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Bootsy Collins: Superbad Soundtrack Insights
Superbad is the runaway comedy hit of 2007. It’s about young white kids on the search for beer—not exactly where you’d expect to find a sensational funk soundtrack, but that’s the joke, see. Lyle Workman composed the material. In search of an authentic James Brown sound, he called former JBs bassman and funk jester general Bootsy Collins to kick deep grooves into the tunes. Collins called the classic JBs crew. The horns couldn’t make the session, but his brother Phelps “Catfish” Collins [guitar] and the rest of the rhythm section did. Drummers John “Jab’o” Starks, and Clyde Stubblefield, along with P-Funk keyboard maestro Bernie Worrell ripped into the pocket like it was 1969, and the fantastic resulting recordings would make their recently departed papa very proud. The tracks are loaded with galactically funky bass that Bootsy fingered on the same old Fender Jazz Bass that he used to play back in the James Brown days on hits like “Sex Machine” and “The Grunt.”
How did you get the particular nasty bass sound on “Super What?”
I used my Bootzilla Fuzz/Wah by Snarling Dogs. Bounce with it and it will bounce back.
How did you play that solo, and how did you tweak the tone as it evolves?
It was off the cuff, on the spot, with only a few overdubs. My solos are never planned. If I could do that, I would really be amazing. The sound at the beginning is the same basic sound as the main track, with some tweaks and turns to my sustainer and Ampeg Sub-Blaster; I managed to navigate the storm. As it evolves, I add a Guyatone Ultron Auto Wah and a Chunk Systems Brown Dog Gated Bass Fuzz.
“Seth Pulls Into the Lot” features an active bass line. Can you provide some insight about how you played it and what your fingers look like?
I played it with a little Bootzilla aggression and light finger pull-lepathy. My fretting hand is a little mangled up, like when you pull your finger out of the P.
What’s the signal path for the main bass line?
I recorded direct through the Ampeg SVT Classic head, and miked the Ampeg 8x10. I used a Chunk Systems Agent 00Funk, a Maxon Analog Delay, and a DNA Analogic Purple Phase, which are all distributed by Godlyke.
The “Seth Pulls Into the Lot” solos are truly badass! Take us through the first one, and then the second one, providing all the performance and signal path details you can.
In my mind it’s like this: You start out with a little foreplay on the ToneWorks AX3000B. Then you get the bass hot. Then you open her up—start feeling your way and pushing up on things until they start to get touchy and squirt. That’s when you go in for the thrill. That’s how I imagined it while I was playing. It seems to work every time.
What was the concept with the symphonic song, “Cops See Fogel’s ID/Seth Saves Evan,” and what can you tell us about the bass part?
I wanted to go into another direction, and in doing so, somebody dropped down and gave me 50. The old Funkadelic saying is “No head, no backstage pass,” and that’s what I imagined. It felt like a natural mushroom high, but I don’t do that anymore, so I’d forgotten that feeling.
“Flashback Party Weekend” and “Seth Runs on Track” feature a more traditional funk bass tone and approach. Were those two tracks—or any others—purposely made to sound the most authentically JBs?
Yes, I did that on purpose to remind people that I can still do my original JB sound.
How did it feel to play some straight up fingerstyle funk with no (or little) effects after years of making slap and pop with effects such a stylistic hallmark?
It felt great! In fact, the best ussy i ever had, was the ussy I didn’t get!
Of course, there are crazy effects all over most of your parts. Were you thinking, “I’m still going put my modern signature thing on most of it and leave just a bit truly old school?
You hit the head right on the nail! It’s truly more than what you’re funkin’ for. I love that straight-ahead round bottom groove.
“Sleeping Bags” is a 6/8 ballad with a very simple roo- note bass line. We rarely hear that kind of thing from you. Did playing like that actually present a challenge, or was it as simple as it sounds?
It was pretty much as simple as it sounds. Sometimes she understands quicker when you just got one word to say.
“Like a Pimp” is a crazy-effected bass showcase over a rhythm track. How did that go down, how did you execute the part, and how are you manipulating the effects?
I’m actually sitting there with both feet on the pedals waiting for Bootsy, or Boo-man-choo, or some magical voice to cue me to funk, or forever hold my peace. You don’t ever want to get caught holding your piece, so you’d better get rid of it. The next thing I know, pedals started flying and people started crying with joy in their hearts and souls, so I said to myself, “Dang, it must be good—finger funkin' good! Yeah!!”
“Evan’s Basement Jam” starts out as a simple funk throwdown and gets nastier as it progresses. Can you describe how that track evolved?
Well, sometimes you have to disguise yourself when you are coming in through the front door. So I make everybody feel cool, with my star shades on and sheet. Once you gain entrance, you make a few friends and then you go hog wild on everybody in the house. Freak out! Freak out! Freak out! Then I did like Howlin’ Wolf suggested, and I became a back door man. Never let a man see the fat of the thigh, or something like that.
How would you describe the stylistic flavor of “Funk McLovin”? Can you remember any specifics about how you created the main part, the main tone, and then the wild solo?
This is what I enjoy doing—kind of off the top babble—both on bass, and lyrically speaking. If I thought about it while I was doing it, it wouldn't get done. It is a spontaneous, back seat of my Chevy kind of vibe. If she takes her draws off, it’s on, but then it’s over just as fast! So I take my time and play with it—I mean her—for a while until she explodes!!! Then I ask her, “Who’s yo daddy baba?”
Which drummer played on what tracks?
I’m not looking at the CD at the moment, but Jab’o played more of the swing groovy feels. Clyde plays hard & dominant. His does syncopated, raw, non-stop-left-handed, cock-eyed-funky-drummer kind of stuff.
Did Bernie play synth bass on anything?
No, he did not this time. But I did catch him playing with his self. We do that every now and then—it’s a Funkadelic secret, which has been passed on to Buckethead. Now him and all his Bucket-Bots play with themselves quite frequently.
What bass line do you think is the baddest on this soundtrack, and why?
If I answer this, then there would be a conflict of interest between Bootsy, Bootzilla, Casper, Roto-Rooter, and The String Puller, so I better leave that alone. Plus, I have to live with these sensitive guys.
What track was the most fun to do, and why?
The ones that I did with no effects. That was something new and challenging for me at this point in my career. It reminded me of the Godfather himself. I hope that I helped uphold the funk banner for Mr. James Brown. He truly did change my life and the lives of a host of other musicians, entertainers, and fans. Long live the Godfather of true funk.
