Milestones: Standing On the Verge of Getting It On by Funkadelic
While Funkadelic came into their own in throughout the '70s, this essential sixth record hints at the transition of the first phase.
Unhindered by mainstream expectations, Funkadelic, under the expert orchestration of George Clinton, carved out a unique niche, melding the raw verve of blues and rock into an eclectic psychedelic funk sound. This distinctive sonic concoction was often crafted under the influence of hallucinogenic substances and suited best to an audience who partook in these same stimulants. The group’s sixth offering, Standing On the Verge of Getting It On, contained some of their most experimental and abstract creations. Dating back half a century, its cryptic nature helps Funkadelic’s unmatched boldness, even within their unconventional discography. Unlike their conceptually driven works, this album thrives on its singular vision and obstinate adherence to eccentricity.
The reintegration of Eddie Hazel, lead guitarist extraordinaire, lends Standing On the Verge of Getting It On more than just a touch of intrigue. Hazel, despite not being an original member, played a significant role in the evolution of Funkadelic from a doe-eyed doo-wop troupe, the Parliaments, to an unorthodox collective of psychedelic savants. His reputation solidified after a staggering 13-minute guitar opus in their third album, Maggot Brain. His contentious departure from the group in 1971 due to a disagreement with Clinton regarding royalties led to a sparse contribution in the subsequent albums.
Hazel’s re-entry into the active lineup was far from straightforward. Despite evident involvement in production, even co-authoring all songs, he was curiously absent from credits for half the album’s tracks. Speculation suggests Hazel’s mother, Grace Cook, received these unorthodox credits to sidestep potential royalties disputes in anticipation of Hazel’s impending prison stint on charges of drug possession and assault. Despite these complications, Hazel shines through every groove in Standing On the Verge. More than most other Funkadelic projects, this album is guitar-centric, with Hazel’s imaginative riffs and solos forming its skeletal structure. Clinton and Hazel stay true to a familiar lyrical narrative encompassing stories of young women seeking love, band members’ romantic pursuits, the despair of lost love, and the signature motif of freeing one’s mind, leading to physical liberation.
On occasions, Hazel’s virtuosic guitar work threatens to drown out all else. In “Alice in My Fantasies,” the ensemble shapes an almost punk-rock oeuvre with Hazel’s powerhouse riffs in danger of swallowing Clinton’s vocals. The narrative pays tribute to the titular Alice, intrigued by the prospect of carnal sins for Clinton’s gratification. The original conception of the song as an instrumental piece for live improvisation is an unsurprising revelation, given its kinetic energy. “Red Hot Mama,” mirroring the verve of “Alice in My Fantasies,” weaves a symphony of rich lyrics into its lively musical fabric. Hazel’s resounding guitar riffs infuse life into this narrative of a captivating Louisiana country damsel navigating through the exhilarating vibe of Savannah, Georgia.
The adaptation on this record demonstrates a relatively subdued approach when contrasted against its Parliament funk 45 RPM counterpart, which skirts the peripheries of heavy metal. Elements of soulful tradition manifest in other songs from Standing On the Verge, setting a paradigm for Funkadelic’s interpretation of “funk” and laying the foundation for their evolving musical persona. These tracks reverberate with the echoes of Parliament’s Up for the Down Stroke, slated for imminent release. These familiar undertones would later guide Clinton in steering Funkadelic toward a broader audience spectrum, albeit without compromising their idiosyncratic quality.
The album’s eponymous song emerges as one of Funkadelic’s finest funk anthems. It’s an energetic composition, with Hazel’s captivating guitar riffs and memorable vocal accompaniment imparting unique dynamism. The group calls upon the listener to remain open to the idea of funk and allow Funkadelic to serve as their musical beacon. “Sexy Ways” stands as yet another exceptional funk number, its mesmerizing melody and compelling vocals helmed by Gary Shider.
In The Parliaments’ “I’ll Wait,” Funkadelic reimagines the weighty doo-wop ballad as a heavy-hearted lament in their rendition, “I’ll Stay.” Hazel’s guitar articulates the sorrow like a doleful sob, underlined by a robust bassline. Echoes of the original song’s doo-wop flair are traceable in the revamp as the group nostalgically yearns for the absent woman they adore. Shider, as the lead vocalist, resigns himself to awaiting her return, pushing the notion that she’s merely in the throes of a passing affair, vowing celibacy until she restores herself in his world.
“Good Thoughts, Bad Thoughts” unfolds as the polar opposite of “Alice in My Fantasies” and a follow-up to Maggot Brain. The prodigious 12-minute composition opens akin to “Maggot Brain,” featuring Hazel’s lengthy, intricate guitar solo. Yet, in contrast to “Alice,” the mix causes the guitar to seem remote, as though one perceives it from an adjacent room or beyond the confines of a concert space. The song softly retreats around the halfway mark, only to revive with Clinton’s spoken word segment subtly set against the remote guitar solo. Dipping into vocal modulation, Clinton turns philosophical, emphasizing the power of positivity; while the latter half does not stand as formidable as the initial course, Hazel’s artistry sustains the momentum.
Standing On the Verge, despite Funkadelic’s sustainability through the ‘70s and early ‘80s, signified one of the initial precursors to the group’s first phase closing chapter. Less than a year later, Clinton and the team graced us with Let’s Take It to the Stage, acclaimed as one of the ensemble’s finest works. The eventual skyrocketing success of Parliament’s incarnation redefined the group’s musical character. Even with their melodies growing more mainstream, the Parliament-Funkadelic collective continued to entertain grand concepts and aural unity. Standing On the Verge, like their other works, laid the bedrock for future records. The good thoughts seeded on this album flourished and remained a cornerstone of their legacy.