Funkadelic -

Funkadelic was an American soul-funk/psych band from Detroit that released eight albums on Westbound between 1970 and 1976, followed by four further albums on Warner Bros. over the subsequent five-year period.

They combined psychedelic rock, soul, and funk with distorted guitars, driving basslines, and layered vocals to produce dense, high-energy compositions. Their Westbound albums, from Funkadelic (1970) through Tales of Kidd Funkadelic (1976), presented social commentary and experimental production while establishing the band’s reputation for extended jams and theatrical performance.

On Warner Bros., Funkadelic evolved with synthesizers and modern studio techniques. Albums such as Hardcore Jollies (1976), One Nation Under a Groove (1978), Uncle Jam Wants You (1979), and The Electric Spanking of War Babies (1981) fused tight funk rhythms with rock textures and political satire. Key collaborators included Michael Hampton, Bootsy Collins, Bernie Worrell, and Sly Stone, who shaped both instrumentation and production, reinforcing the collective’s dense, layered sound.

Members: George Clinton (vocals), Ray Davis (vocals, 1968-2015), Clarence “Fuzzy” Haskins (vocals, 1968-77), Calvin Simon (vocals, 1968-77), Grady Thomas (vocals, 1968-77), Tiki Fulwood (drums, 1968-75), Eddie Hazel (guitar, 1968-71), Tal Ross (rhythm guitar, 1968-71), Billy Nelson (bass, guitar, vocals, 1968-71), Mickey Atkins (organ, 1968-70), Bernie Worrell (keyboards, 1970-81), Frank Waddy (drums, 1971-72), Bootsy Collins (bass, 1972-81), Catfish Collins (guitar, 1972-81), Garry Shider (guitar, vocals, 1972-81), Cordell Mosson [aka Boogie] (bass, 1972-81), Tyrone Lampkin (drums, 1972-73), Ron Bykowski (guitar, 1972-74), James Wesley Jackson (Jew’s harp, backing vocals, 1972), Fred Wesley (trombone, 1975-81), Maceo Parker (saxophone, clarinet, flute, 1975-81), Michael Hampton (guitar, 1975-81), Glenn Goins (guitar, 1976-77), Jerome “Big Foot” Brailey (drums, 1976-78), Walter “Junie” Morrison (keyboards, 1977-80)

Background

Funkadelic evolved from the backing band of soul group The Parliaments, formed in 1964 by singer and band leader George Clinton. The Parliaments featured five vocalists: Clinton, Clarence “Fuzzy” Haskins, Calvin Simon, Grady Thomas, and Ray Davis. After an early set of backing musicians departed for military service, Clinton hired bassist Billy Bass Nelson, drummer Tiki Fulwood, and guitarists Eddie Hazel and Tawl Ross.

In 1968, the nine-piece band relocated from Plainfield, NJ, to Detroit and broke from their old label, Revilot, which retained legal rights to The Parliaments name. In reference to their newfound mix of R&B and acid rock, Nelson suggested they change their name to Funkadelic, a portmanteau of “funk” and “psychedelic.” They signed to Westbound and entered Tera Shirma Sound Studios to record their first album.

Funkadelic

Funkadelic released their self-titled debut album on February 24, 1970, on Westbound.

The album blends heavy rhythm-and-blues foundations with acid-rock guitar runs and surreal vocal interplay, laying down the group’s early blueprint of psychedelic funk. Its material combines studio jams with earlier compositions reworked by George Clinton and the Parliaments.

Clinton wrote four of the seven tracks, including the extended closer. Guitarist Eddie Hazel co-wrote “Music for My Mother” and “Qualify and Satisfy.” Parliament’s Clarence Haskins contributed “I Got a Thing.” The four Parliament singers appear on “I’ll Bet You,” which originates from Clinton’s 1966 collaboration with Sidney Barnes and Theresa Lindsey.

Hazel plays lead throughout and sings on “Open Our Eyes.” Lucius “Tawl” Ross handles rhythm against the backbeat of Ramon “Tiki” Fulwood. Billy “Bass” Nelson plays on the album’s interior cuts. Organist Mickey Atkins plays Hammond on Side B. Funkadelic also features uncredited Motown session players, including Ray Monette of Rare Earth.

Side A balances narrative-led pieces and structured songs: the sprawling opener “Mommy, What’s a Funkadelic?” frames Clinton’s sermon-like delivery against phased guitars, while “I’ll Bet You” layers Parliaments harmonies over fuzz riffs and Motown rhythm support. “Music for My Mother” grounds itself in a loping blues vamp, while “I Got a Thing, You Got a Thing, Everybody’s Got a Thing” compresses the acid-funk interplay into a taut three minutes.

