As soon as THE NAZ is ready to go : << you can click here to BUY! >>

Sweetwater 420 Festival, Atlanta, Georgia April 20, 2013.: The new single IS  available at all digital retailers including iTunes, Spotify, Rdio, Amazon and many others.

“In 2005 we served up our last Parliament Funkadelic release for our label, The C Kunspyruhzy. We titled it ‘How Late Do You Have to Be Before You’re Absent’,” says Dr. George Clinton. “We called it that because so much record industry red tape had hung up the release for several years.”

The legendary Dr. Funkenstein continues, “With INgrooves Fontana we have a partner who will allow us to release amazing music to a larger audience using digital era technology. We are excited to start with our first new Funkadelic release in 22 years. You are going to be hearing from so many artists on The C Kunspyruhzy imprint, beyond just Parliament and Funkadelic (P-Funk): from my talented grandchildren like Kandy Apple Red and Tra’Zae to my son Trey Lewd, as well as other emerging artists, Mary Griffin, Bouvier, Dayonne, Ebony Houston, and Edens Fill. Now, once again, you’ll also hear from those you never thought you’d hear from again!”

The C Kunspyruhzy label will cover all genres of music – rock, funk, R&B, electronic, jazz, and hip-hop.

”We are thrilled to be working with the legendary George Clinton to release this great new music from P-Funk and are looking forward to working with all of the artists in The C Kunspyruhzy family,” said INgrooves Fontana General Manager, Amy Dietz.

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.

The C Kunspyruhzy label dedicates the new Funkadelic single to P-Funk bassist Cordell “Boogie” Mosson who passed away just days before the release, as well our family and other departed band members, Garry Shider, Belita Woods, Mallia Franklin, Ray Davis, Tyrone Lampkin, Tiki Fulwood, and Eddie Hazel. P-Funk band member biographies can be found at http://georgeclinton.com/family.

In addition to launching The C Kunspyruhzy, this year Clinton continues to tour relentlessly as “George Clinton and The P-Funk All Stars” and features many of the label’s artists as part of his live act. Visit http://georgeclinton.com/tour for dates.

Dr. Clinton also continues to fight for artist rights through the campaign and web site – http://flashlight2013.com – so that the next generation of musicians and current living legends can retain their copyrights and royalties.

In 2012, George Clinton was granted an honorary doctorate from Berklee College of Music. He spent four days on the Berklee campus providing seminars culminating in a finale concert with the Berklee students. He also recently donated the legendary P-Funk stage prop, The Mothership, to the Smithsonian National Museum of African American History & Culture. Other recent career highlights for Dr. Clinton include celebrating the 50th year of his music career at the Apollo Theater, speaking engagements at the Stax Music Academy and SXSW 2013, and partnering with Red Bull Music Academy on several events including Culture Clash.

ABOUT THE C KUNSPYRUHZY:

Under the watchful eyes of Dr.Funkenstein’s original Thought Processors Archie Ivy and Ron Dunbar, as well as The Dr. himself, The C Kunspyruhzy will guide the next generation of The P-Funk Empire’s onslaught into the digital age and revolution. The label team also includes George Clinton’s daughter Barbarella Bishop, manager Carlon Scott, Sa’D “The Hourchild” Ali and Chuck Fishman.

Other The C Kunspyruhzy artists include: Kendra Foster, AtomicHeadz, God’s Weapon, Fonksquish, Kim Manning, Larry Grams, and Sativa.

United Soul’s “I Miss My Baby” – a song led by Garry Shider with Cordell Boogie Mosson. Their first official single together for the Parliament-Funkadelic empire.

We love and will never forget our brother Cordell Boogie Mosson. He passed away April 18th, 2013. Memorial details will be announced soon.

Here is a brief biography we have about Boogie, but it doesn’t express what a joyful friend and family member Boogie is, or any personal stories.

Then following is a tribute by P-Funk keyboardist Danny Bedrosian

Please let us know of your memories in the comments below.

Cordell “Boogie” Mosson (official name: Cardell Mosson) was born October 16, 1952. A good friend of Garry Shider, the two left Plainfield, New Jersey in their teens to go to Canada. They joined a band called United Soul, which came to the attention of George Clinton, who had known Shider as a youth in Plainfield. In 1971 Clinton produced several tracks by United Soul with input from members of Funkadelic. The songs “I Miss My Baby” and “Baby I Owe You Something Good” were released as a one-off single by Westbound Records in 1971 under the group name U.S. Music with Funkadelic. All the tracks recorded with Clinton in 1971 were released by Westbound in 2009 as the album U.S. Music With Funkadelic. After producing United Soul, Clinton then invited Mosson and Shider to join Parliament-Funkadelic. Two United Soul songs were rerecorded on later Funkadelic albums with Mosson as a member.

