PARLIAMENT

PARLIAMENT

Up For The Down Stroke Chocolate City Mothership Connection The Clones Of Dr. Funkenstein Parliament Live P - funk Earth Tour Funkentelechy vs The Placebo Syndrome Motor Booty Affair Gloryhallastoopid Trombipulation Rhenium First Thangs

Up For The Downstroke

Up For The Downstroke 5:08 (G.Clinton, W.Collins, C.Haskins, B.Worrell) Bridgeport Music / Rick's Music,Inc. Testify 3:46 (G.Clinton / D.Taylor) Longitude Music The Goose 9:10 (G.Clinton / E.Hazel) Bridgeport Music / Rick's Music,Inc. I Can Move You (If You Let Me) 2:44 (G.Clinton, C.Mosson, B.Worrell, W.Collins) Bridgeport Music / Rick's Music,Inc. I Just Got Back 4:30 From the fantasy, Ahead Of Our Time In The Four Lands Of Ellet (P.Chase) Infinity's Line AllYour Goodies Are Gone 5:04 (G.Clinton, C.Haskins, W.Nelson) Longitude Music Whatever Makes My Babby Feel Good 5:57 (G.Clinton, E.Hazel) Tairi Music Presence Of A Brain 3:19 (G.Clinton, G. Shider) Bridgeport Music / Rick's Music Inc. Produced by George Clinton for R.S.A. Productions MUSICIANS BASS: Cordell Mosson, William (Bootsy) Collins GUITAR: Eddie Hazel, Ron Bykowski, Garry Shider, William (Billie Bass) Nelson DRUMS: Gary Bronson, Tiki Fulwood & The Man In The Box KEYBOARDS: Bernie Worrell WHISTLES: Peter Chase VOCALS George Clinton, Calvin Simon, Fuzzy Haskins, Grady Thomas, Raymond Davis, Garry Shider, Eddie Hazel RECORDED AT United Sound-Detroit, Crystal Sound Studios-LA,CA, Hollywood Sound-LA,CA ENGINEERED BY: Ralph, Jeff and Jerry MASTERED FOR CD by Tom Ruff at Polygram Studios ARRANGED BY: George Clinton, Bernie Worrell and Eddie Hazel MANAGEMENT: Ron Strasner & Associates BOOKING AGENT: William Morris DESIGN: JonEcheverrieta/Rod Dyer,Inc. PHOTOGRAPHY: Leandro Correa Special Thanks to Nick Byrne, Bob Bishop, Ron Strasner, Cholly Basoline, Jeff Franklin, Neil Bogart, Cecil Holmes, Sidney Barnes, Leon Patillo, Jimmy Calhoun, Gerry Peterson, Archie and Reggie (for medical attention & aid) and, of course, Mr. & Mrs. Hollywoods. 1974 Polygram Records,Inc.

Chocolate City

CHOCOLATE CITY RIDE ON TOGETHER SIDE EFFECTS WHAT COMES FUNKY LET ME BE IF IT DON'T FIT (DON'T FORCE IT) I MISJUDGED YOU BIG FOOTIN 1975 Polygram Records,Inc.

Mothership Connection

P FUNK (WANTS TO GET FUNKED UP) MOTHERSHIP CONNECTION (STAR CHILD) UNFUNKY UFO SUPERGROOVALISTICPROSIFUNKSTICATION (THE THUMPS BUMP) HANDCUFFS GIVE UP THE FUNK (TEAR THE ROOF OFF THE SUCKER) NIGHT OF THE THUMPASORUS PEOPLES Produced and Conceived by George Clinton All tunes published by Malbiz and Ricks Music, Inc., BMI VOCALS: George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis, Grady Thomas, Gary Shider, Glen Goins, Bootsy Collins MUSICIANS: HORNS: Fred Wesley, Maceo Parker, Michael Brecker, Randy Brecker, Boom, Joe Farrell BASS: Bootsy Collins, Cordell Mosson GUITARS: Gary Shider, Michael Hampton, Glen Goins, Bootsy Collins DRUMS & PERCUSSION: Tiki Fulwood, Jerome Brailey, Bootsy Collins, Gary Cooper KEYBOARDS & SYNTHESIZERS: Bernie Worrell HORN ARRANGEMENTS: Fred Wesley, Bernie Worrell RHYTHM ARRANGEMENTS: Bootsy Collins, George Clinton EXTRATERRESTIAL VOICES & GOOD TIME HAND CLAPPERS: Gary Cooper, Debbie Edwards, Taka Kahn, Archie Ivy, Bryna Chimenti, Rasputin Boutte, Pam Vincent, Debra Wright and Sidney Barnes P-FUNK LABS: United Sound, Detroit.Michigan Hollywood Sound. Hollywood,Caliiornia STIRRERS & BLENDERS: Jim Vitti- Detrolt, Ralph (Oops) Jim Callow-Hollywood MASTERED BY: Allen Zentz PHOTOGRAPHY BY: David Alexander ART DIRECTION & DESIGN BY: Gribbitt MANAGEMANT: R.S.A. 3 SPECIAL THANKS: Cholly Bassoline, Ron Strassner, Robert Mittleman, Nick Byrne, Screwie, Bob Bishop, Chris, Ina Meibach, Arron Schechter, & "Pencil" Epstain. 1975 PolyGram Records, Inc. Mfd. & Mktd. by PolyGram Records, Inc. 810 Seventh Avenue, New York, N Y. 10019

