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
Not Just Knee Deep
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Whooooo-hoooo-oooooo-ooooooo-ooo-ohhhhhh-heyyyyhoooahhooh
Something about the music, she always makes me dance (x2)
She turns me on and on, and all about
She was a freak, never missin' a beat, yeah.
She was a freak, boy was it neat, yeah.
Not just knee deep, she was totally deep,
When she did the freak with me.
She did the freak, never missin' a beat, yeah.
She did the freak, boy was it neat, yeah.
She's a freak
The girl is a freak, the girl never misses a beat, yeah yeah
Not just knee deep, she was totally deep
When she did the freak with me.
She did the jerk.
It didn't work, no.
She did the monkey.
It wasn't funky, no more.
Chicken wasn't pickin'.
Not just knee deep, she was totally deep
When she did the freak with me.
She turns me on and on, and all about.
(Round and round) She's the freak of my desire
(round and round she goes) And when she dance she sets the world on fire
(round and round she goes)
The little girl is the freak of the week.
(round and round she goes)
When she dance she gives me happy feet
(round and round she goes)
She's the freak of my desire
And when she dance she sets the world on fire
(round and round she goes)
She's givin' me happy feet
Yeah, she's the freak of the week!
She was a freak, never missin' a beat, yeah.
She was a freak, boy was it neat, yeah.
Not just knee deep, she was totally deep,
When she did the freak with me.
She did the jerk.
It didn't work, no.
I did the moose.
Oh no, not the moose!
Monkey wasn't funkin'
Chicken wasn't pickin'
But she was not just knee deep, she was totally deep
When she did the freak with me
Hey!
Something about the music, it got into my dance
Something about the music, it got into my pants (x10)
She turns me on and on, and all about.
Freak of the week
She turns me on and on, and all about.
Something about the music (x10)
Something about the music got into my pants
Something about the music
She's a big ol' freak, the girl's a big ol' freak
She's the freak of the week
She turns me on and on
She was a freak (x2)
Not just knee deep, she was totally deep
When she did the freak with me
She did the jerk.
It didn't work, no.
I did the moose.
Oh no, not the moose!
Not just knee deep, she was totally deep
When she did the freak with me
She turns me on and on
Ooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Di-di-di-di di di-di
Ants in my pants and I need to dance
I got ants in my pants and I need to dance
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh, hoo-hoo!
Something about the music, about the music
Something about the music, it got into my dance
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Something about the music (x2)
Something about the music got into my pants
Something about the music
She's a big ol' freak, the girl's a big ol' freak
She's the freak of the week
She's a big ol' freak, just a big ol' freak
She's the freak of the week
You turned me on and out (x2)
Not just knee deep, she was totally deep
When she did the freak with me
Not just knee deep, she was totally deep
When she did the freak with me
She did the freak (x3)
Not just knee deep, she was totally deep
When she did the freak with me
She did the jerk,
It didn't work, no
Oooooooh-ooh-ohh-ohh (x6)
Something about the music (x10)
Doo-doo-doo-doo doo doo-doo
Ants in my pants and I need to dance
I got ants in my pants and I need to dance
Chicken ain't lickin', the moose wasn't cookin'
Oh, but your music grooved me, it moved me
That music and the beat HA!
Started tryin' liberating my feet
Can this be me, immersed in funk so deep?
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Ants in my pants and I need to dance
Ants in my pants and I need to dance
Now get on up
She's a big ol' freak, the girl's a big ol' freak
She's the freak of the week
She's a big ol' freak, just a big ol' freak
She's the freak of the week
You turned me on and out (x2)
Not just knee deep, she was totally deep
When she did the freak with me
Not just knee deep, she was totally deep
When she did the freak with me
She did the freak (x3)
She was so funky
The girl's a freak, the girl never misses a beat, yeah yeah
Not just knee deep, she was totally deep
When she did the freak with me
She did the jerk
It didn't work, no
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Something about the music, it got into my dance
Something about the music, it got into my pants (x3)
Chicken wasn't pickin'
Monkey wasn't funky
Something about the music, it got into my pants
Something about the music (x2)
Whoa, whoa, whoa
Make no mistake
The most funky music got what it takes
To groove you some time
Knock you down
Make you want to turn around and do it one more time, yeah
Something about the music
The music grooved me, yeah
Ants in my pants and I need to dance
I got ants in my pants and I need to dance
Whoo!
Chicken ain't pickin', the moose wasn't cookin'
Oh, but your music moved me, it grooved me
That music and the beat Huh!
