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Pat Walsh
Pat's Peeps Podcast
Ep. 195 Today's Peep The Joys of Hoops, Mark Russell's Satirical Genius, Celebrates the Timeless Grooves of George Clinton and Does Anybody Really Know What Time It Is?
Lacing up my sneakers after years away from the court, I rediscovered the simple joy of shooting hoops under a crisp January sky. Join me as I reflect on the thrill and inevitable soreness of rekindling old passions like basketball and boxing. It's a journey that intertwines with the heavier topics swirling around my radio show, from fire evacuations to political debates, all yearning for the lighter notes of life. Music becomes my escape, and I invite you to sway to the grooves of George Clinton and the P-Funk All-Stars, remembering their electrifying performances and the evolution of funk. Through the lens of nostalgia and rhythm, this episode is a celebration of both movement and melody.
But there's more than just music on the menu. Travel back to the vibrant 1960s, a time of iconic social movements and unforgettable protest songs encapsulated in the album "Golden Protest." We pay tribute to the legendary Mark Russell, whose sharp political wit and musical parodies offered a unique take on presidential elections. As we reminisce about the past, we also ponder the nature of time itself, sparked by a chance encounter with a lady and her stopped diamond watch. Emphasizing themes of positivity and perseverance, this episode serves as a reminder of life's cycles and the importance of savoring each moment. Join the journey of musical memories and fresh beginnings as we cultivate gratitude and keep pushing beyond the hurdles of everyday life.
Hey now, hey now, welcome back. That's Peeps Podcast. It is actually 195. I think yesterday on 194, I mentioned it was, I think I called it 195. This is actually 195. I'm out on the basketball court again today. I'm doing it again, man, it's a gorgeous day. It is Thursday, january, isn't this the 23rd? I believe January 23rd 2025,. Out of the studio again, shooting hoops came out here yesterday.
Speaker 1:As I mentioned, I hadn't played hoops in a while. I'm trying to integrate things that I used to do a little boxing training, some basketball, some sprints, some other things, and just some nice fast-paced walking, whatever I could do. And I couldn't figure out why last night, excuse me, I couldn't figure out why my arms hurt so bad. I thought, geez, I didn't lift weights. I don't remember moving anything necessarily. Why the heck did my shoulders and my elbows, forearms, I kind of feel it. And then it occurred to me as I laid down, to hit my head on that pillow. I was out shooting hoops and you know what, if you haven't done that in a while, it's a different motion. I'll tell you what.
Speaker 1:Today, by the way, I am hitting my shots. It just took me one day to kind of get back in a groove, but more than being able to hit the shots, I feel good moving around, and so you know you get to 60, you may feel good and she's not really good. I'm not even missing today Good movement. I'm not going to do that while I'm talking to you, but so anyhow, by the way, not a whole lot to talk about to start here as I'm shooting hoops, but God, I'm loving listening. Oh, I made another one. I'm doing this one-handed, by the way, right now, so I can hold my phone One-handed. Now my arm's going to kill me tonight. Three-point range One-handed oh, just off the rim. Not a lot, there's nothing important. I feel like every show Last night's my radio show, by the way, host of the Pat Walsh Show, heard nationally and internationally on the iHeartRadio app and KFBK and Zagarmal Last night was a very serious show.
Speaker 1:We had more evacuations in Los Angeles with the Hughes fire. Excuse me, I should have brought some water. Oh, I did bring some water. I mean, there's just a lot of that kind of stuff, you know, and I kind of need a break from the heaviness. You know more Trump stuff. We're talking about the death penalty. Still going to read those letters to you, though, if I can find them Today or tomorrow. The ones I've been telling you about. I did read one of them partially on the air last night. Needed that water man. I love this P-Funk. I love George Clinton. Anyone else like George Clinton? That's old school funk man. I'm not a huge rap guy. I mean there's some stuff I like a prude but I like more old school rap. Maybe if I'm gonna listen to any of that. But I love old soul. I love funk man. George clinton, p funk, all stars. The artist I've seen the most of my life take a lay up here.
