P Theory's Alex Cambell speaks with Kelly Cowboy August 2007
 
Often the making of a poignant album comes about due to an element of good fortune and good timing. Guitarist Alex Campbell of Chester funk band P-Theory also dares to suggest God’s Will may be a key ingredient. Alex and his fellow funk musicians certainly felt there was something divine at work when two years ago they were brought together with their current frontman Kevin Goins; a collaboration which soon led to the writing and recording of ‘Chocolate Sock’ an album which has been a crowning achievement for the artists involved and a chance to fulfil several personal aspirations. For P-Theory it was an opportunity to help their local church out of its financial struggles and potential closure by hiring it as the stage of their recording. For Kevin it was his chance to grant the life-long wish of his mother, Jesse Mae, a deeply Christian woman who had always hoped her son would give her a Gospel album.

As Alex recounts the story behind ‘Chocolate Sock’ you get the sense that a number of people’s careers and lives have come full circle with his record. The inspiration for this album can be traced all the way back to the heartland of funk; a town called Plainfield, New Jersey, which Alex has long held in reverence.

“Plainfield is an amazing place,” he insists as he begins his reflection. “It is the town where George Clinton founded the Parliament Funkadelic collective. ‘The Parliaments’ started off as a doo-wop act in a barbers shop during the 50s. Everybody from that town sings incredibly well, because they grew up with the Church and funk essentially is an extension of Gospel. That extension came about in Plainfield.”

Born and raised in Plainfield, Kevin Goins was weaned on music and religion from an early age. Along with his siblings Mary, Tyrone, Deborah and Glenn, Kevin’s upbringing was infused with a holy perspective and vocal gifts. It carved both him and his brother Glenn into an exceptional pair of soul singers.

“Their whole family is based around music. When they couldn’t afford instruments their dad, Bobby, would make guitars out of old coke cases. That is how they first learned to play. Ma Goins would jam with them on her washboard. Kevin and Glenn’s voices were always very similar…both incredibly talented.”

During the 70s Glenn Goins became a member of George Clinton’s P-Funk collective. George (otherwise known as ‘The King of Interplanetary Funksmanship’) was leading a music movement so colourful and conceptual that it came with its own mythology. They wove psychedelic legends of an alien being called Starchild who came to earth to bring holy Funkentelechy to humanity. His mission was to unleash the secrets of funk which the ancients had encoded in the Pyramids and defeat his arch nemesis Sir Nose who wished to end funk because he was too cool to dance.

“George is a genius, undoubtedly.” Alex attests. “What he was doing at the time was putting black people where they had never been before. He created this soap opera where there were black men in space. It was all about escapism.”

P-Funk became famed for their elaborate stage shows before most stadium rock groups really caught on. Glenn became an iconic member of ‘Parliament’ during the tour for the classic album ‘Mothership Connection’. At the climax of their show, Glen would literally call the Mothership into land by singing the old Gospel song ‘Swing Down’ while a large spacecraft descended onto the stage. Footage of this hypnotic performance can be viewed on youtube where it has received many popular hits.

“Glen was and probably still is the undisputed greatest singer of the P-Funk collective.” Alex asserts. “Parliament were the biggest show on earth at the time.”

Due to problems ensuing from George Clinton’s management, Glenn became one of the first members to leave the collective at the very pinnacle of their success. He became the founder and mentor of funk band ‘Quazar’ which he formed with Kevin and a number of other Plainfield musicians. Sadly this collaboration between the two Goins brothers was woefully short. Prior to the release of their eponymous first album, Glenn succumbed to Hodgkin’s disease and died at age 24.

“Glen died tragically. His death left Kevin in limbo, though he was still very much in demand. No one has a voice like Kevin and Glenn.”

Kevin went on to join a band called ‘Space Cadets’ with a man called Nairobi Sailcat. This was followed by string of other musical ventures, including a California based group called ‘General Kane’, before Kevin returned to Plainfield and took a sabbatical. It was during this period that he forged a connection with P-Theory through their mutual friend and now agent Barbara Thomas Johnson.

