The extensive work of George Clinton with Parliament-Funkadelic continues to create new opportunities. In early February, the funk legend and members of the group from various eras performed with a symphony orchestra at the Detroit Opera House.

Joined by special guests like Living Colour’s Vernon Reid, Nona Hendryx, and Rahsaan Patterson, it was a memorable homecoming for the band members, who recorded much of their iconic work in the Motor City.

This event was a significant full circle moment for P-Funk guitarist Michael “Kidd Funkadelic” Hampton, who grew up just a few hours away in Cleveland, Ohio. His early days in music were quite simple, although he was associated with at least one local group, Eddie and the Ant Hill Mob, which eventually released a single titled “I'm a Number Runner.

This single was pressed by the now-legendary Boddie Recording Company, but copies from a reported printing of 1,000 have interestingly never surfaced. The Numero Group rescued the track from obscurity with a reissue in 2010. Hampton’s actual involvement in the song has been unclear, so we asked him about his experiences during that time.

Michael Hampton’s Early Days Prior to P-Funk

“I was just putting together anyone who could play an instrument. At that time, there was one saxophone player, Tyrone, and a drummer named Donnie Green,” he recalls in a recent interview with UCR when discussing his first bands in the area and any connections to the Ant Hill Mob. “We were just jamming on a little porch and playing our little lines. You know, nothing like a real band band.”

“Later on, I got to play some places that probably weren’t too popular with the musicians’ union,” he continues. “But as a novelty, they’d let some younger kids come in and play. We weren’t too bad. And being young, you can kind of get away with being not as terrible [as some other groups with older members].”

“But you know, it wasn’t too bad,” he laughs while reminiscing about those early formative moments. “I can’t say I had a band band, but that Ant Hill Mob sounds familiar [though Hampton also says he doesn’t remember doing any recording with the group, which was led by bassist and producer Eddie Robitson]. I just remember he was playing ‘Papa Was a Rolling Stone’ and I was wah-wah’ing on that part. It was just him and me playing at this one place.”

“Leo’s Casino was another spot we got to play,” he adds. “Just before it closed, they had a little stage where I got up there once and messed around. But there was no bona fide band [at that moment].”

Learning to Play From Pink Floyd

By the time Hampton was hired to play with Clinton and Funkadelic as a 17-year-old prodigy, he had become a seasoned player who quickly expanded his skills. This growth happened organically as it does for many young musicians. Alongside jamming with local musicians, he also listened to and played along with various records.

“I remember wanting to see Sly and the Family Stone, but I wasn’t old enough, so I didn’t get to attend the concerts I wanted,” he explains. “That led to trying to play around the neighborhood or wherever. We’d be in the backyard with an extension cord out the door trying to play ‘Money’ from Pink Floyd or something,”

“I borrowed albums from friends to learn songs they liked. I’d say, ‘Can I borrow your album?’ They’d let me borrow it, and of course, I’d invite them over [and] to play along with it,” he shares. “Later on, I could do more from memory. But I’m still learning [even now].”

Listen to Michael ‘Kidd Funkadelic’ Hampton on the ‘UCR Podcast’

The Legend of ‘Maggot Brain’

The well-known story is that Hampton secured his gig with Funkadelic in the early ’70s by playing a note-perfect rendition of the 10-minute solo for “Maggot Brain” at an after-party for the band. When guitarist Eddie Hazel left the group, 17-year-old Hampton received a phone call two weeks later asking if he wanted the job. He informed his paper route boss that he was quitting and hit the road to tour with the funk legends.

READ MORE: Top 10 Funkadelic Rock Songs

However, as Hampton shares with UCR, the story that he played that entire solo perfectly is somewhat of a myth. “[There were] There are so many nuances, but it was also about the effects they used in the studio,” he explains. “[Also] After I learned how they recorded it, I realized it’s like a studio baby; it’s an edited thing. So [I’m like], ‘Oh well, no wonder Eddie probably wasn’t playing it [the same way each night live], you know? He probably played what he played [in the moment during the studio sessions]. He wasn’t focused on replicating what was on record.’

“[Fans] Don’t miss those little [variations I might play differently]. They get the basics [and] if I can cover them; they seem fine with that,” says the guitarist. “The original is in my head when I’m playing; that’s as close as I can get without actually sitting down and researching it. It’s going to take putting in a lot of time into [be] something that some people probably wouldn’t even notice.”

Listen to Michael Hampton Play ‘Maggot Brain’ With Funkadelic

Hampton Keeps Funkin’

“Kidd Funkadelic,” as he became known, might be underselling himself regarding his ability to navigate the complexities of “Maggot Brain“, according to average P-Funk fans; however, his legacy is secure. He continues learning—as mentioned earlier—and this ongoing education keeps him working on new music.

His latest EP, Into the Public Domain, takes his collaborative spirit in an exciting new direction. Guests like Shooter Jennings and Phil Keaggy from Glass Harp contributed their talents to these recordings captured at various locations, including legendary Sunset Sound. It’s an enticing listen that seamlessly blends rock and world music with jazz and Western influences.

The name of the EP suggests that this recording process is just beginning. The tracks are being released under a public-domain license allowing artists, marketers, and filmmakers royalty-free use of all elements of the music.

Multi-track audio files of each song are available online for free remixing and sampling purposes. Fans and artists can find links on Hampton’s social media.

Watch Michael Hampton Play ‘Canyon Jam’

“I hope we can all connect through this music; whoever creates their own versions can continue doing so,” he says. “And then you’re not trying to [say], ‘Hey man, that’s mine.’ Can it just be ours? Look hey, [go ahead and] use that; just make it work.”

The music is available through traditional channels as both CD and streaming services; fans can also access this album uniquely via collectible trading cards featuring QR codes included with select purchases from Hampton’s Bandcamp store. There are certainly more distribution methods today compared to when Kidd first started out.

However, he’s excited about how everything came together for Into the Public Domain, which is planned as part of two EP releases along with a full album. “I hope we can keep going like this,” he concludes. “You know, it’s [good to not] think about it too much; just get something out there.”

Listen to Michael Hampton’s “Into the Public Domain”