Side B expands into open-ended performance: “Good Old Music” revives an older Funkadelic cut with Hazel stretching over Nelson’s bass drive, “Qualify and Satisfy” runs a blues form elevated by Hazel’s solo flights, and “What Is Soul” closes with satirical declarations over shifting dynamics.

A1. “Mommy, What’s a Funkadelic?” (9:04)
A2. “I’ll Bet You” (6:10)
A3. “Music for My Mother” (5:37)
A4. “I Got a Thing, You Got a Thing, Everybody’s Got a Thing” (3:52)

B1. “Good Old Music” (7:59)
B2. “Qualify and Satisfy” (6:15)
B3. “What Is Soul” (8:40)

Sessions occurred at Tera Shirma Sound Studios in Detroit with producer George Clinton. Westbound staff coordinated distribution through Janus Records, with plating by Audio Matrix and pressing at Abbey Record Manufacturing.

Funkadelic features artwork by Joel Brodsky, who depicts a surreal, wide-eyed face emerging from darkness with an outstretched tongue, aligning the imagery with the album’s warped psychedelic atmosphere.

“I’ll Bet You” first appeared as an August 1969 Westbound single (b/w “Open Our Eyes”). It reached No. 22 on the US Billboard Hot Soul Songs chart. In March 1970, “I Got a Thing, You Got a Thing, Everybody’s Got a Thing” became the second single, backed with the non-album “Fish, Chips and Sweat,” a Clinton–Nelson–Hazel cut. It reached No. 30 on the Hot Soul chart.

Funkadelic reached No. 8 on the US Billboard Soul Albums chart.

Free Your Mind… and Your Ass Will Follow

Funkadelic released their second album, Free Your Mind… and Your Ass Will Follow, in July 1970 on Westbound.

The album pushes their psychedelic funk further into raw, freeform territory. Its pieces shift from sermon-like chants to extended jams that drift between blues figures and distorted soundscapes.

George Clinton co-wrote four of the six tracks, sharing credits with guitarist Eddie Hazel on all but one. Bassist Billy Nelson and Parliament vocalist Clarence Haskins appear as co-writers on “I Wanna Know If It’s Good to You.” Ray Davis shares credit on two numbers, while keyboardist Tawl Ross and organist Mickey Atkins sit out the writing. Guitarist Eddie Harris contributed “Some More,” and Davis intones the spoken elements on the Hazel–Clinton–Davis title track.

Hazel dominates with guitar feedback and wah-wah phrasing, doubling as a lead vocalist on several cuts. Nelson grounds the interior numbers with heavy bass runs, while Fulwood’s drumming alternates between crawling and frantic tempos. Ross steps forward on “Funky Dollar Bill,” his rhythm parts colliding with Worrell’s manic piano. Clinton, Davis, Simon, Thomas, and Haskins form the vocal bedrock, with Haskins spotlighted on “Eulogy and Light.” Martha Reeves makes an uncredited cameo, while Telma Hopkins and Joyce Vincent (collectively known as Dawn) add background voices to “Friday Night, August 14th.”

The title piece sprawls for ten minutes in shifting pace, Clinton and Haskins chanting over Hazel’s corrosive leads and Worrell’s organ stabs. “Friday Night, August 14th” follows with wah-driven riffs and a mid-song drum break. Ross handles “Funky Dollar Bill,” a sardonic ode to money’s corruptive pull, driven by distorted guitars and scattershot piano. “I Wanna Know If It’s Good to You” rides a pounding rhythm section into a closing jam between Hazel and Worrell. Side B closes with the brief, off-kilter “Some More” and the backwards “Eulogy and Light,” where Davis invokes a sermon on materialism against warped, ghostly textures.

A1. “Free Your Mind and Your Ass Will Follow” (10:00)
A2. “Friday Night, August 14th” (5:20)

B1. “Funky Dollar Bill” (3:14)
B2. “I Wanna Know If It’s Good to You” (5:54)
B3. “Some More” (2:55)
B4. “Eulogy and Light” (3:29)

Sessions occurred at United Sound Studios, Audio Graphic Services, and G-M Recording Studios in Detroit with producer George Clinton. Engineers Ed Wolfrum and Milan Bogdan handled the sound.

Free Your Mind… and Your Ass Will Follow is housed in a vertical gatefold designed by Stanley Hochstadt and the Graffiteria. The photographer, Joel Brodsky, also has visual credits on 1970–71 albums by Air, Carly Simon, Herbie Mann, and Isaac Hayes.

“I Wanna Know If It’s Good to You” appeared as a single on Westbound, backed with an instrumental version.

The album reached No. 11 on the Billboard Soul LPs chart and No. 92 on the Billboard 200.