Started tryin' liberating my feet Ah!
Can this be me, immersed in funk so deep?
Ants in my pants and I need to dance
Ants in my pants and I need to dance
Something about the music, it got into my dance
She's a big ol' freak, the girl's a big ol' freak
She's the freak of the week
She's a big ol' freak, just a big ol' freak
She was the freak of the week
You turned me on and out (x2)
Not just knee deep, she was totally deep
When she did the freak with me
Not just knee deep, she was totally deep
When she did the freak with me
She did the freak Huh!
She did the freak
She did the freak
The lyrics to "Not Just Knee Deep" by Funkadelic tell the story of a woman who is a fantastic dancer and a "freak" in the best way possible. The singer is clearly smitten with her and can't resist dancing when he hears the music. The chorus repeats that she's not just knee deep in her abilities, but totally deep, especially when she does the freak with him. The verses detail different dance moves they try out, like the jerk, the moose, and the chicken, but the only one that really works is when she does the freak with him. Throughout the song, the singer is entranced by the music and his dancing partner, who is "the freak of the week."
Overall, the song is about the power of music and how it can make people want to dance and forget their troubles. The woman in the song is the embodiment of that power, and the singer can't get enough of her. The lyrics are full of playful, energetic language and colorful imagery, making it impossible to listen to this song without feeling the urge to dance.
Line by Line Meaning
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh, huh!
The music is irresistible and funky, making the listener dance and feel alive.
Something about the music, she always makes me dance (x2)
The music has a special quality that compels the listener to dance uncontrollably.
She turns me on and on, and all about
The woman in the song is sexually alluring and exciting.
She was a freak, never missin' a beat, yeah.
The woman in the song is a free-spirited and energetic dancer who never misses a step.
She was a freak, boy was it neat, yeah.
The woman's unconventional and vibrant dancing style is very impressive and exciting to the singer.
Not just knee deep, she was totally deep,
The woman's sexual energy and excitement goes beyond the surface level to a deeper, more intense level.
When she did the freak with me.
The singer is describing the sexual experience he had with the woman as intense and exciting.
She did the jerk.
It didn't work, no.
The woman tried to do a popular dance move, but it didn't have the same effect as her own unique style.
She did the monkey.
It wasn't funky, no more.
The woman tried another dance move, but it didn't match the same level of funkiness as her own dancing style.
Chicken wasn't pickin'.
Not just knee deep, she was totally deep
When she did the freak with me.
The woman tried yet another dance move, but it didn't work. However, her sexual excitement and energy in bed was at a much deeper and more satisfying level.
She's the freak of my desire
And when she dance she sets the world on fire
The woman's sexual and dancing energy is so intense that it has the power to excite and ignite the world around her.
The little girl is the freak of the week.
When she dance she gives me happy feet
The woman is so impressive and exciting in both her dancing and sexual energy that she is considered the best and most impressive of all.
She's givin' me happy feet
Yeah, she's the freak of the week!
The woman's energy and excitement have a tangible and positive effect on the singer's mood and happiness, solidifying her place as the best and most exciting of all in his mind.
Ooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
The music continues to be funky and irresistible, even outside of the lyrics.
Ants in my pants and I need to dance
I got ants in my pants and I need to dance
The music is so infectious and exciting that the singer feels an uncontrollable urge to dance.
Something about the music, about the music
Something about the music, it got into my dance
The music has a special quality that affects and enhances the singer's dancing style.
She's a big ol' freak, the girl's a big ol' freak
She's the freak of the week
The woman continues to be described as the best and most exciting dancer and sexual partner the singer has ever encountered.
You turned me on and out (x2)
Not just knee deep, she was totally deep
When she did the freak with me
She did the freak (x3)
The sexual experience the singer had with the woman was so intense and satisfying that he continues to describe it with intense and vivid language.
Make no mistake
The most funky music got what it takes
To groove you some time
Knock you down
Make you want to turn around and do it one more time, yeah
The music is so funky and exciting that it has the power to make the listener want to dance and feel good to the point of exhaustion.
She was so funky
The girl's a freak, the girl never misses a beat, yeah yeah
Not just knee deep, she was totally deep
When she did the freak with me
The woman is described yet again in reverent terms as an incredible dancer and sexual partner who continues to excite and satisfy the singer.
Whooooo-hoooo-oooooo-ooooooo-ooo-ohh-ohh-ohhhhhhhhh
Something about the music, it got into my dance
The music continues to be funky and irresistible and continues to have a special effect on the singer's dancing style.
