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
Funk Gets Stronger Part 1
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
OWWWW!
Turn it over
Let the funk get stronger
Just a silly millimeter longer
Funk gets stronger
As it goes longer
Funk gets stronger
An armadillo millimeter longer
Funk gets stronger (x2)
Funkadelic say:
Funk gets stronger
Gorilla millimeter longer
In the old west
It's a killer millimeter longer
David and Goliath (funk gettin' stronger!)
This is what they say
Had a little run-in
David got his way
Broke old Goliath and
??? in his stash
David was funky
Funk em in a lash???
Funk gets stronger
Armadillo millimeter longer
A gorilla millimeter longer
Funk gets stronger (x2)
Funk gets stronger as it goes on, ha
Check it oh
Funk gets stronger
Sonny should've listened
But Cassius wasn't Clay
Floyd's still pattin'
trying to stop the day (gorilla millimeter longer)
Smokin' Joe was smokin'
It wasn't too long
The champ was still jokin'
You know what made him strong? ahhh-ha
Funk gets stronger
Oh, it's a Thrilla in Manilla longer
Float like a butterfly, sting like a bee
Funk gets stronger
Oh, ow!
As it goes on, just a silly millimeter longer (funk gets stronger)
Funk gets stronger
You keep holding me back
Put it where you know it belong (funk gets stronger)
Ho!
Yeah, yeah, yeah
Funk gets stronger
You never let the icing (gorilla millimeter longer)
Get in the way of my cake
Forget about the icing (gorilla millimeter longer)
Ooh, who could really fake (ow!)
So when you gonna do it, do it
Do it, do it, do it, do it
Do it, do it good
And then we can do it, do it
Do it, do it
We really wish you would
Funk gets stronger
I think I see Sly (funk gets sronger)
Hey Syl
Ah, Syl (funk gets stronger)
Everything I do from now on (funk gets stronger)
Is gonna be funky
I think that everything I do from now on (funk gets stronger)
Is gonna be funky
Everything I do from now on (funk gets stronger)
Is going to be funky
(x3)
Funk gets stronger
We'd love to take you home with us
We'd love to funk you home
Funk gets stronger as it goes longer
Silly, silly, really, killer millimeter longer
Funk gets stronger
Hey Sly! (funk gets stronger)
Boom-bum boom-boom (x3) (funk gets stronger)
Yeah yeah yeah yeah yeah yeah yeah yeah, ha ha (funk gets stronger)
Boom-bum boom-boom (funk gets stronger)
Yeah yeah yeah yeah (funk gets stronger)
Boom-bum boom-boom (funk gets stronger)
(we love you, yeah, yeah yes) (x3)
The opening lyrics of Funkadelic's "Funk Gets Stronger Part 1" repeat the phrase "turn it over, let the funk get stronger, just a silly millimeter longer." The phrase "turn it over," in this case, refers to flipping a vinyl record over to the B-side or physically flipping the record over. The lyrics suggest that the more the record plays, the stronger the funk gets. This interpretation is supported by the subsequent lyrics, where the authors reference a funky โarmadillo millimeter longerโ and a โgorilla millimeter longer.โ These lyrics suggest that funk is an ever-present force that accumulates and grows stronger over time.
The song's next set of lyrics seems to reference the biblical story of David and Goliath, suggesting that David's triumph over Goliath was made possible by his funkiness. The next verse presents references to different boxers, including Cassius Clay (Muhammad Ali), Floyd Patterson, and Joe Frazier, and implies that their strength and success in the ring were fueled by funk. The song concludes with a repetition of the phrase "everything I do from now on is going to be funky," cementing the idea that funk is a powerful force.
Line by Line Meaning
(OK...heh, heh, hey)
The song is about to start and the singer is drawing the audience's attention
OWWWW!
An exclamation indicating the energy and power of the funk that is about to start
Turn it over
The song is requesting the audience to change the side of a Vinyl record or tape cassette for the Funk performance
Let the funk get stronger
The song wants the Funk music to increase in its intensity and power
Just a silly millimeter longer
The increase in the intensity of the Funk is like a small unit of measurement, but enough to add to the power of the music
Funk gets stronger
Emphasizing the title, the singer reiterates that Funk becomes stronger as it goes on
As it goes longer
Funk music is at its strongest and most powerful when it is allowed to last longer
As they say in the great big state of Texas
A nod to Texas, USA where everything is supposedly better and more significant
An armadillo millimeter longer
The increase in power in Funk is like the size increase of an armadillo, a strange and mysterious mammal
Funk gets stronger (x2)
Singer reiterates the title again to reinforce the song's message
Funkadelic say:
Lyrics shift to represent the band Funkadelic saying some stuff
Gorilla millimeter longer
The increase in power in Funk is like the size increase of a Gorilla, a big and imposing presence
In the old west
Reference to the Wild West of America, where things were tough and rough
It's a killer millimeter longer
The increase in power in Funk is like the deadliest and most powerful moment of a gunfight in the old west
David and Goliath (funk gettin' stronger!)
