Ive done about 800 original interviews for SuicideGirls and probably a couple thousand more for other venues, so I think it's fair to say that Ive gotten pretty good at working around peoples tertiary expressions like oh man and yeah. But when youve got a legend like Bootsy Collins saying "yeah mama, baby and man," it would be sacrilegious to delete it.
Collins is best known as one of the co-founders of the seminal 1970s funk group Parliament Funkadelic, but I really got into his work in the early 90s when he teamed up with Bill Laswell and Buckethead. As Collins and I discuss in this interview, that was a golden era--and it's still going on today. Bootsys latest album, Christmas is 4 Ever, features many new songs by Bootsy and his crew.
Buy Christmas Is 4 Ever
Daniel Robert Epstein: How are you?
Bootsy Collins: Everythings cool man. Just working down here in the studio trying to keep it together. Everythings coming along great.
DRE: Thats cool. What are you working on?
BC: Actually were working on new theme song for the Bengals. Were going to the Super Bowl this year. So Ive got to get it together.
DRE: Are you going to be performing at the Super Bowl too?
BC: Well, well see. Were working at it. Oh yeah. Were going to see what happens.
DRE: Whos up there in the studio with you?
BC: Actually Im just laying a little bed down by myself here. Then later on weve got some guys coming in, a couple of keyboard players and a drummer. Were just trying to piece it together a little bit here.
DRE: Its really awesome to talk to you. Ive been a fan for so long.
BC: Aww yeah. Like I said, weve been kicking around, working with different people and trying to keep it all happening. Its feeling pretty good right about now. Its coming back around.
DRE: What made you want to do a Christmas album?
BC: Ive wanted to do a Christmas album forever, but I never really got the chance or the time to really think about doing it and putting the effort in it. Shout Factory had contacted me about doing one and I was like, Wow. I always wanted to do one of those anyway. It was like one of those right on time things. Some of those songs were from before so it was good to go back and revisit that stuff.
DRE: Have any of the tracks been ones that have been laying dormant and then you decided to spruce them up a little bit?
BC: We redid Id Rather Be with You and we dedicated it to Roger Troutman. Me and Zapp [Troutman] redid that. That was one thats been out before on Id Rather Be with You on Bootsys Rubber Bands first album. Then the other one would probably be Christmas is 4 Ever. I did that maybe about three or four years ago as a track and just never finished it or never done nothing with it. It seemed like it was perfect for this record. It actually turned out to be the title song.
DRE: I would imagine that youre a big fan of Christmas. You dress a little Christmasy.
BC: Oh yeah. Oh yeah. Ive got to be, not Santa Claus, but Boota Claus. Then Bootolph too. Not Rudolph, but Bootolph, the funky soul reindeer.
DRE: Are you religious at all?
BC: Not religious. I got my higher level of anticipation, but I wouldnt say Im religious. I do live on another frequency.
DRE: Whats your Christmas like?
BC: Its just having a good time and watching people just get off and have a good time, receiving gifts. Just that joy of seeing people get off. Its like a big 1999 party that you always look forward to. It may be the last time, so you better go ahead and just enjoy yourself with it while its happening. We go all out for it. We just have a blast with it.
DRE: Do you do a show around Christmas time?
BC: Oh yeah. Oh yeah. Oh yeah. One time we did one out in San Francisco. It was like a carnival nude thing. It was wild, man. They had them freak scenes going on out in San Francisco anyway. They asked us to play at this big carnival freak show on Christmas. It was wild, but it was cool. I guess they said, Lets get them crazy mugs out here, man.
DRE: Of course youve got some of your guys who often work with you, like Buckethead, when did the two of you first meet?
BC: It was about 1990. We met back then and actually I did his first CD, Bucketheadland. We recorded it here when I first got my little studio happening. Actually thats what broke my studio in. We just got back there and just started jamming and coming up with stuff, man. It was fun. That was like a Christmas man. So yeah.
DRE: Who first put you two guys together?
BC: Actually Bucket sent me a video out of the clear blue. When I saw it, I was like This cat is gone. This is the cat I like. He had a note with that video that said he had two heroes and they were Michael Jackson and Bootsy Collins. I was like, Wow. What was that all about? I said, Ive got to meet this cat. Sure enough, I was working with Bill Laswell at the time and he was saying Lets do some sessions or something together. Thats when it all started.
DRE: That kicked off a great run you, Buckethead and Laswell had.
