Funk supergroup the Big Ol’ Nasty Getdown recently dropped their sizzling new single “When the Juice Ran Out.” This is electrifying funk delivered in the Getdown’s inimitable badass fashion. It features the formidable talents of Fishbone frontman Angelo Moore (lead vocals and saxophone), bassist Rodney “Skeet” Curtis (P-Funk/Maceo Parker), drummer Jack Irons (Red Hot Chili Peppers/Pearl Jam), and guitarist Tim Stewart (Lady Gaga/Suicidal Tendencies). Moore brings a ton of soul and energy to his dynamic lead vocal performance and also delivers some dazzling sax work. Curtis keeps the funk blazing with a furious bass line that's bolstered by Irons’ explosive drumming. And Stewart fires up the groove with some scorching guitar.
"When the Juice Ran Out" imagines what it would be like if the internet were to shut down and how it would impact our lives. It explores our over-dependence on technology and how we have replaced physical reality with digital illusion, and that the internet’s collapse would force us to reconnect on a physical and spiritual level.
The creation of “When The Juice Ran Out” was a collaborative effort. Bassist/producer John Heintz sent an isolated drum track recorded by Irons during a 2016 session to Curtis, who brought his bass brilliance to the mix, and Stewart contributed his considerable guitar skills. And Moore penned the song’s great lyrics and added some funky sax. The track was mixed by Fabrizio Grossi and mastered by Dave Gardner. Johnny “Thief” DiDonna and Jeff Wood created the single’s cool cover art.
The Big Ol’ Nasty Getdown is an ever-expanding genre-defying global collective comprised of 225 musicians from 180 bands covering 18 years, including members of notable bands such as Parliament-Funkadelic, Earth, Wind & Fire, Red Hot Chili Peppers, Kool & the Gang, Suicidal Tendencies, Sly & the Family Stone, the Meters, Fishbone, and Korn. Heintz founded the Getdown in 2007. It grew from his vision of capturing the spontaneous energy of jam sessions and bringing together talented players from a wide range of bands and genres. He got the ambitious project on its feet with the help of Yo Mama’s Big Fat Booty Band members Derrick Johnson and John-Paul Miller.
The Getdown's upcoming album Volume 3 is set for release on September 19.
Funk/R&B band the Soul Machine released the wicked funk track "Twitchie Feet" in 1968. The talented players perform this smooth instrumental with flair and finesse. It features a cold guitar riff, a treacherous beat, and some soulful organ. It also boasts a dynamic horn arrangement and a smokin’ sax solo. This cut is thoroughly satisfying, like a succulent sirloin steak served with all the trimmings. It has kind of an early New Orleans funk flavor, similar to the Meters but with horns.
Soul/funk artist Leon Haywood wrote, produced, and arranged this old-school gem. It was released on the independent Los Angeles-based label Pzazz Records. The track’s B-side is “Bag of Goodies,” which Haywood also wrote, arranged, and produced.
Twitchie Feet” has been sampled on eight songs, including “The Joker” (Fatboy Slim, featuring Bootsy Collins) and "Freedom Band" (Deliquent Habits). The band, the Incredible Say Whats!, released a great cover of “Twitchie Feet” in 2012.
Leon Haywood was a renowned singer, songwriter, and producer who enjoyed an impressive three-decades-long music career. Born in Houston, Texas, on February 11, 1942, he developed a love for music at a very young age and began playing piano at three. He was a keyboardist in soul legend Sam Cooke’s band from the early 1960s until Cooke’s death in 1964. Haywood is best known for his risqué 1975 hit “I Want'a Do Something Freaky to You,” which has been sampled on many songs, most notably Dr. Dre’s hip-hop classic “Nuthin’ But a G Thang.” In 1980, he released the irresistible dance track “Don’t Push It Don’t Force It,” which reached #2 on Billboard’s R&B singles chart. And he wrote and produced Carl Carlton’s Grammy-nominated hit “She's a Bad Mama Jama (She's Built, She's Stacked)," released in 1981. Haywood was also responsible for many other great recordings. He passed away on April 5, 2016, at age 74 and will forever be remembered for his significant contributions to soul and funk music.
I was unable to find any additional information about the Soul Machine, such as the names of the members and the exact year that the band was formed, or any of their other releases.
The Jackson 5 released the electrifying single “Dancing Machine” in February 1974. The track quickly dominated the R&B and pop charts and filled countless dance floors across the U.S. It was the group’s final top ten hit on the Billboard Hot 100 under Motown before they left the label in 1976 to sign with Epic Records, rebranding themselves the Jacksons. (Jermaine Jackson was then married to Hazel Gordy, daughter of Motown founder Barry Gordy, and was the only member to remain with the famous Motor City label, where he enjoyed a successful solo career and later with Arista Records in the '80s.)