A Biblical reference to the story of David and Goliath, but with the ongoing emphasis on the Funk music still becoming stronger
This is what they say
Introducing the next section of the lyric where a story is told
Had a little run-in
The fight between David and Goliath was not a friendly exchange; it was violent, and the singer wants the audience to recognize this violence
David got his way
Contrary to expectations, David won the confrontation with Goliath and proved stronger than him
Broke old Goliath and
David defeated Goliath but left him wounded and defeated
??? in his stash
The meaning of this line is unclear and ambiguous, but it may refer to Goliath's weapons or ornaments that he had in his possession
David was funky
The singer is drawing a parallel between David's strength and Funk music's power, underscoring how the music can inspire and motivate listeners
Funk em in a lash???
This line is unclear in meaning, but it may be interpreted as referring to how the victory over Goliath was so sudden and unexpected that it hit him quickly, almost like a lash or whip
Armadillo millimeter longer
The singer wants to remind the listeners that Funk music's power grows incrementally, but it is still present and noticeable
A gorilla millimeter longer
Emphasizes that Funk music's power comes from its gradual progress, much like the way gorillas grow in size and strength
Funk gets stronger as it goes on, ha
Final reminder in this section that Funk grows in strength and power over time
Check it oh
Breaking away to a new segment of the song lyrics, calling for the audience to pay attention
Sonny should've listened
An allusion to Sonny Liston, a boxer who lost to Muhammad Ali twice in the sixties because he wouldn't listen to his corners or officiants
But Cassius wasn't Clay
Cassius Clay is a reference to Muhammad Ali before he converted to Islam. This line implies that his name change represents a turning point in his career
Floyd's still pattin'
Floyd Patterson, a former world heavyweight champion, is comforting Liston and trying to help him despite his loss
trying to stop the day (gorilla millimeter longer)
The reference to 'stopping the day' is something like trying to stop time or an event that is happening. The gorilla-sized increase in Funk's power showcases the relentlessness of its strength and how unstoppable it is
Smokin' Joe was smokin'
Joe Frazier, Ali's rival, was also a famed boxer who smoked cigarettes occasionally and had once claimed he needed to smoke because it relieved the boredom leading up to fights
It wasn't too long
The singer introduces a short interlude and sets the stage for a twist that happened to Smokin' Joe
The champ was still jokin'
Referring to Muhammad Ali, who was still joking and playful despite the intense proceedings before a fight
You know what made him strong? ahhh-ha
Leads into an unexpected and brightening moment of the song
Oh, it's a Thrilla in Manilla longer
The Thrilla in Manila is the boxing match between Muhammad Ali and Joe Frazier that took place in Manila, Philippines in 1975. The song suggests that the match made Ali even stronger, intensifying his fighting spirit
Float like a butterfly, sting like a bee
An Ali quote that became synonymous with his style of fighting, suggests that he could dodge punches while hitting back with his own
Oh, ow!
The song shift to a sudden cry of pain, underscoring the intensity of the Thrilla in Manila fight
You keep holding me back
The singer is addressing an unknown entity that has been suppressing them and preventing their success
Put it where you know it belong (funk gets stronger)
An admonishment to the same entity, to put something (the Funk music?) in its right place so that it could flourish and achieve full potential
Ho!
A call to action, asking the listeners to pay attention and be aware
Yeah, yeah, yeah
A quick vocalization that prepares the listener for another stylistic shift in the song
You never let the icing (gorilla millimeter longer)
Metaphorically, the icing is something that adds to the beauty and decoration of a cake. The song wants to emphasize how Funk never receives the proper treatment it deserves in terms of appreciation and acceptance
Get in the way of my cake
Funk music is like a cake offering a delicious taste of life. The song wants to see the beauty in this music without distraction or hesitation
Forget about the icing (gorilla millimeter longer)
The song wants people to forget about any 'icing' that may distract from Funk music's true beauty: its raw, uplifting ability to inspire through music
Ooh, who could really fake (ow!)
