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Parliament-Funkadelic & George Clinton - Discography 1970-2018 [FLAC]

Parliament-Funkadelic (abbreviated as P-Funk) is an American funk music collective of rotating musicians headed by George Clinton, primarily consisting of the bands Parliament and Funkadelic, both active since the 1960s. Their distinctive funk style drew on psychedelic culture, outlandish fashion, science-fiction, and surreal humor it would have an influential effect on subsequent funk, post-punk, hip-hop, and post-disco artists of the 1980s and 1990s, while their collective mythology would help pioneer Afrofuturism.

The collective's origins date back to the doo-wop group the Parliaments, formed by Clinton in the late 1950s in suburban Plainfield, New Jersey. Under the influence of late-1960s artists such as Jimi Hendrix, Sly Stone, and Frank Zappa, Clinton later relocated to Detroit and began the sister groups Parliament and Funkadelic, with the former playing an eclectic and more commercial form of funk, and the latter incorporating more influence from psychedelic rock.[8] The groups released albums such as Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978) to critical praise, and scored charting hits with singles such as "Give Up the Funk" (1976), "One Nation Under a Groove" (1978), and "Flash Light" (1978). Overall, the collective achieved thirteen top ten hits in the American R&B music charts between 1967 and 1983, including six number one hits.

The name "Parliament-Funkadelic" became the catch-all term for the dozens of related musicians recording and touring different projects in Clinton's orbit. Other prominent collective members have included bassist Bootsy Collins, keyboardist Bernie Worrell, and guitarists Eddie Hazel, Michael Hampton, and Garry Shider. By the early 1980s, Clinton and other members had begun solo careers, with Clinton also consolidating the collective's multiple projects and touring under names such as George Clinton and the P-Funk All-Stars. Some former members of Parliament perform under the name "Original P". Sixteen members of Parliament-Funkadelic were inducted to the Rock and Roll Hall of Fame in 1997. In 2019, the group was given the Grammy Lifetime Achievement Award.

Inspired by Motown's assembly line of sound, George Clinton gradually put together a collective of over 50 musicians and recorded the ensemble during the '70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by '60s acid culture and science fiction. From Parliament's 1970 inception until Clinton's dissolving of the band in 1980, they hit the R&B Top Ten with funk classics such as "Up for the Down Stroke," "Tear the Roof Off the Sucker (Give Up the Funk)," "Flast Light," and "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)." They truly excelled in two other areas: effective album statements, including the platinum releases Mothership Connection and Funkentelechy vs. the Placebo Syndrome (1977), and the most dazzling, extravagant live show in the business. After Clinton fused his concepts for P-Funk All Stars, he revitalized them separately in the 2010s, first with an album from Funkadelic and then one with Parliament, Medicaid Fraud Dogg (2018).

By the time his on-the-move family settled in New Jersey during the early '50s, George Clinton (born in 1941 in Kannapolis, North Carolina) became interested in doo wop, which was just beginning to explode in the New York-metro area. Basing his group on Frankie Lymon & the Teenagers, Clinton formed the Parliaments in 1955 with a line-up that gradually shifted to include Clarence "Fuzzy" Haskins, Grady Thomas, Raymond Davis, and Calvin Simon. Based out of a barbershop backroom where Clinton straightened hair, the Parliaments released only two singles during the next ten years, but frequent mid-'60s trips to Detroit -- where Clinton began working as a songwriter and producer -- eventually paid off their investment.

After finding a hit with the 1967 single "(I Wanna) Testify," the Parliaments ran into trouble with Revilot Records and refused to record any new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. Founded in 1968, the group began life as a smokescreen, claiming as its only members the Parliaments' backing band -- guitarist Eddie Hazel, bassist Billy Nelson, rhythm guitarist Lucius "Tawl" Ross, drummer Ramon "Tiki" Fulwood, and organist Mickey Atkins -- but in truth including Clinton and the rest of the former Parliaments lineup. Revilot folded not long after, with the label's existing contracts sold to Atlantic Clinton, however, decided to abandon the Parliaments name rather than record for the major label. One previously recorded Parliaments single, "A New Day Begins," was licensed to Atco in 1969 and became a number 44 hit that May. By 1970, Clinton had regained the rights to the Parliaments name he then signed the entire Funkadelic lineup to Invictus Records as Parliament. The group released one album -- 1970's Osmium -- and scored a number 30 hit, "Breakdown," on the R&B chart in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being.

