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
The Electric Spanking Of War Babies
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You probably don't remember me, right? (No, I don't remember you)
Ah-ha, but I remember you (what's that? I don't???)
You probably won't believe this, but, uh
I, at the early age of seventeen
Was adopted by aliens hahahah (hahahaha)
Was adopted by aliens hahahah (hahahaha, oh god)
That's right, I said aliens (ahh)
To return with this message
When you learn to dance
You won't forget it
Ooh, if you learn to dance
You won't forget it
When you learn to dance
You won't forget it
When you learn to dance
You won't forget it
You can walk a mile in my shoes
But you can't dance a step in my feet
You can walk a mile in my shoes
But you can't dance a step in my feet
You stand a chance
You can dance, ooh-ooh
You stand a chance
You can dance, ooh-ooh
It's shocking to find (sock it to the circuit)
That your mind (sock it to the circuit)
And your behind (sock it to the circuit)
Gets a spanking in time
Sock it to the circuit
Dead it in addition???
We compute a perfect funk
You can walk a mile in my shoes
But you can't dance a step in my feet
You can walk a mile in my shoes
But you can't dance a step in my feet
It's a bummer to find
That your mind
And your behind
Gets exploded in time
The electric spanking of war babies
The electric spanking of war babies
The electric spanking of war babies
The electric spanking of war babies
Oh, it's shocking to find
That your mind
And your behind (electric)
Will get a spanking in due time (spanking of war babies)
You've seen the bomb (electric)
Vietnam (spanking of)
Lsd (war babies)
You've seen the ?
You've seen DNA
Watch them go to the moon
Live on TV
Sock it to the circuit
We compute a perfect funk
Digital
We compute a perfect funk
You can dance, ooh-ooh
It's shocking to find
That your mind
Like your behind
Gets a spanking in time (spanking in time)
Sock it to the circuit
You've seen the bomb
Vietnam
LSD
You've seen the
You've seen DNA
Watch them go to the moon
Live on TV
Electric spanking of war babies
Sock it to the circuit
Dead it in addition???
We compute a perfect funk
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
We compute a funky funk
We compute a perfect funk
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
Electric spanking of war babies
The lyrics of Funkadelic's "The Electric Spanking of War Babies" talk about a message given by an alien to the singer when he was adopted by them at the early age of seventeen. The message says that when you learn to dance, you won't forget it. The song encourages people to stand a chance and dance, stating that they can walk in someone's shoes, but they can't dance in their feet. The song also mentions the shocking experience of getting a spanking in time, both in the mind and behind.
The lyrics have a psychedelic and futuristic tone, referencing technology and scientific advancements like DNA and the moon landing, and speaking about computing a perfect funk. The song commentary on the effects of war and the state of the world, but it chooses to offer a solution for people to dance and embrace their individuality in the midst of the chaos.
Overall, the song represents the punk-funk style of Funkadelic, with its unique blend of rock, funk, and psychedelic influences. The lyrics call on people to be free and engage in the dance, rather than be obedient to the larger powers at play.
Line by Line Meaning
Hi there
Opening greeting, no deeper meaning.
You probably don't remember me, right?
Suggesting a previous encounter, unsure if the other party remembers.
Ah-ha, but I remember you
Revelation that the singer remembers the other party.
You probably won't believe this, but, uh
Preparation for sharing an unbelievable story.
I, at the early age of seventeen
Introducing the age of the artist when the unbelievable story happened.
Was adopted by aliens
Claiming to have been taken in by extraterrestrial beings.
That's right, I said aliens
Reiterating the fact that the story involves aliens.
They have long since programmed me
Suggesting that the aliens implanted knowledge or instructions in the artist's mind.
To return with this message
Implying that the artist has a specific purpose in sharing this story.
When you learn to dance
Introducing a theme of dancing as a metaphor for something deeper.
You won't forget it
Implying that the experience of learning to dance will be memorable and important.
Ooh, when you learn to dance
Repeating the importance of learning to dance.
You can walk a mile in my shoes
Suggesting that the other party can understand the singer's life experiences.