Mosson was a prominent contributor to albums by both Funkadelic and Parliament from 1972 until the dissolution of the two groups in the early 1980s, and was the featured on-stage bassist for Parliament-Funkadelic after Bootsy Collins went solo. While Collins is more widely remembered as the P-Funk bassist, Mosson’s contributions were arguably as numerous and are well regarded by fans. Mosson also appeared in the movie PCU as himself, in 1994.

His name as spelled on his birth certificate is Cardell Mosson, and “Cordell” is a common misspelling in the notes for most of the Parliament-Funkadelic albums on which he appeared. Mosson is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic.

By Danny Bedrosian:

CORDELL “BOOGIE” MOSSON, the ultimate FUNK theologian, one of P-FUNK’s most pivotal and vital musicians (bass, guitar, drums and vocals), Rock and Roll Hall of Fame member, and one of my teachers, has passed away today. We lost more information, lessons, and vast rare funk knowledge today, then most learn in a lifetime. Much like the last of the samurai, the end of the era of the pyramid builders, and the passing of an age, vast sums of knowledge are now lost. For those few of us to have studied under him (Boog’s tenure with P-funk starts in 1971, and his Plainfield NJ roots go back much further, giving him preponderance in the P-Funk histories), we must go on with the knowledge we have been imparted by Boog’s far seeing vision of funk theory. Boog’s knowledge and understanding of Rhythm, the ONE, the Pocket, and the FEEL of P-FUNK, was UNMATCHED. We in Parliament-Funkadelic, wish to send our prayers to Boog’s family, and with extreme sadness, we say our worldly goodbye to our brother, our uncle, our friend, our teacher, our valued, trusted, master of musical expression: CORDELL “BOOGIE” MOSSON (October 16th, 1952 – April 18th, 2013)

by Daniel P. Bedrosian – PARLIAMENT FUNKADELIC (keyboardist)

George Clinton performs with Parliament Funkadelic at Showbox Market in Seattle on March 23rd, 2013.

Visit this RollingStone.com link to see the original photo.

What began — on paper, at least — as a discussion on the documentary “Finding the Funk” by producers Nelson George and Arthur Baker quickly ran off the rails and became as much an exploration on the beginnings and future of the genre as it was an hour-long storytelling session, with Parliament-Funkadelic …..

From L to R: Lumar LeBlanc, Bootsy Collins, Novena Carmel, Arthur Baker, George Clinton and Bernie Worrell.

From VH1.com Music

One of our favorite things about SXSW —besides the abundance of Shiner Bock, natch— is that it’s the biggest musical melting pot in all of the United States. Over the course of a few days in Austin each and every March, acts from every conceivable genre of music come together for both performances and conversations, but more importantly, to bond with one another. Perhaps nowhere over the course of the weekend was that issue of “bonding” more relevant than at Saturday afternoon’s panel celebrating the upcoming release of the VH1 Rock Doc Finding The Funk, which saw former Parliament-Funkadelic members George Clinton, Bootsy Collins and Bernie Worrell putting aside rumors of alleged beef for one glorious hour of truly funky storytelling.

The afternoon’s discussion was, unlike a lot of SXSW panels, a loose and rollicking affair, one that veered from Bootsy’s early experiences playing alongside James Brown to the way that Bernie and Bootsy used to tease George for not exactly being smooth with the ladies.

Continue reading on VH1 for some of their favorite moments.

George Clinton Talks Future of Funk on smoovtunes

Airdate: February 17th. Check local US Listings

When a Man (Or a Freight Train) Loves His Cookie

Episode Overview via FOX.com:

Cleveland’s mom, Cookie runs away with George Clinton and the P-Funk All-Stars, after Freight Train misses their anniversary party. So, Freight Train and Cleveland go to find her. Meanwhile, Junior engages in an elaborate office fantasy during a visit to an office supply store.

Episode Clip:

Due to snow banks the show at Toad’s Place , New Haven  has been rescheduled to Sunday February 17th, 2013
All tickets bought for the Feb 14th show are still valid

Original article appears at :

http://bit.ly/wickedlocal_on_georgeclinton

By Dana Forsythe

BOSTON Just one stop into their 2013 tour, Dr. George Clinton and Parliament Funkadelic (along with a large chunk of the Northeast) had their plans sidetracked by the biggest snowstorm to hit the Boston area in 10 years. Hardly phased Clinton and co. have rescheduled their House of Blues gig in Boston to Wednesday, (Feb. 13) night.