Though keyboard player Bernie Worrell had played on the original Funkadelic album, his first credit with the conglomeration appeared on Funkadelic's second album, 1970's Free Your Mind...And Your Ass Will Follow. Clinton and Worrell had known each other since the New Jersey barbershop days, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for virtually all later Parliament/Funkadelic releases. His strict upbringing and classical training (at the New England Conservatory and Juilliard), as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the synth runs and horn arrangements that later trademarked the P-Funk sound. Two years after the addition of Worrell, P-Funk added its second most famed contributor, Bootsy Collins. The muscular, throbbing bassline of Collins had already been featured in James Brown's backing band (the J.B.'s) along with his brother, guitarist Catfish Collins. Bootsy and Catfish were playing in a Detroit band when George Clinton saw and hired them.

Funkadelic released five albums from 1970 through early 1974, and consistently hit the lower reaches of the R&B chart, but the collective pulled up stakes later in 1974 and began recording as Parliament. Signing with the Casablanca label, Parliament's "Up for the Down Stroke" (number ten R&B, number 63 pop) appeared in mid-1974 and reflected a more mainstream approach than Funkadelic, with funky horn arrangements reminiscent of James Brown and a live feel that recalls contemporary work by Kool & the Gang. It became the biggest hit yet for the Parliament/Funkadelic congregation. "Testify," a revamped version of the Parliaments' 1967 hit, also charted in 1974. One year later, Chocolate City continued Parliament's success: the title track reached number 24 R&B, and "Ride On" also charted.

Clinton & co. ushered in 1976 with the April release of the third Parliament LP in as many years: Mothership Connection. Arguably the peak of Parliament's power, the album made number 13 on the pop chart and went platinum, sparked by three hit singles: "P. Funk (Wants to Get Funked Up)" (number 33 R&B), "Tear the Roof Off the Sucker (Give Up the Funk)" (number five R&B, number 15 pop), and "Star Child" (number 26 R&B). In addition to Bootsy Collins, the album featured two other James Brown refugees: horn legends Maceo Parker and Fred Wesley. Just six months after the release of Mothership Connection, Clinton had another Parliament album in the can, The Clones of Dr. Funkenstein. Though it only reached gold status, the LP spawned the number 22 R&B hit "Do That Stuff" and the number 43 "Dr. Funkenstein."

Several internal squabbles in 1977 apparently didn't phase Clinton at all the following year proved to be the most successful in Parliament's history. In January, "Flash Light" -- from the Parliament album Funkentelechy vs. the Placebo Syndrome -- became the collective's first number one hit. It topped the R&B chart for three weeks, and was followed by the number 27 single, "Funkentelechy." The LP reached number 13 on the pop chart and became Parliament's second platinum album. Early in 1979, Parliament hit number one yet again with "Aquaboogie," from its eighth album, Motor Booty Affair. The LP, which reached number 23, became the group's fifth consecutive album to go gold or better. Parliament's ninth album, Gloryhallastoopid (Or Pin the Tale on the Funky), was released later in 1979. The group charted in the R&B Top Ten twice during 1980 ("Theme from 'The Black Hole'" and "Agony of Defeet"), but Clinton began to be weighed down that year by legal difficulties arising from Polygram's acquisition of Casablanca.

Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record during the '80s as the P-Funk All Stars, but the decade's disdain of everything from the '70s resulted in the neglect of critical and commercial opinion for the world's biggest funk band, especially one which in part had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Ice Cube, Dr. Dre, and Warren G., among others) and funk rock (Primus and Red Hot Chili Peppers) re-established the status of Clinton & co., one of the most important forces in the recent history of Black music. Funkadelic reactivated for the 2014 album First Ya Gotta Shake the Gate. Parliament, topical as ever, followed suit four years later with Medicaid Fraud Dogg, which took aim at the pharmaceutical industry.

Though they often took a back seat to their sister group Parliament, Funkadelic furthered the notions of Black rock begun by Jimi Hendrix and Sly Stone, blending elements of '60s psychedelia and blues plus the deep groove of soul and funk. The band pursued album statements of social/political commentary while Parliament stayed in the funk singles format, but Funkadelic nevertheless paralleled the more commercial group's success, especially in the late '70s when the interplay between bands moved the Funkadelic sound closer to a unified P-Funk style.

