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
If You Got Funk You Got Style
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You're funkin' and you're styling all the while
When you got funk, you got class
You're out on the floor movin' your ass
She ain't conscientious about her talk
Don't give a damn about her walk
She gets to that and that's the funk?
I don't claim to be a super freak
She just want to dance to a freaky beat
She don't claim to be a cover girl
Don't claim to be, but give it a whirl
Go 'head, go 'head, go 'head (cover girl)
Go 'head, go 'head, go 'head (super freak)
Go 'head, go 'head, go 'head (she ain't)
Go 'head, go 'head, go 'head
If you got funk, you got style
You're funkin' and you're styling all the while
If you got funk, you got class
You're out on the floor movin' your ass
(x2)
Girl'll give it a whirl
Girl ain't a cover girl
She ain't a super freak
Girl ain't a super freak
She'll give it a whirl
Girl ain't a cover girl
She'll give it a whirl
Girl ain't a cover girl
Ain't a cover girl
She ain't a super freak
Need a freaky beat
She'll give it a whirl
Girl ain't a cover girl
She'll give it a whirl
Girl ain't a cover girl (need a freaky beat)
She'll give it a whirl (ow!)
Girl ain't a cover girl
She'll give it a whirl (she needs a super beat)
Girl ain't a cover girl (she needs a super...beat)
She'll give it a whirl
Girl ain't a cover girl
She'll give it a whirl
Girl ain't a cover girl
The lyrics of Funkadelic's "If You Got Funk You Got Style" pay homage to the funk culture of the 1970s. The song is full of funk-inspired lyrics, where the singer and the person they are talking about are completely comfortable in their own skin, even if society deems them unconventional. The funk culture embraced individuality, and the message in the song is that if you have the funk, then you have the confidence and style to be yourself. Being yourself is the ultimate class and style, and the lyrics invite listeners to join in and let loose on the dance floor.
Funkadelic's song "If You Got Funk You Got Style" is also about music, and how one moves to the beat. The song drove many people to the dance floor with its unstoppable rhythm and funkadelic beats. When you got funk, the lyrics suggest that you have the confidence to move your body and dance freely. The song's message is that life should be enjoyed, and one should let go and express themselves through music.
In conclusion, Funkadelic's "If You Got Funk You Got Style" not only celebrates funk music, but also celebrates individuality, freedom, and confidence. The lyrics encourage listeners to move to the beat and to embrace their uniqueness.
Line by Line Meaning
If you got funk, you got style
If you possess a sense of authenticity and innovation, you have a distinct and attractive manner
You're funkin' and you're styling all the while
You are exhibiting confidence and flair consistently and admirably
When you got funk, you got class
When you have a relaxed and creative approach, you exude refinement and sophistication
You're out on the floor movin' your ass
You are confident and bold in your movements and captivating others with your energy
She ain't conscientious about her talk
She isn't careful with her words or mindful of their effect
Don't give a damn about her walk
She doesn't care about her posture or how she carries herself
She gets to that and that's the funk?
She reaches a certain level of energy and excitement, and that constitutes having the 'funk'
When she does this funk she never stop
When she reaches this level of energy, she continues to perform with unstoppable enthusiasm
I don't claim to be a super freak
I don't allege that I possess exceptional talents or abilities
She just want to dance to a freaky beat
She desires to dance to an unusual and captivating rhythm
She don't claim to be a cover girl
She doesn't profess to embody the stereotypical standard of beauty
Don't claim to be, but give it a whirl
She doesn't assert that she has particular skills, but will still enthusiastically try
Go 'head, go 'head, go 'head (cover girl)
Encouraging her to try and model herself after the traditional beauty ideal
Go 'head, go 'head, go 'head (super freak)
Encouraging her to explore and develop her unique talents and attributes
Go 'head, go 'head, go 'head (she ain't)
Acknowledging that she isn't either of these ideals, but should still be confident
Girl'll give it a whirl
The woman in question is willing to give it a try
Girl ain't a cover girl
She doesn't fit the conventional beauty standard
She ain't a super freak
She doesn't possess unique or exceptional abilities
Need a freaky beat
She desires a rhythm that sets her apart or is non-conventional
She'll give it a whirl
She will try despite not aligning with conventional ideals
Girl ain't a cover girl (need a freaky beat)
Reinforcing that she doesn't match the beauty standard and desires an unusual rhythm
She'll give it a whirl (ow!)
She'll try with enthusiasm
She needs a super beat
She desires a rhythm that is awe-inspiring or impressive
Girl ain't a cover girl (she needs a super beat)
Reiterating she doesn't fit the traditional beauty standard and wants an outstanding rhythm
Girl ain't a cover girl (she needs a super...beat)
She doesn't embody the conventional beauty standard and wants a rhythm that is extraordinary
She'll give it a whirl
She will still try despite not aligning with conventional ideals
Girl ain't a cover girl
She doesn't fit the conventional beauty standard
She'll give it a whirl
She will try despite not aligning with conventional ideals
Girl ain't a cover girl
She doesn't fit the conventional beauty standard
Lyrics © A SIDE MUSIC LLC D/B/A MODERN WORKS MUSIC PUBLISHING, Peermusic Publishing, Kobalt Music Publishing Ltd.
Written by: BERNARD G. WORRELL, GEORGE JR CLINTON, WILLIAM(BOOTSY) EARL COLLINS
Lyrics Licensed & Provided by LyricFind
moehammondmedia
Hardcore Jollies is a masterpiece. A lot of people sleep on it.
Gary Robinson
Maybe one of their best album
Darius Olfus
Facts
HappyGo Lucky7
Agreed! This masterpiece got through tough times back in high school. ❤️🔥
Edward Hill
I'm a true believer in the funk it's a religion to me.. Parliment.. Funkadelic..& Booty's Rubber Band..rock on... I have my oldest brother to thank for putting me to the funk.. Thanks bro..Dennis DL Diablo Hill a Funkateer 4 life
HappyGo Lucky7
One of favorite songs! One of my favorite Funkadelic albums!
Nicolas Geiser
0:00 - 0:08 ...This intro !!! after so many years, still so good...
ebsuede
That Bootsy Bass Line
Squirlius DcMolen
That drums
Michael Williams
@Squirlius DcMolen qq