Highway To Hell Ac Dc

By 1979 the AC/DC group had already released several studio albums and conducted frequent and exhausting tours in their support. The reason for the title of the song was an interview in which the journalist asked the group about their tour life. Young is depicted with the horns and tail of the devil, which together with the name gave rise to rumors about the band's satanic inclinations.

The song was written jointly by the brothers Angus and Malcolm Yang and singer Bon Scott. Malcolm Young came up with a basic guitar riff, which became one of the most recognizable in rock music. "Highway to Hell" is the opening track of AC/DC's 1979 album Highway to Hell. The song was written by Angus Young, Malcolm Young and Bon Scott, with Angus Young credited for writing the guitar riff which became an instant classic. AC/DC had made several studio albums before and were constantly promoting them via a grueling tour schedule, referred to by Angus Young as being on a highway to hell.

In January 2018, as part of Triple M's "Ozzest 100", the 'most Australian' songs of all time, "Highway to Hell" was ranked number 40. Of course, Highway to Hell is the final album AC/DC recorded with Bon Scott, the lead singer who provided the group with a fair share of its signature sleaze. Just months after its release, Scott literally partied himself to death after a night of drinking, a rock & roll fatality that took no imagination to predict. In light of his passing, it's hard not to see Highway to Hell as a last testament of sorts, being that it was his last work and all, and if Scott was going to go out in a blaze of glory, this certainly was the way to do it.

This is a veritable rogue's gallery of deviance, from cheerfully clumsy sex talk and drinking anthems to general outlandish behavior. After all, it wasn't just Scott who reached a new peak on Highway to Hell; so did the Young brothers, crafting their monster riffs into full-fledged, undeniable songs. Filtered through Mutt's mixing board, AC/DC has never sounded so enormous, and they've never had such great songs, and they had never delivered an album as singularly bone-crunching or classic as this until now. It was the band's fifth studio album released internationally and the sixth to be released in Australia. It was the last album featuring lead singer Bon Scott, who would die early the following year on 19 February 1980. AC/DC had been creating album after album of pulverizing rock 'n' roll for much of the '70s when they released Highway to Hell.

If those albums were the sound of them pillaging the club scene, this was where they stormed the gates of the arena. A new producer, Robert "Mutt" Lange, was brought on board to help clean up some of the grime on those riffs, shape the new tunes into more compact forms, and create choruses that hit even harder. "Highway to Hell", "Girls Got Rhythm", "If You Want Blood (You've Got It)". These are songs that defined the way heavy metal and hard rock would be played for decades to come. This multi-platinum album ensured that the name AC/DC would be scrawled on every teenager's desk for the foreseeable future. The album opens with the theme song "Highway to Hell" and one of the greatest riffs of all time.

Although this eternal anthem is written in the names of Angus Young, Malcolm Young and Bon Scott, the immortal riff was created by Angus Young. According to the prevailing version, the title of the song came from the nickname that Angus gave to the US tour. The song talks about the hard and arduous life on the roads and the sacrifice of the band members in the struggle for glory, which is similar to a "highway to hell".

This is the first AC/DC song to hit the charts in the United States and it has undoubtedly contributed greatly to the success of the entire album and the band's penetration into consciousness in the United States and around the world. The song was written by Bon Scott, Angus Young and Malcolm Young while the main guitar riff was created by Angus Young. The track has become one of the most famous songs in rock history.

AC/DC had made several studio albums before and was constantly supporting them by going on a grueling tour schedule. In 2009, "Highway to Hell", won the 'Most Played Australian Work Overseas' category at the Australasian Performing Right Association Awards. You know it, you love it and you've likely sung it in the shower. "You Shook Me All Night Long" is one of the most magical hard rock songs ever because of its ability to appeal to picky hard rock fans AND those with softer sensibilities.

Of course, its lyric-packed appeal was almost jeopardized when producer Mutt Lange told Brian Johnson to space out the lyric and slow down the delivery. Johnson would later say in an interview that he did record a version of the track per Lange's suggestions, but as soon as Malcolm Young heard it, he was not having it. "I did it like that, and then Mal heard it and said, 'What the f--- is this?! We should all be grateful that Malcolm Young lost it in that moment. Three weeks into the recording session with Kramer and the band did not write a single song. They asked Kramer for a day off with the intention of getting him not to come to the studio.

