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.
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.)
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.