The Clones Of Dr Funkenstein

PRELUDE * GAMIN' ON YA ** DR. FUNKENSTEIN ** CHILDREN OF PRODUCTION ** GETTEN' TO KNOW YOU ** DO THAT STUFF * EVERYTHING IS ON THE ONE * I'VE BEEN WATCHING YOU (MOVE YOUR SEXY BODY) * FUNKIN' FOR FUN * Horn Arrangement by Bernie Worrell ** Horn Arrangement by Fred Wesley All Rhythm Arrangements by George Clinton & Bootsy Collins PRODUCED AND CONCEIVED BY George Clinton VOCALS: George Clinton,Calvin Simon,Fuzzy Haskins,Raymond Davis, Grady Thomas,Garry Shider,Glen Goins,Bootsy Collins MUSICIANS: HORNS: Fred Wesley,Maceo Parker,Rick Gardner,Michael Brecker,Randy Brecker BASS: Cordell Mosson, Bootsy Collins GUITARS: Garry Shider,Michael Hampton,Glen Goins DRUMS & PERCUSSION: Jerome Bailey,Bootsy Collins,Gary Cooper KEYBOARDS & SYNTHESIZERS: Bernie Worrell EXTRA-SINGING CLONES: Debbie Edwards,Taka Kahn,Gary Cooper,Dr Funkenstein RECORDED AT: P-Funk Labs: United Sound, Detroit, Michigan; Hollywood Sound, Hollywood California ENGINEERED BY: Igor Jim Callon 6 Igor Jim Vltti MASTERED FOR COMPACT DISC BY: Tom Rufr at PotyCram Studios STAGE TECHNICIANS: Joey Zalabok, Bob Dedecker, Tim Ryan, Bob Bishop, Charles Bishop PHOTOGRAPHY: Ron Slenzak ART DIRECTION AND DESIGN: Chris Whorf/Gribbitt! UNITED MAGGOTS OF MAGGOTRPOLIS! Anyone w shing to be duplicated, zeroxed,multiplied, or divided or just to be a fan (or is it a Clone) can address the good Dr. Funkenstein at: 320 S Arnaz, Los Angeles, CA 90048 All prescriptions will be filled. SPECIAL THANKS: Cholly Bassoline, Robert Mittleman, Ron Stansner, Ina Meibach, Archie Ivy, LB (my friend), Chris Tony. and Mike and all the gang at the office, Neil, Cecil and Renny, Peggy Martin (our earthly contact) and the scientific community at large! 1976 Polygram Records.

Parliament Live P-funk Earth Tour

This Is The Way We Funk With You* Dr. Funkenstein The Undisco Kidd (The Girl Is Bad) Children of Production Star Child Swing Down Sweet Chariot** P-Funk Let's Take It To The Stage (If You Ain't Gonna Get It On) Take Your Dead Ass Home Do That Stuff The Landing (Of The Holy Mothership) Gamin' On Ya! Tear The Roof Of The Sucker Medley Give Up The Funk Get Off Your Ass And Jam Night of The Thumpasorrus Peoples *featuring Mike Hampton, lead snore **featuring Glen Goins, lead vocal HORN ARRANGEMENTS: Bernie Worrell & Fred Wesley RHYTHM ARRANGEMENTS: Bootsy Collins & George Clinton PRODUCED AND REFEREED BY GEORGE CLINTON VOCALS: George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis, Grady Thomas, Garry Shider, Glen Goins, Debbie Wright, Jeanette Washington MUSICIANS: Fred Wesley, Maceo Parker, Rick Gardner, Richard Griffith BASS: Cordell Mosson, Bootsy Collins GUITARS: Garry Shider, Micheal Hampton, Glen Goins, Eddie Hazel DRUMS & PERCUSSION: Jerome Bailey KEYBOARD & SYNTHESIZERS: Bernie Worrell EXTRA-SINGING CLONES: Lynn Mabry, Dawn Silva, Gary Cooper MOBILE P-FUNK LAB: Haji Sound, Los Angeles Alex, John, John Jr., Kirby, Corey & Larry RECORDED LIVE AT THE LOS ANGELES FORUM, JANUARY 21, 1977 A.D. THE OAKLAND COLISEUM, JANUARY 21, 1977 A.D. ENGINEERED BY: Jim Callon (Live recording supervision and technical consultant) MIXED & FUNKED WITH BY: Hollywood Sound Recorders, Los Angeles. RE-MIX ENGINEER: Jim Callon STUDIO RECORDING: "This Is The Way We Funk With You", "The Landing (Of The Holy Mothership)" & "Fantasy Is Reality" done at Hollywood Sound, Los Angeles & United Sound, Detroit MASTERED BY: Allen Zentz STAGE TECHNICIANS: Joey Zalabak, Bob Dedeckere, Tim Ryan, Ron Glalzhofer, Bob Bishop, Charles Bishop, Joe Miller WARDROBES & MAKE-UP: Mark Holmes, ALBUM PHOTOGRAPHY: Robert Marklewitz POSTER PHOTOGRAPHY: Diem Jones/T-Bull Ink, Company ART DIRECTION & DESIGN: Chris Whorf/Gribbit! Special thanks to Bootsy Collins and his Rubberband, courtesy of Warner Bros. Records. Eddie Hazel appearing courtesy of Warner Bros. Records. The Horny Horns blowin' and tootin' courtesy of Atlantic Records. The order of songs in this album does not conform to the order of songs in the P-funk Earth Tour, '77 A.D., A Funk Opera. (It's always changing and ever funkin' on) SPECIAL THANKS: Cholly Bassoline, Ron Strasser, Robert Mittleman, Ina Meibach, Jay Kramer, Archie Ivy, Tom Vickers, Larry (L.B., my friend) Benjamin, JohnnyParrent, Johnny Lloyd, Charles Ward, and all the gang at Backstage, Neil, Cecil, Renny, and a special thanks to all those who have mentally, physically or spiritually boarded the Mothership. Thanks to KDAY, Los Angeles, and KDIA, San Francisco, for promoting one of the best live shows on the planet. REMEMBER TAKE FUNK TO HEAVEN IN '77 LOYAL FANS, MAGGOTS, CLONES, AND FUNKATEERS Accept our humble apologies. If you have already written to join our fan club, be patient. The Intergallactic Butt Molester computer broke down from overwork, and we're still trying to process all the cards and letters. For those who have sent back the membership form, we're doubly sorry for the delay and will have your funk goodies delivered posthaste. If you are one of the unimated and want to be cloned, xeroxed, multiplied, and divided, write: THE GOOD DR. FUNKENSTEIN MAGGOTROPLIS 109 Hollywood Ave., Oxnard, California 93030 1977 Polygram Records, Inc.

