George Clinton and His Gangsters of Love [Digipak]

Performer: George Clinton (Funk)
Artist: El DeBarge; Sly Stone; The P-Funk All-Stars; Kim Burrell; Kim Manning; Red Hot Chili Peppers; Carlos Santana; Belita Woods; Paul Hill; Kendra Foster
Engineer: Dwayne Dungey; Kim Manning; Lawrence Peavey; Mark Moody; Mark Bass; Gary Thomas Wright; Jim Reitzel; Lance Pierre; Shaunna Hall; Bobby Eli; Fatty
Producer: George Clinton; Bobby Eli
Distributor: E1 Distribution (USA)

Notes: Tributee: George Clinton . Personnel: George Clinton (vocals); Kim Manning, El DeBarge, John Frusciante, Kim Burrell, Ronald Spearman, Sylvester "Sly Stone" Stewart, Belita Woods, Paul Hill, Kendra Foster (vocals); P-Nut Johnson, Darryl Scott, Philly Fillies, Eban Kelly, Janice McClain, Chiquita Green (background vocals); Ricardo Rouse, BJ, Mark Bass, David Spradley, Foley, Larry Frantangelo, Wizard, Bobby Eli, Chris "Big Dog" Davis. Audio Mixers: Gary Thomas Wright; Bora Karaca; Trafael Lewis; Jamie Squillace; Davy D.; Lance Pierre; Larry Ferguson; Chris "Big Dog" Davis. Groove guru George Clinton returns to his roots on GEORGE CLINTON & HIS GANGSTERS OF LOVE, covering a host of classic R&B tunes. As one of funk's founding fathers, Clinton's got friends in high places, which explains the appearance of his glittering roster of guests. Sly Stone and El Debarge join Clinton and crew on a version of Marvin Gaye's "Ain't That Peculiar," and Carlos Santana sits in for a reading of the Impressions' "Gypsy Woman." Elsewhere, the Red Hot Chili Peppers stop by to amp up the soul gem "Let the Good Times Roll." But don't think that Clinton's requisite funkiness has been sacrificed; there are plenty of squelchy, head-nodding grooves throughout. Wow. George Clinton and friends covering a bunch of old soul tunes with some originals. Sounds great on paper, right? Unfortunately, that great idea didn't really pan out in the execution in this particular case. Rather than going for an old-school vibe, all the musical settings are generic-sounding programmed contemporary R&B and way too many of the vocals sound like they were put through a talk box. Compare these with the old covers done on Clinton's last album, How Late Do U Have 2 B B 4 U R Absent?, which turned out really good. Examining the credits, it appears that the bulk of the blame can be placed on the shoulders of producer Bobby Eli who, along with Chris "Big Dog" Davis and Ricardo Rouse, created almost all the music here. The only tracks that really stand out are "Gypsy Woman" (thanks to the presence of Carlos Santana) and "Let the Good Times Roll," where the Red Hot Chili Peppers (with El DeBarge!) are the band. But this version of "Gypsy Woman" pales next to the one on How Late Do U Have 2 B B 4 U R Absent?, which is so "George Clinton" that you'd swear Clinton wrote it instead of Curtis Mayfield. The version here has none of that personality. There's even a version of "Goodnight Sweetheart, Goodnight" on How Late that receives a similar attempt at a more contemporary setting with programmed beats and it works great, proving again that the problem wasn't the concept, but the execution. After the listed program, things pick up some with the unlisted bonus tracks. "Heaven" is a nice hip-hop love affair that goes on just a bit too long. "As In" sounds like a classic George Clinton love song: a great arrangement with horns and strings and hooks aplenty. It's easily the best thing on this album by a long shot. "Stillness in Motion" is a bit odd with its underwater utopian vision contrasted with ominous music and samples (which actually resemble "Mea Culpa" from My Life in the Bush of Ghosts). The final track (a cover of "Fever") is a musical return to the beginning of the album with programmed music and tweaked vocals. As good as "As In" is, it can't really save this album from being a disappointment. Maybe Clinton will cast current trends to the wind and revisit this idea, but as it stands, George Clinton and His Gangsters of Love is probably one strictly for the Clinton completist. His vocals are present, but except for "As In," this doesn't really sound like George Clinton. For a too small taste of what this album could have been, try How Late. ~ Sean Westergaard Wow. George Clinton and friends covering a bunch of old soul tunes with some originals. Sounds great on paper, right? Unfortunately, that great idea didn't really pan out in the execution in this particular case. Rather than going for an old-school vibe, all the musical settings are programmed contemporary R&B and way too many of the vocals sound like they were put through a talk box. Compare these with the old covers done on Clinton's last album, How Late Do U Have 2 B B 4 U R Absent?, which turned out really good. Examining the credits, it appears that the bulk of the blame can be placed on the shoulders of producer Bobby Eli who, along with Chris "Big Dog" Davis and Ricardo Rouse, created almost all the music here (note that none of them are part of the P-Funk crew). The tracks that really stand out are "Gypsy Woman" (thanks to the presence of Carlos Santana) and "Let the Good Times Roll," where the Red Hot Chili Peppers (with El DeBarge!) are the band. But this version of "Gypsy Woman" pales next to the one on How Late Do U Have 2 B B 4 U R Absent?, which is so "George Clinton" that you'd swear Clinton wrote it instead of Curtis Mayfield. The version here has none of that personality. There's even a version of "Goodnight Sweetheart, Goodnight" on How Late that receives a similar attempt at a more contemporary setting with programmed beats and it works great, proving again that the problem wasn't the concept, but the execution. After the listed program, things pick up some with the unlisted bonus tracks. "Heaven" is a nice hip-hop love affair. "As In" sounds like a classic George Clinton love song: a great arrangement with horns and strings and hooks aplenty. It's easily the best thing on this album. "Stillness in Motion" is a bit odd with its underwater utopian vision contrasted with ominous music and samples (which actually resemble "Mea Culpa" from My Life in the Bush of Ghosts). The final track (a cover of "Fever") is a musical return to the beginning of the album with programmed music and tweaked vocals. Maybe Clinton will cast current trends to the wind and revisit this idea, but as it stands, George Clinton and His Gangsters of Love is probably one strictly for the Clinton completist. ~ Sean Westergaard

Mojo (Publisher) (p.110) - 3 stars out of 5 -- "Clinton successfully pastiches Barry White' predatory baritone on 'Never Gonna Give You Up,' Tommy Edward's 'It's All In The Game' is reworked as lush Philly soul..."

While his genre-defying classic bands Parliament and Funkadelic were mired in legal woes and personnel disarray, funk pioneer George Clinton finally went solo in the 1980s with a series of bizarre, colorful albums. Clinton shifted away from the organic big-group chaos of his seminal '70s work, and instead began to utilize all the newer technology, whether it be synths or samples, and inadvertently paved the way for the nascent hip-hop movement. The acid-fried funk on albums like COMPUTER GAMES and SOME OF MY BEST JOKES ARE FRIENDS may have taken its cue from the new kidz, but was still 100% George Clinton in all his funkified psychedelic glory.

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