayne Federman]

Dude, we know. We had the guest. We had the guest, and then the fires broke out in LA and everything got crazy, and so the person was just. He bumped it. He could do it tomorrow or. No, it's Thursday. Really? And I said, no.

[Jeremiah Watkins]

Okay.

[Wayne Federman]

I said, I don't. We're not late. We're not. That. We. Listen. One thing. One thing. We're consistent, and we. We've cut it. Sure.

[Jeremiah Watkins]

Is that true?

[Wayne Federman]

Well, yeah. J. J.T. like, we've cut it once.

[JT]

We were late, only.

[Wayne Federman]

No, we weren't. No, we. No. One day. It was also one of our biggest episodes where you, you know, did something with your goddamn soundcloud. It was the Burr episode. It was the Burr. First Burr episode. It didn't come out till. It was. It was supposed to come out Christmas Eve. It didn't come out till New Year's.

[JT]

Oh, it wasn't that late. It was only like a day late or something.

[Wayne Federman]

But not even. It was a couple hours. It was like. That was. We were trying to build the podcast and. You.

[Jeremiah Watkins]

Okay.

[Wayne Federman]

Something's wrong with the audio. Just shatters everywhere. So. Yeah, so, look, you're on for. I'm surprised you knew Funkadelic.

[Jeremiah Watkins]

Yeah, it is surprising. It is surprising. Yes. Well, he's steady. Yeah. Hopefully we're going right now, because the whole thing for me was.

[Wayne Federman]

Wait, hold on. Jeremiah, no kidding. Please tell me you're recording. Please. Always. Always hit record.

[Jeremiah Watkins]

Always be recording when Wayne's on. Yeah, no, I got into them. I don't have one Funkadelic or Parliament record out. None of it. I don't have it. That's not in my. Was not part of my collection. But there was three songs that have Landed deep in me. One was We Got the Funk. It's not on this.

[Wayne Federman]

It's not? No, it's not.

[Jeremiah Watkins]

Yeah. And the second one, even more than that. It's called Flashlight. I don't know if you know that song at all. Flashlight.

[JT]

So good.

[Wayne Federman]

Oh, yeah, dude.

[Jeremiah Watkins]

You do? Okay.

[Wayne Federman]

Yeah, of course. I used to play the Bar Mitzvahs Flash.

[Jeremiah Watkins]

That song is at. When I first heard it, I was like, okay, this is insane.

[Wayne Federman]

It is out of sight.

[Jeremiah Watkins]

Yeah, yeah, yeah, yeah.

[Wayne Federman]

It's a cold gas.

[Jeremiah Watkins]

So. But I didn't know any. I don't really know. And then the last one was Atomic Dog before it became the big thing. Those are. That's it. I knew three of their songs. I didn't even know his hit song with the Parliament before. It was Parliament. It was the Parliaments. I think it was.

[Wayne Federman]

No, it was. Yeah. This has been a very interesting story about. About like this, and very. I'm trying to go back to. To the start of it, because I guess the first record we did.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

With Funkadelic was Maggot Brain. And we did. That was one of the early episodes that we did. We did it with Baron Vaughn. It was. It was one that. Six songs, I think, on that album. Maybe not. Not even six. I was like, I'm looking right now. So four. Seven songs on the record. And we recorded for three and a half hours.

[Jeremiah Watkins]

Oh, my God.

[Wayne Federman]

And it was one of my. One of my favorite podcasts we've done.

[Jeremiah Watkins]

And today we break the record.

[Wayne Federman]

We go full Dane Cook. We go. Dane Cook. He did. Chappelle did five. We do six.

[Jeremiah Watkins]

We got the Lab Factory sign right behind me.

[Wayne Federman]

The. The. The funny thing was. And the reason why is there was because he really came with a. You know, I mean, stories and emotion, and we broke down every song and. And being. You know, being that. That there was a really good connection, I think. And I'm gonna try to see if I can remember how I spun it. And Lekka, please stop being annoying. The connection was that, you know, Baron is this, like, you know, he started that show, the New Negroes, which is like a show about black comedians, but not the normal. Not the Deaf Comedy Jam comics, and. Which I love more than anything. Deaf Comedy Jam comics. All of the. The. You know, my favorite. One of my favorite comics. And I'm saying Patrice was. But that's one of my favorites. Martin Lawrence, you so Crazy is one of my favorite specials. You know, the Bernie Mac Special, where, you know, I ain't afraid of y'all. Like, all of that. I love that. But. But also there, you know, to. To do that left turn or the right turn, whatever the. The expression is baron. And. And. And that guy. One open mic Eagle started that show, which is basically for the. The alternative black comics, because they exist. And what I thought Maggot Brain was going to be is what this record is, is what Atomic Dog is. It's that, you know, we'll get the roof off the sucker and the mama and the papa and the hip hop duba and the skunk. We got funky, funky fever. That's a good song. Can we record? Lay that down, Carlos. Lay that down. And what the album actually is is rock and roll, right? Maggot Brain. Is it. I still, to this day, in the six years that we've done this podcast, I still say Maggot Brain was the record that. That smacked me across the face. And it's still an album that I listen to today and love Maga Brain. The opening. The Eddie. The Eddie Hazel. You know the story of solo. Yeah. Well, you know, they're taking lsd and he says, you know, I want you to play like you just found out your mom died. And then he said. And then the middle of it, he goes, now bring it back to life. And it's like. And I mean, it's turning the train around.

[Jeremiah Watkins]

Turn that train around.

[Wayne Federman]

More trains, more trains. We got the phone train. Get the phone. Get the funky funk train. Get on the train. Revolution. Everybody, everybody. Don't forget there was a parliament.

[Jeremiah Watkins]

Yeah. There was a show called Soul Train. You might be too young for that.

[Wayne Federman]

Come on.

[Jeremiah Watkins]

You might be too much of a kid, but let me explain. I'm kidding. I'm kidding. Okay.

[Wayne Federman]

I know. You know what?

[Jeremiah Watkins]

I know you know.

[Wayne Federman]

Come on, dude. I listen. And, you know, if you go to the Comedy Cellar before every show. Well, every show at the Village Underground, they play as people are sitting. They play Soul Train. And then it's really. It's. It's my favorite thing. But, dude. And I will get to. On One Nation under the Groove, which.

[Jeremiah Watkins]

I don't care which.

[Wayne Federman]

I know this. And I don't know if you knew this. JT and Wayne. I don't know if you know it, but I know the people that listen on Dark Lord Spotify or on Deep State, Amazon or on Child Labor Apple. I'm giving them all names now.

[Jeremiah Watkins]

Yes. I like it like the.

[Wayne Federman]

You can't find this record. I had to listen to this record on YouTube Music. This record is not. This record is not available on Any platform, which hopefully it's in the notes that Adam provided. Jt, I haven't looked at it yet. Can you please. I don't feel like I have to look at any notes when I've got Wayne on. I'm like, no, I'm curious.

[Jeremiah Watkins]

I didn't know that, by the way. I, I listened to it also on YouTube. So.

[Wayne Federman]

Good, good. So that we all know. So, so, so then, so then what like I was saying was we did this three and a half hour episode. It really was. Colleen from. From Moon Tower messaged me. Says one of the. One of the best podcasts she'd ever listened to. Thank you, Colleen, for that. And we still get people that talk about it and still it' connection that me and Baron, prior to that, we're like, cool. But once you have like a three hour, like Joe Rogan, once you have a Joe Rogan.

[Jeremiah Watkins]

Right.

[Wayne Federman]

Experience, it's incense, peppermints, ripples in time, the games they play. So I knew that this record was not going to be Maggot Brain. I knew immediately that this was closer to Atomic Dog. This is closer to the George Clinton that we know. And I mean, this is what I'm looking right now because I'm really trying to backtrack. And I just had it up. Maggot Brain is the third record by Funkadelic. And so one nation let me put up one nation under the groove. This is the. That's the 10th record at that point. Still. Still Funkadelic. When did. And then eventually they become Parliament. Right?

[Jeremiah Watkins]

Well, it's all kind of the same band, but it's. One is a funk soul band. That's Parliament, which was started out as the Parliaments, named after the cigarettes. Did you ever smoke those?

[Wayne Federman]

And I'm smoking right now, everybody. I'm not proud of this. I know. That's crazy. I. I started. I started doing spliffs like two weeks ago. And then the, the, the. The weed got less and less and now I'm just rolling cigarettes. It's coming to an end soon.

