{"id":9613,"date":"2026-09-19T23:27:19","date_gmt":"2026-09-19T21:27:19","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/parliament-funkadelic-the-mothership-in-the-basement-2\/"},"modified":"2026-09-19T23:27:19","modified_gmt":"2026-09-19T21:27:19","slug":"parliament-funkadelic-the-mothership-in-the-basement-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/parliament-funkadelic-the-mothership-in-the-basement-2\/","title":{"rendered":"Parliament-Funkadelic – Le vaisseau dans la cave"},"content":{"rendered":"

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Le funk comme th\u00e9\u00e2tre interplan\u00e9taire<\/h3>\n

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Quelque part entre un vaisseau spatial et une cave, dans l’Am\u00e9rique des ann\u00e9es soixante-dix, un homme en drap, ou en couche, ou en perruque blonde, explique que le funk est un pays. George Clinton n’a pas invent\u00e9 l’excentricit\u00e9. Il l’a industrialis\u00e9e, puis il lui a donn\u00e9 une section rythmique assez bonne pour rendre le costume n\u00e9cessaire. Parliament et Funkadelic ne sont pas deux groupes au sens ordinaire. Ce sont deux portes d’une m\u00eame maison, avec des bailleurs diff\u00e9rents sur le papier et le m\u00eame temps dedans. Une porte donne sur la radio. L’autre sur le solo de guitare qui refuse de finir. Les deux ouvrent sur Plainfield, New Jersey, et sur un esprit qui traite une chanson comme un atterrissage.<\/p>\n

Clinton vient du doo-wop, les Parliaments, un groupe d’harmonie de salon de coiffure qui tombe sur (I Wanna) Testify<\/em> en 1967. Quand le nom s’embrouille dans un contrat, le groupe d’accompagnement avance sous le nom de Funkadelic et les chanteurs gardent Parliament comme une vie parall\u00e8le. Les premiers albums de Funkadelic, chez Westbound, sont de l’acide en bottes de travail. Maggot Brain<\/em>, 1971, est le sommet de cette premi\u00e8re fi\u00e8vre : les dix minutes de guitare d’Eddie Hazel, enregistr\u00e9es, dit-on, apr\u00e8s que Clinton lui a demand\u00e9 de jouer comme si sa m\u00e8re \u00e9tait morte. Que la consigne soit exacte importe moins que la prise. C’est un deuil avec une p\u00e9dale wah. Bernie Worrell est d\u00e9j\u00e0 l\u00e0, clavi\u00e9riste de formation classique qui apprendra plus tard au synth\u00e9tiseur \u00e0 \u00eatre une basse. Billy Bass Nelson, Tawl Ross, Tiki Fulwood, puis Garry Shider, la couche et la voix d’\u00e9glise. Le groupe est une foule qui conna\u00eet le timing des uns et des autres.<\/p>\n

Bootsy Collins arrive du groupe de James Brown avec son fr\u00e8re Catfish, et le pocket change d’altitude. Parliament, relanc\u00e9 chez Casablanca, devient le visage public du vaisseau. Mothership Connection<\/em> en 1975 est le manifeste : Give Up the Funk (Tear the Roof off the Sucker)<\/em>, P. Funk (Wants to Get Funked Up)<\/em>, un concept d’extraterrestres qui apportent le rythme \u00e0 une plan\u00e8te qui a oubli\u00e9 comment danser. Le spectacle se dote d’un accessoire, un engin con\u00e7u avec l’aide de Jules Fisher, descendu sur les salles comme si la science-fiction avait une carte syndicale. The Clones of Dr. Funkenstein<\/em> suit en 1976. Funkentelechy vs. the Placebo Syndrome<\/em> en 1977 donne \u00e0 la radio Flash Light<\/em>, la basse synth\u00e9 de Worrell rempla\u00e7ant l’\u00e9lectrique et devenant, on ne sait comment, plus funk, pas moins humaine. Les enfants apprennent le chant. Les adultes font semblant de seulement fredonner.<\/p>\n

Funkadelic, d\u00e9sormais chez Warner, r\u00e9pond avec One Nation Under a Groove<\/em> en 1978, un titre qui est une blague, une pri\u00e8re et une carte. Uncle Jam Wants You<\/em> l’ann\u00e9e suivante emprunte le langage des affiches de recrutement. Le collectif autour de ces titres vaut la moiti\u00e9 d’une ville : Maceo Parker et Fred Wesley des JB’s, Junie Morrison, Michael Hampton reprenant la chaise de Hazel, les Brides of Funkenstein, Parlet, Bootsy’s Rubber Band comme un \u00c9tat souverain. Clinton produit en monsieur Loyal qui fait confiance au cirque. Les disques sont longs parce que le concert est plus long. Les solos ne sont pas des complaisances. Ils sont la respiration de la mythologie.<\/p>\n

Les ann\u00e9es quatre-vingt amincissent la patience des majors et \u00e9paississent le mythe solo de Clinton. Computer Games<\/em> en 1982, et Atomic Dog<\/em>, seront sampl\u00e9s si souvent qu’une g\u00e9n\u00e9ration rencontre d’abord le P-Funk comme une boucle sous la voix de quelqu’un d’autre. Ce n’est pas une r\u00e9trogradation. C’est ainsi que cette musique a \u00e9t\u00e9 b\u00e2tie pour voyager : un riff comme un service public. Les batailles juridiques sur les noms et l’argent sont laides et r\u00e9elles. Les tourn\u00e9es continuent avec qui peut encore jouer le livre. Hazel meurt en 1992. Worrell meurt en 2016. Clinton, lui, continue de chanter les instructions d’atterrissage \u00e0 des salles qui les savent d\u00e9j\u00e0 par c\u0153ur.<\/p>\n

Ce que le culte pr\u00e9serve, ce ne sont pas seulement les costumes. C’est l’id\u00e9e qu’une musique de danse noire am\u00e9ricaine pouvait \u00eatre aussi conceptuellement sauvage qu’un disque d’art rock, et deux fois plus utile un samedi. Parliament visait les charts sans s’excuser de l’intrigue. Funkadelic visait l’esprit sans s’excuser des hanches. Les m\u00eames chanteurs passaient les deux portes. Dr. Funkenstein est un personnage de bande dessin\u00e9e et une th\u00e9orie du groupe. La th\u00e9orie tient. Si le groove est juste, le toit est facultatif.<\/p>\n

On entend encore la cave dans le vaisseau. Les harmonies sont du barbershop. Les guitares sont Detroit, Hendrix et l’\u00e9glise. La basse est James Brown apr\u00e8s minuit. Le don de Clinton a \u00e9t\u00e9 de refuser le choix entre ces pi\u00e8ces. Il les a mises sur une seule sc\u00e8ne, leur a donn\u00e9 un r\u00e9cit, et a laiss\u00e9 le clavinet de Worrell discuter avec le pouce de Bootsy. Le vaisseau \u00e9tait un accessoire. Le funk \u00e9tait la physique.<\/p>\n

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Quelque part entre un vaisseau spatial et une cave, dans l’Am\u00e9rique des ann\u00e9es soixante-dix, un homme en drap, ou en couche, ou en perruque blonde, explique que le funk est un pays.<\/p>\n","protected":false},"author":1,"featured_media":9609,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[280,273],"tags":[265,816,815],"class_list":["post-9613","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bands","category-chronicles","tag-discofunk","tag-funkadelic","tag-parliament"],"yoast_head":"\nParliament-Funkadelic - Le vaisseau dans la cave - RIFFS AND BEATS<\/title>\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\/chronicles\/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 - 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