The Clones of Dr. Funkenstein

Performer: Parliament
Engineer: Jim Callon; Jim Vitti
Producer: George Clinton
Distributor: Scorpio Distribution

Notes: Parliament: Garry Shider, Glen Goins (vocals, guitar); William "Bootsy" Collins (vocals, bass, drums); George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis, Grady Thomas (vocals); Michael Hampton (guitar); Fred Wesley, Maceo Parker, Rick Gardner, Michael Brecker, Randy Brecker (horns); Bernie Worrell (keyboards, synthesizers); Cordell Mosson (bass); Jerome Brailey, Gary "Mudbone" Cooper (drums, percussion); Debbie Edwards, Taka Kahn (background vocals). Recorded at United Sound, Detroit, Michigan & Hollywood Sound, Hollywood, California. J&R Exclusive Following closely on the heels of MOTHERSHIP CONNECTION, the group's undisputed high-water mark, THE CLONES OF DR. FUNKENSTEIN furthers George Clinton's conceptual and musical master plan to funkify the world. THE CLONES unravels the Funk Mob's cosmology and populates it with a cast of mythological characters that includes Starchild (introduced on MOTHERSHIP) and the Funk overlord himself, Dr. Funkenstein. By this album, Parliament have almost completely moved away from the guitar-dominated psychedelic soul of their early '70s output and entrenched themselves in the realm of lighter, horn and keyboard-driven experimental dance music. While weakened by over-conceptualization and Parliament's sometimes too-goofy sense of humor--qualities that would seriously mar the group's later output--this disc is nonetheless full of freaky, utterly original jam-formula compositions bolstered by outstanding musicianship. "Do That Stuff" and "I've Been Watching You" are highlights. Though old school P-Funk fans may see this record as Parliament's bid for the commercial mainstream, it is still impossible to deny the unique, exuberant music within.

The first of P-Funk mastermind George Clinton's many bands, Parliament was formed in the 1950s as a doo-wop group called the Parliaments. In the early 1970s it became one of several outlets for Clinton's outrageous blend of funk, rock, and the absurd. Originally intended as the more traditional foil to Funkadelic's progressive leanings, Parliament was eventually enveloped by the same over-the-top theatrics as all of Clinton's other projects.

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