[Jeremiah Watkins]

Okay. I like the. Again, if you need to in any way declare or anything like that right now or testify about what's happening with you and cigarettes, I will step back. You have the floor. Whatever.

[Wayne Federman]

Whatever you need to do emotionally on that love train. Running down the love train.

[Jeremiah Watkins]

I did not expect that when I got on the podcast. Okay.

[JT]

It was perfect timing because I just quit. I just quit. So you know you've been smoking. Yeah, I quit.

[Wayne Federman]

You're a weird though. You've been. You've been in a weird world, though. Jeremiah's. Jeremiah has like five lovers. He does. Dude. Dude. Once you got a doodad on your head like that, you dip the stick in many a well. Your tortilla chip meets guacamole and salsa.

[Jeremiah Watkins]

Well, yeah, no, I was very excited when he sent me the. The text. And by the way, my house. Thank you for asking. My house is fine. I appreciate. It's like, wait, hey, can you do my podcast? Like, yeah, there's smoke on every side of me. Like, yeah, yeah, I think I can do it. So thank you for the concern.

[Wayne Federman]

So, Parliament, I gotta record the floor all the way. I'm not gonna record it on the floor. Wait, where do you live again? You live in.

[Jeremiah Watkins]

I live right in. I live right in mid city. Let me just say, if the fires get to me, there is no la.

[Wayne Federman]

Yeah, yeah, yeah, yeah.

[Jeremiah Watkins]

I'm right. I'm in the concrete jungle. I don't have to. I don't even have to buy fire insurance where I live. Like, they don't. It's not even mandatory.

[Wayne Federman]

I was so. I was in. So jt, you know, we. I was opening up for my buddy J. Oh, yeah, you went to the show.

[JT]

I did. And then Lekka ate the chocolate, and.

[Wayne Federman]

We ate the chocolate. Which, by the way, you never said once how good I did. You just. You asked if you come backstage. You never thanked me or were like. Or even like, hey, man, great set.

[JT]

Good job. It was good.

[Wayne Federman]

Don't yourself, dude. Don't even. Don't say anything. Don't yourself. Literally, the hottest show in la. It was. It was on fire. Yeah. My buddy Jeff played the Wiltern, and. And so he did four nights. He sold four nights out of it. Isn't that crazy? All did it himself all through social media, just doing, like, crowd work and posting videos and. And one of the hottest comics. He's. He's a great dude. He loves me doing the music, the. The jam that I do. And so JT came and, you know, of course, never once thanked me or. Or even said, great job, which is insane. That's insane. Insane.

[JT]

I was gonna tell you in person, but off.

[Wayne Federman]

No, you were not. No, you were not. No, you're not. Just like, we never asked you. You cared about as much. You cared about my performance and complimenting me as much as we cared about Wayne and his house being not on fire. We just oblivious. Oblivious.

[JT]

Worried about Lekka. I was worried about true.

[Jeremiah Watkins]

Were you? Was one of the reasons you were not worried about me. You're Just like Wayne is not in the Pacific belt.

[Wayne Federman]

I know. Yeah. No, but you're old Hollywood though. You're old money. You work with guy, you know, a lot of guys like you. Don't you play basketball? Didn't you play basketball? Pacific Palisades for a long time in Mandeville Canyon.

[Jeremiah Watkins]

Yeah, yeah, yeah.

[Wayne Federman]

So I know that you know those people.

[Jeremiah Watkins]

Oh, no question. No, I'm adjacent to it.

[Wayne Federman]

Yes, very close.

[Jeremiah Watkins]

Thanks. Thank you for the concern.

[Wayne Federman]

So, so Lekka on Monday night, eight, I put her in the back room and. And somebody had a kind bar with called chocolate, Chocolate sea salt. And she ate that. She was fine. I got her to vomit.

[Jeremiah Watkins]

I don't know what that is. Are you talking about dogs?

[Wayne Federman]

Dogs. If dogs eat chocolate, they can die.

[Jeremiah Watkins]

Oh, right.

[Wayne Federman]

So, so Lekka ate a. Ate a. Ate like a. Like a. Like a. Not a protein bar? Yeah, like a protein bar. And she. And she ate it and she's been on this medicine that's making her like pee on everything. It's really crazy. Like. And finally she's starting to calm down a little bit. But prednisone like jacks her up. She's all just, you know, she never would eat something like that. And she did it. Got literally ate it out of the wrapper and then they go to the vet that night and the next day.

[Jeremiah Watkins]

By the way, veterinarians always very inexpensive. Always. You can't believe how cheap they are. Right?

[Wayne Federman]

Well, I don't. I don't experience that because I have. She's been paying for health insurance. I have insurance on her. So the bill was 800 and I got back 750. So I. But I pay 450 a month in health insurance, so.

[Jeremiah Watkins]

Right, right.

[Wayne Federman]

She's. But Leca, dude, Leka's elderly. Like Aleca is geriatric, according to Doberman's. We've only got a little bit. We probably got a couple more years left with Lekka. But that's why we love her. She's right there. See her?

[Jeremiah Watkins]

No. With a very. Okay, let me ask you this. And I know this is gonna sound horrible, but at the very end, the last days of Lekka, are you going to be like, eat the chocolate, enjoy. You know what I mean?

[Wayne Federman]

At that point, everybody deserves a little.

[Jeremiah Watkins]

This is what we've all been enjoying. You haven't been part of it.

[Wayne Federman]

What's that French dish that takes like they got. You got to order it at the beginning of the meal because it takes so long to get ready. It's got air in it. I don't know, it's. It's chocolate. It's like, oh, yes, I'll give her a souffle. I wish I was. I wish I was smarter. And then I would have gotten that riff right away. Here's what happened the next night. The next night we do the show and my dog is. Oh, so. So. No, no, no.

[Jeremiah Watkins]

So heroin.

[Wayne Federman]

Well, you guys. Jt, you've heard me talk about this on the podcast. I know I've talked about it. Which is that I get. I have a loophole to hurts if you have President Circle. I get these crazy expensive cars for like, yeah, we did it in Minnesota, remember? I got a ninety thousand dollar Mercedes for thirty dollars a day. And so I had the same car while I was here in LA. And on the day two on Tuesday, I pulled into corner of 3rd and La Brea to. I got out of the gym. I order some food at this, at the California Chicken Cafe. So I'm gonna run over there and I got like about an hour and 20 before the show at 7 and I pull into the parking lot of this little shopping center. I have to park in a handicap spot because there was no parking. To go pick up laundry would have taken 35 seconds. I get out of the car, grab the shit, come back. Minute later, the car, this brand new Mercedes. Something electrical happened. It wouldn't start. It would not start. I had rabbis helping me. I had like people like all these people were trying to help me and it couldn't. So I had to call Hertz and I.

[Jeremiah Watkins]

If anybody knows electrical engineering, it's Moshe. Come on over here, Moshe.

[Wayne Federman]

I know you can't use electricity on Friday and Saturday night.

[Jeremiah Watkins]

You have to plug in a crock pot. You got to get some guy off the street because it's electric.

[Wayne Federman]

So, so what happened was. So I leave the car and then they came to tow it and I left the keys in there and they did, they took care of that. And so then me and a girl that I've been like hanging out with, she picked me up and we go to her house and then we jump in an Uber and we drive out to LAX to pick out a new car. And this is where. This is when I was all. To get to this, we're driving, you know, up La Cienega. And you know that when you start to get to Inglewood, it starts to get very hilly and you can look back and you can see the west coast and you can see, you know, all the way. Basically it was a clear. Well, clear Ish night all the way to Pasadena and it looked like LA was surrounded by fire. That was. And that was the night. And then I woke up in the morning because Lekka peed in the girl's bed that night. I know, I know. The medicine. But also what a dumb. She doesn't have a goddamn mattress pad or like ma ultras protector on a nice tempur pedic. That. Yeah, that's on her, right?

[Jeremiah Watkins]

That sounds like it's on her.

[Wayne Federman]

Yeah. Definitely her fault.

[Jeremiah Watkins]

Definitely her fault that your dog urinated on her bed.

[Wayne Federman]

But I wake up.

[Jeremiah Watkins]

Any other explanation, right?

[Wayne Federman]

It's gotta be.

[Jeremiah Watkins]

It.

[Wayne Federman]

Just do the podcast every week. Wayne, this is so much fun. This is so great, man. The fans love you. Mike in San Francisco, the guy that's gonna murder me. Who love now.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

I started talking to him. He's a really nice guy. He's a really nice guy. You said new merch? I don't know if I like. It's not 500 merch anymore. It's not fleece army merch. It's like a weird. It's like a not weird. It's like a. It's like a voodoo drawing by. What's his name? Huh?

