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
I Got a Thing You Got a Thing Everybody Got a Thing
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You got a thing
Everybody's got a thing
When we get together, doin' our thing
In order to help each other
In order to help your brother
I got a thing
You got a thing
When we get together, doin' our thing
In order to help each other
In order to help your brother
You don't drink what I drink
You don't smoke what I smoke
You don't think like I think
You don't joke like I joke
I got a thing
You got a thing
Everybody's got a thing
When we get together, doin' our thing
In order to help each other
In order to help your brother
The lyrics of Funkadelic's song I Got a Thing You Got a Thing Everybody Got a Thing celebrate individuality and diversity. The first stanza emphasizes that every person has their own unique "thing", which could be interpreted as their personal style, beliefs, or talents. However, when people come together with their different "things", they can use them to help each other and their community. The second stanza highlights how people's differences can sometimes create barriers, such as differences in taste or opinion. Despite this, the chorus reinforces the message that everyone has something valuable to contribute.
One possible interpretation of the song is that it promotes a sense of unity and cooperation that transcends individual differences. The repeated refrain of "I got a thing, You got a thing, Everybody's got a thing" suggests that every person should be valued for their unique qualities, rather than judged or ostracized for them. By celebrating diversity rather than trying to homogenize it, the song encourages people to work together despite their differences.
Another possible interpretation of the song is that it promotes an attitude of empathy and solidarity toward others. The line "In order to help your brother" suggests that people should be more concerned with the well-being of others than with their own interests. This message is reinforced by the repeated emphasis on helping each other and the use of "brother" as a metaphor for all people. In this interpretation, the song is a call to action for people to work together to build stronger communities.
Overall, the song I Got a Thing You Got a Thing Everybody Got a Thing celebrates the beauty of diversity and encourages people to work together to create a better world.
Line by Line Meaning
I got a thing
I have unique qualities and characteristics that make me who I am
You got a thing
You also possess unique qualities and characteristics that make you who you are
Everybody's got a thing
Every individual has their own distinct qualities and characteristics that set them apart from others
When we get together, doin' our thing
When we come together and express ourselves through our talents and abilities
In order to help each other
We support and empower each other through our shared passion and creativity
In order to help your brother
We collaborate and work together to uplift and benefit the community as a whole
You don't drink what I drink
We may have different preferences, habits, and tastes, but that's okay
You don't smoke what I smoke
Our differences don't define us nor should they separate us
You don't think like I think
We can learn from each other's perspectives and broaden our understanding of the world
You don't joke like I joke
Our sense of humor may differ, but we can still find common ground and share laughter
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@augustgreig9420
It is. You should check out, "Around the World in a Day," by Prince, especially the title track and, "Paisley Park." Both of those songs are extremely psychedelic by one of the Masters of funk.
And for a dramatic change of pace, check out TOOL. Their music does not fit into the classic archetype of "psychedelic rock," as it's normally labelled, " progressive metal," (though they pretty much cringe at the thought of being called metal). But it's psychedelic more in the way Pink Floyd is psychedelic, and even more so lyrically and visually.
Start out with, "Third Eye," from "Ænima," then "Lateralus," and "Reflection," from "Lateralus," "Lipan Conjuring," " Intension," (this on is absolutely fantastic, especially while tripping, such a positive message), and for a funny song(s), "Lost Keys (Blame Hoffman)/Rosetta Stoned."
And finally from their newest album, "Fear Inoculum," the title track, "Pneuma," "Descending," "Chocolate Chip Trip," (an amazing drum solo with electronics that sounds exactly like a DMT trip).
And "Invincible," which isn't as thematically psychedelic as the others, at least not in an obvious way, but it IS thematic in that it's about someone who's getting old, approaching death, and they refuse to accept it, by telling stories of past victories, and struggling to go back into battle as they search for the fountain o youth, trying to outrun time. It paints this person as someone who's done many evil things in their life, and rather than repent and accept death, they try to glorify all of their evil deeds while trying to find a way to live forever. It paints the picture of how wrong this is and one can infer that acceptance of death is the right way to go.
Good luck.
@talbino7821
One of the greatest 70s rock bands ever. It's a crime Funkadelic aren't more celebrated.
@axlrosesson6300
i dont think this is rock?
@Melmelbaton
@@axlrosesson6300 this is straight up rock, what are you talking about?
who says a funk band can't play rock music?
@chrisrj9871
@@axlrosesson6300 - This honestly goes between the 2. It starts off as funk, then it middles into hard rock... then it ends with a hard-rockin' funk. ... or is it a hard-funkin' rock...?
Either way, it's a real Jam!
@cleech74
@@Melmelbaton He must have not heard the One Nation Under a Groove album. To add to your clarification, The Meters are all about the funk, yet Mick Jagger gave them the distinction of being “the greatest fucking rock & roll band in the world.”
@christianhartman1603
@@axlrosesson6300
@CJDavis-ij4df
Tales From The Tour Bus brought me here. Better late than never
@harvident5703
Me too, i had to google the lyrics to find the song... I was born in 76 so this is one of those gems I missed
@manuelstutts1851
Mee too😄😄😄
@HUNTENT247
Same here.