Parliament Funkentelechy vs The Placebo Syndrome

BOP GUN (Endangered Species) SIR NOSE D'VOIDOFFUNK (Pay Attention-B3M) WIZARD OF FINANCE FUNKENTELECHY PLACEBO SYNDROME FLASHLIGHT Produced and Conceived by: George Clinlon P-FUNK LABS:United Sound Studios,Detroit-Hollywood Sound Recorders,Hollywood ENGINEER: Jim Vitti MIXING ASSISTANT: Bernie Worrell MASTERING: Allen Zentz HORN ARRANGEMENTS: Bernie Worrell, Fred Wesley COSTUMING: Tom The Leatherman ALBUM PHOTOGRAPHY: Ron Slenzak ALBUM GRAPHICS: Stephen Lulnel/Gribbitt: BOOKLET STORY & ILLUSTRATION: Overton loyd BOOKLET COLORING 'N COLLABORATION: Shelly Mack BOOKLET INSPIRED BY: George Clinton Children of Production The Clones of Dr. Funkenstein: VOCALS: George Clinton, Ray Davis, Glenn Goins, Garry Shider, Debbie Wright, Jeanette Washington, Lynn Mabry, Dawn Silva, Cordell Mosson KEYBOARDS & SYNTHESIZERS: Bernie Worrell GUITARS: Michael Hampton, Glenn Goins, Garry Shider BASS: Cordell Mosson DRUMS & PERCUSSION: Jerome Brailey HORNS: Fred Wesley, Maceo Parker. Rick Gardner. Richard Griffith, Clay Lawrey, Darryl Dixon, Valerie Drayton, Danny Cortez PARLIAMENT - The Universal Invaders of Funk - Gratefully thank the following for their funkentelechy: EXTRA-EXTRA TERRESTIAL FUNK BEARING ALUMNI,STROKERS,CHOKERS,CLAPPERS,CHANTERS: Bootsy Collins, Phelps Colllns, Frank Waddy, Rick Gilmore, Gary Cooper, Robert Johnson, Billy Nelson, Ron Ford, Lou Goldmen, Joel Johnson, "Bootsy's Rubber Band", "Brides Of Funkensteln ", "Parlet," and "Horny Homs". MOTHERSHIP GROUND PERSONNEL (IN CHARGE OF FLIGHT PREPARATION) : Ron Strasner, Cholly Basoline, Robert Mittleman, everyone at Backstage Management, Kris Powell Travel, Toni's Travel Mart, Tasco Sound, Ltd.,McManus Lighting, David Denny,Ron Glatzhofer, Jay Jensen, Nick Spigel, Bob Dedeckere, Joey Zalabak, Tim Ryan, Tom Battista, Joe Branam, Tim Branam, Joe Miller, Charles Bishop, Bob Bishop, Curtis Brandy, Ramond Spurell, Linda Brown, John Parrent, Ken baker, Archi Ivy, Tom Vickers, Diem M. Jones, Mark E. Holmes, Larry (LB, my friend) Benjamin, William morris Agency, David Libert Agency, and Sanctum, Inc. Bootsy's Rubber Band appears through the courtesy ol Warner Bros. Records Horny Horns appear through the courtesy of Atlantic Record Brides of Funkenstein appear through the courtesy ot Atlanitc Records ...a special thanks out to all the people Stevie already thanked! A very special thanks to "The Funk," for without this, none ol us could "Pee!" Dr. Funkenstein P-FUNK P-FUNK P-FUNK P-FUNK P-FUNK P-FUNK P-FUNK 1977 Polygram Records, Inc.

