Funkadelic was originally the backing band for the doo wop group, Parliamen… Read Full Bio ↴Funkadelic was originally the backing band for the doo wop group, Parliament. The band was added in 1964, primarily for tours, and consisted of Frankie Boyce, Richard Boyce and Langston Booth. They enlisted in the army in 1966, and George Clinton (the leader of Parliament) recruited Billy Bass Nelson and Eddie Hazel in 1967, then also adding Tawl Ross and Tiki Fulwood.
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
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
ain't that funkin' kinda hard on you
Funkadelic Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Two tears in a bucket I cry with ya, ah
But I can never lie with ya
I can never afford not to afford
I can never put my plans to the side with ya
I can never see a red light like a deer with a headlight
I freeze up when I re-up
See I better have patience
And you're relatin', only the moment to complete us
Why you hate to work for it
The reason I never went to work for it?
See a nine to five was so jive, turkey
But when Thanksgiving came that check didn't hurt me
You plead the fifth, I read the fifth amendment
We both criminals with bad intention
They say time heals all
But if I could short cut my success, motherfunk all y'all, wassup
Brothers be like
"George, ain't that funkin' kinda hard on you?"
I was hard when I started
I'll be hard when I get through
For example if I had to sample some funk like you
Would I be funky too?
And another thing
It ain't so hard, it ain't so strange
If I could be funky like you
If I could be funky like you
Brothers be like
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
And he be hard when he get through
He was hard when he started
And he gonna be hard when he get through
Bottom where I treat em, you know if I need em
See, Dr. Funkenstein that's my spiritual leader
Some suckers don't like it, 'cause I'm a psychic
And if you tricks don't like it, ho you can dyke it
It's that self-made Kool-aid, look what red and blue made
Turned O'Shea into N.W.A
Triple OG, ain't never sold a key
Ain't never did time, they still respect mine
Ask all the niggas on the mainline
Who they favorite and what he's made with
Playboy, I ain't nothing to play with
I'm dangerous when it comes to using this language
Me and Starchild, we talk to strangers
All the real hoods is ready to bang this
You might not understand if you come from Cambridge
I'm flesh and blood, that's hard as stainless
Yeh yeh (it's good to be hard) it's good to be hard homie
(It's hard to be good) but damn, it's hard to be good
Brothers be like (two tears in a bucket)
"George, ain't that funkin' kinda hard on you?"
I was hard when I started
I'll be hard when I get through
Brothers be like
"George, ain't that funkin' kinda hard on you?" (all say)
I was hard when I started
Gon' be hard when I get through
Brothers be like (two tears in a bucket)
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
Said he'll be hard when he get through
Brothers be like
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
And he'll be hard when he get through
He was hard when he started
He gon' be hard when he get through
Ain't that funkin' kind hard on you?
Ain't that funkin kinda hard
Yeah
Ain't that funkin' kind hard on you?
(Since when did the funk become funny)
Baby, been funkin for so long)
(Shit, ain't nothing but)
Hey-y-y-y
Ain't that funkin' kind of hard on you?
(See it's second nature to me)
I'm still funkin' for fun
(Two tears and a bucket)
Ain't that funkin' kinda hard on you?
I've been doing it from the start, hey
Ain't that funkin' kinda hard on you?
We ain't never gonna stop
Two tears and a bucket
Ain't that funkin' kinda hard on you?
Never, never stop, no, no
Never stop, no, no
No, no (ain't that funkin' kinda hard on you?)
No, no, no
Never, never, never stop
Brothers be like
"George, ain't that funkin' kinda hard on you?"
But I can never lie with ya
I can never afford not to afford
I can never put my plans to the side with ya
I can never see a red light like a deer with a headlight
I freeze up when I re-up
See I better have patience
And you're relatin', only the moment to complete us
The reason I never went to work for it?
See a nine to five was so jive, turkey
But when Thanksgiving came that check didn't hurt me
You plead the fifth, I read the fifth amendment
We both criminals with bad intention
They say time heals all
But if I could short cut my success, motherfunk all y'all, wassup
Brothers be like
"George, ain't that funkin' kinda hard on you?"
I was hard when I started
I'll be hard when I get through
For example if I had to sample some funk like you
Would I be funky too?
