Parlet -

Parlet was an American soul-funk vocal trio comprised of P-Funk backing singers. They released the 1978–80 Casablanca albums Pleasure Principle, Invasion of the Booty Snatchers, Play Me or Trade Me and scored R&B hits with “Ridin’ High” and “Wolf Tickets.”

Members: Mallia Franklin (1978-79), Debbie Wright (1978), Janice Evans (1979-80), Shirley Hayden, Jeanette Washington

Background

George Clinton formed Parlet in 1978 with singers Jeanette Washington, Debbie Wright, and Mallia Franklin.

Washington appeared as a background singer on James Brown recordings before Clinton added her and Debbie Wright to Parliament’s vocal lineup for the 1975 run that included Chocolate City and Mothership Connection. Wright had sung uncredited with Mallia Franklin on early P-Funk material before that Parliament tenure. Franklin, born Rosalind Mallia Franklin on March 3, 1952, knew Clinton before the P-Funk album era and introduced him to Bootsy Collins in 1971.

Clinton first called the group the Parlettes, then shortened the name to Parlet. Washington, Wright, and Franklin added vocals to tracks already cut for the project, and Clinton produced Pleasure Principle for Casablanca Records.

Pleasure Principle

Parlet released their debut album, Pleasure Principle, on February 24, 1978, on Casablanca.

The album contains six songs and presents the Franklin–Washington–Wright vocal lineup with a broad Parliament–Funkadelic studio cast. P-Funk songwriter Ron Dunbar co-wrote the closing track with drummer Gary Cooper.

“Pleasure Principle” struts over a high-stepping bass pattern while Parlet trade leads and return to nonsense-syllable chants. “Love Amnesia” snaps from popping low-end figures and handclaps into bright vocal replies. “Cookie Jar” coils around a churning guitar figure, descending keyboard turns, and a dry acoustic strum at each verse close.

“Misunderstanding” slows into ballad time while brass accents cut through the vocal blend. “Are You Dreaming?” places the trio over a polished dance pattern with rounded ensemble backing. “Mr. Melody Man” closes in ballad mode and frames the lead with fuller orchestral backing.

A1. “Pleasure Principle” (8:54) – Clinton, Ford, Worrell
A2. “Love Amnesia” (5:10) – Clinton, Dunbar, Nelson
A3. “Cookie Jar” (5:30) – Haskins

B1. “Misunderstanding” (7:20) – Clinton, Ford, Worrell
B2. “Are You Dreaming?” (6:58) – Brown, Shider, Clinton
B3. “Mr. Melody Man” (4:55) – Dunbar, Cooper

The album credits more than twenty supporting musicians, including guitarist Garry Shider, guitarist Michael Hampton, bassist Billy Bass Nelson, drummer Jerome Brailey, and keyboardist Bernie Worrell. The horn roster lists Fred Wesley, Maceo Parker, Rick Gardner, and Richard Griffith.

George Clinton produced Pleasure Principle in 1978 at United Sound Systems in Detroit with recording engineers Jerry Estes, Jim Vitti, and Mike Iacopelli. Clinton oversaw the project ahead of Funk or Walk by the Brides of Funkenstein, another group of P-Funk singers.

Pleasure Principle features cover illustration by Shusei Nagaoka, whose image places the trio inside a metallic spacecraft interior. Nagaoka created similar sci-fi/fantasy visuals for 1976–78 sleeves for Caldera, Earth Wind & Fire, Electric Light Orchestra, Flight, Jefferson Starship, Mandre, Maze, Ollie Baba, Shalamar, and Space.

Casablanca lifted “Pleasure Principle” in March 1978 as a single (b/w “Pleasure Principle, Pt. II”), which reached No. 66 on the Billboard Hot Soul Singles chart. “Cookie Jar” followed in July 1978 (b/w “Are You Dreaming?”).

Pleasure Principle reached No. 55 on the Billboard R&B Albums chart.

Invasion of the Booty Snatchers

Parlet released their second album, Invasion of the Booty Snatchers, in June 1979 on Casablanca.

Parlet recorded the album during a vocal-lineup change: Jeanette Washington and Shirley Hayden appear with departing member Mallia Franklin and incoming member Janice Evans. Ron Dunbar co-wrote all six songs, including four with George Clinton and two with bassist Donnie Sterling.

