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General Discussions => Tribal Funk Affliction => Topic started by: Overexjoesure on February 13, 2008, 06:46:24 pm
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Parliament- "Trompibulation"
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After Gloryhallastoopid, most had concluded that George Clinton\'s P-Funk empire had come to a close. For the most part, they were correct. Clinton\'s tightly knit unit featuring Bernie Worrell, Bootsy Collins, Fred Wesley, and Maceo Parker as arrangers as well as musicians had splintered. And not coincidentally, Clinton seemed less and less enthused about music, struggling instead with personal issues. Not surprisingly then, Trombipulation sounds like a scattered collection of songs composed by an ensemble cast of session musicians — the credits seemingly extend to infinity, as if a new band played every song. Furthermore, Worrell stepped forward to take the helm of Parliament, which explains this album\'s emphasis on keyboard-driven songs. Bootsy played a minor role as well, but his contributions seem overly self-interested, as if he\'s writing solo material. In sum, the musicians lack cohesion, and piecing together a rousing funk rhythm demands a tight band, something that just wasn\'t an option here. "Agony of Defeet" was supposed to be the album\'s big single, another "Flashlight" or "Aqua Boogie" — but it wasn\'t even close. In fact, this particular song parodied past Parliament anthems, its funk ineffective, its vocals far from catchy, and its humor undeniably distasteful. If there is one song here worth laboring over, it\'s "Let\'s Play House," an obvious Bootsy song. The other songs are all keyboard-driven funk substituting glossy studio polish for the gritty thump of early P-Funk. Arguably a bit more inspired than Gloryhallastoopid, though thanks more to Worrell than Clinton, Trombipulation concludes the Parliament cycle of albums in a disappointing manner. If you\'re really curious about latter day P-Funk, look instead to Funkadelic\'s Electric Spanking of War Babies, a 1981 album that Clinton actually put some heart into.
http://www.sendspace.com/file/88ukni
Parlet- "Invasion Of the Booty Snatchers"
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Parlet\'s second album, Invasion of the Booty Snatchers, found Parliament/Funkadelic leader George Clinton supervising a new edition of the female trio. Jeanette Washington was still on board, but this time, she joined forces with Shirley Hayden and Janice Evans instead of Debbie Wright and Mallia Franklin. However, Invasion of the Booty Snatchers (whose title is based on the 1950s sci-fi/horror movie Invasion of the Body Snatchers) isn\'t a radical departure from Parlet\'s first album, Pleasure Principle. Clinton (who produced this 1979 LP with Ron Dunbar) still goes for variety, and Parlet\'s sophomore album is as unpredictable as their first. While goofy numbers like "No Rump to Bump" and "Huff-N-Puff" are very Parliament-sounding, "Ridin\' High" (a minor hit) and the glossy "Booty Snatchers" have more of a disco influence — "Ridin\' High," in fact, almost sounds like a marriage of P-Funk and Chic. Meanwhile, the pleasing "Don\'t Ever Stop (Lovin\' Me, Needin\' Me)" is a conventional Northern soul ballad — conventional by Clinton\'s standards, that is. As strong as Invasion of the Booty Snatchers is, the LP wasn\'t a huge multi-platinum seller; many of the P-Funk addicts who bought Parliament and Funkadelic\'s albums religiously didn\'t spend a lot of dollars on Parlet. Nonetheless, Invasion of the Booty Snatchers is arguably the group\'s finest and most impressive release.
http://www.sendspace.com/file/blcws5
Parlet- "Play Me Or Trade Me"
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If 1979\'s Invasion of the Booty Snatchers is Parlet\'s best and most essential album, Play Me or Trade Me runs a close second. This 1980 LP, which George Clinton produced with Ron Dunbar, offers the same Parlet lineup heard on Invasion of the Booty Snatchers — Jeanette "Baby" Washington is joined by Shirley Hayden and Janice Evans. And many of the familiar P-Funk faces are on board, including Bootsy Collins (who plays guitar but doesn\'t sing), saxman Maceo Parker, and trombonist Fred Wesley. Play Me or Trade Me, which was Parlet\'s third album, isn\'t quite as diverse as its two predecessors. But if the trio sacrifices some diversity on this record, they don\'t sacrifice quality — Play Me or Trade Me is impressively consistent, and Parlet sounds inspired and focused throughout the LP. Side one is a nonstop P-Funk party; it kicks into high gear with "Help From My Friends" and Parlet keeps the momentum going with "Watch Me Do My Thang" and "Wolf Tickets." Side two, meanwhile, also has a strong P-Funk orientation, although there are hints of Chic on the title track and "I\'m Mo Be Hittin\' It." And the fact that Chic managed to have some type of influence on one of George Clinton\'s acts speaks well of the Nile Rodgers/Bernard Edwards team. Back in 1980, Rodgers and Edwards were not music industry veterans; Chic\'s first album came out in 1977. But they had become extremely influential, and even the mighty Clinton — someone who was incredibly influential himself — is affected by the distinctive Rodgers/Edwards sound on parts of this album. Unfortunately, Play Me or Trade Me was the end of the line for Parlet, but at least the group ended their brief recording career on a high note.
