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
Loose Booty
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Eeny meeny miney moe
Catch a junkie by the toe
If he holler let him go
If he don't, do the loose booty
Loose booty
Skin it back and monkey it
Junkie twist
Loose booty
Nunsense!
Loose booty
Jack and Jill went up a hill
To get a pail of water
Jack fell down and broke his crown
And Jill went into a nod
And did the loose booty
Loose booty
Skin it back and monkey it
Loose booty
Junkie twist
Loose booty
Nunsense!
Loose booty
(Hit it!)
Willie went out on the block
To cop
She he got there, the pusher was gone
Cause he had a jones of his own
He did the loose booty
Loose booty
Skin it back and monkey it
Loose booty
Junkie twist
Loose booty
Nunsense!
Loose booty, loose butt
Little Jack Horner sittin' in a corner
Snortin' his New York dope
Pulled back a snort
Went into a nod
Wow, was he a dope
Loose booty
He did the loose booty
Junkie twist
Nunsense
Skin it back and monkey it
Loose booty, loose butt
Fly on, y'all
Super stupid
Yeah, yeah, yeah
Oh, oh
Yeah
Hit it
Super stupid
Hit it
Junkie twist
Skin it back and monkey it
Super stupid
Skin it back and monkey it
Junkie and twist
Hit it!
Super stupid
Hit it
Junkie twist
Super stupid
The lyrics to Funkadelic's song Loose Booty are difficult to unpack, as they contain a series of disjointed phrases and images that appear to have little in common. However, upon closer inspection, one can begin to see patterns and themes emerge. The song focuses on drug addiction and its consequences, particularly the way in which addiction can cause individuals to lose control of their bodies and minds. This is evident in lines such as "catch a junkie by the toe" and "Willie went out on the block to cop," both of which reference drug use.
The song also includes references to traditional nursery rhymes, such as "Jack and Jill" and "Little Jack Horner." However, these references are given a twisted, drug-fueled spin, as Jack and Jill go "into a nod" and Little Jack Horner is "snortin' his New York dope." The repeated phrase "loose booty" is likely a reference to the physical effects of drug use, which can cause the body to become sluggish and uncoordinated.
Overall, the lyrics to Loose Booty offer a dark, chaotic portrait of drug addiction and its impact on individuals and society. While the song may initially seem nonsensical or meaningless, it ultimately serves as a powerful commentary on the ways in which addiction can warp and distort reality.
Line by Line Meaning
Eeny meeny miney moe
Choosing randomly among options.
Catch a junkie by the toe
Finding and confronting a drug addict.
If he holler let him go
Releasing the addict if they resist help.
If he don't, do the loose booty
Performing the dance known as the 'loose booty' as a form of celebration for the addict accepting help.
Skin it back and monkey it
Moving one's body in a sensual and free manner.
Junkie twist
A type of dance move associated with drug culture.
Nunsense!
Expression of disbelief or surprise.
Jack and Jill went up a hill
Referencing a classic children's rhyme.
To get a pail of water
Performing a simple task or running an errand.
Jack fell down and broke his crown
An injury or setback.
And Jill went into a nod
Being under the influence of drugs, often to the point of passing out.
And did the loose booty
Performing the dance, often associated with partying or carefree behavior.
Willie went out on the block
A reference to the world of drug dealing and addiction.
To cop
To obtain drugs.
She he got there, the pusher was gone
Discovering that the expected source of drugs is unavailable.
Cause he had a jones of his own
Suggesting that the absent pusher is also an addict.
Loose booty, loose butt
Repeating the refrain and dance instruction.
Little Jack Horner sittin' in a corner
Referencing a classic children's rhyme character.
Snortin' his New York dope
Using a drug, referencing the location it was sourced.
Pulled back a snort
Taking a hit of a drug.
Went into a nod
Becoming heavily under the influence of the drug.
Wow, was he a dope
Suggesting both the drug use and the foolishness of the character.
Fly on, y'all
An encouragement or exclamation of excitement.
Super stupid
A nonsensical word expressing audacity or intensity.
Oh, oh
A sound of excitement or anticipation.
Hit it
Beginning a new section or call to action.
Lyrics © Universal Music Publishing Group
Written by: GEORGE S. CLINTON, HAROLD BEANE
Lyrics Licensed & Provided by LyricFind