That day they snuck into the studio and without Kramer's knowledge recorded six songs. They secretly sent these songs to Matt Lang and asked him to agree to work with them. Lang was ready of course, and already at this point in time history was made, as this meteoric encounter between him and the band was about to revolutionize the world of music.

Music video"Highway to Hell" on YouTube"Highway to Hell" is a song by Australian rock band AC/DC. I can tell you that if I play the chords I've found on all the tabs I've found out there which have the main riff as an A then a D w/F# base then a G that it sounds AWFUL if I don't tune down but sounds pretty close tuned 1/2 step down. Tuning down 1/2 step doesn't quite sound right - I think it's somewhere in between.

This is the same guitar and setup btw that I play Back in Black on in standard tuning and sounds right on. Do a search on yahoo or google on "AC/DC highway to hell tuned down" or "AC/DC T.N.T. tuned down" and you'll find lots of hits. With the July 27 release of Highway to Hell in 1979, AC/DC reached new heights of stardom.

Replacing the Young brothers' older sibling George in favor of a young Robert John "Mutt" Lange behind the boards, the band utilized their new producer's high definition style to their utmost advantage. Kicking off with its pounding title track, Highway was ready-made for American kids already all hopped up on KISS, the Ramones and Cheap Trick. The album "Highway To Hell" brought the band dizzying success and international recognition. This is the band's first album to hit the charts in the United States and is also the band's second best-selling album, after Back In Black. The album has garnered excellent reviews almost universally and is considered one of the greatest hard rock albums ever made. Moreover, the album is ranked 200th and most respected in the list of the 500 greatest albums of all time .

The song "Touch to Much" was played on the BBC music program "Top of the Popes" just 12 days before Bon Scott's death. The song was previously recorded by the band with other lyrics, but did not get included on any album. The first version of the song with the alternative lyrics can be found in the excellent box "Bonfire", which was released in 1997. By the way, a comparison between the two different versions proves as a thousand witnesses the greatness of Matt Lang and the tremendous change his production brought about in the band. Before Axl Rose joined the band during the 2016 tour he declared it to be his favorite song in the AC/DC catalog.

In the third track, "Walk All Over You", a song about sex, we slow down a bit, but do not worry - it's just to get you in the mood. Bon Scott proves here again why he was one of Rock's great singers, while Angus does what he does best - bringing out from the guitar sounds that play ping pong in our gut. AC/DC had made several studio albums before and were constantly promoting them via a grueling tour schedule, referred to by Angus Young as being on a highway to hell, hence the name. The song is used as the official theme for WWE Friday Night SmackDown Live on MyNetworkTV.

As far as riffs go, they don't get more iconic than the opening of "Back In Black." Whether you're playing an actual guitar or an air guitar, plenty of people have rocked out to that riff for 40 years, and there's no sign of stopping. "Black In Black" is another track utilized to pay tribute to the late Bon Scott. As mainstream rock softened in 1978, the Australian band AC/DC was nudged by its record label to follow the trend on its next album. The title song and FM airplay drove the album to No. 17 on Billboard's chart. Highway to Hell is a song released as the lead single from the Australian rock band AC/DC from the self-titled album released in 1979.

The next track, "Get It Hot", is a classic rock 'n' roll piece - another song about parties, entertainment, alcohol, in short "heavyweight" topics that Bon Scott used to write about. The guitars and bass in this song are tuned down by half a tone. While "Get It Hot" is a fun song about partying and getting some, there are better songs about partying and getting some on the album. However, "Nobody's playing Manilow/Nobody's playing soul/And no one's playing hard to get/Just a good old rock 'n' roll" are undeniably cool lyrics. Released in 1979, AC/DC's Highway To Hell was the infamous last album recorded with singer Bon Scott, who died of alcohol poisoning in London in February of 1980. Officially chalked up to "Death by Misadventure," Scott's demise has forever secured the album's reputation as a partying primer and a bible for lethal behavior, branding the album with the fun chaos of alcoholic excess and its flip side, early death.

The best songs on Highway To Hell achieve Sonic Platonism, translating rock & roll's transcendent ideals in stomping, dual-guitar and eighth-note bass riffing, a Paleolithic drum bed, and insanely, recklessly odd but fun vocals. Sadly, Highway was the last AC/DC LP with Scott, who died the following February of alcohol poisoning. So conclusively we can say that his song is about the lifestyle of the singer. He recognizes that the end of the road he is on leads to hell.

