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
Freak Of The Week
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yeah, gotta be gotta be freak of the week
Ooh, gotta be gotta be freak of the week
Yeah, gotta be gotta be freak of the week
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, tell by the company she keeps
She's a disco lovin' mama, at the disco's where you'll find her
Gotta be, she got to be freak of the week, yeah
Gotta be, got to be freak of the week, ooh
Gotta be, got to be freak of the week, yeah
Gotta be, she got to be freak of the week
She's a big freak, going to be freak of the week
She's a dancing interpretation of the meaning of syncopation
She's a big freak, going to be freak of the week
Don't give her that one move groovalistic,
That disco sadistic,
That one beat up and down it just won't do.
Don't give her that forever and ever foreplay,
She's not looking for the short way,
She's got to reach a point where she gets off.
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, (great big freak) going to be freak of the week
Gotta be, gotta be freak of the week, yeah
Gotta be, got to be freak of the week, ooh (x4)
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, going to be freak of the week
Don't give her that one move groovalistic,
That disco sadistic,
That one beat up and down it just won't do.
Don't give her that forever and ever foreplay,
She's not looking for the short way,
She's got to reach a point where she gets off.
Great big freak, she got to be freak of the week
She's a dancing interpretation of the meaning of syncopation
She's a big freak
Great big freak, got to be freak of the week
Yeah
Got to be a freak (x10)
Gotta be, gotta be freak of the week Yeah
Gotta be, gotta be freak of the week, Ooh
Gotta be, she got to be freak of the week, yeah
Gotta be, gotta be freak of the week, Ooh
Gotta be, she got to be freak of the week, yeah
I'm a big freak, going to be freak of the week
I'm a disco lovin' mama, at the disco's where you'll find me
I'm a big freak, I'm going to be freak of the week
I'm a dancing interpretation of the meaning of syncopation
She's a big freak, (great big freak) going to be freak of the week
Gotta be freak of the week
Gotta be freak of the week
Ooh, gotta be gotta be freak of the week
Yeah, gotta be gotta be freak of the week
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, tell by the company she keeps
She's a disco lovin' mama, at the disco's where you'll find her
Gotta be, she got to be freak of the week, yeah
Gotta be, got to be freak of the week, yeah
Gotta be, she got to be freak of the week
She's a big freak, going to be freak of the week
She's a dancing interpretation of the meaning of syncopation
She's a big freak, going to be freak of the week
Don't give her that one move groovalistic,
That disco sadistic,
That one beat up and down it just won't do.
Don't give her that forever and ever foreplay,
She's not looking for the short way,
She's got to reach a point where she gets off.
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, (great big freak) going to be freak of the week
Gotta be, gotta be freak of the week, yeah
Gotta be, got to be freak of the week, ooh (x4)
She's a big freak, going to be freak of the week
She's a disco lovin' mama, at the disco's where you'll find her
She's a big freak, going to be freak of the week
Don't give her that one move groovalistic,
That disco sadistic,
That one beat up and down it just won't do.
Don't give her that forever and ever foreplay,
She's not looking for the short way,
She's got to reach a point where she gets off.
Great big freak, she got to be freak of the week
She's a dancing interpretation of the meaning of syncopation
She's a big freak
Great big freak, got to be freak of the week
Yeah
Got to be a freak (x10)
Gotta be, gotta be freak of the week Yeah
Gotta be, gotta be freak of the week, Ooh
Gotta be, she got to be freak of the week, yeah
Gotta be, gotta be freak of the week, Ooh
Gotta be, she got to be freak of the week, yeah
I'm a big freak, going to be freak of the week
I'm a disco lovin' mama, at the disco's where you'll find me
I'm a big freak, I'm going to be freak of the week
I'm a dancing interpretation of the meaning of syncopation
She's a big freak, (great big freak) going to be freak of the week
Gotta be freak of the week
Gotta be freak of the week
The song "Freak of the Week" by Funkadelic celebrates a woman who loves disco and knows how to move to the rhythm. The lyrics suggest that she's not satisfied with simple grooves or short foreplay; she needs more to get off. The verses also mention how her love for disco is so strong that she's always at the disco, surrounded by people who are like her. The chorus repeats the lines "gotta be, gotta be freak of the week," signaling that this woman is the ultimate example of someone who loves to dance and is dedicated to the music.
The lyrics seem to celebrate women who love to dance and express themselves through movement. The woman mentioned in the song is not ashamed of her love for disco and doesn't shy away from being called a "freak." In this context, being a freak is not an insult, but rather a badge of honor for those who are passionate about music and dance. The song, with its catchy and repetitive chorus, encourages people to let loose and dance without inhibition.
Line by Line Meaning
Yeah, gotta be gotta be freak of the week
I must become the most unique and thrilling person of the week
She's a big freak, going to be freak of the week
She is a very peculiar and exceptional woman who will be the sensation of the week
She's a disco lovin' mama, at the disco's where you'll find her
She is a woman who enjoys dancing and spends most of her time at the disco
She's a big freak, tell by the company she keeps
Her unusual and weird personality is supported by the people she surrounds herself with
She's a dancing interpretation of the meaning of syncopation
She moves to the rhythm of music in a unique and creative way
Don't give her that one move groovalistic, That disco sadistic, That one beat up and down it just won't do.
She wants variety and diversity in dancing, not just one repetitive move or style
She's got to reach a point where she gets off.
She desires a moment of climax that will leave her satisfied
Great big freak, she got to be freak of the week
She is such an unusual and exceptional person that it's a must for her to be the star of the week
Gotta be, gotta be freak of the week
It's crucial for her to be the most exciting and bizarre person of the week
I'm a big freak, going to be freak of the week
I am an extraordinary and distinct person who will be the sensation of the week
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: JIMMY GRAY, AHMIR THOMPSON, KENYATTA V. WILLIAMS, TARIK L. COLLINS, JEREMY ALEXANDER HARDING, MALIK SMART, MOSES DAVIS, JEREMIH FELTON, DIJON MCFARLANE, KARL WILSON, CASYO VALENTINE JOHNSON, AMISH DILIPKUMAR PATEL
Lyrics Licensed & Provided by LyricFind
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Stanley Moss
We.must give over-do BIG props to ALL the P-Funk 🤘 Females. Heavenly voices😎
C III
Hell yeah! The brides of Funkenstein were as essential to the sound as Lyn Collins was to the JB's.
Ginneil hello I am interested in the Johnson
@C III qqaqa
mitch brown
I can't imagine a world without this sound and this musicianship...thanks to the funkgods!!
The Bryant Watkins Channel
The bass guitar in this jam is str8 wicked.
Allen Recinos
Probably my favorite bassline ever.
Wiggy74
The Bryant Watkins Channel GRAFILTHY!
tgmnmd
Jeff "Cherokee" Bunn
Joe Blow
That bass was a upright alwemxbic in drag Donnie sterling background viocies are truly good on a good day the drummer was louis
Chris Edwards
@Joe Blow Cherokee on bass