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.
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
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
No Head No Backstage Pass
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She said I know the drummer, can you let me in?
Tell the guitar player I brought a friend
Ask the roadies do they need a hand?
Tell the manager there's a girl named Jan
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
Not by the hair of my chinny chin, chin
If you ain't giving head, you ain't getting in
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
I'm a friend of the drummer, can you let me in?
Ow-woo, ow-woo, a yabba-yabba yabba-yabba awoo
She said I know the drummer, can you let me in?
Tell the guitar player I brought a friend
Ask the roadies do they need a hand?
Tell the manager there's a girl named Jan
Tell the guitar player I brought a friend
Ask the roadies do they need a hand?
Tell the manager there's a girl named Jan
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
Not by the hair of my chinny chin, chin
If you ain't giving head, you ain't getting in
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
The doorman said, "No head, no backstage pass"
I'm a friend of the drummer, can you let me in?
Ow-woo, ow-woo, a yabba-yabba yabba-yabba awoo
She said I know the drummer, can you let me in?
Tell the guitar player I brought a friend
Ask the roadies do they need a hand?
Tell the manager there's a girl named Jan
The lyrics of Funkadelic's "No Head No Backstage Pass" tell the story of a woman who is trying to gain backstage access to a concert through different means. She claims to know the drummer and attempts to use her connection to gain entry. However, she is met by a doorman who tells her that without performing oral sex on someone, she will not be granted admission. The repitition of "no head, no backstage pass" emphasizes the vulgar nature of the situation.
The song is a commentary on the power dynamics and sexual exploitation prevalent in the music industry, particularly backstage culture. The lyrics depict the woman's desperation to get backstage - a scenario that is all too familiar for many women in the industry. Through this grim portrayal, the band brings attention to the objectification of women and the dark side of fame.
The song may be unpleasant, but it is a powerful message that still resonates today. The lyrics and the mood of the song are enhanced by the funk influences and heavy bass lines that Funkadelic is known for. The repeated phrase of "no head, no backstage pass" stays in the listener's mind long after the song has ended, provoking thoughts about the inherent sexism and double standards in the entertainment industry.
Line by Line Meaning
She said I know the drummer, can you let me in?
The woman in question claims to know the drummer of the band and is requesting access backstage.
Tell the guitar player I brought a friend
The woman is requesting for someone to inform the guitar player that she is with a friend.
Ask the roadies do they need a hand?
The woman is offering to assist the roadies with any tasks backstage.
Tell the manager there's a girl named Jan
The woman is trying to inform the band's manager of her presence and her name.
The doorman said, "No head, no backstage pass"
The doorman is saying that access to backstage is only granted to those who perform sexual favors.
Not by the hair of my chinny chin, chin
The singer is defiantly challenging the doorman's assertion and refusing to comply.
If you ain't giving head, you ain't getting in
The doorman is reiterating that access will only be granted to those who perform sexual favors.
I'm a friend of the drummer, can you let me in?
The artist is employing the same tactic as the woman in the first verse, claiming to be a friend of the drummer in order to gain access.
Ow-woo, ow-woo, a yabba-yabba yabba-yabba awoo
This is a nonsensical refrain and does not carry any particular meaning.
Lyrics © Kobalt Music Publishing Ltd.
Written by: George Jr. Clinton, Ron Bykowski
Lyrics Licensed & Provided by LyricFind
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Oddio dialogue
what many people forget is that Funkadelic started off as a loud psych rock band .like a twisted version of sly and the family stone meets jimi hendrix . but more cartoonish and with some quasi apocalyptic themes. and even the funk stuff they did wasnt like typical funk bands.they went where no man had gone before with it, outter space
Oddio dialogue
@Zane Goodeker I would say the eletectonic elements came later with funkadelic especially after the first few albums .they were more of a heavy rock. Band then. And yes the record industry had their jim crow bs going on. It's a shame many black bands were not only looked over but even forced to change and denied access like what happend to Nile Roger's band Big apple they were a jazz rock band and they were told to change to more of s dance band because they were black and would not be excepted playing jazz rock but of course the rest is history with chic and you can hear their influences with bands like duran duran and later on Nile and their drummer Tony working with them and other bands loek thet .its a shame that bands like purple image arent known like they should be .check out this instant gram page called the black history of rock n roll. I write about all of these kats
Zane Goodeker
@Oddio dialogue They got fucked out of getting credit for a lot of things that they did in the us because they were Black Musicians and it was still The 1970s. They were on the forefront of a lot of the more artsy and higher concept ideas in Rock. More than likely chance Funkadelic had some influence on early ambient over in Euorpe and at least that Funkadelic,Sly and The Family Stone,and The Undisputed Truth helped advance these forms of music theory is pretty undeniable once you look past English Language Review Sites. Almost definitely shaped the modern formatting for electronica,it's not random.
Zane Goodeker
A lot of bands that weren't considered "Krautrock" by US Music Press were also widely considered "Kosmiche Musik" per standards of German Music Theory,intresting stuff to look into. Lot of Soul and Funk Type Bands ended up on the forefront of that. Sly and The Family Stone,Funkadelic,and The Undisputed Truth especially out of the more well known ones. If you look it up in German it lists these as early examples of some pretty seriously developments in High Art Music but not in English.
Oddio dialogue
@Dewayne Coleman I humbly correct you they weren't funkadelic when they were a soul band . They were the Parlimemts . The reason they turned into funkadelic is because they were playing psychedelic rock and it was a different project then parliments which was more soul. Then they combined the 2 later on
Oddio dialogue
@Christian L I've been listening to them since I was a kid and I was born in the 70s and I mentioned all of those elements for a reason. They had the Hendeix influence beyond the shadow of a doubt. They were the parliments when they were a soul band .funkadelic was their version of a psych rock band which still attained some soul influences( much of rock music especially then , was influenced by soul in general) funny thing is they also had influences from the ones I mentioned sun ra and even frank zappa( clinton was a fan of his I remember reading about that )
Michael Alexander
I grew up on 1970's funk and there was nothing like P/Funk ! Their live shows were the bomb !
Kevin Moore III
"The doorman said "...... CLASSIC FUNKADELIC !!! Big Up to them wherever they are, both in this life and the next !!! (Dig those guitar and bass riffs) :o)
Yao Black
Damn finally learned where Ra found that menacing sample for one of my favorite songs of all time.
MiSTaH bOmBAsTiK
Greatest rap performance ever, imo...