PARLIAMENT FUNKADELIC: One Nation Under a Groove

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Chaotic, almost abstract illustration of a pink woman in space surrounded by creatures, a building, a light bulb and more with white liquid splattered throughout.

(Priority), Funkadelic

The last P-Funk album recorded with three of the original Parliaments—Calvin Simon, Grady Thomas and Fuzzy Haskins—Hardcore Jollies was also the first Funkadelic release on a major record label. Featuring Michael Hampton on lead guitar, the title track tells of a singer trying to seduce a woman.

Illustration of a child in the center surrounded by a skull with a psychedelic eye, a smiling woman with her bodyıs insides revealed, an upside purple woman and erector set-type tracks.

(Westbound), Funkadelic

Recorded at the same time as Hardcore Jollies, the final Westbound label Funkadelic album was named for guitarist Hampton, a.k.a. Kidd Funkadelic, and features such song as “Butt-to-Butt Resuscitation.”

Photo of two men in a control room, dressed in space-age fanciful costumes with foil wings, black masks covering their eyes and noses. In the background, one is strapped to an upright operating table, as the other looks at the camera while a blurry image of a white sheep is on a flat operating table in the foreground.

(Casablanca), Parliament

The P-Funk blend of playfulness, eccentricity and all-out weirdness shines through on this album, which continues the Star Child story introduced in Mothership: Star Child secretly worked for Dr. Funkenstein, the official intergalactic master of Funk.

Photo on a space background of one man on left with a big nose in a black suit, and six multiple images of the same man in red costume with big glasses dancing.

(Casablanca), Parliament

Perhaps P-Funk’s most sampled album, Funkentelechy contains such hits as “Flash Light” and “Bop Gun (Endangered Species),” highlighting the genius of Worrell and Collins and introducing a new character: Sir Nose D’Voidoffunk, Star Child’s nemesis and the enemy of funk. Sir Nose insists that he is too cool to dance, but Star Child uses his bop gun to zap Sir Nose to Funkentelechy.

Illustration of four action figure/superheroes raising a large red, black and green flag that says “R&B” and a cartoon illustration of woman wearing a green dress with a large Afro saying “Funkadelic” in a colorful “word balloon” atop several striped slogans and a sign saying “One Nation Under a Groove.”

(Priority), Funkadelic

This P-Funk classic and critics’ favorite was the first to feature keyboardist Junie Morrison. Guitarist Michael Hampton showcases his skills further, with songs such as the title track, “One Nation Under A Groove,” “Who Says a Funk Band Can’t Play Rock?” and “Lunchmeataphobia ('Think! It Ain't Illegal Yet')” advocating the power of funk and the liberating power of music. The album also introduces Funkadelica, a nation ruled by funk and the Funkateers, who work to rescue music from unFunkiness.

Drawing of a big open-mouthed gold bird about to swallow a big-nosed man in a white suit and hat in a dry desert setting.

(Casablanca), Parliament

Tracks from this water-themed concept album include "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)" and "(You're a Fish and I'm A) Water Sign,” with appearances by such characters as Sir Nose, his buddy Rumpofsteelskin and Mr. Wiggles, “the DJ of the affair.”

Illustration of a militant-looking man in a green uniform and red beret wearing while platform boots sitting in a round-backed chair on a skull seat, one finger is raised and gives off a bright light. By his side is a bop gun, a woman is below and a man with a large nose is shouting at the bottom.

(Priority), Funkadelic

This sequel to One Nation Under A Groove extends the P-Funk mythology to establish Funkadelia, a musical funk uptopia, and takes a more explicit political standpoint, from its cover art with Clinton striking a Black Panther-style pose to lyrics in such songs as “Foot Soldiers (Star Spangled Funky).”

Illustration of a donkey with a human body, wearing a funky space outfit, platform boots and cape, sunglasses in hand; title reads, “GLORYHALLASTOOPID or Pin the Tail on the Funky.”

(Casablanca), Parliament

This lesser-known Parliament album marks the eventual unraveling of the collective in the late 1970s and early 1980s. Sir Nose makes another appearance, this time as a victim of the Big Bang Theory, which shows that funk helped to create the universe.

3-D illustration/collage of an Egyptian scene: lightening lights a purple sky, a large pyramid in the background and a sphinx sculpture in the foreground, the main image is the head of a man in a white fur jacket, dark glasses and a nose like an elephant. The sphinx also has an elephant nose.

1980: TROMBIPULATION (Casablanca),

Parliament’s final album was recorded amidst band squabbles and financial disarray, but the collective’s skill and wit still persists. Sir Nose makes a final appearance here, where he traces his roots back to the Cro-Nasal Sapiens and reclaims his funky ancestry with his son, Sir Nose, Jr.

A jagged green “patch” with collage text covers up a pink image underneath. The legs of a woman in a capsule are sticking out, her ankles in cuffs. Open space capsules show TV cameras that say ZBS on the side.

(Priority), Funkadelic

Funkadelicıs final album contains both references to the Vietnam War and alien communication, as exemplified in the title track, and features the work of both long-timers and newcomers to the P-Funk collective. This version of the album cover is said to have been modified as a response due complaints from women’s groups. Cover art reads: “OH LOOK! The cover that they were too scared to print!”

The P-Funk family of artists, such as Bootsy Collins, the P-Funk All-Stars, the Horny Horns and the Brides of Funkenstein, have recorded some funkified classics and many continue to put out great funk today.

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