Happy Parliafunkadelicment Thangday! Can Capitalism Survive? Who Cares, Let the MothaLicka Burn!


I’ve had this time cover on my wall for a while now.  I found this issue of time magazine when when I was working recycling in the summer of 2006.  One of the perks of recycling was the crazy access to magazines, which were very useful for collaging purposes.

Anyways, Happy Parliafunkadelicment Thangday!  Funk is more than a music genre to me, Funk is my life philosophy.  When I post the Funk I post my soul.  It might sound shallow, but it is deeper than it seems.  Never be afraid to dig, knowledge will never harm you.  And with all that non-sense out of the way, it’s onto the music.  Funkadelic’s Cosmic Slop is still one of the finest funk-rock albums recorded even with Eddie Hazel playing a minimal role.  Cosmic Slop marks the beginning of Pedro Bell’s most excellent LP artwork.



Opening with the groovy “Nappy Dugout,” a simple, but funky song.  I remember a P-Funk virgin busting a gut to the strange noise featured on the song.  I am more impressed by the cascading guitar lines.

The vocal duties are shared on “You Can’t Miss What You Can’t Measure,” a Motown-sounding number.  Guitars are prominent again and match up nicely with the keyboard work.  The high pitched male vocal is impressive as is the shaker and conga work.  P-Funk, at its’ best, demonstrates how all the little elements work together to form a more impressive collective work .

“Marches to Witch’s’ Castle” is one of the lyrically heavy Parliament Funkadelic songs, relating to the fate awaiting the soldiers returning to the inner cities.  Re-interpolating the “Johny Comes Marching Home” riff, the band creates an ominous tone to match GC’s vocals.  The heavy bass kick is key in creating the sonic atmosphere. “Marches to Witch’s’ Castle” is one of the best sociopolitical songs ever produced and is my favorite song on the whole album.

“Let’s Make It Last” is a classic Funkadelic track.  Pounding drums are countered by a cowbell and the guitars are really strong. The fuzzed-out psychedelic guitar is toned to highlight some to provide space for all the guitar parts to clearly be heard.  Of course, Eddie was involved with this one.  It isn’t one of the best Funkadelic songs, but it is a strong, bluesy psychedelic funk-rock effort.  The talking guitar, channeling Hendrix, is very impressive.


One of P-Funk’s masterpieces follows the relatively straightforward “Let’s Make It Last.”  Gary “Starchild” Shider, just twenty-one years old at the time, tells the story of a mother forced to prostitute herself in order to feed her kids on “Cosmic Slop.”  The congas play a huge role in creating the atmosphere of the song.  As the song carries on, the guitars hit a particularly nice groove over the congas, crashing drums and Gary’s impassioned, screaming vocals.

GC gets mad hilarious on “No Compute,” which has per usual excellent guitar work and extremely dirty lyrics. “No Compute” has a nice country-western swing to it, albeit a very funky swang.  “No Compute” has a steady tambourine part, an instrument I am sucker for due to its’ role in creating the Motown sound.  “No Compute” ends in some nice crashing drums.

I love the slow, melancholy swing of “This Broken Heart.”  The strings nicely complement the slightly effected vocals, which provide a nice syrupy layer that doesn’t get sickeningly sweet.  That might be due to the wonderful guitar work.  It might also be due to the fact I am a sucker for Funkadelic and Bernie’s key work, which is appropriately delicate on “This Broken Heart.”

“Trash A-Go-Go” has one of my favorite Funkadelic riffs.  With an up front tambourine, wailing guitar, and congas, a sonic template is created for GC to rap over, although he mostly chooses to let the instruments dominate.  Anytime you are listening to Funkadelic, closely listen to the guitar, they were masters of layering guitar part upon guitar part.

Moving to a more traditional sound on “Can’t Stand the Strain,” Funkadelic channels Motown again.  Cowbell .  On a whole, Cosmic Slop embraced secondary percussive sounds.  “Can’t Stand the Strain” has an awesome buildup.

All in all, Cosmic Slop is a solid Funkadelic record.  “Cosmic Slop” is a superb song while the rest of the material is still at least adequate Funkadelic, which is leagues better than most other captured sound.  Cosmic Slop‘s bigggest problem is the lack of Eddie Hazel.  It’s not that the other axe slayers at the time in the P-Funk Guitar Army were slouches, but Eddie Hazel wielded the most potent   guitar .  Michael Hampton could play “Maggot Brain,” but Eddie Hazel is the one who created it and many of the shredding lead guitar lines heard on Funkadelic records.  Hazel made me a big comeback on 1974’s Standing On the Verge of Getting It On. Cosmic Slop was before the smoothed out funkadelica of the mid and late ’70s while lacking the strong distortion-drenched funkadelic guitar. Here is the info on the record.

Keyboards & Melodica, Strings on ‘Broken Heart’: Bernard Worrell
Bass: ‘Boogie’ Mosson
Percussion: Tyrone Lampkin
Lead & Rhythm Guitar: Gary Shider
Lead & Rhythm Guitar: Ron Bykowski
Guest Funkadelic Maggot: Tiki Fulwood, Drums on ‘Nappy Dugout’

Track Listing:

Nappy Dugout    {G Clinton, Garry Shider, Cordell Mosson}  4:33
You Can’t Miss What You Can’t Measure    {G Clinton, Sidney Barnes}  3:03
March to the Witch’s Castle    {G Clinton}  5:59  lyrics
Let’s Make It Last    {G Clinton, Eddie Hazel}  4:08
Cosmic Slop    {G Clinton, B Worrell}  5:17
No Compute    {G Clinton, Garry Shider}  3:03
This Broken Heart    {W Franklin}  3:37
Trash A-Go-Go    {G Clinton}  2:25
Can’t Stand the Strain    {G Clinton, E Hazel}  3:27


One Response to “Happy Parliafunkadelicment Thangday! Can Capitalism Survive? Who Cares, Let the MothaLicka Burn!”

  1. Here is a link to a rare,unreleased track by George Clinton and P-Funk that I did an animated dancer dancing to…P-Funk:

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