In 1976, Parliament, led by the incomparable George Clinton, released chapters one and two of a trilogy that changed the landscape of contemporary music. Mothership Connection and The Clones of Dr. Funkenstein proved that Parliament were Masters of the Form by pushing the boundaries of what funk music could be. 1977 found Clinton and his funk mob touring the country in perhaps the most elaborate stage show ever produced by a black musician. The tour reinforced the storylines of the two albums, and when the Mothership landed onstage each night, the band was lifted into the musical stratosphere.
Mothership Connection had recast Clinton and his musical peers, Bootsy Collins, Fred Wesley, Maceo Parker, and Bernie Worrell amongst many others, as otherworldly freethinkers descending from space onto a planet in desperate need of the free thought that funk music symbolized. The Clones of Dr. Funkenstein introduced their leader and his clones, who had come to help their listeners fight for this freedom. In 1977, Parliament didn’t release an album at all; they released a war, a final stand, the third part of the trilogy and an absolute musical masterpiece called Funkentelechy Vs. the Placebo Syndrome. It was the third album in a funk-tinged science fiction comic book trilogy that focused all of Parliament’s power, humor, and politics into 44 minutes of courageous musical climax.