That is to say that he is clearly enjoying the freedom and fun that are part and parcel of being on the "highway to hell". He therefore has no intention of altering his course or the momentum he has already gained. Another theory is that the song is based on physical locations, as in highways, that are situated in AC/DC's native Australia. There was one stretch of road in particular, the Canning Highway, which Bon Scott is said to have dubbed the "highway to hell" due to the fact that certain characteristics of it attributed to many fatal motor accidents.

Moreover at the end of this road was a bar called The Raffles which Bon was known to frequent as a place to hang out with his buddies. And likewise, the lyrics of the song state that his destination is a "party" with his "friends". The song that seals the album, "Night Prowler", is the third song on the album where the guitars are tuned down by half a tone. The song opens with two quick breaths by Scott that apparently aim to put the listener in an atmosphere of fear. A slow and classic blues song whose name is associated with serial killer Richard Ramirez, nicknamed "Night Stalker" and was a fan of the band and of this song in particular. In one of his murders, Ramirez wore an AC/DC shirt and a band hat and even left the hat in the scene.

Conservatives in the United States have called for a boycott of their songs, but as you know it didn't really help. The section that seals the first side of the vinyl, "Beating Around the Bush", opens with a guitar riff that is a kind of tribute to Peter Green. The guitar line at the opening of the song sounds just like the guitar line in Fleetwood Mac's "Oh Well" song. Here it is worth noting that most of the songs on the album deal with themes of lust, sex and entertainment and this particular song is all dripping with sex.

In 1977 AC/DC came to tour in America and without help from the radio stations, began to build their audience from the bottom up, with a lot of hard work on the road and in live shows. Perhaps the album's most infamous song is "Night Prowler", mainly due to its association with serial killer Richard Ramírez. In June 1985, a highly publicised murder case began, revolving around Ramírez, who was responsible for brutal killings in Los Angeles. Nicknamed the "Night Stalker", Ramírez was a fan of AC/DC, particularly "Night Prowler". Police also claimed that Ramirez left an AC/DC hat at one of the crime scenes.

During the trial, Ramírez said "Hail Satan" and showed off the pentagram drawn on his palm with the numbers 666 below it. This brought extremely bad publicity to AC/DC, whose concerts and albums faced protests by parents in Los Angeles. The final words spoken by Scott on the song are "Shazbot, na-nu na-nu", phrases from the popular American sitcom, Mork and Mindy, by lead character Mork . Nevertheless, this and other songs brought AC/DC its first million-copy-selling album, and sent Highway to Hell to No. 17 on the charts. Scott would be found dead in the back of a friend's car just over six months later. Also it has been discovered that while recording Angus and Malcolm Young tuned their guitars down a quarter step.

Sure, it might seem like an obvious choice, but it really is the right choice to top this list. As soon as those first three gritty notes rattle off in the intro, it's nearly impossible to turn away from this song and, by extension, the entire album. An ode to the rigors of tour life, "Highway to Hell" was practically a classic out the gate with its undeniable riffs, sing-song chorus and overall tough-as-nails attitude. AC/DC is all about lust, but they were as visceral as any punk band of the day, and "If You Want Blood (You've Got It)" is the proof. The track is famously used in the1995 film Empire Recordsthat served as equal parts anger release and record store employee jam session. If you're looking for the perfect song to blare with the windows down after a rough day at work, you've got the song you're looking for right here.

Springsteen and the E Street Band developed quite a penchant for the song during the E Street band's "High Hopes" tour of 2014. It started in February of that year when the band debuted their version of it Feb. 8 in Perth, Australia, the hometown of the band's late lead singer Bon Scott. No stop signs or speed limit — nobody was going to slow down Perth as more than 150,000 people turned out to pay tribute to a legendary Australian rock band. This song, which was published by Albert Productions, was originally released as the lead single from AC/DC's album of the same name on 27 July 1979. Since then it has been featured on a number of their live albums.

A good musician who'd played in a band in South Africa, he got Angus to sit next to him while he showed him how to structure the guitar solo of the title track. The song "Love Hungry Man" is another song where the guitars and bass are tuned down by half a tone. Angus claimed it was the song he was least proud of on the album and that he probably wrote it after a night of bad pizza. Not a bad song at all, with excellent bass work by Cliff Williams, great solos and beauty of background vocals courtesy of producer Matt Lang. One of the turning points in the band's attitude towards Lang was in the recording of the song "If You Want Blood". Bon Scott came up with the lyrics and it was obvious he was really struggling with the song.

