>also Clinton knew the tapes were running and he still was
>writing better songs while taking things from Clinton so you
>only helped my argument even more so "Half Homie Enstein"

You mean Whitfield, as in "also Whitfield knew"? The period I'm talking abut of Whitfield copying Clinton is in the late 1960s/early 1970s, long after Clinton left Motown. Whitfield wanted very much to copy the sounds and styles of what they were doing at that time (I have no knowledge of what went down between Clinton and Whitfield when both were peons in the Jobete offices in the early 1960s) and fold them into his work.

To be honest, I would still say Clinton wrote better songs, because while Whitfield (and Strong, let's be clear, one was not shit without the other as songwriters) could turn out hits, they never were able to write or co-write a whole album's worth of great material. Clinton was.

Clinton and the (early) P-Funk folks also played fast and loose with the "rules" of R&B songwriting, resulting in some great songs on their first few albums that have gone more or less without fanfare today because, like Sly Stone and Stevie Wonder, only a portion of their work is well known today, even though it isn't an issue of the lesser-known works being of lesser quality.

Whitfield was able to take what Clinton and Sly did and make it palatable to pop audiences, but while Clinton and Stone have albums full of great material, Whitfield wrote and produced a lot of filler that doesn't always work. Especially when Strong left and Whitfield became his own lyricist.

>
>
>Whitfield took that and made it into timeless songs. that was
>a Hip Hop move big time.
>
If you say so.

>you got served and your logic to diss on me backfired turkey.
I beg to differ.