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
One Nation Under a Groove
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So low you can't get under it
So high you can't get over it
Da-yee do do do do do do
This is a chance
Dance your way
Out of your constrictions
(Tell sugah)
Out of our constrictions
Gonna be freakin'!
Up and down
Hang up alley way
With the groove our only guide
We shall all be moved
Ready or not here we come
Gettin' down on the one which we believe in
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
Feet don't fail me now
Give you more of what you're funkin' for
Feet don't fail me now
Do you promise to funk?
The whole funk, nothin' but the funk
Ready or not here we come
Gettin' down on the one which we believe in
Here's my chance to dance my way
Out of my constrictions
(Do do dee oh doo)
(You can dance away)
Feet don't fail me now (ha ha)
Here's a chance to dance
Our way out of our constrictions
Gonna be groovin' up and down
Hang up alley way
Groove our only guide
We shall all be moved
Feet don't fail me now (ha ha)
Givin' you more of what you're funkin' for
Feet don't fail me now
Here's my chance to dance my way
Out of my constrictions
Givin' you more of what you're funkin' for
Do you promise to funk, the whole funk
Nothin' but the funk
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
Do you promise to funk?
Hah
Do you promise to funk, the whole funk?
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
One nation under a groove
Gettin' down just for the funk of it
One nation and we're on the move
Nothin' can stop us now
Do you promise to funk, the whole funk? Nothin' but the funk
You can't stop us now
The lyrics to Funkadelic's "One Nation Under A Groove" are all about dancing and the power of the groove to unite people from all walks of life. The song encourages listeners to dance their way out of their constrictions, which can be interpreted as societal norms or constraints, and to let the groove guide them. The lyrics indicate that the groove is so wide that you can't get around it, so low that you can't get under it, and so high that you can't get over it. This is a metaphor for the all-encompassing power of the groove, which is capable of bringing people together and breaking down barriers.
The chorus of the song declares that the people are one nation under a groove, and that no one can stop them. The lyrics exhort people to get down just for the funk of it, to promise to funk, and to embrace the power of the groove. The words "feet don't fail me now" are used repeatedly throughout the song, emphasizing the importance of dancing and letting the groove move you. Overall, "One Nation Under A Groove" is a celebration of the power of music to unite people and break down barriers.
Line by Line Meaning
So wide can't get around it
The magnitude of this groove is so immense that it seems impossible to ignore or escape it
So low you can't get under it
The groove is so deeply ingrained in the fabric of our collective consciousness that we cannot ignore or dismiss it
So high you can't get over it
The groove is so uplifting and captivating that we cannot help but succumb to its power and influence
Da-yee do do do do do do
The exuberance and joy of the groove can be felt and expressed through dance and movement
This is a chance
The song offers an opportunity to break free from limitations and constraints and embrace the liberating power of the groove
Dance your way
By dancing and moving to the beat, we can release ourselves from our inhibitions and immerse ourselves in the groove
Out of your constrictions
The groove offers a way to escape the limiting beliefs and expectations that hold us back
(Tell sugah)
The song addresses a lover or friend, inviting them to join in the celebration of the groove
Here's a chance to dance our way
The song encourages us to seize the opportunity to dance and express ourselves through the groove
Out of our constrictions
By embracing the groove, we can shed the constraints that keep us from living fully and freely
Gonna be freakin'!
The song promises an intense and ecstatic experience of dancing and grooving to the beat
Up and down
The groove takes us on a journey of highs and lows, ups and downs, but always staying in motion
Hang up alley way
The groove takes us down unexpected paths and alleyways that we might not see coming
With the groove our only guide
The song suggests that the best way to navigate the ups and downs of life is to let the groove guide us
We shall all be moved
The groove has the power to move us emotionally, physically, and spiritually
Ready or not here we come
The song announces the arrival of the groove, inviting everyone to join in the celebration
Gettin' down on the one which we believe in
The song invites us to connect with and believe in the power of the groove, which is felt most strongly on the first beat of each measure (the "one")
One nation under a groove
The song unites us all under the banner of the groove, which transcends all boundaries and differences
Gettin' down just for the funk of it
We groove not because we have to, but because it brings us joy and freedom
One nation and we're on the move
The song celebrates the collective power of the groove, as we move together in rhythm and harmony
Nothin' can stop us now
The groove is so powerful and unifying that nothing can stand in its way
Feet don't fail me now
The song acknowledges that dancing and grooving can be physically demanding but encourages us to persevere and not give up
Give you more of what you're funkin' for
The song promises to deliver even more of the joyful, liberating funk that we're already experiencing
Do you promise to funk?
The song challenges us to commit fully to the groove and embrace its transformative power
The whole funk, nothin' but the funk
The song emphasizes the purity and simplicity of the groove, as it invites us to focus only on the essential, funk-driven rhythms
Here's my chance to dance my way
The song reminds us that we have a unique opportunity to express ourselves and celebrate the groove through dance
(Do do dee oh doo)
A playful, rhythmic interlude that emphasizes the upbeat, joyous nature of the groove
(You can dance away)
An invitation and encouragement to dance freely and without inhibition
Gonna be groovin' up and down
The song promises more surprises and unexpected twists and turns in the groove
Feet don't fail me now (ha ha)
A humorous reminder that dancing and grooving can be physically challenging but worth it
Givin' you more of what you're funkin' for
The song keeps delivering the groove in all its exuberance and joy
One nation under a groove
The song reaffirms the unifying power of the groove across all boundaries and differences
Do you promise to funk, the whole funk? Nothin' but the funk
The song challenges us again to fully embrace the transformative, unifying power of the groove and commit ourselves to its purity and simplicity
You can't stop us now
The song celebrates the unstoppable power of the groove, which will continue to uplift and transform us as long as we believe in it.
Lyrics © O/B/O APRA AMCOS
Written by: Garry Shider, George Clinton, Walter Morrison
Lyrics Licensed & Provided by LyricFind
@johnjustice8976
❤❤ Who is still Jamming to this in 2024❤
@rudyj151
Playing it right NOW
@paulmedina8232
Still remember this song 1978
@dexterdogg
🙌🏾
@davidgreene4003
Who isn't?
@lenanava5409
ME and myself!!
@agapereign
I feel sorry for those that give this a thumbs down. How empty their lives must be without the Funk. Who would want to live without the Funk? Just raised wrong.
@adriennerobinson1180
Thru are Jealous idiots that don't know any better.
@NOT_____LATE
They'll get there
@ceijae
Who else out there still listen to REAL MUSIC in 2024?
I was 7 years old when this song was released, and definitely brings back fond memories of my childhood.
KEEP JAMMING, PEEPS!!!!