George Clinton (born July 22, 1941) is an American musician, widely conside… Read Full Bio ↴George Clinton (born July 22, 1941) is an American musician, widely considered one of the forefathers of funk. He was the mastermind of the bands Parliament and Funkadelic during the 1970s and early 1980s, and was a solo funk artist as of 1981.

He was born in Kannapolis, North Carolina, grew up in Plainfield, New Jersey, and currently resides in Tallahassee, Florida. In Plainfield, he ran a barber salon, where he straightened hair, and soon formed a doo wop group, inspired by Frankie Lymon & the Teenagers, called The Parliaments. Despite initial commercial failures, The Parliaments eventually found success under the names Parliament and Funkadelic in the seventies (see also P-Funk). This article focuses on Clinton's solo efforts after 1981.

Beginning in the early 1980's, Clinton recorded several nominal "solo" albums, although all of these records featured contributions from P-Funk's core musicians. The primary reason for recording under his own name was legal difficulties, due to the complex copyright and trademark issues surrounding the name "Parliament" (primarily) and Polygram's purchase of his former label (as part of Parliament), Casablanca Records. In 1982, Clinton signed to Capitol Records as a solo artist and as the P-Funk All-Stars, releasing Computer Games that same year. "Loopzilla" hit the Top 20 R&B charts, followed by "Atomic Dog," which reached #1 R&B, but peaked at #101 on the pop chart. In the next four years, Clinton released three more studio albums (You Shouldn't-Nuf Bit Fish, Some of My Best Jokes Are Friends and R&B Skeletons in the Closet) as well as a live album, Mothership Connection (Live from the Summit, Houston, Texas) and charting three singles in the R&B Top 30, "Nubian Nut," "Last Dance," and "Do Fries Go with that Shake." This period of Clinton's career was marred by multiple legal problems (resulting in financial difficulties) due to complex royalty and copyright issues. In 1985 he was recruited by the Red Hot Chili Peppers to produce their album Freaky Styley, because the bandmembers were huge fans of George Clinton and Funk in general. Though Clinton's popularity had waned by the mid 1980s, he experienced something of a resurgence in the early 1990s, as many rappers cited him as an influence and began sampling his songs. Alongside James Brown, George Clinton is considered to be one of the most sampled musicians ever.

In 1989, Clinton released The Cinderella Theory on Paisley Park, Prince's record label. This was followed by Hey Man... Smell my Finger. Clinton then signed with Sony 550 and released T.A.P.O.A.F.O.M. (The Awesome Power Of A Fully Operational Mothership) in 1996, having reunited with several old members of Parliament and Funkadelic.

In the 1990s, Clinton appeared in films such as Graffiti Bridge (1990), Good Burger (1997) and PCU (1994). Most recently he appeared as the voice of The Funktipus, the DJ of the Bounce FM station in the 2004 video game, Grand Theft Auto: San Andreas. Rapper Dr. Dre sampled most of his beats to create his G-Funk music era.

"You're Thinking Right" - the theme song for The Tracey Ullman Show, was written by Clinton.

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This is not the soundtrack composer George S. Clinton who did Mortal Kombat etc.

French Kiss
GEORGE CLINTON Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Oooh ooooh ooooh boy
Gitchi gitchi goo boy
Feel like Frenchin´ you

Put your mouth on me baby
Put your mouth on me
(x2)

I want your mouth all over my mouth
So part your lips and let me through
I got a red-hot-throbbin´ of love
For you mama
But first I wanna tongue-kiss you
Put your mouth on me baby
Put your mouth on me
Part your lips and let me through
Ooooh girl I like the way it feels
When you stick your tongue in my mouth
And when, you do those sexy faces
It makes my body crazy
It really really drives me wild
Put your mouth on me
My lips are impatient
They quiver and shake
Everytime you´re over my place
Like Henry Fonda said
To Katherine Hepburn in the movies
"Let´s go suck face"
Put your mouth on me baby
Wether lust or whether it´s a burnin´ need
I wanna taste your luscious lips
Part your lips and let me through
Ooooh ooooh ooooh ooooh

Put your mouth on me baby
Put your mouth on me

Part your lips and let me through
(x2)

Overall Meaning

The song "French Kiss" by George Clinton is a clear depiction of his desire to engage in an intimate moment with his partner. The lyrics start with him expressing his want for his partner by stating "Oooh ooooh ooooh boy, Gitchi gitchi goo boy, Feel like Frenchin´ you." He then goes on to ask his partner to "Put your mouth on me baby, Put your mouth on me" as he wants her all over him. The lyrics paint a clear picture of Clinton's intentions as he states, "I got a red-hot-throbbin´ of love, For you mama, But first I wanna tongue-kiss you." His use of metaphors is also evident in the line "My lips are impatient, They quiver and shake, Every time you´re over my place." The song ends with the chorus repeating the lines "Put your mouth on me baby, Part your lips and let me through" which shows the persistence of his desire in the intimate moment.

Line by Line Meaning

Oooh ooooh ooooh boy
Expressing excitement and anticipation for a pleasurable experience with the person addressed as 'boy'

Gitchi gitchi goo boy
An affectionate and playful term addressed to the person called 'boy'

Feel like Frenchin´ you
Desiring to engage in a passionate French kiss with the person addressed

Put your mouth on me baby
Asking the person addressed to use their mouth to kiss, touch or stimulate the artist’s body

Put your mouth on me
Reiterating the request for the person addressed to use their mouth in a sexual manner

I want your mouth all over my mouth
Desiring the other person's mouth to explore and kiss all parts of the singer's mouth

So part your lips and let me through
Asking the person to open their mouth and allow the singer's mouth to enter

I got a red-hot-throbbin´ of love
Feeling a strong desire for intimacy and sexual pleasure

For you mama
Addressing the person as a source of sexual attraction and desire

But first I wanna tongue-kiss you
Preferring to start by engaging in a passionate French kiss with the person addressed

Ooooh girl I like the way it feels
Expressing pleasure from the physical sensation of kissing and touch

When you stick your tongue in my mouth
Enjoying the physical act of tongue-kissing between the two individuals

And when, you do those sexy faces
Being aroused when the other person makes seductive or suggestive facial expressions

It makes my body crazy
Experiencing intense physical sensations of arousal and pleasure

It really really drives me wild
Being sexually excited, and experiencing overwhelming emotions of passion and desire

My lips are impatient
Describing the eagerness and yearning for physical intimacy through kissing

They quiver and shake
Being in a state of anticipation and nervousness from the desire to engage in intimate acts

Everytime you´re over my place
Referring to the person addressed as a regular visitor to the singer’s home, and anticipating sexual intimacy with them

Like Henry Fonda said
Referencing a line from a famous movie in which the actor expresses his desire to kiss his co-star

To Katherine Hepburn in the movies
Naming the actress who was being kissed in the movie mentioned in the previous line as a way to refer to a passionate kiss

"Let´s go suck face"
Using crude language to humorously suggest engaging in passionate kissing and physical intimacy

Wether lust or whether it´s a burnin´ need
Indicating that the desire for physical intimacy is driven by either sexual attraction or emotional necessity

I wanna taste your luscious lips
Expressing the desire to engage in affectionate and passionate kissing, possibly with sexual undertones

Ooooh ooooh ooooh ooooh
Expressing intense pleasure and anticipation for the physical intimacy about to occur

Put your mouth on me baby
Reiterating the request for the other person to engage in intimate acts using their mouth

Part your lips and let me through
Asking the other person to relax and allow the singer to engage in physical intimacy

Contributed by Landon R. Suggest a correction in the comments below.

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TRACKS