One Nation Under Groove Tour Ft. George Clinton & Parliament Funkadelic

George Clinton & Parliament Funkadelic

The Godfather of Funk.

Think of George Clinton and you’ll likely conjure an image of a crazy black man with rainbow dreads and garb befitting a galactic shaman literally barking at phat bottomed girls with a sub-atomic “WOOF!” This lovable nutcase is the legendary and internationally renowned grandfather of funk and the founder of the Parliament-Funkadelic MOB, taking the sonic innovations of James Brown and Sly Stone to both outer space AND Neptune while selling millions of records and concert tickets in the process. Quiet as its kept, however, George Clinton’s initial approach to the ladies was crooning (when he wasn’t cutting hair) as the leader of a standup vocal group he formed in `55 called The Parliaments, emulating the doo wop and love songs that were popular when he was in diapers (well…he STILL wears those on occasion).

What is there left for the North Cackalackee-born grandfather of funk to do after four decades of rockin’ steady on the one? He can dip back to an era of sweet street corner soul that was his initial inspiration, take some folks back into time while blowing their minds THIS TIME with new spins on the standards – with a mothership full of special guests that completely have his back! We’re talkin’ Carlos Santana, Sly Stone, El DeBarge, Kim Burrell, the RZA (of Wu Tang Clan), Shavon (from System of a Down) and the Red Hot Chili Peppers – not to mention P-Funk stalwarts such as Belita Woods and Gary Shider! It’s a concept he calls George Clinton and The Gangsters Of Love, produced by Bobby Eli and George Clinton – a blue light grind in da basement that marks the first in a series of special projects for Shanachie Entertainment.

“I’m actually just trying to stay ahead of the game,” George says, posted up in the studio of co-producer Mark Bass (Eminem, 50 Cent), “`cuz ALL of this music is coming back like I knew it would. Mark and I figured we’d mix some doo-wop, hip hop and techno doo wop and call it ‘re bop!’ I’ve been thinking about it for a while now.” Techno doo wop? “That’s when you play a slow ballad groove against a triple time beat. I first did that on ‘How Late Do You Have to Be Before You’re Absent.'” George was very purposeful in the diversity of his special guests. “I didn’t want the record to be ‘nostalgic,'” he states. “I wanted to merge the old school with the new school. Some of the kids didn’t even know the original songs, so they did them their own way.”

George calls his rag tag assemblage of talents the Gangsters of Love. “Today, everybody wants to get their gangsta on,” he says. “Gangsters never want to admit that they’re in love, so they play it off. I’m trying to give them something they can take back to their ladies but still keep it gangsta.”

Thus the decades spanning boomerang ride of George Clinton and Some Gangsters of Love – songs dear to George’s heart such as the late, great Johnny Ace’s “Pledging my Love” from the `50s, Motown marvel Marvin Gaye’s “Ain’t That Peculiar” from the `60s and Maestro of Love Barry White’s “Never, Never Gonna Give You Up” from the `70s. George Clinton sings Barry White? You’ve got be kidding, right? “The Barry White song was hard as hell,” he admits! “I had to do some for real work to get the intonation along with the groove. I’m really proud of it. I don’t know if I can do it on the stage yet (laughs), but we’ll see. People forget that I sang lead on ‘One Nation Under a Groove’ and ‘Knee Deep.’ I knew I still had it!”

The jump off for George to seriously pursue this kind of music again came from a multiartist one-off project he participated in a couple of years back called A Soulful Tale of Two Cities: Detroit and Philadelphia, on which he sang former Delfonics member Major Harris’ ebony boudoir classic “Love Won’t Let Me Wait” (produced by Bobby Eli). “I surprised myself when I pulled that off,” he says. Now on Gangsters of Love, he cruises through Ruby & The Romantics’ “Our Day Will Come,” Tommy Edwards’ “It’s All in The Game” and The Heartbeats’ “A Thousand Miles Away.” Most of the rhythm tracks and George’s vocals were laid in the Philadelphia studio of Bobby Eli (a Philly Soul veteran whose credits stretch from Blue Magic to Atlantic Starr).