In the grand soul tradition of a backing band playing support before the star takes the stage, Funkadelic began life supporting George Clinton's doo wop group, the Parliaments. After having performed for almost ten years, the Parliaments had added a rhythm section in 1964 -- for tours and background work -- consisting of guitarist Frankie Boyce, his brother Richard on bass, and drummer Langston Booth two years later, the trio enlisted in the Army. By mid-1967, Clinton had recruited a new backing band, including his old friend Billy "Bass" Nelson (born January 28, 1951, Plainfield, New Jersey) and guitarist Eddie Hazel (born April 10, 1950, Brooklyn, New York). After several temporary replacements on drums and keyboards, the addition of rhythm guitarist Lucius "Tawl" Ross (born October 5, 1948, Wagram, North Carolina) and drummer Ramon "Tiki" Fulwood (born May 23, 1944, Philadelphia, Pennsylvania) completed the lineup.

The Parliaments recorded several hits during 1967, but trouble with the Revilot label backed Clinton into a corner. He hit upon the idea of deserting the Parliaments' name and instead recording their backing group, with the added vocal "contributions" of the former Parliaments -- same band, different name. Billy Nelson suggested the title Funkadelic, to reflect the members' increased inspiration from LSD and psychedelic culture. Clinton formed the Funkadelic label in mid-1968 but then signed the group to Detroit's Westbound label several months later.

Released in 1970, Funkadelic's self-titled debut album listed only producer Clinton and the five members of Funkadelic -- Hazel, Nelson, Fulwood, and Ross plus organist Mickey Atkins -- but also included all the former Parliaments plus several Motown sessionmen and Rare Earth's Ray Monette. Keyboard player Bernie Worrell also appeared on the album uncredited, even though his picture was included on the inner sleeve with the rest of the band.

Worrell (born April 19, 1944, Long Beach, New Jersey) was finally credited on the second Funkadelic album (1970's Free Your Mind...and Your Ass Will Follow). He and Clinton had known each other since the early '60s, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for most later Parliament/Funkadelic releases. His strict upbringing and classical training (at the New England Conservatory and Juilliard), as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the horn arrangements and jazz fusion-inspired synth runs that later trademarked the P-Funk sound. Just after the release of their third album, Maggot Brain, P-Funk added yet another big contributor, Bootsy Collins. The throbbing bassline of Collins (born October 26, 1951, Cincinnati, Ohio) had previously been featured in James Brown's backing band, the J.B.'s (along with his brother, guitarist Catfish Collins). Bootsy and Catfish were playing in a Detroit band in 1972 when George Clinton saw and hired them.

The Clinton/Worrell/Collins lineup premiered on 1972's America Eats Its Young, but soon after its release several original members left the camp. Eddie Hazel spent a year in jail after a combination drug possession/assault conviction, Tawl Ross left the band for medical reasons relating to an overdose of LSD and speed, and Bill Nelson quit after more financial quarrels with Clinton. Funkadelic hired teenaged guitar sensation Michael Hampton as a replacement, but both Hazel and Nelson would return for several later P-Funk releases.

Funkadelic moved to Warner Bros. in 1975 and delivered its major-label debut, Hardcore Jollies, one year later to lackluster sales and reviews. The same year, Westbound raided its vaults and countered with Tales of Kidd Funkadelic. Ironically, the album did better than Hardcore Jollies and included an R&B Top 30 single, "Undisco Kidd." In 1977, Westbound released The Best of the Early Years while Funkadelic recorded what became its masterpiece (and arguably the best P-Funk release ever), 1978's One Nation Under a Groove.

During the most successful year in Parliament/Funkadelic history, Parliament hit the charts first with "Flash Light," P-Funk's first R&B number one. "Aqua Boogie" would hit number one as well late in the year, but Funkadelic's title track to One Nation Under a Groove spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach platinum (the same year that Parliament's Funkentelechy vs. the Placebo Syndrome did the same). In 1979, Funkadelic's "(Not Just) Knee Deep" hit number one as well, and its album (Uncle Jam Wants You) reached gold status.

At just the point that Funkadelic appeared to be at the top of their powers, the band began to unravel. As is sometimes the case, commercial success began to dissolve several old friendships. In 1977, original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas had left the P-Funk organization to record on their own. In early 1981, they hit the R&B charts with a single called "Connections and Disconnections," recorded as Funkadelic. To confuse matters more, the original Funkadelic appeared on the charts at the same time, with the title track to The Electric Spanking of War Babies.

During 1980, Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record throughout the '80s as the P-Funk All Stars, but the decade's disdain of everything to do with the '70s resulted in critical and commercial neglect for the world's biggest funk band, especially one that, in part, had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) reestablished the status of Clinton and company, one of the most important forces in the recent history of Black music. While they continued to perform in permutations, there were occasional archival releases, such as By Way of the Drum (a shelved 1989 recording 2007) and Toys (previously unissued Westbound-era sessions 2008). In 2014, they released the all-new First Ya Gotta Shake the Gate, which clocked in at a whopping 200 minutes -- roughly the same length as the sum of the band's first five albums.

