Ultra Wave

Editorial Reviews

All Music Guide - Lindsay Planer
While certainly not among his greatest efforts, Bootsy Collins' Ultra Wave 1980 is still infinitely better than most of the disco dregs being squeezed from the likes of Earth, Wind & Fire or Kool & the Gang. Although Collins bass/vocals had not formally split up the Rubber Band -- as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni -- he takes sole and quite possibly soul credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins guitar, Robert "P-Nut" Johnson vocals, and the ...
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Editorial Reviews

All Music Guide - Lindsay Planer
While certainly not among his greatest efforts, Bootsy Collins' Ultra Wave 1980 is still infinitely better than most of the disco dregs being squeezed from the likes of Earth, Wind & Fire or Kool & the Gang. Although Collins bass/vocals had not formally split up the Rubber Band -- as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni -- he takes sole and quite possibly soul credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins guitar, Robert "P-Nut" Johnson vocals, and the superbad dynamic horny horns of Fred Wesley trombone and Maceo Parker sax. Not missing from these -- or any other Bootsy affairs for that matter -- is the unapologetic party atmosphere Collins' infuses within every pulsation of his full-bodied and self-proclaimed "Space Bass." The catchy and sexually tweaked opener "Mug Push" quickly became a dancefloor favorite and garnered a short but significant run on the R&B charts. The overuse of synthesizers becomes increasingly evident, particularly when they practically bury "F-Encounter"'s otherwise stylish groove. The end result sounds like a cross between the Parliament hit "Flashlight" and George Clinton's "Atomic Dog." The shuffling "Is That My Song?" is an arguably lightweight entry. But to its credit, Collins, influenced by Sly & the Family Stone and especially funk-bass originator Larry Graham, gives it a respectable degree of listenability. "It's a Musical" drives hard with brassy and sassy horn arrangements that have the feel of something Quincy Jones might have charted for Michael Jackson circa Off the Wall 1979. The slinky and rubbery backbeat on "Fat Cat" hearkens to the loose booty of former Bootsy's Rubber Band tracks with Johnson's falsetto likened to the shrill warbling often utilized on Prince's seminal sides. The obligatory ballad "Sacred Flowers" also bears trademarks of the Bootsy of old. While that in and of itself is great, it is likewise symptomatic of Ultra Wave's inherent deficiencies. The pseudo-novelty closer "Sound Crack" would probably have more going for it had Collins ditched the dated opening dialogue. Once it gets up to full steam, it roars with an intensity fuelled by the same bounce behind such P-Funk staples as "Up for the Downstroke." The 2007 CD reissue by Collectors' Choice Music has significantly improved sound compared to expensive import editions that can run upwards of a dollar per minute.
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Product Details

  • Release Date: 10/16/2007
  • Label: Collector's Choice
  • UPC: 617742084726
  • Catalog Number: 8472

Tracks

Disc 1
  1. 1 Mug Push (3:52)
  2. 2 F-Encounter (7:37)
  3. 3 Is That My Song? (3:45)
  4. 4 It's a Musical (4:49)
  5. 5 Fat Cat (7:06)
  6. 6 Sacred Flower (6:47)
  7. 7 Sound Crack (7:04)
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Album Credits

Performance Credits
Bootsy Collins Primary Artist, Bass, Guitar, Drums
Maceo Parker Horn
Casper Guitar, Percussion
The Brides Vocals
Phelps "Catfish" Collins Guitar
Richard "Kush" Griffith Horn
Larry Hatcher Horn
Joel Johnson Keyboards
Carl "Butch" Small Percussion
Fred Wesley Horn
Brandy Vocals
David Lee Chong Keyboards
Parlet Vocals
Technical Credits
Dave Boyer Engineer
Casper Arranger
Bootsy Collins Producer, Artwork, Horn Arrangements, Concept, Audio Production
Mark Calice Engineer
George Clinton Producer, Audio Production
Bob Fisher Mastering
Greg Reilly Engineer
Jim Vitti Engineer
Greg Ward Engineer
Fred Wesley Horn Arrangements
Dave Baker Engineer
Allen Zentz Mastering
Kevin Tong Producer, Reissue Producer
Fred Munch Engineer
Richard Bangham Artwork
Diem Jones Art Direction
Pat Kraus Engineer, Remixing
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