Contributed by Wyatt H. Suggest a correction in the comments below.
@breezecanada4038
The History of Knee Deep:
To all you Funksters out there, here's the history of this incredible song.....
in the late-70s, Disco was dominating the charts. Donna Summer, the BeeGees and KC and the Sunshine Band were all in heavy rotation on the radio. Acts like Cameo and other R&B/Funk acts were doing okay but only in the Black community.
So, James Brown attempted a comeback in 1976 with Get Up Offa That Thing, which was meant to challenge Disco and restore Funk and R&B back to the head of the industry.
Acts such as Brick, Con Funk Shun, the Isley Brothers and others were dropping big hits but still couldn't compete with Disco mainly because Disco was being played at all the discotheques (nightclubs) and skating rinks.
In 1978, George Clinton and Funkadelic exploded beyond the R&B charts with One Nation Under A Groove and he knew then what he had to do to crush Disco once and for all, so he wrote the song Knee Deep and sent it to his friend Juni Morrison from the legendary Ohio Players.
It was Juni, not George, who created this amazing track and when he sent it back to George Clinton, George knew it was a hit and he had the band that could handle it.
So, the genius that he was, George had Michael "Kidd Funkadelic" Hampton on lead guitar along with Phillippe Winn (from the legendary Spinners) ad-libbing the lead vocals near the end. Let me also add that if you think the drums on this track is through the roof and as funky as a beat can get, it was legendary Funk bassist Bootsy Collins who, coincidentally, played drums on this song (as well as on One Nation Under A Groove).
The entire rest of the song is just the Mighty P-Funk mob doing what they do best and the rest is history.
By the way, in case you all are wondering how George was able to recruit Juni Morrison from the Ohio Players and Phillippe Winn from the Spinners, it's because they were both homeboys and good friends of Bootsy Collins. NOW YOU KNOW
@breezecanada4038
The History of Knee Deep:
To all you Funksters out there, here's the history of this incredible song.....
in the late-70s, Disco was dominating the charts. Donna Summer, the BeeGees and KC and the Sunshine Band were all in heavy rotation on the radio. Acts like Cameo and other R&B/Funk acts were doing okay but only in the Black community.
So, James Brown attempted a comeback in 1976 with Get Up Offa That Thing, which was meant to challenge Disco and restore Funk and R&B back to the head of the industry.
Acts such as Brick, Con Funk Shun, the Isley Brothers and others were dropping big hits but still couldn't compete with Disco mainly because Disco was being played at all the discotheques (nightclubs) and skating rinks.
In 1978, George Clinton and Funkadelic exploded beyond the R&B charts with One Nation Under A Groove and he knew then what he had to do to crush Disco once and for all, so he wrote the song Knee Deep and sent it to his friend Juni Morrison from the legendary Ohio Players.
It was Juni, not George, who created this amazing track and when he sent it back to George Clinton, George knew it was a hit and he had the band that could handle it.
So, the genius that he was, George had Michael "Kidd Funkadelic" Hampton on lead guitar along with Phillippe Winn (from the legendary Spinners) ad-libbing the lead vocals near the end. Let me also add that if you think the drums on this track is through the roof and as funky as a beat can get, it was legendary Funk bassist Bootsy Collins who, coincidentally, played drums on this song (as well as on One Nation Under A Groove).
The entire rest of the song is just the Mighty P-Funk mob doing what they do best and the rest is history.
By the way, in case you all are wondering how George was able to recruit Juni Morrison from the Ohio Players and Phillippe Winn from the Spinners, it's because they were both homeboys and good friends of Bootsy Collins. NOW YOU KNOW
@bigtay1966
🤘🏾
@snellsman
Good read, I learned a lot just now
@breezecanada4038
@@snellsman Thanks. BTW, did I mention that Bootsy Collins was on drums on this song (and on One Nation Under A Groove)? This is why the unique Funk rhythm of the snare is in a deadlock with the bass line.
@missylaster9808
Thank you so Very Much 😘👍🏽
@thesunlightcaller1548
That’s not just knee deep… lol! Great info.
@pj3770
This the jam y'all since I was 15 years old. I'm 62 now and still dancing right now to it. Who else?😊
@breezecanada4038
This is definitely the jam, but you were 18 when this came out in 1979.
@valeriewright1169
The 70’s was lit!!! We was jamming to funk, disco, r&b and rap music. What a time to be born and raised in the 60's and 70’s!!!! My all-time Parliament/Funkadelic JAM. Still jamming in 2023!!!
@breezecanada4038
I would marry you just for saying that.