[JT]

By Nick.

[Wayne Federman]

By Nick.

[JT]

By Young and sick.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

Oh, Nick Kroll.

[Wayne Federman]

Yeah. But it says Josh Adam Myers in the goddamn comedy jam has nothing to do with the 500. We need to do a fetty wap. Fetty wap sweat. Fetty wap is God shirt. That's merch. That's merch is God. Make it.

[Jeremiah Watkins]

Please do not do that. Please.

[Wayne Federman]

If you listen to the podcast. Shut up. Shut your girl. Get on the train. Get on the train.

[Jeremiah Watkins]

I'm saying literally, I have a reservation for the bus. I take Greyhound. Not getting on that freaking.

[Wayne Federman]

But at five in the morning, after Lekka peed on the floor, we had to go to. We had to go to. I woke up to take her out. And that was the morning that I saw how bad it was. And then I was like. I looked at my phone and. And Jeff had to cancel all the shows. And then that night, me and my agent, we went out to dinner, like, with like a really nice restaurant. Like, that's hard to get a reservation. And like we called and they're like, I'm now you can come right in, as many as you want. I was like myself by anybody. Just like, please, like. But yeah, it's. It's. Dude, it's rough, man. I was supposed to come back out there tonight, but because of the podcast, because I Was he. They moved the shows to Tuesday and Wednesday, so.

[Jeremiah Watkins]

Okay. Oh, I got it.

[Wayne Federman]

Yeah. But I, Dude, I, I don't want to be. And I have to be in LA at the end of the month and I'm going to be there for a week in February. It was just not. Because, I mean, look, we're gonna do, we're gonna do a jam and give, you know, we're gonna donate a lot of the money from the next jam and shimmy to first responders or whatever. I'm gonna find something to donate, you know, because we make good bread from it. But, but as a human being, I, I, I just energetic because I'm such an empath. Like, I, I get it. Just the vibe was so bad, man. It just made me really depressed. And it's maybe things about my. Wait a minute.

[Jeremiah Watkins]

Hold on.

[Wayne Federman]

Stop. Don't make me feel bad. I am.

[Jeremiah Watkins]

What does that mean?

[Wayne Federman]

That mean. Doesn't that mean you. I just feel what other people feel.

[Jeremiah Watkins]

Yeah. I could tell that when your dog peed on a mattress and you were like, it's her fault. It feels very empathetic.

[JT]

And when he didn't ask you if you were.

[Jeremiah Watkins]

Yeah. You are completely right in tune with everyone's feet. I get it. I've never met one before, but I see it now. In fact, you didn't even have to say it. It's just you. Better men.

[Wayne Federman]

Better, better men. So one nation under the groove. How are we in? 25 minutes in. We just talked about it. There you go. Here we go. Booyah. So where do we start? Like, let's start.

[Jeremiah Watkins]

Let's start. I mean, and tell me if you've talked about all of this stuff before, but I feel like this guy, George Clinton from Newark, New Jersey, one of the great. Complete. Not complete is. It's just complete glue between so many genres of music right up to today. Right up till today. Starting in the doo Wop era, starting pre Motown. Motown's 5960, they start. He's in the music business before there's such a thing as Motown.

[Wayne Federman]

Well, you know, the way they talk about. No, I'm going to interject. You said he's the glue. You know, I think he's one of the first. If I'm wrong, they always talk about how Prince was one of the first people to combine white and black music.

[Jeremiah Watkins]

Well, he's not. That's not what he. That's not. There's people were combining white and black music before George Clinton. That's not why he's oh, because I.

[Wayne Federman]

Was gonna say, like something like Maggot Brain is combining.

[Jeremiah Watkins]

Oh, no.

[Wayne Federman]

Black music. Yeah. And I mean. And doing it well.

[Jeremiah Watkins]

He is adding rock and roll. Did you talk about he. They had an epiphany when they were playing on the road and they were opening for Vanilla Fudge, which was this rock band, and their instruments didn't show up. And so they're. They're like, hey, Vanilla, can we borrow your instruments and play this? They're like, sure. And they started playing through the Marshall amplifiers, which we talked about from Cream and the Yardbirds and all of that. Remember Blues Breaker?

[Wayne Federman]

Oh, oh, I remember when you and John Bonamassa.

[Jeremiah Watkins]

Many of these episodes we've done are all connected to Clinton. Like, they're all. So anyway, so they're playing and they're like, holy cow. And that guitar player, Eddie. Whatever his name is.

[Wayne Federman]

Hazel.

[Jeremiah Watkins]

Yes. Yes. Yeah. He said they're like. And that was an epiphany moment for them where that's when they were like, okay, we are going to be the hard rock version of funk. And that they definitely created. There's no doubt. Even more than Sly in the Family Stone, if you ask me. Make like they were. But it was the same kind of idea. And so that. That Maggot Brain song couldn't be a better example. And I'm always. This is. One of the great things that hurts me is like, where are the. There was him, Eddie. There was obviously Jimi Hendrix, these great electric guitar black players. And they're very few now. I mean, we talked about. Who do we talk about? Living Colored. You remember, they had. They had a up. But there's very few. It seems like it's just, again, dorky white guys or guys.

[Wayne Federman]

You know, it's funny.

[Jeremiah Watkins]

So you know what I'm talking about.

[Wayne Federman]

Yo, I know exactly what you're talking about. There are still. There are still great black guitarists and rock stars out there that are bending genres. That. One of the guys I toured with, Struggle Jennings, you know, who is country, hip hop or, you know, he's a. He's related to Whalen, but he has an all black rhythm section and guitar. Is he now he has. The lead guitarist is black and he shreds. Okay, Burgess. Burgess just shared a. Dude. God damn. AF Aphrodisiac, I think his name is. And he's just. He's an Internet celebrity, but he's just this black dude with a huge afro. You know, I love when you look at the personnel for this record. He doesn't just label them as of course.

[Jeremiah Watkins]

Can you do them in your voice? Can you do them?

[Wayne Federman]

So. Personnel, Funkadelic, Main Invasion Force, Throbasonic Funk Gatorist is Mike Kid Funkadelic, Hampton and Gary Shitter, Banjoed Mother Plucker, Bobby Lewis, Avatarian, Mike Hampton, Kibo Danz and Cynthia Zoides. Bernie Da Vinci, Worrell and Walter, Juni Morrison, Roto funky drum and percussion. Nathan Thump Dance. Jerome Brainlee and Bootsy Collins, who I met. I met Bootsy. I got a good picture with them. No, I met him when we were doing. We were doing. It's. Wherever he's from. We were. He still lives there. And we were playing Ohio. We were playing. It was in. It was in. It was in Cincinnati, Ohio, when I was with Jelly Roll. And I met him and he was just the man. Yeah, dude. And here's a cool thing. And I could go through the recipe. Here's the cool thing about George. He doesn't play anything.

[Jeremiah Watkins]

I know.

[Wayne Federman]

Not one thing. He is the brain. He is the. You know, he's like.

[Jeremiah Watkins]

And it's. And for someone who was so conceptual in his thought process, he is. And so much was riding on him. I mean, besides having these two bands. Then he kind of created this collective which he had. We would get record deals for Bootsy and for the backup rhythm section. And for that guitar player. He had this whole thing. Crazy LSD and then crack user. Like.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

Out in the. Like, not apologetic in any way like that. And like, how did he do it all functional crackhead.

[JT]

You don't hear about that too often.

[Jeremiah Watkins]

You do not hear. Full functioning.

[Wayne Federman]

Marion Barry was one of the greatest mayors in the history of Washington to D.C. and he was high. You. You just. You figure it out, dude. I was a function. I was a functioning heroin addict. Well, you know, fentanyl and opiates. So, I mean. And I sold a goddamn TV show on it. So, I mean, you. You just figure it out. And sometimes that thing that you do makes you better.

[Jeremiah Watkins]

It's got to. I mean, the. The proof in the pudding is in the pudding is in. The taste is that it's in the.

[Wayne Federman]

Crack.

[Jeremiah Watkins]

Is in the crack. So. So, yeah, it's. Yeah, it's wild that he put it all together and couldn't do it. And you know what his earliest skills. Did you know about his barbershop stuff?

[Wayne Federman]

I did not know about that. Tell me.

