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
Cholly
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And Beethoven was my thing
I dug jazz, I dug rock
Anything with a swing
Then I ran into a friend who told me there was so much more
Find the void that you missed
There is plenty to explore
(You want to take me?)
We'd like to take you, Cholly, when we roll
(Well, if you'd play me just a little bit more)
But if we play you just a little more
We'd love to take you, Cholly, when we go
Funk, gettin' ready to go
Funk gettin' ready to roll (what?)
Funk, gettin' ready to go
Funk gettin' ready to roll
Funk gettin' ready to roll gettin' ready to go?
No, they can't do that
Funk gettin' ready to go
Funk gettin' ready to roll
Funk gettin' ready to go
Funk gettin' ready to roll
I would dance, I would sing,
I could get lost in my dreams
I would fly, but never too high
'Cause my funk deserted me
Now that the door is open wide
And all my funk just can't hide
With the syndrome left behind
No, my funk just can't hide
We like to take you, Cholly, when we go
We like to take you, Cholly, when we roll
(They promise they would play one more time)
We'd like to take you, Cholly
"In Cholly", Funkadelic sings about Cholly, a music lover who thinks he knows everything about music but surprisingly finds out that there is much more to it. The opening lines are a testament to Cholly's love for music and the diverse genres he listens to, from Bach to jazz to rock. One can deduce from the song that Cholly is a music fanatic who is open to experiencing new sounds and exploring different options.
When Cholly meets up with his friends, they introduce him to the world of funk, the missing piece in his musical escapades. The song speaks to the allure of funk, its ability to ignite a passion in people and its ability to unite fans in a shared love for a genre. The chorus speaks to the friends' desire to take Cholly along on their musical journey, highlighting the contagious nature of funk.
Line by Line Meaning
I was strung out on Bach
Classical music was my obsession
And Beethoven was my thing
Beethoven was my favorite composer
I dug jazz, I dug rock
I was open to many music genres
Anything with a swing
I enjoyed music with a groove and rhythm
Then I ran into a friend who told me there was so much more
Someone expanded my music horizons
Find the void that you missed
Discover the music you haven't yet heard
There is plenty to explore
There are endless possibilities in music
We want to take you, Cholly, when we go
The band wants to bring Cholly with them
(You want to take me?)
(Cholly is surprised by the offer)
We'd like to take you, Cholly, when we roll
The band wants Cholly to come with them on tour
(Well, if you'd play me just a little bit more)
(Cholly agrees under certain conditions)
But if we play you just a little more
The band proposes playing another song as a deal
We'd love to take you, Cholly, when we go
The band really wants Cholly to join them
Funk, gettin' ready to go
The band is preparing to play funk music
Funk gettin' ready to roll (what?)
The band is excited to play live
No, they can't do that
The band's energy is too high to reign in
I would dance, I would sing,
Cholly used to enjoy music and perform
I could get lost in my dreams
Music was a source of comfort and imagination for Cholly
I would fly, but never too high
Cholly had ambition but also limitations
'Cause my funk deserted me
Cholly lost touch with the music they loved
Now that the door is open wide
Someone or something has rekindled Cholly's passion for funk
And all my funk just can't hide
Cholly's love of funk is becoming apparent
With the syndrome left behind
Cholly has shaken off whatever was holding them back
No, my funk just can't hide
Cholly is ready to let their funk out
We like to take you, Cholly, when we go
The band really wants Cholly to come with them
We like to take you, Cholly, when we roll
The band really wants Cholly to come on tour with them
(They promise they would play one more time)
(The band is making a promise to Cholly)
We'd like to take you, Cholly
The band wants Cholly to come along on their musical journey
Lyrics ยฉ Peermusic Publishing
Written by: GEORGE CLINTON, JR., WALTER MORRISON, WILLIAM(BOOTSY) EARL COLLINS
Lyrics Licensed & Provided by LyricFind
@augustoseidem5923
Love for lirix
I was strung out on Bach
And Beethoven was my thing
I dug jazz, I dug rock
Anything with a swing
Then I ran into a friend Who told me there was so much more
Find the void that you missed
There is plenty to explore
We want to take you, Cholly, when we go
(You wanna take me?)
We'd like to take you, Cholly, when we roll
(Well, if you'd play me just a little bit more)
But if we play you just a little more
(Maybe I will)
We'd love to take you, Cholly, when we go
You know right about that time I started
To analyze what they were trying to tell
Me, they said: "Come on, Cholly, we want to
Take you somewhere"
I didn't know where
They was trying to take me, next thing I
Know they were saying something like this:
Funk, gettin' ready to go-
Funk gettin' ready to roll (what?)
Funk, gettin' ready to go-
Funk gettin' ready to roll
(What in the world are they talking about?)
Funk gettin' ready to roll-gettin' ready to go?
No, they can't do that
Funk gettin' ready to go
Funk gettin' ready to roll-see Ive Bach-I love Beethoven
Funk gettin' ready to go
Funk gettin' ready to roll
I would dance, I would sing
I could get lost in my dreams
I would fly, but never too high
'Cause my funk deserted me
Now that the door is open wide
And all my funk just can't hide
With the syndrome left behind
No, my funk just can't hide
We like to take you, Cholly, when we go
We like to take you, Cholly, when we roll
(They promise they would play one more time)
But if we play you just a little bit more
We'd like to take you, Cholly, etc
You know
It was in my hands
It was in my feet
I got it all over me
Yes, I did, I got it all over me
Got to go, got to go
Got to go with the funk
Get ready
I would waltz, I would sing
I would get lost in my dreams
I would fly but never too high
'Cause the funk deserted me
Now that the door is open wide
And my funk I can't hide
(I must go with the funk)
@garrisonthad
I was strung out on Bach, and Beethoven was my thing
I dug jazz, I dug rock, anything with a swing
But I ran into a friend who told me there was so much more
Find the void that you missed there is plenty to explore.
Amen to that!
@sleazytooez2313
Man just imagine Glen Goins singing this jam! So unfortunate he departed before this and even worse he passed smh. One of the most underrated cuts in the P-Funk repertoire.
@gilbertboldenjr.3797
Man Glen would take you like we say in the DFW Church!
@faithbrinkley
It's not underrated. Those who know, know.
@chrisedwards3214
Glen was a huge loss he left the mob over money issues like everybody else who was tired of not getting paid and funking for free
@anthonytaylor7928
It's not underrated dum dum
@sleazytooez2313
@@anthonytaylor7928 what made you think that was an acceptable answer? Your mother clearly didnโt teach you how to interact with others. Iโm sorry she raised such a ๐คก that has to insult people instead of forming a cogent argument
@naakkve10
this is truly one of the best and most underrated tracks in the whole p funk catalog
@toneyisaiah408
That's Walter "Junie" Morrison playing on
the album. Toney Tillery Isaiah.
@ebntje
This is a bad ass cut.