Mitch: ...But tonight ladies and gentlemen, I have one of the brothers who worked with a very influential time of the P-funk and of course his name is Jay-Double-You, none other than...

Jay-Double-You: What's up, what's up, what's up!

Mitch: Welcome to the studio.

Jay-Double-You: Thank you very much.

Mitch: And welcome to our fair city, way down south. Check this out now, for those of you who are listening, this man used to play drums with Parliament Funkadelic and George Clinton and the rest of the crew. He's got some very interesting stories and tonight we're going to pry into his memory and see what's really going on. Jay-Double-You, now you're a drummer by profession.

Jay-Double-You: Yes, I am.

Mitch: How long have you been playing drums?

Jay-Double-You: 20 years, a little over 20 years.

Mitch: 20 years. I dare not ask you how old you are, but how old were you when you first started playing the drums?

Jay-Double-You: 18 years old.

Mitch: 18, alright now tell us, you've been knowing the p-funk long before you hit the first drum, right?

Jay-Double-You: Exactly.

Mitch: Ok, tell us how did you get involved with, well I tell you what, let's go back to the earliest days cause you were telling me about when you were a kid and you were hanging around--how did you meet George Clinton and Bootsy and the rest of the crew? How did that come about?

Jay-Double-You: Well actually, I met the crew through my sister, Debbie Wright, she's the original singer with Parlet. She was doing sessions at the age of 14 --she and Malia Franklin as a matter of fact--and through her, I started meeting some of the guys, started vibing...I was TOTALLY into the funk.

Mitch: And how old were you then?

Jay-Double-You: 12 years old.

Mitch: 12 years old. Now, 12 years old, running around the house, and you've got people in the house like George Clinton and Bootsy. Did those guys sit around conversating, talking about music and picking up instruments and that kind of thing?

Jay-Double-You: Actually, they did. It was always a party. They would inspire you to do what it is you do, I mean, they would inspire you to have a good time... and actually, they'd inspire you to cook a little breakfast! (Laugh)

Mitch: (Laugh) Well, there's nothing wrong with that. Now you were telling me about one of the songs that they were working on and you were sitting around listening to them when they were working on that lick. What's the name of that song?

Jay-Double-You: Well, the song was Flashlight. It was very, very early in the morning, and they were finishing up the vocal tracks. Everyone was extremely tired--Deb, Glenn, Gary, Ray. George wouldn't let them go home. Everybody wanted to go home, but he wouldn't let them go home, he'd say "come on man, come on, just a little bit more" and he created Flashlight.

Mitch: So what was it like with Bootsy sitting around thumping on the bass trying to work out the bass line for the Flashlight thing and Bernie on the keyboard. Was that one of the first songs where they actually had the keyboard doing the bass line?

Jay-Double-You: Yes, yes it is. Actually Bernie was magnificent. He would cut in 1 track. George would let the track go and Bernie would go. And boy did Bernie go!

Mitch: Ya'll, he's talking about Bernie Worrell for those of you who don't know. Bernie Worrell was one of the ...well, is he still on the road with George?

Jay-Double-You: Well actually, I spoke to Bernie's wife the other day, Judy, in New Jersey, and Bernie is in Germany with Bootsy right now... and doing some gigging in Germany right now.

Mitch: Okay, well for those of you sitting by your phones, if you want to give Jay-Double-You a call and say hello to him, if you've got some questions about the funk, he's here to answer those questions tonight, but I've got this one song I want to play that will probably bring back some memories for you.

Jay-Double-You: Okay.

Mitch: There's a line in there where George says "To each his own for if I can't cop it's not mine to have". You know which one I'm talking about?

Jay-Double-You: I know which one you're talking about!

Mitch: "I keep reaching for you because I love you CC". The Blue Lights in the Basement House Party ya'll, bringing you the funk and letting you touch the funk. Give us a call at 741-0104. (Song: Chocolate City)

Mitch: Atlanta's KISS 104.7, the Blue Lights in the Basement House Party, guest in the studio today: Jay-Double-You, formerly of the Parliament Funkadelic, putting it down with the drums, one of the drummers from the band, and of course, this is Chocolate City. What do you know about that song man?

Jay-Double-You: Oh man, what I don't know about it! All I know is hearing that track at least 50 times before anybody else heard it.