http://www.sendspace.com/file/6i5g3l
Mutiny- "Funk Plus The One"
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Mutiny continued to emulate Parliament/Funkadelic on their second album, Funk Plus the One; unfortunately, Jerome Brailey\'s band didn\'t do it as convincingly this time. While Mutiny\'s previous release, Mutiny on the Mamaship, was quite focused and inspired — unoriginal, but definitely inspired — the grooves aren\'t as memorable on Funk Plus the One. This isn\'t to say that Funk Plus the One is a bad album. Unremarkable cuts like "Anti-Disco" and the rock-influenced "Reality" are catchy enough. Also decent is "Semi-First Class Seat," one of the few Mutiny tunes that isn\'t terribly George Clinton-minded; the song finds the funksters getting into Slave/Steve Arrington/Aurra territory for a change. But while Mutiny on the Mamaship truly burned, this LP merely simmers. Although Mutiny had a small following, Funk Plus the One wasn\'t the big commercial breakthrough that Brailey was hoping for. Not surprisingly then, Columbia dropped the band after this uneven album.
http://www.sendspace.com/file/z13kbc
DJ Walt- Work That Red Hot Funk
This is a fantastic compilation of 12" singles from the P-Funk fam.
http://www.sendspace.com/file/nlv66o
Bootsy Collins- "Player of the Year"
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Released in 1978 at the height of Parliament-Funkadelic mania, Bootsy? Player of the Year finds Bootsy far from short of quality material despite his affiliation with the numerous P-Funk-affiliated projects being churned out at this time. In fact, this album finds Bootsy at his peak; his previous two albums may have their share of brilliant moments and were no doubt filled with great ideas, melodies, and funk, but here he seems to have perfected his songwriting. There really isn\'t a dull song on Bootsy? Player of the Year. The up-tempo songs — "Bootsy?," "Bootzilla," "Roto-Rooter" — rate as some of the most exciting P-Funk material ever released, each song clocking in over five minutes and chock-full of elastic basslines. On the other hand, the abundance of slow jams — "May the Force Be With You," "Very Yes," and "As In (I Love You)" — helps maintain a good balance, providing a breather from the sweatier moments. Then there is "Hollywood Squares," a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut. Along with Stretchin\' Out in Bootsy\'s Rubber Band (1976) and Ahh...The Name Is Bootsy, Baby! (1977), Bootsy? Player of the Year rates among the most enjoyable P-Funk albums ever. Unfortunately, it also marks the end of a glorious run. By the following year, 1979, it was clear that the P-Funk army was running out of fresh ideas, and Bootsy was no exception, as he\'d struggle creatively for a couple years to come. This makes Bootsy? Player of the Year seem all the more special in retrospect, because it was among the last of the great P-Funk releases.
http://www.sendspace.com/file/m3qoa5
Fuzzy Haskins- "Radio Active"
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An oustanding guitarist, Fuzzy Haskins was part of the original Funkadelics backing band that accompanied George Clinton and his Parliaments. Clinton subsequently changed the name to Parliament, then folded Funkadelic into Parliament and began using both lineups interchangeably. Haskins went on to play with numerous Clinton groups, and released two albums for Westbound, 1976\'s A Whole Nother Thang and 1978\'s Radio Active. An Ace compilation from 2001 reissued both albums on one CD.
