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
Undisco Kidd
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bad! The lady is bad!
Now the kid was kick-back, lining the cut
Eatin' some fish and chips
And this freaky little groupie
From the funky side of town
Begin to give him some lip
She was babblin' about how bad, ah
She could do the bump
The kid said on the real side of things
Bertha, you got too much rump to bump!
Move, your sexy body
Baby, let me see you move it all across the floor
Move, your sexy body
Every time you wiggle you hear the men holler for more
The girl is bad!
I'm on the ten most wanted list
I've got it dead in the groove
My face is on every wanted poster in town
For the way I move (move)
I'm public enemy number one (your sexy body)
To the undisco scene
And, kid, if you don't get up your you-know-what and dance with me
I'm gonna be forced to get mean
The kid was cool
He was no fool
He said, "Get the funk off my case"
Without missing a beat
Snatchin' him to his feet
She bumped him all in the face
Now the kid was teasin'
He was definitely uncool
Trying to get some hat?
(Move your sexy body)
And she bumped him right back
(Baby let me see you move it all across the floor)
Move, your sexy body
Baby, let me see you move it on the disco floor
Move, your sexy body
Move your body
Close to mine
Bad! The girl is bad!
Bad! Bad!
Bad! The lady is bad!
Bad! She's bad!
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
Extra, extra, read all about it (move your body)
We got a brand new thang
Makin' headline news (close to mine)
Extra, extra, read all about it
We got a brand new thang
Makin' headline news
Move your sexy body
Baby, let me see you move it all across the floor
Glide, your slender body
Everytime you wiggle, make the men holler for more
Bad! The girl is bad
Real bad! She's bad!
Bad! Bad! Bad! Bad!
He scream, he shout
She turned that mother out
He scream, he shout
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout
She turned that sucker out (close to mine)
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
Bad! The girl is bad!
Bad! She's bad!
Bad! She's bad!
Bad! (everytime she wiggle, she make the kid holler for more) Bad!
Move your sexy body
Baby, let me see you move it all across the floor
Glide your slender body
Baby, when you move, you make the men holler for more
Glide your slender body
Everytime you wiggle, you make the men giggle for more
She's bad, the girl is bad!
Everytime she wiggle, she make the kid holler for more
Glide your sexy body
Baby let me see you dancing on the disco floor
Ah yeah
Everytime she wiggle, she make the kid holler for more
The song Undisco Kidd by Funkadelic is a funky disco tune that tells the story of a girl from the funky side of town who tries to convince the "kid" to dance with her. The kid is initially uninterested, but the girl is persistent and starts bumping into him until he finally gives in. The song features catchy and repetitive lyrics along with groovy disco beats that incite the listener to dance.
The first part of the song sets up the story, with the kid minding his own business while eating some fish and chips when the girl approaches him. She boasts about her dance skills and challenges the kid to dance with her. The kid resists, but the girl persists until he finally agrees. The second part of the song describes the dance itself, with the girl showing off her moves and the kid trying to keep up. In the end, the girl proves to be too good for the kid, who screams and shouts as she turns him out.
Overall, the song is all about the groove and the joy of dancing. It celebrates the disco culture of the 1970s and provides a fun and upbeat soundtrack to dance the night away.
Line by Line Meaning
She's bad! The girl is bad!
The girl is amazing and talented.
Now the kid was kick-back, lining the cut
Eatin' some fish and chips
And this freaky little groupie
From the funky side of town
Begin to give him some lip
The singer was relaxing and eating when a groupie from a different part of town started bothering him.
She was babblin' about how bad, ah
She could do the bump
The kid said on the real side of things
Bertha, you got too much rump to bump!
The groupie was boasting about her dancing skills, but the singer thought she was not capable of dancing well due to her large behind.
Move, your sexy body
Baby, let me see you move it all across the floor
Move, your sexy body
Every time you wiggle you hear the men holler for more
The groupie is being asked to dance and move her body in a sexy way, and every time she does it, the men are impressed.
I'm on the ten most wanted list
I've got it dead in the groove
My face is on every wanted poster in town
For the way I move (move)
The artist's dance moves are so good that they are attracting a lot of attention, and he is like a wanted criminal because of it.
I'm public enemy number one (your sexy body)
To the undisco scene
And, kid, if you don't get up your you-know-what and dance with me
I'm gonna be forced to get mean
The singer is so good at dancing that he is considered a threat to those who do not dance like him. He is warning the kid to dance with him, or else he will become aggressive.
The kid was cool
He was no fool
He said, "Get the funk off my case"
Without missing a beat
Snatchin' him to his feet
She bumped him all in the face
The kid was not intimidated by the singer's threats and told him to stop bothering him. The groupie then forcefully made him dance with her.
Move, your sexy body
Baby, let me see you move it on the disco floor
Move, your sexy body
Move your body
Close to mine
The groupie is being asked to dance in a sexy way on the disco floor, and to move her body closer to the artist's body.
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
The artist was impressed by the groupie's dancing, and was shouting and cheering her on.
Extra, extra, read all about it (move your body)
We got a brand new thang
Makin' headline news (close to mine)
Extra, extra, read all about it
We got a brand new thang
Makin' headline news
The artist and the groupie have a new dance style that is gaining a lot of attention and is being talked about in the news.
Glide, your slender body
Every time you wiggle, make the men holler for more
The groupie is being asked to glide her slender body and wiggle in a way that makes the men want more.
Bad! The girl is bad
Real bad! She's bad!
Bad! Bad! Bad! Bad!
The girl is incredibly good and talented, and the artist cannot stop complementing her.
He scream, he shout
She turned that mother out
He scream, he shout
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout
She turned that sucker out (close to mine)
He scream, he shout (move your sexy body)
She turned that sucker out
He scream, he shout (move your sexy body)
She turned that sucker out
The singer was impressed by the groupie and kept shouting and cheering her on as she danced.
Glide your slender body
Baby, let me see you dancing on the disco floor
The groupie is being asked to dance in a sexy way on the disco floor and to show off her slender body.
Ah yeah
Every time she wiggle, she make the kid holler for more
The groupie's dancing was so good that even the kid who initially rejected her was now enjoying it and asking for more.
Lyrics © Peermusic Publishing, Kobalt Music Publishing Ltd., A SIDE MUSIC LLC D/B/A MODERN WORKS MUSIC PUBLISHING
Written by: BERNARD G. WORRELL, GEORGE JR CLINTON, WILLIAM(BOOTSY) EARL COLLINS
Lyrics Licensed & Provided by LyricFind
@iamanubus2
One of the most underated cuts of ALL TIME!!!!!
@morriscirton6052
I agree!!!
@TheBfunky17
Yeah and I wonder why it is like That???..
@israelagape4949
As a matter-of-fact, Tales Of Kidd Funkadelic is most my favorite Parliament/Funkadelic album of all time
@bebew.7659
This album was considered a flop I think:/
@MrAntiSellOut
Bernard Worrell. Gone but never forgotten.
@harrygreen2451
Truly. Nobody could do it like the "Woo" !
@TheBfunky17
Ahey,, is Bernie Wor., Gone??..i haven't heard nuthin about that..
@MrAntiSellOut
+TheBfunky17 He passed away a few days ago
@Ston247
Yes sir. This is where the Woo is ! It's how Bernie uses the space within the funk. More Woo to the world !