Motor Booty Affair

MR WIGGLES RUMPOFSTEELSKIN (You're A Fish and I'm A) WATER SIGN AQUA BOOGIE (A Psychoalphadiscobetabioaquadoloop) ONE OF THOSE FUNKY THINGS LIQUID SUNSHINE THE MOTOR-BOOTY AFFAIR DEEP Produced and conceived by: George Clinton for Thang, Inc. ------------------------------------------------------------------------------- Snorkle Singing Air Tank Harmonics: JAWS: George Clinton, Garry Shider, J.S. Theracon, Garry "Bone" Cooper, Ron Ford, Ray Davis, Bernie Worrell THE CHORAL REEF(ER, BUBBLY VOCALIZATIONS): Debbie Wright, Jeanette Washington, Maliia Franklin, Shirley Hayden, Cheryl James, Lynn Mabry, Dawn Silva, Linda Brown, Richard "Kush" Griffith, Ramond Spruell, Mike "Chip" Payne, Joey Zalabok, andd Robert "P-Nut" Johnson, Larry Heckstall, Overton Loyd LIQUID LICKS (MOTOR-MADNESS-MUSICIANS): GUITAR: Mike Hampton, Garry Shider, J.S. Theracon, Phelps "Catfish" Collins Bootsy Collins BASS: Cordell "Boogie" Mosson, Bootsy Collins, Rodney "Skeet" Curtis, J.S. Theracon DRUMS: Tyrone Lampkin, Bootsy Collins, Gary "Bone" Cooper, J.S. Theracon KEYBOARDS/SYNTHESIZERS: Bernie Worrell, J.S. Theracon PERCUSSION: Larry Fratangelo HORNS: Fred Wesley, Richard "Kush" Griffith, Maceo Parker, Rick Gardner, Greg Black, Greg Thomas, Benny Cowan HORN ARRANGEMENTS: Fred Wesley (except "Water Sign", by Richard "Kush" Griffith) Studios: United Sound Systems, Detroit, MI Super Disc, Inc., Detroit,MI Engineers: Jim Vitti, Pete Bishop, Mike Iacopelli: United Sound Systems Greg Riley: Super Disc Mastered for Compact Disc by Tom Ruff at PolyGram Studios Illustration Drawn Under the Influence of Seaweed by Overton "Earthman" Loyd Design: Gribbitt! ------------------------------------------------------------------------------- Special Tanks: Omar Montes, Jaywill House, Ramond Spruell, Archie Ivy, John Parrent, David Libert Agency, Brenda Adams, Brem, Tom Vickers, Slick P.L.B., Mark Holmes, Joe Miller, Omar Hoffman, David Denny, Joe, Pat, and Tom Battista, Arlo Oversky, Dennis O'Neal, Bob Dedeckere, Bob Bishop, Charles Bishop, Jane, Laverne, Ralph and Gill Management: Leber-Krebs Very Special Tanks: Funkadelic, Brides of Funkenstein, Parlet, Bootsy's Rubber Band and the Horny Horns ------------------------------------------------------------------------------- You May Think We're Just Talking Sheet but "A Man With No Imagine Nation, Has No Wet Dream" "Profligate" Funk Just Between You and Me, the "P" Stands for "Pure" and that's Funk Apogee (The Culmination of a Nation) Chebere Funk Muevete P-Funk Gowiggle Hear Now See Lay-Da! A Soundtrack from a Motion Picture Underwater Your Funkentelechy Gave Birth to "The Naiton" The Potential Existence of the Nation is to Rise (Fins Don't Fail Me Now) Ha-Ha Even Tho You Think We Can't Read-We'd Like to Thank You Cholly for "Your" Dictionary (Words to Funk With): Apogee, Culminate, Doo Loop, Entelechy, Profligate, Placebo, Sydrome, Woo CAUTION: Because of the Cool Hot Wetness of the Disc A Mug Maybe Subject to P-Neumonia. Be Sure You're Insured Before Partaking "Tanks A Gillian to All Fans, Fins, Funkateers, Honkateers, Clones, Pre-Clones, Cronies, Geepies, Sleepies and Maggots for Wooin' the Livin' "P" Out of Us!! (Too Much Entelechy on Your Waterhead Mugs.") Yea though he had danced on the one with the rythm of the Flashlight, Sir Nose remained De-Void of funk. Now , aligned with the Bumpnoxious Rumpofsteelskin, this dull duo from the zone of zero funkativity once again attempts to syndromize the Planet, for in the face of the fury of funk they remain cool. Seeing so it be, Funkenstein renders Starchild this decree: Gather the badddest Master Funkers from throughout the Galaxy. We shall dance daown Bimini Road to the Emerald City and do the Underwater Boogie until we get off at the funktion ...Hark and Mark forward; Be ye aware of the Motor-Booty... go wiggle. 1978 Polygram Records, Inc

