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)
What's a Telephone Bill?
Bootsy Collins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yes, it's your friendly phone fanatic again
Oh yeah I'm loaded
With verbal rap ability, baby
You know you inspire me to poetry
So listen while I recite naughty nothings
That'll wet your eardrums
Yeah yeah yeah
Oh, can I make sweet love to you baby?
What I'd like to do would be good to you
And if you hang up on me now, I'll be through
I'm just living and loving, waiting for the moment
When you got time to kill
And if I can't your love, then
What's a telephone bill?
According to way the way you make me feel
I guess you'd call it obscene phone call
I'm not a storyteller though baby
I'd rather be with you, me to me
Oh, a sort of physical love, like, bubba
Oh, you're the sweetest fantasy I know
You
Excuse me if I seem obscene to you
I'm being real and that seems the thing to do
I'm just living and loving, waiting for the moment
When you got time to kill
And if I can't get your love, then
What's a telephone bill?
Oh baby, uh, just wanna hang on
I'd like to, I'd like to, I'd like to yeah, yeah, yeah
I'd like to make sweet love to you
Oh no, not that baby
I wanna be real with you
Let me just breathe in your ear hole baby
(Ohhhh ohhhh)
Don't fake me out
I love you baby
(I'd like to make sweet love to you)
Let me see if I can hit that note again
I love you baby
(Ohhh ohhh doo doo doo doo doo doo doo)
(I'd like to make sweet love to you)
Can you just explain to me what key are you in, baby?
I'd like to get real funk-kay
(I'd like to make sweet love to you)
I'm just living and loving waiting for the moment
When you got time to kill
And if I can't get your love, then
What's a telephone bill?
I'm just living and loving waiting for the moment
When you got time to kill
And if I can't get your love, then
What's a telephone bill?
I'm just living and loving waiting for the moment
When you got time to kill
And if I can't get your love, then
What's a telephone bill?
Oh, oh
I'd like to make sweet love to you
Maybe I'll manicure your toenails
And uh, make sweet love to you baby!
Rub my body with yours
Wait a minute operator, I'm not talking to you!
Booty Collins's What's a Telephone Bill? is a playful and seductive song that encourages a lover to make time for him. The song begins with the singer identifying himself as a "friendly phone fanatic" who is "loaded" with "verbal rap ability." He admits he wants to make sweet love to his lover and that she has inspired him to poetry. He asks her to hang on and then breathes in her ear, telling her that he wants to be "real" with her. Throughout the song, he emphasizes his desire to be with her physically, rather than simply talking over the phone. He also notes that if he cannot have her love, then his telephone bill is essentially worthless.
The song is a light-hearted blend of funk and soul, with Booty Collins's typical outlandishness, humor, and cheekiness. The song's lyrics are intended to be taken lightly, with the focus being Bootsy's irreverent and playful lyrics. But beneath the song's light-hearted exterior lies a serious message of the importance of human connection over technology. The song promotes a need for physical intimacy, making it clear that technology cannot replace the human touch.
Line by Line Meaning
Hello baby
The singer greets his lover on the phone.
Yes, it's your friendly phone fanatic again
The singer is known for calling frequently or being obsessed with their partner.
Oh yeah I'm loaded
The singer is either drunk or euphemistically 'loaded' with sexual desire.
With verbal rap ability, baby
The singer is skilled at improvising clever, suggestive dialogue.
You know you inspire me to poetry
The singer finds his lover so desirable that he feels compelled to express his feelings through poetry.
So listen while I recite naughty nothings
The singer wants his lover to listen to his sexually explicit conversation.
That'll wet your eardrums
The singer hopes his lover finds his words arousing or stimulating.
What I'd like to do would be good to you
The singer wants to have sex with his lover in a way that would be pleasurable for both parties.
And if you hang up on me now, I'll be through
The singer will be upset or hurt if his lover hangs up on him during their conversation.
I'm just living and loving, waiting for the moment
The singer is taking things one day at a time and eagerly anticipates being with his lover in the future.
When you got time to kill
The singer hopes his lover will have some free time to spend with him.
And if I can't your love, then
The singer wants his lover's love and affection above anything else.
What's a telephone bill?
The singer is telling his lover that the cost of their phone calls is worth it if it means staying connected.
According to way the way you make me feel
The singer is saying that the feelings his lover gives him are strong and intense.
I guess you'd call it obscene phone call
The singer acknowledges that his conversation with his lover could be considered lewd or indecent.
I'm not a storyteller though baby
The singer clarifies that he is not just making up stories, but expressing real feelings.
I'd rather be with you, me to me
The singer would prefer to be in a physical, intimate relationship rather than talking on the phone.
Oh, a sort of physical love, like, bubba
The singer desires a physical relationship that is passionate and intense.
Oh, you're the sweetest fantasy I know
The singer thinks very highly of his lover and considers her to be the epitome of a desirable woman.
Excuse me if I seem obscene to you
The singer acknowledges that his language could be considered vulgar or inappropriate.
I'm being real and that seems the thing to do
The singer believes that being honest and authentic about his feelings and desires is important.
Oh baby, uh, just wanna hang on
The singer wants to continue talking to his lover and doesn't want to end their conversation.
Can you just explain to me what key are you in, baby?
The singer makes a joking reference to music theory, suggesting that his lover's voice is like a musical note that he wants to hear more of.
I'd like to get real funk-kay
The singer wants to be sexually playful or 'funky' with his lover.
Maybe I'll manicure your toenails
The singer is willing to be intimate and take care of his lover's personal grooming.
And uh, make sweet love to you baby!
The singer reiterates his desire to be physically intimate with his lover.
Rub my body with yours
The singer wants to have physical contact, as in caressing and hugging.
Wait a minute operator, I'm not talking to you!
The singer comically addresses the phone operator or someone else who might be listening in, implying that his conversation is private and not meant for public consumption.
Lyrics © A SIDE MUSIC LLC D/B/A MODERN WORKS MUSIC PUBLISHING, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: GARY COOPER, GEORGE CLINTON, WILLIAM BOOTSY COLLINS
Lyrics Licensed & Provided by LyricFind
@oldskoolmusicforever0724
SOMEWHERE THERE'S A DRUNK UNCLE LISTENING TO THIS AND ASKING EVERYBODY,WHAT YALL KNOW ABOUT THIS YOUNGBLOODS
@sussybaka551
Lmao my brother is an uncle and he's drunk right now, sending me this song 😂
@EdgeO419
"this grown people music..."
@user-fb5uz3zc2t
@EdgeO419 jodddyyyy
@edwinward6548
Yeahz!!!!! I can dig it!!!
@corncobjohnsonreal
This is one of the catchiest songs I've ever heard and it's clearly a blueprint for many popular songs to come decades later
@QUEENLOLATV
THIS MAN DOES NOT GET HIS FLOWERS ENOUGH 😭
@douggy3222
He certainly gets flowers from me 💐🌹 ... this song is from another dimension
@user-ky6hl5dn7d
Have a great St Patrick's Day Bootsy 😮
@user-ky6hl5dn7d
A l. 111s