Maggot Brain

Funkadelic released their third album, Maggot Brain, on July 12, 1971, on Westbound.

The record marks the final appearance of the original Funkadelic lineup and pushes further into the extremes of psychedelic rock and funk. Expansive improvisation, heavy rhythm, and surreal sound collage drive the album’s sound.

George Clinton wrote or co-wrote six of the seven tracks, with Eddie Hazel, Billy Nelson, Bernie Worrell, and Tawl Ross each contributing. Calvin “Fuzzy” Haskins wrote “Back in Our Minds,” while the closing track, “Wars of Armageddon,” credits Worrell, Clinton, Ross, and drummer Ramon “Tiki” Fulwood.

The title track stretches to ten minutes and centers on Hazel’s soaring guitar, recorded against spare instrumental backing. Its alternate mix, included on later pressings, demonstrates how much space Hazel’s performance claimed from the band. “Can You Get to That,” led by Ray Davis with backing from Hot Buttered Soul, pivots into a shorter, folk-funk sound. “Hit It and Quit It,” sung by Bernie Worrell, relies on organ and Hazel’s quick runs, while “You and Your Folks, Me and My Folks” lays Clinton’s social call over Nelson’s forceful bass.

The second side sharpens its attack with “Super Stupid,” a rock number sung by Hazel that recounts a drug mishap. “Back in Our Minds” lightens the mood with trombone and Jew’s harp ornamentation. “Wars of Armageddon” closes with an extended jam layered in eccentric noises, fragmented voices, and sudden breaks.

A1. “Maggot Brain” (10:10)
A2. “Can You Get to That” (2:45)
A3. “Hit It and Quit It” (3:44)
A4. “You and Your Folks, Me and My Folks” (3:29)

B1. “Super Stupid” (3:53)
B2. “Back in Our Minds” (2:35)
B3. “Wars of Armageddon” (9:28)

Sessions occurred at United Sound Systems in Detroit with George Clinton producing. Armen Boladian served as executive producer, and Bernie Mendelson directed the Eegangas.

The cover features Joel Brodsky’s photograph of model Barbara Cheeseborough’s head emerging from the ground, designed by The Graffiteria with Paula Bisacca. The inner-gate features a group pic by photographer by Ron Scribner..

In March 1971, Westbound lifted “You and Your Folks, Me and My Folks” as advance single backed with the earlier “Funky Dollar Bill.” In August, “Can You Get to That” followed the album as a second single (b/w “Back in Our Minds”). The final single, “Hit It and Quit It” appeared in December with “A Whole Lot of B.S.,” a non-album Clinton–Worrell cut.

B. “A Whole Lot of B.S.” (2:15)

After Maggot Brain, only Clinton, Hazel, and Worrell remained from the original Funkadelic roster.

America Eats Its Young

Funkadelic released their fourth album, America Eats Its Young, on May 22, 1972, on Westbound.

The double LP expands Funkadelic’s scope into orchestrated funk, political sermons, and heavily arranged ensemble work. It marks the first major studio contributions of Bootsy and Catfish Collins alongside Bernie Worrell’s string and horn direction, creating a denser, more ambitious sound than their earlier records.

George Clinton and Bernie Worrell wrote the majority of material. Clarence Haskins, Garry Shider, Harold Beane, William “Bootsy” Collins, Billy Nelson, Eddie Hazel, and Jimmy Jackson each contributed one track, while Eddie Harris wrote “Biological Speculation.” The title cut and “Loose Booty” stem from Harold Beane, and Bootsy Collins debuted as a writer with “Philmore.”

The opening “You Hit the Nail on the Head” layers diffuse blues and country motifs around Worrell’s Hammond lines. “If You Don’t Like the Effects, Don’t Produce the Cause” delivers pointed political commentary over steel and string textures. “Everybody Is Going to Make It This Time,” recorded in London with Ginger Baker, draws on gospel inflections with a restrained vocal group. Worrell’s orchestrated “A Joyful Process” carries a cinematic, blaxploitation mood, while “We Hurt Too” slows into a ballad with string writing by David Van De Pitte. “Loose Booty” reworks a Parliament cut into a call-and-response funk workout, contrasting with Bootsy’s James Brown–styled jam “Philmore.”

Side three begins with a darker, dirtier remake of “I Call My Baby Pussycat” before the title track sprawls into a pseudo–spoken word lament filled with sound effects and sorrowful instrumental backing. “Biological Speculation” pares back to a country-colored setting, followed by the R&B-styled remake “That Was My Girl.” The final side balances Bootsy’s “Balance,” Fuzzy Haskins’ “Miss Lucifer’s Love,” and Worrell’s orchestrated closer “Wake Up,” driven by a horn section.

