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
Let's Take It to the Stage
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
They shoulda seen the bull when he funked the cow
He funked her so hard they saw some smoke
He said, let's get in the bed and funk like folks
Laughin' at ya (ha!)
Funk used to be a bad word
Sittin in the woods upon a log
My eyes on a hog
And I sat back
Laughin atcha!
Sittin in the woods upon a log
Finger on the trigger
My eyes on a hog
And I sat back
Laughin atcha!
Little miss muffet sat on her tuffet snorting some THC
Along came a spider, slid down beside her
Said: what's in the bag bitch
She said I'm laughin' at ya, ha, ha!
(Hey Fool and the Gang!)
Funk used to be a bad word
(Let's get it on! Let's take it to the stage)
Motherfunk you
Hit it!
Sittin in the woods upon a log
(Good god!)
Finger on the trigger
My eyes on a hog
And I sat back
(Earth, hot air, and no fire)
Laughin atcha!
(They call us the funk mob)
Ha, ha, ha, ha!
Sittin in the woods upon a log
Finger on the trigger
My eyes on a hog
And I sat back
(In your loose booty)
Laughin atcha!
(Ha! Dig)
Slick and the family brick, whatcha you doing?
Let's take it higher
Hey Sloofus, tell us something good
Ha ha ha!
(Laaaallala, lalalala) Those Crazios (Crazios!)
New type thing (New type thing)
Brand new funk (Brand new funk)
Ha!
Crazier than a sex maniac in a whorehouse with a credit card!
Say it loud, I'm funky and I'm proud (doing it to death!)
Say it loud, I'm funky and I'm proud (ha ha ha!)
Sittin in the woods upon a log
(Get it!)
(Hey Sloofus!)
Finger on the trigger
My eyes on a hog
(Tell us something good)
And I sat back
(Let's take it to the stage)
Laughin atcha!
(Funk used to be a bad word!)
(Hey where's the godfather at?)
Sittin in the woods upon a log
Finger on the trigger
(Now everybody trying to get down)
My eyes on a hog
And I sat back
(Tell him, when in doubt, vamp!)
Laughin atcha!
(Ha, ha, ha!)
(On the one!)
Sittin in the woods upon a log
(Tricky Dick wasn't worried about no incriminating Watergate)
Finger on the trigger
My eyes on a hog
(Information being on those tapes)
And I sat back
(That sucker didn't want y'all to dig on him trying to cop)
Laughin atcha!
(An ounce of that p-blow!)
Sittin in the woods upon a log
(Now he's a-laughin' at you yeah)
Finger on the trigger
My eyes on a hog
And I sat back
(They call us the funk mob)
Laughin atcha!
('Cause they funky in the White House too)
(Let's take it to the stage, y'all)
(Hit it)
The lyrics of Funkadelic's song Let's Take It to the Stage are suggestive and utilize double meaning to convey a message. The song starts with a reference to sexual intercourse through the metaphor of a bull and a cow. The use of the word 'funk' in this context highlights the sexual nature of the song. The chorus 'Laughin' at ya, ha! Funk used to be a bad word' suggests that the society's attitudes toward sex have changed and become more relaxed. The song also touches on drug use, with the reference to Little Miss Muffet snorting THC, implying the use of marijuana.
The lyrics also incorporate political references, with the mention of Tricky Dick, referring to Richard Nixon, who was the President of the United States at the time of the song's release. The mention of the White House in the last line of the song further emphasizes the song's political themes. Throughout the song, the phrase 'laughin atcha' is repeated, suggesting a sense of irony and humor in the face of societal norms and politics.
Line by Line Meaning
Everybody funking and don't know how
People are attempting to have fun and express themselves through music, but they lack the skills to do so effectively.
They shoulda seen the bull when he funked the cow
An animal engaged in a sexual act, which was observed by the singer and used as a metaphor for the wild and uninhibited nature of funk music.
He funked her so hard they saw some smoke
The intensity and passion of the sexual encounter between the bull and the cow was so great that it resulted in a visible, tangible manifestation of energy and heat.