“We were with this Dutch record label called ‘Funk to the Max’ and they just said to us ‘You need to get the right front, man’” Alex recalls. “Long story short – they knew of Kevin. By hook or crook or dare I suggest God’s will the connection between us was made. We brought Kevin over in 2005.”

Kevin Goins and P-Theory became the perfect match. The funk outfit from Chester had founded their band with the sole purpose of creating original music using the same basic ingredients that their heroes had used three decades earlier. They considered the black rock/funk acts of the 70s to represent the golden era of music and it was this style and sound that they wished to recapture and emulate. For Alex meeting and collaborating Kevin was like striking oil in the desert.

“There are very powerful forces at work with this one,” Alex suggests, earnestly. “We shouldn’t be with Kevin. We’re polar opposites in terms of worlds. But we are incredibly close and have been since the first time we set eyes on each other. Having this connection to Plainfield is very important to us. There is such an incredibly rich musical heritage and sound to that town. Kevin is the closest thing to the original source. George took people out of that environment and never went back, where as Kevin never really left. He is a complete hometown hero. He is the funk.”

It just so happened that Kevin was a close personal friend of Eddie Hazel, Alex’s own hero and influence as a guitarist. It would seem that P-Theory are currently living the dream of every musician by having the opportunity to work with and learn from one of the masters in their chosen genre. But at the same time there appears to be no egos within their team. Instead there is a strong sense of mutual respect, spiritual brotherhood and a creative process that is pure and instinctive.

“There’s no lead singer syndrome,” Alex affirms. “Kevin would have every right to be like that but he’s just not that kind of guy. The way we record is very organic. We do it all live, taking it back to the roots. It’s about capturing the moment. We don’t set off with a map. It’s an instantaneous thing. Because of the vocabulary we share and the fact that we all know where each other is coming from we have a synchronicity. We know each other’s licks inside out so we’re not going to get hit by surprise.”

Alex reveals that all of the band obsessive when it comes to the attention to detail in their music. These old school purists use vintage equipment, reasoning that all the best albums were recorded in the late 60s/mid 70s. This is the sound quality which they aspire to and wish to see revived in the contempary scene. 

“In the current musical climate is more about empowerment to the artist and having access to a wider audience through the use of the internet. People no longer have to be reliant on what major record companies chose to force feed them. Independent labels such as Anti Records and Real World Records are leading the way for the support of the movement back into roots music. Soul, talent and integrity will never go out of fashion! There had to be a backlash against all the synthetic music that was being churned out. That is why the sale of guitars is higher than it has ever been. Music is a physical thing that needs to be felt to be fully appreciated.”

P-Theory recorded their first funk album ‘From the Hood to the Wood’ in a brewery in North Wales. For their second effort they wanted to delve further into the roots of their music; burrowing deep into its essence.

“With the first album, we wanted to take funk back to the origins. After that we wanted to go even further back to the core. So we thought that it was appropriate to follow up with a Gospel album. Gospel is the basis of Funk whether people like to admit it or not. Funk is a little different, of course, in that there are a lot of drug connotations. But Gospel is the pure side and the core of that music.”

When searching for a recording space for the ‘Chocolate Sock’ album, Alex didn’t need to look any further than his hometown. His local church was suffering lows in attendance. It was in danger of losing its vicar and being closed down. P-Theory had the chance offer the church funding for recording privileges and keep interest alive in its Sunday services by bringing Kevin in to sing before the congregation. 

“That church has been a place of worship for over a thousand years, dating back to the Saxon times,” says Alex, stressing the importance of this plight. “Because of dwindling congregation numbers, they were trying to shut it down. The community were in uproar. I said if it’s a matter of money, I’ll give up some money and we’ll go and record in there. We went in and we made that Gospel album in two days with God’s blessing. All done completely live. All done on the fly.”

The result was a 13-track Gospel album with a funky flavour and the fitting tagline ‘If you thought the Devil had all the best Grooves you were wrong.’ P-Theory share the view that ‘Chocolate Sock’ is their strongest work to date and the album that they have always wanted to make – a statement which is especially poignant for Kevin Goins. With this album Kevin is reaching back to his family and his upbringing in the church. Not only is it dedicated to his mother it also features a soulful ballad called ‘Saturday Night’ which was penned by his late brother Glenn.