“Dancing Machine” is exciting, high-adrenaline disco-funk. The dynamic groove is masterfully arranged and features supertight musicianship from the talented session players. It boasts a scorching beat, superb bass work, and wicked rhythm guitar licks. Michael Jackson and Jermaine both deliver strong vocal performances. Jermaine’s rich, butter-smooth vocals provide a nice contrast to Michael's gritty, explosive vocals. The track also features a fantastic instrumental break and an indelible chorus. The other Jackson brothers–Tito, Jackie, and Marlon–provide sturdy vocal support with their soulful harmonies.
The Jackson 5’s producer Hal Davis came up with the song idea for “Dancing Machine” after a woman on the Motown staff would regularly come into his office and dance whenever he played music. He told fellow label songwriter Don Fletcher, “She’s a dancing machine.” Working from this title, Davis and Fletcher wrote the song with guitarist Dean Parks. The song was originally an album track on the Jackson 5’s eighth studio album G.I.T.: Get It Together, released in September 1973. A remixed, edited version of the song was released as a single on February 19, 1974. It topped Billboard’s R&B singles chart and peaked at #2 on the Billboard Hot 100. It was the group’s first U.S. top ten hit on the pop charts since “Sugar Daddy” in 1971. The song also performed well on the charts in Canada, peaking at #2. The remixed version of “Dancing Machine” became the title track of the Jackson 5’s ninth studio album, released on September 5, 1974.
“Dancing Machine” is widely considered a classic and one of the group’s most recognized songs. It has sold more than three million copies to date. The song also earned the Jackson 5 their second Grammy nomination in 1975 for Best R&B Performance by a Duo or Group With Vocals, but it lost to Rufus’s hit “Tell Me Something Good.”
During live performances of “Dancing Machine,” Michael Jackson would unleash his incredible robot dance solo on the instrumental break, astonishing audience members with his flawless moves. His eye-popping robot solo let everyone know that his dance skills were just as strong as his tremendous vocal abilities. Moreover, the dance break helped further popularize the physically complex “robot” dance technique, first developed by Charles Washington in the late 1960s; however, its roots date back to the 1920s, when it was used theatrically in miming.
“Dancing Machine” has been sampled on 33 songs, including “Bitties in the BK Lounge” (De La Soul), “Automatic” (E-40, featuring Fabolous), and “Like This” (Girl Talk).
The song has been featured on many film soundtracks, including Homecoming: A Film by Beyoncé (2019), Michael Jackson’s Journey from Motown to Off The Wall (2016), Four Brothers (2005), Starsky & Hutch (2004), Contact (1997), The Inkwell (1994), and I’m Gonna Git You Sucka (1988). It has also been featured on numerous TV series, including Glastonbury 2017, The Jacksons: An American Dream (season 1, episode 2, part II, 1992), In Living Color (season 3, episode 21, 1992), Quantum Leap (season 1, episode 4, 1989), and Diff’rent Strokes (season 1, episode 18, 1979). Additionally, the song was featured on the soundtrack of the video game Karaoke Revolution (2009).
The session musicians who played on “Dancing Machine” were William Salter (bass), James Gadson (drums), Joe Sample (keyboards), Bobbye Hall (percussion), and guitars: Dean Parks, David T. Walker, and Arthur Wright. It was produced by Hal Davis and arranged by Arthur Wright.
Longer version of "Dancing Machine"
The Jackson 5 performing "Dancing Machine" on The Carol Burnett Show in March 1974
The Jackson 5 performing "Dancing Machine" on The Sonny & Cher Comedy Hour in January 1974
Funk music's notorious bad boy, Rick James, dropped this ruthless groove in 1983. The track features a stripped-down, synth-heavy sound with Roland TR-series drum machine beats. This was quite a departure from James’s typical guitar-based tracks that feature a full horn section and real drums. “Cold Blooded” boasts a vicious bass line, fiery synth blasts, and funky keys. And James delivers a rousing vocal performance. This furious slice of electrofunk still hits hard after repeated plays.
The song is about actress Linda Blair, star of the iconic horror classic The Exorcist, whom James dated for two years (1982 - 84). She became pregnant with his baby but decided to have an abortion. Blair didn't inform James about the pregnancy until after the procedure. He was reportedly hurt by the decision. James wrote in his memoir, “It was about how Linda could freeze my blood.” The song’s genesis came about when Blair told James she was interested in learning about writing music. He brought her into his recording studio to give her a firsthand look at the recording process. He began noodling around on some keyboards and came up with the bass line, and the song just grew from there.
