William "Bootsy" Collins (born October 26, 1951 in Cincinnati, Ohio) is a p… Read Full Bio ↴William "Bootsy" Collins (born October 26, 1951 in Cincinnati, Ohio) is a pioneering funk bassist, singer, and songwriter. Bootsy was instrumental in Parliament and Funkadelic together with George Clinton and Bernie Worrell. He is well known as one of the founding members of the 'P-Funk' sound. He also played a major part in resurrecting James Brown's career in the late 60s and early 70s, co-writing some of Brown's greatest hits along with his brother, Phelps "Catfish" Collins.With his older brother Catfish Collins, and Kash Waddy and Philippé Wynne, Collins formed a group called The Pacesetters in 1968.
In March 1970, after most of the members of James Brown's band quit over a pay dispute, The Pacesetters were hired as Brown's backing band and they became known as The J.B.'s. (They are often referred to as the "original" J.B.'s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.'s played on some of Brown's most intense funk recordings, including "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power", and "Talkin' Loud and Sayin' Nothing".
It is known that the young Bootsy clashed several times with the rigid system Brown used to discipline the young band whenever he felt they stepped out of line. After leaving the band Collins then moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin
After parting ways with James Brown, Bootsy returned to Cincinnati and formed House Guests with his brother Phelps Collins, Rufus Allen, Clayton "Chicken" Gunnels, Frank Waddy, Ronnie Greenaway and Robert McCullough. The House Guests released two singles on the House Guests label as well as a third as The Sound of Vision on the House Guess label.
Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played on the subsequent Funkadelic album 'America Eats Its Young', but it would be a another couple of years before he really began to make his mark on the P-Funk mob. Appearing on Funkadelic's 'Let's Take It To The Stage' and Parliament's 'Up For The Down Stroke' Bootsy soon became a defining member, both in sound and song-writing and is credited on all of the late 70s classics.
In 1976 Bootsy, Catfish, Waddy, Joel Johnson, Gary "Mudbone" Cooper, Robert Johnson and The Horny Horns formed Bootsy's Rubber Band, a separate touring unit of Clinton's P-Funk collective. The group recorded four albums together, the first three of which are often considered to be among the quintessential P-Funk recordings. The group's 1978 album "Bootsy? Player of the Year" reached the top of the R&B album chart and spawned the #1 R&B single "Bootzilla".
Like Clinton, Bootsy took on several alter egos, from "Casper the Funky Ghost" to Bootzilla, "the world's only rhinestone rockstar monster of a doll", as part of an evolving character, an alien rock star who grew gradually more bizarre as time went on (see P-Funk mythology). He also adopted his trademark space bass around this time.
Bootsy also released a 1980 album, Sweat Band, on George Clinton's Uncle Jam label with a group billed as Bootsy's Sweat Band.
[edit] 1980s and later
In 1984, Bootsy collaborated with Jerry Harrison of Talking Heads to produce "Five Minutes", a dance record sampled and edited from Ronald Reagan's infamous "Five Minutes" speech. The record was credited to "Bonzo goes to Washington" (also referenced in the 1985 Ramones song "Bonzo goes to Bitburg", derived from Reagan's starring role as Professor Peter Boyd in the 1951 comedy film Bedtime for Bonzo).
In 1990 Bootsy collaborated with Deee-Lite on their massive hit "Groove Is In The Heart" where 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 defacto backing musicians for Deee-Lite during a world tour.
Bootsy collaborated with bluegrass legends Del McCoury, Doc Watson and Mac Wiseman to form the GrooveGrass Boyz. They produced a fusion of bluegrass and funk that listeners either loved as a fresh take on tradition or hated as defiling that same tradition.
In 1995, Bootsy played in the remake of Jimi Hendrix's "If 6 was 9" for Axiom Funk, a funkadelic like one off super group produced by Bill Laswell and featuring the (funkadelic members) George Clinton, Bernie Worrell, Bootsy Collins, (the guitar of the late) Eddie Hazel, Gary Shider and Bill Laswell . The group released only one album and the song also appeared in the soundtrack of the movie Stealing Beauty.