“‘Saturday Night’ is one of Glenn’s songs which he didn’t get a chance to record before he died. It has remained in their family for thirty years. It’s never been recorded till now. Kevin wanted to record that one with us.”

This sublime acoustic number is a standout track on the album and echoes the haunting beauty which Glenn’s vocals brought to the Earth tour when he called the Mothership into land. The inclusion of this song gives Glenn Goins a presence on the recording and is the best tribute Kevin could offer to their mother.

“Ma is an incredibly religious and God-fearing woman,” describes Alex, who is very admiring of the 84 year old. “She gets filled with the Holy Spirit every day. She always wanted her sons to record a Gospel album. She always wanted to hear this. That is why we dedicated the album to her. She loves it.”

Around the time they were recording ‘Chocolate Sock’ Kevin felt the need to visit to Plainfield once again. He brought P-Theory over to stay with his family and soak up the atmosphere of this town which had become the mental landscape of their music. Alex says that while they were in Kevin’s company they were treated like royalty.

“Plainfield embraced us with open arms. They loved the fact that Kevin was back to doing what he does best when many had written him off, except those in his hometown who knew what he is capable off. George Clinton returned to Plainfield for the first time in 40 years. Kevin actually joined him on stage at one of the local gigs!”

There is no boasting or smugness from the guitarist about the band’s many achievements during the last year. You are left simply with a quiet sense of pride and fulfilment over a sequence of successes that have come together for these people at just the right time. You can imagine that P-Theory and Kevin Goins will be grooving from now on, seeing where God’s will guides them next.

“Despite the diversity of culture and geography, P-Theory is a single unit that breathes as one and may this circle never be broken,” Alex says sincerely. “What God put together may man never pull apart.”

P-Theory were first introduced to de.bees own music community on April 16th when they headlined the Pollen8 birthday party. They managed to fill the floor and whip the crowd into a clapping swaying frenzy with the intoxicating funk grooves. Speaking of the gig, Alex reflected, “Our tour coincided with the birthday party launch of Pollen8 so Damon asked us if we could come down and play. The Pollen8 is a great gig. It’s a bit different from everywhere else. We will be returning to play a gig in mid September. It’s good to come back where people like you.”


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NINECAN UK FUNKZINE OCT 2005

It’s October 2005 and Chester-based Funk band PTheory are getting themselves ready for a series of US dates in Brooklyn (NY), Manhatten (NY) and Plainfied (NJ). Their forthcoming new album recorded with Kevin Goins, From The Hood To The Wood, is being mastered right now. So things are getting hot for this lot. The MofoErectus gets it straight from Alex Campbell.

Alex, what it is. Let's take it way back to 1993 when you guys started out. What were your ambitions back then?

I don't think we really had any ambitions at the time beyond that as it was a case of like minded people who liked to get together and find an avenue to express themselves through music.

When we first got together way back when I had written and recorded some songs with a friend of mine (Ken Law) that were a sort of Funk / indie cross over, and was looking to put a band together to gig behind it. I met drummer Andy Jones in Telfords, who introduced me to Graham [Kay]. They had played together in Primitive Faith. And we had bass player Phil Sumner, who was a friend from the Chester jam scene at the time.

As soon as we all played together it became immediately obvious that the original plan was not going to work. We all had too much to bring to the table in terms of creativity, so we started again from the ground up.


But you and Graham stuck together and formed a core to the band. How has the PTheory sound evolved over the years?

There has always been an intense rivalry between me and Graham as we are both guitarists of a similar style. Graham worshipped at the shrine of all things Jimi and I was equally as obsessed with Eddie Hazel. That meant that Graham and I became obsessive about recreating the tones and feel of our respective heroes. The one rule from the beginning was that we wanted to make music that you could dance to whilst incorporating screaming guitars. After all if you could dance to it then you could fuck to it – and surely that is the reason why anyone picks up an instrument in the first place?