Speaker 1:Oh yes, oh yes, there you go, sammy Hagar, in one way or the other. Whether it's Sammy on his own, I saw his first tour, one of his first shows ever, on the Rising Star Show, which I've talked about here. But you know whether it was with Montrose, with Van Halen, with his latest band, with Michael Anthony and Joe Satriani and Jason Bonham that just toured that. We just saw this last. This past summer I've seen Sammy the most 14 times now I actually might even be 15, but anyhow, love Sammy Hagar. But the second most concert I've ever seen, oh, misses the layup. How can I miss a layup? Because I'm holding a, a phone. That's why, alright, I'll hold up for a second here. Second, most I've seen is George Clinton and the P-Funk All-Stars, formerly Parliament Funkadelic, you know, bootsy Collins, just an incredible band, a funk, the funk master, the godfather of funk, although the godfather's probably James Brown. But I gotta come up with something else different for for George, and George always come, we come out with these vibrant robes on, like these very vibrant colored robes and all these kind of these dreadlocks I guess you could call them dreadlocks very colorful. All the time I was wearing stuff in his hair he was groovy. He is groovy man and I've seen him 10 times. I will see him 11. And he's got the biggest band you ever seen on a stage. Yeah, all these people out there funk and there must be 20 people on that stage. Women dancing with top hats. I mean the dude in the diaper. It's so weird, the guy in the diaper, but that dude's badass. The guy that dude always puts the elephant nose on skinny, muscular dude that always does those contortions on stage. If anyone's seen what I'm talking about, you know what I'm talking about, but I dig that funk man.
Speaker 1:You know George Clinton was dead set against doing any kind of rap. He didn't really like rap. He's a funk dude. I'm trying to hook shot here the old school Dave Cowlitz. To try that again need my other hand free. But there was a couple of times I believe maybe in the mid 90s, I can't, I don't really recall where he caved in to other influences in the George Clinton P-Funk All-Star band and particularly into George, where he said he allowed them to insert a little rap. And the God's honest truth is old school rap like the early 90s. I like some stuff coming out of that Cypress Hill or House of Pain. There's just a few public enemy NWA were back in that time, but there was also really some hokey stuff. Come on, do-do-k, do-do-do-k, do-do-k.
Speaker 2:Do-do-do-do-k.
Speaker 1:You know, it was just kind of hokey and they inserted that in a couple of George Clinton tunes. And to me, when you get to those tunes and you're funking out to a George Clinton record or CD or download whatever cassette 8-track and I get to that part with the rap, ooh, nice shot, it sounds outdated. It's the only part of the song that sounds outdated in my head. Funk, real funk, james Brown, you can tell it's old school, but it has more Appeal to it. I think it has more of an appeal for me for sure Does not sound as corny or outdated as some of that old rap that wasn't very good. Again, the bands that I mentioned, the exception of those bands and some others Beastie Boys, of course, I mean there were some talented bands or groups or artists that were doing rap back in those days. Anyhow, my brother steve would go to me, go with me to some george clinton shows and, uh, we gotta do a layup here. Hold on, oh, I missed it. Okay, I gotta stop the layup with holding my other holding the phone.
Speaker 1:I remember this dude, we were in building and it had to be. We were probably part of the maybe 2% of white people in this building and everyone else in the building was black. I know their music is well, if not better than most people, and so does my brother. And there was this other white dude and we were inside back where the Radisson used to be Remember the Radisson right there off 80?. This dude was getting ready to light up a joint. He was going to spark a joint, some of the dudes around him again, we are surrounded by, you know, people having fun. And this dude, he gets asked by one guy very nice, hey, could you mind not lighting that up right here, man, in my space. And the guy was just being a dick, sorry, hey, man, yeah, whatever dude, he goes to light it up. And the guy's like please, you know, please, don't light that right here. Come on, man, it's a tight space, it's indoors. It even had a low ceiling. I remember we weren't at the Grove, we were at the indoors part and um. And then another guy said hey, you know, come on. The guy asked you nicely to not to light up a doobie right here, to which the guy again didn't give a rip what the guy was saying or how polite he was going about it, and to which, at that point, when he went to light it.
