William “Billy Bass” Nelson, the original bass player for Funkadelic and a founding member of the Parliament-Funkadelic collective, died three days after his 75th birthday on January 31, 2026. Nelson was born on January 28, 1951.
The news of his death was revealed on the Facebook page of George Clinton. The cause of death was not specified, but Nelson had been receiving hospice care. A mistaken death announcement posted on January 26 was later retracted.
Nelson’s musical journey started in Plainfield, New Jersey, where he was employed at George Clinton’s barbershop during his teenage years. Clinton, recognizing his talent, recruited him into his doo-wop vocal group, the Parliaments.
The Parliaments had their breakthrough with the release of the single “(I Wanna) Testify” in 1967. The song achieved commercial success, ranking 20th on the pop chart and 3rd on the R&B chart, which paved the way for the group to venture into more experimental musical territory.
Nelson was instrumental in influencing the group’s future musical direction. He suggested the inclusion of guitarist Eddie Hazel, who went on to become a funk legend. Nelson also coined the name “Funkadelic”, which encapsulated the group’s unique blend of psychedelic funk-rock music.
Legal and contractual issues led to a rebranding of Clinton’s musical style, resulting in the birth of Funkadelic, an electric, guitar-driven funk band that blurred the lines between rock, soul, and psychedelic experimentation. Nelson’s bass style, a fusion of funk and rock elements, formed the backbone of the group’s rhythm section.
Nelson’s bass playing significantly influenced the sound of Funkadelic’s early and most impactful recordings. He participated in the 1970 Funkadelic album, which showcased the group’s innovative approach to funk music. That same year, his contribution to “Free Your Mind and Your Ass Will Follow” enhanced the band’s reputation for combining social commentary with sonic innovation.
His most acclaimed work was on “Maggot Brain” in 1971, an album that is widely considered one of funk music’s finest. He also played on Parliament’s “Osmium” album, further expanding the Parliament-Funkadelic musical universe.
Nelson left the original Funkadelic lineup in 1971 due to financial disagreements with Clinton, a recurring issue that later affected other band members. Despite the bitter separation, Nelson’s contributions during these early years remained critical to the group’s legacy.
After his departure from Funkadelic, Nelson pursued a varied career as a session musician and collaborator. He worked with the Temptations, introducing his unique bass style to one of Motown’s most renowned acts. He also collaborated with Lionel Richie, Smokey Robinson, and the Commodores, proving his ability to adjust his style to different musical situations while retaining his signature sound.
Nelson made amends with the Parliament-Funkadelic collective and rejoined P-Funk in 1994. He took part in tours and recordings with various offshoots of the original group. That same year, he released “Out of the Dark,” an album under the name O.G. Funk, demonstrating his ongoing creative energy and ties to the funk tradition he helped shape.
Nelson was recognized for his contributions to music in 1997 when he was inducted into the Rock and Roll Hall of Fame as part of Parliament-Funkadelic. His induction, along with 15 other members of the collective, acknowledged the collaborative nature of Clinton’s musical vision and the individual talents that made it achievable.
The induction into the Hall of Fame validated Parliament-Funkadelic’s significant influence on popular music. The group’s innovative fusion of funk, rock, soul, and psychedelia set a precedent that influenced numerous artists across various genres, including hip-hop producers who sampled their records and rock bands who adopted their experimental approach.
Nelson’s bass lines have had a significant impact on hip-hop music, with his work being widely sampled. The profound bass patterns he devised in the early 1970s laid the groundwork for numerous hip-hop tracks decades later, introducing his artistry to new generations of listeners unfamiliar with the original Funkadelic recordings.
Fellow bass players often cited Nelson as a source of inspiration. His readiness to experiment with tone and patterns expanded the perception of the bass guitar’s role in popular music. Instead of simply maintaining the rhythm, Nelson’s bass often acted as a lead instrument, creating unforgettable hooks and musical phrases that defined entire songs.
The barbershop where Nelson first met Clinton was more than just a workplace. It served as a creative hub where ideas were exchanged, songs were developed, and the foundations of a musical revolution were established. This informal, collaborative environment shaped the Parliament-Funkadelic ethos of collective creativity and boundary-pushing experimentation.
Nelson’s journey from barbershop worker to Rock and Roll Hall of Fame inductee exemplifies the transformative power of musical innovation and collaboration. His readiness to embrace new sounds, push technical boundaries, and take creative risks helped define a musical era that continues to resonate today.
Nelson’s influence extends well beyond his recorded works. He helped establish a musical philosophy that prioritized creativity, experimentation, and group effort over commercial formulas. This approach impacted not only funk music but also rock, hip-hop, and electronic music, creating waves that continue to reverberate through contemporary music decades after he first picked up his bass guitar in George Clinton’s barbershop.