http://www.sendspace.com/file/2royzx
The Brides of Funkenstein-"Never Buy Texas From a Cowboy"
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George Clinton guided and directed a new Brides of Funkenstein lineup on the group\'s second and final album, Never Buy Texas From a Cowboy. This time, the Brides were a trio instead of a duo. Dawn Silva was still on board, but Lynn Mabry was gone, and Silva\'s new allies were Sheila Horn and Jeanette McGruder. With the new Silva/Horn/McGruder lineup in place, the Brides delivered a sophomore effort that is as unpredictable as their first album, Funk or Walk. "Smoke Signals" (which Clinton wrote and produced with Bootsy Collins) and "Party up in Here" are very Parliament-like, which is to be expected. But "I\'m Holding You Responsible" and the 15-minute title song find the Brides delivering an unlikely mixture of Chic and P-funk, and "Didn\'t Mean to Fall in Love" isn\'t P-Funk at all. The only tune on the LP that Clinton didn\'t produce or co-produce, "Didn\'t Mean to Fall in Love" is a romantic northern soul item along the lines of First Choice, the Three Degrees, or Honey Cone. Like Funk or Walk, Never Buy Texas From a Cowboy contains its share of surprises, and it demonstrates that the Brides of Funkenstein did the right thing by being unpredictable.
http://www.sendspace.com/file/kjaght
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rest in p is the ****!
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Whalley, RAR is a compressed file, just like ZIP. Download WinRAR here
http://www.rarlab.com/download.htm
The first one is the one you want, unless you have a Mac.
Just install it and you should be set. When you download the albums, just right click them and select the extract to: option. Doing so will put the folder on your desktop, or wherever you want it.
OMFG you\'re a pimp. Boncek, thanks so goddamn much. I owe you a drink...ROCK!
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You are all very welcome. I\'ll try to post more tonight after work.
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thanks joe
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Thanks fo tha FUNK, Joe!
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Whalley, RAR is a compressed file, just like ZIP. Download WinRAR here
http://www.rarlab.com/download.htm
The first one is the one you want, unless you have a Mac.
Just install it and you should be set. When you download the albums, just right click them and select the extract to: option. Doing so will put the folder on your desktop, or wherever you want it.
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What are .rar files and how can I listen to them without paying money? Any relation to .wav or .wma or .mp3? I mean, I know I\'m a n00b, but what\'s the point of downloading an album for free if I have to pay for some sort of conversion program?
I like my CDs...and I have a lot of \'em. 7000+ right now. And I like Funkadelic quite a bit. And I\'ve never heard any of these albums. I\'d really like to, though, so...y\'know...if anyone can help a brother out...?
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I still have about a dozen more to post...
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i\'ve got a couple of these albums of vinyl..
and while i enjoy funkadelic very much, i rarely listen to any other george clinton related work. well i put in freaky styley every now and then.
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Well, the thing is these albums, for the most part, aren\'t readily available commercially. I left out the popular Bootsy albums for that reason. This thread is to provide people with music that A. is nearly impossible to find B. wouldnt know about in the first place.
which i do appreciate.dont get me wrong.
alls im saying is,for the love of god,having a illegal download thread couldnt **** hurt anyone.
all other boards have them.
its not like los federales are gonna kick folks doors in.
although maybe most cats dont admit it,most folks illegally download **** anyways.how would it hurt to compile a nice list of recent/ser ****?
if folks wanna download something>see if they like it>go buy it,thats certainly an option..
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Well, the thing is these albums, for the most part, aren\'t readily available commercially. I left out the popular Bootsy albums for that reason. This thread is to provide people with music that A. is nearly impossible to find B. wouldnt know about in the first place.
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i very politely messaged dave yesterday about a special similiar thread but either
a.he was too busy to respond
b.didnt give a flying **** enough to respond(which pisses me off).
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Fred Wesley And The **** Horns- "A Blow for Me, A Toot for You"
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In the 1990s, former James Brown sidemen Fred Wesley and Maceo Parker concentrated on instrumental jazz. But back in the late 1970s they were both part of George Clinton\'s empire and focused on p-funk. Having been in Brown\'s employ, trombonist Wesley and saxman Parker were obvious choices for Clinton\'s various projects. The Godfather of Soul was a major influence on Clinton and gave Wesley and Parker a first-class education in funk and soul that served them well when they hooked up with Clinton. In 1977, Clinton and Bootsy Collins produced A Blow for Me, a Toot for You, the debut album by Fred Wesley and the **** Horns — a group that boasted Wesley on trombone, Parker on tenor and alto sax, and Rick Gardner and Richard "Kush" Griffith on trumpet. Clinton and Collins did a lot of the writing, and not surprisingly, much of this vinyl LP is pure p-funk. The album gets off to a gritty start with a remake of Parliament\'s "Up for the Down Stroke," and the Parliament influence is equally strong on "Between Two Sheets." As for the instrumentals, "Four Play" blends funk and jazz, while Wesley\'s moody "Peace Fugue" isn\'t unlike something you word have heard on a CTI recording in the 1970s. "Peace Fugue," in fact, is the least Clinton-sounding thing on the LP. A Blow for Me, a Toot for You isn\'t in a class with Parliament\'s The Mothership Connection, Collins\' Ahh...The Name is Bootsy, Baby! or Funkadelic\'s One Nation Under a Groove, but it\'s a generally likable, if uneven, record that diehard p-funk collectors should be aware of.