Bootsy has collaborated extensively with Bill Laswell and made appearances on two Fatboy Slim records, as well as reading a poem at the end of FatBoy Slims's release in the LateNightTales dj mix series. Bootsy provided "vocal spice" on the TobyMac album Welcome to Diverse City. He also appears on Nicole C. Mullens' latest album, "Everyday People". He has also worked with the Lo-Fidelity Allstars on the album 'Don't be Afraid of Love', with Praxis, and with Buckethead on several occasions, for example on Buckethead's first album, "Bucketheadland". Bootsy was featured in the 2002 film Standing in the Shadows of Motown. In 2004 he appeared on Snoop Dogg's Rhythm & Gangsta album and on the cover of "The Joker" on the Fatboy Slim album Palookaville.[2]
In 2005, Bootsy Collins added vocals to fellow bassist Victor Wooten's album Soul Circus. He also served as "Heineken's Amsterjam 2005" curator and master of ceremonies on Randall's Island, New York and appeared with Madonna, Iggy Pop, Little Richard, and The Roots' Questlove, in an American TV commercial for the Motorola ROKR phone.
Collins' signature instrument is a custom-built star-shaped bass guitar he calls the "Space Bass". Currently built for him by Manuel "Manny" Salvador of GuitarCraft in 1998. More recently, Collins has made an agreement with Traben to make a signature Bootsy Collins model bass called the "Bootzilla".
In October, 2005, Collins co-wrote a song celebrating the resurgence of his hometown team, the Cincinnati Bengals of the National Football League called "Fear Da Tiger" which features "raps" written and performed by several Bengals players, including defensive end Duane Clemons, offensive tackle Stacy Andrews, and center Ben Wilkerson. An edited version of the song was made into a music video which features cameos by many other Bengals players. It has garnered tremendous local airplay and is viewable on Bengals.com Additionally, Cincinnati Bell is offering "Fear Da Tiger" as a free ringtone for its wireless customers in both polyphonic and MP3 formats. 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.
He also sings "Marshal Law", the theme song of the Cincinnati Marshals indoor football team. He debuted the song on April 29, at halftime of a Marshals home game against the West Palm Beach Phantoms.
In 2006, ABC Entertainment / A Charly Films Release released a DVD/CD from Bootsy Collins and the New Rubber Band's concert at the 1998 North Sea Jazz Festival. In the same year, Collins split from long-time friend and guitarist Odhran "The Bodhran" Rameriz, citing creative differences as the reason.
Also in 2006, Collins recorded music for the animated television series Loonatics Unleashed. Collins also voiced the character Bootes Belinda in the episode The Music Villain. [3]
In April, 2007, Bootsy announced plans to begin a restaurant/club with Cincinnati area restaurateur Jeff Ruby. The restaurant is to be called "Bootsy's." It will feature live musical acts, a museum dedicated to Bootsy's musical career and Spanish, Central and South American cuisine. It is to open in December 2008.
In June 2007, Bootsy Collins, along with Phelps Collins, Clyde Stubblefield, John "Jabo" Starks, and Bernie Worrell, participated in the recording of the soundtrack for the movie Superbad.
In July 2007, Bootsy also told Billboard magazine that he's working on a project by the name of 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.[4] The album was released in November 2008.[5]
Collins promoted Rock the Vote for its 2008 compaign together with Buckethead.[6]
Bootsy produced Junkyard Waltz by funk band Freekbass from Ohio came out October 27.
Bootsy has been mentioned in the song "Genius of Love" by Tom Tom Club in the line "Clinton's musicians such as Bootsy Collins raise expectation to a new intention", while "Got more bass than Bootsy Collins" is a line in the song "Rumble in the Jungle" by the Fugees. His influence in popular culture is seen in that he has been referenced by a number of television series. In The Fresh Prince of Bel-Air episode "Sooooooul Train", Geoffrey sneaks into the Soul Train tapings posing as Bootsy Collins, while in the The Mighty Boosh episode "The Legend of Old Gregg" an alien creature named 'The Funk' lands on Bootsy's house, giving him his ability to play the bass guitar "like some kinda delirious funky priest", as well as the ability to see around corners. His song I'd Rather Be With You was featured in the movie Baby Boy and on January 26, 2007, Bootsy, a native of Cincinnati, gave the commencement address at the graduation ceremony at The Art Institute of Ohio - Cincinnati.. Red Hot Chili Peppers bassist Flea, who has cited Collins as one of his primary influences, appeared in unmistakably Bootsy-esque clothing in the video for RHCP's "Dani California", and Bootsy's "What's a Telephone Bill?" was sampled for 2Pac's "Str8 Ballin'" track off the THUG LIFE album..
