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| Why is she with him? Ham? |
3 Players: W, K, G
Game: Guildhall
Location: W
Choice: K
 |
| Why is she with him? |
Game One:
K (20 pts), W (18 pts) & G (12 pts)
Game Two:
W (20 pts), G (19 pts) & K (12 pts)
Final Tally:
- W was declared the winner
- W couldn't stop playing his cards directly into his guildhall instead of his playing area
Music:
[Notes from the Rolling Stone Review] At Magnaball, the band gave fans plenty to chew on, including (on night one) a blissful 23-minute "Bathtub Gin" (from 1990's Lawn Boy) and a version of "Harry Hood" that pushed rhythmically and harmonically free from its well-worn jam paths. There was newer material, like "The Dogs" (from an album's worth of half-songs debuted last Halloween in Las Vegas, based on Disney thrift-store LP staple The Chilling, Thrilling Sounds of the Haunted House) and (on day two) "Scabbard," a recent through-composition by guitarist Trey Anastasio that might (with practice and continued performance) yield the kind of playful prog-rock drama of the band's earliest work. The band jumped on trampolines and vocal-jammed ("You Enjoy Myself"), unleashed perhaps the longest vacuum jam in the band's history by drummer Jon Fishman ("I Didn't Know"), played ambient mood pieces ("What's the Use"), dusted off tunes for the first time in a decade ("Mock Song"), got fans to shout in odd time signatures ("Punch You in the Eye") and dropped the occasional MOR-ready pop melody ("Waiting All Night").
[Notes from AllMusic.com] One Nation Under a Groove was not only Funkadelic's greatest moment, it was their most popular album, bringing them an unprecedented commercial breakthrough by going platinum and spawning a number one R&B smash in the title track. It was a landmark LP for the so-called "black rock" movement, best-typified in the statement of purpose "Who Says a Funk Band Can't Play Rock?!"; more than that, though, the whole album is full of fuzzed-out, Hendrix-style guitar licks, even when the music is clearly meant for the dancefloor. This may not have been a new concept for Funkadelic, but it's executed here with the greatest clarity and accessibility in their catalog. Furthermore, out of George Clinton's many conceptual albums (serious and otherwise), One Nation Under a Groove is the pinnacle of his political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological "P.E. Squad"). The title cut is one of funk's greatest anthems, and "Groovallegiance" and the terrific "Cholly" both dovetail nicely with its concerns. The aforementioned "Who Says a Funk Band Can't Play Rock?!" is a seamless hybrid that perfectly encapsulates the band's musical agenda, while "Into You" is one of their few truly successful slow numbers. One Nation Under a Groove is the best realization of Funkadelic's ambitions, and one of the best funk albums ever released.
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