James Brown, I used to practice to that stuff too.
He fits, you know, I mean, he, his stuff, he would establish a groove. I
mean his music was real simple but it was very powerful. And you know, it
would cut a swat -- a swath through wherever it landed. You know, he would
establish a groove, he'd lay on it and he didn't give it up, you know, until
the record ended. From the second it started it was every place that it went
musically which it didn't go to a lot of places, but where it did go, it was
big and definite and you could hang on to it. So he was, uh, he was, I used
to, he was very influential, James Brown.
"There's A Riot Going On" album where Sly started using a rhythm machine.
And uh, the way he used it, he applied it, as opposed to like James Brown
using his rhythmic accent would be on the one, definitely. Sly took the
rhythm machine, he was writing, and without the group, he had moved to L.A.,
so without the group being there and whatever else was going on, you know,
he'd need rhythm to write. So the rhythm machines had just come out, and
they were, you know, in the early days, and there was actually, there was a
couple of them, they were pretty simplistic compared to what was available
now, but there was a couple of them that had like these, they, they used
like, they were Latin rhythms that they had preprogrammed in these things.
And they were kind of funky, you know, if you, but, uh, but he would, he
would take it, he would turn, like if you count 1, 2, 3, 4, 1, 2, 3, 4, the
one came out, he'd turn it around and he'd start the phrase on the 3 or on
the 2, and so it began there and if you listen to it that that's where the 1
was rather than where it was conceived by the programmer, it turned into
this obscure, funky thing that was from outer space, it was great. So he
would take that, you know, and, and, and lay the track down on the tape and
then start writing and establish the one in a different place other than
where it was conceived. And it would really make for some -- that's it. You