And then there are many friends with whom George linked up in various stops along his travels. “I did ‘Let the Good Times Roll’ with RZA and the Chili Peppers out in L.A. while I was working on some soundtrack stuff for Quentin Tarantino,” he shares. “We cut it at the guitar player’s house! Then I hooked up with Sly where he lives now back in Northern California. He sang on ‘Ain’t That Peculiar,’ but plays keyboards all over the project.” Having his old friend Sly on the record – an icon he has collaborated with on several past occasions, most significantly the early `80s club jams “Hydraulic Pump” and “Pumpin’ it Up” – was very special for George. “Being on my record is the first thing Sly has done on record since…forever! He had a lot of fun singing with El DeBarge. A couple of songs came out so good he wanted to keep them for himself! He did a version of ‘Fever’ and added lyrics that relate to global warming. He has such perfect vocal pitch, when uses a vocoder it’s better than anybody I’ve ever heard. Sly showed me a lot about vocals, made me work even harder.”

George was also able to do tracks on home turf back in Detroit, including remakes of two of his songs: “Heart Trouble” (a `60s hit for The Parliaments) and “Mathematics of Love.” “I originally wrote ‘Mathematics’ for Michael Jackson around the time of his Dangerous album, but me and the P-Funk All Stars wound up recording that upbeat version on our CD T.A.P.O.A.F.O.M (The Awesome Power of a Fully Operational Mothership) in 1996. On Gangsters of Love, we slowed it down to a ballad for Kim Burrell, one of the greatest gospel singers in the world today.”

George was in for another surprise when he sent Carlos Santana a tape intending for him to play on a remake of the `50s hit “Sway,” but the guitar legend gravitated to another track altogether. “Carlos never even made it to ‘Sway,'” George recalls. ‘Gypsy Woman (a 1961 smash for the vocal trio The Impressions led by a young Curtis Mayfield) also happened to be on that tape. Carlos had been dreaming of doing a version of that song which I did not know because Curtis is my all-time favorite songwriter, other than Smokey Robinson.”

The music of Gangsters of Love is at the service of bringing love back to the people – people more in need of it now than ever before. “Blue Lights in the Basement is about making love to the point where you don’t feel ashamed to take out a ukelele and serenade your lady,” George schools – “to get down on one knee and ask her to marry you…or beg her for some p**sy! When rappers are rappin’ about ‘my bitch’ – I don’t care how gangster they think they are – they’re still trying to impress a girl. They’re just using another language – and the girls of their generation don’t have a problem with it! I made the mistake of trying to tell some young bloods on the street not to talk that way in front of the ladies. They looked at me like, ‘Oh, no, here comes ‘Captain Save-a-Hoe!'”

Thankfully, George Clinton is in possession of the street cred to reintroduce concepts of timeless romance to a near-clueless generation. His classics such as “Flashlight,” “Atomic Dog,” “Get Off Your Ass and Jam” and “Aqua Boogie” have been covered and sampled by so many rockers, rappers and turntable scratchers that they’re like new tunes today. His plan is to include a couple of songs from Gangsters of Love in a showcase smack in the middle of his patented funk fests. “There will be a point in the middle of the show where we slow it down – like when Prince sat on a stool and played ‘Little Red Corvette’ on acoustic guitar. I have to be real careful not to get too excited before that because that’s when my voice gets real heavy. So I’ll have to do like the 1978 tour when we had Junie Morrison rehearsing all the Parliament-Funkadelic songs so I can hit them with the soft stuff. I’ve also considered doing some lounges because it’s funny as hell to think of P-Funk in that light. We have some very good jazz musicians in the band. I could actually do a show like that which would turn it into a club setting.”

68 years-young, George Clinton has several other projects in the hopper, including a salute to Motown and a solo album by longtime P-Funk All-Star siren Belita Woods. The master is also mindful that most of the folks whose songs he’s singing on Radio Friendly are no longer here, but he has no intention of joining them in Soul Heaven anytime soon. “I ain’t going nowhere,” he declares. “I feel like I’m starting over right now…for real!”

Dumpstaphunk

Dumpstaphunk stands out among New Orleans’ best as one of the funkiest bands to ever arise from the Crescent City. Born on the Jazz & Heritage Festival stage, and descended from Neville family bloodlines, these soldiers of funk ignite a deep, gritty groove that dares listeners not to move. Their performances combine ingenious musicianship and complex funk and jazz arrangements with soulful melodies that are simple enough for anyone to enjoy. In Big Easy tradition, dueling baselines from Tony Hall and Nick Daniels III set off one of the dirtiest rhythm sections on the planet, while Ivan Neville lights up the Hammond B3 keys and cousin Ian Neville’s funky guitar riffs send the groove into overdrive. They toss around lead vocals and four-part harmonies the way Sly & the Family Stone did, but with three studio albums under their belt, Dumpstaphunk stands on the merit of their own material. Songs like “Dancin’ To The Truth” off their latest record, Dirty Word (July 30, 2013, Louisiana Red Hot Records), offer an escape into the funky sublime, sharing the true spirit of New Orleans with every note.

