#Funkadelic #George Clinton #funk #R&B #psychedelic funk #funk rock #1970s
As early as 1969, George Clinton and his “Parliament-Funkadelic Thang” took on the identities of funky aliens from outer space. Like Sun Ra and Lee “Scratch” Perry, Clinton grew up in a community where black people inhabited an other-ized zone. These artists simply took a position of marginality and turned it into their own sur-reality, tweaked with their own imaginations. By the mid-seventies, Clinton took the boundary between science fiction and social reality and tie-dyed it. Clinton mostly used Parliament as his vehicle for sci-fi themes, while Funkadelic focused on Clinton’s iconoclastic musical ideas.
Clinton had lost the rights to the names “Parliament” and “Funkadelic” in the early 80s. Subsequently his cyborg funky bunch has sporadically toured under the rubric of the P-Funk All-Stars. It is easy to forget that Parliament and Funkadelic, while sharing basically the same members, once had very different identities — from their sound, to their styles, philosophies and attitudes. When people say they love George Clinton’s music, they generally mean Parliament or the P-Funk All-Stars. Parliament had the hit records, the colorful spaceship stage shows and costumes, and the upbeat funky dance music. Funkadelic, especially in the beginning, was the lesser known, down ‘n’ dirty, lysergic-crazed, evil, inbred rock ‘n’ roll twin.
Funkadelic’s unique relationship with white rock ‘n’ roll started when they had borrowed amps from Vanilla Fudge. They were so pleased with the high volume that they immediately got their own. Like Jimi Hendrix and Sly and the Family Stone, they reclaimed rock music as their own. Their crossover appeal to white audiences, while on a much smaller scale than Hendrix and Sly, was demonstrated when they graced the cover of the second issue of Creem. While they could not compete with the other two giants at their best, Funkadelic synthesized their own fusion of styles that would eventually be just as influential. Their grim inner-city blues were just as soulful as Marvin Gaye’s and Stevie Wonder’s concurrent explorations in social consciousness.
From: https://fastnbulbous.com/funkadelic-the-afro-alien-diaspora/