A1. “You Hit the Nail on the Head” (7:10)
A2. “If You Don’t Like the Effects, Don’t Produce the Cause” (3:43)
A3. “Everybody Is Going to Make It This Time” (5:50)

B1. “A Joyful Process” (6:10)
B2. “We Hurt Too” (3:47)
B3. “Loose Booty” (4:45)
B4. “Philmore” (2:40)

C1. “I Call My Baby Pussycat” (5:00) This song is a remake of the faster “Pussy” from Parliament’s 1970 album, Osmium.
C2. “America Eats Its Young” (5:45)
C3. “Biological Speculation” (3:00)
C4. “That Was My Girl” (3:41) This song is a remake of a 1965 version by The Parliaments.

D1. “Balance” (5:25)
D2. “Miss Lucifer’s Love” (5:50)
D3. “Wake Up” (6:20)

Sessions occurred at Manta Sound, RCA Studios, and Toronto Sound in Toronto, Olympic Studios in London, and Artie Fields and Mastercraft in Detroit, with George Clinton producing and Lee De Carlo engineering.

America Eats Its Young features cover artwork by Paul Weldon, who depicts a monstrous mouth consuming bloodied currency, reflecting the record’s title theme. A large poster by Cathy Abel accompanied first pressings, with some editions including a twelve-page booklet.

Westbound issued two singles: “A Joyful Process” backed with “Loose Booty” in August 1972, and the promo-only U.S. Music with Funkadelic disc, pairing “I Miss My Baby” and “Baby I Owe You Something Good,” in January 1972.

The record was packaged under the phrase “A Parliafunkadelicment Thang,” signaling Clinton’s intention to merge his Parliament and Funkadelic projects into a single, sprawling collective.

Cosmic Slop

Funkadelic released their fifth album, Cosmic Slop, in May 1973 on Westbound.

The record strips Funkadelic to a leaner lineup after Eddie Hazel’s departure, centering Garry Shider and Ron Bykowski on guitars, Cordell “Boogie” Mosson on bass, Bernie Worrell on keyboards and strings, and Tyrone Lampkin on percussion. Compared to the orchestration of America Eats Its Young, the sound tightens into concise funk with darker lyrical subjects and leaner rhythm textures.

George Clinton co-wrote seven of the nine songs with either Shider, Worrell, or Hazel. Hazel’s only credits are the co-written “Let’s Make It Last” and “Can’t Stand the Strain.” Clarence Haskins contributes “Nappy Dugout,” while Parliament associate Sidney Barnes co-writes “You Can’t Miss What You Can’t Measure.” William Franklin supplied “This Broken Heart.”

The album opens with “Nappy Dugout,” driven by Tiki Fulwood’s drumming and thickened by Mosson’s bass and Worrell’s keys. “You Can’t Miss What You Can’t Measure” revisits the Parliaments’ mid-’60s single “Heart Trouble” with a retooled rhythm and layered guitar interplay. “March to the Witch’s Castle” slows into a brooding sermon voiced by Ray Davis, framed by minimal rhythm and mournful atmosphere. “Let’s Make It Last” moves in mid-tempo R&B, shifting toward psych coloration in its chorus.

The title track stretches into taut funk with spiked guitar accents beneath Shider’s pleading vocal. Clinton takes lead on the blues-tinted “No Compute,” contrasting the orchestral ballad “This Broken Heart” arranged by Worrell. “Trash-a-Go-Go” bursts in as a hard rocker, leaving “Can’t Stand the Strain” to close with an R&B ballad shaded by hazy guitar lines.

A1. “Nappy Dugout” (4:31)
A2. “You Can’t Miss What You Can’t Measure” (2:54)
A3. “March to the Witch’s Castle” (5:54)
A4. “Let’s Make It Last” (4:10)

B1. “Cosmic Slop” (5:16)
B2. “No Compute” (3:01)
B3. “This Broken Heart” (3:39)
B4. “Trash-a-Go-Go” (2:23)
B5. “Can’t Stand the Strain” (3:28)

Sessions occurred at United Sound Systems in Detroit and Manta Sound in Toronto with George Clinton producing and Lee De Carlo engineering.

Cosmic Slop features cover art by Pedro Bell, his first for Funkadelic, whose gatefold imagery blends surreal characters and annotated illustrations, initiating his long association with the group.

In September 1973, Westbound issued “Cosmic Slop” as a single (b/w “If You Don’t Like the Effects, Don’t Produce the Cause”).

Cosmic Slop features a vertical gatefold illustration by Pedro Bell, the artist on all Funkadelic releases henceforth.

Standing on the Verge of Getting It On

Funkadelic released their sixth album, Standing on the Verge of Getting It On, on July 10, 1974, on Westbound.