George Clinton revolutionized funk and R&B at large as the mastermind of Parliament and Funkadelic. Versed in gospel, doo wop, and soul, Clinton -- a singer, songwriter, bandleader, and master conceptualist -- scored his first hit as co-writer and lead vocalist of the Parliaments' "(I Wanna) Testify" (1967), a fiery if tame precursor to what he and his ever-changing collective unleashed the following decade, highlighted by a clutch of animated and everlasting funk classics that topped the R&B chart. While P-Funk temporarily laid dormant, Clinton went solo with Computer Games (1982), the source of another number one R&B hit, "Atomic Dog," leading to three additional albums for Capitol and sporadic solo affairs during the following decades with Epic, Paisley Park, and a series of independents. A hip-hop godfather, his P-Funk and solo recordings have been sampled innumerable times, and he has worked in the flesh with many of those whose creativity he has fueled, from Digital Underground and Snoop Dogg to OutKast and Kendrick Lamar. Also the driving force of the unmatched Parliament-Funkadelic live spectacle, Clinton toured relentlessly until 2019, the same year he was handed a Lifetime Achievement Award by the Recording Academy. If there was a Mount Rushmore for funk, Clinton would no doubt be part of the sculpture between the likes of James Brown and Sly Stone. Given that the P-Funk Mothership made its final touchdown at the Smithsonian's National Museum of African-American History and Culture, the notion is not all that absurd.

Born in Kannapolis, North Carolina, on July 22, 1941, Clinton became interested in doo wop in the early '50s while living in Plainfield, New Jersey. In 1955, he formed the Parliaments, a vocal group based out of the back room of a barbershop where he straightened hair. The group debuted in 1959 with "Poor Willy," released on a subsidiary of ABC. An audition for Motown was unsuccessful, but the Parliaments linked with smaller Detroit labels Golden World and Revilot, and Clinton landed a gig as a staff writer for Motown publishing wing Jobete. Clinton split time between Plainfield and Detroit, owning and operating the Silk Palace hair parlor and grooming the Parliaments back home, while co-writing songs such as an obscure 1966 pop-soul gem titled "I'll Bet You" -- recorded by Golden World artist Theresa Lindsey -- and running the short-lived Marton label as an outlet for more of his compositions. The Parliaments reached their apex in 1967 with the Revilot platter "(I Wanna) Testify," which climbed to number three on Billboard's R&B chart and number 20 on the pop chart. Clinton was the only Parliaments member at the session, but he consequently reconvened with the group and expanded the lineup with a full band of backing musicians to tour.

A legal dispute with the bankrupt Revilot temporarily prevented the Parliaments from continuing under that name. Clinton renamed the group Funkadelic and seized the opportunity for a makeover, pushing the instrumentalists to the fore and embracing psychedelic rock without losing a grip on gospel, soul, and funk. Shortly thereafter, Clinton used the same lineup to launch Parliament, whose 1970-1972 output for Holland-Dozier-Holland's Invictus label, amounting to an album and a handful of singles, was often as raucous as Funkadelic's concurrent wealth of recordings for Westbound, another Detroit-based independent. When Parliament joined up with the more commercially minded Los Angeles label Casablanca, the group became increasingly distinct from Funkadelic (who moved up to major-label Warner Bros.), favoring a slicker sound enhanced by Fred Wesley's Horny Horns. By the end of the '70s, Parliament and Funkadelic had a combined 39 charting singles, peaking toward the end of the decade with the number one R&B hits "Flash Light," "One Nation Under a Groove," "(Not Just) Knee Deep," and "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)." Seven of their albums through 1979 went either gold or platinum. Clinton's extended collective had also hatched groups such as U.S. (United Soul), Parlet, and the Brides of Funkenstein, among numerous solo projects, and repurposed a few early Clinton compositions -- "I'll Bet You" and "(I Wanna) Testify" among them -- to freakier effect.

Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning the Parliament and Funkadelic names after LPs released in 1980 and 1981, Clinton signed to Capitol as a solo act and around the same time got the descriptively named P-Funk All-Stars off the ground. Clinton's first solo album, 1982's Computer Games, contained the Top 20 R&B hit "Loopzilla" and the chart-topping "Atomic Dog." Clinton released three more albums for Capitol from 1983 through 1986 -- You Shouldn't-Nuf Bit Fish, Some of My Best Jokes Are Friends, and R&B Skeletons in the Closet -- and hit the R&B Top 20 again with "Nubian Nut" and "Do Fries Go with That Shake?" During the same period, P-Funk All-Stars were behind a couple independent singles and an album through major-label CBS, and Clinton produced Red Hot Chili Peppers' Freaky Styley. Through the remainder of the '80s (and repeatedly across the following decades), Clinton was on both sides of legal disputes regarding royalty and copyright issues. Some of Clinton's associates were dissatisfied with their compensation, a matter complicated by the large volume of recordings for several labels, among other factors contributing to disorganization. Clinton claimed that his signature was forged on a document that signed away his rights to over 150 of his songs to Bridgeport, the music publishing company operated by Westbound founder Armen Boladian. This was particularly devastating for Clinton given that Parliament and Funkadelic songs were being sampled by an increasing quantity of rap producers.

After George Clinton disbanded Parliament and Funkadelic at the dawn of the '80s, he embarked on a solo career, but also maintained contact with many of his band alumni in a short-term (at least initially) project dubbed the P-Funk All Stars. Having sorted out various legal and financial difficulties from the initial breakup, Clinton reconvened many of the best musicians from throughout Parliament/Funkadelic history in 1982, including Bootsy Collins, Bernie Worrell, Eddie Hazel, Garry Shider, Dewayne Blackbird McKnight, Walter "Junie" Morrison, David Spradley, and many others -- not to mention a guest appearance by Sly Stone. They recorded a fine album, 1983's Urban Dancefloor Guerillas, that featured a different lineup on every track it reached the R&B Top 50 and spawned a chart single in "Generator Pop." The accompanying tour featured many of the same musicians in what was one of the last P-Funk spectacles for quite some time. One of the shows from the tour was released on CD in 1990 by Westbound as Live at the Beverly Theatre in Hollywood Westbound also issued an alternate version of Urban Dancefloor Guerillas under the title Hydraulic Funk, which restored several tracks to their full, unedited length.

Circa 1989, Clinton revived the P-Funk All Stars name for the group with which he would spend much of the '90s touring. Among these musicians were guitarist/bandleader Dewayne Blackbird McKnight, guitarists Gary Shider and Michael Hampton, bassists Lige Curry and Billy "Bass" Nelson, multi-instrumentalist Rodney "Skeet" Curtis, drummer Frankie Kash Waddy, and many others in what became a loose, revolving-door arrangement. With Clinton's musical legacy dominating the hip-hop scene, the group was much in demand during the early '90s, and even played the main stage of the 1994 Lollapalooza tour. Clinton used the All Stars as the backing band on his 1996 album T.A.P.O.A.F.O.M., and subsequently continued to tour with them, putting on marathon shows for a new generation of fans.

At the tail-end of the '80s, MCA released "By Way of the Drum," a single credited to Funkadelic with production from Clinton and Jeff Lorber. (A like-titled album's worth of material, recorded from 1983 to 1985, was shelved but released by Hip-O Select in 2007.) Clinton also signed with Prince's Paisley Park and eventually released two solo albums for the Warner Bros.-distributed label, 1989's The Cinderella Theory and 1993's Hey Man...Smell My Finger. After the lower-profile George Clinton & the P-Funk All-Stars album Dope Dogs and other independent projects, Clinton joined the roster of Epic's 550 Music, where he released the 1996 album T.A.P.O.A.F.O.M. (standing for "the awesome power of a fully operational mothership"). Clinton and the P-Funk All-Stars were active performers all the while, playing for multiple generations of funk devotees, and they reached younger rock-favoring audiences as part of early Lollapalooza lineups. In 1997, Parliament-Funkadelic were inducted into the Rock and Roll Hall of Fame, and Kirk Franklin's "Stomp," which interpolated "One Nation Under a Groove," was nominated for a Grammy in the category of Best Rhythm & Blues Song, thereby granting Clinton his first Grammy nomination. Another indicator of P-Funk's enduring clout was the large number of varied disciples who featured Clinton on tracks throughout the '90s. Digital Underground, Snoop Dogg, Ice Cube, Primal Scream, 2Pac, and OutKast account for only a small percentage.