Celebrating 25+ groundbreaking years, FISHBONE has been trailblazing their way through the history of American Ska, Funk, Punk, Rock Fusion and (so-called) Black Rock since starting their professional career in Los Angeles' burgeoning, Alternative Rock music scene of the mid-1980s. Their sound has often been imitated, but never duplicated. They have toured worldwide with such bands as the Beastie Boys, Red Hot Chili Peppers, The Roots, Les Claypool/Primus, Fela Kuti, George Clinton, The Dead Kennedys and many more. Angelo Moore’s ability to combine thought-provoking, humorous social commentary with FISHBONE’s frenzied, up-tempo music and frantic, euphorically entertaining stage show has cultivated their undisputed reputation as one of the best live acts in music history.

Composing, creating, recording, releasing and performing original music together for over two decades, mass critical appeal appears to be returning to the band, fueled by their critically acclaimed full-length feature documentary; Everyday Sunshine: The Story of Fishbone. Narrated by Laurence Fishburne, the film earned LA Weekly’s Critic’s Choice Award at the Los Angeles Film Fest in 2010, has been called “effortlessly Entertaining” (Variety), “Brilliant and Groundbreaking” (Pop Matters), and hailed as “more than a documentary about rock ‘n’ roll. It’s a documentary about the American spirit and one that shows the life of one of its most influential creative forces.” (Encore Magazine). In addition, FISHBONE has been featured in a variety of national press recently including Rolling Stone, New York Times, Wall Street Journal, Los Angeles Times, MTV Hive, Spin Magazine, E! Entertainment, Rotten Tomatoes and more.

The documentary features celebrity testimonials from an A-list cast of rock icons such as Flea (Red Hot Chili Peppers), who calls the band “an important musical institution” and “the band that gave us the inspiration to be a band” by Gwen Stefani (No Doubt). The film also includes similar admiration from the likes of Perry Farrell (Jane’s Addition), Jerry Cantrell (Alice In Chains) Rob Trujillo (Metallica), Questlove (The Roots), Chuck D (Public Enemy), Tim Robbins (Grammy Winning Actor) and many more. The film not only highlights the bands substantial legacy in contemporary music of all forms, but also the struggles, adversity, and inner turmoil that has surrounded the bands career. Everyday Sunshine: The Story of Fishbone has already premiered in over 60+ theaters across the country, and many of the dates have sold out. The documentary aired on Public Television’s AfroPop Series as well as Encore early 2012, and still continues on air. The DVD is currently available for purchase nationwide at all major retailers, and on NetFlix.

To date, FISHBONE still continues to tour all over the world, turning heads at some of the most noteworthy festivals around the globe. They've recently been seen "Skankin To The Beat" at Coachella Music Festival, Riot Festival, Lockn' Festival, California Roots, Afropunk Festival, Gathering of the Vibes, Outside Lands Music Festival, Ottawa Blues Fest, Montreal Jazz Festival, Bumbershoot in Seattle, Riot Fest in Chicago, IL, Voodoo Festival in New Orleans, LA, Fuji Rock Festival in Tokyo, Japan, Wakarusa in Ozark, AK, Sunset Junction in Los Angeles, CA and many more. The band also appeared on late night television performing on Jimmy Kimmel Live! and Angelo Moore sat in with The Roots on Late Night with Jimmy Fallon in 2012. They have also toured with numerous bands recently such as Jane’s Addiction, Primus, and Slightly Stoopid.

Fishbone's latest newest musical adventure Intrinsically Intertwined (Controlled Substance Sound Labs/Zojak Worldwide) was released in 2014. Shortly after their EP dropped, the band premiered Part 1 of their 5-Part “mockumentary” webisode series called "The Fishbone Reality: Intrinsically Intertwined" on Vevo.com.

$49.50 - $69.00+

Tickets

$49.50 General Admission, $55.00 General Admission (day of show), $69.00 Club Level

All guests must have a valid government/state issued ID for entry to the venue. No refunds.

International customers, if you are having issues purchasing, please reach out to us at 702-862-4728 for help completing your purchase.

Tickets purchased in person, subject to $2.00 processing charge.

All general admission tickets are standing room only.

 

ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX

 

Special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com for rooms at The LINQ Hotel and the Flamingo.

 

*Advertised times are for doors -- show time not available*

* Venue closes between 12am - 1am unless otherwise noted*

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