"The one" is - among other things - a musical point of reference; a meeting place of rhythm; a pulsating force from which the funk never strays too far. It even became a slang expression often used during the mid-1970's, as in, "everything is on the one" = "everything is good (or alright)."

As any true lover of funk knows, "the one" is the first beat of a 4/4 bar of music. The concept of "the one" was first developed by none other than the Godfather of Soul himself, Mr. James Brown. An accomplished dancer, Brown had a particular love for music that could make his body move. As his style of playing soul music evolved, Brown realized that his "strength was not in the horns, it was in the rhythm. I was hearing everything, even the guitars, like they were drums." * Brown & his musicians began to play the notes on that first beat harder and louder, creating a percussive energy that was very conducive to dancing, an energy that accentuated the rhythm. After the first beat, the instruments and the singing usually wondered off to other places and other notes, but inevitably the all the different parts came back to "the one".

"The one" is very distinctive; it's repetitive, and this repetition builds momentum as the song progresses, and your body gets used to hearing "the one" at that same point and you start to feel the energy of "the one" and your body responds accordingly. A few classic examples of "the one" at its funkiest include: "Standing On The Verge Of Getting It On" by Funkadelic; "Gamin' On Ya" by Parliament, and "You and I" by Rick James.

In other words, the more instruments you play "on the one" and the louder you play them "on the one"… the funkier (and more danceable) the music is.

By the time Bootsy officially arrived as one of Brown's musicians, "the one" was clearly evident in much of Brown's music, especially the dance songs. As bassist for this version of the JB's, Bootsy, his older brother Phelps "Catfish" Collins (on rhythm guitar) and Frankie "Kash" Waddy (on drums) were all quick studies to "the one". As the bassist, guitarist, and drummer - the key elements of the rhythm section - these young musicians added even more energy and power to Brown's music, in classics like "Sex Machine", "Soul Power", and "Superbad".

After barely twelve and a half months with James Brown, however, Bootsy was ready to move on. He took "the one" with him, and began to incorporate this concept into projects he did with George Clinton and Funkadelic, as well as into his own recordings.

Taking a closer listen to Bootsy's dance tracks, several specific characteristics of "the one" are evident, consistent, and definitely contribute to the irresistibly danceable quality of his music. Because Bootsy expertly plays all of the rhythm section instruments - guitar, bass, and drums - these instruments are very prominently featured "on the one" and this makes his songs very danceable. This foundation of rhythm is so strong, your body has no choice but to dance to the music! Here are the main instruments heard in his music, and where they generally play in relation to "the one":

• the bass drum (aka "kick drum") and "crash" cymbal are almost always played "on the one"
• the bass guitar is played "on the one," usually a middle or high note
• the rhythm guitar is sometimes "on the one," but more often is heard after the first beat and up to the fourth beat, as a sort of "rhythmic filler"
• keyboards and synthesizers are sometimes "on the one" but, like rhythm guitar, are more often used as rhythmic fillers
• the horns are very similar to the keys, synths, and guitar: either "on the one" or as a filler, or often alternating between the one and the filler, depending on the bar
• vocals: key lyrics - usually the lead vocals - are also sung on the one.. and sometimes on the two, three and/or four! (see "Very Yes" below…)

Here then is a look at selected Bootsy recordings and how "the one" is used, which instruments are featured, and some effects created by the various combinations therein:

"What So Never The Dance"
One of Bootsy's earliest recordings, as a member of his group The House Guests; clearly with a James Brown influence. The kick drum and crash cymbal are on the one, as well as the lower notes of the bass line. The rhythm guitar mostly fills the space between the ones. For most of the song, the horns start on a high note on the one, and then go down the scale; as the song continues, the horns play everywhere. Various percussion - congas, cowbells, etc. - are played all over. Vocals are improvised throughout, giving an spontaneous, "party" atmosphere to this song.

"Stretchin' Out (In A Rubber Band)"
On the first hit from the solid first album, again "the one" is emphasized by the kick drum, crash cymbal and bass. The rhythm guitar and horns most often fill the space between the ones. The synthesizers - once they arrive - alternate between playing on (and holding from) the one, and they play between the ones, adding a celestial, "outer space" feel to the song.. appropriate, as "Casper" himself is from space! The chorus is alternatively sung on the one, then off the one. When sung off the one, the chorus creates a sort of 1-2 punch, as well as even more emphasis on the instruments that are played on the one. The fact that the various instruments sometimes play on or off the one make the song interesting; this helps to change the flow just enough to be noticed.

"The Pinocchio Theory"
As usual, the kick, crash and bass lines are all on the one. The clavinet also plays (lower notes) on the one, adding a little more bounce to the song. The rhythm guitar is on the one as well, but it's played softer, perhaps to emphasize the clavinet. For a part of the song, the jazzy horns alternate playing on the one and then off the one. Vocally, several things happen "on the one" at various points in this song. The "R" in the "R-U-B-B-E-R" chant is on the one. Listen carefully, and you will notice that the "body" in "somebody been funkin'/sleepin'/messin' with my funk" is on the one.. a subliminal invitation to move YOUR body on the one? Also notice how in the next vocal part, the "funk" of "I wanna funk with you" is also on the one.. this is how THE FUNK is subliminally injected into your subconscious! You walk around with "I wanna FUNK with you" playing in your head all day! Lastly - and appropriately - the "one" of "one of these good old days" is sung on the one.. one more reminder of the origin and the importance of "the one" in this or any other funk jam.

