Instant Funk came out of Trenton, New Jersey consisting of Raymond Earl, Scotty Miller and guitarist Kim Miller. The group was then called The Music Machine and they were very successful as a back-up band for The Manhattans, Bunny Sigler and also the TNJs. Throughout their careers, Instant Funk would be the back-up band for many stars, including Lou Rawls, Loleatta Holloway, The O'Jays, MFSB, Curtis Mayfield and Evelyn Champagne King (they are the backing band on the hit single, "Shame").
The group relocated to Philadelphia in 1976 to release its first album, Get Down With the Philly Jump, as they started to formulate their own sound. The group followed this album up with a release for former MFSB guitarist Norman Harris' new record label Gold Mind, with front man Bunny Sigler entitled "Let Me Party With You".
The Gold Mind label folded, and Instant Funk's new cut "I Got My Mind Made Up" was transferred to the Salsoul label, which pushed the record heavily to all of the disco clubs. The remix of this song by club DJ Larry Levan and engineer Bob Blank quickly became the talk of Manhattan. "I Got My Mind Made Up" hit #1 on both the R&B and disco charts and #20 on the Billboard Hot 100 chart in the spring of 1979. The group's eponymous first album on Salsoul was also a hit, reaching #1 R&B and being certified gold disc status.
Instant Funk initially stayed together to tour when Salsoul folded. They eventually disbanded, and Bunny Sigler went on to perform as part of The Trammps.
Steven Scott "Scotty" Miller (Trenton NJ, August 22, 1951 - April 11, 2017)
Funk burst on the '70s disco scene with the million-selling single "I Got My Mind Made Up (You Can Get It Girl)" and the gold album Instant Funk. The Trenton, NJ, band started out with the core lineup of bassist Raymond Earl, drummer Scotty Miller, and guitarist Kim Miller. It later expanded to include keyboardist Dennis Richardson; lead singer James Carmichael; horn players Larry Davis, Eric Huff, and Johnny Onderlinde; and percussionist Charles Williams. The band can be heard on sides by Evelyn "Champagne" King (her gold single "Shame"), Archie Bell & the Drells ("Let's Groove," "The Soul City Walk," and "Strategy"), South Shore Commission ("Free Man," "A Train Called Freedom"), the O'Jays (" Let Me Make Love to You," "I Swear I Love No One but You"), Lou Rawls ("From Now On," "When You Get Home"), Gabor Szabo ("Keep Smilin'"), and Jean Carn, as well as for their mentor, Bunny Sigler, and his cover of "Love Train," "Keep Smilin'," "Let Me Party With You," "Sweeter Than the Berry," and "Only You," a duet with Loleatta Holloway.
In the mid-'60s, bassist Raymond Earl met drummer Scotty Miller in grade school and formed the duo the Music Machine. In 1973, Scotty's younger brother, guitarist Kim Miller, joined the duo. After hours and hours of playing together, the trio found that they clicked; they became so intuitively "tuned" into each other that they could anticipate and accent each other's playing. In 1968, they began backing local vocal group the TNJs, appearing at local dances and venues building up a good reputation. Around 1971, the group's manager Jackie Ellis christened the backup band Instant Funk because they could come up with funky grooves instantaneously.
Philly soul artist/producer/songwriter Bunny Sigler was invited by Ellis to see Instant Funk and the TNJs perform. Sometime during the show, Sigler was called on stage to perform. He was impressed that the band knew "Sunshine," a song he co-wrote with Phil Hurtt that was made popular by the O'Jays. They began backing Sigler, the Manhattans, and various other R&B acts. As a staff songwriter/producer at Gamble & Huff's Philadelphia International Records, Sigler began using Instant Funk on his sessions along with the TNJs. At those sessions and later, Sigler would record the basic track with Earl and the Miller brothers. Sigler, a brimming fount of ideas, would often stop the band midsong to implement one of his flashes of brillance. They backed Sigler on three of his PIR albums: That's How Long I'll Be Loving You, Keep Smilin', and My Music. Some tracks from those LPs are on Sony/Legacy's The Best of Bunny Sigler: Sweeter Than the Berry and the 1998 Sony CD Bunny Sigler. Instant Funk released a single on PIR's TSOP imprint, "Float Like a Butterfly," and an album, Get Down With the Philly Jump, issued in November 1976, whose title track and "It Aint Reggae (But It Sho Is Funky)" were popular in disco clubs.