BC: Yeah, man. Yeah. That was fun time. That was all the way back to musicianship and just having fun playing and vibing in the studio together. That was great time, man. Every musician looks forward to that time instead of the headaches of serious responsibility. Thats what throws everything off.
DRE: Is this Christmas album the first time youve worked with Charlie Daniels?
BC: Yeah it is. Actually right now Im doing that hit song of his
DRE: The Devil Went Down to Georgia?
BC: Yeah. Im redoing that for him for his album. Its going to be an ongoing relationship here. We just hooked up. We were doing Monday Night Football thing on ESPN with Hank Williams. That was fun. It was like all these different crazies from different bands, Cheap Trick, Aerosmith, The Roots, Little Richard. This was the craziest all-star band in the world. We all on the set, man, just grooving. Charlie came over and I started doing this little bass line. He was like Yeah. Yeah. I want to record that. I want to record it. So we hooked up man and just going on and on from there.
DRE: Its cool to see that youre working with Snoop Dogg too.
BC: Yeah, well Snoop and I go back a ways. Ive been working with him for awhile now. For him to show up on the album, it was like, man youve got to do it. We wanted this to be relating back to what I do, but at the same time put a tad of today in it so itll go on and on. Who better to do that than the Snoopster?
DRE: With bands like Outkast so popular right now, do you feel like funk is at a good place?
BC: Yeah, but I would say that it has evolved into other music forms and other musical versions of funk. Its not funk as we knew it, but it is funk as today describes it as. I cant take nothing away from it because everything evolves and changes. To me, thats the process. Its about evolving and changing. Everything will not remain the same so as long as Im here. Ill always add what I add to the table. Thats the fun part of it. You take that and you add it with whatever somebodys doing today and it changes the flavor. I like that. After about five or six years of doing the same thing and doing all the same groups you want to stretch out and do some different things. Thats why youve got me with Bucket and me with Deee-Lite and me with Keith Richards, Cyndi Lauper. That stuff to me is challenging and its fun because it keeps you sharp. It keeps you on it. You dont keep repeating yourself and doing the same thing.
DRE: When you produce work for someone else or with someone else, of course youre in there playing and doing vocals, but do you actually sit down and produce like the way Laswell might produce?
BC: Yeah. I learned a lot from Laswell. Oh man. Come on. Heck yeah. Im pulled more towards that now. Now after Ive laid the bed down, then I would come and do my part. Thats different from the way I used to when I would just go out with the band and just come up with the groove, put it down and somebody else was engineering and producing. But now Ive changed seats. Its fun for me. Youre talking about challenges. Thats a challenge. I like it. It gives me balance. It makes me feel like Im not doing the same thing over and over. I think the time with Bill Laswell really helped open my mind, helped get me with a whole lot of different artists with different music approaches and just watching him and the way he worked opened up my whole producing mind. It showed me that it just wasnt about playing and performing. Its about how to get what you really want.
DRE: Do you ever see you and Andre 3000 doing something together?
BC: Actually, we had talked about doing something before Outkast even got big. They always would come to my shows even before anybody even knew anything about them. They make fresh work now by taking stuff and putting it with what they do. Its like new because theyre doing it. To me thats a part of the evolution. You have to put a new face on some old stuff and then it becomes new. Thats exactly what theyre doing. Theyre adding their techniques and their vision of what it was all about today. They came up with a whole new thing. They did just what Funkadelic did back in the day. When Funkadelic hit the scene, it was so crazy. It was only certain people that really got it. We didnt have all of maximum exposure like Outkast is getting from record companies, videos and all that. It was just people that would dare come to the gig. Thats the only way we got exposure. That went on until around 1976. Thats when we started really getting some record play.
DRE: Do you listen to a lot of new music?
BC: Not a lot but I try to stay up on certain things thats going on, but Ive never been a fan of listening to a lot of music because I was always the one that was like a receiver from the other planet. I didnt want nothing to distract me or interpret or influence me in any way. I probably listen more now than I used to.
DRE: How much of your work is done with computers now?
BC: I still record analog. We do all our mixing on ProTools. The Christmas record was mixed all on ProTools. Im in the process of learning ProTools myself now which is a challenge. I just want to be on top of things. I just cant see myself just putting myself in a box and saying, Well this is it. Its either my way or the highway. I just cant see that. However the world goes or however it evolves, I feel like I can take what I got and add it with it. Thats my take on all that.
DRE: Is the reason that you record analog just because thats whats in your studio?