[Jeremiah Watkins]

So he's working in the barbershop in Newark and then in. That's not Trenton. It's Newfound New Brunswick. No, it's. I'll Think of it in a sec. Plainfield. Plainfield at Jersey. Jersey. And he's doing doo wop, you know, in the thing. But he was the king of. There was something called a do nothing to do with doo up, where African American men would get their hair treated with, like, lie and stuff. So it could.

[Wayne Federman]

Oh, yeah. So they can. Yeah, hold on a second. Like us. Stop. Come here. I think I'm about to get served.

[Jeremiah Watkins]

Okay. Does that mean DA by the D. A?

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

All right.

[Wayne Federman]

I got some cases.

[Jeremiah Watkins]

Okay. So anyway, he was like, very good at, like, this lot. It was just, you know, these incredible. I don't know if you ever saw Chris Rock's documentary about hair.

[Wayne Federman]

Yeah, Good hair, right?

[Jeremiah Watkins]

Is that what it's called?

[Wayne Federman]

I think it was called Good hair. Yeah, yeah, yeah, yeah. But no, but I remember because that was like, what? What? Yeah, Reverend Al Sharpton did all the blackouts. Did it because they wanted to have white there. Yeah, yeah.

[Jeremiah Watkins]

That was the look that was. Yes. There was obviously these racial political overtones to the whole thing, but even Sugar Ray Robinson and all of that. So that he was the main guy for doing it. So even when he went to Detroit with Silk Palace.

[Wayne Federman]

Silk palace is what it was called.

[Jeremiah Watkins]

Oh, okay, okay. And. And then he would still have to go back to. Is it Plainfield Plane? Yeah, yeah. He would still have to come back to Plainfield because he had such a big clientele. He was like the king of this whole thing. And also, obviously, in the barbershops, a great place to, you know, practice doo wop songs with his band based on the cigarettes. So, like, that was his first job before music. And he dreamed. This is. He's so great, Clinton. He dreamed of joining Motown.

[Wayne Federman]

Hey, everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing songs and performing in front of crowds. Just like with comedy. As a musician, it can be kind of hard to cut through the noise and really stand out as an artist. I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us? But then again, that was before there was Distrokid. Distrokid is a digital music distribution service that brings your sound to the max masses. It's a one stop shop for getting your songs on itunes, Spotify, Apple Music, YouTube Music, Amazon, Deezer, Tidal, and many more. What's these? I never even heard of Deezer. How many of them are there? I know all that. That's like the holy grail of streaming services though. And, and getting paid. They want to. We want to get you paid for your music. That's huge because a lot of bands go broke before they get big. But Distrokid collects earnings and payments and sends 100% of these earnings to artists minus banking fees and applicable taxes. And that's just one of the tons of benefits of using Distrokid. You can send big files to anyone with their Instant Share feature. You can use the Hyper Follow feature to promote your release and get pre saves on your song. You can even create personal landing pages for yourself, your band, your brand, and whatever you like. It has a free Spotify Canvas generator too, to generate your own Spotify. Spotify Canvas for your songs. And the Mixia feature instantly masters your tracks for higher quality audio. So if you're ready to bring your band to the next level, it's time to check out Distrokid. The Distrokid app is now available on iOS and Android. Go to the app or Play Store to download it. Listeners of this show can get 30% off their first year by going to distrokid.com VIP the 500. That's distrokid.com VIP the500 for 30% off your first year. Dig it. With 500 records to cover, it can be kind of hard for me to really dive deep into some of the artists or albums that deserve extra attention. I mean, we're seven years into this show now and we've done a new album every single week without ever missing a beat. There just isn't enough time though. So I want to share a podcast. I can't get enough of the Wonder of Stevie. You might think you know Stevie Wonder. You might think you know the music of Stevie Wonder, but you've never heard it like this. Host Wesley Morris takes you on a deep dive through Stevie's classic period. Five legendary albums back to back in just four years. You'll hear about the record deal that started it all, the technology Stevie adopted to create never before heard sounds, and his influence on our culture. With appearances from legends like Michelle Obama, Questlove, Smokey Robinson, Dionne Warwick, Babyface and Janelle Monae. Plus, in this month's special bonus episode, President Barack Obama interviews Stevie himself. Binge all episodes of the Wonder of Stevie. Wherever you get your podcasts.

[Jeremiah Watkins]

When Motown hit He's still in New Jersey is like, this is. This is where I gotta go. I gotta go to Detroit. I gotta. I gotta be part of this scene. I'm a. I'm a black guy. They're doing it. They're doing it. They're getting on the record.

[Wayne Federman]

This is putting 60s too. So this is early six.

[Jeremiah Watkins]

He moves.

[Wayne Federman]

There's about his. As big as. As Motown could ever been.

[Jeremiah Watkins]

Well, what happens is great. It goes in 62 and so. And goes to Motown auditions for Motown. Guess what? Guess what he's told by them at Motown.

[Wayne Federman]

You suck.

[Jeremiah Watkins]

Ugly. Really not attractive enough. And now when you think about Motown. And again, we did that whole smoky thing. Remember that Motown was about buttoned up suits the Supreme. Think about the Supremes. Think about the Temptations. Think about like, these are Ed Sullivan ready acts. These are acts that are ready to go into the Copacabana or go to Vegas or something like that. They had a whole grooming school at the atmosphere. They had a whole finishing school, right? Dancing school, all of that. So if you were a little bit edgy or anything like that, they were not, not interested. So he ends up signing on. There's so many little labels in Detroit at the time. Revelette Records, which releases their one big hit, which is called Testify Again, Church, all that kind of stuff in 67. But here's another weird connection to this show is he signs with this in Detroit. He can't get with Motown, but he's with this other. And they get this hit. It's a big R B hit called I want you to testify or Test.

[Wayne Federman]

I want to testify.

[Jeremiah Watkins]

I want to testify. Thank you, thank you. And so he starts playing local gigs with the scene in Detroit, which is Motor City 5. MC5, Iggy and the Stooges. Wow. Even Ted Nugent is part of this whole scene. This whole outside of Motown crazy scene that's happening in it. This is before he become. He does the whole funkadelic. He's. And then he decides, oh my God, I got to be part of this rock scene. And that's when he creates funkadelic, which is funk and psychedelic rock music.

[Wayne Federman]

But. But I. But I mean, so were the first few. I mean, this is. You might not even know this. Were the first few records more this or were they more Maggot brain?

[Jeremiah Watkins]

There were. His whole idea was. You were absolutely correct. Was emerging of psychedelic rock music, which is Jimi Hendrix. A little of LSD based music. A little of even. I'm gonna go back to another episode we did. Remember we did Quicksilver messenger service with all. Yes, San Francisco, the Dead and Jefferson and all of those guys all doing acid based music. Or you Know, and so that infuses the band also. So he was. When you think of him coming out of Doo Wop, which is like very simplistic music, wanting to be Motown and then seeing this new scene with the electric guitars, like, I'm gonna adapt this. And it worked. It worked better than anyone could imagine. And that's. So. Yes, those early albums were guitar based albums.

[Wayne Federman]

So when did it start making the shift into this? Because you. I. Look, I'm not going to say you don't hear elements of it in Maggot Brain because there's some funk, you know, Can I get to that? You know, but that's like. I mean, it's, it's. It's funk, but it's. It's.

[Jeremiah Watkins]

No, no. You know the song. Who says a funk band can't play rock and roll? Is the mission statement of the. His whole career, in my opinion, that is the mission statement. Who says that? And then who says a soul band can't play dance music? And who plays the dance? The song. It. Listen to the song. It's barely funk. It is barely funk. That song. It is more straight. Straight ahead. Rock and Roll. By the way, my favorite track on the album. Yeah, so. So I guess he was just kind of. He was experimenting. And then you know about the stage shows, right? You know about what's Happening Happening.

[Wayne Federman]

Oh, my God. You know, it's funny, I didn't know the title. What a dummy. I didn't know the titles of the songs. I listened to the records. I don't. Because the thing is, I. Because I'm listening to it on YouTube. I just went. I had to listen to it straight through and I never knew what was what. And a lot of it kind of sounds the same. And you know, he plays one of the songs twice. Yeah. So that's crazy. What were you about to say? I didn't mean to cut you off.

[Jeremiah Watkins]

No, no. I've been saying. I. I hope you are on your earlier two. You did two episodes on this band.

[Wayne Federman]

We know. Well, we know. We. This is the second we did. We did Maggot Brain in this. And I think we have one more. Am I right, jt?

[JT]

I thought we did. I thought we did two. One was. Part one was Funkadelic Maga Brain and the second was Parliament in that. Am I right?