http://www.sendspace.com/file/w1mrpt
Fred Wesley & The **** Horns-"Say Blow by Blow Backwards"
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Released in 1979, Say Blow by Blow Backwards is the second of two albums that Fred Wesley and the **** Horns (which employed Maceo Parker on tenor and alto sax) recorded for Atlantic in the late 1970s. Wesley produced this album with George Clinton and Bootsy Collins and it comes as no surprise that "We Came to Funk Ya" and shadowy "Half a Man" are straight-up p-funk. But some of the time Say Blow by Blow Backwards doesn\'t sound all that much like a Parliament or Funkadelic project. Wesley\'s appreciation of jazz comes through on the instrumentals "Mr. Melody Man," "Just Like You," and "Circular Motion." These tracks aren\'t straightahead jazz — something that Wesley and Parker are both quite capable of playing — but they do offer a pleasant, if unremarkable, blend of R&B, jazz, and pop. Like the **** Horns\' first album, A Blow for Me, a Toot for You, this set is uneven, and unlike Parliament\'s The Clones of Dr. Funkenstein or Funkadelic\'s Maggot Brain, it isn\'t an album that\'s thrilling all the way through. Nonetheless, Say Blow by Blow Backwards has more ups than downs and is worth searching for if you fancy yourself a serious p-funk collector.
http://www.sendspace.com/file/0la798
Hardware-" Third Eye Opening"
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http://www.sendspace.com/file/591wmn
George Clinton-George Clinton Family Series Vol 4
http://www.sendspace.com/file/oz1zma
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Wow... a band we both agree on, joe (besides PB)! If you\'re ever in Fairfield county, try to check out a "John Hickey Band" show... former members of pfunk that are awesome live! I\'ll definitely add a few of these to my iPod. Thanks! :)
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Hey All. This thread is dedicated to providing you with rare, obscure and out of print P-Funk related releases. I got into P-Funk right around the same time as I got into Psychedelic Breakfast. I definetly had a craving that couldn\'t be filled with the occasional sloppy 2.5 hour George Clinton show. Thank God for small favors! What drew me into PB was their ability to tackle funk without sounding A.white B.trite C.unique, yet serving as an extension of the P-Funk sound. My tastes and desire for funk have always been satiated by 4 white guys from East Haven. Go figure. As tribute to their relentless ability to bring the funk, I bring you these albums. Many of them are ripped from vinyl.
Enjoy,
Joe
PS
Dave, if you aren\'t cool with this, please accept my apologies and feel free to delete this thread. As always I encourage you to support the artists and purchase the albums, that is if you\'re lucky enough to find them....