BC: Actually, Ive got both analog and digital. I just got a brand new Mackie X200. Its a touch screen. Its got two computers in it. I finally learned how to work that mug about three weeks ago. Ive been at it for about three or four months. At first I wouldnt touch it. I was scared of it. Once I got on it, man, I cant get off of it. Everything is so easy. You just press the screen. You dont have to plug this in or plug that in. Its like, Wow, man. This is crazy. Its just preparing me for my ProTools adventure. I just built another building to have more musicians in. The room is great and I want to put in the HD ProTools system, the big one. We want to have a balance going on. We want real live drums and the pads with the sounds you can mess with. We want to have the best of both worlds.
DRE: Your look with the clothes and all that is very famous but I cant imagine you sitting around your house dressed that way.
BC: Well, you know what? It took me a long time to really realize that you can take them glasses off, man. You can come out of those leather crazy outfits. You dont have to sleep in them. It took me a long time to really realize I didnt have to dress like that at home and everywhere because people would be everywhere I was at. It was like, Wow. So I got to be Bootsy all the time. That came from just trying to create that monster. Once he was created, that mug came back and wanted to bite me, man. I was like, Wow. Wait a minute. Frankenstein trying to get me, man. So I had to learn how to calm down, take the big boots off, put some sneakers on and chill out in the woods a little bit. Yeah, that was a learning process for me. I think I got it down now.
DRE: How old are you now?
BC: Im 54 now and Ill be 55 on October 26th.
DRE: Happy Birthday in advance.
BC: Oh, thank you, man. Thank you.
DRE: I was lucky enough to see the Parliament reunion tour about ten years ago with you and George [Clinton] and everybody. Do you guys see doing something like that again?
BC: Probably. It depends on George and what he really wants to do. We actually did the grand opening of Experience Music Project in Seattle with James Brown, the Godfather. We was the original JB's. Then we did it with Parliament Funkadelic. It was the best of both worlds, man. Those were two extremes. To be a part of both of those things was like wow. Anytime that opportunity comes around, its like, Man this is incredible. I look forward to it.
DRE: So you and George are getting along?
BC: Oh yeah. We have our little spats here and there, but I think with musicians, it has always been a continuous relationship. Theres just something about musicians. They dont think like producers not to say something producers and singers and stuff like that, but musicians got a whole another way of thinking. I think thats where I came from. I know how musicians think. Now that I got a chance to work with a lot of producers and actually become one I know how all of them think now. Its good because it gives you a balance of how far to take different things.
DRE: Besides the Super Bowl, what else are you working on?
BC: Im working with a couple of groups. Im now talking to P-Nut, the 311 bass player about doing a whole album with Buckethead, myself and Brain. It got started when P-Nut was here about four weeks ago. We had started laying a couple of tracks down. Its coming along real good. Buckethead will be here in October and were going to do about a whole month down here. Hes going to stay off the road. Im going to just be here. Were going to just add on to what P-Nut did and then cut some more tracks too.
DRE: Are you designing any more equipment for yourself?
BC: Well theres the Traben Bootzilla bass and now were getting ready to do a Star bass. Actually they were just here last week getting all fitted up and how I want it, how I want the electronics because the electronics are very important. So we went over that. Youll be hearing something about that around the end of November.
DRE: I read you may be composing music for a movie called Beowulf.
BC: Yeah, Im working on that too. Im doing stuff for different scenes like Viking music, Asian stuff. The things that Bill Laswell does, Im getting a chance to really experience now. So far everybody seems to be very pleased. So its another challenge, man. I love challenges, man. You get down there and you dont know what the heck youre doing. You just go ahead and go for it, man. That, to me, is the challenge. Then when you play it for somebody and they just get this big smile on their face, its like wow. Yeah. Its real cool, man. Its real cool to go ahead and not be in that box, man. Ive worked so hard to try to get out of just that one box. I think its really paying off now. I think its really a good thing for me because I get a chance to work in different areas that I really want to do. We just finished the soundtrack for the cartoon Loonatics Unleashed. Thatll be out really soon and actually I have a character that is going to be on Loonatics Unleashed in 2007. All that stuff people said George and I was really crazy for even talking about then, is happening now.
DRE: Who should play you when they do a P-Funk biopic movie?