[Jeremiah Watkins]

Okay, while you're looking that up, he added elements. This is again, the genius of Clinton. Maybe drug enhanced a little bit was because he was performing with MC5 and he's performing with Iggy and all of These guys in front of mainly white crowds. He would do these insane theatrical slash science fiction experiences on stage. I mean, you could go to a Parliament or a Funkadelic show and there'd be a guy on stage in a KKK outfit. There'd be a guy on stage. The full Indian dress headdress. There'll be, you know, full. The long one, not just a little couple feathers, like the full thing. There would be. There could be a guy on stage. You know, fake noses, chicken feet in a diaper, all of this. And then they had this incredible. This Broadway designer designs this spacecraft that comes down and he comes up out of the space. I mean, it's just.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

I don't know how much it costs. I don't know if he ended up losing money on all of this stuff, but it was an example of him taking elements of David Bowie and Pink Floyd and all of these. These avant garde ideas and applying it to funk and rock. And there's some gossip in those gospel stuff. And he just, you know, this isn't James Brown. This isn't James Brown. Which was a super ultra tight as a rubber. I mean, just tight. If you made one mistake in a James Brown song, you got fined. You know, this whole story, Right. He would, like, look at him. And that's 50 bucks. Yeah.

[Wayne Federman]

Wait, say what. What did he do?

[Jeremiah Watkins]

If you made one mistake as a player in a James Brown in his band.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

James Brown would find you and would literally call it out in the middle of the show. Like if you didn't hit the downbeat or. Or came in late or the horn section was off.

[Wayne Federman]

Wow.

[Jeremiah Watkins]

He was. This is not what this. This is drug drenched. He describes it as a cacophony of an experience as opposed to, like. We are always on the one. We are always.

[Wayne Federman]

Yeah, they were all.

[Jeremiah Watkins]

And. And of course, you know, they got, you know, Bootsy comes out of James Brown. Bootsy played. Right.

[Wayne Federman]

Right.

[Jeremiah Watkins]

For years. So you got these incredible bass player. I mean, the musicianship is just.

[Wayne Federman]

Just. And that's why he can. He can be the, you know, the. What's the Leonard Bernstein of it and conduct the thing. Yeah, that's basically what he's doing. Right. He's just like. He's not playing music. Let's do a song about this. And then you add that and you add that. I mean, credited. He's credited with writing every song along with, you know, the Hampton or. Or Gary Scheider. I don't want to say that wrong. Bernie Worrell, I mean, he's. He's a part of everything. And then it's like. Like the Vocaloids, you know, with him. And it's so. It's so.

[JT]

He's like Snoop Dogg with his own language, basically. I mean, the amount of like, you know, obviously.

[Wayne Federman]

No. And I'm just.

[JT]

Earns a phrase, you know.

[Wayne Federman]

But, but, but like, you know, the way he looks like the. The dreads with the colors and the clothes.

[Jeremiah Watkins]

Sometimes it's blonde. Yeah, yeah, yeah, I know.

[Wayne Federman]

Wearing the. And you know what, Jer? Like, we never. I don't know if you did, but, you know, he used to play 9:30 club all the time.

[JT]

Yeah.

[Wayne Federman]

And I never went.

[JT]

Never saw him.

[Wayne Federman]

I wish I never went. Two people I regret not seeing. I never saw him. No, I saw Chuck Brown. I did see Chuck Brown, the Godfather and go. Go. But I. I always. You know, And. And dude, I mean, think about just this record alone. How. How much was sampled for the. The 90s, early 90s, late 90s hip hop. I mean, it's. Find it out. Find out exactly from this record in particularly.

[JT]

There's a whole section on it. But I was gonna say we did. There is Parliament with Chris Porter. That was last February. Wait, so, yeah, what record he did.

[Wayne Federman]

Tear the roof off the sucker. Tear the roof off the roof.

[JT]

Mothership Connection. Mothership.

[Jeremiah Watkins]

Yeah. Okay. Okay.

[Wayne Federman]

That is right.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

Two separate bands.

[JT]

But this all in the family.

[Jeremiah Watkins]

Like you said, it's all in the same. And part of it was he. He had a contractual dispute with the record company about the. The name Parliament.

[Wayne Federman]

And that's why I think we can't.

[Jeremiah Watkins]

Yeah, I think.

[JT]

Listen, on Spotify today, it's still.

[Jeremiah Watkins]

I mean, he has so many.

[Wayne Federman]

Yeah, he's suing her.

[Jeremiah Watkins]

He got again, as a matter of fact, the guys at your door right now suing us for talking about it. Can you answer the door?

[JT]

Don't answer it. Don't an it.

[Jeremiah Watkins]

That is not.

[JT]

Clinton collaborated. Well, this is a collaboration with Lil Kim and Fred Durst on Methods of Mayhem's Get Naked.

[Wayne Federman]

Do you remember that? You remember how bad that song was?

[JT]

It was pretty bad. I still had.

[Wayne Federman]

That was.

[JT]

Unfortunate. Clinton worked with Tupac Shakur on Can't See Me, Ice Cube on Bop Gun, One Nation. I don't know that song Outcast on the song synthesizer, which we talked.

[Wayne Federman]

Yes. Oh, that was off of a Queminate. Yeah, yeah, yeah. No, he's good. You can really hear.

[Jeremiah Watkins]

You can this.

[Wayne Federman]

Oh, you can hear. I'm just saying, like, I can hear this in Red Hot Chili Peppers. I can hear this In Fishbone.

[Jeremiah Watkins]

Well, if I'm not mistaken, he produced Red Hot.

[Wayne Federman]

He did. He did the Mojo. Whatever. Yeah.

[Jeremiah Watkins]

Okay. You know that album? I don't know it, but he.

[Wayne Federman]

I can hear this in Faith no More. I can hear this in like Bobby Brown Brown, Bibbity Blue Bland.

[Jeremiah Watkins]

What about that dude from Bobby.

[Wayne Federman]

Professor Longfoot.

[Jeremiah Watkins]

What about that guy from Minneapolis that goes by the name Prince?

[Wayne Federman]

Oh, you mean Husker do. Yeah, I got this shirt there in Minnesota, though.

[Jeremiah Watkins]

Yeah, I think there's a. I mean, obviously there's some thing to. What. For sure, for sure, right?

[Wayne Federman]

Prince. Well, like, look, Prince is funky dude. Prince is that. Is he. I love that tour so much. I love going to Paisley Park. I did twice. Well, I didn't. The first time I didn't bring her. But I've done the, the, the lowest level, then I've done the medium level, and the next time I go, I'm doing the biggest level. So it's like they really take you around and the next one they do like, I saw them do this. The guy that mixed a Beatles record at Nam. Was it Namm, the music thing they do in Irvine every year, the big convention.

[Jeremiah Watkins]

Oh, okay. Yeah.

[Wayne Federman]

Where they. What they do and they do this. I saw a guy like. Like basically master.

[Jeremiah Watkins]

It wasn't Giles Martin, was it? Was it?

[Wayne Federman]

It might have been. It was.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

Whoever. No, who did Starman. Whoever. Whoever mastered Starman by Bowie too. Because he showed you how. He showed you how he did it. He was like, I did this and I put that. And when you go to the Prince one, the most expensive one, they. They show you how they mix one and produce one of the songs right in front of you for the. For the most expensive one.

[Jeremiah Watkins]

Sidebar. There's a six hour Prince documentary that's been buried by.

[Wayne Federman]

Why.

[JT]

Oh, wait, we read this.

[Jeremiah Watkins]

Yeah, yeah, yeah. I. Again, it was. I believe. I. I don't know. I think it's, you know, these, These estates that run, you know, people's things, like they have their own agenda and they just thought it wasn't either wasn't good enough or was too much information or was too burst the. The bubble of the legacy. I'm not sure. But it is being buried six hours. Come on. Yeah, we gotta find that. Right? You gotta know someone who has it. We can do a private screen.

[JT]

Yeah.

[Jeremiah Watkins]

Reaction. Let's do a six hour reaction.

[Wayne Federman]

Anything about Prince? There's a good documentary on YouTube about this band. I didn't, I didn't watch it. Which I wish I would have I just have had no time. And then today it's just.

[Jeremiah Watkins]

It's, you know, so exciting. It's so. And then the whole thing kind of falls apart. And then out of the ashes, he re. He starts releasing albums under his. His name, George Clinton. Like, he had never done that in the 50s, 60s, or 70s. But in the early 80s, it starts. And guess what? Atomic Dog is like from the third one of those albums. And that becomes the hook of west coast, in my opinion. Again, you know, way more. Yeah, yeah. Yes.

