{"id":9613,"date":"2025-03-20T19:00:00","date_gmt":"2025-03-20T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/parliament-funkadelic-the-mothership-in-the-basement-2\/"},"modified":"2026-11-09T07:14:31","modified_gmt":"2026-11-09T06:14:31","slug":"parliament-funkadelic-the-mothership-in-the-basement-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/parliament-funkadelic-the-mothership-in-the-basement-2\/","title":{"rendered":"Parliament-Funkadelic &#8211; Le vaisseau m\u00e8re dans le sous-sol"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">L&rsquo;arm\u00e9e funk de Clinton et les ann\u00e9es Casablanca<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">George Clinton a commenc\u00e9 comme chanteur de doo-wop \u00e0 Plainfield, New Jersey, tenant un salon de coiffure et g\u00e9rant un groupe vocal appel\u00e9 The Parliaments dans le d\u00e9but des ann\u00e9es 1960. Un litige contractuel en 1967 a laiss\u00e9 Clinton sans les droits sur le nom Parliaments. Sa solution a \u00e9t\u00e9 de continuer \u00e0 enregistrer avec les m\u00eames musiciens sous un nouveau nom, Funkadelic, tout en travaillant simultan\u00e9ment \u00e0 r\u00e9cup\u00e9rer la marque Parliaments. Au d\u00e9but des ann\u00e9es 70, il dirigeait deux groupes simultan\u00e9ment : Parliament chez Casablanca, Funkadelic chez Westbound. Une grande partie des membres se recoupait.<\/p>\n<p style=\"text-align: justify;\">Les premiers disques de Funkadelic \u00e9taient psych\u00e9d\u00e9liques et bruts. Funkadelic (1970) et Free Your Mind and Your Ass Will Follow (1970) ont pouss\u00e9 le groupe \u00e0 travers un territoire que James Brown et Jimi Hendrix avaient ouvert s\u00e9par\u00e9ment. Maggot Brain (1971) s&rsquo;ouvrait avec \u00ab\u00a0Maggot Brain,\u00a0\u00bb un solo de guitare de dix minutes par Eddie Hazel enregistr\u00e9 en une seule prise. Clinton a dit \u00e0 Hazel pendant l&rsquo;enregistrement de jouer comme s&rsquo;il venait d&rsquo;apprendre la mort de sa m\u00e8re, puis de jouer \u00e0 travers le deuil vers l&rsquo;acceptation. La prise est un solo de guitare avec une forme claire, dix minutes, en une seule passe.<\/p>\n<p style=\"text-align: justify;\">La s\u00e9rie Casablanca de Parliament a mis cette histoire sur une grande sc\u00e8ne. Mothership Connection (1975) a introduit le r\u00e9cit du Vaisseau M\u00e8re : Dr. Funkenstein comme lib\u00e9rateur venu de l&rsquo;espace, le rythme comme sortie, le groupe comme une communaut\u00e9 hors de la plan\u00e8te. The Clones of Dr. Funkenstein (1976) et Funkentelechy vs. the Placebo Syndrome (1977) ont \u00e9tendu l&rsquo;univers. Les productions \u00e9taient denses avec des arrangements de cuivres, des claviers superpos\u00e9s, des voix en appel-r\u00e9ponse.<\/p>\n<p style=\"text-align: justify;\">Le dispositif live correspondait \u00e0 l&rsquo;ambition. Le spectacle de tourn\u00e9e Parliament-Funkadelic de la fin des ann\u00e9es 70 comportait un accessoire de vaisseau m\u00e8re grandeur nature qui descendait du plafond des ar\u00e8nes ; Clinton arrivait sur sc\u00e8ne \u00e0 travers lui. Les concerts duraient longtemps, le groupe \u00e9tait grand, le spectacle \u00e9tait co\u00fbteux. C&rsquo;\u00e9tait aussi la pr\u00e9sentation sc\u00e9nique la plus th\u00e9\u00e2trale de la musique noire am\u00e9ricaine depuis Ike et Tina Turner.<\/p>\n<p style=\"text-align: justify;\">Bootsy Collins a rejoint le collectif apr\u00e8s avoir quitt\u00e9 le groupe de James Brown en 1971, apportant un style de basse \u00e9lastique, bavard et m\u00e9lodiquement inventif. Son jeu sortait la basse du simple marquage du temps pour en faire des lignes m\u00e9lodiques. Bernie Worrell &#8211; harmonie form\u00e9e au jazz combin\u00e9e avec une utilisation pr\u00e9coce du Minimoog &#8211; donnait aux arrangements leur complexit\u00e9 harmonique.