P-Funk: An Empire In The Making

Probably more than any other legendary musical act, Parliament-Funkadelic has had to endure decades without receiving proper recognition for the various innovations they introduced into the popular music landscape. Indeed, we’re talking about a musical collective that has never been nominated for a Grammy, American Music Award, or even an NAACP Image Award. No cover stories in Rolling Stone, Hit Parader, People, or other pop culture magazines of the time. Yet during their commercial peak, they were filling stadiums and arenas with virtually no crossover audience. A hugely significant achievement, no matter how you look at it.

There are many fascinating chapters to the history of P-Funk. Each chapter is defined by boundary-crossing musicians and vocalists that helped to chart the collective’s future. What you’re about to examine is a deep dive into the various chapters of that history. A process of Funk evolution that made the collective the untouchable “thang” of their day.

1959-1969-The Doo Wop/Detroit Soul era

Defined mainly by the singers, but also defined later by co-writers Sidney Barnes, Pat Lewis, and Mike Terry. The move to the Revilot label produces a top 20 hit, “(I Wanna) Testify.” None of the principal instrumentalists that define the P-Funk sound of the 1970s are present, with the exception of Billy Bass Nelson and Eddie Hazel’s growing presence near the end of the decade.

1970-1974-The Acid Funk Era

Eddie Hazel and Bernie Worrell establish themselves as the primary collaborators to George Clinton’s lyrical madness. Regardless of his lack of consistent presence, Eddie defines the instrumental foundation of Funkadelic. In terms of this period, he is the only instrumentalist to have co-written an entire album (Standing On The Verge Of Getting It On). No other instrumentalist achieves that distinction.

Bootsy Collins and his band enter the scene in 1972 and proceeded to take the band in a more Street Funk groove direction, obviously inspired by their period with James Brown. Garry Shider and Boogie Mosson do their thang to further what Eddie and Billy Bass Nelson laid down while also striking a balance with the contributions of Bootsy and his band. Pedro Bell’s artwork delivers the band’s philosophy in a way that no other album illustrator has ever done.

1975-1978 The Mothership/ Earth Tour Era

Bootsy Collins and Bernie Worrell played an extremely crucial role in the resurgence of Parliament and the establishment of the most successful P-Funk spin-off act, Bootsy’s Rubber Band. A musical development that could not have been done with either Bootsy or Bernie by themselves (or George Clinton, for that matter). It is the Clinton/Collins/Worrell songwriting fusion that sets the entire P-Funk concept on fire.

Having Glenn Goins, Fuzzy Haskins, Ray Davis, and Garry Shider lead the vocal charge is what sells the formula to the record-buying public. Overton Loyd and Stozo Edwards add invaluable creativity to the P-Funk artistic stroke. The arrival of Fred Wesley and the Horny Horns truly help to tighten up the Parliament/Bootsy recordings. The expansion of the empire, including the formation of the Brides of Funkenstein and Parlet helped to cement the concept of a wide-ranging musical structure, not just a band.

1978-1981-The arrival of Junie Morrison

Supplying Funkadelic, an aspect of the PFT Thang that previously lurked in the shadow of Parliament, with two of their biggest hits, further confirms that a musical institution is taking shape. He remains in the P-Funk organization just long enough to define a pivotal period in the band’s history.

1982-1986 The Capitol Era

This period is largely defined by David Spradley, Garry Shider, and, near the end, Steve Washington. Even though they are operating in a more diminished capacity, they’re still able to release the highly influential single, “Atomic Dog.” While the band doesn’t tour after 1984, all of the albums produced in this period help to keep P-Funk in the public eye.

1989 to the present

Probably the longest-running comeback in music history is characterized by studio recordings that feature a handful of individuals from the touring entourage. Blackbyrd, Trey Lewd, and Amp Fiddler emerge as lead collaborators as the band finally receives industry recognition in the form of their induction into the Rock and Roll Hall Of Fame in 1997 and later, their Grammy Lifetime Achievement award in 2019.

The consensus is clear with no room for second-guessing. You’re looking at the 60-year timeline of a single musical entity. This is a musical institution. Like Shock G of Digital Underground once said, “a college.” A structure that was built for long-term existence with a revolving door policy for some of the industry’s top musicians. Instrumentalists whose presence dictated the direction of the music, while still being dedicated to the philosophical idea of P-Funk. And none of these musicians could produce by themselves what they produced together (very much like the Beatles). Indeed, we will more than likely never see another musical collective like Parliament-Funkadelic in our lifetime.

-Tim Kinley

Photo: Getty Images