Live: P-Funk Earth Tour

Live: P-Funk Earth Tour is a 1977 Parliament live double album that documents the band's P-Funk Earth Tour of that year. The performances include songs from Parliament's albums through The Clones of Dr. Funkenstein as well as songs from the Funkadelic repertoire. The album is made up of portions of two performances from January 1977 at the Oakland Coliseum and the Los Angeles Forum.

The track "The Landing (Of The Holy Mothership)" is a musical montage that mixes clips of various P-Funk recordings with broadcast news-style commentary from George Clinton. The original vinyl release contained a 22 × 33" inch poster of George Clinton dressed as Dr. Funkenstein (photo by Diem Jones), as well as an iron-on t-shirt transfer that boasted the slogan "Take Funk To Heaven in '77!". "Parliament Live" became the group's third album to be certified gold. This was the first Parliament album to feature Dawn Silva, and Lynn Mabry as vocalists.

Track listing

"P-Funk (Wants To Get Funked Up)" – 6:13 (released as a 12" promo single-Casablanca NBD 20103 DJ)

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P-Funk Earth Tour

The P-Funk Earth Tour was a series of concerts performed by Parliament-Funkadelic in the mid-1970s, featuring absurd costumes, lavish staging and special effects, and music from both the Parliament and Funkadelic repertoires.

The P-Funk Earth Tour was ambitious from the start. Casablanca Records executive Neil Bogart gave George Clinton a $275,000 budget for production, the largest amount ever allocated for a black music act to tour. Clinton hired Jules Fischer as set designer, who had previously worked on tours for The Rolling Stones, KISS, and other rock bands. Both the show's music and production elements were extensively rehearsed at an aircraft hangar in Newburgh, New York. The show required seven trucks to transport its equipment and scenery. With a broad range of themes embodied in the show's production, culminating in the Afrofuturist landing of the P-Funk Mothership, author Rickey Vincent states that the P-Funk Earth Tour "drew from the ribald, uncensored entirety of the black tradition in mind-blowing ways no one had yet even attempted."Rolling Stone viewed the tour as embracing Clinton's "semiserious funk mythology" with "[a] mixture of tribal funk, elaborate stage props and the relentless assault on personal inhibition [that] resembled nothing so much as a Space Age Mardi Gras."The New York Times described the tour as featuring "superbly silly, lavish costumes" and an "opulent Baroque ... stage show".