Gloryhallastoopid

Gloryhallastoopid Or Pin The Tail On The Funky (Gloryhallastoopid) Pin The Tail On The Funky W.Collins, G.Clinton Party People William Collins, G.Clinton, G.Shider The Big Bang Theory D.Sterling, R.Dumbar, G.Clinton The Freeze (Sizzaleenmean) D.McKnight, G.Clinton Color Me Funky J.S. Theracon, G.Clinton Theme From The Black Hole W.Collins, G.Clinton, J.S. Theracon May We Bang You? G.Clinton, W. Collins, P.Collins, J.S. Theracon Produced by George Clinton for Thang Inc. Except for "Theme From The Black Hole" and"Color Me Funky" Produced by George Clinton and Walter Morrison. Lottsa Ludiicrus Low Downn' Looney Almost Lickable Liner Notes (Luv It Or Lump It) The Odd Squad Musicians. Totally Treacherous, But Slightly Silly Axe Molesters (GUITARS): Micheal Hampton, Garry Shider, William Collins, Phelps Collins, Gordon Carlton, Dewayne McKnight, Walter Morrison Underneath Below Bottom and Other Deep Basic Activities (BASS) : Rodney Curtis, Donnie Sterling, William Collins, Phelps Collins, Dewayne McKnight, Walter Morrison Goofin' Gooey Quacy Quirkin Glueon Keybangers? (KEYBOARDS) Bernie Worrell, Walter Morrison, David Lee Chong African Telephone Operators (DRUMS): Tyrone Lampkin, William Collins, Dennis Chambers, Kenny Colton, Dewayne McKnight Directory Assistance (PERCUSSION) Larry Fratangelo, Carl "Butch" Small, Pieces Of Mouf (Mouf Pieces)(HORNS): Greg Thomas,Greg Boyer,Bennie Cowans,Larry Hatcher,Maceo Parker,Sam Weakes HORN ARRANGEMENTS: Vernie Worrell, Fred Wesley, P-funk Horns (The Baltimore Connection Horn Section), Sam Peakes Scream Division The Put Yo' Boody Where Yo' mouf Iz Choir: Ray Davis, Garry Shider, Ron Ford, Larry Heckstall, Micheal "Clip" Payne, Tracey "Lewd" Lewis, Linda Shider, Dawn Silva, Shelia Horne, Jeanette Washington, Jeanette McGruder, Shirley Hayden, Janice Evans, Greg Thomas, Robert Johnson, Ron Dunbar, Jessica Cleaves, Phillipe Wynn, Bootsy Collins, George Clinton, Gary Cooper, Joel Johnson, Wellington Wigout and Starchild Additional Background Vocals: Jerome Rodgers, Tony Davis, Andre Williams, Larry Hacket, Walter Morrison and Rod RECORDED AT: United Sound Systems, Inc.-Detroit, Michigan ENGINEERS: Jim Vitti, Pete Bishop, Greg "Poo" Ward, Mike Iacopelli MIXADELICS: Jim Vitti, Pete Bishop ADDITIONAL RECORDINGS: Superdisc, Michigan by Greg Reilly PCI Studios, New York by Mark Tomsen MASTERED FOR COMPACT DISC BY: Tom Rull at Polygram Studios A Special Thanks to Airbody and They Momma Including: Bootsy's Rubberband, Deeni, Parlet, Sterling Silver Starship Band, Trey Lewd, The Brides of Funkenstein, The P-funk Road Crew, Bob DeDeckere, Barry Fields, Who, Mike Wallace, Ron Dunbar, Archie Ivy, Ramond Spurell,NeNe,Brem, Charles Bishop, Bob Bishop, Brenda Adams, Leslie Vocino, Nina Hoover, Debra Lett, Barry Nolen, ICM Management, Dwight Smith,Tom Vickers, Weiss-Meibach-Shukat, The Batiista Brothers, Eddie Hazel, Ken Doshi, OvertonLoyd, No Hoo!, Tiger Flower, Cornelius Eason, Mark Holms,L.B., Craig Bryant, Pam Riley, The United Sound Girls, Ron "Stozo" Edwards, Omar Mentez, Walter Morrison, David Rudich Also Special Thanks to...Harlem,Guy,Coco,David,and the rest of the mugs at the Appollo for helpin' us get down so low we had to use "Popcyclesticks" for canes. AND SPECIAL THANKS TO DR. FUNKENSTEIN AND UNCLE JAM..OH! The First three minutes of this album dedicated to one Mr.Wiggles the woim for going above and beyond the call of Boody... He died at the hook of Pig Foot and the Wayward Waifs. This is a Put-Your-Booty-Where-Your-Mouf-Iz concept, for without humps there will be no gettin over, so a very special thanks to this positive nusance Sir Nose Deevoid of Funk. Dream Vision: ALBUM CONCEPT BY the Meta-foolish George Clinton JERK OF ART: Overton " of course I'm an earthmon" Loyd GRAPHICS BY: Gribbitt! Sir Nose's Butto-Strobic Stickulator Designed by Deeni..."Who?" Sir Nose's Assendictomy Performed by Dr. Kaboo "Oop Dey Bloop" 1979 Polygram Records, Inc