Lang told Scott that he must learn to control his breathing, but Bon Scott did not accept this with understanding and replied to Lang that if he thought he was so good then he would do it himself. Without any hesitation, Lang grabbed the microphone and gave an amazing vocal performance, leaving the band members speechless. From that moment on, the band learned to appreciate Lang even more.

Lang taught Bon Scott how to breathe during singing to become a technically better singer. Moreover, once he felt that Bon Scott's singing was good enough he accompanied him with background vocals, something the band had not done before. It was a small but amazing addition to the band's sound and most importantly - it did not damage its DNA and was therefore welcomed among AC/DC members.

The album "Highway To Hell" is the first album the band has recorded outside of Australia. The recordings began in March 1979 at Roundhouse Studios in north London and lasted about three months, mainly because of Lang's perfectionism. Lang was a very meticulous producer who did not give up on the band and spurred it to achieve excellence.

Songs were performed over and over again and recorded time and time again until Lang was satisfied with the result. The band sometimes worked 15 hours straight for over two months, which they was not used to as all of their previous albums were recorded in no more than three weeks. An un-stretched snare drum, over-stretched guitar string or even improper breathing during singing were immediately fixed. Lang's way of working was not easy for the band, but they learned to appreciate Lang and his pursuit of excellence. There were rumors that Axl Rose was going to record a new album with Angus, but last year Brian Johnson, Cliff Williams and Phil Rudd were photographed near Warehouse Studio in Vancouver, where the group recorded their last three albums. There are widespread rumors that the group has reformed for another album and tour, but the band has yet to confirm any plans.

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Bootsy Collins Music To Smile By

The brewmasters at Fretboard wanted to create a recipe that captures the bright and colorful aspects of Bootsy's character. I played guitar when I first got started because of my brother, Catfish. So the opportunity came where he needed a bass player. It's like you don't even have a bass. I said well, if you give me four strings - if you can get me four strings, I will have a bass. And I made a bass out of that guitar and that same bass that I played with him that night was the same bass that I played the way up until we got with James Brown.

That's funk making something out of nothing. We too often forget that beneath all those crazy hats and glasses and silver skulls is one of the most revered, singular bass players in the history of rock music, the signature bounce you hear chugging along beneath James Brown, George Clinton, and so many of your favorite funk and soul hits. Collins is also one of our last remaining links to the heyday of Cincinnati's legendary King Records, a living, first-hand encyclopedia on the local studio that helped birth rock and roll. Both are legacies he's intent to keep grooving, in the city they both call home.

Finally a live album from Bootsy (a two-CD set, actually), but it doesn't do justice to his actual outer-space show. Too many classic tunes are reduced to brief summaries ("Bootzilla," "Pinocchio Theory"), while many of the longer grooves just get repetitive ("P-Funk "). Most of the highlights of his live show - the goofy poses, the costumes, the extended romp through the audience ("Touch Somebody") - don't come across on disc, though his bass playing does (the solo feature "I'd Rather Be With You"). Bernie also gets a chance in the spotlight ("Bernie Solo"); the rest of the backing band doesn't. The only recent tunes are the Hazel tribute "A Sacred Place" from Blasters, and the tossoff title track.

Fun while you're waiting for him to come to your town, but no replacement for the real thing. These days Collins has an ambassadorial air. He guests with big names, most recently Snoop Dogg and his live band, who are eager for a dash of his vintage, unquenchable sparkle. He has his online Funk University and campaigns to get musical instruments into the hands of disadvantaged kids. He clearly longs to see some musicianship, some bands, spring from young black America. "I came up playing with people," he says.

"We depended on each other and that encouraged unity, togetherness. We learned to play with what we had – that's what funk is." Before Bootsy Collins helped usher in the era of funk, he played bass for James Brown and George Clinton's Parliament Funkadelic. Now he's back with a new album called "Tha Funk Capital of The World." Collins blends hip-hop, spoken word and Latin flavor with the classic soul and funk for which he is known. Bootsy Collins Brings Back The Funk Before Bootsy Collins helped usher in the era of funk, he played bass for James Brown and George Clinton's Parliament Funkadelic. "I've never really been concerned about what others thought about me or my music, as long as it made you feel good & sexy, like them old house parties, sharing a coke and a smile while doing a bump and grind," Bootsy explains in a press release.