In 2009 Collins collaborated with Talib Kweli and Hi-Tek on the track "Internet Connection".[7]
[edit] Bass technique
Collins' bass playing is driving, rhythmic and groovy, and has been very influential in the development of funk. His characteristic juicy sound, produced by envelope filters (for example the Mutron), is one of his distinguishing traits as a bass player. He also uses highly syncopated 16th note patterns combined with a very strong slap technique, highly influenced by Larry Graham.
Bootsy's bass patterns are often up-front in the mix and more often than not, drive the song (rather than the guitars or horns)
In March 1970, after most of the members of James Brown's band quit over a pay dispute, The Pacesetters were hired as Brown's backing band and they became known as The J.B.'s. (They are often referred to as the "original" J.B.'s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.'s played on some of Brown's most intense funk recordings, including "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power", and "Talkin' Loud and Sayin' Nothing".
It is known that the young Bootsy clashed several times with the rigid system Brown used to discipline the young band whenever he felt they stepped out of line. After leaving the band Collins then moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin
After parting ways with James Brown, Bootsy returned to Cincinnati and formed House Guests with his brother Phelps Collins, Rufus Allen, Clayton "Chicken" Gunnels, Frank Waddy, Ronnie Greenaway and Robert McCullough. The House Guests released two singles on the House Guests label as well as a third as The Sound of Vision on the House Guess label.
Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played on the subsequent Funkadelic album 'America Eats Its Young', but it would be a another couple of years before he really began to make his mark on the P-Funk mob. Appearing on Funkadelic's 'Let's Take It To The Stage' and Parliament's 'Up For The Down Stroke' Bootsy soon became a defining member, both in sound and song-writing and is credited on all of the late 70s classics.
In 1976 Bootsy, Catfish, Waddy, Joel Johnson, Gary "Mudbone" Cooper, Robert Johnson and The Horny Horns formed Bootsy's Rubber Band, a separate touring unit of Clinton's P-Funk collective. The group recorded four albums together, the first three of which are often considered to be among the quintessential P-Funk recordings. The group's 1978 album "Bootsy? Player of the Year" reached the top of the R&B album chart and spawned the #1 R&B single "Bootzilla".
Like Clinton, Bootsy took on several alter egos, from "Casper the Funky Ghost" to Bootzilla, "the world's only rhinestone rockstar monster of a doll", as part of an evolving character, an alien rock star who grew gradually more bizarre as time went on (see P-Funk mythology). He also adopted his trademark space bass around this time.
Bootsy also released a 1980 album, Sweat Band, on George Clinton's Uncle Jam label with a group billed as Bootsy's Sweat Band.
[edit] 1980s and later
In 1984, Bootsy collaborated with Jerry Harrison of Talking Heads to produce "Five Minutes", a dance record sampled and edited from Ronald Reagan's infamous "Five Minutes" speech. The record was credited to "Bonzo goes to Washington" (also referenced in the 1985 Ramones song "Bonzo goes to Bitburg", derived from Reagan's starring role as Professor Peter Boyd in the 1951 comedy film Bedtime for Bonzo).
In 1990 Bootsy collaborated with Deee-Lite on their massive hit "Groove Is In The Heart" where 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 defacto backing musicians for Deee-Lite during a world tour.
Bootsy collaborated with bluegrass legends Del McCoury, Doc Watson and Mac Wiseman to form the GrooveGrass Boyz. They produced a fusion of bluegrass and funk that listeners either loved as a fresh take on tradition or hated as defiling that same tradition.
In 1995, Bootsy played in the remake of Jimi Hendrix's "If 6 was 9" for Axiom Funk, a funkadelic like one off super group produced by Bill Laswell and featuring the (funkadelic members) George Clinton, Bernie Worrell, Bootsy Collins, (the guitar of the late) Eddie Hazel, Gary Shider and Bill Laswell . The group released only one album and the song also appeared in the soundtrack of the movie Stealing Beauty.
