Following closely on the heels of MOTHERSHIP CONNECTION, the group's undisputed high-water mark, THE CLONES OF DR. FUNKENSTEIN furthers George Clinton's conceptual and musical master plan to funkify the world. THE CLONES unravels the Funk Mob's cosmology and populates it with a cast of mythological characters that includes Starchild (introduced on MOTHERSHIP) and the Funk overlord himself, Dr. Funkenstein.

In the end, there's no questioning this album's impact, one that is still being felt via rap-induced aftershocks. In addition to its contemporary impact and continued longevity, the album was a massive success for Clinton and company upon its release in 1975, elevating the P-Funk collective to unparalleled heights in terms of audience. Some Parliament albums may be flawless, and others may be innovative, but this is the P-Funk zenith in more ways than one, perfect as well as perennial.

Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer. Allmusic 4,5/5