What can we say? Bootsy's on top of the world here – not only The Player Of The Year, but also the most soulful artist in the P-Funk stable, and a master of the smooth, sly, slinky groove that would forever be taken up by bands from LA – both in the immediate soul years and in later sampling hip hop ones. The record's got a sophisticated soul approach that moves the music way past slapped basslines and funny glasses – and thanks to top-line musicianship, including some help from Fred Wesley, Bootsy avoids any cliches that might have buried this one under the mountain of P-Funk albums hitting the market at the same time. Includes the monster track "Hollywood Squares" – plus "May The Force Be With You", "Very Yes", "Bootsy?", and "Bootzilla". LP, Vinyl record album

Bootsy Collins steps strongly from the shadow of George Clinton here – and wrote, arranged, and produced most of the album himself! Of course, George was having plenty of his own troubles at the time – but that only allowed Bootsy to take the helm even more, and step out with a batch of grooves that still keeps his star power plenty high. Of course, he's got some great help here too – from Fred Wesley & The Horny Horns, Midnight Star, Godmomma, and P-Funk regulars Bernie Worrell and Gary Shider – all of whom help contribute some classic elements to grooves that include "Shine O Myte", "#1 Funkateer", "So Nice You Name Him Twice", "Take A Lickin & Keep On Tickin", and "Countracula". LP, Vinyl record album

Massive work from Bootsy Collins – one of his best-ever solo albums, and a perfect summation of the P-Funk groove – focused strongly through Bootsy's own sense of stardom! George Clinton worked with Collins on production, and the album's as tight as the best Parliament or Funkadelic work of the time – particularly the latter on their killer 70s sides for Warner, which was also the home for Bootsy. The Horny Horns are helping out on this one, which gives the album a strong instrumental drive – but the real star is Bootsy, whose sexy vocals and good sense of soul keep things firmly on track throughout. Features the cuts "What's A Telephone Bill?", "Munchies For Your Love", "We Want Bootsy", "The Pinocchio Theory", and "Rubber Duckie". LP, Vinyl record album

A wickedly funky album from Stanley Clarke – perhaps his most fully-formed album of the Columbia years, and a set that really brings together his jazz and soul styles! There's a definite R&B vibe going on, but it's also one that's still quite heavy on bass work from Stanley – a groove that's not far from Bootsy Collins at times, but perhaps with a bit more jazz inflections. Jamming is kept to a minimum, which is fine by us – and the album's filled with really tuneful tunes that have an almost George Duke-like appeal. Guests include Tom Scott and Stan Getz on saxes, George Duke on piano, Harvey Mason and Steve Gadd on drums, and Dee Dee Bridgewater on vocals. Titles include "I Wanna Play For You", "Just A Feeling", "Strange Weather", "My Greatest Hits", "School Days", and "Blues For Mingus". LP, Vinyl record album

Herbie's still in electro-grooving mode here – not groundbreaking as earlier records, but still handled by Bill Laswell, and with a tackhead groove pretty firmly in place. The tracks are a bit more complicated than before, with vocals by Sugarfoot, and bass by Bootsy Collins. Titles include "Vibe Alive", "Perfect Machine", "Chemical Residue", "Beat Wise", and "Maiden Voyage/P Bop". LP, Vinyl record album

Vintage live recordings by George Clinton and his mighty P-Funk empire in the mid 70s – rehearsal sessions for the famous P-Funk Earth Tour – recorded in an airplane hanger in upstate New York! The sound is incredibly crisp and vibrant – these aren't sloppy rehearsal moments, but the group at their best – working with a tightness that's mindblowing, and having a sense of presence that's maybe even more upfront than the famous live album from the tour – as the smaller venue and recording style really captures the spontaneous energy of the performance! All the classic names are here, except Bootsy Collins – Fuzzy Haskins, Garry Shider, Jerome Brailey, Bernie Worrell, and even Fred Wesley and the Horny Horns – on titles that include "Standing On The Verge Of Getting It On", "Undisco Kidd", "Gettin To Know You", "Comin Round The Mountain", "Do That Stuff", "Dr Funkenstein", and "Mothership Connection". LP, Vinyl record album