Bootsy has collaborated extensively with Bill Laswell and made appearances on two Fatboy Slim records, as well as reading a poem at the end of FatBoy Slims's release in the LateNightTales dj mix series. Bootsy provided "vocal spice" on the TobyMac album Welcome to Diverse City. He also appears on Nicole C. Mullens' latest album, "Everyday People". He has also worked with the Lo-Fidelity Allstars on the album 'Don't be Afraid of Love', with Praxis, and with Buckethead on several occasions, for example on Buckethead's first album, "Bucketheadland". Bootsy was featured in the 2002 film Standing in the Shadows of Motown. In 2004 he appeared on Snoop Dogg's Rhythm & Gangsta album and on the cover of "The Joker" on the Fatboy Slim album Palookaville.[2]
In 2005, Bootsy Collins added vocals to fellow bassist Victor Wooten's album Soul Circus. He also served as "Heineken's Amsterjam 2005" curator and master of ceremonies on Randall's Island, New York and appeared with Madonna, Iggy Pop, Little Richard, and The Roots' Questlove, in an American TV commercial for the Motorola ROKR phone.
Collins' signature instrument is a custom-built star-shaped bass guitar he calls the "Space Bass". Currently built for him by Manuel "Manny" Salvador of GuitarCraft in 1998. More recently, Collins has made an agreement with Traben to make a signature Bootsy Collins model bass called the "Bootzilla".
In October, 2005, Collins co-wrote a song celebrating the resurgence of his hometown team, the Cincinnati Bengals of the National Football League called "Fear Da Tiger" which features "raps" written and performed by several Bengals players, including defensive end Duane Clemons, offensive tackle Stacy Andrews, and center Ben Wilkerson. An edited version of the song was made into a music video which features cameos by many other Bengals players. It has garnered tremendous local airplay and is viewable on Bengals.com Additionally, Cincinnati Bell is offering "Fear Da Tiger" as a free ringtone for its wireless customers in both polyphonic and MP3 formats. 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.
He also sings "Marshal Law", the theme song of the Cincinnati Marshals indoor football team. He debuted the song on April 29, at halftime of a Marshals home game against the West Palm Beach Phantoms.
In 2006, ABC Entertainment / A Charly Films Release released a DVD/CD from Bootsy Collins and the New Rubber Band's concert at the 1998 North Sea Jazz Festival. In the same year, Collins split from long-time friend and guitarist Odhran "The Bodhran" Rameriz, citing creative differences as the reason.
Also in 2006, Collins recorded music for the animated television series Loonatics Unleashed. Collins also voiced the character Bootes Belinda in the episode The Music Villain. [3]
In April, 2007, Bootsy announced plans to begin a restaurant/club with Cincinnati area restaurateur Jeff Ruby. The restaurant is to be called "Bootsy's." It will feature live musical acts, a museum dedicated to Bootsy's musical career and Spanish, Central and South American cuisine. It is to open in December 2008.
In June 2007, Bootsy Collins, along with Phelps Collins, Clyde Stubblefield, John "Jabo" Starks, and Bernie Worrell, participated in the recording of the soundtrack for the movie Superbad.
In July 2007, Bootsy also told Billboard magazine that he's working on a project by the name of 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.[4] The album was released in November 2008.[5]
Collins promoted Rock the Vote for its 2008 compaign together with Buckethead.[6]
Bootsy produced Junkyard Waltz by funk band Freekbass from Ohio came out October 27.
Bootsy has been mentioned in the song "Genius of Love" by Tom Tom Club in the line "Clinton's musicians such as Bootsy Collins raise expectation to a new intention", while "Got more bass than Bootsy Collins" is a line in the song "Rumble in the Jungle" by the Fugees. His influence in popular culture is seen in that he has been referenced by a number of television series. In The Fresh Prince of Bel-Air episode "Sooooooul Train", Geoffrey sneaks into the Soul Train tapings posing as Bootsy Collins, while in the The Mighty Boosh episode "The Legend of Old Gregg" an alien creature named 'The Funk' lands on Bootsy's house, giving him his ability to play the bass guitar "like some kinda delirious funky priest", as well as the ability to see around corners. His song I'd Rather Be With You was featured in the movie Baby Boy and on January 26, 2007, Bootsy, a native of Cincinnati, gave the commencement address at the graduation ceremony at The Art Institute of Ohio - Cincinnati.. Red Hot Chili Peppers bassist Flea, who has cited Collins as one of his primary influences, appeared in unmistakably Bootsy-esque clothing in the video for RHCP's "Dani California", and Bootsy's "What's a Telephone Bill?" was sampled for 2Pac's "Str8 Ballin'" track off the THUG LIFE album..