James wrote, produced, and arranged “Cold Blooded” as well as played all the instruments. It was the title track of his seventh studio album, released on Gordy Records, a subsidiary of Motown Records. The song dropped on July 5, 1983. It was a major hit, occupying the top spot on Billboard’s R&B singles chart for six weeks. It peaked at #40 on the Billboard Hot 100 and climbed to #17 on Billboard’s dance chart.
“Cold Blooded” has been sampled on 16 songs, including “Got Your Money” (Ol’ Dirty Bastard, featuring Kelis), “Sophisticated Lady” (Mýa), and “Fantasy” (Yo-Yo). It has been featured on the TV series Atlanta (season 4, episode 2, 2022) and Fame (season 1, episode 2, 1982, and season 3, episode 11, 1984). It was also featured on the soundtrack of the BAFTA Award-winning action-adventure game Grand Theft Auto: San Andreas (2004).
Rick James & The Stone City Band performing "Cold Blooded" live in Cincinnati in 1983
Another clip of Rick & The Stone City Band performing "Cold Blooded" in concert
Billy Preston lit up the airwaves and delighted countless music lovers with his feel-good hit “Nothing From Nothing” in 1974. The track is an exhilarating blend of soul, pop, gospel, and funk with a dash of ragtime. It has a rip-roaring intro, with the horn section kicking things off with a sideshow blast that leads into some foot-stompin' gospel piano. Preston’s charisma is off the charts, infusing his vocals with tons of soul and infectious joy. The spirited groove features jaunty horn lines, old-timey banjos, and swingin’ saloon-style piano.
Preston began writing “Nothing From Nothing” in a dressing room at an Atlanta venue where he was performing. He wanted to write a song based on the saying “nothing from nothing,” a variation of the line “When you ain’t got nothing, you got nothing to lose,” from Bob Dylan’s classic “Like a Rolling Stone.” He brought the song idea to his long-time songwriting partner, Bruce Fisher, who wrote the second verse. Preston also produced the song. In an old interview, he said, “The saloon piano gave it character, and I had a feeling it would be a hit because it was a sing-along kind of thing.”
The song’s narrator informs a prospective romantic partner that they need to bring something substantial to the table if they’re going to have a future together: “Nothin’ from nothin’ leaves nothin’ / You gotta have somethin’ if you want to be with me.” However, taken in a broader context, the song has a more universal meaning: In most things in life, one has to contribute something to receive something in return. Preston once explained that the song was about self-reliance, and that effort and contribution are necessary to gain anything worthwhile.
Preston and Fisher show their usual flair for clever, humorous wordplay, i.e., “I’m not trying to be your highness/’Cause that minus is too low to see.”
“Nothing From Nothing” was a single from Preston’s ninth studio album, The Kids & Me (1974). The song was released on August 5, 1974. It topped the Billboard Hot 100 and peaked at #8 on Billboard’s R&B singles chart. It climbed to #5 on the singles chart in Canada and peaked at #60 on the charts in Australia. The single has sold over a million copies and garnered Preston a Grammy nomination for Best Pop Vocal Performance, Male. “Nothing from Nothing” was Preston’s second number one on the Billboard Hot 100. His first was “Will It Go Round in Circles,” released in 1972.
Preston performed “Nothing From Nothing” on the inaugural episode of Saturday Night Live on October 11, 1975. The other musical guest was award-winning singer-songwriter Janis Ian. They were the first musical performers on the iconic long-running late-night live sketch comedy variety show. The host of the episode was influential comedy legend George Carlin.
“Nothing From Nothing” has been sampled on 10 songs, including the Beastie Boys’ "Time To Get Ill.” It has been featured on many film soundtracks, including Nutcrackers (2024), Saturday Night (2024), Be Kind Rewind (2008), Elf (2003), and To Die For (1995).
The song was played at the end of the season finale of season 3 of the popular Emmy-winning HBO anthology series The White Lotus. The finale originally aired on April 6, 2025. “Nothing From Nothing” was also featured in the 2024 Apple TV+ animated Peanuts special Snoopy Presents: Welcome Home, Franklin. Other TV series the song has been featured on include South Park, Hacks, and My Name Is Earl.
Additionally, “Nothing From Nothing” was used in all GM-brand commercials in late 2002. And the song was mentioned in James Baldwin’s last novel, Just Above My Head, originally published in 1979. Also, the late rap artist Mac Miller covered the song in August 2018 during a Spotify session in New York City.