The record showcases the return of Eddie Hazel, whose guitar dominates the album with searing solos and extended jams. Funkadelic push forward with funk-rock intensity, pairing loose, hard-driving rhythms with surreal humor and heavy improvisation.

All seven tracks carry co-writing credits for George Clinton and Grace Cook (Hazel’s mother, listed for publishing reasons). Bernie Worrell and Hazel also share credit on “Red Hot Mama,” while no other outside writers appear.

The album unfolds across contrasting modes. “Red Hot Mama” reworks an earlier Parliament cut with a fierce funk-rock attack, capped by a jam that later reemerged as the B-side “Vital Juices.” “Alice in My Fantasies” pulls in the riff from Hendrix’s “Izabella” and drives it into foul funk territory. “I’ll Stay,” adapted from the Parliaments’ “I’ll Wait,” slows the pace into a languid ballad with wah-wah inflections and a haunted vocal.

“Sexy Ways” borrows James Brown’s scratchy riffage, veering briefly into Latin textures. The title track strikes with exuberant rhythm and Fuzzy Haskins’ howling vocal asides. “Jimmy’s Got a Little Bit of Bitch in Him” lands as a playful doo-wop nod, while the closing “Good Thoughts, Bad Thoughts” stretches into a 12-minute meditation, Hazel’s solo winding beneath Clinton’s spoken reflections.

A1. “Red Hot Momma” (3:28)
A2. “Alice in My Fantasies” (2:27)
A3. “I’ll Stay” (7:13)
A4. “Sexy Ways” (3:06)

B1. “Standing on the Verge of Getting It On” (4:42)
B2. “Jimmy’s Got a Little Bit of Bitch in Him” (2:30)
B3. “Good Thoughts, Bad Thoughts” (12:20)

Sessions occurred at Manta Sound in Toronto, Hollywood Sound Recorders and Crystal Sound in Los Angeles, and United Sound Systems in Detroit, with George Clinton producing and engineers uncredited in the liner notes.

Standing on the Verge of Getting It On features a horizontal gatefold by Pedro Bell, with interior artwork presenting the band in spherical collage portraits.

Westbound lifted “Red Hot Momma” as a February 1975 single with its album outro repurposed as the b-side, “Vital Juices.”

The album reached No. 163 on the Billboard Pop Albums chart and No. 13 on the R&B Albums chart in 1974.

Let’s Take It to the Stage

Funkadelic released their seventh album, Let’s Take It to the Stage, on April 21, 1975, on Westbound.

The record shifted toward shorter, hard-hitting songs with a playful tone. Its sound mixes funk, rock, and R&B, with dense arrangements that remain lean and sharply defined. The record also showcases the increasing role of Bootsy Collins, whose presence helped shape its lively character.

George Clinton held the bulk of the songwriting, with Grace Cook credited across multiple tracks as a publishing stand-in. Bootsy Collins, Bernie Worrell, Garry Shider, and Ron Bykowski contributed individually on select pieces. Rare Earth’s Paul Warren supplied the uncredited solo on “Get Off Your Ass and Jam.”

The album moves between funk chants, acidic R&B, and raunchy guitar-driven tracks. “Good to Your Earhole” opens with a tight rhythm section foundation and layered guitars. “Better by the Pound” rides a thunderous bassline with mystical undertones, while “Be My Beach” drifts into smooth, psychedelic textures. “No Head, No Backstage Pass” pushes into near-heavy metal territory with obscene humor and sharp riffing.

The title track doubles as a playful taunt, with Clinton lampooning rival bands in the dozens tradition. “Get Off Your Ass and Jam” explodes with a frenzied solo centerpiece, later sampled by Public Enemy. Side two shifts in tone: “Stuffs and Things” dives into synth-drenched absurdity, “I Owe You Something Good” stretches into power balladry, “The Song Is Familiar” carries a melancholy shade, and “Atmosphere” closes with Worrell’s cartoonish organ flights.

A1. “Good to Your Earhole” (4:30)
A2. “Better by the Pound” (2:40)
A3. “Be My Beach” (2:35)
A4. “No Head, No Backstage Pass” (2:36)
A5. “Let’s Take It to the Stage” (3:32)
A6. “Get Off Your Ass and Jam” (2:00)

B1. “I Owe You Something Good” (5:43)
B2. “Stuffs & Things” (2:11)
B3. “The Song Is Familiar” (3:05)
B4. “Atmosphere” (7:05)

Sessions occurred at United Sound Systems in Detroit with George Clinton producing. Rare Earth guitarist Paul Warren played the solo on “Get Off Your Ass and Jam.”