In 2009 Collins collaborated with Talib Kweli and Hi-Tek on the track "Internet Connection".[7]
[edit] Bass technique
Collins' bass playing is driving, rhythmic and groovy, and has been very influential in the development of funk. His characteristic juicy sound, produced by envelope filters (for example the Mutron), is one of his distinguishing traits as a bass player. He also uses highly syncopated 16th note patterns combined with a very strong slap technique, highly influenced by Larry Graham.
Bootsy's bass patterns are often up-front in the mix and more often than not, drive the song (rather than the guitars or horns)
Weapon of Choice
Bootsy Collins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Come forward and get your teeth smoked, word
Come forward and get your teeth smoked, word
Come forward and get your teeth smoked, word
Come forward and get your
Come forward and get your
Come forward and get your
Come forward and get your
Come forward and get your
(Spiral Music)
Don't be shocked by tone of my voice
Check out my new weapon, weapon of choice
Don't be shocked by tone of my voice
Check out my new weapon, weapon of choice yeah
Listen to the sound of my voice
You can check it on out, it's the weapon of choice yeah
Don't be shocked by tone of my voice (aah...)
It's the new weapon, the weapon of choice yeah
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(Spiral Music)
Walk without rhythm, it won't attract the worm
Walk without rhythm, and it won't attract the worm
Walk without rhythm, and it won't attract the worm
if you walk without rhythm, huh, you'll never learn
Don't be shocked by the tone of my voice
Check out my new weapon, weapon of choice
Don't be shocked by the tone of my voice
Check out my new weapon, weapon of choice
Be careful, we don't know them
Be careful, we don't know them
Be careful, we don't know them
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(Spiral Music)
Organically grown
Through the hemisphere I roam
To make love to the angels of life, yeah and my girl
I guess you just don't understand
It's gone beyond being a man
As I drift off into the night
I'm in flight
She's a boy's scoundrel gal
But I'm gonna hold my cool
Cause the music rules
Yeah, so move on baby, yeah
Halfway between the gutter and the stars
Yeah
Halfway between the gutter and the stars
Yeah
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(longer spiral music)
Come forward and get your teeth smoked, word
Come forward and get your teeth smoked, word
Come forward and get your
Come forward and get your
Come forward and get your
Come forward and get your
Come forward and get your
(Spiral Music)
Don't be shocked by tone of my voice
Check out my new weapon, weapon of choice
Don't be shocked by tone of my voice
Check out my new weapon, weapon of choice yeah
Listen to the sound of my voice
You can check it on out, it's the weapon of choice yeah
Don't be shocked by tone of my voice (aah...)
It's the new weapon, the weapon of choice yeah
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(Spiral Music)
Walk without rhythm, it won't attract the worm
Walk without rhythm, and it won't attract the worm
Walk without rhythm, and it won't attract the worm
if you walk without rhythm, huh, you'll never learn
Don't be shocked by the tone of my voice
Check out my new weapon, weapon of choice
Don't be shocked by the tone of my voice
Check out my new weapon, weapon of choice
Be careful, we don't know them
Be careful, we don't know them
Be careful, we don't know them
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(Spiral Music)
Organically grown
Through the hemisphere I roam
To make love to the angels of life, yeah and my girl
I guess you just don't understand
It's gone beyond being a man
As I drift off into the night
I'm in flight
She's a boy's scoundrel gal
But I'm gonna hold my cool
Cause the music rules
Yeah, so move on baby, yeah
Halfway between the gutter and the stars
Yeah
Halfway between the gutter and the stars
Yeah
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You can blow wit' this
Or you can blow wit' that
You can blow wit' this
Or you can blow wit' that
You can blow wit'
(longer spiral music)
The lyrics of Bootsy Collins’s song “Weapon of Choice” are open to interpretation, but the overall message seems to be about empowering oneself by embracing a new way of thinking, symbolized by a new “weapon of choice.” Collins urges listeners to walk without rhythm and not conform to old habits and ways of thinking, as they will never learn without exploring new territory. He also suggests that his own experiences have gone beyond traditional gender roles or societal expectations of what it means to be a man, and encourages listeners to break free from limiting labels and norms.
