GEORGE CLINTON — Hey Man... Smell My Finger

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3.17 | 3 ratings | 1 review

Album · 1993

Tracklist

1. Martial Law (7:13)
2. Paint the White House Black (7:49)
3. Way Up (5:07)
4. Dis Beat Disrupts (3:29)
5. Get Satisfied (3:55)
6. Hollywood (5:21)
7. Rhythm and Rhyme (5:39)
8. The Big Pump (3:34)
9. If True Love (3:57)
10. High in My Hello (5:16)
11. Maximumisness (5:02)
12. Kickback (3:41)
13. The Flag Was Still There (5:58)
14. Martial Law (Hey Man... Smell My Finger) (4:13)

Total Time: 70:20

Line-up/Musicians

Instruments – Aaron Blackmon, Alan Friedman, Amp Fiddler, Atlanta Bliss, Bernie Worrell, Bootsy Collins, Catfish Collins, DJ D-Zire, Darren Perteet, David Spradley, Dennis Chambers, Dewayne McKnight, Eric Leeds, Flea, Foley, Fred Wesley, Garry Shider, Gary Mudbone Cooper, Gordon McGuiness, Gregory David Moore , Herbie Hancock, Jeff Bass, Kirk Johnson, Larry Fratangelo, Levi Seacer Jr., Maceo Parker, Mark Bass, Mr. Hayes, Paca Thomas, Piano Man, The , Richard Arrigo, Roger Lynch, Sonny T., Stephen C. Washington, Steve Sykes, Steven Bookvitch, Tom Daugherty , Tracey Lewis, William Bryant III
Vocals – Adrian Goms, Amp Fiddler, Andre Foxxe, Angela Workman, Anthony Kiedis, Belita Woods, Bootsy Collins, Candace Harrisson, Carolyn McClure, Clip Payne, Dallas Austin, Darryl Bourdeaux, Deana Klug, Debra Barsha, Debra Killings, Dr. Dre, Foley, Garry Shider, Gary Mudbone Cooper, George Clinton, Grady Thomas, Humpty Hump, Ice Cube, JC-001, Jessica Cleaves, Joe Harris, Kam , Kerry Gordy, Lay Back, Lige Curry, Louis Kabbabie, MC Breed, Mallia Franklin, N'Dea Davenport, Nicole Tindall, Pat Louis, Paul Hill, Pee Wee, Pupa Curly, Ray Davis, Robert "P-Nut" Johnson, Roger Lynch, Sandra Feva, Schmoovy Schmoov, Sheila Brody, Steeles, The, Steve Boyd, Steve Sykes, Tasha Griffin, Theopolis Glass, Tony Wilson , Tracey Lewis, Yo-Yo

About this release

Paisley Park – 9 25518-2 (US)

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GEORGE CLINTON HEY MAN... SMELL MY FINGER reviews

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Warthur

One of George Clinton's most uncharacteristic solo albums, Hey Man Smell My Finger came out in the midst of the widespread embrace and rediscovery of the P-Funk canon by the hip-hop community, particularly through the G-Funk style in gangsta rap which had been embraced by the likes of Dr Dre and Ice Cube - both of whom make guest appearances here, in one of the first recorded fruits of their reconciliation following the breakup of NWA.

Responding to the new audience for his music, George Clinton set about crafting a hip-hop based album which featured extensive rapping, sampling of older P-Funk albums, and electronic beats. This isn't such a departure for Clinton - callbacks to older songs and narration verging on rapping having been features of previous Parliament and Funkadelic albums - but on the whole the experiment only has average results.

It doesn't really make sense to assess it using the criteria I'd usually judge P-Funk albums by, since it isn't really a funk album; as far as G-Funk hip-hop albums go, it's a good effort and certainly no embarrassment, but it isn't stellar either. It lacks the gleeful transgressive edge that the best albums in the G-Funk vein such as Dr. Dre's The Chronic or Snoop Dogg's Doggystyle boast, and the beats Clinton cooks up are nowhere near as catchy as the best rap anthems - or the top-flight P-Funk songs. It's an interesting experiment but Clinton isn't really playing to his strengths here.