Speaker 1:I'll never forget steve grabs guy. My brother grabs this dude by the back of his neck and he says excuse me, did you hear these very polite gentlemen, who happen to be black Again, you know, hey, we ain't here being a-holes, we ain't the a-hole guys. Come on now, don't be including us in any way here. He says did you happen to hear these two gentlemen ask you very politely to not light that up? So let me ask you, as he squeezed this dude's neck even a little harder, why are you doing that? Why don't you go ahead and snuff that out now, step on it? To which the guy did. And these dudes looked at us like, hey, man, thank you, thank you, thank you, thank you. He didn't like nothing. He wasn't going to like nothing, at least not in that area. I don't remember what happened to him after that.
Speaker 1:I remember another time my brother, steve, and I saw the George Clinton of the P-Funk All-Stars and we saw him in 92 at Laguna Seca Raceway. We saw him with the Black Crows and Bob Dylan. Now, how about that mash of an audience, I mean of a show, that mismatch or mishmash of a show? And so I'm wearing a Frank Zappa shirt. This is back before. You could readily just order anything you want on the internet, online. This was like night this is 92 and I remember standing in the beer line and some members of the george clinton band. They idolized frank zappa like I do. They're like hey, bro, where'd you get that shirt? Man? I said I just bought it in the hate asbury. Oh man, hey, we'll give you, like each, all the models of shirts. We have our tour t-shirts. I'll trade you for that shirt and I'm like so, bro, no, I know, because they love frank. I remember that. I remember the drummer actually threw a stick out at that show and hit my brother in the face with the stick. He didn't see it coming. He still has that stick, by the way. Uh, that's also the same show where the black crows finished up.
Speaker 1:I've told this story before. I think you want to get away like the Southwest Airlines ad when the Black Crowes finish up this super rocking set before Bob Dylan comes out and the gal the local gal she must have been from the local TV or radio station oh God, she comes out and the mics are still ringing from the Black Crowes. Wow, like feedback. Just everyone's amped up radio station. Oh god. She comes out and the mics are still ringing from the black holes. Wow, like feedback. Just everyone's amped up. She walks out wow, what a show. Let's hear it again for the counting crows.
Speaker 1:And when Chris Robinson, or the vocalist of the black crows, heard that I'll never get, he stormed his ass out on stage, grabbed that microphone and he said that's the MFN, although he didn't abbreviate it black clothes. He threw that mic on the stage. Oh god, she had to be just completely embarrassed, humiliated for that mistake, and mistakes happen. I wonder if that person ever, if she ever, remembers that story, or if it's just me that has this weird memory for things like that. Anyhow, hey, I'm going to continue shooting hoop listening to some more George Clinton. We'll continue the Batch Peeps podcast 195, I believe, on Thursday January 23rd. We'll continue. Hey, happy Thursday.
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Speaker 1:Do today pat walsh guys hosting the bats peeps podcast number 195. That was some national lampoon. Thank you for joining us on pat's peeps podcast 195 on all your streaming platforms. Hey, you know now that the election is in the books, as they say, and we're all so sick of the rhetoric, you know you get to thinking, geez, it's rhetoric and heck, we. We've heard all this rhetoric you know for years now, but it goes way back. It's just not with Trump and all the recent stuff with Kamala and Joe and a blah blah Hillary. This goes way back. And you know one of the great political comedians of all time. Most people would put him and put this gentleman at the top of their list or somewhere in there. Guy's been around forever, mark Russell. Do you remember Mark Russell? Mark Russell, the great comedian, the presidential, the political comedian. He would play the piano and go out and do some stand-up. Rhetoric was going back as far. I mean certainly forever. But here's Mark in 1980, during that campaign.
Speaker 3:Aren't you glad this campaign is over with? No more of that rhetoric? See, my big worry is that one of the candidates will win Now. And you see, I don't care who it is. See, no matter who wins, he will be the evil of two lessers of two lessers. Now, I love the Republican platform, I do, I love it. It sounds great. We're going to cut taxes, balance the budget and build up the military at the same time. You know how they're going to do that they're going to buy the weapons from Taiwan.
Speaker 3:Now, the high point of the Democratic Convention had to be the night of Teddy Kennedy's speech, right? Don't you love the way they've made up? Oh boy, and that's why it's kind of embarrassing listening to Teddy's commercials for Jimmy when you consider how they fought tooth and nail last winter, last spring. You know, hello, I'm Teddy Kennedy, and I want to tell you that my esteem for Jimmy Carter rises above the vindictive smear tactics and the disgusting mudslinging that he used on me last winter, because Reagan would have done the same thing where I nominated. So why not vote for the man who did it first?
Speaker 3:But Teddy Kennedy's speech was indeed marvelous. As he stood there in Madison Square Garden, looked out over the sea of Democratic delegates and he said Do you love me? And they answered yes. He said Will we carry our banner into the future? He said yes. Do we offer hope for America? Yes, will you give me the nomination? Forget it. Tell you what was not an issue. We thought it was going to be an issue and that was Reagan's age. Not an issue, I think it's safe to say, even though Reagan covered himself a couple of months ago, remember he said hey, if I'm elected and I get senile, I'll quit.
Speaker 1:By the way, Mark Russell passed away March 2023.
Speaker 3:So because of that, we have a brand new oath of office.
Speaker 1:That's peeps 195.
Speaker 3:If I ordered General Eisenhower to launch a raid on France and I'm speaking on TV and I forget to wear my pants? My friends ask no more questions. Don't give me another chance. That's it. I'll quit because I'm senile. If I have a talk with Brezhnev and he starts to get my goat and I alert the vessel Merrimack, the finest ship afloat, Then go ahead and boot me out. Don't even take a vote and I'll not raise a fuss because I'm senile.
Speaker 1:This is Mark Russell. I was just thinking about him because of the presidential election and everything that we've just seen and I knew he passed away. We talked about this on my radio show best known for it, by the way, the Pat Walsh show, best known for his series of these comedy specials. Generally they'd be on PBS. These aired between 75 and 2004 and the routines were a mix of political stand-up humor. He covered current events, musical par parodies, of course, as we're listening to.
Speaker 1:He accompanied himself on his trademark American flag-themed piano and he began in the early 60s. He was a regular entertainer at the Shore Motel in DC. Did his first PBS show in 75, a regular in 77 on the CBS variety show, the Starland Vocal Band Show. Now, can you imagine, from 79 to 84, he was a correspondent to the NBC reality TV show Real People Come on the Starland vocal band show. Do you remember this? Like you must be kidding that they had a show, but they did as they go on a tangent. They began as Fat City and it was a husband and wife duo, bill Danoff and Taffy Nivert. I couldn't stand that. You remember their big hit song? I couldn't stand that song. I couldn't stand it. I'll hold on now. Hold on now, I'll play it. I'll hold on now. Hold on now, I'll play it.
Speaker 2:You know what it is.
Speaker 1:Man. This was one of the most saccharine songs from 1976. The Starland Vocal Band everybody Pat's Peeps number 195. Beautiful day outside. Watch this, it's actually nighttime right now. It's just as bad now as I remember it, and everything's a little clearer in the light of day.
Speaker 2:And we know the night is always going to be here anyway.
Speaker 1:Ugh Ugh. Sorry, didn't mean to cut that off. Yeah, I did.