Due in part to legal entanglements, full-length Clinton projects during the 2000s and 2010s were limited to one album each from the P-Funk All-Stars and the revived Parliament and Funkadelic. Clinton also released an LP as a headliner, 2008's George Clinton and His Gangsters of Love. Regardless of how each release was billed, they were all truly P-Funk, overseen by Clinton with a mix of established and new associates. Clinton himself continued to collaborate with a vast assortment of artists and earned a second Grammy nomination due to his introductory role on Kendrick Lamar's To Pimp a Butterfly, which was up for Album of the Year. In 2019, the same year Clinton retired from touring, he and Parliament-Funkadelic were recipients of a Lifetime Achievement Award from the Recording Academy.

1970 - Funkadelic
1970 - Funkadelic [2005 Remaster]
1970 - Osmium
1970 - Free Your Mind... and Your Ass Will Follow
1970 - Free Your Mind... and Your Ass Will Follow [2005 Remaster]
1971 - Maggot Brain
1971 - Maggot Brain [2005 Remaster]
1972 - America Eats Its Young
1972 - America Eats Its Young [2005 Remaster]
1973 - Cosmic Slop
1973 - Cosmic Slop [2005 Remaster]
1974 - Up for the Down Stroke
1974 - Up for the Down Stroke [2003 Remaster]
1974 - Standing on the Verge of Getting It On
1974 - Standing on the Verge of Getting It On [2005 Remaster]
1975 - Chocolate City
1975 - Chocolate City [2003 Remaster]
1975 - Let's Take It to the Stage
1975 - Let's Take It to the Stage [2005 Remaster]
1975 - Mothership Connection
1975 - Mothership Connection [2003 Remaster]
1976 - The Clones of Dr. Funkenstein
1976 - Hardcore Jollies
1976 - Hardcore Jollies [2002 Remaster]
1976 - Tales of Kidd Funkadelic
1976 - Tales of Kidd Funkadelic [2005 Remaster]
1977 - Live: P.Funk Earth Tour
1977 - Funkentelechy vs. the Placebo Syndrome
1978 - One Nation Under a Groove
1978 - One Nation Under a Groove [2002 Remaster]
1978 - Motor Booty Affair
1979 - Uncle Jam Wants You
1979 - Gloryhallastoopid (or Pin the Tail on the Funky)
1980 - Trombipulation
1981 - The Electric Spanking of War Babies
1981 - The Electric Spanking of War Babies [2003 Remaster]
1982 - Computer Games
1982 - Computer Games [2004 Remaster]
1983 - Urban Dancefloor Guerillas
1983 - Urban Dancefloor Guerillas [2011 Reissue]
1983 - You Shouldn't-nuf Bit Fish
1984 - Parliament's Greatest Hits
1985 - Some of My Best Jokes Are Friends
1986 - R&B Skeletons in the Closet
1989 - The Cinderella Theory
1989 - George Clinton Presents Our Gang Funky
1990 - Live at the Beverly Theater in Hollywood
1992 - First Thangs
1992 - George Clinton's Family Series Vol. 1: Go Fer Yer Funk
1992 - Music for Your Mother: Funkadelic 45s
1993 - Tear the Roof Off: 1974-1980
1993 - George Clinton's Family Series Vol. 2: "P" Is the Funk
1993 - George Clinton's Family Series Vol. 3: Plush Funk
1993 - George Clinton's Family Series Vol. 4: Testing Positive 4 the Funk
1993 - George Clinton's Family Series Vol. 5: A Fifth of Funk
1993 - Hey Man... Smell My Finger
1994 - Dope Dogs
1994 - Dope Dogs [1998 Reissue]
1995 - Hydraulic Funk
1995 - The Best of Parliament: Give Up the Funk
1996 - Live: Meadowbrook, Rochester, Michigan 12th September 1971
1996 - T.A.P.O.A.F.O.M. (The Awesome Power of a Fully-Operational Mothership)
1996 - Greatest Funkin' Hits
1999 - Funk Essentials: The 12" Collection and More
2000 - Extended Pleasure: 12" Extended Versions and Mixes
2000 - Greatest Hits
2001 - Osmium: The Complete Invictus Recordings
2003 - 6 Degrees of P-Funk: The Best of George Clinton and His Funk Family
2003 - Motor City Madness: The Ultimate Funkadelic Westbound Compilation
2005 - Gold
2005 - How Late Do U Have 2BB4UR Absent?
2005 - The Whole Funk & Nothing But the Funk: Definitive Funkadelic 1976-1981
2007 - By Way of the Drum
2008 - George Clinton and His Gansters of Love
2008 - Toys
2014 - First Ya Gotta Shake the Gate
2018 - Medicaid Fraud Dogg

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