Mitch: Tell me this, one of the questions that always burns in my mind when I think about the P-funk, what's it like at a George Clinton rehearsal session-when you guys are rehearsing the songs and getting ready to go on tour or go in the studio-what's it like?

Jay-Double-You: Well, in the studio it's pretty much like magic. You hear the concept, everybody works with it, he takes the lead, and it's on babaloo.

Mitch: Well you know, when Bunchee was down here he talked about being 'on the one.Õ And that's something that George would say repeatedly. What does that mean, what is 'on the oneÕ?

Jay-Double-You: 'On the oneÕ is making it more intense than the 2, 3 & 4.

Mitch: Like in a count.

Jay-Double-You: Like in a count. ONE,2,3,4 BAM,2,3,4, BOOM,2,3,4, WHATEVER, BANG, BANG, BANG - that's the one baby!

Mitch: That's the one! Ya'll, we found out what the one is. Did ya'll feel me? Did you feel it? Oh, it's on like popcorn. KISS 104.7 you're on the air with Jay-Double You formerly of the P-funk allstars, and yours truly, Mitch Faulkner, who's this?

Caller: This is Clinton Crawford out of Dayton, Ohio, I'm a musician myself.

Jay-Double-You: Hey man.

Caller: How you doin my brother?

Jay-Double-You: Good, how are you?

Caller: I'm doing great. Hey look, I was trying to see if you know where Mr. Juni Morrison and Mr. Gary Mudbone Cooper is, them my boys.

Jay-Double-You: Well, the last I heard, Juni is over in Europe but they will be coming out with something called "Summer Swim". Actually, it might be out now. Juni and George produced "Summer Swim" It's happening, just ask anyone around and try to find that.

Caller: Yeah, I need to shoot him some tracks. I had helped him put a package together right before he left, back in '89, right before he shot over that way. And I also did some work with Mudbone with Greg Jackson out in Cincinnati, so I'm trying to catch up with them folks. I'm down here in Atlanta trying to do a little thing.

Jay-Double-You: Okay, yeah but when you get a chance, check out "Summer Swim" cause it's swimming, believe me (laugh).

Caller: Alright, good info. Hey man, you take it easy man. Peace.

Jay-Double-You: You too brother, peace. Thanks for the call.

Mitch: KISS 104.7 hello...who's this?

Caller: I don't want to say, but I want to ask Jay-Double-You what exactly does a Hawaiian girl got to do to get on the cover of his album?

Jay-Double-You: Now see...

Caller: I'm not finished. There aren't too many of us here. I just want to be on the cover.

Jay-Double-You: Believe me, you're already on the cover, you're on the cover of life! You're on the cover of life baby and do it right! (Laugh)

Caller: (Laugh) Hey Jay.

Jay-Double-You: How you doing Loretta?

Caller: I'm fine. I've got somebody else on the phone

Jay-Double-You: Hey Catherine, how are you?

Mitch: (Laugh) Oh, you've got yourself a fan club, you didn't tell me about this.

Jay-Double-You: A little fan club. Hey since I'm giving out shout outs, I'd like to say hello to Geoffrey,...hey I'll talk to you all later Loretta!

Caller: Keep up the funk brother!

Jay-Double-You: You know I'm funky! Alright!

Mitch: KISS 104.7, who's this?

Caller: This is Regina.

Mitch: Hey Regina, you're on the air with Jay-Double-You.

Caller: Oh hi, how are you all doing?

Jay-Double-You: How are you?

Caller: Good, I just want to say that I think that's the bomb that you like work with George Clinton, and I love p-funk. I'm a little young and I haven't heard all of your music but what I have heard I think is really cool.

Jay-Double-You: Thank you very much.

Caller: I think you all are really cool and you're doing a really good job.

Jay-Double-You: Thank you. And listen out for the new Jay-Double-You, it's coming up shortly.

Caller: Okay then, thank you.

Mitch: KISS 104.7 who's this?

Caller: Yes, I'd like to ask Mr. Jay-Double-You where did he get his first drumsticks from?

Jay-Double-You: Wow, that's a good one buddy. I got my first drumsticks from Zachary Slater. Zachary Slater was a drummer who played on Johnny Taylor's "Disco Lady". Zachary is my nephew's father, and Zachary Slater was one of the baddest drummers in Detroit. He played with Chairman of the Board, but I got my first drumsticks from Zachary Slater.