The players on “Nothing From Nothing” include Billy Preston (piano, keyboards, vocals), Bobby Watson (bass), Manuel Kellough (drums), Tony Maiden (guitar), Kenneth Luper (keyboards), Al Perkins (banjo), and Joe Walsh (guitar).
Preston performing "Nothing From Nothing" in Japan in 1995. The all-star band included Ringo Starr on drums and John Entwistle of the Who on bass.
Funkadelic released their sixth album, Standing On The Verge of Getting It On, in July 1974. This album marked Eddie Hazel's return after missing in action on the band’s previous album, Cosmic Slop (1973), and only making minimal contributions to the album before that, America Eats Its Young (1972). His break from the Funk Mob was due to his ongoing struggles with drug addiction and alcoholism, personal legal issues, and royalty disputes with George Clinton.
The guitar legend returned with a vengeance. The album not only showcased his phenomenal guitar skills but also his considerable abilities as a songwriter. Hazel co-wrote all the tracks on the album. He used his mother’s name, Grace Cook, as a pseudonym for six of his seven songwriting credits on the album. He did this to avoid potential contractual difficulties with publishing rights in the wake of his legal and financial troubles.
The album kicks off with a badass remake of Parliament’s “Red Hot Mama.” George Clinton opens the song with a freaky double soliloquy featuring his signature off-center humor and clever wordplay. He sounds like a funky mystical prophet delivering a wigged-out sermon from another dimension. This high-powered track features some brilliant guitar work from Hazel and Ron Bykowski. And Hazel and Clinton pack tons of soulful fury into their co-lead vocals. Bernie Worrell's percolating clavinet keeps the funk at maximum level.
The blistering “Alice in My Fantasies” features more fretboard fireworks from Hazel, who’s joined by Bykowski and Garry Shider in a furious unified guitar assault. This is straight balls-to-the-wall psychedelic rock as only Funkadelic could do it. The song goes full throttle and doesn’t let up. Clinton delivers a frenzied vocal performance, sounding like he's right on the edge of a full-on breakdown. The song is about a brazen, self-described “freak” who’s willing to perform all sorts of wild sexual acts for Clinton’s benefit.
“I’ll Stay” is an inspired reworking of the Parliaments’ “I’ll Wait.” The somber, finely crafted soul ballad features a strong vocal performance from Shider. And the mesmerizing background harmonies evoke the band’s early doo-wop days. The track also boasts exquisite guitar work from Bykowski and Hazel.
The title track, “Standing On The Verge of Getting It On,” is an electrifying fusion of funk and rock. If someone were looking for a quintessential example of funk-rock, this song would be it. There is an urgency about this rousing groove anthem, and the energy is palpable. The band is on fire, bringing equal shares of high-voltage rock and uncut funk to the mix. The song boasts a powerful call-and-response chorus that's elevated by Shider’s soul-stirring lead vocals. It explores themes of freedom and identity, and urges the listener to keep an open mind when it comes to the band’s innovative sound.
George Clinton’s wicked sense of humor surfaces on the Frank Zappa-esque “Jimmy’s Got a Little Bit of Bitch in Him.” It’s a humorous song about a gay friend. The song has a surprisingly empathetic gay-friendly sentiment, albeit delivered in Clinton’s typical ribald fashion. This track openly acknowledges the LGBTQ+ community, a subject that most music artists avoided at the time. Musically, the song has a unique arrangement with some rockin' piano and sweet guitar licks.
The meditative “Good Thoughts, Bad Thoughts” takes listeners on a deep, intoxicating sonic journey. Hazel’s playing is simply sublime. He makes his guitar shimmer on this majestic track. At the song's midpoint, Clinton delivers a philosophical and inspirational soliloquy. It’s about how the power of thought can significantly shape one’s reality and influence their life experiences; it suggests that negative thoughts can bring about negative outcomes, and positive thoughts can lead to positive outcomes. The song is reminiscent of “Maggot Brain” in structure and tone.
“Sexy Ways” is an irresistible funk groove. The track features some great bass work from Cordell “Boogie” Mosson, and Shider delivers a smooth, soulful vocal performance. Hazel adds additional flavor to the track with his superb guitar playing.
Standing On the Verge Of Getting It On is a highly impressive effort. The album showed the band members' continued growth as musicians. And it provided a great showcase for Hazel’s return to the Funkadelic fold. He displayed the full range of his talents on this album as a songwriter, musician, and vocalist.