But you can't dance a step in my feet
Asserting that the other party cannot fully understand the singer's unique perspective and experiences.
You stand a chance
Encouraging the other party to try to understand and learn from the singer's perspective.
It's shocking to find (Sock it to the circuit)
Intensifying a sense of surprise or shock, accompanied by a musical cue.
That your mind (Sock it to the circuit)
Suggesting that even the mind can be 'shocked' in some way.
And your behind (Sock it to the circuit)
Including the physical body as part of the 'shock' experience.
Gets a spanking in time
Metaphorically suggesting some kind of punishment or disciplinary action for the 'shock' experience.
Dead it in addition
Unclear phrase, possible reference to ending something in a positive way or adding emphasis.
We compute a perfect funk
Asserting the creation of a perfect sense of rhythm or groove.
It's a bummer to find that your mind
Reiterating that the mind can be affected negatively by a 'shocking' experience.
And your behind gets exploded in time
Continuing the metaphor of the body and punishment for the 'shock' experience.
You've seen the bomb Vietnam, LSD You've seen the E?
Listing off various experiences that may have 'shocked' the other party in some way. 'E' may refer to ecstasy or another drug.
You've seen DNA
Referencing a significant scientific discovery and its potential impact on those who 'saw' it.
Watch them go to the moon, live on TV
Referencing a major event in human history and the potential for shock or awe in witnessing it.
Sock it to the circuit
Repeating the musical cue as a transition.
In the digital (We compute a perfect funk)
Updating the previous assertion about computing a 'perfect funk' to include a digital or technological aspect.
The electric spanking of war babies
Introducing the titular line and central metaphor of the song.
Oh, it's shocking to find (Sock it to the circuit)
Returning to the previous theme of 'shock,' accompanied by the musical cue.
That your mind and your behind
Connecting the mind and body as both being subject to potential punishment or disciplinary action.
Will get a spanking in due time
Reiterating the punishment metaphor from earlier.
We compute a perfect funk
Repeating the assertion of a perfect sense of rhythm or groove.
You can walk a mile in my shoes
Repeating an earlier line to reinforce the idea of understanding another's experience.
But you can't dance a step in my feet
Also repeating a previous line to emphasize the uniqueness of one's perspective and experience.
We compute a perfect funk
Again asserting a perfect sense of rhythm or groove.
The electric spanking of war babies
Repeating the titular line as a chorus or refrain.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Barbarella Bishop, George Jr. Clinton, Walter Junie Morrison
Lyrics Licensed & Provided by LyricFind
@1jdr127
One of the greatest song ever!!!!! "You can a walk a mile in my shoes but you can't dance a step in my beat" Life explained plain & simple.
@hermanhelmich
Makes even more senae when you hear the actual lyrics: ‘but tou CAN’t dance a step…’
@anotherpointofview222
That other level. Where even if you walked a mile in another man's moccasins, don't mean you'll move the way he moves along the same path.
@thedownriverproject9408
Agreed
@erickiddjammaustin8119
WILL GO DOWN IN HISTORY AS CLASSIC FUNK
@SkunkwerksProjects
Growing to my dad listening to parliament funkadelic definitely explains why I became such a huge fan of OutKast and in particular André 3000 in my generation of music. The influence in sound, expression, and presentation is definitely evident.
@kenfluellen5067
06-01-21..still funkin hardcore😊✌☝💯..happy birthday dad,..you been in heaven 31 yrs...miss u much❤
@GG256_
The quality on this is perfect. Thank you. This is how we conquer our differences. Music. Gimme the P Funk baby. 👌
@dudeseriously57
Luv this song always will. Great song!!!!! P-Funk-4-Life since 1975
@oldschoolruler
The last GREAT Funkadelic album...spankin' in time! The 77 million of us born in the wake of World War II (1946-64) have been 'spanked' digitally; (radio, tv, stereo, walkman, computer, Atari, Playstation, XBox, ipod, cell-phone, etc....) our entire lives. George and the Mob just spelled it out. An incredible piece. They are a lot more conscious than the casual observer would ever understand.