For over two decades Clinton has been championing copyright law, winning a major lawsuit in 2005, which returned ownership of songs he recorded with Funkadelic in the 70’s. In 2013, Clinton said his goal is to further that cause for others as well as himself.

Clinton’s main opponent has been Bridgeport Music Inc., a company that owns the rights to about 170 songs written by Clinton and other members of his bands. The company has said Clinton signed over his rights to the music in the early 1980’s but Clinton has retorted, saying his signature was forged. The resulting legal battle continues.

At the age of 72, Clinton is still going strong and as busy as ever. In the last year he raised over half a million dollars to restore and preserve his bands’ original recordings and rebuild his studio, was awarded a Honorary Doctorate of Music from Berklee College of Music and launched a legal defense fund for further copyright cases.

This week, he spoke with WickedLocal.com about the tour, copyright law, being snowed in and getting clean.

WickedLocal: Can you tell me what you hope to accomplish this year in your fight against BMI over copyright law?

George Clinton: We’re getting the word out and we hope to expose the practices of these companies. We launched our site, entirely dedicated to the issue, Flashlight2013.com, to get it out there and share what we’ve been going through. I’m raising my voice for everyone that has been cheated out of royalty checks, including my family, my band members. We’re talking about 30 to 40 people just with me who are missing out on these royalties.

Of course, the record companies have worked for years to keep the system as is and it’s just become harder to fight for our song rights. Companies like BMI have been going after artists for samples they’ve used and it’s not the rappers that are at fault. They’ve had their money taken away; it’s just never got to the right people.

2013 is a big year because it’s the first year many artists will be able to file for termination of these contracts. It’s a huge issue and my goal is get the songs back I and others wrote, get some money back – although I know we won’t get it all back – and allow people to recapture their songs.

WL: How do you find the energy to keep playing shows year after year?

GC: It’s fun and when you like what you’re doing, it ain’t no problem. It ain’t that hard. Our first show of the tour was in Vermont on Thursday and we played all kinds of songs, but a lot of older stuff from the early 60’s. Fans were going crazy. But, you know, it’s always fun and good on tour. I’m feeling refreshed and with the renewed fight for copyright, the entire group and tour has a new enthusiasm.

WL: The rumor is that you’ve cleaned up recently. Can you talk about that?

GC: I have cleaned things up in the past couple years, that’s for sure I’ve got a lot of renewed energy and although I’ve always had energy playing music, I’m not expending any on finding and doing drugs. I’m also not spending any money on it either (laughs). I’ve got a whole new outlook on life and I’ve just realized I can’t be handling my business like that. You can’t be messed up and do what you need to do, it’s impossible. I paid a lot of money to get messed up and that’s all I got.

But, I’m glad to have made that turn. It’s also helped in the fight against these companies like BMI. I think that they believed that I’d be out of commission when I started this fight and I’m not and I think we’re doing pretty well.

WL: You mentioned that you’ve been filming a new reality TV show, how’s that going?

GC: It’s fun, yeah. We’ve had cameras around for a long time before this so it feels natural. We’ll be filming a big episode on Tuesday, at the show at B.B. Kings in New York, talking about the group’s history and everything else. It’s been a lot of fun just getting everyone on tape, playing music and clowning around while talking (laughs).

We’re all just happy to be on the road again and resuming the tour after being stuck in snow for the past couple of days. We’re happy to make up the Boston show this week and we’ve always loved that city. Since playing the Sugar Shack in the 60’s, we’ve had a real good time in Boston. It’s a great place.

For more information about Clinton’s copyright fight, visit Flashlight2013.com. For tickets or information about the show in Boston, visit hob.com/boston

Originally appeared at via Billboard.biz:

http://bit.ly/slygrammy

The legendary musician Sly Stone (center), made a rare appearance at the 5th Annual MojaMoja Brunch and Benefit Concert for Oxfam America during Grammy weekend. MojaMoja host Garth Trinidad (left), and Bob Ferguson (right), Oxfam America’s Manager of Creative Alliances & Music Outreach presented the Vanguard Award to him. Stone accepted the award on behalf of the honoree George Clinton, who could not attend the event due to severe storms in the NorthEast. (Photo: Wendy Le)

The MojaMoja Pre-Grammy Brunch and Benefit Concert celebrated its fifth anniversary with an eclectic lineup and a totally unexpected appearance this year.