Trombipulation

CRUSH IT Bass, Guitar, and Drums by Bootsy Collins. Keyboards by David Lee Chong. Vocals arranged by Bootsy Collins and George Clinton. Produced by George Clinton and Bootsy Collins. TROMBIPULATION Bass, Guitar and Drums by Bootsy Collins. Keyboards by David Lee Chong. Vocals arranged by George Clinton. Produced by George Clinton and Bootsy Collins. LONG WAY AROUND Oberheim Bass, Synnthesizer, and Acoustic Piano by Bernie Werrell. Drums by Bootsy Collins. Vocals arranged by George Clinton and Walter Morrison. AGONY OF DEFEET Bass by Donnie Sterling. Guitar by Tony Thomas. Drums by Lonnie Greene/Precussion by Larry Fratangelo. Keyboards by David Lee Chong. Vocals arranged by Ron Dunbar. Produced by George Clinton and Ron Dunbar. NEW DOO REVIEW Bass by Lige Curry. Guitar by Michael Hampton. Drums by Bootsy Collins. Keyboards by David Lee Chong and Michael Hampton. Vocals arranged by George Clinton, Ron Ford, and Garry Shider. Produced by George Clinton and Ron Ford. LET'S PLAY HOUSE Bass, Guitar, and Drums by Bootsy Collins. Keyboards by David Lee Chong and Bernie Worrell. Percussion by Carl "Butch" Small. Harmonica by Aaron "Little Sonny" Willis. Vocals arranged by George Clinton and Walter Morrison. Produced by Geroge Clinton, Bootsy Collins and Walter Morrison. BODY LANGUAGE Bass by Donnie Sterling. Guitar by Gordon Carlton. Drums by Tyrone Lampkin Percussion by Larry Fratangelo. Keyboards by David Lee Chong. Vocals arranged by George Clinton. Produced by George Clinton. PEEK-A-GROOVE Bass by Jimmie Ali. Guitars by Gordon Carlton and Jerome Ali. Drums by Kenny Colton. Keyboards by Manon Saulsby and Ernesto Wilson. Synthesizer by David Lee Chong. Vocals arranged by Ron Ford and George Clinton. Produced by George Clinton and Ron Ford. Horn Players: Fred Wesley, Larry Hatcher, Bonnie Cowan, Greg Thomas, Maceo Parker, Richard Griffith, Darryl Dixon, David Taylor, Barry Taylor, Barry Rogers, Danny Cahn, David Tofani, John Mical, David Majal Li, Randy Brecker and Michael Brecker. Horns Arranged By: Fred Wesley on "Crush It" "Trombipulation", "Let's Play House," and "Body Language." Larry Hatcher, Greg Thomas, Darryl Dixon, and Bernie Worrell on "Peek-A-Groove." Strings Arranged By: Bernie Worrell on "Peek-A-Groove" Tony Camille on "Body Language" Horns and Strings Arranged By: Tony Camille on "Long Way Around" and "New Doo Review" Concert Master: Anthony Posk Recorded at: Superdisc Inc. in East Detroit, Michigan and United Sound Systems in Detroit, Michigan Engineers: Superdisc Inc. Greg Reilly, Dave Baker, John Jaszcz, John Witham, Fred Munch, Bob Dennis, and Dave Riley. United Sound: Jim Vitti, Mike Iacopelli, and Greg Ward Additional Recording: Concerde Studios in Los Angeles, Cal. Engineer: Reeggie Dozier Power Station in New York, N.Y. Engineer: Larry Alexander Assistant Engineer: Jeff Hendrickson Sigma Sound in New York, N.Y. Engineer: Mike Hutchinson Sound Ideas in New York, N.Y. Engineer: Jim McCurdy Allen Zentz in Los Angeles, Cal. Engineer: Jim Callen Mixing Engineers: Jim Vitti "Agony of Defeet","Trombipulation", "New Doo Review", "Let's Play House", and "Body Language" Greg Reilly "Peek-A-Groove" and "Long Way Around" Mastered for Compact Disc by: Tom Ruff Vocals: Dr. Funk, Garry Shider, Ray Davis, Michael "Clip" Payne, Lige Curry, Jerome Rodgers, Larry Hatcher, Robert Johnson, Ron Dunbar, Jeanette McGruder, Dawn Silve, Shiela Horne, Mallia Franklia, Shirley Hayden, Janice Evans, Jeanette Washington, Gwen Dazier, Cheryl James, Ron Ford, Patty Walker, Andre Williams, Stevie Pannell, Kevin Shider, Tracey "Tray-Lewd" Lewis, Tony Davis, Philippe Wynne, Jessica Cleaves, Donnie Sterling, Tony Thomas, Lonnie Greene, Nina Hoover, Linda Shider, Larry Heckstall, Dawn Driver, Ronni Faust, and God Momma. A Special Thanks To: Archie Ivy for the "Thrill Of Victory" with the "Agony Of Defeet" Additional Special Thanks to: Mike Rosenfeld, Bootsy, The Sweat Band, The Brides of Funkenstein,Parlet,The Horny Horns,The Sterling Silver Starship Band,Trey lewd's Flastic Brain Flam,Philippe Wynne,Ron Dunbar, Archie Ivy,Ramond Spreull,Bruce Peterson,Diem Jones,Brem,Craig Bryant, Ne Ne Montes,Ken Doshi,Tom Vickers,Bob Bishop,Charles Bishop,Joe Miller, Bambi,Bob DeDeckers,Nina Hoover,Leslie Vocino,Debra Lett,Anita and Bob Dennis, Joann Gautier,Batt Bre Ce,Harvey Kresky,Dick Ettlinger,Carol, United Sound Staff,Webb Music Corporation,Bobbi Pettiford Goins,Suzanne's Crenshaw Beauty College Inc.,Marian Welch (manager),Delores Creeks(teacher), Preston Wilson(student),Edna Wilson(student),Anthony Perkins(student), Arthea Maxey(student), and Very Special Thanks To Our Pal Phyllis. The "New Doo Reivew" by Daniel Mitchell, also knows as "June" from the Trade Winds Barber Shop in Newark, New Jersey. All time published by Ricks Malbiz, BMI with the exception of "Crush It," "Trombipulation," and "Let's Play House" which is Rubber Band Music, BMI Album concept by GEORGE CLINTON Art Direction by Overton Loyd Inner Spread Artwork by Stan Watts Artwork and Nose Sculpture by Tim (Mr. 2 HEP) Bruckner/Art Hotel Graphics by Art Hotel. With Starchild gone I do feel, the whole funkmob is mine to steal. Now I've laid a master plan, soon to be that ladies man. Chasing the women from north to south, everybody knows its about that mouth. On my way to funk and profit, I peeked-the groove and he can't stop it. Conceived and Produced by George Clinton 1980 Polygram Records, Inc Manufactured and Marketed by Polygram Records, Inc. New York, New York