Bootsy's music and life are all about creating unity in the community, "but not necessarily the same old community." He has never stopped generating new energy among new musical associates, andWorld Wide Funkis the latest example of his Promethean powers. It blends classic Bootsy,Analog("aka the veteran artist"), andSlingshots("aka the youngins") into the silly serious world of Bootsy, with results that will extend far beyond the confines of our galaxy. Because we've been torn down so much, it's like we don't even believe in ourselves no more. Funk is that driving force that you know is there when ain't nobody else there, and you can create the things you need. Phelps Catfish Collins, who was eight years older than I and I looked up to him because I didn't have a father in the home, so my brother was very important to me.

And he played guitar, so that's what I wanted to be. I wanted to be a guitar player, so he was the first one to inspire me to do something with my life and I'm so glad that he was there. P-Funk defined the dance music of its time and influenced a range of styles from hard rock to house music. The P-Funk catalog is among the most sampled by rap music producers. Parliament-Funkadelic was inducted into the Rock and Roll Hall of Fame in 1997 and received a Grammy Award for lifetime achievement in 2019. By the late 1970s, Collins was a huge star with his own side-project, Bootsy's Rubber Band.

Funkadelic were creating hit records, and everyone was making serious money. "He started getting pussy and having a good time, and that killed the magic. He was the bad guy and I was the good guy – that was our power, but it became showbiz. Then that powder came into play. If LSD brought us together, cocaine surely split us up." While still in his early teens, Collins joined his brother's band, the Pacemakers. They would hang out and play at Cincinnati's King Records, which began as a specialist country label in the early 1940s and, thanks to James Brown was, by the mid-60s, the sixth biggest label in America.

Brown had a seriously fractious relationship with his band, the Famous Flames and one night they upped and left him en masse. The next day the Pacemakers – who'd recently cut a demo called, rather wonderfully, More Mess on My Thing – were put on a private plane to Columbus, Georgia, and told they were Brown's new band. Collins was just 17 and would spend most of the next year touring as part of what was then, arguably, the greatest band in the world, while making records such as Get Up Sex Machine and Soul Power that, 40 years later, have lost not one drop of their of their kinetic energy. Collins's ranch, Bootzilla, is large enough (it's set in 22 acres of Ohio woodland, half an hour outside Cincinnati) to warrant its own Google Maps tag – there's another house beyond the lake where his mother used to live.

It's a fantastically peaceful place, not far from the feet of the Appalachians. There is an abundance of wood panelling and leopard skin, very softly lit. Every inch of wall space is covered with gold and platinum discs, framed photos and more. In the basement there's a studio, with vocal booths, drum corner, the lot. Old stage costumes, antediluvian synthesisers, ancient drum machines, a neon "Bates Motel" sign, a framed Funkadelic flag, a Ray Charles figurine, a Black History Month boardgame, faux road signs ("Danger! Mothership Parking Only") and a purple velvet bag inscribed with the words "I Believe".

You have no concept of what "stuff" can encompass until you've seen Bootsy Collins's. Most strikingly, everywhere you look, there is Jimi Hendrix memorabilia – rugs, posters, photographs, and a picture disc of Jimi posing between two topless young women. My brother was number one Phelps "Catfish" Collins, who was eight years older than I. And I looked up to him because there was - I didn't have a father in the home. So my brother was very important to me.

So he was the first one to inspire me to do something with my life. Musically, Collins is still uncovering the many ways King Records imprinted itself on his sonic DNA, regardless of what he was wearing or who he was playing with. That same force was still grooving on last year's World Wide Funk, with touches of funk, rock, R&B, soul, bluesy country, and hip-hop. After cozying up to Ballard and his band, the Midnighters, the Collins brothers also befriended King producer Charles Spurling, who helped them gain regular entree to the studio. They started hanging with members of James Brown's band during extended smoke breaks.

"To us it was like Disney World," says Collins. Looking around his own home studio, dubbed "The Ark"—with paintings of Michael Jackson, John Lennon, Prince, Alice Cooper, Bob Dylan, Jim Morrison, and many more of Bootsy's music heroes adorning the walls—Collins figures the King studio was roughly the same size, maybe even a bit smaller. Though the racial integration of staff and artists was a rarity at the time, Collins says he never thought about it that way back then, only realizing how golden his opportunity was once he left town and saw the world. I always got off with making people feel good, playing this music so you can groove, make you feel good. I think it had something to do with the time we came up and the hippie days. We're not really used to this lockdown thing — and separation.