The album was produced by Clinton and released on the Westbound Records label. Music critics gave the album high marks, and Rolling Stone magazine ranked it #10 on its 25 Greatest Parliament-Funkadelic Albums list. Also, the popular rock music site, Ultimate Classic Rock, ranked the album #12 on its Top 25 Funk Albums That Shaped a Musical Movement.
The collection performed well on Billboard’s R&B album chart, peaking at #13. However, it only managed to reach #163 on the Billboard 200 album chart.
The title track, “Standing On The Verge Of Getting It On,” had a solid performance on Billboard’s R&B singles chart, peaking at #27. And “Red Hot Mama” climbed to #73 on that chart.
The full personnel for Standing On The Verge Of Getting It On was Bernie Worrell (keyboards, vocals), Eddie Hazel (lead guitar, vocals), George Clinton (vocals, production), Cordell “Boogie” Mosson (bass, vocals), Garry Shider (rhythm and lead guitar, vocals), Ramon “Tiki” Fulwood (percussion and vocals), Ron Bykowski (lead and rhythm guitar), Fuzzy Haskins (vocals), Gary Bronson (drums), Calvin Simon (tenor vocals, congas), Tyrone Lampkin (percussion), Leon Patillo (piano), “Shady” Grady Thomas (vocals), Ray “Stingray” Davis (bass vocals), and Jimi Calhoun (bass). Clinton and Hazel contributed to the writing of all seven of the album's tracks. Bernie Worrell has a single songwriting credit for "Red Hot Mama."
The album’s incredible cover art was created by the late, great Pedro Bell.
Groundbreaking singer, songwriter, producer, and multi-instrumentalist Sly Stone died on Monday, June 9, following a prolonged battle with COPD (chronic obstructive pulmonary disease) and other underlying health issues. He was 82.
Sly was a true music visionary whose extraordinary gifts elevated him to superstardom. The funk pioneer was a key progenitor of psychedelic soul and the guiding force of Sly & The Family Stone, one of the most innovative and influential bands of the 20th century. Their sound was a dynamic fusion of rock, soul, gospel, pop, blues, and psychedelia. The band released some incredible music from the mid-'60s through the early ‘70s. And their shows were thrilling, transformative experiences for audiences.
In honor of Sly, I’ve made up a list of my seven favorite Sly & The Family Stone tracks. Here’s the list in no particular order.
Dance To The Medley (1968)
Sly displayed his exceptional songwriting, production, and arrangement abilities on this exhilarating sonic odyssey. It’s broken into three sections, each one more amazing than the last. The track is a musical tour de force, featuring dizzying arrangements and impeccable musicianship from the band. It’s pure groove invention as only Sly & The Family Stone could do it.
Sly & The Family Stone blew the minds of music lovers everywhere with this innovative funk classic. Larry Graham introduced his famous slap-and-pop bass technique on this groundbreaking groove. The syncopation is insane, and the arrangement is next-level. This track set off a new era in funk music and inspired countless bassists to start thumpin’ and pluckin’.
This majestic psychedelic-soul ballad showcases the band’s deep vocal talent. Sly, Freddie Stone, Larry Graham, and Rose Stone all deliver fantastic vocal performances. This is such a beautiful song, but sadly, underappreciated. Its message of equality and recognizing the inherent value of every individual still resonates today.
The funk level on this explosive track is off the charts. It’s pure fire from start to finish, featuring a superb arrangement. It’s one of the band’s signature songs, and they never failed to get audience members on their feet whenever they performed it live.
This powerful plea for racial unity and peace is the perfect blend of soul, gospel, and pop. It showcases Sly’s remarkable ability to skillfully fuse genres. The song is brilliantly constructed and features a soul-stirring chorus. It’s one of the band’s biggest hits and is a timeless classic.
This track is an absolute gem. It’s beautifully arranged and performed and features a magnificent bass line. This bittersweet track has a soothing, soulful quality. There’s a hint of weariness in Sly’s impassioned vocals. It was one of his finest vocal performances–understated yet powerful. This sensational track stands up well after repeated plays.
Sly counts his blessings on this introspective song. He expresses gratitude that he was able to overcome the destructive elements in his life, and he feels blessed that he has the opportunity to learn and grow from his mistakes. This is one of Sly’s most openly spiritual tracks, and his religious upbringing is apparent. Musically, the track is a great example of the band’s stripped-down post-Riot sound. It features a marvelous horn arrangement, cool wah-wah guitar licks, and some haunting funk-box beats (courtesy of the Maestro Rhythm King).
