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
Some More
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Is this pain, ? my new affliction
Waves of pain are sweeping through me
Just tell me who would ever believe me
Rather than believe it's all so easy
To cause me to suffer all this grievin'
I blame it on something that can't be explained
I said that I've got a new kind of pain
Each and every single day
Money is ? in some sort of way
Forget all the doctors being absolutely certain
For months for me they can't find what's hurting
When the pills that the pain brings on
It's got nothin' to do with the fact that you're gone
You ain't the reason why I don't sleep at night
It's only because I'm trying to fight this
Headache in my heart, then I got a heartache in my head
The lyrics to "Some More" by Funkadelic speak to the experience of deep emotional pain that is so intense, it feels physical. The opening line, "much quicker than science fiction," sets the tone for just how intense this pain is. It's almost like a sci-fi experiment gone wrong, something unimaginable and yet very real. The singer questions if this pain is their "new affliction," as if it has suddenly taken over their life. They are left wondering if anyone else could possibly understand what they are going through.
The second verse delves a bit deeper into the singer's experience. They feel like every day is a struggle, and even money can't seem to fix anything. Doctors can't seem to pinpoint the source of the pain, and the pills they prescribe only make things worse. Despite all this, the singer knows that the source of their pain is not external. They are not hurting because of someone else's actions. Instead, it is an internal struggle, the "headache in my heart" and "heartache in my head."
Overall, the song speaks to the universality of pain and the struggles that come with it. The lyrics make it clear that pain can come from unexpected places and that it can be difficult to articulate to others. However, by sharing their own experience, the singer reminds us that we are not alone in our struggles.
Line by Line Meaning
Much quicker? than science fiction
The pain that I am experiencing is so intense that it seems to happen faster than something that is only imaginable in science fiction.
Is this pain, ? my new affliction
I am unsure whether this pain that I am feeling is a new ailment that I am experiencing.
Waves of pain are sweeping through me
I am constantly being hit by waves of pain that are consuming my entire being.
Just tell me who would ever believe me
I feel that no one will believe me, even if I try to explain the intensity of the pain that I am experiencing.
Rather than believe it's all so easy
People find it easier to disregard my pain as something that is not that serious, instead of trying to understand the gravity of my situation.
To cause me to suffer all this grievin'
I am suffering immensely due to the pain and grieving that I am experiencing.
I blame it on something that can't be explained
I am trying to rationalize my pain by attributing it to something that cannot be explained easily.
I said that I've got a new kind of pain
I have a feeling that the pain that I am experiencing is different from the ones that I have experienced in the past.
I've got headache in my heart, heartache in my head
I am experiencing a combination of emotional and physical pain, which is affecting me severely.
Each and every single day
Every day, I am struggling to deal with the pain that I am going through.
Money is ? in some sort of way
Somehow, I believe that money is connected to my pain in some way, although I cannot explain how.
Forget all the doctors being absolutely certain
Despite the assurance of the doctors, I am still suffering, and their certainty does nothing to alleviate my pain.
For months for me they can't find what's hurting
Despite my visits to the doctor for months, they have been unable to find the source of my pain.
When the pills that the pain brings on
The pills that are prescribed to help ease my pain are only making it worse.
It's got nothin' to do with the fact that you're gone
The pain that I am going through is not because of the absence of someone from my life.
You ain't the reason why I don't sleep at night
The person who is no longer in my life is not the reason why I am unable to sleep at night.
It's only because I'm trying to fight this
The reason I cannot sleep is that I am struggling to overcome my pain and suffering.
Headache in my heart, then I got a heartache in my head
The emotional and physical pain that I am experiencing is overwhelming and all-consuming.
Lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: AUDIUS MTAWARIRA, TEGAN ROGERS
Lyrics Licensed & Provided by LyricFind
Kenya Nkhrumah
One of The Greatest Compositions Of All Time. Exponential. Wicked. Sho "Nuf Stuff!!! 101
nicolas hrechko
Trippy as heck!
Dante Sewer
This was added on my bday, which is 1-3-77. I really respect the music and journey these musicians have thru..
mrstep2me
George Clinton wrote and produced this song for a female Detroit trio called the Debonaires in the mid 60's, under the title "Headache In My Heart". It's on You Tube. Joyce Vincent Wilson, of Tony Orlando and Dawn fame, was a member of the Debonaires.
Tony McLean
Hendrix Sly and James Brown are the gods of funk!
Toney Isaiah
George's vocals sounded as they
went through a Leslie speaker.
Daniel Bedrosian
Actually it's mostly Tawl Ross and George singing lead on this. Tawl is the crazier sounding one of the two on this despite the fact that people think that one is George. George is singing the more tenor-ish part on here. The second lead
Bruno Bartolucci
Uno dei testi musicali più simpatici ed ironici di sempre !!! Mettere in musica un testo del genere è da geni ! Questo pezzo fa spaccare dalle risate : ho un mal di cuore nella mia testa, ho mal di testa nel mio cuore.
Luci Fur . R . Nation
oh good,my fav!in this album
Kenneth Woods
george clinton funk god.