Bootsy Collins- "The One Giveth, the Count Taketh Away"
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With the release of the semi-autobiographically titled The One Giveth, The Count Taketh Away (1982), William "Bootsy" Collins (bass/vocals) concluded his eight-year relationship as a Warner Brothers\' artist. Once again, Collins came armed with a cach? of longtime associates, namely sibling Phelps "Catfish" Collins (guitar), Bernie Worrell (keyboards), Robert "P-Nut" Johnson (vocals), and Frankie "Kash" Waddy (drums). Plus, of course, the **** Horn section with Collins\' fellow James Brown and P-Funk alums Maceo Parker (sax) and Fred Wesley (trombone). An added surprise to the assembled ensemble are synth-funksters Midnight Star, who are credited on the rear LP jacket under the heading "Vocalists who helped me make it" ? though not mentioned individually. Other than co-writing the sassy opener "Shine-O-Myte (Rag Popping)," George Clinton is conspicuously absent, with Bootsy listed as producer. Worrell\'s keyboards bop and groove over Bootsy and chorus ? the latter of which sound like they are chanting in the linguistically tricky syllabic word game commonly referred to as "Pig Latin." Collins\' lead vocal proves he has lost none of the sly charm and trademark lyrical wit. His delivery of "Shine-O-Myte" is a callback to the catch-phrase of Jimmie Walker\'s character J.J. Evans on the hit sitcom Good Times. Bootsy must have been spending too much time in front of the television, as "Landshark (Just When You Thought It Was Safe)" is an unmistakable homage to Chevy Chase\'s parody during the first few seasons of Saturday Night Live. After quoting a few bars from John Williams\' "Main Theme" for the film Jaws (1975), a full blown funk-a-thon breaks out with a noticeable sonic nod to the P-Funk songbook staple "Do That Stuff" from the **** Horns. The age old concept of "The One" [read: placing the emphasis on the first or downbeat] dates back to a technique that Bootsy first observed and then perfected during his tenure with James Brown. Here he revisits it on the tongue-in-cheek cinematic spoof "Countracula (This One\'s for You)." Other selections worthy of multiple spins are the askew ballad "Ex-Con of Love," and the slow churning "So Nice You Name Him Twice." Saving what is undeniably the strongest material for the closer, "Take a Lickin\' And Keep on Kickin\'" ? sporting a title derived from yet another television slogan ? is a return to the full-blown party atmosphere that permeated Collins\' earlier Rubber Band endeavors. Finally, the frisky and instrumental-centric "Funky Funktioneer" could easily be mistaken for a Prince performance circa Controversy (1981), especially given Worrell\'s penchant for piercing synth keyboard stabs coupled with Bootsy\'s swooping and swirling basslines.
--AllMusic.com
http://www.mediafire.com/?34uqy0tbqwa
Bootsy Collins- "This Boot Is Made For Fonk-N"
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Following three straight masterworks that balanced hard funk workouts with laid-back bedroom jams, This Boot Is Made for Fonk-N ditched the balancing act, offering up straight, relentless hard funk. This is great for those who just want the sweaty workouts Bootsy Collins had proven himself well capable of delivering on his own as well as with Parliament-Funkadelic. In fact, if that\'s what you\'re looking for — hard-hitting, unrelenting funk — look no further, for This Boot Is Made for Fonk-N is absolutely teeming with it. However, the lack of slower, softer material can quickly lead to weariness if you\'re not ready for a nonstop dance party. Endurance is required here, make no mistake. "Under the Influence of a Groove," "Bootsy Get Live," and "Jam Fan (Hot)" are all standouts, reflecting the kookiness of "Bootzilla" from the year before. But without slower songs à la "I\'d Rather Be with You," This Boot Is Made for Fonk-N is just too much for anyone who\'s not a **** funkateer. Consequently, the album isn\'t as easily recommended as Bootsy\'s past few, and really is of primary interest to P-Funk aficionados. With so many excellent P-Funk albums released throughout the 1970s, it\'s easy to pass over this one, as it certainly features some first-rate hard funk but is relatively short on ideas, with an absence of new ones altogether. This shortage of new ideas would lead to the varied degrees of experimentation that would characterize Bootsy\'s subsequent albums, Ultra Wave (1980) and, especially, The One Giveth, the Count Taketh Away (1982). Granted, those albums weren\'t as successful as This Boot Is Made for Fonk-N — just as it wasn\'t as successful as its predecessors — but they\'re more interesting for their experimentation and their eccentricities. In comparison to their flights of fancy, as well as the balance songwriting of Bootsy\'s first three albums, This Boot Is Made for Fonk-N seems unmemorable in retrospect. It\'s a wild, heart-racing listen while it\'s playing, yet afterward leaves little impression otherwise.
