Parliament/Funkadelic - Discography 1970-2008 [FLAC]

Parliament/Funkadelic - Discography 1970-2008 [FLAC]

















Inspired by Motown's assembly line of sound, George Clinton gradually put together a collective of over 50 musicians and recorded the ensemble during the '70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by '60s acid culture and science fiction. From its 1970 inception until Clinton's dissolving of Parliament in 1980, the band hit the R&B Top Ten several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament scared off more white listeners than it courted.

By the time his on-the-move family settled in New Jersey during the early '50s, George Clinton (b. July 22, 1941, Kannapolis, NC) became interested in doo wop, which was just beginning to explode in the New York-metro area. Basing his group on Frankie Lymon & the Teenagers, Clinton formed the Parliaments in 1955 with a lineup that gradually shifted to include Clarence "Fuzzy" Haskins, Grady Thomas, Raymond Davis, and Calvin Simon. Based out of a barbershop backroom where Clinton straightened hair, the Parliaments released only two singles during the next ten years, but frequent trips to Detroit during the mid-'60s -- where Clinton began working as a songwriter and producer -- eventually paid off their investment.

After finding a hit with the 1967 single "(I Wanna) Testify," the Parliaments ran into trouble with Revilot Records and refused to record any new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. Founded in 1968, the group began life as a smoke screen, claiming as its only members the Parliaments' backing band -- guitarist Eddie Hazel, bassist Billy Nelson, rhythm guitarist Lucius "Tawl" Ross, drummer Ramon "Tiki" Fulwood, and organist Mickey Atkins -- but in truth including Clinton and the rest of the former Parliaments lineup. Revilot folded not long after, with the label's existing contracts sold to Atlantic; Clinton, however, decided to abandon the Parliaments name rather than record for the major label. One previously recorded Parliaments single, "A New Day Begins," was licensed to Atco in 1969 and became a number 44 hit that May. By 1970, George Clinton had regained the rights to the Parliaments name: he then signed the entire Funkadelic lineup to Invictus Records as Parliament. The group released one album -- 1970's Osmium -- and scored a number 30 hit, "The Breakdown," on the R&B charts in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being.

Though keyboard player Bernie Worrell (b. April 19, 1944, Long Beach, NJ) had played on the original Funkadelic album, his first credit with the conglomeration appeared on Funkadelic's second album, 1970's Free Your Mind...And Your Ass Will Follow. Clinton and Worrell had known each other since the New Jersey barbershop days, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for virtually all later Parliament/Funkadelic releases. His strict upbringing and classical training (at the New England Conservatory and Juilliard), as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the synth runs and horn arrangements that later trademarked the P-Funk sound. Two years after the addition of Worrell, P-Funk added its second most famed contributor, Bootsy Collins. The muscular, throbbing bass line of Collins (b. October 26, 1951, Cincinnati, OH) had already been featured in James Brown's backing band (the J.B.'s) along with his brother, guitarist Catfish Collins. Bootsy and Catfish were playing in a Detroit band when George Clinton saw and hired them.

Funkadelic released five albums from 1970 through early 1974, and consistently hit the lower reaches of the R&B charts, but the collective pulled up stakes later in 1974 and began recording as Parliament. Signing with the Casablanca label, Parliament's "Up for the Down Stroke" (number ten R&B, number 63 pop) appeared in mid-1974 and reflected a more mainstream approach than Funkadelic, with funky horn arrangements reminiscent of James Brown and a live feel that recalls contemporary work by Kool & the Gang. It became the biggest hit yet for the Parliament/Funkadelic congregation. "Testify," a revamped version of the Parliaments' 1967 hit, also charted in 1974. One year later, Chocolate City continued Parliament's success: the title track reached number 24 R&B, and "Ride On" also charted.

Clinton & co. ushered in 1976 with the April release of the third Parliament LP in as many years: Mothership Connection. Arguably the peak of Parliament's power, the album made number 13 on the pop charts and went platinum, sparked by three hit singles: "P. Funk (Wants to Get Funked Up)" (number 33 R&B), "Tear the Roof Off the Sucker (Give Up the Funk)" (number five R&B, number 15 pop), and "Star Child" (number 26 R&B). In addition to Bootsy Collins, the album featured two other James Brown refugees: horn legends Maceo Parker and Fred Wesley. Just six months after the release of Mothership Connection, Clinton had another Parliament album in the can, The Clones of Doctor Funkenstein. Though it only reached gold status, the LP spawned the number 22 R&B hit "Do That Stuff" and the number 43 "Dr. Funkenstein."

Several internal squabbles during 1977 apparently didn't phase Clinton at all; the following year proved to be the most successful in Parliament's history. In January, "Flash Light" -- from the Parliament album Funkentelechy Vs. the Placebo Syndrome -- became the collective's first number one hit. It topped the R&B charts for three weeks, and was followed by the number 27 single, "Funkentelechy." The LP reached number 13 on the pop charts and became Parliament's second platinum album. Early in 1979, Parliament hit number one yet again with "Aqua Boogie," from its eighth album, Motor-Booty Affair. The LP, which stalled at number 23, nevertheless became the group's fifth consecutive album to go gold or better. Parliament's ninth album, Gloryhallastoopid (Or Pin the Tale on the Funky), was released later in 1979 and showed a bit of a slip in the previously unstoppable Clinton machine. The group charted in the R&B Top Ten twice during 1980 ("Theme From 'The Black Hole'" and "Agony of Defeet"), but Clinton began to be weighed down that year by legal difficulties arising from Polygram's acquisition of Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record during the '80s as the P-Funk All Stars, but the decade's disdain of everything to do with the '70s resulted in the neglect of critical and commercial opinion for the world's biggest funk band, especially one which in part had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) re-established the status of Clinton & co., one of the most important forces in the recent history of black music.

Though it often took a back chair to its sister group Parliament, Funkadelic furthered the notions of black rock begun by Jimi Hendrix and Sly Stone, blending elements of '60s psychedelia and blues plus the deep groove of soul and funk. The band pursued album statements of social/political commentary while Parliament stayed in the funk singles format, but Funkadelic nevertheless paralleled the more commercial artist's success, especially in the late '70s when the interplay between bands moved the Funkadelic sound closer to a unified P-Funk style.

In the grand soul tradition of a backing band playing support before the star takes the stage, Funkadelic began life supporting George Clinton's doo wop group, the Parliaments. After having performed for almost ten years, the Parliaments had added a rhythm section in 1964 -- for tours and background work -- consisting of guitarist Frankie Boyce, his brother Richard on bass, and drummer Langston Booth; two years later, the trio enlisted in the Army. By mid-1967, Clinton had recruited a new backing band, including his old friend Billy "Bass" Nelson (born January 28, 1951, Plainfield, NJ) and guitarist Eddie Hazel (born April 10, 1950, Brooklyn, NY). After several temporary replacements on drums and keyboards, the addition of rhythm guitarist Lucius "Tawl" Ross (born October 5, 1948, Wagram, NC) and drummer Ramon "Tiki" Fulwood (born May 23, 1944, Philadelphia, PA) completed the lineup.

the Parliaments recorded several hits during 1967, but trouble with the Revilot label backed Clinton into a corner. He hit upon the idea of deserting the Parliaments' name and instead recording their backing group, with the added vocal "contributions" of the former Parliaments -- same band, different name. Billy Nelson suggested the title Funkadelic, to reflect the members' increased inspiration from LSD and psychedelic culture. Clinton formed the Funkadelic label in mid-1968 but then signed the group to Detroit's Westbound label several months later.

Released in 1970, Funkadelic's self-titled debut album listed only producer Clinton and the five members of Funkadelic -- Hazel, Nelson, Fulwood, and Ross plus organist Mickey Atkins -- but also included all the former Parliaments plus several Motown sessionmen and Rare Earth's Ray Monette. Keyboard player Bernie Worrell also appeared on the album uncredited, even though his picture was included on the inner sleeve with the rest of the band.

