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
Baby I Owe You Something Good
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Self pity had got me down
You saved me from me, and from the bottom of my heart
Baby I owe you something good
You came (you came)
And you saw (you saw)
Don't you know that you conquered (conquered) whoa, my heart (my heart)
To the victors belong, belong, belong the spoils
Unreluctantly I submit. My heart told me that I should
(So) so enriched was my reward
Baby I owe you something good
I've loved (I've loved) and I've lost (I've lost) but that's alright
I blame, I blame, I blame, (I blame) myself (myself)
While this old heart of mine, Lord, it refuse
To love, to love, to love anyone else
And then you came and rectified
All the love this old heart had been denied
Then you saved me like you said you would
For this, I owe you something good
Unreluctantly, I submit
My heart told me that I should
Then you came along and saved me like you said you would
For this I owe you something good
The lyrics to Funkadelic’s “Baby I Owe You Something Good” suggest the singer’s recognition and appreciation for the positive impact their love interest had on them. The first verse makes it clear that the singer was in a bad place before meeting this person, as self pity had been getting them down. The person they are now singing to, however, saved them from themselves. The singer expresses that they owe their significant other something good from the bottom of their heart. This admiration and gratitude is further emphasized in the chorus, as they sing that their love interest “conquered” their heart and that they owe them something good.
The second verse delves more into the specific ways that their love interest has impacted them. They submit their heart to the person they love, feeling enriched in return. The singer seems to have had heartbreak before meeting this person, but they are now content with them and are not looking to love anyone else. This person has made them forget the pain they had experienced in the past. The third verse reveals that this person has brought back the love that the singer’s heart had been denied, and they saved them as they promised they would.
Overall, the song is a tribute to the joy and fulfillment that can come with finding a healthy and nurturing relationship. The singer recognizes the positive impact their love interest had on them, and wants to show their gratitude.
Line by Line Meaning
You came along just in time my love
You appeared at precisely the right moment to rescue me, my love.
Self pity had got me down
I was consumed by self-pity and feeling sorry for myself.
You saved me from me, and from the bottom of my heart
You rescued me from myself, from the depths of my being.
Baby I owe you something good
My debt to you is a great thing, and I must do something equally positive for you.
You came (you came)
You arrived (you arrived)
And you saw (you saw)
You observed (you observed)
Don't you know that you conquered (conquered) whoa, my heart (my heart)
Do you not realize that you have triumphed over my heart with great force?
Just like the Romans said
In the same way as the ancient Romans proclaimed
To the victors belong, belong, belong the spoils
The rewards are bestowed upon the victorious conquerors not just once, but three times
Unreluctantly I submit. My heart told me that I should
Despite any reservations, I give in and accept the truth that my heart has already acknowledged
(So) so enriched was my reward
My prize was so great, so bountiful
I've loved (I've loved) and I've lost (I've lost) but that's alright
I have experienced both passionate love and painful loss, but it is acceptable.
I blame, I blame, I blame, (I blame) myself (myself)
I take full responsibility for the situation, I blame myself.
While this old heart of mine, Lord, it refuse
Despite everything, this old heart of mine absolutely refuses
To love, to love, to love anyone else
To have romantic or passionate feelings for anyone else, besides you
And then you came and rectified
Then, you arrived and corrected everything
All the love this old heart had been denied
Every love or feeling my heart had been deprived of until then
Then you saved me like you said you would
You rescued me exactly as you promised to do
For this, I owe you something good
Therefore, I am indebted to you and should do something equally generous in return.
Unreluctantly, I submit
Without hesitation, I accept
My heart told me that I should
My heart prompted me to do what is right.
Then you came along and saved me like you said you would
You arrived and rescued me just as you had promised.
For this I owe you something good
Hence, I am indebted to you and should do something as equally valuable in return.
Lyrics © Kobalt Music Publishing Ltd.
Written by: George Jr. Clinton
Lyrics Licensed & Provided by LyricFind
Ingwar
You came along just in time my love
Self pity had got me down
You saved me from me, and from the bottom of my heart
Baby I owe you something good
You came (you came)
And you saw (you saw)
Don't you know that you conquered (conquered) whoa, my heart (my heart)
Just like the Romans said
To the victors belong, belong, belong the spoils
Unreluctantly I submit
My heart told me that I should
(So) so enriched was my reward
Baby I owe you something good
I've loved (I've loved) and I've lost (I've lost) but that's alright
I blame, I blame, I blame, (I blame) myself (myself)
While this old heart of mine, Lord, it refuse
To love, to love, to love anyone else
And then you came and rectified
All the love this old heart had been denied
Then you saved me like you said you would
For this, I owe you something good
Unreluctantly, I submit
My heart told me that I should
Then you came along and saved me like you said you would
For this I owe you something good
Barron Ingram
This song and i'll stay are two of the most underrated songs of all times😞
gmackrr
they are also, to me, the saddest. these 2 songs get me everytime.
Rashid Jackson
Imagine being a 5 yr old listening to this track and tripping off of the album cover for hours! Welcome to my blessed childhood
Dainger Mouz20
Just discovering this song for the first time in my life. It's a BEAST! D'angelo has gift for doing covers, I'd love to see/hear him tackle this one.
chris edwards
I would have loved to hear prince cover this or bad brains and Vernon reid
Michael Alexander
That would be DOPE!
jimi trower
I grew up with Parliament/Funkadelic, and would spend hours lost in the art on the album covers. I never understood the art, but I was fascinated by it, and the music. I was a member of Uncle Jams Army when I was nine years old. Funk is a big part of my life story.
Paul Daniel
Gary Shider is such a great vocalist
Luke Vankirk
My favorite ever.
Gives me great inspiration
Malika Brown
This sounds like a funk/rock spiritual! Love it! Love them!💜💜💜