[Wayne Federman]

This is the. This is. I mean, dude, the Atomic Dog is great. Yeah, but. But I mean, what. You know, one nation. Yeah, One nation Under the groove. You know, this was. This is like a great record.

[JT]

So Prince went to one of George Clinton's shows in 77.

[Jeremiah Watkins]

Okay.

[JT]

Struck up a friendship, and in Prince ended up signing him to the Paisley park label ultimately as like a payback for all the influence and inspiration.

[Jeremiah Watkins]

How about that?

[JT]

How about appeared on the. The 1990 album for the film Graffiti Bridge that Prince produced.

[Jeremiah Watkins]

Again, this is the guy doing dues in barber shops in Newark and Plainfield.

[JT]

Prince showed up looking like Bootsy Collins to his 77 show.

[Jeremiah Watkins]

Wait, did he have the. All decked out, the stars, glasses? I am into Bootsy. Bootsy Collins older brother is also a guitar player. Very good.

[Wayne Federman]

Really?

[Jeremiah Watkins]

Oh, yeah, yeah, yeah.

[Wayne Federman]

He was. He was such a nice guy. And he dressed. I'll. I'll find the picture to send to you guys. Yeah, but he's. He's dressed like. Like, let me see if I can find it while you talk. He's dressed like Bootsy Collins. Like, he looks exactly like Bootsy. Like he was everything you want. You know what I mean? It's like, if you meet Slash, you want him to be in leather. You don't want to, like, meet him while he's in, like, Lululemon, you know, you want the rock star guy. And I think when you. When you're a certain. When you look. When you're as famous as a certain. A certain people, you know?

[Jeremiah Watkins]

Yeah, yeah.

[Wayne Federman]

You don't want them. You want it to live up to the lane.

[Jeremiah Watkins]

Fetterman is. You're fine when you meet me. I'm in the hoodie. Nobody.

[Wayne Federman]

Yeah, dude, you're not. You're not changing for. No, hold on.

[Jeremiah Watkins]

Yeah. Unless I'm wearing my Converse, though. That's a staple.

[Wayne Federman]

Oh, remember when you got those a year ago? Remember those Converse? Do you remember when you got them?

[Jeremiah Watkins]

What are you talking. Yes, the first time. The first time.

[Wayne Federman]

Yes.

[Jeremiah Watkins]

Yeah, yeah, yeah.

[Wayne Federman]

You got to know when we went. We were at the thing, remember?

[Jeremiah Watkins]

Oh, right. I go at the. Yes. At the outlet mall. In the outlet.

[Wayne Federman]

At the outlet mall. In. In Arizona.

[Jeremiah Watkins]

What is it? Glendale, Arizona. Glendale. By the way, that's where the playoff game was.

[Wayne Federman]

Are you. Are you a Rams fan?

[Jeremiah Watkins]

No, no, I'm. I'm a Washington fan. I watched every minute of the game.

[Wayne Federman]

Right. How great was that? Dude, can we all just talk about that for a second and just do. Jaden Daniels is the best.

[Jeremiah Watkins]

Did you. My mo. The most impressive thing again, I know people are clicking off the podcast right now, but the most impressive thing about Jaden Daniels, besides those throws under pressure, was did you see him? They had a camera on him during the field goal attempt at the end of the game that the guy doinked in. And usually, like Baker Mayfield, his head is in his hands. Other people I've seen on, you know, praying, you know what I mean? Holding hands. He. He looked like he had just ordered a pizza from Domino's. He. He looked so casual.

[Wayne Federman]

So casual. Oh, you're talking about. Jaden is watching.

[Jeremiah Watkins]

I'm just saying it's an uncommon level of a calm poise. Yes. That I have not seen in a younger. And I don't think ever. Like, his whole career is on the line. He's like, oh, this is. I think in his mind, he's one of those guys. Like, this is out of my control. I can't control what. Whatever I think is.

[Wayne Federman]

I did what I could do.

[Jeremiah Watkins]

I do what I can do. Let's see what happens.

[Wayne Federman]

And if he misses this, I need to be ready for overtime.

[Jeremiah Watkins]

Yeah, I'll be ready for that. And let's. And it was. I thought it was beyond impressive. I can't believe that moment hasn't gotten more press attention.

[Wayne Federman]

If you listen to sports talk radio, especially in D.C. but, dude, they. But no, no, but they've been saying this. All the pundits have been talking about how incredible he is for the last four games now.

[Jeremiah Watkins]

Now they're like, this is not about the athleticism.

[Wayne Federman]

I know that. No, about his poise. About. He doesn't. When somebody up. He doesn't throw his hands up. He doesn't get mad. He's just like, okay. He's like, what's the next play?

[Jeremiah Watkins]

What's next?

[Wayne Federman]

Yeah, what's next? What do I have to do?

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

Yeah, he is. And that's why he's going to lead us to a Super Bowl.

[Jeremiah Watkins]

We'll see.

[Wayne Federman]

Not this year, dude. It's only up up. We have 75 million in cap space and he's a rookie. He's a. No, we do.

[Jeremiah Watkins]

I know, I know. Okay, I don't think the George Clinton of what.

[Wayne Federman]

All right, now you're just trying to get us back onto something.

[Jeremiah Watkins]

Okay? But anyway, when I was. When I was deep diving on Clinton yesterday. George. Not. Not.

[Wayne Federman]

Look.

[Jeremiah Watkins]

Oh, there it is. Oh, look at the hat. It. Can you imagine that guy played bass guitar for James Brown and is touching your arm.

[JT]

Legend.

[Jeremiah Watkins]

Just think about that.

[Wayne Federman]

Yeah, but I'm me.

[Jeremiah Watkins]

Okay, I guess forgot about that, right? He's an empath. I forgot.

[Wayne Federman]

Here, look. Here's me.

[Jeremiah Watkins]

Crazy, narcissistic. Oh, my God, that's awesome. That is awesome. No, I love.

[JT]

Loved the listening audience.

[Wayne Federman]

Appreciate it.

[Jeremiah Watkins]

So I've been thinking about the songs. You want my favorite songs. You want to go do it?

[Wayne Federman]

Let's do it. Because we gotta. I gotta. I gotta be. Yeah, I gotta do. I'm doing story wars tonight. Speaking of which.

[Jeremiah Watkins]

Yeah.

[Wayne Federman]

Chair. Do you remember any stories from my 21st birthday that we went to in. In Atlantic City? Do you remember that? No, because it's like, it's a. We have to bring three stories about birthdays and like. I don't know about birthday. Yeah, it has to be. The whole idea is that we. They tell the story. They don't know. We don't know whose it is, and then we have to guess who's the story it is. No, I can't remember. I can't remember anything.

[JT]

I got the time.

[Wayne Federman]

No, dude. I remember getting kicked out of a strip club.

[JT]

Well, that's one.

[Wayne Federman]

But I don't remember why or what I did.

[JT]

It's time to text our friends from high school. Somebody's got to remember that show.

[Wayne Federman]

Remember, I have an hour, dude, to figure out what these stories are. One of them I told on a Comedy Central taping, but I doubt anybody watched that. Seriously, I don't think nobody gives a. About Comedy Central anymore.

[JT]

Or back then for the Daily show maybe.

[Wayne Federman]

I don't think so anymore.

[JT]

I'll try and think. I'll try and think of the stories, but I can't remember. Is that the only bird you have other birthdays you could put. Could possibly use, right?

[Wayne Federman]

Well, I have. I have. When Brittany did the. The. The. She did the. The. What do you call a surprise party for me? And two comics got drunk and beat each other up in my apartment, trashing my apartment. Oh, one of them got their nose broken. Yeah. Jamar neighbors broke Willie Hunter's nose. And then there's the other one. The one that I told in the story is when I went. We were doing coke all night in Baltimore and then I. We ran out and I went to my coke dealer's house at like 5 in the morning and it got raided by the police. And there's more to it where they sang. They sang me Happy Birthday when they were arresting me, but I don't. Yeah, I remember. I was like, it's. Please don't arrest me. It's my birthday. And they're like, what? And I was like, it's my birthday. And they're like. They check my ID and they're like, oh, it is like, hold on, we're gonna do something nice for you. Then they came back with like. They sang me Happy Birthday like there were boys to men. And I can't think of the last one. All right, let's. Let's get to the meat potatoes. What's. What's the important. Is there anything.