The song recognizes how challenging it is to fake or fabricate greatness or talent, even for people who think they can. The 'ow!' shows how the struggle to achieve success can sometimes be challenging, painful, or unexpected
So when you gonna do it, do it
An exhortation for people to act and take control of their affairs, both in terms of creating Funk music or upholding its values and importance
Do it, do it, do it, do it
A repetition of the previous line to drive the message home. Like the previous line, it emphasizes the need to take action and achieve your desires or goals
Do it, do it good
An implication in this line is that it is easy to give lip service to a task, but harder to do it well and achieve the desired result. Mistakes are acceptable along the way to greatness, but actual execution and perfection are the most important aspects.
And then we can do it, do it
The song creates a positive atmosphere with the suggestion that the audience might be up for a collaboration or joint effort of some kind.
Do it, do it
Reiterating the lyrics as a way to get the audience excited to make magic together.
We really wish you would
The final plea by the singer to encourage the audience to take action and collaborate. The song wishes for the listeners to join together for the cause of great Funk music.
I think I see Sly (funk gets sronger)
The singer is now talking directly to someone, seemingly a member from the band Sly and the Family Stone. The increase in Funk's power coincides with their appearance.
Hey Syl
The singer continues to try and get the attention of someone in Sly and the Family Stone.
Ah, Syl (funk gets stronger)
The singer seems to have finally gotten Sly's attention as the Funk's power rises again.
Everything I do from now on (funk gets stronger)
The song concludes with the reiteration that everything the singer will create or perform from here on out will continue to contribute to the strength of the Funk's legacy, building upon its importance and place in the musical zeitgeist.
Is gonna be funky
A straightforward conclusion to the song, highlighting the importance and focus on Funk music and its continued strength and power.
(x3)
Repetition of the previous line three times to drive the message home and reinforce the theme of the song
We'd love to take you home with us
An interesting sentiment as the song concludes, with the singer expressing a desire to extend Funk's legacy and involve others in its creation and continuation
We'd love to funk you home
The song finalizes with the idea of bringing the fun home, sharing it with all fans who appreciate the music and want to continue to build on its strength and power.
Boom-bum boom-boom (x3) (funk gets stronger)
An increase in energy and sound, building up to the conclusion of the song and emphasizing Funk's continued strength
Yeah yeah yeah yeah yeah yeah yeah yeah, ha ha (funk gets stronger)
The song's energy crescendos in this section, pushing towards the conclusion with enthusiasm and exuberance
Boom-bum boom-boom (funk gets stronger)
Re-emphasizing the ascension of the Funk's power to its strongest point as the song concludes
Yeah yeah yeah yeah (funk gets stronger)
Final note re-emphasizing the Funk's strength and the continuation of its legacy
(we love you, yeah, yeah yes) (x3)
The final note of the song, again emphasizing love and a sense of collaboration, and tying together all the images and themes of strength, beauty, and joyousness in the Funk music tradition.
Lyrics ยฉ O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
DJ TONE
This album was definitely for the hardcore P-Funkers. Now can you imagine if Warner Bros. had of let George release this as a double album set?!?!?! Also how insane is it that Roger Troutman, Sly, Bootsy and George are all on this track!?!?! ๐ค๐พ๐ค๐พ๐ค๐พ๐ค๐พ
George Meier
Seeing as how George dissed sly on another track, yeah it's crazy. "take it to the stage" that's the track!
funktron4
Like most things George Clinton, this sounds contemporary and fresh-----30 years after it was recorded. Unfunkinbelievable.
chris edwards
George said he wanted to make music that woyld take people ten twenty years to understand
Daniel Dow
One of my favorite songs all time I love the funkedelics
Daniel Dow
Roll call she boogie check us out gotta luv it
Moody Hyadd
Legend has it that this album, when released threw a lot of people off...even hardcore Maggots. Like an OG once told me when I asked why: "It's one thing to say she's a freak never missing a beat, but whole 'nother thang to say, It's Shocking To Find That Your Mind Like Your Behind Get A Spanking In Due Time". I understood. Check the P on my page yo, but WARNING it's for the truly funky and not for those suffering from the Placebo Syndrome...smell me?
5050amd
Aye!
Chris Edwards
George threw folks off in the 60s when he went left and went psychedelic then went beyond again with every album since every Parliament and funkadelic album is a listening experience
Daniel Dow
My all time jam !!!