Rhenium

Breakdown (3:24) (Ruth Copeland, Larry Clinton, Clyde Wilson) I Call My Baby Pussycat (3:50) (William Nelson, George Clinton, Eddie Hazel) Put Love In Your Life (5:05) (V. Lewis, George Clinton) Little Ole Country Boy (3:57) (Ruth Copeland) Moonshine Heather (4:04) (George Clinton) My Automobile (4:43) (Clarence Haskins, George Clinton) Nothing Before Me But Thang (3:55)(E. Harris, George Clinton, Eddie Hazel) Funky Woman (2:54) (George Clinton, G. Worrell) Livin' The Life (6:15) (William Nelson, George Clinton) Come In Out Of The Rain (2:41) (Ruth Copeland, Clyde Wilson) The Silent Boatman (5:50) (Ruth Copeland) THE SINGERS: George Clinton, Raymond Davis, Clarence "Fuzzy" Haskins, Calvin Simon, Grady Thomas, THE PLAYERS: Bernie Worrell (KEYBOARDS) Eddie Hazel (GUITAR) Lucius Tawl Ross and/or Garry Shider (RHYTHM GUITAR) William "Billy Bass" Nelson (BASS GUITAR) Ramon "Tiki" Fulwood and/or Tyrone Lampkin (DRUMS) RECORDED AT: HDH Sound Studios Original Invictus recordings Produced by George Clinton & Ruth Copeland for B.C. Child Productions Inc. & A Parliament Thang Licensed from Holland Group Productions Inc. Compilation and co-ordination: Cliff White Rhenium: rare very hard metallic element with high melting point Symbol: Re; atomic no.: 75: atomic wt.: 186.2 George Clinton is the first to admit it. If there are skeletons in your closet, somewhere down the line you'll hear those bones rattling. "Hi there, I'm your used to be." What you hold here is George and platoon, 1970-72, in flight from normality en route to the Mothership. The first recordings credited to PARLlAMENT. George's jounrey began in 1941 in Kanatlus, North Carolina. "out in the sticks behind the pig-pen", then took him via Washington and Virginia to Plainfield, New jersey, where during the fifties he harmonized hair and melodies and formed a vocal group, The Parlaments. The quintet recdrded their quota of local flops before getting hung up and strung out in Detroit. Finally a hit in 1967, (I Wanna) Testify. That hit and subsequent releases on the Revilot label were almost akin to other Detroit soul recordings ot the era, but different enough to suggest the beginning of an alternative reality. The arrangements were unusual, the songs increasingly oddball and the accompaniment, by The Parliaments' own five-piece backing band, was unlike the Motor City norm. Come a mess of legal blues, in 1969 George bypassed the problem by calling the entire ten-man platoon FUNKADELIC and securing, a contract with the Detroit-based Westbound label. At ease of problem, the following year he signed a parallel deal with Detroit's Invictus label for the same ten-piece to record as PARLIAMENT. These are those recordings. In theory, FUNKADELIC was a freaky challenge ("Purely emotional with very little intellectual content") while PARLIAMENT was user friendly ("Very subtle and professional"). In practice, both personae were weirder than the average two-headed mule, although these recordings are all recognisable as structured songs- the original Invictus album, 'Osmium', even included a Iyric sheet-and they were more thoughtfully conceived and better recorded than the concurrent FUNKADELIC releases. A diverse bag of tricks comprising gospel, soul, funk, rock and cod-country arrangements with accompaniment ranging from hard electric guitar, through acoustic gentlenesss, to bagpipes, 'Osmium'' was too ecletric and adventurous for commercial success in the 1970 soul market and went unnoticed by pop/rock fans. Twenty years later it is now being 'sampled' but at the time it seemed to be a brave experiment that failed, encouraging Clinton to concentrate his team's efforts into FUNKADELIC. This CD includes all of the 'Osmium' recordings plus three later single sides. Red Hot Mama, Breakdown (both 1971) and Come In Out Of The Rain (1972). This was PARLIAMENT's entire Invictus output.Breakdown, which was actually funkier than anything they had up 'til then recorded as FUNKADELIC, was a Top 30 R&B hit in the autumn of 71; Mama was successfully revamped as Red Hot Momma by FUNKADELIC in 1975. For a couple of years after these recordings only FUNKADELIC releases emerged from the Clinton camp. But with the arrival of ex-James Brown bassist Bootsy Collins and numerous other new recruits fattening the funk, the PARLlAMENT persona was resurrected in the summer of '74 with "Up for The Down Stroke" the first true P-funk release. By 1976 the Mothership had landed and Clinton's variously named funkateers were breakinrg out all over the place: an invasion force that dominated the soul scene during the last few years of the seventies. At the beginning of the eighties the circus fell apart, George Clinton going on to release solo projects. But at the time of writting he is promising a new FUNKADELIC album for imminent release, so I doubt if we heard thep last of PARLIAMENT, either. These recordings are still as adventurous as they sounded when first issued - indeed, in the current climiate of safe sex, programmed production and the Kylie/Jason Syndrome they'll probably seem to a new generation a good deal more challenging than they did twenty years ago. It's up to you to accept the challenge. Cliff White December 1989