And another thing
It ain't so hard, it ain't so strange
If I could be funky like you
If I could be funky like you
Brothers be like
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
And he be hard when he get through
He was hard when he started
And he gonna be hard when he get through
Bottom where I treat em, you know if I need em
See, Dr. Funkenstein that's my spiritual leader
Some suckers don't like it, 'cause I'm a psychic
And if you tricks don't like it, ho you can dyke it
It's that self-made Kool-aid, look what red and blue made
Turned O'Shea into N.W.A
Triple OG, ain't never sold a key
Ain't never did time, they still respect mine
Ask all the niggas on the mainline
Who they favorite and what he's made with
Playboy, I ain't nothing to play with
I'm dangerous when it comes to using this language
Me and Starchild, we talk to strangers
All the real hoods is ready to bang this
You might not understand if you come from Cambridge
I'm flesh and blood, that's hard as stainless
Yeh yeh (it's good to be hard) it's good to be hard homie
(It's hard to be good) but damn, it's hard to be good
Brothers be like (two tears in a bucket)
"George, ain't that funkin' kinda hard on you?"
I was hard when I started
I'll be hard when I get through
Brothers be like
"George, ain't that funkin' kinda hard on you?" (all say)
I was hard when I started
Gon' be hard when I get through
Brothers be like (two tears in a bucket)
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
Said he'll be hard when he get through
Brothers be like
"George, ain't that funkin' kinda hard on you?"
He was hard when he started
And he'll be hard when he get through
He was hard when he started
He gon' be hard when he get through
Ain't that funkin' kind hard on you?
Ain't that funkin kinda hard
Yeah
Ain't that funkin' kind hard on you?
(Since when did the funk become funny)
Baby, been funkin for so long)
(Shit, ain't nothing but)
Hey-y-y-y
Ain't that funkin' kind of hard on you?
(See it's second nature to me)
I'm still funkin' for fun
(Two tears and a bucket)
Ain't that funkin' kinda hard on you?
I've been doing it from the start, hey
Ain't that funkin' kinda hard on you?
We ain't never gonna stop
Two tears and a bucket
Ain't that funkin' kinda hard on you?
Never, never stop, no, no
Never stop, no, no
No, no (ain't that funkin' kinda hard on you?)
No, no, no
Never, never, never stop
Brothers be like
"George, ain't that funkin' kinda hard on you?"
The lyrics of Ain't That Funkin' Kinda Hard On You by Funkadelic Ft. Kendrick Lamar & Ice Cube talk about the struggles and challenges of being successful and staying true to oneself in a world that judges success purely by one's financial gains. The song talks about how the artist may not always be able to empathize or relate to people who may be close to them, but are not on the same journey towards success. The lyrics also touch upon themes of loyalty, criminality, and the pursuit of happiness.
In the chorus, the artist talks about how it may be tough to stay true to oneself and keep working hard towards success, but at the same time, it is necessary to stay true to oneself and not forget the roots from where one comes from. The reference to "two tears in a bucket" could be interpreted as a metaphor for the artist's empathy towards the struggles of others, but also as a reminder that they must keep moving forward and stay true to their journey.
Interestingly, the song features collaborations with two iconic rap artists from different generations – Kendrick Lamar and Ice Cube. This collaboration brings together three generations of funk music – Funkadelic being one of the most recognized bands of the 1970s funk era, Kendrick Lamar being a contemporary rap superstar who has been inspired by funk music, and Ice Cube being a legend of 90s gangster rap who has also had a direct involvement with funk music.
Line by Line Meaning
Two tears in a bucket I cry with ya, ah
I empathize with you and feel your pain
But I can never lie with ya
I can't pretend to be someone I'm not in order to please you
I can never afford not to afford
I can't afford to take any risks that might harm my financial stability
I can never put my plans to the side with ya
I can't sacrifice my goals for the sake of someone else
I can never see a red light like a deer with a headlight
I get scared and freeze up in high-pressure situations
I freeze up when I re-up
I become hesitant and unsure when I have to renew a commitment or agreement
See I better have patience
I know that success takes time and I need to be patient in order to achieve it
And you're relatin', only the moment to complete us
You're only focused on immediate satisfaction, while I'm thinking long-term
Why you hate to work for it
Why do you dislike putting in the effort and hard work required to achieve success?
The reason I never went to work for it?
The reason I never pursued a conventional career is because it didn't interest me
See a nine to five was so jive, turkey
A regular office job seemed unappealing to me
But when Thanksgiving came that check didn't hurt me
But when I received my paycheck, it didn't bother me
You plead the fifth, I read the fifth amendment
You refuse to answer the question, but I understand your right to remain silent
We both criminals with bad intention
We both have done questionable things with questionable motives
They say time heals all
They say that over time, anger, pain, and resentment will fade
But if I could short cut my success, motherfunk all y'all, wassup
However, if I could find a faster way to achieve my goals, I wouldn't care what anyone thinks.
Lyrics © O/B/O APRA AMCOS
Written by: ROBERT MANDELL
Lyrics Licensed & Provided by LyricFind
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