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00a0\u00bb8457&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790075971847{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">\u00ab\u00a0Flash Light\u00a0\u00bb (1977) et \u00ab\u00a0One Nation Under a Groove\u00a0\u00bb (1978) \u00e9taient les pics commerciaux. \u00ab\u00a0Give Up the Funk (Tear the Roof off the Sucker)\u00a0\u00bb \u00e9tait l&rsquo;hymne. Ces titres sont devenus parmi les plus \u00e9chantillonn\u00e9s de l&rsquo;histoire du hip hop : NWA, Public Enemy, Ice Cube, Snoop Dogg, Kendrick Lamar et des centaines d&rsquo;autres ont utilis\u00e9 le mat\u00e9riel P-Funk. Les enregistrements des ann\u00e9es 70 fournissaient essentiellement une infrastructure rythmique pour le hip hop des ann\u00e9es 80 et 90.<\/p>\n<p style=\"text-align: justify;\">\u00c0 c\u00f4t\u00e9 de James Brown, les disques de Clinton montrent moins un chef unique, plus d&rsquo;auteurs et plus d&rsquo;images psych\u00e9d\u00e9liques et spatiales. Brown dirigeait un groupe serr\u00e9. Clinton dirigeait un grand collectif qui ne sonnait pas comme la pi\u00e8ce d&rsquo;un seul auteur. \u00c0 c\u00f4t\u00e9 de Sly and the Family Stone, les disques sont plus lourds et plus men\u00e9s par la basse, moins vis\u00e9s vers une m\u00e9lodie pop. Les histoires sont plus ouvertement nationalistes noires.<\/p>\n<p style=\"text-align: justify;\">Commencez par Mothership Connection pour l&rsquo;entr\u00e9e dans la mythologie dans sa forme la plus accessible. Maggot Brain pour l&rsquo;ouverture psych\u00e9d\u00e9lique et le solo d&rsquo;Eddie Hazel. One Nation Under a Groove pour la p\u00e9riode tardive \u00e0 son plus raffin\u00e9. \u00ab\u00a0Flash Light,\u00a0\u00bb \u00ab\u00a0Give Up the Funk\u00a0\u00bb et \u00ab\u00a0One Nation Under a Groove\u00a0\u00bb sont les trois titres qui expliquent l&rsquo;\u00e9ventail en s\u00e9quence. Ce que les d\u00e9cennies suivantes ont gard\u00e9, c&rsquo;est le catalogue et les samples qui en sont sortis.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Parliament-Funkadelic a transform\u00e9 le collectif de studio de George Clinton en th\u00e9\u00e2tre de l&rsquo;\u00e8re Casablanca, avec un vaisseau m\u00e8re qui atterrit.<\/p>\n","protected":false},"author":1,"featured_media":9609,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,289],"tags":[428,1114,1102],"class_list":["post-9613","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-discofunk-fr","tag-funkadelic-fr","tag-parliament-fr","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Parliament-Funkadelic - Le vaisseau m\u00e8re dans le sous-sol - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Parliament-Funkadelic a transform\u00e9 le collectif de studio de George Clinton en th\u00e9\u00e2tre de l&#039;\u00e8re Casablanca, avec un vaisseau m\u00e8re qui atterrit.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/parliament-funkadelic-the-mothership-in-the-basement-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Parliament-Funkadelic - Le vaisseau m\u00e8re dans le sous-sol - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Parliament-Funkadelic a transform\u00e9 le collectif de studio de George Clinton en th\u00e9\u00e2tre de l&#039;\u00e8re Casablanca, avec un vaisseau m\u00e8re qui atterrit.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/parliament-funkadelic-the-mothership-in-the-basement-2\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2025-03-20T18:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-09T06:14:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/parliament.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chroniques\\\/groupes\\\/parliament-funkadelic-the-mothership-in-the-basement-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chroniques\\\/groupes\\\/parliament-funkadelic-the-mothership-in-the-basement-2\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"Parliament-Funkadelic &#8211; 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