The repeated phrase “Come forward and get your teeth smoked” could be interpreted as a warning to those who are not ready to embrace change and are resistant to new ideas, but equally could be interpreted as a challenge to step up and take charge of one’s own life rather than waiting for change to happen from outside. The emphasis on the “weapon of choice” also highlights the importance of personal choice and individuality, as no two people will necessarily have the same weapon or approach to tackling problems.
Interestingly, the music video for “Weapon of Choice” features actor Christopher Walken dancing in a hotel lobby, further emphasizing the message of stepping outside of one’s comfort zone and trying something new. The song was a success upon its release in 2001, with its catchy beat and positive message resonating with listeners. Overall, “Weapon of Choice” is a song about finding one’s own rhythm and embracing change in order to achieve personal growth and success.
Line by Line Meaning
Come forward and get your teeth smoked, word
I challenge you to step up and face me, you'll regret it
Don't be shocked by tone of my voice
Check out my new weapon, weapon of choice
Don't underestimate me, I have a new and powerful tool at my disposal
Listen to the sound of my voice
You can check it on out, it's the weapon of choice yeah
Pay attention to me, my voice has power and can accomplish my goals
You can blow wit' this
Or you can blow wit' that
Or you can blow wit' us
You have options, but you should join us for maximum impact
Walk without rhythm, it won't attract the worm
if you walk without rhythm, huh, you'll never learn
Stay in line and follow the expected path, or you won't succeed
Be careful, we don't know them
Be cautious, unknown factors could be our undoing
Organically grown
Through the hemisphere I roam
To make love to the angels of life, yeah and my girl
I am living and experiencing life naturally and traveling widely
I guess you just don't understand
It's gone beyond being a man
As I drift off into the night
I'm in flight
You don't comprehend the level I'm operating on, I am transcending limits and boundaries and transcending the human experience
She's a boy's scoundrel gal
But I'm gonna hold my cool
Cause the music rules
My partner may seem unconventional, but it doesn't matter because the music is what matters most
Halfway between the gutter and the stars
Yeah
I exist in a space between the lowest and highest points, but I'm still striving upward
Lyrics © Peermusic Publishing
Written by: ANDRES TITUS, ASHLEY SLATER, BOOTSY COLLINS, NORMAN COOK, SYLVESTER STEWART, WILLIAM MCLEAN
Lyrics Licensed & Provided by LyricFind
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@gregrock7451
I get that vibe off Christopher Walken when I watch *anything* he does.
Big-budget movie, low-budget indie film, main character, brief appearance, any genre...when I'm watching him play a role I always get the sense that on some level, in some way, somewhere back in his mind (but not, like, really far back) he's thinking "Holy shit...I *still* can't believe I get paid great big piles of cash to do this!! This is *AWESOME*!!!"
I think it's most definitely present in the video. I remember seeing an interview with Walken years ago in which he mentioned that he didn't get into showbiz to be a movie actor; what he really wanted to be was a "Song-And-Dance Man," doing stage musicals, stuff like that. He got a lot of that training well before his career started transitioning into straight character roles.
Here, he's pursuing his first love. Old as he is, he can still cut a rug.
I think that energy gets projected into his performances and informs upon them. But one reason why he's one of all-time fave actors.
@eddieford9373
Still love the fact he's dancing to the line "Walk without rhythm and it won't attract the worm" and now he's playing the emperor in the dune franchise.
@yonnawood3081
Life does not get any better!🤘
@Wired4Life2
@@yonnawood3081 And that lyric is an explicit Dune reference, too.
@Ellzyboy
Omg. Thats why I came here. Im watching the old 1984 Dune film and when Paul says this it triggered the memory of this song. I never understood the lyrics as a kid.
@TheidiotAmongUs
@@Ellzyboylol just watched it in theaters and did the same thing!
@05Rudey
I think he is borrowing the Baron Vladimir Harkonnen floating device for the last part of the video too lol
@MR.LMR1996
"Listen, Fat Man... I got a fever... And the only prescription... Is more Spice"
The Emperor's meeting with The Baron.
@Colecooper0705
This song legit references Dune
@the9thplanet768
I would've also accepted more cowbell.
@galaxybrainkid1222
I would... have accepted... more.. CAHWbell...