"Bootzilla"
Kick, crash and roaring bass lines all on the one - hard and loud. The rhythm guitar is often on the one as well, but it's played softer than most of the other instruments; still, you can hear Catfish on guitar better between the ones. The piano too is less audible- still mainly on the one, but more audible as a (jumping) filler. The horns start on the one at the beginning of the song, contributing to its strong, funky beginning, then they alternate between being on the one and playing between the ones (excellent horn arrangements, as usual, by "Friendly" Fred Wesley.) As in "Pinocchio," key vocal parts are on the one, bringing emphasis to certain phrases of the song: the "wind" in "wind me up," the song's invitation to the listener to "play with" Bootzilla; the child-like phrasing of the "Simon" from "Simon says do this/that" and the throaty "you" in "you gotta pull, you gotta pull my string," another invitation to be interactive with this big, friendly, funky doll! Basically, at some point all the instruments play on the one, making this song - indeed, one of Bootsy's funkiest - one of the funkiest of all time.

"Body Slam"
Kick and crash are solidly, prominently on the one, augmented by low-end keyboard playing on the one. The rhythm guitar plays a lower note on the one then jumps up to higher notes to fill the rest of the bar. The vocal refrain "shake it baby" starts on the one and adds some punch. Then, the song gets nasty with Bootsy plucking his bass - very hard - on the one. A keyboard part then starts and repeats a melody on the one, followed by a lively piano solo. These keyboard and piano parts create a little "break" in the song, preparing the listener for a highly percussive and funky cowbell climax that just sort of hangs there, like a drunk on a street corner, finally climaxing with a four-count ghostly growl from Bootsy. This funk gem finishes with a vocal "who was that?" on the one, followed by a final synth solo mostly off the one and more keyboard accents on (and off) the one.

"Work That Sucker To Death"
Bootsy guested on this supreme jam with Xavier, a 1981 project Bootsy was involved in. Again, kick, crash and low-end keyboard are solidly evident on the one, plus a frequently audible "open hi-hat" right before the next "one," giving this song even more funky bounce! During each verse horns and keyboards alternate playing on the one and then off it, to add a sort of "uneven," rolling energy to this song. Choppy rhythm guitar and horns on the one during the "work that sucker" refrain. The "work that sucker" refrain is the only vocal sung on the one, and this helps create the command to the listener to.. WORK that sucker to death! After the "we sho' 'nuf need a gig" line, Bootsy starts tearing up his bass, slapping and plucking it on and off the one, filling the space between the ones so much that "the one" almost disappears into the background! This is how funky Bootsy's bass playing is on this song! Then, after the "Sichard Rimmons" parody, Bootsy slaps and plucks the bass in an even more percussive and frenzied way.. as the listener, you have no choice but to dance! Then, as Sir Nose describes what he's going to eat - and insists that his pronunciation of the song title is correct - Bootsy unleashes one more funk attack with his bass… leaving the listener in a very funked-up place…
This song is - in the opinion of this writer - the funkiest song Bootsy has ever played on, and it's one of THE funkiest jams of all time.

As strong and dominant and obvious as the influence of "the one" is on Bootsy's funky dance tracks, "the one" is also noticeably present in many of his slow, romantic ballads. A good example of this is the song "Very Yes," from Bootsy's third album "Bootsy? Player of the Year?" The song tempo is much slower here, but there are still the kick, crash and bass lines all flowing and establishing the rhythm on the one. At this slower tempo, the effect is something like that of a wave crashing on the beach, over and over again..
The rhythm guitar also glides on the one, complementing and softening the rough bass line under it. The horns gently alternate between being off the one and then on the one later in the song, adding a seductive accent to an already sexy song. In terms of the vocals, each line of each verse starts on the one, which gives a sense of "urgency" to the lyrics. The "answer" in "the answer to the question is.." refrain is also on the one, which sort of emphasizes.. the answer to the question.. which is further emphasized by the "very" sung on the third beat and on the fourth beat.. a nice little variation from "the one"!

Thus, Bootsy's understanding and mastery of "the one" - as he learned it from The Godfather of Soul - have allowed this master bassist to create very funky music of the highest quality, music so funky (at any tempo) that there really is no choice but to dance to it, and the power of "the one" is definitely what makes you dance. Because of his exceptional proficiency in the main rhythm instruments, his creativity, and his desire to experiment, he has distinguished himself from the majority of his (equally talented) peers.

JaChri Taylor (23 Aug 2002)

*quote taken from : Dave THOMPSON, "FUNK," Backbeat Books, March 2001, (400 pages), p.11 >>> www.barnesandnoble.com

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