Caller: I have a great surprise for you. I know a gentleman who says that he gave you a set of Tikki Fulwoods.

Jay-Double-You: Oh, youÕve got to be talking about Boogie! (Laugh) What's up Boogie!

Caller (Boogie): Hey, how you doin?

Jay-Double-You: Hey everybody, this is Cordell Boogie Masson, the bass player with P-funk, my brother.

Mitch: Hey, check him out and welcome to the show.

Boogie: Thank you.

Mitch: Alright, what are you guys doing now, are you still on tour?

Boogie: Well, we just came from Europe and we did New York. We're off until Thursday and then we're back on the road for 10 days, off for 10 and then back to Europe.

Mitch: Hey man, let me ask you a question. This is Mitch talking to you now. What are you doing listening to this radio station?

Boogie: Getting funked up!

Mitch: Alright then, that's all I wanted to hear.

Jay-Double-You: Hey Boogie, love you brother.

Boogie: Love you too.

ALL: Peace

Mitch: Thank you. I'll tell you there's alot of funkateers in this city, huh?

Jay-Double-You: A lot of funkateers.

Mitch: Alright, this is a song right here that you were talking about. What's the name of this?

Jay-Double-You: Flashlight!

Mitch: Check it out ya'll. You're listening to the Blue Lights in the Basement House Party with guest Jay-Double-You from the P-funk mob in the house. (Song: Flashlight)

Mitch: Atlanta's KISS 104.7, the Blue Lights in the Basement House Party. Tonight's special guest in the studio, Jay-Double-You, former drummer with Parliament Funkadelic and the P-Funk mob. And Jay-Double-You, this has got to be like the party national anthem right here.

Jay-Double-You: It really is.

Mitch: The Flashlight joint, I'll tell you, it's on. It's the Blue Lights in the Basement House Party ya'll on KISS 104.7. My name is Mitch Faulkner. Let's go back to the phone lines. People got some questions for the P-funk man himself in the house. KISS 104.7, hello, who's this?

Caller: This is J-Rock.

Mitch: Hey J-rock. Where are you calling from?

Caller: All the way live from Lithonia Georgia.

Mitch: Alright. Do you have a question for Jay-Double-You?

Caller: Yeah Jay-Double-You, I'm from the old school funk

Jay-Double-You: How you doing man?

Caller: I'm right here. Chillin with the villian

Jay-Double-You: Good, good.

Caller: I just want to shout out to all my old funkateers out there. I'm an original funkateer from 1968 on up.

Jay-Double-You: I heard that.

Mitch: So you know all that, "I want to testify" and "Up for the downstroke" and the whole 9 yards.

Caller: Hey, and my original national anthem, "One Nation " cause we're all under a groove.

Jay-Double-You: Alright, thank you man.

Caller: Peace.

Jay-Double-You: Peace.

Mitch: KISS 104.7, hello, thanks for holding. Who's this?

Caller: This is Terry from Stone Mountain!

Mitch: Hi Terry from Stone Mountain checkin' in. WhatÕs up?

Jay-Double-You: Terry! Hey, how you doin?

Caller: Alright.

Mitch: Jay-Double-You, let me give this guy an introduction. Hold on a second man. Jay-Double-You, this is Terry from Stone Mountain. Now Terry from Stone Mountain has got to be one of my most loyal funkateers ever since I've been doing this show. This brother calls on the telephone and he never fails to request the funk. So I know he's happy tonight to talk with you. So go right ahead Terry.

Caller: Hey, Jay-Double-You what's up?

Jay-Double-You: You got it man, you got it.

Caller: I've got one question. When are you guys gonna have another reunion. I checked you out about a few years ago at the Fox and ya'll turned it out. I couldn't talk for 3 days.

Jay-Double-You: Well, actually a reunion is held pretty much at every gig. It's pretty much whoever shows up at that gig, at that town.

Caller: Better yet, when's the next time you're coming down here then?

Jay-Double-You: Ah, I believe, at Chastain Park on the 15 of August.

Caller: Oh, that'll work.

Jay-Double-You: Hope to see you there brother.

Caller: I'll be there.

Mitch: Alright Terry, thank you for calling.

Caller: Thanks Mitch. Peace.

Mitch: KISS 104.7, the Blue Lights in the Basement House Party, who's this?

Caller: This is Cheryl. WhatÕs up.

Mitch: You up.

