When SHIRLEY HAYDEN [PARLET/P-FUNK] auditioned for Parliament-Funkadelic in singer Malia Franklin’s family basement, she was scared. It was the late 70s and, like every other artist raised in Detroit, she had already been a fan of George Clinton’s clan, then in the midst of recording the stank staple One Nation Under a Groove. “It was a hell of an audition,” she remembers. “The band was hot as hell and I had to show them what I had.” But Hayden was a triple threat—with the look, ability, and charisma to get it done. “It was natural,” she says.

It was so natural in fact that Shirley found herself recording, rehearsing and touring for such classics as Motor Booty Affair (1978), Gloryhallastoopid (1979), and Trombipulation (1980) —all while learning to navigate the waters without getting wet. “Each opportunity I was given to sing, to perform, I pushed myself into taking it because I was somewhat shy,” she explains.  “There’s a lot of different characters going on around here and I don’t know who’s who. It’s always 15, 20, 30 people around. I was trying to fit in… How do I fit in?”

Evidently, Shirley fit in just right. She was chosen to join a “second phase“ version of sister group PARLET, replacing the legendary Debbie Wright — (sister to Jim Wright aka Jay Double You!, and Shirley’s former boo) — and appearing on Invasion of the Booty Snatchers (1979) and Play Me Or Trade Me (1980). Hayden recalls it as a fun, beautiful, creative time. “The female energy,” she says. “We were all young and learning… I was an empty vessel just willing to soak it all in.”

Nonetheless, as exciting as it all was, Shirley also remembers things could get frustrating. “Here it is,” she says, recreating her headspace at the time. “Your dream is happening. You’re singing on a professional level… You’ve gone to the next level of your craft, which is exciting… You’re accepted by the masses.” Yet she found herself asking the same question over and over: “How am I going to get paid for doing this?” Indeed, which way the cash flowed wasn’t always clear, and she had responsibilities outside of going to yet another after-party—most importantly, a young daughter whom she had to leave for short periods in order to work. “I could not afford to hang,” she says.

On top of that, there was friction between bandmates—particularly about who should be out front. “It was vicious,” says Hayden, “because it created this tension.” However, it all seemed to be part of Dr. Funkenstein’s diabolical plan. “That’s what I believe George Clinton loved,” she explains. “He was fed off of the tension… He wanted to take all that energy and take it to the stage. That’s what made the show so exciting — because people were releasing all their inhibitions.” Still, the strain often meant that animosity and ambition overruled sisterly love. “It is a shame,” Shirley surmises. “And I don’t know why because each one of you is a star. The light shines on all of us… Why can’t we share the spotlight?”  

Hayden also has her issues with how the ladies of the P-Funk canon have been acknowledged since—or not so much. “I’m a little disappointed and don’t understand as to why the women haven’t really been spoken of by George Clinton publicly,” she says. “We’re still fighting for our place in the Parliament musical history of things… Our vocals were ultra-important, played a big part in the shaping of that sound.” It especially hurt her feelings when she was not invited to participate in Parliament-Funkadelic’s 2019 Lifetime Achievement Grammy Award ceremonies or celebrations, relegating her to watching it on TV in her living room. But instead of being bitter, she has an optimistic belief that her due is on the horizon. “There are parties and events and awards that are in the future,” she asserts. “And I’m looking forward to the accolades that are coming… This music is eternal. It’s timeless.”

Shirley still lives in Detroit, making always-on-the-one jams with a crew called Black Planet, which includes Danny “Blackman” Harris and Sean “Papa” Franklin. But she never knew how important what she took to the stage back then would still be right now.  “To look back and see the growth and the evolution is just mesmerizing,” she says. “To see how far I’ve come in my life… There was a lot of beautiful creative energy flowing at that time. So I am very appreciative of being chosen to be part of the sister group Parlet... I really do thank George Clinton for the opportunity. Had no idea that it would be part of my life today. I’m very proud of the work that we did.”

In this chillaxed, edutaining interview, Ms. Hayden describes the hidden meanings behind P-Funk lyrics, her love for jazz vocalists like Sarah Vaughn and “auntie” Billie Holiday, and what it was like working with Kid Rock during his rise to fame— earning herself gold, platinum, and diamond albums with residuals that still provide for her family today. Shirley also talks about that time Jeanette Washington screamed at her over the phone, why she thinks Trombipulation is underrated, and her deep personal relationship with her big bother and role model Garry Shider.

Produced & Hosted by Ace Alan
Cohosted by Jay Stone
w/ Content Produced by Patryce “Choc’Let” Banks and Jay Stone
Website & Art by 3chards
In-studio Photos by Debbie Jue
Engineered by Justin Ancheta & Alex Scammon w/ Domick Brown at Soul Graffiti Studios in Oakland, CA
…but we couldn’t have done it without Scott Sheppard

Intro track “I Can Never Be” from Basic Instructions Before Leaving Earth by the Funkanauts. Go get it wherever music is sold.

More from our guest

Check out these Shirley Hayden solo cuts, brought to you by Black Planet Music:

“Always On the One”

“Can You Feel Me?”