[Jeremiah Watkins]

Well, the title song is. Yeah, obviously. I mean, that's. That's a wonderful little groove. The whole thing. I mean, it's. It's emblematic of the whole. And I love the title of that. They use it as the title of the album. Album. Not my favorite song on there, but again, I'm more of a guitar guy. That's why I liked the third track, which says. Who says a funk band can't play rock? That song is incredible. To me, that's the best song on the album. But that's to my very rock oriented ears. And. And again, my favorite Parliament song is Flash Light, Flashlight.

[Wayne Federman]

Flashlight Flashlight.

[Jeremiah Watkins]

When I first heard that, I was. And then I later found out that that's not even the bed. That's not even Bootsy. That is the synth player playing that. It's. I love it.

[Wayne Federman]

I mean, I don't know. I. There is.

[Jeremiah Watkins]

I I Acholi is incredible. C H O L L Y Choli the sixth song is incredible funk.

[Wayne Federman]

Getting Ready to Roll. I loved. I mean, dude, I loved. I. You know, listen, I mean, obviously if.

[Jeremiah Watkins]

You look at the reviews of the album, it's like everyone. A plus, A plus. A, A five stars. Like, everyone thinks this is the quintessential album. I'm so curious what the legal machinations is keeping this off of being streamed.

[Wayne Federman]

Like, how can you find that out, Jer? Like, because I'm looking right now.

[JT]

I see it in threads and stuff. There's. There's not like an official article about it. It just says Warner Brothers.

[Jeremiah Watkins]

Right?

[JT]

It's like arguing About.

[Jeremiah Watkins]

Yeah, yeah, I know they were. Because I know. I think part of it was they would sign these bands and then the bands would play on another record under another name and they would get sued and then they. They had non compete clauses and they would. Casablanca Records owned it for a while and then they sued Warner Brothers. So it's. It's a lot. This is what happens. This is what happens.

[JT]

Very shifty. Very shifty.

[Wayne Federman]

But the. The.

[Jeremiah Watkins]

The.

[JT]

The One Nation Under a Groove story, where the title of the album and the song is actually kind of interesting because it was conceived in front of the United nations headquarters where George Clinton was shooting a film for an unfinished Parliament Funkadelic movie. And according to Bootsy Collins, he said one night in D.C. some start. Some guys started shouting, one nation, one nation, one nation under a groove. And George's thing was, I don't matter how. I don't. It doesn't matter how many hooks you put in it. Don't matter. Put them all in there. So on that song.

[Jeremiah Watkins]

Oh, I'm gonna relist.

[JT]

Tell me now.

[Jeremiah Watkins]

Oh, right. From the Charlie Chan movies, right? That's man. Than Moreland. Yeah, yeah.

[JT]

Feet. Don't tell me now.

[Jeremiah Watkins]

That was his. There was a. Anyway, it was a black character. It was a black character in these. And Charlie Chan, of course, was played by a white guy in these movies.

[Wayne Federman]

Oh, yeah.

[Jeremiah Watkins]

But whenever the black guy would get scared, he would go, feet, don't fail me. Now. I'm pretty sure that's what that's from.

[Wayne Federman]

If I. I mean, but he's been in a bunch of movies like George Clinton himself has been in. I remember being a piece in House Party.

[Jeremiah Watkins]

Right.

[Wayne Federman]

Two Tails in the Bucket. It. I remember that. Or he does that in House Party. I mean, he also. He also. Good Burger. Yeah.

[Jeremiah Watkins]

Now, can I bring up something that might be a little disturbing? And that is earlier when we were talking, there was a bonus record that you got with this album, which was Maggot Head or whatever the name of that song is. Maggot Brains, A new version of Maggot Brain, not with the. Not Eddie playing the guitar, but a new kid playing the guitar.

[Wayne Federman]

Really?

[Jeremiah Watkins]

Yes. And I listen. It's on YouTube. You can hear it. And it is my. I know you haven't asked me yet, but I'm gonna jump the shark right now, too. That's the song to make out to. It is so ethereal. It is. It's like eight minutes. It's way different than what Eddie did, which was like this. This kind of. I don't know, like this.

[Wayne Federman]

The one that's on the. This is the one that's on the record, right? The Mag Brain. That's on the record. No, this record. But on this record. Yes, because it's on.

[Jeremiah Watkins]

Yes. Yeah, that's.

[Wayne Federman]

Who's playing the guitar on.

[Jeremiah Watkins]

Oh, I don't know.

[Wayne Federman]

I'll find it out. Don't worry. Yeah, yeah, yeah.

[Jeremiah Watkins]

I think he get, I think he gets actually a.

[Wayne Federman]

It is it. It says it's credited.

[JT]

Written by Eddie Hale.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

Oh, I see, I see.

[JT]

It doesn't say 1970.

[Wayne Federman]

The name of this last song, though, Pe Squad Chasers.

[Jeremiah Watkins]

Yeah, that one is insane. Yeah.

[JT]

What does this think? It ain't illegal yet. I haven't found any. Just reason. It's.

[Jeremiah Watkins]

Yeah. Can I say the name of one of these songs also? Which is.

[JT]

Please, this one is so difficult.

[Jeremiah Watkins]

Pro Mental. Okay, I can do it. I can go Pro Mental. Back Wash, Psychosis, Enema Squad. You know that song? That's the name of the song that's 11 minutes long.

[JT]

I ate my whole lunch while hearing those.

[Jeremiah Watkins]

Yeah, so. And one of the things is, I think they realized that was different. Like his whole early musical career, those first 10 years he was chasing, getting a single on the air like Smokey Robinson and, you know, he wanted to be one of those guys. And then at the end, he ends up making really. Album, Album conceptual kind of music. The very much part of the time F what I call fm. FM music. And so it's just beautiful to watch how he was able to adapt through all the years. I take my hat off to you, George Clinton.

[Wayne Federman]

Oh, I look, I, I, I'm. There's something about him. It's cool. He's always been cool. He'll always be cool. I think he is, you know, when you and funk, I mean, it's him, it's Sly Stone is the originator. George James Brown, you know, I think very important to music and, you know.

[Jeremiah Watkins]

Especially because how big hip hop got. Not gotten big. I don't, I think this would have been like, like, oh, this was like calypso music. And then there was bossa nova music and then there was some funk music and then, you know, and then, oh, now we have pop songs and. But that hip hop became culturally, I mean, a juggernaut.

[Wayne Federman]

Juggernaut.

[Jeremiah Watkins]

Juggernaut.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

And I think I know the reason why. One of the reasons why hip hop became. Because it had multiple elements to it. It wasn't just. This is not my original idea. You. It wasn't just the music. It was the fashion. It was the graffiti. It was the dancing.

[Wayne Federman]

Yeah.

[Jeremiah Watkins]

It was like. There was so much going.

[Wayne Federman]

Right. Dancing. Yeah. All of that. The clothing. And now it's. And now it is. It's a way of life. I mean, you know. But one thing's for sure. One thing's for sure, though. Federman is. Got. Fetty Wap. Is God. New merch.

[Jeremiah Watkins]

New Merchant.

[JT]

New merch.

[Jeremiah Watkins]

If it's written. All right. I love it. So we're gonna make it. So that is the. That's the. Thank you for letting me do this album.

[Wayne Federman]

I'm so happy. Come on. Next week, we're doing one with. I can't say it. Can we say it? Is it even happening? We don't even know if it's happening anymore. Try to get Burr for Care for the Carpenters, but he was like, I can't. He's like, I'm gonna get the Carpenters. Would you.

[Jeremiah Watkins]

And she's a drummer.

[Wayne Federman]

Good to know. Good to know.

[Jeremiah Watkins]

That's my drum kit right there. She's a drummer from Downey I know all about. I probably won't even have to do any research on it.

[Wayne Federman]

Your neighbors must love you.

[Jeremiah Watkins]

Look at those symbols. Those are. They're called lights. They're Zildjian lights or whatever they are. They're very. They're not allowed, actually. Do love me.

[Wayne Federman]

Wow. Dude, no. How could you not? How can you not? Yeah, dude, you came in. Jesus. Dude, that last one was on Christmas. That was a gift. And this is a gift. This is the gift that keeps giving.

[Jeremiah Watkins]

I know I can't do two in a row, but I'm just saying.

[Wayne Federman]

You're not. It would be. It would be. Just don't. Maybe. Maybe you'll come on with us. I think we might have, like. We might have. Carney Wilson. Would you come on? Yes. Yes. Yes. Just say yes. Say yes and just do it. Clinton is regarded, along with James Brown and slicedone, as one of the foremost originators of funk. Inducted into the Rock and Roll hall of fame in 1997. Wow. In 97. So he is. That. He is important. It's not like he was on the list for a long time.