Jay-Double-You: Hey Cheryl.

Caller: Hey, I have a question. I wanted to ask, does George ever wear like jeans and a T-shirt, or does he always come strong like that, you know? That's all I want to know.

Jay-Double You: Yeah, he wears jeans and t-shirts, you just have to catch him in the studio.

Caller: I hear that.

Jay-Double-You: You know what I mean? That's the only time you're going to catch G with jeans and a t-shirt, unless you catch him when he wakes up in the morning.

Caller: Well, I'm good at catching the concerts, but...?

Jay-Double-You: Okay, see you-

Caller: Later alright.

Mitch: Alright, thank you. Now Jay-Double-You, in terms of working with George back in the day. How did George work with the younger cats, you know how it is, like you say you were young and trying to get in where you fit in. And when George would see you young and trying to get in the vibe, is he like a teacher? I mean, does he like pull you to the side and say look man, you almost got it, but let me show you how to do this, let me show you how to do that. Is he that kind of person to work with?

Jay-Double-You: Well, pretty much. He doesn't pull you to the side, he can feel you if you're in the studio. He can feel you, whether if you're sitting in the corner, sitting on the left side of the room, and it seems like he's watching all the time. So, he can pretty much feel if you're loose enough, and he knows just when to give you your shot. And, hopefully, you're ready for the shot!

Mitch: So what's it like traveling on the road with that crew of people? How did you all travel?

Jay-Double-You: Well, we usually traveled on the bus. I traveled just for a couple of the little, small tours. But I mainly played in the studio alot. But we would travel on the mothership, back in the day. Tour with Bootsy, Radio, Mother's Finest, P-Funk, ah...several people you know, but we would basically travel on the bus, some would fly, you know, just meet up and kick out the funk.

Mitch: Alright now.

Jay-Double-You: How ever you've got to get there, get there! If you missed the bus, make sure you be there!

Mitch: Check it out ya'll, we're talking with Jay-Double-You, one of the former drummers with Parliament Funkadelic and the P-funk mob and the whole 9 yards. And he says that he's playing on this one, somebody know 'bout that bop gun. Check it out ya'll you can hear Jay-Double-You kickin the drums back there. That's that foot George's always talking about.

Jay-Double-You: That's that foot, babaloo.

Mitch: George's always talking about that foot...KISS 104.7, the Blue Lights in the Basement House Party (Song: Bop Gun)

Mitch: Alright..., we're sharing some love, sharing some stories with alot of the callers and listeners. But Jay-Double-You, in working with the P-funk crew, how many musicians did you see during your tenure with Clinton, did you see coming in and out of the networks so to speak or out of the family, you know what I'm saying?

Jay-Double-You: Oh, from my time with them, over 100 just coming in and out. Some cats doing sessions, some cats going on the road, but George had that, well, that was one good thing about him, he could capture the best thing about you. And bring it out of you, more so to your belief!!!

Mitch: Tell me this, give me one of the most interesting experiences you've had with George Clinton and the rest of the crew.

Jay-Double-You: One of the most interesting experiences was when I walked in the studio when Bootsy was working on his album, the album with the big glasses on it, the one with Roto Rooter.

Mitch: Yeah, Bootzilla.

Jay-Double-You: Yeah, Bootzilla.

Mitch: You know I know!

Jay-Double-You: Man, Maceo, Fred Wesley, actually Michael Henderson was in the studio at the time, ah, Valentine Love man. And they were cutting some horn tracks, and just the vibe...you knew, you knew that was it. You knew that was it. But there were just so many interesting times, another time I'm 17 years old, staying at the Moms, and I get a call at 4 o'clock in the morning and it's nobody other than Bootsy "I need some drumsticks baby! The stores are closed and you're the only one we can call" And sure enough, "Mom's, I need to use the ride. Bootsy needs some sticks". "Get on up out of here boy and take them drumsticks!" That was another one, but there's been so many. It's been a very exciting time, and still to this day it's very exciting, you know, even with what's going on now. But it's always been a good time.

Mitch: Well tell me this, this is a question I ask of all the brothers and sisters who come down here to share time from the old school. What is your take on the music that's being made today by some of our younger counterparts in the music industry in terms of how the music is put together, musically in terms of the instrumentation alot of midi technology going on. For those of you who are not familiar with the terms, we're talking about musical interface through digital technology, through computers and sequencers and that kind of thing. Alot of times there's an absence of real musicians in the production of some of the music that we groove to today. But what's your take on that?