The first album ever issued with the name of Bernie Worrell on the cover – and a great set that really sums up all the amazing keyboard work he'd been bringing to the P-Funk universe of George Clinton! The set's got a vibe that takes off nicely from the Funkadelic/Parliament sound of the late 70s – definitely more keyboard heavy, in a great way – and really opening up with some of the special madness that was Bernie's own, and often hidden behind the light of the bigger stars in Clinton's galaxy. Worrell sings lead, and also plays a mountain of keyboards – and the set also features help from a huge number of P-Funk friends – including Eddie Hazel, GaryShider, Bootsy Collins, Parlet, Brides of Funkenstein, and even Fred Wesley & The Horny Horns. George Clinton co-produced with Bernie – and titles include "Much Thrust", "Woo Together", "Insurance Man For The Funk", and "Hold On". LP, Vinyl record album

Bass heavy funk from Larry Graham – a record done when he was moving into the solo spotlight a bit more than before, but a set that's still got an undeniable Graham Central Station groove! The tunes are tight, but never too polished – and lie in a sweet little space that's somewhere between Bootsy Collins & Zapp, with all the best elements that both of those artists were showing at the time. A few tunes get a bit more sweetly soulful, but never too much so – just a nice change of pace to showcase Larry's growing confidence in his vocals. Titles include "Sneaky Freak", "Star Walk", "Foxy Lady", "Tonight", "Scream", and "The Entertainer". LP, Vinyl record album

A funky tribute to all the "Super Groupies" who were helping out the 70s music scene – maybe the closest thing that Junie Morrison every came to a concept album – and a set that's got all the same wonderful complexity of his other solo albums on Westbound! As with those records, there's a pre-Prince approach to funk that draws heavily from Ohio Players and P-Funk elements – but which really gets a sharper, more sinister focus with Junie in the lead – at a level of soulful stardom that could have made him another Bootsy Collins, if folks were ever smart enough to figure out what he was doing at the time! Titles include the funky classic "Suzie Thundertussy" – plus "Super Groupie", "Surrender", "Junie III", "What Am I Gonna Do", "Stone Face Joe", "Suzie", and "If You Love Him". LP, Vinyl record album

Rick James fires it up at the end of the 70s – stepping out at full star power that has him rivaling the strength of Bootsy Collins at Warner, and paving the way for the rise of Prince in the early 80s! As with Prince, James' version of funk here is a bit offbeat – lots of riffing guitars in the mix, and a bad-strutting groove that's still conventional mainstream funk of the time, yet with some edgier elements that led Rick to label his music as "punk funk" (or was it "funk punk"?) Given the end-of-70s spirit, you might also say that some of the cuts were aimed at the dancefloor – although James was never really one to storm the discos as much as others. Titles include "Love Gun", "Fire It Up", "Come Into My Life", "Lovin You Is A Pleasure", and "Stormy Love". LP, Vinyl record album

One of the all-time great Rick James albums – a return to funkier sounds for Rick that worked both artistically and commercially – and actually got over far better than his more blatant attempts at crossover material on other records! The mix here is perfect – a true summation of all that made Motown great at the time, and the special sort of energy that made Rick one of the freshest mainstream talents at the end of the 70s! The record put a lot of money in Barry Gordy's pockets, and for good reason too – given that the set includes the classic hit "Super Freak" – plus "Give It To Me Baby", "Ghetto Life", "Make Love To Me", "Below The Funk (Pass The J)", and "Fire & Desire" – all done in that compressed pop-funky style that James kind of took from Bootsy Collins and manage to successfully soup up for the masses! LP, Vinyl record album

A stunner of a record – the first-ever album by The JBs, never issued back in the day – and lost for years until it recently resurfaced on a test pressing! The set features a leaner, more stripped-down version of the group – one that features Bootsy Collins on bass, and which doesn't rely as much on the horns as it does some very upfront playing by the rhythm section – who really set fire to the extended instrumental solos on the album's very long tracks! Group members include Robert McCullough on tenor, St Clair Pickney on flute and baritone, Bobby Byrd on piano, Catfish Collins on guitar, and James Brown himself on organ – and the mighty Clyde Stubblefield handles drums, as well as Frank Kash Waddy. All tracks are very long – quite different than the shorter single-type cuts on Pass The Peas – and the record features the first recording of "The Grunt", plus the long jams "I'll Ze", "These Are The JBs (parts 1 & 2)", and "When You Feel It Grunt If You Can". LP, Vinyl record album

