Due to legal difficulties between Clinton and Revilot, The Parliaments' label Read Full BioFunkadelic was originally the backing band for the doo wop group, Parliament. The band was added in 1964, primarily for tours, and consisted of Frankie Boyce, Richard Boyce and Langston Booth. They enlisted in the army in 1966, and George Clinton (the leader of Parliament) recruited Billy Bass Nelson and Eddie Hazel in 1967, then also adding Tawl Ross and Tiki Fulwood.
Due to legal difficulties between Clinton and Revilot, The Parliaments' label, the name was abandoned in favor of Funkadelic, which consisted of the same group of people (that is, both the former Parliaments and their back-up band, now both combined in the name "Funkadelic"). The group signed to Westbound in 1968.
The group's self-titled debut album, Funkadelic, was released in 1970. The credits listed organist Mickey Atkins plus Clinton, Fulwood, Hazel, Nelson and Ross, though the actual recording also included several uncredited sessionmen then employed by Motown, as well as Ray Monette (of Rare Earth) and Bernie Worrell.
Bernie Worrell was officially credited starting with Funkadelic's second album, 1970's Free Your Mind... and Your Ass Will Follow, thus beginning a long collaboration between Worrell and Clinton (who had been friends for quite a while). Worrell would go on to produce many Parliament and Funkadelic albums, as well as play keyboard on albums by other members of P Funk.
After the release of Maggot Brain in 1971, Bootsy Collins and Catfish Collins joined the group. The brothers would go on to become major contributors to the P Funk sound. In 1972, this new line-up released America Eats Its Young, but many members left the group after that, due to internal squabbles, plus Hazel spending a year in jail for drug possession and assault and Tawl Ross experiencing a bad LSD trip and/or speed overdose, while Billy Bass quit due to financial concerns. Michael Hampton, a seventeen-year-old guitar prodigy, replaced Hazel.
1975 brought Funkadelic to Warner Brothers, and saw the release of Hardcore Jollies in 1976. The same year, Westbound released a compilation of archived tracks titled Tales of Kidd Funkadelic, which did significantly better than Hardcore Jollies and included "Undisco Kidd", a R&B Top 30 single. In 1977, Westbound capitalized on the success of Tales of Kidd Funkadelic by releasing The Best of the Early Years. Funkadelic recorded and released its magnum opus, One Nation Under a Groove in 1978. The title track spent six weeks at #1 on the R&B charts, while Parliament was enjoying success with "Flash Light" and "Aqua Boogie."
As the 1980s wore on, legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup among Parliament's record label, Parliament and Funkadelic disintegrated. George Clinton recorded several solo albums (sometimes under the name George Clinton & the P-Funk Allstars).
Filmmaker Yvonne Smith of Berkeley, California-based Firelight Media produced Funkadelic: One Nation Under a Groove, a full-length documentary about the groundbreaking group, which aired on PBS in 2005.
ALSO......
Though it often took a back chair to its sister group Parliament, Funkadelic furthered the notions of black rock begun by Jimi Hendrix and Sly Stone, blending elements of '60s psychedelia and blues plus the deep groove of soul and funk. The band pursued album statements of social/political commentary while Parliament stayed in the funk singles format, but Funkadelic nevertheless paralleled the more commercial artist's success, especially in the late '70s when the interplay between bands moved the Funkadelic sound closer to a unified P-Funk style.
In the grand soul tradition of a backing band playing support before the star takes the stage, Funkadelic began life supporting George Clinton's doo wop group, the Parliaments. After having performed for almost ten years, the Parliaments had added a rhythm section in 1964 -- for tours and background work -- consisting of guitarist Frankie Boyce, his brother Richard on bass, and drummer Langston Booth; two years later, the trio enlisted in the Army. By mid-1967, Clinton had recruited a new backing band, including his old friend Billy "Bass" Nelson (born January 28, 1951, Plainfield, NJ) and guitarist Eddie Hazel (born April 10, 1950, Brooklyn, NY). After several temporary replacements on drums and keyboards, the addition of rhythm guitarist Lucius "Tawl" Ross (born October 5, 1948, Wagram, NC) and drummer Ramon "Tiki" Fulwood (born May 23, 1944, Philadelphia, PA) completed the lineup.
The Parliaments recorded several hits during 1967, but trouble with the Revilot label backed Clinton into a corner. He hit upon the idea of deserting the Parliaments' name and instead recording their backing group, with the added vocal "contributions" of the former Parliaments -- same band, different name. Billy Nelson suggested the title Funkadelic, to reflect the members' increased inspiration from LSD and psychedelic culture. Clinton formed the Funkadelic label in mid-1968 but then signed the group to Detroit's Westbound label several months later.
