![]() That reputation is understandable, if not fully deserved. Today, Connections & Disconnections remains the undisputed black sheep of the P-Funk catalogue, held in roughly the same esteem as the Doors’ post-Morrison catalogue. But whatever their intentions, swift legal action from Clinton’s camp ensured that the “new” Funkadelic’s first album would also be their last. It’s unclear exactly how this renegade Funkadelic expected to get away with such an audacious move perhaps, as three-fifths of the original Parliaments lineup, they simply felt that they had as much right to the name as Clinton did. As for Haskins, Simon and Thomas, their approach was even more blatant: in 1980 they put together their own backing group, decamped to Jerry Goldstein’s LAX Records and released a new album, Connections & Disconnections, using the Funkadelic name. These deserters weren’t shy about making their acrimony for their former leader known Brailey’s new band, Mutiny, made their debut in 1979 with the none-too-subtly-titled Mutiny on the Mamaship. ![]() A combination of financial and artistic grievances led to a series of high-profile departures from the group: first went singers Clarence “Fuzzy” Haskins, Calvin Simon and Grady Thomas, followed by singer/guitarist Glenn Goins and drummer Jerome “Bigfoot” Brailey. By the end of the 1970s, George Clinton’s P-Funk empire was crumbling.
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