Everybody got their own room, everybody got their own phone. I mean we were blessed to have a phone in the house! And everybody's got their own everything now and you can carry it in your hand! So, it's a different day, and you have to either grow with it and learn how to accept it, embrace it, or else you become a dinosaur. And I refuse to be a dinosaur, because I'm here to grow, to keep learning.

Funk legendBootsy Collinsrecently announced a new albumWorld Wide Funk, due out Oct 27th. Marking the bassist's first album since 2011'sTha Funk Capital of the World, the upcomingWorld Wide Funkis populated with musical friends old and new, and recorded in his Cincinnati home's Bootzilla Re-hab studio. Today, he shares the third ad final single from the record "Hot Saucer," featuring Musiq Soulchild & Big Daddy Kane. In true collaboration fashion, Bootsy was given the naming rights. With such a recognizable moniker, we stuck to our guns on the name – but the fun curve ball came with the beer style.

Rather than calling this beer a Brut IPA, we are marketing it as a 'Brewski' IPA, named for the mispronunciation of 'Bootsy' by one of his fans while on a trip in Germany years ago. The nickname has stuck with him and always brings a smile to a face that is all smiles. While experimenting with this recipe, Fretboard submitted it in the U.S. Open Beer Championship in which it took home Gold in the Brut IPA category! This news only made both sides of the collaboration even more excited to release a beer that everyone will love.

As with our 100 Greatest Drummers list, this rundown of the 50 greatest bassists of all time celebrates that entire spectrum. It's emphatically not intended as a ranking of objective skill; nor does it assign any one set of criteria as a measure of greatness. Instead it's an inventory of the bassists who have had the most direct and visible impact on creating, to borrow Kaye's term, the very foundation of popular music — from rock to funk to country to R&B to disco to hip-hop, and beyond — during the past half-century or so.

You'll find obvious virtuosos here, but also musicians whose more minimal concept of their instrument's role elevated everything that was going on around them. The alternative era brought new heroes on the instrument, from Sonic Youth's intuitive Kim Gordon to Primus' outlandish Les Claypool, and more recently, a fresh crop of bass icons — including Esperanza Spalding and the ubiquitous Thundercat — have placed the low end at the center of their musical universes. The brewing company named the beer a "Brewski" IPA because one of Bootsy's fans in Germany accidentally called him "brewski" instead of "Bootsy." The nickname has stuck with Bootsy and always brings a smile to his face, the company said. "I feel like this is my time to do something good," he says, his heavy jewellery clattering on the table. He reaches me on a metaphysical level," says Elliott Ruther, president of the nonprofit Cincinnati USA Music Heritage Foundation, which he cofounded with Collins and the bassist's wife/manager Patti Collins in 2007 in an effort to prevent the studio from being torn down.

The three have worked alongside former King artists Otis Williams and Philip Paul, as well as a number of prominent Cincinnatians, to push for preservation of the original studio building. Ruther, who considers Bootsy the foundation's "spiritual godfather," still remembers the first time he met Bootsy at City Hall in September 2002 when he was working for then-councilman John Cranley. " my whole outlook on everything I knew about rock and roll," Ruther says. In fact, Collins even has a theme song he wrote for his hometown called "Cincinnati USA," something he remembers just now as it pops into his head after eight years in cold storage. " he belts joyfully, refreshing his memory on his 20-plus-acre rural compound less than an hour outside of downtown.

Sitting on an animal print chair inside the memorabilia-filled home studio where he laid down basic tracks for his most recent solo album, 2017's World Wide Funk, is a man who has forgotten more about our music history than most will ever know—theme song included. The good part about it is, I'm so used to the bad times, I guess you would say. I've experienced that kind of stuff coming up, in my life. It ain't really new, you just have to figure out new ways of dealing with stuff.

But I take the same attitude I've got about everything, and that's go at it with a smile and you can make it through. She was so powerful with her every day dealings. I only wish I had a quarter of the strength that she had. We've been passing, doing so many different gigs together, festivals and all these years. We always talked about getting a chance to hook up some day but we never did.