Jay-Double-You: Well, my take on that is some of the music is good, but I think it's being taken advantage of as far as making it too easy, so easy to where they will try anything, you know what I mean? As far as the technology, the digital, and all the technology of music, it's all good; especially for a musician that has his music theory down. It's to your advantage when it comes to that, but as far as a lot of the music being sampled, a little bit of sampling to me is okay, but when you take it a little too far, I call it Ôrecycling black musicÕ, you're missing a whole gap of good future writers, good future producers; you're missing a whole gap of that due to everything that's being sampled. Pretty much the whole song is under the rap, which is good for whoever,...the writers, I mean I'm happy for them, but I think it's time to take it a little higher. It's time to go back to the roots of the heartbeat, the drums, the bass, the guitar. There's nothing like looking at a bad bass player on a live gig. You know what I mean? I mean, you hear a track...a turntable don't have nothing on no bass player, baby! Write that one down!

Mitch: I feel you on that. And for those of you who may not be familiar with some of the terms that we're using, I know alot of times we get on the air and we talk professionally in our own fields of expertise. He kept using the term "sample" and for those of you out there who don't know what that means, that means it's like when we hear some of the rap records that are out now and parents, you hear a song underneath the rap record and you say "oh, that's so and so, that's so and so's song", that's sampling. And of course, now some of the kids have gotten to the point where they will go and hire musicians to replay those songs and those licks and those lyrics, but what Jay-Double-You is expressing is that when he's saying that we're missing a gap, in other words, we have, say for instance you've got a young man, 14 or 15 years old right now today, and he's aspiring to be a producer and his concept of producing may be going to listen to records and finding a groove on there and then he take it to the studio and hires some musicians to play that and then he puts his lyrics on top of that and he's got a hit record. But what's happening is, this brother has never gotten to the level of expressing himself musically through instrument.

Jay-Double-You: Exactly.

Mitch: ...Through physically playing an instrument and getting into this instrument, and vibing with other musicians to create that vibe, the thing that we can't explain which is soul. There's no explanation for that other than if you can feel it, you know you've got it. And if you can't feel it, you know when you don't have it!

Jay-Double-You: Pretty much--that's it.

Mitch: And that goes back to what you were saying 'on the one'.

Jay-Double-You: ÔOn the oneÕ. Right now, alot of them are "off" the one!

Mitch: And on that note, we're gonna put you back on the one, on KISS 104.7

Jay-Double-You: Yeah, baby! (Song )

Mitch: Check it out ya'll. We're in the studio here talking to my man, Jay-Double-You, formerly of the P-Funk crew and we're going back to the phone lines. People have got some interesting comments and questions. KISS 104.7, hello who's this?

Caller: My name is CJ. How you doin?

Mitch: Hey CJ, I'm doing good, where are you calling from?

Caller: I'm calling from Marietta right now, I'm originally from New York City.

Mitch: You've got a comment? Yes, go right ahead.

Caller: I've got to agree with that boy that was just on the line before actually talking. I'm a former studio engineer, and I see so much black talent that is just wasted. I see people humming on the street and I just can't understand why people got to pick up on hook lines and samples. It's like, what happened to the talent? What happened to the natural ability of people to be able to create their own music? Why do they need to ride on the coattails? It's cool, but to me, it's getting a little bit old. You know? That's basically the comment, like I said, I'm just agreeing with the man.

Jay-Double-You: Thank you very much sir.

Caller: Your welcome.

Mitch: KISS 104.7, hello

Caller: Hello, this is Daryl in Stone Mountain. I have a couple questions for Jay-Double-You. Okay, Jay-Double-You, I wanted to ask you when exactly I guess the years were back in the day when you were with George and also you guys just got finished bop gun, the brother that was the lead singer on that, Glenn, Glenn Goines. I know Glenn died about '78 cause I know George had an acknowledgment to him on the One Nation Under the Groove album. Can you tell me exactly what happened to him? Cause that brother had a voice on him boy!

Jay-Double-You: Well, he had Hodgkins disease and it had went in remission, but all of a sudden came back on him and you know how that cancer is man, it sneaks up on you and before you know it,... But luckily, we still have Glenn here with his voice, and of course he has family here, and thereÕs still a lot of people who love Glenn.