BC: Who should play me? Wow. Probably Andre. He would fit right in on that one. He would be the bomb, man. Heck yeah. That would be more closer to home.
by Daniel Robert Epstein
SG Username: AndersWolleck
Collins is best known as one of the co-founders of the seminal 1970s funk group Parliament Funkadelic, but I really got into his work in the early 90s when he teamed up with Bill Laswell and Buckethead. As Collins and I discuss in this interview, that was a golden era--and it's still going on today. Bootsys latest album, Christmas is 4 Ever, features many new songs by Bootsy and his crew.
Buy Christmas Is 4 Ever
Daniel Robert Epstein: How are you?
Bootsy Collins: Everythings cool man. Just working down here in the studio trying to keep it together. Everythings coming along great.
DRE: Thats cool. What are you working on?
BC: Actually were working on new theme song for the Bengals. Were going to the Super Bowl this year. So Ive got to get it together.
DRE: Are you going to be performing at the Super Bowl too?
BC: Well, well see. Were working at it. Oh yeah. Were going to see what happens.
DRE: Whos up there in the studio with you?
BC: Actually Im just laying a little bed down by myself here. Then later on weve got some guys coming in, a couple of keyboard players and a drummer. Were just trying to piece it together a little bit here.
DRE: Its really awesome to talk to you. Ive been a fan for so long.
BC: Aww yeah. Like I said, weve been kicking around, working with different people and trying to keep it all happening. Its feeling pretty good right about now. Its coming back around.
DRE: What made you want to do a Christmas album?
BC: Ive wanted to do a Christmas album forever, but I never really got the chance or the time to really think about doing it and putting the effort in it. Shout Factory had contacted me about doing one and I was like, Wow. I always wanted to do one of those anyway. It was like one of those right on time things. Some of those songs were from before so it was good to go back and revisit that stuff.
DRE: Have any of the tracks been ones that have been laying dormant and then you decided to spruce them up a little bit?
BC: We redid Id Rather Be with You and we dedicated it to Roger Troutman. Me and Zapp [Troutman] redid that. That was one thats been out before on Id Rather Be with You on Bootsys Rubber Bands first album. Then the other one would probably be Christmas is 4 Ever. I did that maybe about three or four years ago as a track and just never finished it or never done nothing with it. It seemed like it was perfect for this record. It actually turned out to be the title song.
DRE: I would imagine that youre a big fan of Christmas. You dress a little Christmasy.
BC: Oh yeah. Oh yeah. Ive got to be, not Santa Claus, but Boota Claus. Then Bootolph too. Not Rudolph, but Bootolph, the funky soul reindeer.
DRE: Are you religious at all?
BC: Not religious. I got my higher level of anticipation, but I wouldnt say Im religious. I do live on another frequency.
DRE: Whats your Christmas like?
BC: Its just having a good time and watching people just get off and have a good time, receiving gifts. Just that joy of seeing people get off. Its like a big 1999 party that you always look forward to. It may be the last time, so you better go ahead and just enjoy yourself with it while its happening. We go all out for it. We just have a blast with it.
DRE: Do you do a show around Christmas time?
BC: Oh yeah. Oh yeah. Oh yeah. One time we did one out in San Francisco. It was like a carnival nude thing. It was wild, man. They had them freak scenes going on out in San Francisco anyway. They asked us to play at this big carnival freak show on Christmas. It was wild, but it was cool. I guess they said, Lets get them crazy mugs out here, man.
DRE: Of course youve got some of your guys who often work with you, like Buckethead, when did the two of you first meet?
BC: It was about 1990. We met back then and actually I did his first CD, Bucketheadland. We recorded it here when I first got my little studio happening. Actually thats what broke my studio in. We just got back there and just started jamming and coming up with stuff, man. It was fun. That was like a Christmas man. So yeah.
DRE: Who first put you two guys together?
BC: Actually Bucket sent me a video out of the clear blue. When I saw it, I was like This cat is gone. This is the cat I like. He had a note with that video that said he had two heroes and they were Michael Jackson and Bootsy Collins. I was like, Wow. What was that all about? I said, Ive got to meet this cat. Sure enough, I was working with Bill Laswell at the time and he was saying Lets do some sessions or something together. Thats when it all started.
DRE: That kicked off a great run you, Buckethead and Laswell had.
BC: Yeah, man. Yeah. That was fun time. That was all the way back to musicianship and just having fun playing and vibing in the studio together. That was great time, man. Every musician looks forward to that time instead of the headaches of serious responsibility. Thats what throws everything off.
DRE: Is this Christmas album the first time youve worked with Charlie Daniels?