What changed over the years is simple: we got very good, at it and managed to create the original tones better than any else we were hearing at the time. Once the tones and the basic sound were right, me and Graham became very dedicated to what we were doing and got a very clear vision as to what we wanted – which was to put that style within a modern context and to play some new Funk that built on the platforms created from the original fathers.

This meant that we became extremely uncompromising in the demands we put on other musicians which meant that we inadvertently trampelled on dozens of musical egos along the way (sorry kids). In the end it became clear that the only way it was going to work was if we did it ourselves which is why we swap between guitar and bass nowadays. There is one tempo and feel that works with what we do and we soon realized that if you had to explain that to another musician they were never gonna get it.

That's where Wiggles [Damon Wilding, drums] came in. He and I grew up playing together and turned each other one to The Funk at a very early age, when the whole Funk / metal cross-over thing was happening. We both very soon grew out of that phase and took it back to its roots, which was P Funk. So Damon is the only drummer that works for what we do because he instinctively has the same feel and plays that big heavy backbeat all night, whilst managing to keep a lid on all the testosterone that flys around. He fits like a hand in a velvet glove and has the most musical ears of anyone we have ever played with.

Damon had got deep into dub reggae over the years and Graham and I had got heavily into the blues. This meant that as a rhythm section we had a unique sound the ultimate cross over that sounded very black but quintessentially British at the same time.

We have one goal: to support ourselves and our families in the manner we have become accustomed to: through our music. And we are getting very close to that which is obviously very exciting.


What do you say to people who ask, “What can The Funk mean to white tractor boys from the NW of England?” Do you feel in any way disenfranchised from it because you’re not black and not American, and so on?

The Funk means everything to us. How do you want me to qualify that beyond the fact we have risked our very livelihoods in its persuit?

We don't feel disenfranchised from it at all, because this music is primal and transcends all cultural barriers as was proven when Kevin got here. As I said earlier, we are not trying to pretend that we are black or to simply recreate the past to us that seems utterly pointless.

We are doing our own thing which is mixing the blues and reggae with The Funk to create our own sound. Kevin brought the gospel vibe, which is something you would never find over here. That melting pot meant that it lead to a truly unique combination of ingredients that had its own identity and we're a very long way from being simple clones.


That’s a good fucking answer. And race and nationality B.S. didn't seem to deter Kevin Goins from coming over and doing his thing with you! Can you tell us a little more about you managed to sign him up to the project?

Of course Kevin was a little skeptical when we first talked to him. I mean, who were we? But this project took years of careful planning and everything happened for a reason along the way. Every step we took brought us closer to the root, to Kevin. However, we upped our game long before he arrived and knew the only way it could work would be to knock him off his feet as soon as he arrived and not be intimidated by his presence and to give him everything we got.

Like Kevin said "I thought I was coming over to some weak shit but y'all put The Funk on a joker... changed my mind, yeah white boys can jump!"

He couldn't believe it when he got here because they don't make records the way we did it anymore, and after the first day's recording when we listening to some playback he sat with his head in his hands in disbelief.

His favourite phrase was "Boy they gonna be mad at you, why didn't I think of that!".

For the sake of Kevin’s privacy I’m not going to detail how we finally got access to him, but there is one man in Holland that showed us complete faith and belief and none of this could have happened without him. He will always be in our hearts and will be part of everything we do!


And so Kevin ended up coming from New Jersey Hood to the Chester ‘Wood’. I’ve got to ask, what did Kevin make it round Chester way? Did you take him to that bin Brannigans?

Kevin loved it over here as it is the complete flip side of what he was used to. Plainfield is a very toxic environment, and Chester just isn't. As he said, "There is more love over here. There is love back home but you've just gotta know how to find it... over here everyone just gives it up!"

[But] we didn't go out at all whilst he was here, apart from the jam session we played at Telfords. We were locked in the studio and just ate, slept, drank and shat music for two weeks. It is not the easiest thing in the world to do, to complete a full album from the ground up in two weeks without any plan, preparation or assumptions about what is going to happen before you start... but we did it!


