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The P-Funk mythology is a group of recurring characters, themes, and ideas primarily contained in the output of George Clinton's bands Parliament and Funkadelic.This "funkology" was outlined in album liner notes and song lyrics, in addition to album artwork, costumes, advertisements, and stage banter.
George Clinton " Chocolate City " is a song by the funk band Parliament , the lead track of their 1975 album of the same name . It was also released as a two-part single , the first from the album.
Clinton credited Worrell with the idea of composing the song under a motif. Starting out as a jam, Clinton recorded multiple tracks, layering up to 50 voices within the theme of an inclusive love song. The "Da da da dee da da da" chant was based on a chant from a dance at a bar mitzvah party that Clinton had heard from a friend. [9]
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]
The song introduces George Clinton's messianic alien alter ego Star Child for the first time (see P-Funk mythology). The lyrics "Swing down, sweet chariot, stop and let me ride" quote the traditional spiritual " Swing Down, Sweet Chariot ", [ 1 ] first popularized in the 1940s by The Golden Gate Quartet and later recorded by Elvis Presley among ...
The leader behind the Parliament-Funkadelic collective was celebrated for influencing and impacting funk music. George Clinton, one of the most […] The post George Clinton becomes emotional as ...
Osmium is the debut album of American funk band Parliament, led by George Clinton. The album has a psychedelic soul sound with a spirit of experimentation that is more similar to early Funkadelic than the later R&B-inspired Parliament albums. It was originally released in July 1970 on Invictus Records. [6]
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.