First Thangs

Red Hot Mama (4:25) (George Clinton) Come In Out Of The Rain (2:55) (Copeland-Wilson) Fantasy Is Reality (3:58) (Parliament) Breakdown (3:50) (Wilson-Clinton-Copeland) Loose Booty (10:15) (Parliament) Unfinished Instrumental (5:10) (Parliament) I Call My Baby Pussycat (4:21) (Nelson-Hazel-Clinton) Put Love In Your Life (5:04) (Clinton-Lewis) Little Old Country Boy (3:56) (Ruth Copeland) Moonshine Heather (Takin' Care Of Business) (4:03) (Clinton) Oh Lord, Why Lord/Prayer (4:57) (P. Trim; prayer by Ruth Copeland) My Automobile (4:42) (Haskins-Clinton) There Is Nothing Before Me But Thang (3:52) (Harris-Hazel-Clinton-Worrell) Funky Woman (2:53) (Worrell-Clinton) Livin' The Life (5:55) (Clinton-Worrell-Nelson) The Silent Boatmen (5:50) (Copeland) All selections published by Gold Forever Music, Inc. (BMI). The Singers: George Clinton, Raymond Davis, Clarence "Fuzzy" Haskins, Calvin Simon, Grady Thomas The Players: Bernie Worrell-KEYBOARDS Eddie Hazel-LEAD GUITAR Lucius Tawl Ross and/or Garry Shider-RHYTHM GUITAR William "Billy Bass" Nelson-BASS GIUTAR Ramon "Tiki" Fulwood and/or Tyrone Lampkin-DRUMS Recorded between 1970 and 1972. Project Producer-Richard J. Davis Executive Producer-Eddie Holland Complied by Rodney J. Brown Project Coordinator-Victoria J. Canchola Preproduction and Digital Transfers-Rodney J. Brown Digital Remastering, 1992-Phil De Lancie (Fantasy Studios, Berkeley) HDH Records 1992, Holland Group Production, Inc. "Funk", George Clinton once stated,"is the combination of hanging loose and thogetherness at the same time. You can do 'em both at a real balance until you get a groove goin'. Funk is based on a combination of feeling and thinking." The North Carolina-born singer, songwriter, and bandleader did not invent funk, but with his musical entourage, known concurrently as Parliament and Funkodelic, he gave the genre new definitions. The sounds and sights he unleashed during the Seventhies went beyond music. His was an assault on the psyches of African-American youth, a conscious attempt to break down inhibitions and taboos through fun and fantasy. 'We don't care if we are cute or sound good, as long as we make 'em think about somethin'," he explained.His mottoo was "free your mind and your ass will follow". Clinton's influences included the music of James Brown, thhe Beatles, and Sly Stone, the no-holds-barred humor of Richord Pryor, and psychedelic utopian movements of the prior decade, aII drawn together through science fiction, nursery rhymes, and street-corner jive into a mind-boggling soul theater of the absurd. By the end of the Seventies, he had succeeded, to a large degree, in placing one nation under his consciousness-raising groove. Born in Kannapolis, 50 miles from Winston-Salem, North Carolina, on July 22, l94l, Clinton moved with his family to Newark, New Jersey in l956. He worked there as a barber and, inspired by Frankie Lymon and the Teenagers, formed a doo-wop group with friends. Known as the Parliaments, they made their recording debut in 1959 with "Poor Willie"/"Party Boys" on the Apt Iabel. The group cut "Lonely Island"/"You Make Me Wanna Cry" for Flipp the following year. Neither 45 met with much success. For a number of years, Clinton sang at night and processed hair by day. "l had sense enough to get out when I saw the Afro coming. By the mid-Sixties, the Parliaments had settled in Detroit. Clinton signed on as a staff songwriter at Jobete and the group recorded some unreleased material for Motown, the publishing company's parent firm. They did see one release on the rival Golden World label, but it remains even more obscure than their first two singles. Things finally broke in 1967 when the Parliaments (vocalists Clinton, Raymond Davis, Calvin Simon, Clarence "Fuzzy" Haskins, and Grady Thomas) and their backing band (organist Mickey Atkins, lead guitarist Eddie Hazel, rhythm guitarist Lucius Tawl Ross, bassist Billy Nelson, and drummer Ramon "Tiki" Fulwood) recorded for another Motor City label. The Clinton-penned-and-produced "(I Wanna) Testify," the group's first Revilot single, not only gave the Parliaments their first national hit (#3 R&B, #20 pop) but hinted that psychedelia was creeping into the leader's brain. That influence became even more pronounced in the group's five subsequent singles-four on Revilot, one on Atco. "Although they had the same basic ingredients as many contemporary city-soul group recordings," British writer Cliff White has noted, "the vocals were fractured, seldom smooth; tempos were strange, often uncomfortably draggy; production was raw and as open to the rhythm section as to the singers; and songs like 'All Your Goodies Are Gone,' 'The Goose (That Laid the Golden Egg),' and 'What You Been Growing?' were inscrutably abnormal." Legal hassles resulted in Clinton losing rights to the Parliaments' name in 1969, but he wasted no time in signing a contract with the Detroit-based Westbound label for his singers and players under a new name-Funkadelic. Freed from the conventions of being a stand-up soul singing group, Clinton and company proceeded to break all the rules and give their imaginations unfettered reign. While recording for Westbound as Funkadelic, the group signed in 1970 with Holland, Dozier, and Holland's new Invictus label as Parliament. Better recorded than their Westbound sides, the 16 tracks in this collection, recorded between 1970 and '72, are their first efforts under the Parliament banner. Nine are from Osmium, the group's only Invictus LP, while the others previously appeared as singles or were not issued at the time. All have been out of print in the U.S. for nearly two decades. The material herein ranges from the serious social commentary of the gospel-imbued "Oh Lord, Why Lord," which features one of the most impassioned of all Clinton vocal performances, to the silliness of the quasi-country "My Automobile" and "Little Old Country Boy." Some, like "Breakdown," "Red Hot Mama," "Loose Booty," and "Takin' Care of Business," are trademark P-Funk grooves. Others are quite expermental and, in their use of oscillators and bagpipes, as well as dreamlike imagery, suggest the Beatles. "The Beatles changed the whole culture," Clinton has stated. "It was inten- tional funkiness. We were funky because we couldn't help it, but the Beatles was one of the ones whose hair grew and they didn't die. They wore funky clothes and didn't catch too much V.D." Several changes in the grovp's personnel took place during the Invictus period, the most notable being the replacement of keyboardist Atkins by Bernie Worrell. In Worrell's often eerie organ work, elements of Sun Ra segued into touches of Bach, some rinky-dink cocktail lounge stylings, and doses of George Wright soap opera sounds.The group's other significant instrumentalist was veteran Eddie Hazel, whose sputtering, acidic guitar lines were part Jimi Hendrix, part his own invention. During this time, Clinton launched one of the most bizarre shows ever staged by a musical group. Lead vocalist Clinton, nearly naked and bewissed in blonde, fronted the attack. His compatriots were iust as outrageously garbed-in diapers, stars-and-striped loincloths, leopard-skin leotards, and the like. Through their records and concerts, Parliament/Funkadelic steadily built a cult following until, in 1978, they fractured the mass consciousness with such chart-topping hits as "Flash Light","One Nation Under a Groove", and "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)." George Clinton may have subsequently lost rights to the names Parliament and Funkadelic, as he had earlier with the Parliaments, but his grooves and spirit of adventure continue to inform popular music, especially hip-hop, where his old beats have been sampled more than those of any artist aside from James Brown. These first Parliament things, largely overlooked when they were hatched, give up more than enough funk to stand the test of time. Lee Hildebrand If gives me tremendous pleasure to see the HDH Gold Series bring some of the biggest Hot Wax/Invictus hits back into circulation. When Hot Wax and Invictus were formed in l969, it was my intention that they would provide a forum for a wider range of creative control then I had experienced while producing ond writing with Brian and Lamont for Motown. The emphasis was on the development of new talent rather than signing established artists, because it gave us greater involvement in the overall creative process as well as the ability to build the company's Foundation from the ground up. During the time the labels were active (1969-74), we felt that this approach worked well in bringing unique and commercial product to the marketploce. Since then we've received many requests for fhe old masters, and decided that now's the time to reissue them. They represent an important part of HDH's post- Motown creative expression that has been too long absent from the contemporary music scene. Eddie Hollond