Yeh, by all accounts, you guys have gone all-out for the new album, not least in the financial stakes. Has the big gamble been worth it? What is shaking with the new sounds? And what’s next for PTheory after Kevin?

Don't think that this is a one-off thing! Kevin is the front man of PTheory, and is so much part of the clan it’s not funny. The bond we have made is unbreakable.

Yes, we’ve risked an awful lot. But it's a case of, "He who dares wins Rodders!” Has it been worth it? We are living our dream and have done it off our own back. How many other people can say that in the world?

Aside from that, word-domination and millions of dollars of course!


Starting with giving up the Funk at dates in the states. How did they come about?

We have representative from Jayzee's organization helping us pull it all together. We’re looking at playing three shows when we are there in November: one in Brooklyn, one in Manhatten and one in Plainfield.


Seems like you guys were at the same gig I was in London (July in Kentish Town). But you got to sneak back stage while I was limping out on me shaky legs! What was it like meeting George Clinton?

Meeting George and the rest of the crew was a honour. We had met most of them before over the years but had never actually got to press the flesh with George before. We were backstage and onstage with them! It was a great trip, and Garry invited us back to the hotel after the show.

They are the coolest band on the planet and always will be, and just give it up for their fans and supporters. They were all very supportive and George was really happy that we had hooked up with Kevin. As he said, "I wanted that boy so bad, he's got too much talent to stay there sat in Plainfield".

The best moment was when George sang Eddie's song ‘I Will Never Go Home Again’ for us in the dressing room. Trust me that was real special for us.


Well now, I didn’t know you were up on the stage as well. But another big thing I want to know more about are these songs written by Kevin and his brother Glenn years ago. Tell us a bit more, what is Kevin planning to do with them exactly?

The songs are absolutely incredible and they have never been recorded before. One is called ‘I Love What You Are Doing To Me’ and is about coming up with a girl. The second one is called ‘Saturday Night’ and was written during a snow storm. The last one is a spiritual song called ‘Can you Feel It’.

Kevin has played them on acoustic guitar for us whilst singing them and they are enough to move you to tears. If you have never heard Kevin singing gospel then you are in for a real treat. His voice is astonishing and so spiritual it defies belief. That is why he is the first to be called up at funerals in Plainfield. He sang at both Eddie Hazel’s and Ray Davies' funerals. [Ray was, is, the subterranean-toned P Funk bass vocalist who died earlier this year – Mofo].

And we had the honour of hearing him warm up for us down the phone before his cousin's funeral last week. When we heard that it was a life changing experience, we were lost for words. He can bring down the house at any event when he hits his gospel stride. It is truly outstanding and everyone in Plainfield knows it. You've heard Glenn call in the Mothership, so you can probably have some idea as to what it sounds like.

If we get 1,000 new people on the mailing list before we go to America Kevin will finally record them and release them.

They are nothing to do with PTheory – they’re his and Glenn's songs. But we may or may not accompany him on the recordings. Although there is something in the naked beauty of just him singing and playing them on acoustic that we might not, as there is not much we could add to them.


[Mofo sez: get over to that PTheory mailing list and hit it ASAP!]

And are there any plans to tour with the album if it takes off? And if you do, will Kevin be coming over to take it to the stage?

We are planning a European and US tour for spring next year. We are a live band. That is what we do, that is how the album was recorded. So absolutely we will take it to the stage!


I’m there! Aside from yerselves, what fresh Funk are you listening to at the mo-mo?

Besides the classics our favourite band playing Funk at the moment is unquestionably Drugs. Their last album The Prescription for Mis-America was the best thing we had heard in decades. They have a similar vibe to what we are doing, but have moulded American folk and songs into The Funk, whereas we have added more blues. They are a great band and we can't wait for their new album to drop.


And finally, you're going to come back and tell us all about your US dates when you get back - right?

Absolutely, would love to. Stay funky and good luck with the new website.



Alex Campbell – thank you, and good luck too you too.



Interview by Mofo Erectus.