“Ridin’ High” snaps into a synth-led dance charge. “No Rump to Bump” works a flatter dance refrain with less vocal spark. “Don’t Ever Stop (Lovin’ Me, Needin’ Me)” drops into sparse percussion and a slinking low-end pattern under close lead phrases. “Booty Snatchers” opens on odd vocal figures before the title refrain takes hold. “You’re Leaving” stomps through a vocal-led cut with unstable tonal turns. “Huff-N-Puff” closes with storybook text, darker keyboard figures, and a firmer band push.

A1. “Ridin’ High” (7:40) – Dunbar, Sterling
A2. “No Rump to Bump” (6:10) – Sterling, Dunbar, Vitti, Clinton
A3. “Don’t Ever Stop (Lovin’ Me, Needin’ Me)” (7:13) – Goins, Dunbar, Clinton

B1. “Booty Snatchers” (5:50) – Dunbar, Clinton, Bishop
B2. “You’re Leaving” (6:26) – Cooper, Clinton, Dunbar
B3. “Huff-N-Puff” (7:17) – Dunbar, Hampton

The session credits name more than thirty supporting players, including guitarist Garry Shider, guitarist Michael Hampton, bassist Bootsy Collins, drummer Frank Waddy, and keyboardist Bernie Worrell. The horn roster lists Bennie Cowan, Greg Boyer, and Greg Thomas.

George Clinton and Ron Dunbar produced Invasion of the Booty Snatchers in 1979 at Alpha Audio in Richmond and United Sound Systems in Detroit.

Ronald “Stozo” Edwards illustrated the cover, whose image shows cartoon aliens and running figures against a black field.

Casablanca lifted “Ridin’ High” in April 1979 as a single (b/w “Ridin’ High, Pt. 2”), which reached No. 49 on the Billboard Hot Soul Singles chart. “Don’t Ever Stop (Lovin’ Me, Needin’ Me)” followed in June 1979 (b/w “Huff-N-Puff”).

Invasion of the Booty Snatchers reached No. 73 on the Billboard R&B Albums chart.

Play Me or Trade Me

Parlet released their third album, Play Me or Trade Me, in May 1980 on Casablanca.

Jeanette Washington, Janice Evans, and Shirley Hayden form the vocal lineup, and Washington receives a songwriter credit on “Funk Until the Edge of Time.” The album contains seven songs, with Ron Dunbar in five songwriter credits.

“Help From My Friends” opens with bright piano, metallic brass accents, hi-hat rolls, and wide group vocals. “Watch Me Do My Thang” starts with chanted vocal rhythm, then thickens around a dense midsection and a sharp synth break. “Wolf Tickets” rides a steady one-count beat while voices cut across brass responses and a large downbeat.

“Play Me or Trade Me” gives the vocal parts room to stack, answer, and braid through the break. “I’m Mo Be Hittin’ It” presses low descending figures against handclaps and close lead entries. “Funk Until the Edge of Time” slows the step and stretches unison vocals across sustained low notes. “Wonderful One” closes as a compact ballad with deep backing voices and high vocal reaches near the fade.

A1. “Help From My Friends” (5:57) – Dunbar, Lampkin
A2. “Watch Me Do My Thang” (4:38) – Dunbar, Collins
A3. “Wolf Tickets” (8:58) – Ali, Clinton, Johnson

B1. “Play Me or Trade Me” (5:00) – Dunbar, Ford, Clinton
B2. “I’m Mo Be Hittin’ It” (4:52) – Dunbar, Shider, Clinton
B3. “Funk Until the Edge of Time” (4:46) – Pannell, Washington, Dunbar
B4. “Wonderful One” (4:11) – Dunbar, Mosson

The album credits more than thirty supporting musicians and singers, including guitarist Michael Hampton, guitarist Garry Shider, bassist Lige Curry, drummer Tyrone Lampkin, and keyboardist David Lee Spradley. The horn roster lists eleven names, including Fred Wesley, Maceo Parker, Greg Boyer, Greg Thomas, and Bennie Cowan.

George Clinton and Ron Dunbar co-produced Play Me or Trade Me in 1980. Ronald “Stozo” Edwards illustrated the cover, whose image places three cartoon women on a green reptile figure over a corner scatter of gaming symbols and small figures.

Casablanca lifted “Wolf Tickets” in April 1980 as a single (b/w “Wolf Tickets, Pt. II”), which reached No. 67 on the Billboard Hot Soul Singles chart. “Help From My Friends” followed in July 1980 (b/w “Watch Me Do My Thang”) and reached No. 73 on the same chart.

Discography: