The single “The Naz” features Sly Stone on vocals telling the story of Jesus Christ of Nazareth as told by beat poet Lord Buckley in his famous poem “The Nazz”. Sly uses his trademark radio rap that he used to kick as a DJ on San Francisco’s radio station KSOL-AM. “He just laid it down and we built the entire song around it,” says Clinton.
The second song on this single is “Nuclear Dog”, an instrumental rock reworking of Clinton’s 1983 chart topping hit “Atomic Dog.” In classic Funkadelic tradition, “Nuclear Dog” features blazing solo after solo from long time P-Funk guitarist DeWayne “Blackbyrd” McKnight. Jazz fans should know Blackbyrd from his start with the great Sonny Rollins and subsequent legendary work as a member of Herbie Hancock & The Headhunters before he joined P-Funk.
Starting from far left: maybe Ron Ford, Glen Goins, Garry Shider, Cordell Boogie Mosson, Debbie Wright, Me -George Clinton and Jim Vitti at the board at United Sounds in Studio A. Mixing one of the songs from Funkentelechy Vs. The Placebo Syndrome in 1977.
Artist behind Parliament Funkadelic art struggles to get by
Chicago’s Pedro Bell was the artist behind some of music’s most iconic album covers. Now his life is anything but a pretty picture.
November 9, 2009
BY KARA SPAK Staff Reporterfirstname.lastname@example.org
Thick dust covers the gold lame shirt and silver leather coat in Pedro Bell’s closet.
The clothes are remnants from a brighter time when Bell, a rainbow Afro wig on his head and platform shoes on his feet, strutted through Chicago as a charter member of the ’70s funk revolution whose sound is heavily sampled in rap songs today.
“It was psychedelic from a black perspective,” Bell said.
Bell, 59, designed the cover art for more than two dozen George Clinton and the Parliament Funkadelic albums. Under the name Sir Lleb (Bell backward), he wrote the albums’ liner notes, peppering them with cartoonish drawings, clever puns and names like “Thumpasaurus” and “Funkapus” that remain synonymous with Clinton’s music.