“Black music ignited my imagination - I didn't even realize there were issues in the world. I was in a bubble, another universe. My parents and people in general in my life didn't tell me about a lot of things that would have discouraged me from following my dreams. I created an imaginary type of place where I could play music and everything is alright instead of going back to the past. Black music helped me to persevere and be more creative about going forward even though things may be a little funked up.”

Michael Hampton: Into the Public Domain

On December 13th, Parliament-Funkadelic legacy guitarist and Rock & Roll Hall of Fame member Michael Hampton will unveil Into the Public Domain, an EP produced by 9-time Grammy Award winner and Ruffhouse Records co-founder Joe “The Butcher” Nicolo. A founding father of power-funk electric guitar, Hampton edges into new territory on Into the Public Domain, a meld of rock and world music with jazz and western overtones, hallmarked by Michael’s trademark sizzling leads. Into the Public Domain inaugurates a series of two EPs and an album from Michael to be released from December 2025 through Spring of 2026, all on Nicolo’s personal imprint, Sound Mind Records. Each release will be available in digital, CD, and vinyl formats. After receiving his first guitar at age 10, a determined Michael became self-taught with the help of his bedroom radio, spending days on end playing along with Jimi Hendrix, Wes Montgomery and B.B. King records.

(Michael Hampton / Photo by Philip Samuel Smith)

After studying jazz guitar in high school, an impromptu backstage audition for George Clinton in 1974 earned 17-year-old Michael a seat on the Parliament mothership alongside the immortal Eddie Hazel, under the name “Kidd Funkadelic”. Michael’s colleagues include George Clinton, Bootsy Collins, Bernie Worrell, Maceo Parker, Fred Wesley & The JB’s, and others. Michael’s contributions to the Parliament Funkadelic catalog have also influenced famed artists like Prince, Red Hot Chili Peppers, Outkast, D’Angelo and Janelle Monáe, among many others. As of 2025, Michael has appeared on over 30 separate major label releases. Though best known for his role in the funk guitar pantheon, Hampton is also an accomplished multi-instrumentalist, with drums, keys, and synth programming credits across the Parliament discography.

Interview by Michael Limnios                Special Thanks: Howlin' Wuelf Media

How has the Black Music influenced your views of the world? What moment changed your music life the most?

Black music ignited my imagination - I didn't even realize there were issues in the world. I was in a bubble, another universe. My parents and people in general in my life didn't tell me about a lot of things that would have discouraged me from following my dreams. I created an imaginary type of place where I could play music and everything is alright instead of going back to the past. Black music helped me to persevere and be more creative about going forward even though things may be a little funked up.

How do you describe your sound, music philosophy and songbook? What keeps a musician passionate after five decades in music?

Over the top - full up on ten, sometimes even past. Depending on what I'm playing it could be 10 clean or 10 dirty. I want to feel it. I use a lot of mid range. My sound is a compilation of different influential guitarists from popular records. My music philosophy would be to always play with whatever I can hear musically... I'm always trying to play with it. To always play along with whatever sounds I can hear. What music does for people who can't play, veterans, people who gave service to their community is what keeps me passionate about playing.

Currently you’ve one more release with Joe Nicolo. How did that relationship come about? Do you have any stories about the making of the new EP albums?

I met Joe Nicolo through Philiptheartist. Joe is really funny. He's half producer, half comedian. He reminds me of the late Bernie Worrell who used to call me his little brother. Joe is like a brother to me.  

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?

When artists play - that they will try to mirror the parts that are on the original records with their own style. Some kind of being relevant to certain ways solos and music were played back in the day, and fusing it with the sounds of today. I like percussion a lot. I'd hate to imagine playing music without natural percussion and musical instruments.  

What are some of the most important lessons you have learned from your experience in the music paths?

Always be early!

“My music philosophy would be to always play with whatever I can hear musically... I'm always trying to play with it. To always play along with whatever sounds I can hear. What music does for people who can't play, veterans, people who gave service to their community is what keeps me passionate about playing.”

What are you doing to keep your music relevant today, to develop it and present it to the new generation?

I try to interact with younger artists. I would want to start remixing some current songs and add my own pulse.  

How has your experience with the “golden era” of Soul/Funk influenced the way you compose and perform today?

Be in sync. I'm always doubling someone I'm playing with.