While event producer Ramona Wright noted that “every year we get a surprise visit,” few were probably expecting reclusive soul icon Sly Stone, who got onstage to accept the Vanguard Award in the stead of legendary Parliament-Funkadelic founder George Clinton, who was being honored at the event but couldn’t appear due to being grounded in Newark thanks to the blizzard blanketing the Northeast.

“I’m happy for George,” said the famously enigmatic Stone in his brief appearance onstage, distinctive with his white outfit and trademark outrageous hair, before — just as characteristically — he disappeared into the wings. It was a classic MojaMoja moment — music business as unusual, celebrating artists from different generations on the same stage, doing their own thing.

Conceived by event producer Wright, MoMoja CEO Oscar Merino, and KCRW DJ Garth Trinidad (the station is an official media sponsor for the event as well), the mission “is to expose new music integrated with existing iconic artists, taking advantage of the talent converging on L.A. during Grammy Week,” Merino said. “Garth’s ears are crucial in terms of curating that talent.”

As such, last year’s brunch featured the buzzworthy likes of Flying Lotus and Little Dragon contrasted with Mavis Staples, honored by the event’s beneficiary, the global anti-poverty relief and development organization Oxfam America, with its Vanguard Award; previous editions have featured Grammy winner/hip-hop don Heavy D and rising star Janelle Monae.

This year’s brunch featured a similarly iconoclastic balance. One up-and-comer featured was multi-genre artist Chloe Flower — a pianist who fuses lyrical classical melodies with hip-hop beats, and has worked with Nas, Swizz Beats, and Celine Dion; Flower is in L.A. to work on her solo debut produced by Babyface, featuring guest spots by Boyz II Men and Deepak Chopra.

The other end of the spectrum was represented by William Hart of legendary R&B group the Delfonics, famed for hits like “Didn’t I (Blow Your Mind This Time”), “La-La (Means I Love You)” and “Ready or Not Here I Come (Can’t Hide from Love)” — the latter famously interpolated into a hip-hop smash by The Fugees. Hart was performing at MojaMoja with a revisited Delfonics lineup, promoting an upcoming album set for release on hipster label Wax Poetics in March.

“I’m getting a vibe here that’s like a whole new start to my career,” Hart says. “I’ve met ten different radio personalities and DJs here. The younger generation seems to have taken to me: it reminds me of the time when I got my first Grammy, for ‘Didn’t I (Blow Your Mind This Time).’”

Adrian Miller, co-manager of Chloe Flower, stated “We’re huge fans of Garth’s, so when he invited us, we of course embraced that. It’s maintaining a great relationship.” Miller’s sentiments were echoed by Sarah Chambliss, U.S. label manager of the pioneering electronica label Ninja Tune, was there accompanying one of the imprint’s premier artists, the U.K. singer-songwriter Fink, a recent transplant to L.A. to record his upcoming new album and jumpstart his co-songwriting career.

“It’s amazing how influential KCRW is, in a city where everyone’s a music supervisor, they’re like the greatest music supervisor of all,” says Fink. “It’s amazing — we’ve gotten film licenses just from film directors hearing my song on KCRW during their drive home. Also, it’s for a great cause: Oxfam has an immense reputation in the U.K., and it’s great to get it better known in the States.”

Indeed, the charity aspect to the event remains a crucial part of its appeal. “I work as an anti-human trafficking activist, and we depend on Oxfam,” says Flower. “This is a perfect event for me.” In addition to Oxfam, 2013’s MojaMoja happening also built awareness and funds for the Darfur Stoves Project, supporting work in the ongoing African tragedy zone. “We started the brunch because there was a tremendous opportunity for artists coming in for the Grammys to give back,” says Wright. “We wanted to create a party with a purpose.”

“The charity aspect is extremely important,” says Trinidad. “I couldn’t do something like this without trying to help somebody.”

Likewise, music-rights lobbying and royalty collection organization SoundExchange was a co-sponsor of the event. “It’s about having a presence as we continue to play a bigger and bigger role in getting artists paid fairly,” says SoundExchange president Michael Huppe. “We lobby on Capitol Hill, and we’re hear during Grammy week.”

“It’s great outreach,” adds Sean Glover, SoundExchange’s Manager of Artist and Label Relations. “We can catch someone here before they’re on the cover of Billboard, or win their first Grammy.”