Maggot Brain is the third studio album by the American funk rock band Funkadelic, released by Westbound Records in July 1971. It was produced by bandleader George Clinton and recorded at United Sound Systems in Detroit during late 1970 and early 1971.[1] The album was the final LP recorded by the original Funkadelic lineup; after its release, founding members Tawl Ross (guitar), Billy Nelson (bass), and Tiki Fulwood (drums) left the band for various reasons.[2]
The album charted in the R&B Top 20.[3] Today, it is perhaps best known for its ten-minute title track, largely consisting of an improvised solo by guitarist Eddie Hazel.[4] In 2009, Pitchfork named it the 17th best album of the 1970s.[5] In 2020, Rolling Stone ranked Maggot Brain the 136th greatest album of all time in its updated list
Cosmic Slop is the fifth studio album by Funkadelic, released in July 1973 on Westbound Records. While it has been favorably reevaluated by critics long after its original release, the album was a commercial failure, producing no charting singles, and reaching only #112 on the Billboard pop chart and #21 on the R&B chart.[9] The album was re-released on CD in 1991.[7]
Cosmic Slop is the first Funkadelic album to feature artwork and liner notes by Pedro Bell, who assumed responsibility for the band's gate-fold album covers and liner notes until the band's collapse after 1981's The Electric Spanking of War Babies. Bell's liner notes to Cosmic Slop include small illustrations next to each song's name, summarizing the song in a picture.[7]
Lloyd Bradley in Q Magazine characterised the album a "cornerstone ... coming just before James Brown sidepersons began defecting to Clinton's outfit' and "a link between fearsomely dark musings and out-and-out strangeness".
Standing on the Verge of Getting It On is the sixth studio album by Funkadelic, released on Westbound Records, released in July 1974. It is notable for featuring the return of guitarist Eddie Hazel.
On this album, the lyrics generally take a backseat to the music and the jamming. It is one of the most popular Funkadelic albums among fans,[citation needed] and highlights the virtuosic guitar of the returning Eddie Hazel, who had departed following 1971's Maggot Brain.[7] Hazel co-wrote all of the album's songs, although the songwriting credits were mostly in the name of Grace Cook, Hazel's mother (a gambit by Hazel to avoid contractual difficulties with the publishing rights).
Ned Raggett writes in AllMusic that "Jimmy's Got a Little Bit of Bitch in Him" is a "friendly" song about "a gay friend" and notes that this stands in contrast with later negative attitudes towards homosexuality among hip hop artists who often sampled P-Funk songs.
Hardcore Jollies is the ninth studio album by the funk rock band Funkadelic, released on October 29, 1976 by Warner Bros. Records, their first album to be issued on a major label. It is dedicated to "the guitar players of the world." Originally, the first side of the album was called "Osmosis Phase 1" and the second side was "Terribitus Phase 2." Hardcore Jollies was released one month after Funkadelic's final album for Westbound Records, Tales of Kidd Funkadelic, which was recorded during the same sessions.
Hardcore Jollies was the last Parliament-Funkadelic studio album to include three of the original members of The Parliaments: Fuzzy Haskins, Calvin Simon and Grady Thomas. Though uncredited, Hardcore Jollies features instrumental performances by guitarist Eddie Hazel.
The album has been reissued on compact disc by Charly Groove Records and Priority Records.
One Nation Under a Groove is the tenth studio album by American funk rock band Funkadelic, released on September 22, 1978, on Warner Bros. Records. Recording sessions took place at United Sound Studio in Detroit, with one song recorded live on April 15, 1978, at the Monroe Civic Center in Monroe, Louisiana.[10] The album was the first album to include keyboardist and frequent songwriter Walter "Junie" Morrison.
One Nation Under a Groove was Funkadelic's most commercially successful album, reaching number 1 on the Billboard Magazine Top R&B/Hip-Hop Albums chart, number 16 on the Billboard 200, and being certified platinum in the US. It reached number 58 in Canada.[11] It was praised by critics, and appears in several "best album" lists. It was featured on Vibe magazine's 100 Essential Albums of the 20th Century and 51 Essential Albums lists.[4][12] The album was ranked number 177 on Rolling Stone magazine's list of the 500 greatest albums of all time in both 2003 and 2012 editions,[13][14] before moving to number 360 in the 2020 edition.[15] The album is listed as one of the 1001 Albums You Must Hear Before You Die.
Connections & Disconnections is an album recorded by Fuzzy Haskins, Calvin Simon, and Grady Thomas under the name Funkadelic.
With the history of financial disputes with Clinton behind them, and backing from Westbound Records founder Armen Boladian, this album (co-produced by former Sly and the Family Stone drummer Greg Errico, without the involvement of George Clinton) was released in Germany in 1980 entitled 42.9%, and in the United States in 1981 entitled Connections & Disconnections.[3] It was reissued by Rhino Records in 1992 with the title Who's a Funkadelic? The competing release challenged George Clinton's claim to ownership of the "Funkadelic" name, ultimately leading to a lawsuit between the trio and Clinton.
First Ya Gotta Shake the Gate is the fourteenth and final studio album by American funk rock band Funkadelic. The album was released by the C Kunspyruhzy in 2014 and consists of newly recorded material.
The album consists of 3 discs comprising 33 tracks in total, which has been explained to mirror the 33 years that had elapsed since Funkadelic's last official album release in 1981, The Electric Spanking of War Babies. Like most of the Funkadelic catalog, the album features cover artwork by artist Pedro Bell.
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