Funkadelic was originally the backing band for the doo wop group, Parliamen… Read Full Bio ↴Funkadelic was originally the backing band for the doo wop group, Parliament. The band was added in 1964, primarily for tours, and consisted of Frankie Boyce, Richard Boyce and Langston Booth. They enlisted in the army in 1966, and George Clinton (the leader of Parliament) recruited Billy Bass Nelson and Eddie Hazel in 1967, then also adding Tawl Ross and Tiki Fulwood.

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.

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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

No Compute
Funkadelic Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Ah, I awakened from a wet dream in which I was restless
My imagination could no longer take me there
So I slid into my copping haberdashery
And gave into the original Jones, sex.

Now my sexy Jones was below sea level
The hornies occupied my being
I was at that stage where most men would say,

"Hey ho', it's your life or your lay."
But I was cooler than that.
She said, "No compute."

I spotted a lady who was also on the prowl
I could tell by her makeup, plus the scent was there
So I sashayed over to her and, ah, spoke of my plan
She screamed and said, "Are you asking to make love to me?"
I said, "Is pig what's in pork?
Or you gonna play hard
After all the trouble you went through to get chosen?"
She said, ah, "No compute."

Finally, she said, "Ah, I could, ah, probably go for what you're talking about.
But it's really about my birth control pill."
I said, "All looks are not alike, all holes are not a crack.
When in doubt, vamp.
Or at least ad-lib.
And of course you know that spit don't make babies."
She smiled, and said, "No compute."
But I could tell that she was getting interested

So off we went!
There was fun to be had, love to be made.
"Strange", I said to myself after I laid,
Smoking a last joint before I (unknown) to sleep
"What a man will go for when the hornies, ah, set in."
Well, suddenly as she laid there, mouth wide open, wig half off, snoring
Breath smelling like a 1948 Buick

I was sick with the filthies, and she smiled in her sleep
As if to say, "All looks are not alike, all holes are not a crack."

Overall Meaning

The lyrics of Funkadelic's song No Compute are about a man who wakes up feeling restless and sexually frustrated after a wet dream. He goes to his copping haberdashery to indulge in sex, but his advances are met with rejection. The song narrates how the man approaches a lady and tries to convince her to have sex, but she rejects him due to concerns about birth control.

The lyrics of the song can be interpreted as a commentary on the casual sex culture of the 1970s, where people often treated sex as a commodity without considering the emotional consequences of their actions. The song highlights the disconnection between physical desire and emotional fulfillment, where sex becomes a way to satisfy urges rather than a way to connect with another person.

The lyrics of the song are characterized by their humorous and satirical tone, where the singer is portrayed as a confident and assertive man who is unapologetic about his sexual desires. However, the lyrics also reveal a sense of desperation and loneliness, where the singer uses sex as a way to fill the void in his life.

Line by Line Meaning

Ah, I awakened from a wet dream in which I was restless
I woke up from an erotic dream that left me feeling unsatisfied and unfulfilled.

My imagination could no longer take me there
My fantasies were no longer enough for me to find pleasure.

So I slid into my copping haberdashery
I put on my most stylish clothes to look good and attract potential sexual partners.

And gave into the original Jones, sex.
I decided to have sex because that's what my body wanted.

Now my sexy Jones was below sea level
I was extremely horny and my sexual desire was at its peak.

The hornies occupied my being
I was consumed by an overwhelming urge to have sex.

I was at that stage where most men would say, "Hey ho', it's your life or your lay."
I was at a point where some men would not care about the consequences of having sex.

But I was cooler than that.
I was more level-headed and rational in my approach to sex.

She said, "No compute."
The woman I was trying to seduce rejected my advances.

I spotted a lady who was also on the prowl
I noticed a woman who was also looking for sexual partners.

I could tell by her makeup, plus the scent was there
I could tell by her appearance and perfume that she was interested in sex.

So I sashayed over to her and, ah, spoke of my plan
I confidently approached her and made my intentions clear.

She screamed and said, "Are you asking to make love to me?"
She was surprised and shocked by my directness.

I said, "Is pig what's in pork?
I used a clever and suggestive wordplay to imply that sex was a natural and normal act.

Or you gonna play hard
Or are you going to resist my advances?

After all the trouble you went through to get chosen?"
Considering all the effort you made to look good and attract partners?

She said, ah, "No compute."
The woman rejected me again.

Finally, she said, "Ah, I could, ah, probably go for what you're talking about.
After some persuasion, she considered having sex with me.

But it's really about my birth control pill."
She was concerned about the risks of pregnancy and wanted to use contraception.

I said, "All looks are not alike, all holes are not a crack.
I made a lewd and vulgar remark suggesting that all women's bodies are different, and sex can be enjoyed in different ways.

When in doubt, vamp.
When in doubt, act seductively or flirtatiously.

Or at least ad-lib.
Or make up something on the spot.

And of course you know that spit don't make babies."
I reminded her that oral sex does not lead to pregnancy.

She smiled, and said, "No compute."
She refused my advances again.

But I could tell that she was getting interested
Despite her reluctance, I could see that she was starting to consider having sex with me.

So off we went!
We decided to have sex and went somewhere private.

There was fun to be had, love to be made.
We enjoyed each other's company and had sex.

"Strange", I said to myself after I laid,
I felt a sense of detachment and regret after having sex.

Smoking a last joint before I (unknown) to sleep
I smoked marijuana to relax and relieve anxiety before going to sleep.

"What a man will go for when the hornies, ah, set in."
I reflected on how strong sexual desire can make people act impulsively and make poor decisions.

Well, suddenly as she laid there, mouth wide open, wig half off, snoring
Despite having sex, I found the woman's appearance and behavior unattractive and unappealing.

Breath smelling like a 1948 Buick
Her breath was bad and unpleasant.

I was sick with the filthies, and she smiled in her sleep
I felt disgusted and repelled by her, while she slept soundly and blissfully ignorant.

As if to say, "All looks are not alike, all holes are not a crack."
She seemed to suggest that even though she did not look appealing, she was still desirable and could provide pleasure.

Lyrics © Kobalt Music Publishing Ltd.
Written by: Garry Marshall Shider, George Jr. Clinton

Lyrics Licensed & Provided by LyricFind

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