He said, let's get in the bed and funk like folks
The singer is inviting and encouraging people to embrace the lively and vibrant spirit of funk music by engaging in the metaphorical act of 'funking' in a comfortable and intimate setting.
Laughin' at ya (ha!)
The singer is amused and entertained by the actions of others, who are struggling to keep up with the sophisticated and complex rhythms and sounds of funk music.
Funk used to be a bad word
The singer is reflecting on the controversial and subversive origins of funk music, which was once regarded as a taboo and vulgar form of expression.
Sittin in the woods upon a log
The singer is describing a peaceful and quiet setting, where he can reflect and meditate on his thoughts and feelings.
Finger on the trigger
The singer is indicating a readiness and willingness to take action or defend himself, even in a tranquil and calm environment.
My eyes on a hog
The singer is focused on observing and analyzing a particular subject in his environment, in this case a wild pig.
And I sat back
After taking a proactive and vigilant stance, the singer is now reclining and resting, suggesting that he is comfortable and at ease in his surroundings.
Little miss muffet sat on her tuffet snorting some THC
The singer is using a reference to a popular children's nursery rhyme to illustrate the prevalence and acceptance of drug use in modern culture.
Along came a spider, slid down beside her
The spider is used as a metaphor for someone who is attempting to seduce or coerce Miss Muffet in some way.
Said: what's in the bag bitch
The spider is demanding information from Miss Muffet, who may be carrying illicit substances or contraband.
She said I'm laughin' at ya, ha, ha!
Miss Muffet is unimpressed and mocking of the spider's advances, suggesting that she is confident and independent in her choices and lifestyle.
Slick and the family brick, whatcha you doing?
The singer is referencing a group or collective called 'Slick and the Family Brick', whose actions or motives are currently unclear or ambiguous.
Let's take it higher
The singer is calling for an escalation or intensification of the current situation, suggesting that things are not as lively or exciting as they could be.
Hey Sloofus, tell us something good
The singer is addressing a specific person or character named Sloofus and requesting some form of insightful or entertaining commentary.
(Laaaallala, lalalala) Those Crazios (Crazios!)
The singer is punctuating his lyrics with nonsensical or improvised sounds, adding to the overall playfulness and spontaneity of the song.
New type thing (New type thing)
The singer is referring to the innovative and original nature of funk music, which has always sought to push boundaries and introduce new elements and techniques.
Brand new funk (Brand new funk)
The singer is emphasizing the novel and unconventional qualities of their music, which they believe sets it apart from other genres or styles.
Crazier than a sex maniac in a whorehouse with a credit card!
The singer is using hyperbolic and outrageous imagery to suggest the extreme and exciting nature of funk music, which is intended to evoke strong emotions and reactions in listeners.
Say it loud, I'm funky and I'm proud (doing it to death!)
The singer is urging listeners to embrace and celebrate their enjoyment of funk music, despite any lingering stigmas or prejudices against the genre.
Sittin in the woods upon a log
The singer is returning to his serene and contemplative environment, indicating that this is a recurring theme or motif throughout the song.
(Hey Sloofus!)
The singer has again addressed the mysterious and possibly imaginary character named Sloofus, suggesting that they may be a symbolic or representative figure of some kind.
(Hit it)
The singer is signaling the start of a new section or transition in the song, indicating that the energy or intensity of the music is about to increase.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Garry Marshall Shider, George Jr. Clinton, William Earl Collins
Lyrics Licensed & Provided by LyricFind
Augusto Seidem
Lirix love
Everybody funking and don't know how
They shoulda seen the bull when he funked the cow
He funked her so hard they saw some smoke
He said, let's get in the bed and funk like folks
Laughin' at ya (ha!)
Funk used to be a bad word
Sittin in the woods upon a log
Finger on the trigger
My eyes on a hog
And I sat back
Laughin atcha!
Sittin in the woods upon a log
Finger on the trigger
My eyes on a hog
And I sat back
Laughin atcha!