Let’s Take It to the Stage features a horizontal gatefold with illustration by Pedro Bell. The right inner-gate portrays Funkadelic as the “Main Invasion Force.”

Two singles appeared: “Better by the Pound” backed with “Stuffs and Things” in September 1975, and “Let’s Take It to the Stage” backed with “Biological Speculation” in July 1976.

The album reached No. 14 on the R&B Albums chart.

Tales of Kidd Funkadelic

Funkadelic released their eighth album, Tales of Kidd Funkadelic, on September 21, 1976, on Westbound.

The record closed the group’s tenure on the Westbound label, drawn from sessions held simultaneously with Hardcore Jollies, which followed a month later on Warner Bros. The sound leans heavy funk with rock elements, eccentric in structure and looser in tone than their earlier Westbound titles.

George Clinton and Bernie Worrell dominate the writing, with regular contributions from Garry Shider, Bootsy Collins, and Michael Hampton. Eddie Hazel appears on the opening track, while Glen Goins takes a co-writing credit on “Take Your Dead Ass Home!”

The album opens with “Butt-To-Buttresuscitation,” Eddie Hazel’s guitar-driven assault layered over chants, distortion, and synthesizer accents. “Let’s Take It to the People” delivers a short, hard-rocking burst grounded by a thick bassline. “Undisco Kidd” stretches out as a tight jam with disco leanings, dense in bass and synth. “Take Your Dead Ass Home!” slows the pace with relaxed funk and absurdist lyrics.

“I’m Never Gonna Tell It” veers into reggae with Goins on vocals, shaped by synth runs and a descending chord figure. The title track sprawls across thirteen minutes with Worrell’s keyboards foregrounded over chants, percussion, and guitar flourishes. The closer, “How Do Yeaw View You?,” carries a serious tone, shifting from reggae undercurrents into heavier funk, framed by choral vocals, bass, and drums.

A1. “Butt-To-Buttresuscitation” (3:53)
A2. “Let’s Take It To The People” (1:50)
A3. “Undisco Kidd” (6:34)
A4. “Take Your Dead Ass Home! (Say Som’n Nasty)” (7:18)

B1. “I’m Never Gonna Tell It” (3:41)
B2. “Tales Of Kidd Funkadelic (Opusdelite Years)” (12:56)
B3. “How Do Yeaw View You?” (3:39)

Sessions occurred at United Sound Systems in Detroit and Hollywood Sound Recorders in Los Angeles with producer George Clinton. The title refers to guitarist Michael Hampton, nicknamed “Kidd Funkadelic.”

Westbound issued one single: “Undisco Kidd,” backed with “How Do Yeaw View You?” in September 1976.

Several tracks became enduring live numbers, including “Butt-To-Buttresuscitation,” “Take Your Dead Ass Home!,” and “Undisco Kidd,” the latter heard again on Live: P-Funk Earth Tour.

Hardcore Jollies

Funkadelic released their ninth album, Hardcore Jollies, on October 29, 1976, on Warner Bros.

Dedicated to “the guitar players of the world,” the record pushes the guitar to the front of the mix, discarding horns in favor of amplified interplay. Issued one month after Tales of Kidd Funkadelic, it shares session lineage but served as the group’s first major-label release. It also marked the final Funkadelic studio set with original members Clarence “Fuzzy” Haskins, Calvin Simon, and Grady Thomas. Eddie Hazel appears uncredited on several cuts.

George Clinton led the writing with Bernie Worrell, Garry Shider, Bootsy Collins, Michael Hampton, and Gary “Mudbone” Cooper contributing across the set. Glen Goins co-wrote “You Scared the Lovin’ Outta Me,” while Cooper appears on “Comin’ Round the Mountain” and “Soul Mate.”

The album’s two sides were originally titled Osmosis Phase 1 and Terribitus Phase 2. Side A moves through guitar-led reimaginings and statements of style: “Comin’ Round the Mountain” opens with Hazel, Hampton, and Buddy Miles pushing a traditional motif into a fatback rhythm; “Smokey” stands as one of their darkest ballads, defined by sharp guitar phrasing, ominous pace, and a chilling outro wail; “If You Got Funk, You Got Style” plays as a sparse declaration with bounce and absurdist humor; the instrumental “Hardcore Jollies” drives hard with Hampton foregrounded, quoting the 1970 Parliament riff from “Livin’ the Life.”

Side B diverges between studio and stage: “Soul Mate” sets Clinton’s lead vocal over a subdued mid-tempo rhythm anchored by Brailey and Mosson; “You Scared the Lovin’ Outta Me” pairs Goins’ vocals with low-end guitar balladry; “Adolescent Funk” stages Hazel and Worrell in a duel of guitar and keys with contoured exchanges; “Cosmic Slop,” taped at a 1976 Earth Tour rehearsal, stretches the 1973 composition with Hampton’s extended solos and an added vocal prologue.

