Funkadelic was originally the backing band for the doo wop group, Parliamen… Read Full Bio ↴Funkadelic 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
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
04-Sexy Ways
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I just want to say
That I love your sexy ways
I love you girl
Oh, I love you girl
Hey!
I just want to say
That I need you in so many ways
Baby, you're a turn-on
Oh, you turn me on
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Baby!
I just want to say
That I love your sexy ways
Come on and thrill me, mama
Oh, thrill me girl
Hey!
I just want to say
That I need you in so many ways
I just want to fffffoooo
All over you
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(x3)
Oh, baby
Hey, I love you girl
Oh, I love you girl, hey!
I just want to say that I need you in so many ways
Baby you're a turn-on, you turn me on
Oh, you do turn me on
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(x2)
Oh baby!
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(X2)
Baby!
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
That I love your sexy ways
I love you girl
Oh, I love you girl
Hey!
I just want to say
That I need you in so many ways
Oh, you turn me on
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Baby!
I just want to say
That I love your sexy ways
Come on and thrill me, mama
Oh, thrill me girl
Hey!
I just want to say
That I need you in so many ways
I just want to fffffoooo
All over you
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(x3)
Oh, baby
Hey, I love you girl
Oh, I love you girl, hey!
I just want to say that I need you in so many ways
Baby you're a turn-on, you turn me on
Oh, you do turn me on
I love all of you
And you sure enough got a lot
I want to help you use
What you got
I
Oh, I
I
Oh, I
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(x2)
Oh baby!
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
(X2)
Baby!
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
I
I,
Oh, I
The lyrics to Funkadelic's "Sexy Ways" are a straightforward expression of appreciation for a woman's sensual nature. The chorus repeats "I just want to say that I love your sexy ways" and "I just want to say that I need you in so many ways," emphasizing the physical attraction and desire present in the song. The singer expresses a desire to help the woman use what she's got, further emphasizing the sexual nature of the song. The verses are less focused on the sexual element and more on the emotional bond between the singer and the woman. The line "I love all of you, and you sure enough got a lot" can be interpreted in different ways, but it likely refers to the singer's admiration for the woman's personality and not just her physical attributes. The bridge, which includes the nonsensical syllables "dih-dih-dih dih-dih diby-diby doo-doo-doo-doo," is an opportunity for the band to showcase their musical chops and add a playful element to the song.
Line by Line Meaning
I just want to say
The singer is about to express their thoughts and feelings.
That I love your sexy ways
The singer admires the addressee's alluring mannerisms.
I love you girl
The singer expresses affection towards the addressee.
Oh, I love you girl
The artist emphasizes their love for the addressee.
Hey!
An exclamation of excitement or enthusiasm.
That I need you in so many ways
The singer conveys the importance of the addressee's role in their life.
Baby, you're a turn-on
The singer finds the addressee arousing or captivating.
Oh, you turn me on
The artist is sexually stimulated by the addressee's actions or presence.
I love all of you
The artist has a strong affection towards the addressee's entire being.
And you sure enough got a lot
The artist acknowledges the addressee's physical or personal attributes.
I want to help you use
The singer wants to assist the addressee in utilizing their talents or assets.
What you got
The artist refers to the addressee's capabilities, possessions, or qualities.
I
The singer refers to themselves.
Oh, I
The singer emphasizes their own feelings, thoughts, or actions.
Baby!
An affectionate term used to address the addressee.
Come on and thrill me, mama
The artist asks the addressee to excite, arouse, or stimulate them.
Oh, thrill me girl
The artist requests for the addressee to stimulate them in a sexual or excited manner.
I just want to say that I need you in so many ways
The singer reiterates their longing for the addressee's companionship, support, or love.
I just want to fffffoooo
The singer makes a nonsensical sound, possibly expressing their physical attraction to the addressee.
All over you
The artist expresses their desire to be physically intimate with the addressee.
Dih-dih-dih dih-dih diby-diby doo-doo-doo-doo
Non-linguistic sounds that add emphasis or emotion to the song.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
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Quentin Kirk
One of Funkedelics most underrated Jams,Str8 Classic
TM 1
Definitely!!!
floofytown
Agreed. When I first heard Blurred Lines and every time after, I was like "Marvin Gaye, totally that one Marvin Gaye song, absolutely". And I actually loved that it was in that genre, bringing back the good shit. Same drum groove as Got To Give It Up, same feel, same sonic palette, same falsetto vocals. Nothing infringing about it, just very inspired by a very specific Marvin Gaye song.
sunburNvegas
Can't we all just get along?! Such a classic & ode to reinventing music!!
EaztzerEdge
"I just wanna say that I love your sexy ways" & "what do they make them dreams for" are similar melodically, but sung in falsetto over a different beat with different words is a new creation. An homage. If the Chili Peppers wrote this song and it hit, no one would care. Thicke is an easy target. Artists like Marvin Gaye & George Clinton made the genre. Whether you hit the dance floor or hit the sack while their creation is playing, they are getting paid...well, George is at least. RIP Marvin.
monopolycriminals
After hearing this, and managing to "connect the dots", i think i'm gonna call my new "summer" hit single : BLURRED WAYS
DAVID WOLF
Really enjoy this song, the title song of the LP (Standing), and Blurred Lines, and all rhythm and blues!! Thank you for posting this way cool classic - DAVEDJ
Sebastian Nowicki
exactly dude. One of the beauties of it is the younger generation discovering the older music.
Eddie Bills
Funk be evolved, shine your 🔦 in the air tonight.
Jordie W.
MmmMMM! Funky as shut yo mouth! Also, that album art is a prime example of why I love collecting LPs. There's just something so tactile and joyful in sliding that slick vinyl onto the turntable and losing yourself in the fun, goofy details of the jacket and liner notes.