Caller: I'm one of them.

Jay-Double-You: Hey, I'm with you.

Caller: Yeah, like I say, he had a serious voice on him, and I think he was only like 24?

Jay-Double-You: I believe he was 24 when he passed away.

Caller: Okay, well thanks alot man, appreciate it.

Jay-Double-You: Thank you.

Mitch: KISS 104.7, hello?

Caller: Hey, this is Dave from Atlanta.

Mitch: Hey Dave, you're talking with Jay-Double-You and yours truly, Mitch Faulkner, go right ahead.

Caller: First of all Mitch, I'd like to thank you for asking that question you just asked Jay-Double-You about these young boys out here. First of all, I'd like to say that, Jay-Double-You, you guys were the ultimate man.

Jay-Double-you: Thank you.

Caller: And my point I want to make is that these guys have the nerve to call themselves artists brother and they are not artists. An artist creates, he makes something out of nothing. It's just like a painter, he's got a blank canvas and he creates something on that canvas. These guys, remember what you guys used to say "you scammin' on the funk"?

Jay-Double-You: "Scammin' on the funk!"

Caller: They scammin brother, Puffy, all them guys man. All they're doing man is, the young kids have never heard the funk, and all they're doing is playing you guys' tracks, and then they turn it around and it's something new to them.

Jay-Double-You: Well, we're getting ready to catch them on the turnaround babaloo.

Caller: Yeah, that's it, turn it around on them brother. And what I'm saying is, the fact that hey look, you guys were the pioneers, you created, you made something out of nothing, and these guys right here, all they're doing here is scamming the young folks out here. And there's another thing I wanted to ask you, is that how do you feel about these guys using you guys' tracks and putting all of this violence and stuff on, this cussing and all this stuff on all your all's tracks, and brother, I would be offended. I'm telling you, I would be ultimately offended.

Jay-Double-You: Well, that's part of the business and each individual has to take care of his own business, and unfortunately, alot of people in the business don't have total control or total rights of their material.

Caller: Exactly, and the thing is, you know what brother? If want to hear the music to "One Nation" "Flashlight" or whatever it is, I want to hear the original!

Jay-Double-You: I'm with you! Caller: I don't want to hear these brothers talking about how much money they got, all these women they got, what their doing, shooting and killing, I don't want to hear that. You know what I'm saying? Because there is enough. The black community, we are full of that already! We're killing each other and all this stuff over a few dollars and stuff, and brother we don't need that. What we need to do is come together and be together as one and have a good time. Remember when we used to have a good time?

Jay-Double-You: And that's exactly what we're doing. The special people are still doing that, and the one's that need to catch up, will catch up.

Caller: Alright my brother, peace out. Keep the funk on the one.

Jay-Double-You: Thank you very much man.

Mitch: Alright, thank you. He makes some very valid points there.

Jay-Double-You: Yes he does.

Mitch: And again, I just want to take my hat off to you man and the rest of the people. Alot of the guys have called in, alot of P-funk alumni live in this city and alot of them have called up so far, and I know they pop up anywhere. But look man, we do the Flashback Friday's every Friday down at Young Bloods at Rio mall, and next Friday we're gonna have a band down there and we want you to come down if you're able to come in and maybe you can sit in on a set with them.

Jay-Double-You: Okay, that's cool. I'll do that. Come on out everybody. Check Jay-Double-You out.

Mitch: At Flashback Friday. Alright now, we'll let everybody know when he's coming down there. You'll heard him make the commitment, cause I wanted to make sure I did that on the radio so I can have some witnesses. You gonna be there man?

Jay-Double-You: I'll be there.

Mitch: Alright, ya'll heard him say that. Keep it where you got it, coming up we're gonna find out what he's doing right now. (Song )

Mitch: Just in case you didn't know, good evening, do not attempt to adjust your radio, there's nothing wrong. We've taken control to bring you this special show. We will return it to you as soon as you approve. You're listening to station WALR-FM Athens, better known as KISS 104. Making my funk the p-funk, check it out ya'll this is Mitch Faulkner in the house with you - I couldn't resist that.

Jay-Double-You: You were on

Mitch: I was on?

Jay-Double-You: You were on babaloo.