BC: Yeah it is. Actually right now Im doing that hit song of his
DRE: The Devil Went Down to Georgia?
BC: Yeah. Im redoing that for him for his album. Its going to be an ongoing relationship here. We just hooked up. We were doing Monday Night Football thing on ESPN with Hank Williams. That was fun. It was like all these different crazies from different bands, Cheap Trick, Aerosmith, The Roots, Little Richard. This was the craziest all-star band in the world. We all on the set, man, just grooving. Charlie came over and I started doing this little bass line. He was like Yeah. Yeah. I want to record that. I want to record it. So we hooked up man and just going on and on from there.
DRE: Its cool to see that youre working with Snoop Dogg too.
BC: Yeah, well Snoop and I go back a ways. Ive been working with him for awhile now. For him to show up on the album, it was like, man youve got to do it. We wanted this to be relating back to what I do, but at the same time put a tad of today in it so itll go on and on. Who better to do that than the Snoopster?
DRE: With bands like Outkast so popular right now, do you feel like funk is at a good place?
BC: Yeah, but I would say that it has evolved into other music forms and other musical versions of funk. Its not funk as we knew it, but it is funk as today describes it as. I cant take nothing away from it because everything evolves and changes. To me, thats the process. Its about evolving and changing. Everything will not remain the same so as long as Im here. Ill always add what I add to the table. Thats the fun part of it. You take that and you add it with whatever somebodys doing today and it changes the flavor. I like that. After about five or six years of doing the same thing and doing all the same groups you want to stretch out and do some different things. Thats why youve got me with Bucket and me with Deee-Lite and me with Keith Richards, Cyndi Lauper. That stuff to me is challenging and its fun because it keeps you sharp. It keeps you on it. You dont keep repeating yourself and doing the same thing.
DRE: When you produce work for someone else or with someone else, of course youre in there playing and doing vocals, but do you actually sit down and produce like the way Laswell might produce?
BC: Yeah. I learned a lot from Laswell. Oh man. Come on. Heck yeah. Im pulled more towards that now. Now after Ive laid the bed down, then I would come and do my part. Thats different from the way I used to when I would just go out with the band and just come up with the groove, put it down and somebody else was engineering and producing. But now Ive changed seats. Its fun for me. Youre talking about challenges. Thats a challenge. I like it. It gives me balance. It makes me feel like Im not doing the same thing over and over. I think the time with Bill Laswell really helped open my mind, helped get me with a whole lot of different artists with different music approaches and just watching him and the way he worked opened up my whole producing mind. It showed me that it just wasnt about playing and performing. Its about how to get what you really want.
DRE: Do you ever see you and Andre 3000 doing something together?
BC: Actually, we had talked about doing something before Outkast even got big. They always would come to my shows even before anybody even knew anything about them. They make fresh work now by taking stuff and putting it with what they do. Its like new because theyre doing it. To me thats a part of the evolution. You have to put a new face on some old stuff and then it becomes new. Thats exactly what theyre doing. Theyre adding their techniques and their vision of what it was all about today. They came up with a whole new thing. They did just what Funkadelic did back in the day. When Funkadelic hit the scene, it was so crazy. It was only certain people that really got it. We didnt have all of maximum exposure like Outkast is getting from record companies, videos and all that. It was just people that would dare come to the gig. Thats the only way we got exposure. That went on until around 1976. Thats when we started really getting some record play.
DRE: Do you listen to a lot of new music?
BC: Not a lot but I try to stay up on certain things thats going on, but Ive never been a fan of listening to a lot of music because I was always the one that was like a receiver from the other planet. I didnt want nothing to distract me or interpret or influence me in any way. I probably listen more now than I used to.
DRE: How much of your work is done with computers now?
BC: I still record analog. We do all our mixing on ProTools. The Christmas record was mixed all on ProTools. Im in the process of learning ProTools myself now which is a challenge. I just want to be on top of things. I just cant see myself just putting myself in a box and saying, Well this is it. Its either my way or the highway. I just cant see that. However the world goes or however it evolves, I feel like I can take what I got and add it with it. Thats my take on all that.
DRE: Is the reason that you record analog just because thats whats in your studio?