Instant Funk can also be heard on sides by the O'Jays ("Let Me Make Love to You," "You've Got Your Hooks in Me," "Once Is Not Enough," and "I Swear I Love No One but You" from Message in Our Music; "Strokety Stroke" from So Full of Love), Archie Bell & the Drells ("Let's Groove," "Strategy," "The Soul City Walk," and "I Could Dance All Night" on Tightening It Up:The Best of Archie Bell & the Drells), the Three Degrees ("Take Good Care of Yourself"), Jean Carn ("I'm in Love Once Again" and "You Are All I Need" from Jean Carn), Dexter Wansel ("Life on Mars," the best recording that gives an idea of how the band sounded live, and "You Can Be What You Wanna Be" from The Very Best of Dexter Wansel), and M.F.S.B. ("Let's Go Disco" from Universal Love). The band can be heard on studio bandmate T. Life's That's Life album and LPs by his protégée, Evelyn "Champagne" King (Smooth Talk and Music Box).
In 1977, M.F.S.B. guitarist Norman Harris started his own label, Gold Mind Records, distributed by New York-based Salsoul Records. Sigler signed on as a recording artist. He and the band were constantly in the studio recording ideas and songs. One track, "Let Me Party With You," Sigler would listen to while driving around and excited passengers suggested that he release it. The single, co-written by the Miller brothers, Earl, and Sigler, went to number eight R&B in January 1978. The track was reminiscent of Marvin Gaye's "Got to Give It Up." The album, Let Me Party With You, was a huge disco hit, and included the follow-up single, the funky Sam Peake's sax-drenched ballad "I Got What You Need," "Don't Even Try," and the club hit "Your Love Is So Good."
While brainstorming in the studio, Sigler and Instant Funk came up with "I Got My Mind Made Up (You Can Get It Girl)." Sigler did overdubs on the track at Philadelphia-area studios, Alpha International and Sigma Sound Studios, before taking it to Bob Blank's Blank Tapes in New York. When the track was done, Sigler shopped it around to the record labels, who rebuffed him with comments like "the hook's not strong enough" and it sounds incomplete." Instant Funk signed with Gold Mind, but by the time their single "I Got My Mind Made Up (You Can Get It Girl)" was released, Gold Mind had folded and all of its acts were transferred to Salsoul.
The million-selling "I Got My Mind Made Up (You Can Get It Girl)" (remixed by Larry Levan) parked at number one R&B for three weeks, peaking at number 20 pop on Billboard's charts in March 1979. Their second album, Instant Funk, issued January 1979, went gold hitting number one R&B in spring 1979. Other Instant Funk albums on Salsoul were: Witch Doctor (November 1979), The Funk Is On (October 1980), Looks So Fine (March 1982), Instant Funk, Vol. 5 (January 1983), and Kinky (September 1983). The band backed Sigler on his Salsoul LPs: I've Always Wanted to Sing...Not Just Write Songs (March 1979) and Let It Snow (June 1980). Other Salsoul LPs that feature Instant Funk are Loleatta Holloway's Queen of the Night, Loleatta, and Greatest Hits; Double Exposure's Locker Room; and the Salsoul Orchestra's How High. For eil Bogart's Casablanca Records, the band can be heard on two albums Sigler produced for the label: Party Girl by Patti Brooks and Callin' by the Pips. On Curtis Mayfield's Curtom Records, Sigler and the band are on Barbara Mason & Bunny Sigler's Locked in This Position, the self-titled debut of Mystique featuring Ralph Johnson, and Mayfield's own Heartbeat. With the John Brothers, who were featured on Witch Doctor, they recorded a Sigler-produced RCA single, "Try to Walk a Mile" b/w "I Just Want to Be Free," both songs written by Bunny's brother Jimmy Sigler. They are also on Gabor Szabo's Mercury LP Nightflight and Carl Carlton's I Wanna Be With You.
When the Cayre brothers, owners of Salsoul Records, decided to fold the label in 1984, in an effort to concentrate on the then-emerging home video market, Instant Funk was without a record deal. The band toured for a few years then disbanded. Some of the members were still in the music business in one form or another as the 21st century began. Raymond Earl was operating his own studio and production company, Ray Ray Productions. Kim Miller, Dennis Richardson, and James Carmichael went into gospel music. Bunny Sigler was touring the world as a member of the Trammps.
"I Got My Mind Made Up (You Can Get It Girl)" can be found on the CD reissue of their 1979 gold album Instant Funk, Greatest Hits from EMI/Capitol/The Right Stuff, in the movie and on the soundtrack for the Disney/Miramax movie 54, Larry Levan's Paradise Garage, and various Salsoul and Salsoul-licensed compilations.
