![]() Clinton, a hunter, had been captured by the (computer) game. He had evidently been tuned into contemporary radio: there were extemporizations of antique Motown hits on it, used like samples. While it was clearly P-Funk, it was also electronica buffed to a blinding finish like a gleaming robot. The first fruit was the single “Loopzilla,” released in September 1982. Returning as Parliament or Funkadelic was contractually impossible, so Clinton signed to Capitol as a solo artist. In 1982, Morrison and Clinton started figuring out a fresh fusion of P-Funk and electronics. The arrival of former Ohio Players’ keyboard boffin Junie Morrison in Funkadelic’s line-up, in 1977, delivered extra synth power. From the early 70s, Sly & The Family Stone, from whom Parliament-Funkadelic had drawn inspiration, had included a drum machine in its armory. P-Funk never feared synthesizers or electronics. Listen to George Clinton’s Computer Games on Apple Music and Spotify. If only he could channel his new habit into something productive… Hmm, those cute little synthesized tunes… what if that could be tied to super-heavy phunk? So his debut solo album, Computer Games, was born. Funk was addictive, as were the substances that went with it, and so was a new entertainment phenomenon: computer games. It gave him time to rewire his frazzled brain. ![]() It was time to regroup, but how? George Clinton, leader of P-Funk, knew what to do. And music was moving fast, with rap and electro trouncing funk as the kids’ choice, while even mainstream dance music was growing increasingly electronic. Parliament, Parlet, Funkadelic, Brides Of Funkenstein, Bootsy, Sweat Band, Philippe Wynne, the aborted project with showman-guitarist Roger Troutman… there was only so much Uncle Jam could cope with. Could the old funkateer still deliver the goods? Parliament-Funkadelic, the 70s masterfunkers, ran out of road as the 80s arrived, caught in a traffic jam of contractual hassles, personnel problems, personal problems, and overstretch.
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