The first Meters lesson got the basics under your hands — broken backbeats, the second-line lean, the basic Cissy Strut feel. This lesson goes deeper. Zigaboo's playing has three more features that make it instantly recognisable: a rolling right hand that plays continuous 16ths even at slow tempos, a kick that converses with the bass rather than locking with it (kick and bass guitar trade syncopated figures, leaving each other's space alone), and a broken backbeat that moves around the bar — sometimes on 4, sometimes on the "e" of 2, sometimes nowhere at all, with cross-stick or rim hits filling in.
A New-Orleans-via-Bo-Diddley Note
The pattern most often called "Bo Diddley beat" — a tresillo-shaped figure (1, the & of 2, the "a" of 3, beat 4-or-thereabouts, beat 4-and-a-bit) — predates Bo Diddley and predates rock. It comes out of the same Afro-Caribbean rhythmic grammar that gives us son clave, the New Orleans second line, and the funk we're studying here. Zigaboo's playing draws on this lineage; many Meters records use a kick figure that's essentially a tresillo with funk dressing. (See Goines/Ameen — Afro-Cuban Grooves for Bass and Drums for the deep-dive on the cross-pollination.)
Practice Approach
Don't try to play these grooves "tight" in the Stubblefield sense. Zigaboo's pocket is loose. Notes are placed where they feel right, not on the metronomic grid. Practise with a metronome anyway — but let your ear lead, and let the click be a guide rather than a tyrant. If a snare on 4 wants to be a hair late, let it be a hair late.