We consider the tempo marking of Captain Hook (feat. Baby Theo, Bootsy Collins & Mushy Kay) テンポ The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe. Baby Theo, Bootsy Collins & Mushy Kay) is currently below average in popularity. In terms of popularity, Captain Hook (feat. The track order of this song in Vulfpeck's "Mr Finish Line" album is number 10 out of 10. Baby Theo, Bootsy Collins & Mushy Kay)'s duration is considered a little bit shorter than the average duration of a typical track. This song does not appear to have any foul language. Baby Theo, Bootsy Collins & Mushy Kay) is about two minutes long, specifically at 2:40. Baby Theo, Bootsy Collins & Mushy Kay)" available on November 7, 2017. While they were known for their outlandish wardrobes and larger-than-life personas, when the time called for it, P-Funk still knew how to get in the mood.Vulfpeck, Baby Theo, Bootsy Collins, Mushy Kay made "Captain Hook (feat. The sultry, six-minute slow jam titled “I’ve Been Watching You (Move Your Sexy Body)” reveals their romantic side, an aspect of Parliament that is often overlooked. If you thought they would completely abandon their signature, free-flowing, improvisational compositions, think again. Funkenstein is packed with jams in which Parliament flexed their versatility. As a testament to their enduring influence, Atlanta dynamic duo Outkast later followed the P-funk blueprint by sampling “Children of Production” on their hit, “Southernplayalisticadillacmuzik.”įrom start to finish, The Clones Of Dr. Wesley’s free-ranging horn solos fuse with gospel-inspired three-part harmonies for a symphonic funk masterpiece.Īs free-flowing, hilarious, and unorthodox as they were, Parliament’s musical mastery was second to none. Utilizing the classically trained ear of keyboardist and arranger Bernie Worrell, along with Bootsy Collins’ groove-heavy, intergalactic bass lines, “Children of Production” highlighted the nuances of Parliament’s adroit musicianship, which was often overshadowed by their ambitious concepts. On “Children Of Production,” Parliament lays out the rationale for Funkenstein’s cloning experiments. With a catchy hook and an infectious vamp over a head-nodding instrumental, “Gamin On Ya” is a tour de force courtesy of the Horny Horns. The heavy groove of “Gamin On Ya” captures the band funking at their best. And funk is its own reward.” This is the mission statement before the outer-space adventure of Clones commences. The opening salvo of the album is the haunting “Prelude,” which sets the tone with this audacious pronouncement: “There in these terrestrial projects it would wait, along with its co-inhabitants of kings and pharaohs, like sleeping beauties with a kiss that would release them to multiply in the image of the chosen one: Dr. This incarnation of Parliament’s ensemble is arguably one the most renowned in the band’s history. Funkenstein also enlisted a cast of virtuoso musical titans that included saxophonist Maceo Parker, bassist Bootsy Collins, Rick Gardner, guitarist Garry Shider, bassists Michael Hampton, and guitarist/lead singer Glen Goins. Featuring arrangements by keyboardist Bernie Worell and former James Brown musical director, trombonist Fred Wesley, The Clones of Dr.
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