A1. “Comin’ Round the Mountain” (5:56)
A2. “Smokey” (6:08)
A3. “If You Got Funk, You Got Style” (3:07)
A4. “Hardcore Jollies” (5:01)

B1. “Soul Mate” (2:48)
B2. “Cosmic Slop” (6:30)
B3. “You Scared the Lovin’ Outta Me” (6:28)
B4. “Adolescent Funk” (4:18)

Sessions occurred at Hollywood Sound Recorders in Los Angeles, United Sound Systems in Detroit, and Stewart Airfield in New York with producer George Clinton. Jim Callon engineered at Hollywood Sound, Jim Vitti at United Sound, and Callon mixed the record with Bob Bishop and Tom Mark.

The album credits divide the lineup into cosmic categories:

George Clinton – Phobic Vocals & Nuclear Photon Yakler
Clarence “Fuzzy” Haskins – Wolflurk Metabolisms of Vocalitivity
Calvin Simon – Plastoid Repeller of Vocal Truths
Grady Thomas – Heliogrobbic Genie Vocal Transposer
Glen Goins – Stallion Thrasher Vocals and Zambezi Axe
Garry “Dowop” Shider – Insane Boomerangic Guitar and Yokelvocals
Michael “Kid Funkadelic” Hampton – Superhyperbolic Definite Guitar Spastics
Cordell “Boogie” Mosson – Godzillous Bass Thumperator Deluxe
Ray Davis – Sub-Octave Grand Bass Crushermatical Vocals
Jerome “Bigfoot” Brailey – Acute Thumpology Maxmoid of Drumnastics
Bernie “DaVinci” Worrell – Synthesaucer Keyboardactory Dillydactics
Buddy “Sugah Bear” Miles – Percussional Funkatives (on “Butt-To-Buttresuscitation”)

Hardcore Jollies features artwork by Pedro Bell under his Funkagraphix imprint, credited alongside Clinton and Sir Lleb. His dense collage of distorted figures and alien inscriptions extended the group’s surreal comic-book aesthetic into Warner Bros. territory.

Warner Bros. issued two singles: “Comin’ Round the Mountain” backed with “If You Got Funk, You Got Style” in January 1977, and “Smokey” backed with “Soul Mate” in March.

Hardcore Jollies reached No. 12 on the Billboard R&B Albums chart.

One Nation Under a Groove

Funkadelic released their tenth album, One Nation Under a Groove, on September 22, 1978, on Warner Bros.

It marked the first appearance of keyboardist and songwriter Walter “Junie” Morrison and showcased a cleaner production style while maintaining the band’s dark, brooding, and politically aware atmosphere.

George Clinton and Bernie “DaVinci” Worrell continued as principal writers, with Morrison contributing significantly. Other contributors include Garry Shider on the title track, William “Bootsy” Collins on “Into You” and “Cholly (Funk Getting Ready To Roll!),” Michael Hampton on “Who Says a Funk Band Can’t Play Rock?!,” and L. Brown on “Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers).”

The first side emphasizes declarative funk-rock statements: “One Nation Under a Groove” combines a percussive, continuous beat with clipped guitar chords and tight synth-bass. “Groovallegiance” begins reggae-like and evolves into a jazz-funk exploration anchored by Rodney “Skeet” Curtis’ slithering bass lines; “Who Says a Funk Band Can’t Play Rock?!” fuses heavy guitar with funk rhythms to challenge genre conventions.

Side two ranges from epic psychedelia to ballad and instrumental extremes: “Promentalshitbackwashpsychosis Enema Squad” stretches eleven minutes with druggy tempo, spoken-word sections, falsetto, and acid-blues guitar; “Into You” is a slow vocal mantra elevated by chant-like backing vocals; “Cholly (Funk Getting Ready To Roll!)” highlights Bootsy Collins’ bass and Shider’s lead vocals; the live take of “Maggot Brain” foregrounds Hampton’s hypnotic guitar; “Lunchmeataphobia (Think! It Ain’t Illegal Yet!)” delivers heavy hard-rock riffs and plump synth bass; “P.E. Squad / Doo Doo Chasers” condenses the earlier epic into a short instrumental.

