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The track "The Landing (Of the Holy Mothership)" is a musical montage that mixes clips of various P-Funk recordings with broadcast news-style commentary from George Clinton. The original vinyl release contained a 22 × 33" inch poster of George Clinton dressed as Dr. Funkenstein (photo by Diem Jones), as well as an iron-on T-shirt transfer that ...
"Give Up the Funk (Tear the Roof off the Sucker)" 15 5 — US: Gold [2] "Mothership Connection (Star Child)" — 26 — "Do That Stuff" — 22 — The Clones of Dr. Funkenstein: 1977 "Dr. Funkenstein" 102 43 — "Fantasy Is Reality" — 54 — Live: P-Funk Earth Tour "Bop Gun (Endangered Species)" 102 14 — Funkentelechy vs. the Placebo ...
Mothership Connection is the fourth album by American funk band Parliament, released on December 15, 1975, on Casablanca Records.This concept album is often rated among the best Parliament-Funkadelic releases, and was the first to feature horn players Maceo Parker and Fred Wesley, previously of James Brown's backing band the J.B.'s.
Inhale Slow 4:00 P-Funk Allstars featuring Paul Hill 7 Because / Last Time Zone 4:14 Funkadelic 8 Neverending Love 5:06 Funkadelic 9 Sexy Side of You 3:56 George Clinton featuring FUNK-KIN aka Tim Shider, Nowell Haskins and Nate Shider 10 Saddest Day 6:01 Belita Woods: 11 I Can Dance 15:22 P-Funk All Stars featuring Susy's Posse 12
The P-Funk Earth Tour was ambitious from the start. Casablanca Records executive Neil Bogart gave George Clinton a $275,000 budget for production, the largest amount ever allocated for a Black music act to tour. [1] Clinton hired Jules Fischer as set designer, who had previously worked on tours for The Rolling Stones, KISS, and other rock bands.
George Edward Clinton [6] (born July 22, 1941 [7]) is an American singer, songwriter, record producer and bandleader. [8] His Parliament-Funkadelic collective (which primarily recorded under the distinct band names Parliament and Funkadelic) developed an influential and eclectic form of funk music during the 1970s that drew on Afrofuturism, outlandish fashion, psychedelia, and surreal humor. [9]
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The album and its title track, a feedback-drenched number taking a third of the album's length, introduces the subversion of Christian themes explored on later songs, describing a mystical approach to salvation in which "the Kingdom of Heaven is within" and achievable through freeing one's mind, after which one's "ass" will follow.