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MP3 Lucas Kellison - Take It Make It (featuring George Clinton and Parliament Funkadelic)
1 MP3 Songs in this album (5:46) !
Related styles: Rock: Funk Rock, Pop: Psychedelic Pop, Type: Sonic
People who are interested in I Me Myself should consider this download.
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--Excerpt from an interview with Casey Welsch of the Daily Nebraskan:
Lincoln is a music city, that much is certain. But exactly what kind of music is often left up in the air. Rock, hip-hop, folk, roots, jazz and electronica all have strong footholds in Lincoln''s scene, but those sounds aren''t all Lincoln has to offer. Lincoln is also a funk city, thanks in large part to Lucas Kellison, of Lucas Kellison and the Assembled Soul.
Kellison has been making music since he was 15, and a sizeable chunk of his career has been spent bringing the noise bringing the funk. With a great band behind him and a decent catalogue of songs under his belt, what could Lincoln''s funk master do to further funkify his life? Well, call the funk master of the entire planet Earth to lend him a hand, of course.
Kellison recently finished recording a new track with legendary funk icon George Clinton, the driving force behind everything Parliament/Funkadelic. The track is called "Take It Make It," and it does not fake the funk. The Daily Nebraskan called Kellison for an interview about the new track and working with a living legend.
Daily Nebraskan: Is it true what I''ve heard?
Lucas Kellison: I did a song with George Clinton. It happened.
DN: How the hell did that happen?
LK: I took a very nice step forward in my career called "getting a manager."
DN: (laughs) OK, but how did you convince George Clinton to work with you?
LK: I listen to a lot of talk radio. Working in the studio all day I just hear music on the radio as tracks and loops, so I listen to a lot of sports on the radio. I was listening one day and there was an ad for this UFL "super bowl" type thing that was going on in Omaha, and the guy on the radio said if you didn''t come for the football, you should come for the halftime show, which was George Clinton. I had this track I was working on, and I knew he would be perfect with it, so I had my manager give his people a call. They sent us an astronomical offer, nothing close to what we could have paid, so we sent a counter-offer of like five percent of what they asked, but I sent the track, too. George really liked it, so he agreed, and then it was Thanksgiving with P-Funk. We did the recording that Friday, after Thanksgiving.
DN: What was it like to work with one of the true funk masters?
LK: It was incredible. It was sort of an out-of-body experience. I''m not usually the type to get star-struck, but, I mean, this man is George Clinton. I put him up there with Paul McCartney and Michael Jackson and all the other masters of their art. Like, I had this intro idea for George, and I''m thinking, "Oh my God am I really trying to be funky for George Clinton?" The bass line was going on this one track and George looks to me and says, "That''s a mean line." I should have retired right there.
DN: That''s awesome! How do you think the song turned out?
LK: Unbelievable. The cool thing is that it''s not really a single. This doesn''t have to be the commercial track I put out there to bring people in. The song amazingly exceeded my expectations, which is crazy because they were remarkably high in the first place. If George and P-Funk are on a track, it''s going to be ridiculous, period. What was nice, though, was that they complimented the song. At the end of the mix, it was still my song, but damn if they don''t make it hard not to just blend in as a bandmate. I mean, every guitar lick, ad lib, horn stab was a keeper. Sifting through it was the hard part. Editing George''s vocals was like dusting off a priceless artifact.
DN: I guess, as an artist, what did you take away from this whole experience?
LK: Self-actualization. P-Funk is the greatest band of all time. Musically, it was best experience of my life. I have nothing even close to compare it to. Sonically, it took me from a relatively "clean" funk to the dirty, psychedelic, guitar-on-fire funk I''ve always loved but never fully understood. It set the tone for the whole album, which is very guitar driven, very distorted. R&B on an acid trip or something. It''s different than anything I''ve heard or done. It was the perfect time to have him in. I was still figuring out what my sound was, and I guess I figured it out just in time.
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