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Bizarre Alien Biology: Its bio in the first game states that it sucks mud through its feet to feed rapid horn growth.An Ice Person: Is a one-third Cold element monster.When shed, a horn will be strung and tuned, then replace the Bowgart's old instrument." It sucks a muddy combination of Earth and Water through its feet to feed rapid horn growth. Rock Monster: Is a one-half Earth element monster.Portmanteau: Cybop is one between "cyclops" and "bop".They do reply to all the fan mail they receive, though. Fan Boy: The Cybop is a huge fan of the Ethereal Jellbilly monster, so much so that Jellbillys receive fan mail from their Cybop admirers.Early-Installment Weirdness: On the first island that its available, the Cybop makes an electrical/robot noise, but for every island afterwards, it speaks a few words that have a robotic sound to them instead.Dem Bones: Their tails appear to be mostly exposed vertebrae.They need to be reminded that its not socially acceptable to scavenge the body parts of other monsters to repair themselves. Cyborg: Are part machine and part organic material.
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Blow You Away: Is a one-half Air element monster.Occasionally, Cybops need reminders that attempting to scavenge the body parts of other Monsters for personal repair is not socially acceptable." The familiarly mobilizing rumble’n’shuffle bottom is intact, but the attempt to turn the grooves into songs busies up the business and blunts the infectious impact."Much more than mere gizmos, Cybops are deep thinkers, and vibrantly alive. With production and performing assistance by Bootsy Collins and Kurtis Blow, the studio grooves are gussied up in defiance of the band’s traditional limber unpretentiousness. The title of Trouble Over Here is prophetic, as T-Funk rides off the rails in a fit of misguided stylistic ambition. Saturday Night continues the fun with six long, generic demi-instrumentals (and a couple of shorter shards) wisely cut live in front of an enthusiastically cooperative crowd. The ultimate funk spirit of these sides is intoxicating. It’s not like the Godfather of Soul’s side-long live medleys because Trouble Funk doesn’t do songs: just a hot bottom, some rolling percussion, a couple of tag phrases and a lot of audience participation. The band maintains a low-tech groove, and the four lead singers move the jam along with a lot of assistance from the crowd.
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The other two contain long live jams that sum up the scene. The two sides of studio material have nowhere near the juice of the debut. In Times of Trouble is like two separate albums. It also produced two classic tracks: the title tune and the monster 12-inch, “Hey Fellas.” Both are wet, sticky and great for dancing. Bronx DJs used to find the discs and soak the labels off to keep audiences (and competitors) from learning what they were playing Drop the Bomb gave everyone a chance to get go-go. Virtually all prior go-go releases were on Washington’s local T.T.E.D. had a huge smash with “Da’Butt,” a number originally created for Spike Lee’s School Daze.)ĭrop the Bomb is a seminal go-go album because it was released by Sugar Hill, home of the uptown rap set. (They were, however, eclipsed in 1988, when E.U. The unsophisticated grooves began to break out nationwide in ’85, and Trouble Funk were quickly established as one of the genre’s leaders. Go-go has grown concurrently (though not as popularly) with hip-hop, and offers a spirited group alternative to beatbox isolationism. Not surprisingly, he found people were grooving more on these bridges than the songs. In no other North American music does the cowbell play such a major role.Ĭhuck Brown, father of go-go, developed it from drum breakdowns which he used in clubs to link Top 40 covers. The bands - basically fluid rhythm sections with a few added frills - do their thing while the musicians and audience yell a whole lot of nonsense (like “Let’s get small, y’all” or “Drop the bomb!”) The funk is solidly Southern, with a strong James Brown flavor and tons of sloppy percussion.
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Go-go is a throwback to percussive, endless-groove funk that sacrifices structure, production and slickness for loose feeling and community involvement. Trouble Funk belongs to Washington DC’s go-go scene.