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Once he finally distanced himself in the early '80s from the massive kinetic force that was Parliament/Funkadelic and signed a solo contract with Capitol, he suddenly seemed rejuvenated in terms of creativity and enthusiasm. This freewheeling disposition comes across clearly on Computer Games, his first solo album. Of course, calling this a true solo album isn't exactly true, since Bootsy, Gary Shider, and Walter "Junie" Morrison all play a role in the album's success. Still, you get the sense that Clinton is firmly in control of this album, something you can't honestly say about the latter-day Parliament and Funkadelic records, and this sense makes the album quite revealing. Above anything, Clinton turns here to the early-'80s vogue for synthesizers and drum machines that would later become staples of hip-hop and techno production. This fetish for new studio technology still in its primitive stage gives the album a slightly stiff feeling, as the humans are replaced by machines, a very different style of funk. It's this proto-techno funk that colors the album's better moments, particularly "Atomic Dog," "Loopzilla," and the title track. If you're expecting the freewheeling style of his earlier work, you may be disappointed by the confined feeling of Clinton's '80s work. Ultimately, this album ends up being by far the best of Clinton's solo career, with nearly every song having its own character and its own strengths, while latter albums struggled to come up with anything as inventive or effective. Furthermore, no successive album has anything remotely as catchy as "Atomic Dog," a song that Clinton himself could never duplicate no matter how hard he tried on his next three albums. ─ Contact ───────────────────────────────────────────── ─── ─ ─ Contact us @ : #eos (efnet) █▀▀ ▀ ▀ ▀▀█ ▀█▀▓▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▓▀█▀ ▀▀▀▀▀▀ ▀ RIPPING AT ITS FINEST -- ECONOMY OF SOUND ▀ ▀▀▀▀▀▀