It was also a bigger club hit than its modest chart status suggested. “Loopzilla” was as repetitive as a reversing truck’s warning message, and utterly danceable. He referred to Afrika Bambaataa’s “Planet Rock” in “Loopzilla,” and added, it will “drive you nuts”: correct. Clinton, a hunter, had been captured by the (computer) game. He had evidently been tuned into contemporary radio: there were extemporizations of antique Motown hits on it, used like samples. While it was clearly P-Funk, it was also electronica buffed to a blinding finish like a gleaming robot. The first fruit was the single “Loopzilla,” released in September 1982. Returning as Parliament or Funkadelic was contractually impossible, so Clinton signed to Capitol as a solo artist. In 1982, Morrison and Clinton started figuring out a fresh fusion of P-Funk and electronics. The arrival of former Ohio Players’ keyboard boffin Junie Morrison in Funkadelic’s line-up, in 1977, delivered extra synth power. From the early 70s, Sly & The Family Stone, from whom Parliament-Funkadelic had drawn inspiration, had included a drum machine in its armory. P-Funk never feared synthesizers or electronics. Listen to George Clinton’s Computer Games on Apple Music and Spotify. If only he could channel his new habit into something productive… Hmm, those cute little synthesized tunes… what if that could be tied to super-heavy phunk? So his debut solo album, Computer Games, was born. Funk was addictive, as were the substances that went with it, and so was a new entertainment phenomenon: computer games. It gave him time to rewire his frazzled brain. It was time to regroup, but how? George Clinton, leader of P-Funk, knew what to do. And music was moving fast, with rap and electro trouncing funk as the kids’ choice, while even mainstream dance music was growing increasingly electronic. Parliament, Parlet, Funkadelic, Brides Of Funkenstein, Bootsy, Sweat Band, Philippe Wynne, the aborted project with showman-guitarist Roger Troutman… there was only so much Uncle Jam could cope with. The court further described "Bow Wow restraint" as the most famous aspect of the song - "in terms of iconology, perhaps the functional equivalent of 'ET home phone'" - and stated that the jury did not act unreasonably in concluding that there are many similarities between the two the work.Could the old funkateer still deliver the goods? Parliament-Funkadelic, the 70s masterfunkers, ran out of road as the 80s arrived, caught in a traffic jam of contractual hassles, personnel problems, personal problems, and overstretch. also showed that Clinton executed some degree of creative control over breathless by instructing the players to create a certain rhythm. Spradley and Garry Shider "are on either side.We just keep him in front of the microphone" while Clinton recorded vocal tracks on the same night. Testimony in the trial showed that the song was spontaneously composed - Spradley noted early tracks in the studio and recalls that "when George arrives, he has partied quite a lot so he, you know, feels pretty good," and unstable in the microphone. In a November 2009 decision confirming lower court rulings, Circuit Justice Martha Craig Daughtry of the US Court of Appeals for the Sixth Circuit described the circumstances surrounding the creation of the "Atomic Dog": Songwriter David Spradley, Garry Shider and George Clinton created "Atomic Dog" in a recording studio in January 1982, working without a written score. The jury found that the defendants deliberately violated Bridgeport's rights and provided legal remedy of $ 88,980. In his complaint, Bridgeport claims that "DOG in Me" infringes copyright by repeating the phrase, "Bow wow wow, yippie yo, yippie yea" and rhythmic rhythms throughout the song, and by repeating the word "dog" in a tone low voice periodically as a form of music punctuation. 07-5596, 6th Cir 2009), a lawsuit filed in 2007 by the rights holder of the composition for "Atomic Dog" against producer "DOG in Me," a song recorded by R & B and hip-hop group Public Announcement and included in their 1998 album, All Work, No Play. "Atomic Dog" is the subject of Bridgeport Music, Inc.
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