For me, it was just so exciting because, you know, because he was playing before I was, so he was a hero of mine. I always looked up to him, but never got a chance to really play with him. This was really a privilege for me to get the opportunity to play with the great George Benson who has played with all of the jazz greats. And I thought by doing that it would show people as well that everything can kind of work together if you let it work. However, there are enough beautiful love songs ("Pearl Drops"), danceable grooves ("Shiggy Wiggy"), and whomping bass lines ("Ever Lost Your Lover") to keep you from getting too disappointed. Predictably, the funkiest tracks are the reunions with Bernie Worrell ("Penetration ," "Fresh Outta P ").

Mostly produced by Bootsy, though Mousse T., Boogieman, Tabularasa and Norman Cook all participated. The musicians are mostly Bootsy regulars, though Salsoul veteran Vincent Montanaguests on vibes. For once Bootsy seems unsure of himself, and the album doesn't work up steam, although some songs (the frantic "It's A Musical," the hilarious love song "Sacred Flower") are gems.

The title track, social comment "Fat Cat" and "Mug Push" are silly, all right, but not in a good way. Another excellent effort, with perhaps his most compelling dance number "Bootzilla," an irresistable love song ("Very Yes") and the clever "Hollywood Squares." Plus "Roto-Rooter," which simply defies description. But usually he's just covering territory he'd mapped out on his first two records ("What's The Name Of This Town?"), so you might as well start with them.

The idea of working with a musical icon was the idea of owner, Joe Sierra. It was only right that a music-centric brewery attempt to partner with the biggest name in music that our proud city has ever known. Fretboard will donate a portion of all Bootsy beer sales to the Bootsy Collins Foundation. I said, well, if you give me four strings, if you can get four strings, I will have a bass. And I made a bass out of that guitar. But at the same time, it was like I knew that that wasn't really me.

On this album I got a chance to be me. I got a chance to bring who I wanted, who I felt that people needed to have hope in. We last talked with Bootsy about his latest album, "Tha Funk Capital of the World." On it, he blends what's hot now - hip-hop beats, spoken word, even a little Latin flavor - with the classic soul and funk for which he is known around the world. And Bootsy began our conversation by telling us about the funk-inspired outfit he decided to wear for the interview. They also wanted the beer to hit "hard like a mean Bootsy bass line," which is why they decided to make the alcohol percentage 7 percent. Collins was with Brown's band for only 11 months.

Famously, he left soon after running off stage, hallucinating wildly. It was a state he would grow used to when, after a stint with the Brit-rock- and Sun Ra-influenced House Guests, he joined George Clinton's Funkadelic outfit for their fourth album, America Eats Its Young. Clinton – inspired by the theatrics of Alice Cooper, the power of the MC5 and the apocalyptic religious cult of the Process Church of the Final Judgment – was the flipside to Brown, someone intent on discovering whether great art could be made from chaos, whatever the psychic cost.

In Funkadelic there were no rules, only a desire to experiment more, thrill more, terrify more. Collins's face actually lights up when he talks about the band. I'm just glad to have come up in a time where I know I needed somebody else and I had to talk to somebody else and, you know, it was like the real deal and not the dough, you know. Meaning, I could get in the car and rap to a chick, you know, and, you know, the next thing I know I don't know what's going to be happening but I'm going to give it my, you know, my full funk, funkability, you know, and whatever happens happens. "Bootsy has the DNA of being the peacemaker, of being the true light to our land, to our society," Patti says.

She points out how her husband would leave to work for months at a time over the years but always come back, come home. Still bringing the funk, even tapping fresh local talent like spoken word/activist troop BlvckSeeds to appear on his new record. Still shining a light on his music heritage and his city's history. Still strutting the Grand Marshal strut through OTR, mere steps away from where he grew up, those stars yet twinkling in—and on—his eyes. Right on time, Patti, soft-spoken but intensely focused, silently walks into the studio to check in on her No. 1 client.

Collins instantly gives up his seat for her so she can bring it all back home. Wearing a black sweatshirt with her husband's face emblazoned on the back (so Bootsy!), her mixed look of love and resolve makes it clear she's considered this idea often. It was a fast apprenticeship with Brown, but one that left a lasting impression on Collins. When he and Catfish cycled out of Brown's band after 18 months or so, they had more than enough cachet to hook up with Detroit funk originator George Clinton, whose loose attitude was the polar opposite of Brown's tight precision. Their new gig in Parliament-Funkadelic, Clinton's superband, was all about the vibe and allowing everyone on stage—which could swell to a dozen or more—do their own thang. The brothers played on such lasting funk classics as "Flash Light," "Give Up the Funk " and "P.