Released in 1970, Funkadelic's self-titled debut album listed only producer Clinton and the five members of Funkadelic -- Hazel, Nelson, Fulwood, and Ross plus organist Mickey Atkins -- but also included all the former Parliaments plus several Motown sessionmen and Rare Earth's Ray Monette. Keyboard player Bernie Worrell also appeared on the album uncredited, even though his picture was included on the inner sleeve with the rest of the band.
Worrell (born April 19, 1944, Long Beach, NJ) was finally credited on the second Funkadelic album (1970's Free Your Mind...and Your A** Will Follow). He and Clinton had known each other since the early '60s, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for most later Parliament/Funkadelic releases. His strict upbringing and classical training (at the New England Conservatory and Juilliard), as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the horn arrangements and jazz fusion-inspired synth runs that later trademarked the P-Funk sound. Just after the release of their third album, Maggot Brain, P-Funk added yet another big contributor, Bootsy Collins. The throbbing bass line of Collins (born October 26, 1951, Cincinnati, OH) had previously been featured in James Brown's backing band, the J.B.'s (along with his brother, guitarist Catfish Collins). Bootsy and Catfish were playing in a Detroit band in 1972 when George Clinton saw and hired them.
The Clinton/Worrell/Collins lineup premiered on 1972's America Eats Its Young, but soon after its release several original members left the camp. Eddie Hazel spent a year in jail after a combination drug possession/assault conviction, Tawl Ross left the band for medical reasons relating to an overdose of LSD and speed, and Bill Nelson quit after more financial quarrels with Clinton. Funkadelic hired teenaged guitar sensation Michael Hampton as a replacement, but both Hazel and Nelson would return for several later P-Funk releases.
Funkadelic moved to Warner Bros. in 1975 and delivered its major-label debut, Hardcore Jollies, one year later to lackluster sales and reviews. The same year, Westbound raided its vaults and countered with Tales of Kidd Funkadelic. Ironically, the album did better than Hardcore Jollies and included an R&B Top 30 single, "Undisco Kidd." In 1977, Westbound released The Best of the Early Years while Funkadelic recorded what became its masterpiece (and arguably the best P-Funk release ever), 1978's One Nation Under a Groove.
During the most successful year in Parliament/Funkadelic history, Parliament hit the charts first with "Flash Light," P-Funk's first R&B number one. "Aqua Boogie" would hit number one as well late in the year, but Funkadelic's title track to One Nation Under a Groove spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach platinum (the same year that Parliament's Funkentelechy Vs. the Placebo Syndrome did the same). In 1979, Funkadelic's "(Not Just) Knee Deep" hit number one as well, and its album (Uncle Jam Wants You) reached gold status.
At just the point that Funkadelic appeared to be at the top of its powers, the band began to unravel. As is sometimes the case, commercial success began to dissolve several old friendships. In 1977, original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas had left the P-Funk organization to record on their own. In early 1981, they hit the R&B charts with a single called "Connections and Disconnections," recorded as Funkadelic. To confuse matters more, the original Funkadelic appeared on the charts at the same time, with the title track to The Electric Spanking of War Babies.
During 1980, Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record throughout the '80s as the P-Funk All Stars, but the decade's disdain of everything to do with the '70s resulted in critical and commercial neglect for the world's biggest funk band, especially one which in part had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) re-established the status of Clinton & co., one of the most important forces in the recent history of black music. ~ John Bush, Rovi
Can You Get to That
Funkadelic Lyrics
Jump to: Overall Meaning | Line by Line Meaning
Life had me
I was one among many
Or at least I seemed to be
Well, I read an old quotation in a book just yesterday
Said, "gonna reap just what you sow
The debts you make you have to pay"
Can you get to that?
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
I recollect with a-mixed emotions
All the good times we used to have
But you were making preparations
For the coming separation
And you blew everything we had
When you base your love on credit
And your loving days are done
Checks you signed with a-love and kisses
Later come back signed "insufficient funds"
Yeah, get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get
I want to know if you can get to that
When you base your life on credit
And your loving days are done
Checks you signed with love and kisses
Later come back signed "insufficient funds"
Y'all get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
The lyrics of "Can You Get to That" by Funkadelic seem to explore the theme of love and its consequences. The first stanza talks about being a part of the crowd but feeling like one among many. The quotation about reaping what you sow and paying for the debts you make reflects the idea that decisions have consequences, and we must always be mindful of our actions. The chorus, "Can you get to that," serves as a rhetorical question, challenging the listener to reflect on whether they can reach a place of understanding and self-awareness.
The second stanza delves deeper into the idea of love and relationships. The narrator talks about the mixed emotions that come when reflecting on a relationship, that seems to have ended without their consent. The lines, "When you base your love on credit and your loving days are done / Checks you signed with a-love and kisses later come back signed 'insufficient funds'," illustrate the ugly aftermath of relying on external factors to keep a relationship afloat. We might think we have everything under control, but love is not a transactional relationship, and when it comes to an end, it often leaves us feeling alone and empty-handed.