Here's where it all happens – the huge culmination of all the years of heavy funk and psychedelic soul created by George Clinton and the P-Funk empire – fused into an amazingly tight groove that helped win over much bigger audiences than ever before! The album title and cover are very fitting – as George Clinton launches the mothership, forges his classic space-funk image, and blows the P-Funk empire into an arena-filling mega-star act – all with grooves that are still some of the tightest, sharpest funk you'll ever hear – all these many decades later. The instrumentation is razor-sharp – played by giants like Fred Wesley, Maceo Parker, Bootsy Collins, and Bernie Worrell – and the lyrics still have all the edginess and naughtiness of the earlier years – tied together wonderfully to make a very unified album, and one that's full of classics too! Titles include "Mothership Connection (Star Child)", "Night Of The Thumpasorus Peoples", "P-Funk (Wants To Get Funked Up)", "Handcuffs", "Give Up The Funk (Tear The Roof Off The Sucker)", and "Unfunky Ufo". LP, Vinyl record album

The classic first album by this legendary funky combo – a group who not only went onto change the sound of funk in the 80s, but also went onto have a huge impact on generations of hip hop as well! The album burns from the very first note – the wicked snapping funk of "More Bounce To The Ounce" – a tune that became the blueprint for a generation, and still sounds way better than the millions of copycat attempts that came out over the years! The record follows with some equally wicked bass/keyboard cuts – often with plenty of electro production touches too – thanks to sweeeet work in the studio from Bootsy Collins and Roger Troutman. Bootsy's presence is key, too – as the set kind of strips down the ensemble P-Funk vibe of the generation before – going for a lean, clean groove that's held up beautifully over the years! In addition to "More Bounce To The Ounce", the record also features the mellow steppers cut "Be Alright", which has a wonderful hook, and a great compressed modern soul sound – and other tracks include "Funky Bounce", "Freedom", and "Brand New Pplayer". LP, Vinyl record album

Produced by George Clinton and Bootsy Collins. nTitles include "Body Jackin'", "Storyteller", "Still Tight", "Androgynous View", "Jack Of All Trades", "I'll Do Anything For You", "What If The Girl Says Yes?", and "44-22-38". LP, Vinyl record album

Snoop brings Doggy Style over to Geffen – also the home to the Neptunes' Star Trak, Snoop's partners for this seriously strong later effort – also working with a diverse roster of producers and vocal guests including Alchemist, Lil Jon, 50 Cent, Hi Tek, and others. Snoops laidback rhyme style sounds really great on the Neptune productions, with that glittery minimalist electro sound and the digital handclaps that meld perfectly with Snoop's hazy delivery. The the now classic status of the standout single "Drop It Like It's Hot" is pretty much all the evidence you need, but Snoop's on a real high (artistically, that is) here, and mainstream street hop is all the better for it! Other tracks include "Bang Out", "Can I Get A Flicc Witchu" feat Bootsy Collins, "The Bidness", "Let's Get Blown", "Step Yo Game Up" with Lil Jon, "Oh No" with 50 Cent, "Pass It Pass It" and more. LP, Vinyl record album

The classic first album by this legendary funky combo – a group who not only went onto change the sound of funk in the 80s, but also went onto have a huge impact on generations of hip hop as well! The album burns from the very first note – the wicked snapping funk of "More Bounce To The Ounce" – a tune that became the blueprint for a generation, and still sounds way better than the millions of copycat attempts that came out over the years! The record follows with some equally wicked bass/keyboard cuts – often with plenty of electro production touches too – thanks to sweeeet work in the studio from Bootsy Collins and Roger Troutman. Bootsy's presence is key, too – as the set kind of strips down the ensemble P-Funk vibe of the generation before – going for a lean, clean groove that's held up beautifully over the years! In addition to "More Bounce To The Ounce", the record also features the mellow steppers cut "Be Alright", which has a wonderful hook, and a great compressed modern soul sound – and other tracks include "Funky Bounce", "Freedom", and "Brand New Pplayer". LP, Vinyl record album