BC: Actually, Ive got both analog and digital. I just got a brand new Mackie X200. Its a touch screen. Its got two computers in it. I finally learned how to work that mug about three weeks ago. Ive been at it for about three or four months. At first I wouldnt touch it. I was scared of it. Once I got on it, man, I cant get off of it. Everything is so easy. You just press the screen. You dont have to plug this in or plug that in. Its like, Wow, man. This is crazy. Its just preparing me for my ProTools adventure. I just built another building to have more musicians in. The room is great and I want to put in the HD ProTools system, the big one. We want to have a balance going on. We want real live drums and the pads with the sounds you can mess with. We want to have the best of both worlds.
DRE: Your look with the clothes and all that is very famous but I cant imagine you sitting around your house dressed that way.
BC: Well, you know what? It took me a long time to really realize that you can take them glasses off, man. You can come out of those leather crazy outfits. You dont have to sleep in them. It took me a long time to really realize I didnt have to dress like that at home and everywhere because people would be everywhere I was at. It was like, Wow. So I got to be Bootsy all the time. That came from just trying to create that monster. Once he was created, that mug came back and wanted to bite me, man. I was like, Wow. Wait a minute. Frankenstein trying to get me, man. So I had to learn how to calm down, take the big boots off, put some sneakers on and chill out in the woods a little bit. Yeah, that was a learning process for me. I think I got it down now.
DRE: How old are you now?
BC: Im 54 now and Ill be 55 on October 26th.
DRE: Happy Birthday in advance.
BC: Oh, thank you, man. Thank you.
DRE: I was lucky enough to see the Parliament reunion tour about ten years ago with you and George [Clinton] and everybody. Do you guys see doing something like that again?
BC: Probably. It depends on George and what he really wants to do. We actually did the grand opening of Experience Music Project in Seattle with James Brown, the Godfather. We was the original JB's. Then we did it with Parliament Funkadelic. It was the best of both worlds, man. Those were two extremes. To be a part of both of those things was like wow. Anytime that opportunity comes around, its like, Man this is incredible. I look forward to it.
DRE: So you and George are getting along?
BC: Oh yeah. We have our little spats here and there, but I think with musicians, it has always been a continuous relationship. Theres just something about musicians. They dont think like producers not to say something producers and singers and stuff like that, but musicians got a whole another way of thinking. I think thats where I came from. I know how musicians think. Now that I got a chance to work with a lot of producers and actually become one I know how all of them think now. Its good because it gives you a balance of how far to take different things.
DRE: Besides the Super Bowl, what else are you working on?
BC: Im working with a couple of groups. Im now talking to P-Nut, the 311 bass player about doing a whole album with Buckethead, myself and Brain. It got started when P-Nut was here about four weeks ago. We had started laying a couple of tracks down. Its coming along real good. Buckethead will be here in October and were going to do about a whole month down here. Hes going to stay off the road. Im going to just be here. Were going to just add on to what P-Nut did and then cut some more tracks too.
DRE: Are you designing any more equipment for yourself?
BC: Well theres the Traben Bootzilla bass and now were getting ready to do a Star bass. Actually they were just here last week getting all fitted up and how I want it, how I want the electronics because the electronics are very important. So we went over that. Youll be hearing something about that around the end of November.
DRE: I read you may be composing music for a movie called Beowulf.
BC: Yeah, Im working on that too. Im doing stuff for different scenes like Viking music, Asian stuff. The things that Bill Laswell does, Im getting a chance to really experience now. So far everybody seems to be very pleased. So its another challenge, man. I love challenges, man. You get down there and you dont know what the heck youre doing. You just go ahead and go for it, man. That, to me, is the challenge. Then when you play it for somebody and they just get this big smile on their face, its like wow. Yeah. Its real cool, man. Its real cool to go ahead and not be in that box, man. Ive worked so hard to try to get out of just that one box. I think its really paying off now. I think its really a good thing for me because I get a chance to work in different areas that I really want to do. We just finished the soundtrack for the cartoon Loonatics Unleashed. Thatll be out really soon and actually I have a character that is going to be on Loonatics Unleashed in 2007. All that stuff people said George and I was really crazy for even talking about then, is happening now.
DRE: Who should play you when they do a P-Funk biopic movie?
BC: Who should play me? Wow. Probably Andre. He would fit right in on that one. He would be the bomb, man. Heck yeah. That would be more closer to home.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 18 of 18 COMMENTS
anastezia:
hells yeah bootsie is from the nasty nati! it's nice seeing a cat from my hometown on here!
muffinguy:
It's hard to find someone that's from another planet and so humble/down to earth, but Bootsy seems to be just that. Good interview!