Rolling Stone - 5/1/03, p.593 stars out of 5
- "...The masterpiece, the slang creator, the icon builder, the master narrative--or 'the bomb,' as Clinton succinctly put it before anyone else..."
Vibe - 2/02, p.87
Included in Vibe's "Essential Black Rock Recordings".
Parliament: Bootsie Collins (vocals, guitar, bass, drums, percussion); Gary Shider, Glen Goins (vocals, guitar); George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis, Grady Thomas (vocals); Michael Hampton (guitar); Fred Wesley, Maceo Parker, Michael Brecker, Randy Brecker, Boom, Joe Farrell (horns); Bernie Worrell (keyboards, synthesizer); Cordell Mosson (bass); Tiki Fullwood, Jerome Brailey (drums, percussion); Gary Cooper (drums, percussion, background vocals); Debbie Edwards, Taka Kahn, Archie Ivy, Bryna Chimenti, Rasputin Boutte, Pam Vincent, Debra Wright, Sidney Barnes.
Recorded at Limited Sound, Detroit, Michigan and Hollywood Sound, Hollywood, California.
Includes liner notes by Tom Vickers (former P-Funk Minister Of Imformation).
Personnel: Bootsy Collins (vocals, guitar, drums, percussion); Garry Shider, Glen Goins (vocals, guitar); Clarence "Fuzzy" Haskins, George Clinton , Grady Thomas, Raymond Davis, Calvin Simon (vocals); Michael Hampton (guitar); Fred Wesley, Joe Farrell, Maceo Parker, Michael Brecker, Randy Brecker (horns); Bernie Worrell (keyboards, synthesizer); Gary Cooper (drums, hand claps, percussion); Archie Ivy, Taka Khan, Reginald Rasputin Boutte, Debbie Edwards, Pamela Vincent, Deborah Wright, Bryan Chimenti, Sidney Barnes (hand claps); Jim Vitti (sound effects).
Liner Note Author: Tom Vickers.
Photographer: David Alexander .
Parliament was one arm in George Clinton's funk army during the 70s, a large conglomeration of groups and musicians (including Bootsy's Rubber Band, Funkadelic, The Horny Horns and others) dedicated to rewriting the rules of funk, soul and rock. Clinton's bands sounded like James Brown gone mad, partly because of the inclusion of former JB sidemen Bootsy Collins, Maceo Parker and Fred Wesley, but mostly because of the alternate universe they inhabited--a sort of drugged-out traveling sci-fi soul revue.
MOTHERSHIP CONNECTION shows why Clinton's formula for funk domination of the free world worked so well. The music is tight and groovy, with heavy bass lines, precise horn runs and ultra-electronic keyboards (provided by Bernie Worrell). The lyrics are often no more than spaced-out spoken word excursions, sounding like Sly Stone reciting Isaac Asimov. And the whole concept and presentation was so totally freaked out that it would catch people off-guard, letting Clinton's teachings and philosophies seep into the unconscious. The most traditionally structured song is a love and bondage number called "Handcuffs," which shows how far Clinton and his P-Funkers had brought funk from the halcyon days of Otis Redding and James Brown. Songs like "P-Funk (Wants To Get Funked Up)" and "Tear The Roof Off The Sucker," with their extended interplay and dazed vocals, helped pave the way for the rise of hip hop as a commercial vehicle.