Speaker 2:My motto's always been when it's right, it's right, yeah. I heard that already, speaking of he's working up an appetite, looking forward to a little afternoon delight.
Speaker 1:If you were a teenager at this time and you were listening to this, then, like on purpose, you were either listening to it because it was on the AM radio in the background, or or I don't know. I just can't imagine. Or you were a girl rubbing stones and sticks together, make the sparks ignite rubbing stones and sticks together till the sparks ignite. It was getting so exciting.
Speaker 2:Sky rockets in flight Afternoon delight.
Speaker 1:This one and I'm not Lisa. I'm not Lisa. Remember that Jesse Coulter Afternoon delight yeah, whatever, yeah, whatever. Boy, why did I play that? I should have stuck with mark russell there. I gotta cleanse my palate with some music here on 195. I'll pull this record from my rare record collection shelf up there. My 45s I always tell you about this is on a white record label, columbia Records. It's got a little stamp on there from the radio station. What does it say? Part of it's kind of blurred out, but it does. I can read 1970. It's got a couple of felt tip pen marks on there, probably before they even had Sharpies, who knows.
Speaker 1:But anyhow, this is a really good song, very popular, sung by Robert Lamb, recorded by this wonderful group, included on the 1969 debut album. It was released as a single in 1970. According to Lamb, the song was the first song recorded for the debut album, but it was not released as a single until two tracks from the band's second album. They were always so weird about this Two tracks from the band's second album. They were always so weird about this. Two tracks from the band's second album had become hits. It became the band's third straight top ten single, peaked at number seven on the US charts, number two in Canada Because the song straddled years in its chart run. It's not ranked on the major US year-end charts. However, in Canada, where it charted higher, it is ranked as both the 59th biggest hit of 1970 and the 37th biggest hit of 1971. But I do find it fascinating that it was a hit but not a hit until the two songs from the next album were hits. They had to go back for this one.
Speaker 1:The original uncut album version opens up with a brief free-form piano solo which was performed by Lamb. A spoken verse by Lamb is mixed into the sung final verse of the final version on the album. But the single version doesn't include the freeform intro. It was only originally mixed and issued in mono. A stereo re-edit, beginning at the point from where the freeform intro leaves off, that was issued on this band's greatest hit CD set. There was a 2 minute and 54 shorter edit which emitted not only the opening freeform piano solo but also the subsequent varying time signature, the horn, the piano dialogue, therefore starting at the trumpet solo which begins the main movement in the song, and without the spoken part. So it was included in the original vinyl version.
Speaker 1:So what is it? I don't want to give you too much information and just, you know, make it all convoluted here. Man, this band had so many great hits and they have a Ukrainian-Russian group that goes out on tour called Leonid and Friends. It does their music exceptionally well too. If you get a chance to see them, you'll love their music. Does anybody really know what time it is released? In October 1970, chicago. Anyone love the long intro.
Speaker 2:As I was walking down the street one day, Intro 50 seconds long.
Speaker 1:A man came up to me and asked me what the time was that was on my watch.
Speaker 2:Yeah, I said Does anybody really know what time it is? Does?
Speaker 1:anybody really care. What a great tune.
Speaker 2:So I can't imagine why We've all got time enough to cry. As I was walking down the street one day, a pretty lady looked at me and said her diamond watch had stopped cold, and I said Something about Chicago's music.
Speaker 1:It just makes you feel good. Positive sunshine, a ray of sunshine to me.
Speaker 2:I can't imagine why Enough to cry to me Whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa.
Speaker 1:Whoa, whoa, 195. Hey, keep up with the New Year's resolutions, are you still doing it? Come on, don't give up. If you're still doing it, you really surpassed Quitter's Day, so keep going. Thanks for listening. I appreciate you very much. See you tomorrow for Pat's Peeps 196. See you on the radio. I don't know, I don't imagine why We've all got time enough to die Everybody's blind. I don't care, I don't care. I don't care, I don't care. Time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time, time.