Worrell (born April 19, 1944, Long Beach, NJ) was finally credited on the second Funkadelic album (1970's Free Your Mind...and Your Ass Will Follow). He and Clinton had known each other since the early '60s, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for most later Parliament/Funkadelic releases. His strict upbringing and classical training (at the New England Conservatory and Juilliard), as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the horn arrangements and jazz fusion-inspired synth runs that later trademarked the P-Funk sound. Just after the release of their third album, Maggot Brain, P-Funk added yet another big contributor, Bootsy Collins. The throbbing bass line of Collins (born October 26, 1951, Cincinnati, OH) had previously been featured in James Brown's backing band, the J.B.'s (along with his brother, guitarist Catfish Collins). Bootsy and Catfish were playing in a Detroit band in 1972 when George Clinton saw and hired them.

The Clinton/Worrell/Collins lineup premiered on 1972's America Eats Its Young, but soon after its release several original members left the camp. Eddie Hazel spent a year in jail after a combination drug possession/assault conviction, Tawl Ross left the band for medical reasons relating to an overdose of LSD and speed, and Bill Nelson quit after more financial quarrels with Clinton. Funkadelic hired teenaged guitar sensation Michael Hampton as a replacement, but both Hazel and Nelson would return for several later P-Funk releases.

Funkadelic moved to Warner Bros. in 1975 and delivered its major-label debut, Hardcore Jollies, one year later to lackluster sales and reviews. The same year, Westbound raided its vaults and countered with Tales of Kidd Funkadelic. Ironically, the album did better than Hardcore Jollies and included an R&B Top 30 single, "Undisco Kidd." In 1977, Westbound released The Best of the Early Years while Funkadelic recorded what became its masterpiece (and arguably the best P-Funk release ever), 1978's One Nation Under a Groove.

During the most successful year in Parliament/Funkadelic history, Parliament hit the charts first with "Flash Light," P-Funk's first R&B number one. "Aqua Boogie" would hit number one as well late in the year, but Funkadelic's title track to One Nation Under a Groove spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach platinum (the same year that Parliament's Funkentelechy Vs. the Placebo Syndrome did the same). In 1979, Funkadelic's "(Not Just) Knee Deep" hit number one as well, and its album (Uncle Jam Wants You) reached gold status.

At just the point that Funkadelic appeared to be at the top of its powers, the band began to unravel. As is sometimes the case, commercial success began to dissolve several old friendships. In 1977, original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas had left the P-Funk organization to record on their own. In early 1981, they hit the R&B charts with a single called "Connections and Disconnections," recorded as Funkadelic. To confuse matters more, the original Funkadelic appeared on the charts at the same time, with the title track to The Electric Spanking of War Babies.

During 1980, Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record throughout the '80s as the P-Funk All Stars, but the decade's disdain of everything to do with the '70s resulted in critical and commercial neglect for the world's biggest funk band, especially one which in part had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) re-established the status of Clinton & co., one of the most important forces in the recent history of black music.

Parliament - Discography 1970-1993 [FLAC]

1970 - Osmium [2002 Remaster]
1974 - Up for the Down Stroke [2003 Remaster]
1975 - Chocolate City [2003 Remaster]
1975 - Mothership Connection [2003 Remaster]
1976 - The Clones of Dr. Funkenstein
1977 - Funkentelechy Vs. the Placebo Syndrome
1977 - Live: P.Funk Earth Tour
1978 - Motor Booty Affair
1979 - Gloryhallastoopid (Or Pin the Tail on the Funky)
1980 - Trombipulation
1984 - Parliament's Greatest Hits
1993 - Tear the Roof Off 1974-1980


Funkadelic - Discography 1970-2008 [FLAC]

1970 - Funkadelic [2005 Remaster]
1970 - Free Your Mind... and Your Ass Will Follow [2005 Remaster]
1971 - Maggot Brain [2005 Remaster]
1972 - America Eats Its Young [2005 Remaster]
1973 - Cosmic Slop [2005 Remaster]
1974 - Standing on the Verge of Getting It On
1975 - Let's Take It to the Stage
1976 - Tales of Kidd Funkadelic
1976 - Hardcore Jollies [2002 Remaster]
1978 - One Nation Under a Groove [2002 Remaster]
1979 - Uncle Jam Wants You
1981 - The Electric Spanking of War Babies
1996 - Live - Meadowbrook, Rochester, Michigan - 12th September 1971
2003 - Motor City Madness: The Ultimate Funkadelic Westbound Compilation
2008 - Toys


Enjoy!!!!!!!!!!!!!!!!!!!!