http://www.mediafire.com/?9ljyxda1n12
Bootsy Collins- "Ultra Wave"
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While certainly not among his greatest efforts, Bootsy Collins\' Ultra Wave (1980) is still infinitely better than most of the disco dregs being squeezed from the likes of Earth, Wind & Fire or Kool & the Gang. Although Collins (bass/vocals) had not formally split up the Rubber Band — as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni — he takes sole (and quite possibly soul) credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins (guitar), Robert "P-Nut" Johnson (vocals), and the superbad dynamic **** horns of Fred Wesley (trombone) and Maceo Parker (sax). Not missing from these — or any other Bootsy affairs for that matter — is the unapologetic party atmosphere Collins\' infuses within every pulsation of his full-bodied and self-proclaimed "Space Bass". The catchy and sexually tweaked opener "Mug Push" quickly became a dancefloor favorite and garnered a short but significant run on the R&B charts. The overuse of synthesizers becomes increasingly evident, particularly when they practically bury "F-Encounter"\'s otherwise stylish groove. The end result sounds like a cross between the Parliament hit "Flashlight" and George Clinton\'s "Atomic Dog." The shuffling "Is That My Song?" is an arguably lightweight entry. But to its credit, Collins, influenced by Sly & the Family Stone and especially funk-bass originator Larry Graham, gives it a respectable degree of listenability. "It\'s a Musical" drives hard with brassy and sassy horn arrangements that have the feel of something Quincy Jones might have charted for Michael Jackson circa Off the Wall (1979). The slinky and rubbery backbeat on "Fat Cat" hearkens to the loose booty of former Bootsy\'s Rubber Band tracks with Johnson\'s falsetto likened to the shrill warbling often utilized on Prince\'s seminal sides. The obligatory ballad "Sacred Flowers" also bears trademarks of the Bootsy of old. While that in and of itself is great, it is likewise symptomatic of Ultra Wave\'s inherent deficiencies. The pseudo-novelty closer "Sound Crack" would probably have more going for it had Collins ditched the dated opening dialogue. Once it gets up to full steam, it roars with an intensity fuelled by the same bounce behind such P-Funk staples as "Up for the Downstroke." The 2007 CD reissue by Collectors\' Choice Music has significantly improved sound compared to expensive import editions that can run upwards of a dollar per minute.
http://www.mediafire.com/?ecucxwajvd1
Eddie Hazel- "Game, Dames, and Guitar Thangs"/"Jams From the Heart EP"
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A hidden gem among the many Parliament/Funkadelic-affiliated albums released during the mid- to late \'70s, Eddie Hazel\'s only official solo album may not sport any perennial classics and may be a bit short on content, yet it became incredibly revered in subsequent years following its quiet release. Part of this album\'s magnetic allure to P-Funk fans no doubt arises from its rare status as a considerable collector\'s item capable of fetching substantial prices. There\'s more to the album than rarity, though. Hazel never really garnered the acclaim he deserved as a pioneering funk-metal guitarist during his time, and this album showcases just how stunning his guitar abilities really were. Each of the six full-length songs on the brief album feature Hazel laying down fiery guitar solos over loose song structures while the rest of his bandmates hold the song together and the Brides of Funkenstein handle a majority of the vocals. The two epic covers of "California Dreamin\'" and "I Want You (She\'s So Heavy)" — clocking in at six-and-a-half and nine-and-a-half minutes, respectively — demonstrate this perhaps better than anything else on the album, as the band spends more time jamming than concerning itself with staying true to the originals. The other songs here are rather traditional late-\'70s Parliament/Funkadelic songs written by George Clinton and Bootsy Collins that emphasize yet more of Hazel\'s manic lead guitar. Though this album doesn\'t exactly boast great songwriting or stand as a landmark album in the sense of Mothership Connection, it does feature some amazing guitar work on Hazel\'s part, clearly a vehicle for his soloing. And that in itself makes it great and worth hearing, particularly since the pioneering guitarist seemed to disappear into near oblivion after the Maggot Brain album, leaving fans with little recorded output to appreciate after his untimely demise.
Joe Note: This is the crown jewel of P-Funk related side projects!!
http://www.sendspace.com/file/70ockr
Eddie Hazel- "Rest In P"
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Like Jams From the Heart, Rest in P isn\'t a full-length LP but rather a compilation of vault recordings dug up to satisfy P-Funk fans\' insatiable hunger for Eddie Hazel material. A Japanese import, Rest in P actually manages to eclipse the brief four-song Jams of the Heart by featuring that material under different song titles as well as additional material. Standout moments include the three epic jams: "Juicy Fingers" (14 minutes), "We Three" (12 minutes), and "No, It\'s Not!" (nine-and-a-half minutes). These songs showcase exactly why Hazel became so revered among later generations of P-Funk aficionados — his \'70s studio work, with the exception of "Maggot Brain" and "Free Your Mind...And Your Ass Will Follow," only hints at his Hendrix-like soloing ability. Note that this collection is primarily instrumental studio brainstorming and was never intended for release. Hazel\'s 1977 solo album, Games, Dames & Guitar Things, is recommended first, since it features a more polished sound actually intended for mass release, along with songs to actually accompany the jamming; unfortunately, that album is near impossible to find. Either way, this is still a fine collection of Hazel\'s unreleased studio work from the late \'70s that will provide ample insight to this man\'s ongoing legacy as an under appreciated funk-metal guitarist.
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