Little miss muffet sat on her tuffet snorting some THC
Along came a spider, slid down beside her
Said: what's in the bag bitch
She said I'm laughin' at ya, ha, ha!
(Hey Fool and the Gang!)
Funk used to be a bad word
(Let's get it on! Let's take it to the stage)
Motherfunk you
Hit it!
Sittin in the woods upon a log
(Good god!)
Finger on the trigger
My eyes on a hog
And I sat back
(Earth, hot air, and no fire)
Laughin atcha!
(They call us the funk mob)
Ha, ha, ha, ha!
Sittin in the woods upon a log
Finger on the trigger
My eyes on a hog
And I sat back
(In your loose booty)
Laughin atcha!
(Ha! Dig)
Slick and the family brick, whatcha you doing?
Let's take it higher
Hey Sloofus, tell us something good
Ha ha ha!
New type thing (New type thing)
Brand new funk (Brand new funk)
Ha!
Crazier than a sex maniac in a whorehouse with a credit card!
Say it loud, I'm funky and I'm proud (doing it to death!)
Say it loud, I'm funky and I'm proud (ha ha ha!)
Sittin in the woods upon a log
(Get it!)
(Hey Sloofus!)
Finger on the trigger
My eyes on a hog
(Tell us something good)
And I sat back
(Let's take it to the stage)
Laughin atcha!
Sittin in the woods upon a log
Finger on the trigger
(Now everybody trying to get down)
My eyes on a hog
And I sat back
(Tell him, when in doubt, vamp!)
Laughin atcha!
(Ha, ha, ha!)
(On the one!)
Sittin in the woods upon a log
(Tricky Dick wasn't worried about no incriminating Watergate)
Finger on the trigger
My eyes on a hog
(Information being on those tapes)
And I sat back
(That sucker didn't want y'all to dig on him trying to cop)
Laughin atcha!
(An ounce of that p-blow!)
Sittin in the woods upon a log
(Now he's a-laughin' at you yeah)
Finger on the trigger
My eyes on a hog
And I sat back
(They call us the funk mob)
Laughin atcha!
('Cause they funky in the White House too)
(Let's take it to the stage, y'all)
(Hit it)
chris edwards
Ewf was cool but if you want dirty lowdown nasty funk nobodt did it better than pfunk
Ewf ecperimented with rock but funkadelic was doing metal and you can hear future hints od grunge and goth and rapmetal and screamo
Al mckay was cool but he never really let his freak flag fly like hazel and hampton
By 75 james wast as popular as he was his competition like pfunk was fresher and younger at the time jb was the master of the heavy groove and extended jam pfunk took notes
When bootsy fred wesley and macep joined gc he couldnt help imitating the jb sound
Kool and the gang and rufus was good but none of thrm could funk with the p
KIDSGOT xWall
When this first came out, my boy Kendall brought this to my house for me to hear. After listening to the first side, I picked up the needle and handed him his record. I gathered all of my Jackson Five albums, took them down the street and gave them to a girl named Shondra. Walked ten blocks to the nearest record store, bought this album, came back home and found religion.
Shadow
Well glory be - - - the funks' on thee:-)
peady64
You’ve been resurrected by the ParliaFunkadelicMent Thang......🤘🏽
George Moore
Kidsgot xwall those records you gave up was a wise decision. It had your mind brain washed and mine Like the osmonds one bad apple the Jackson ABC. I got zapped by bootsy rubber band album stretching out as a kid and never been the same
FGW
I wanna testify! I hear ya.
Jimmy Bum
It isn't one of the first diss tracks..It is the first diss record..45% of the reason why this album is timeless.
Edward Hill
One of the greatest Funkadelic albums of all time
Guy Johnson
This is the cut that hipped me to Funkadelic! Been rolling with them ever since...
Rick Jacobi
One of my favorite Funkadelic songs! I remember when this shit came out, the first time I heard it I was like DAAAY-UMM!!!
Ragnar Danneskjöld
Love this song since I was a kid (born in 1971 but my older cousin loved P-Funk) but after watching the live from Houston version last night but now I really love this song.