The song's ambiguous nature makes it open to interpretation, but at its core, it seems to be a cautionary tale about the perils of relying on superficial aspects to build our relationships. The upbeat and funky melody of the song makes it easy to overlook the deeper message that lies within the lyrics.
Line by Line Meaning
I once had a life, or rather Life had me
I used to think I was in control of my life, but now I realize that life itself is in control and dictates what happens to me
I was one among many Or at least I seemed to be
I used to think I was just like everyone else, but now I realize that I am unique and have my own experiences
Well, I read an old quotation in a book just yesterday Said, 'gonna reap just what you sow The debts you make you have to pay'
I recently read a quote that reminds me that you have to face the consequences of your actions and choices in life
Can you get to that?
Do you understand the lesson that I just shared? Can you relate to it?
I recollect with a-mixed emotions All the good times we used to have But you were making preparations For the coming separation And you blew everything we had
I have mixed feelings about the good times we shared in the past, but I am disappointed that you were planning to leave and destroyed everything we had together
When you base your love on credit And your loving days are done Checks you signed with a-love and kisses Later come back signed 'insufficient funds'
If you rely on superficial things like money or gifts to show your love, when those things disappear, you will be left with nothing and may even find yourself in debt
Yeah, get to that
Understand what I am telling you is important
Can you get
Do you get it? Do you understand?
When you base your life on credit And your loving days are done Checks you signed with love and kisses Later come back signed 'insufficient funds'
If you build your life on things that are temporary and not meaningful, you will eventually be left with nothing and may even face financial struggles
Y'all get to that
All of you listening should understand and learn from this lesson
Lyrics © Kobalt Music Publishing Ltd.
Written by: Erni Harris, George Jr. Clinton
Lyrics Licensed & Provided by LyricFind
laura lopez
LYRICS
I once had a life, or rather
Life had me
I was one among many
Or at least I seemed to be
Well, I read an old quotation in a book just yesterday
Said, "gonna reap just what you sow
The debts you make you have to pay"
Can you get to that?
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
I recollect with a-mixed emotions
All the good times we used to have
But you were making preparations
For the coming separation
And you blew everything we had
When you base your love on credit
And your loving days are done
Checks you signed with a-love and kisses
Later come back signed "insufficient funds"
Yeah, get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get
I want to know if you can get to that
When you base your life on credit
And your loving days are done
Checks you signed with love and kisses
Later come back signed "insufficient funds"
Y'all get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
I want to know if you can get to that
Can you get (I want to know)
I want to know if you can get to that (hey) (get to that)
Can you get (can you get to that)(I want to know)
6 7
I once had a life, or rather, life had me
I was one among many or at least I seemed to be
Well, I read an old quotation in a book just yesterday
Said "Gonna reap just what you sow
The debts you make you have to pay."
Can you get to that?
[Hook]
Can you get (I wanna know)
I want to know if you can get to that (hey! get to that!)
Can you get (can you get to that? I wanna know)
I want to know if you can get to that
I recollect with a-mixed emotions
All the good times we used to have
But you were making preparations
For the coming separation
And you blew everything we had
When you base your love on credit
And your loving days are done
Checks you signed with a-love and kisses
Later come back signed "insufficient funds"
Yeah, get to that
[Hook]
비정한세상
Can You Get to That
Funkadelic
Produced by George Clinton
Album Maggot Brain
[Verse 1]
I once had a life, or rather, life had me
I was one among many, or at least, I seemed to be
Well, I read an old quotation in a book just yesterday
Said, "Gonna reap just what you sow, the debts you make, you have to pay" (Can you get to that?)
[Chorus]
Can you get (I wanna know)
I wanna know if you can get to that (Hey, get to that)
[Verse 2]
I recollect with a-mixed emotions all the good times we used to have
But you were making preparations for the coming separation and you blew everything we had
When you base your love on credit and your loving days are done
Checks you signed with a-love and kisses, later come back signed, "Insufficient funds" (Yeah, get to that)
[Verse 3]
When you base your life on credit and your loving days are done
The checks you signed with love and kisses, later come back signed, "Insufficient funds"
Y'all get to that
J. Greaney
This morning my 20-something daughter was jamming this. I've done something right.
Matthew Allen
You are keep it going she will right on
Hank Smith
❤ Sure did
Pretty Much Dead Already
You don’t know how old your daughter is? 💀
Mr. ET
20 something? Bro you’re her dad 💀
Lance Sax
@New World good point actually
Rob Walsh
That acoustic guitar intro....every time....it just welcomes you home
MorningView4
Yep, This guy funkadelics.
Lance Sax
Home sweet home my guy
blackLiquid
Well done dad! lol I have the same feeling when mine likes awesome music too!