[Jeremiah Watkins]

Right? Right.

[Wayne Federman]

Fifteen other members awarded the Urban Icon Award for bmi. Bootsy as well, contemporary performance such as Big Boy and ceelo Green.

[Jeremiah Watkins]

Oh, wow.

[Wayne Federman]

I mean, North Carolina Music hall of Fam. Honorary doctorate from the Berkeley School of music. And in 2019, the Recording Academy, Clinton and Parliament Funkadelic Lifetime Achievement Award.

[Jeremiah Watkins]

I mean, that big. Yeah. This is not like some obscure because so many of the bands, they do like Quicksilver or Bobby Blue, you know what I mean? Like you have to. Or you have to know them to know something else. To know something that's bigger. But they are. All right, I'm done talking and I like.

[Wayne Federman]

So let's do that. I think you've said it, but what's your favorite song? Song?

[Jeremiah Watkins]

Why Can't a Funk Band Play Rock or whatever? Is that the name of the song? It's something.

[Wayne Federman]

I think it is.

[Jeremiah Watkins]

I love it. I friggin love it. I also like choli. I like the title track, third and then Doo Doo Chasers. That one that I can't. That long thing.

[Wayne Federman]

Let me see if I can say it. It's prominent backwash. Psychosis, Enema Squad, the Doo Doo Chasers. That's the one that they do twice. Yes, that's the good one. I really like. That's the one.

[Jeremiah Watkins]

You like that one? All right.

[Wayne Federman]

I like the whole album. I like. I like the whole album. You know what's cool is that I'm immediately gonna listen to Maggot Brain again because it really can't wait.

[Jeremiah Watkins]

Oh, the original. The original or.

[Wayne Federman]

Yes, the original. Oh, I do. Can I get to that is and. Oh, dude, that album is beyond good. Beyond good. Dude. It's. Honest to God. Still one of the best records we've done on this podcast. Is there anything you skip over?

[Jeremiah Watkins]

Oh, no, not really. There was nothing. I was like, no. I mean, there's six songs. It's like. It's hard to skip over anything.

[Wayne Federman]

Very hard. But that's is. And you can. To the Maggot Brain, right?

[Jeremiah Watkins]

It's I. I call it making out.

[Wayne Federman]

But yeah, you can neck.

[Jeremiah Watkins]

I can neck to it. Yeah. Maybe some light petting. Not heavy, though.

[Wayne Federman]

Not heavy. Go heavy, you know. Well, it starts with the neck and then it goes.

[Jeremiah Watkins]

I don't know if you know.

[Wayne Federman]

Petting and petting and neck and neck and then petting and petting and neck and neck and then petting, petting and necking. Boom. Don't, don't. Petting in neck. Petting and neck. Come on, baby, get the petting and necking. Come on, girl. Give me petting and neck and get to the petting, get to the necking and everybody getting with your dick. Get necking.

[Jeremiah Watkins]

Oh, he's still going. He's still going.

[Wayne Federman]

Yeah, he's still doing it. Well, I'm trying to. It's a good song.

[Jeremiah Watkins]

No, of course, of course. By light padding. I mean, sometimes you do the back of the hand. Brush against the breast, not the full cup. Not that. You're just like. Oh, I'm accidentally. Yeah, it's a brush. Grazing.

[Wayne Federman]

Grazing. What's your. What's your. What's your. What's your Elevator pitch?

[Jeremiah Watkins]

Oh, elevator pitch. I mean, just a. Not only an influential. It's a seminal album from an influential creator and believer of funk music as part of American mainstream music. And throw in a dash of lsd, science fiction theatricality, and just a love of performing for the old school chitlin circuit. Performing for the audience. Just like. Just like. We are gonna tear this place down.

[Wayne Federman]

I can't disagree at all. I mean, you're just. You nailed it. What a fun record, What a fun album, What a fun group of songs. What a fun dude. And what a fun podcast. I mean, I love this.

[Jeremiah Watkins]

And we're going to assume that underneath all of that fun. That word. There's dozens of lawsuits flying back and forth between disgruntled members.

[Wayne Federman]

Sure, sure.

[Jeremiah Watkins]

Right. I mean, credits. Yeah. I assume underneath it.

[Wayne Federman]

Let me look. Let me look. There's gotta be.

[Jeremiah Watkins]

If you look at the number of people played in his bank, it's like 50. Like, those, they did not hold on to. Yeah, it was very legal.

[Wayne Federman]

Difficulties arising from multiple names used by multiple groups. I mean, hold on. Let me just. Did you type in George Clinton lawsuits?

[Jeremiah Watkins]

I mean, come on.

[JT]

It's just not a bunch of forums. It's like Warner Brothers. Like, it came on and went off. It's on title. It's on different places, but it's not on on Spotify.

[Wayne Federman]

Dark Lord. Either way, I did. I gotta run. I gotta shower. I love you, Fetty. Promote away. Anything you want to talk about, you'll be on in, like, two weeks anyway, so.

[Jeremiah Watkins]

No, no, I. I don't want to brag, but I have a. You know, there's national commercials.

[Wayne Federman]

Yep.

[Jeremiah Watkins]

Do you know there's regional commercials.

[Wayne Federman]

Yep. What do you.

[Jeremiah Watkins]

I did a state car Stato commercial. Not believe me, next is going to be a zip code commercial show. But this one is for. It's not a good trajectory for my career in Arizona. It's for Toyota. It's on for Toyota.

[Wayne Federman]

I love it. I love it and I'm so happy.

[Jeremiah Watkins]

Arizona, dude.

[Wayne Federman]

Oh, my God. I don't know why I did that. All right, I love you, buddy.

[Jeremiah Watkins]

I'll.

[Wayne Federman]

I'll see you. I'll see you in, like, two weeks.

[Jeremiah Watkins]

All right.

[Wayne Federman]

What did I tell you? What did I tell you? The one and only Wayne Federum. Follow him on social media at Insta Federman and at Federman. Yeah for new music Distro Kid, our proud sponsor has given you joy by Corey Henry. Find the links to their website the500podcast.com and if you were in a band and were directly influenced by one of these albums, you want your music feature on the 500 po send your song to 500 podcast gmail.com next week it's Aerosmith Rocks 176. Dig into it. Bye guys. Feel like rising feel like shouting Everybody everybody what he does for me Hallelujah Clap those hands and give a praise the 500 keeping it flee for the fleece nation on the 500 the 500.

[Chris Demaikz]

This is Chris Demaikz, guitarist and vocalist for Less Than Jake and host of Krista Makes a Podcast, a songwriting podcast where every week I'm joined by an amazing guest to break down the writing, recording and release of one iconic song from their career. In our giant evergreen back catalog of episodes, we've had rock legends such as Dee Snider and Huey Lewis, punk rock favorites like Mark Hoppness, Fat Mike and Brett Gurewitz, and up and coming artists of today such as Liz Stokes of the Beths and Genesis Owusu. We've had guests from all genres and styles of music, and I guarantee that if you peruse our back catalog, you'll see several episodes that'll make you say, man, I gotta hear that. Whether you're a fan of music or a creator of music yourself, you'll take away a whole new appreciation for the songs you know and love. Chris Makes a Podcast is available for free on all the places you could possibly listen to podcasts, and new episodes come out every Monday.

[Wayne Federman]

Hi, I'm Hal Schwartz.

[Jeremiah Watkins]

And I'm Flynn McLean. We want to tell you about our podcast none but the Brave, which is dedicated to taking a deep dive into the work of Bruce Springsteen.

[Wayne Federman]

We're currently in our fifth season. Our latest episodes focus heavily on Bruce's 2024 tour and have featured such guests as Anthony Castrovinsk from MLB network and Barstool's Kirk Minahan.

[Jeremiah Watkins]

We're also covering the 40th anniversary of Bruce's biggest record, Born in the USA. And as part of that coming up this week, Uprox cultural critic Stephen Haydn returned to the show for a fascinating hour long conversation about his new book, There Was Nothing youg Could Do, Bruce Springsteen's Born in the USA and the End of the Heartland.

[Wayne Federman]

To listen, you can go to our website, mbtvpodcast.com or subscribe on your preferred podcasting platform.

[Jeremiah Watkins]

We hope to see you further on up the road.

[Wayne Federman]

Thank you so much. We'll be seeing you Next chapter Podcasts.