Slap Slap Lickedy Lap
Instant Funk Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Dennis Richardson, George Bell, Larry Davis)
You can go ahead and get it, girl
You can go ahead and get it, girl
Finger lickin', I know you are thinkin'
Of how to get it, admit it
Seen you lookin' at it
Wonderin' why I stare
No one else around you
Gave it such a stare
Your eyes are cravin' for it
Your lips are ready, too, well well
Slap, slap, lickedy lap, come on, ya'll
Slap, slap, lickedy lap, oh oh yeah
Slap, slap, lickedy lap, come on, come on, girl
Slap, slap, lickedy lap
Give it to me right now
I can get it, girl, just admit it
Good God
Do you want it
Come on, go ahead and get it, girl
Take it round the world
I love you, got to have you
Every day, baby, come on now
Got to love you every day, baby
Come on, come on now, come on now, I said
I'm still waitin' for you, girl
Repeat and fade
The song "Slap Slap Lickedy Lap" by Instant Funk is a seductive and suggestive song that talks about a woman who is craving for a man's attention. The opening lines "You can go ahead and get it, girl" sets the tone for the rest of the lyrics, indicating the singer's willingness and readiness to please the woman. He knows that she is thinking about him and is looking at him, and he is ready to give her what she wants.
The chorus is the most memorable part of the song, as it is both catchy and provocative. The lyrics "Slap, slap, lickedy lap, come on ya'll" is a clear indication of what is to come. The use of the words slap and lick creates a visual of a man slapping a woman's buttocks while performing oral sex on her. The repetition of the phrase is hypnotic and erotic, evoking a feeling of sensual pleasure.
The bridge in the song serves as confirmation of the woman's desire for the man, as she is ready to take him round the world. The repetitive nature of the song creates an atmosphere of heightened sexual tension, with the singer repeatedly asking if the woman wants it, encouraging her to go ahead and get it.
Overall, the song is a clear representation of Instant Funk's ability to create music that is both funky and sexy, with suggestive lyrics that leave nothing to the imagination.
Line by Line Meaning
You can go ahead and get it, girl
You have the permission to go ahead and acquire what you want, girl.
You can go ahead and get it, girl
You can take the lead and make your desired move, girl.
Finger lickin', I know you are thinkin'
I'm aware that you're eagerly thinking and salivating for it.
Of how to get it, admit it
Acknowledge that you are reflecting on how to acquire it.
Seen you lookin' at it
I observed you gazing at it.
Wonderin' why I stare
You might be curious about my constant gaze.
No one else around you
There's nobody else within your proximity.
Gave it such a stare
Yet, nobody gave it the lengthy stare that you gave it.
Your eyes are cravin' for it
Your eyes have a deep desire for it.
Your lips are ready, too, well well
Furthermore, your lips are also fully prepared for it.
Slap, slap, lickedy lap, come on, ya'll
Informing everyone else to participate and do it enthusiastically together.
Slap, slap, lickedy lap, oh oh yeah
Homophonic vocalization to encourage and engage in the activity.
Slap, slap, lickedy lap, come on, come on, girl
Persuasive tone to convince the girl to participate.
Slap, slap, lickedy lap
Repeated expression used for verbally simulating the physical activity that they are doing.
Give it to me right now
I earnestly request you provide me with it immediately.
I can get it, girl, just admit it
I'm confident that I can acquire it, girl. So, accept it.
Good God
Expression used to connote amazement or to emphasize a point.
Do you want it
I'm inquiring if you truly desire it.
Come on, go ahead and get it, girl
Come on, you can do it. Get what you desire, girl.
Take it round the world
Planning to explore and enjoy the utilization of the object worldwide.
I love you, got to have you
I care deeply about you and need you in my life.
Every day, baby, come on now
Wishing to experience and love the object every single day.
Got to love you every day, baby
I have an extreme passion for loving the object every day.
Come on, come on now, come on now, I said
Entreating continuously to persuade the other person to accept.
I'm still waitin' for you, girl
I'm anticipating and expecting you to respond, girl.
Writer(s): DENNIS ROBERT RICHARDSON, LAWRENCE DAVIS, GEORGE FREDRIC BELL
Contributed by Carson P. Suggest a correction in the comments below.
@sevenpro
THIS JOINT STILL SLAPS!!!!!!!!
@mooseydeucy
Played all over during my time at WBLS FM, NYC and all New York radio in the late 1970s/early 1980s! Classic Instant Funk with the suggestive lyrics!
@MusicLoverPearson
Cafe` Skype
I remember when WBLS,KISS FM and Hot 97 WKTU had this jam in heavy rotation i still have that 12inch remix
@errolthomas9426
Hell yeah
@mannypintado8349
WBLS 107.5 Classic.
@tribute4cap
I have been looking for this song for many years...smh. then I typed in the lyrics I could remember and here it goes! Dang!! lol..I can remember going to Coney Island as a kid and my sisters blasting this song from the radio while in the back seat during the summer. lol
@sendink9140
1980’s Bronx NY, Best Times Of My Life ( FUNHOUSE NYC)
@reginalddavis7578
Mad Funky! And yes you can be suggestive without being dirty or using foul language! It’s about being creative people!!
@sevenpro
Absolutely! no innuendo these days...nothing left to the imagination...
@whitepeople9931
It's a shame music has become so categorized. What a great song this was. Loved it in the clubs could only hear it on certain radio stations! The intro is so Kuule!