Mitch: Check it out ya'll, we're talking with Jay-Double-You, one of the former members with Parliament Funkadelic. Matter of fact, his instrument is the drums, and you know one thing about the drums Jay-Double-You, I mean growing up as an African-American in Kentucky was kind of different for me because when I was younger there was 2 types of music that I heard consistently -- that was gospel and country & western. And to me, those kinds of music tend to merge in my memory in terms of style and watching them performed live, because when we would go to the county fair there was only 2 types of music that was performed. And the county fair, ya'll don't understand, I'm from Hopkinsville, Kentucky, and we did not have a black radio station there until 1979 so as a kid I would get a chance to listen to WLAC out in Nashville, TN late at night, the big clear AM station, some of you older folk, ya'll understand what that is, AM radio, amplitude modulation, ok, which this if FM, frequency modulation, and we're getting into the technical terms her, but AM radio travels alot further than FM radio and I could listen to WALC and it was the only time I had a chance to hear r&b music, but the gospel music and country music, to me a combination of those if you stir it up you get blues. And in watching the drummer, in any type of music, there's always something spiritual about the drummer. I can't figure out how you guys can move your right foot to one rhythm, on the kick drum or whatever, and then you've got another foot going on over here on the up and down thing on the cymbal, and then you've got your hands going over hear 'tick, tick, tick, tick' on the cymbal and then you've got another hand over here on the snare and then you've got these toms over here. How do you work a kit like that? Is it spiritual?

Jay-Double-You: It's definitely spiritual. The more you practice, the more spiritual it becomes. The more you practice, the more automatic it becomes. And the more automatic it becomes, that's when things happen that you're surprised of. And that's pretty much what it is, it's definitely a spiritual thing.

Mitch: ...Let's talk about what you're doing now. Tell me about your CD.

Jay-Double-You: It's called Jay-Double-You. Actually it's spelled J-A-Y-D-O-U-B-L-E-Y-O-U, Jay-Double-You get it? (Laugh) But in any case, it's called "Funk for the New Millennium" And the title of the CD is "If You Don't Believe Who Will?" And I'm quite sure everybody knows about that one.

Mitch: Alright now.

Jay-Double-You: And uh, I think you were going to slide some of it on there for a minute...

Mitch: Yeah, I'm trying to put one in here right now.

Jay-Double-You: But it's available now also.

Mitch: Man, check it out. This song is called "Catch me on the turnaround". Ok, we're going to listen to a little piece of this ya'll. This is Jay-Double-You, brand new from him and it's called funk for the new millennium. Is this the music for grown folks? I can push this button?

Jay-Double-You: It's music for everybody from 8 to 80 baby and 800!

Mitch: Check it out ya'll, this is "Catch Me On The Turnaround" brand new from Jay-Double-You, formerly of the P-funk mob. You're listening to WALR from Athens, KISS 104.7. (Song: Catch Me On the Turnaround)

Mitch: Ow, check it out ya'll, Jay-Double-You, Catch Me On The Turnaround, oh you got a little stink on that now don't you?

Jay-Double-You: A little bit of stank, stank.

Mitch: Alright now. KISS 104.7, hello, who's this?

Caller: This is J-easy Rock, from the lovely city of Jonesboro.

Mitch: Alright Easy Rock, do you have a question for Jay-Double-You?

Caller: Yeah, Jay-Double-You, Jay-Double-You, first of all I've followed your career all around the world so I know how deep you are and being part of the Parliament Funkadelics I know. I'm from the old school so I'm gonna make it short and simple. After P-funkateers go off, who's gonna take over? Bootsy? You?

Jay-Double-You: Jay-Double-You babaloo, and Bootsy, and Bernie, and Malia and Boogie and Frankie...

Caller: What about Maceo?

Jay-Double-You: And Maceo,...

Caller: Maceo is still gonna hang with the group?

Jay-Double-You: Maceo is still gonna hang. Everybody is gonna take everybody over.

Caller: Now, let me tell you. I was listening to the other gentleman talking about people doing the remix. When I sing the song, I sing the song from the old school, cause you can't mess with the funk, the original. And I love that man because I keep hearing all these folks doing these remixes and I'm sorry, I'm from the old school, I sing the old funk, and I sing the old funk better than some out here of these remixes. I love ya'll.

Jay-Double-You: Thanks man.

Mitch: Alright man, thanks for calling. And Jay-Double-You, thanks so much for taking the time to come down here.... (Interview tape cut off)