A1. “One Nation Under A Groove” (7:33)
A2. “Groovallegiance” (7:00)
A3. “Who Says A Funk Band Can’t Play Rock?!” (6:21)

B1. “Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)” (11:00)
B2. “Into You” (5:43)
B3. “Cholly (Funk Getting Ready To Roll!)” (4:33)

C1a. “Maggot Brain” (7:37)
C1b. “Chant (Think It Ain’t Illegal Yet!)” (0:53)
D1. “Lunchmeataphobia (Think! It Ain’t Illegal Yet!)” (4:16)
D2. “P.E. Squad / Doo Doo Chasers” (4:40)

Funkadelic recorded the album from 1977–1978 at United Sound in Detroit, Michigan, capturing one track live at Monroe Civic Center in Monroe, Louisiana. George Clinton produced, with Jim Callon and Jim Vitti engineering.

The album credits assign each musician a cosmic category:

Throbbasonic Funkgeetarists – Michael “Kidd Funkadelic” Hampton, Garry Shider
Banjo’d Muthaplucker – Bobby Lewis
Keybo’ Dans & Synthezoidees – Bernie “DaVinci” Worrell, Walter “Junie” Morrison
Rotofunkie Drum & Percussionatin’ Thumpdans – Jerome Brailey, W. Bootsy Collins, Larry Fratangelo, Tyrone Lampkin
Bass Thumpasaurians – William “Bootsy” Collins, Rodney “Skeet” Curtis, Cordell “Boogie” Mosson
Funkadelic Blamgusta Vocaloids (Voices For Da Nation!) – George Clinton, Raymond “Stingray” Davis, Ron Ford, Mallia Franklin, Lynn Mabry, W. “Junie” Morrison, Cordell Mosson, Dawn Silva, Garry “Dowop” Shider, Greg Thomas, Jeanette Washington, Debbie Wright

“One Nation Under a Groove” first appeared in July 1978, split into Parts I and II. In January 1979, edited versions of “Cholly (Funk Getting Ready To Roll!)” and “Into You” were issued as a single.

The album reached number one on the Billboard Top R&B/Hip-Hop Albums chart, peaked at number 16 on the Billboard 200, and earned platinum certification in the US.

Uncle Jam Wants You

Funkadelic released their eleventh album, Uncle Jam Wants You, on September 21, 1979, on Warner Bros.

The album continues Funkadelic’s signature blend of funk, rock, and psychedelic experimentation, with a militaristic concept that positions the band as defenders of dance music.

George Clinton wrote or co-wrote all tracks, with Dewayne McKnight, P. Bishop, and J. Vitti contributing secondary writing on select songs.

Uncle Jam Wants You opens with guitar-driven funk statements on “Freak of the Week” and expands to extended funk explorations on “(Not Just) Knee Deep,” featuring layered vocals, synthesized bass, and solos. “Uncle Jam” extends the concept with ten minutes of thematic repetition. Shorter tracks like “Field Maneuvers” and “Foot Soldiers (Star-Spangled Funky)” provide instrumental contrast, while “Holly Wants to Go to California” frames Clinton’s vocals over piano.

A1. “Freak Of The Week” (5:34)
A2. “(Not Just) Knee Deep” (15:23)

B1. “Uncle Jam” (10:26)
B2. “Field Maneuvers” (2:25)
B3. “Holly Wants To Go To California” (4:24)
B4. “Foot Soldiers (Star-Spangled Funky)” (3:31)

Sessions occurred at United Sound Systems, Detroit, Michigan. George Clinton produced, with engineering by Jim Callon and Jim Vitti.

The album credits assign each key member a cosmic category:

Axe Force – Michael “Kidd Funkadelic” Hampton, Gary “DooWop” Shider, Eddie “Maggot Brain” Hazel
Keyboard Battlecruisers – Bernie “U.S.S. Woo!” Worrell, J.S. Theracon
Uncle Jam’s Drums and Percussion – Tyrone “Speedfeet” Lampkin, Larry Fratangelo
Bass Anti-Flam Units – Rodney “Skeet” Curtis, Cordell “Boogie” Mosson
Uncle Jam’s Drumset and funky beatz – Dennis Chambers
Vocal Assault & Funkatition Team – George Clinton, Gary Shider, etc.

Uncle Jam Wants You is the first release since America Eats Its Young (1972) without a Pedro Bell front cover, though he contributed interior and back artwork. On the cover, Clinton posed in a peacock chair for photographer Diem Jones.

The first single paired an edited version of “(Not Just) Knee Deep” with “Freak of the Week.” The follow-up single paired edited versions of “Cholly (Funk Getting Ready to Roll!)” with “Into You.”

Uncle Jam Wants You reached number two on the Billboard Top R&B/Hip-Hop Albums chart and number 18 on the Billboard 200.

Connections & Disconnections

In 1980, the album Connections & Disconnections appeared in Germany on LAX Records. It was recorded by Fuzzy Haskins, Calvin Simon, and Grady Thomas under the name Funkadelic.

The album presents a funk-rock framework rooted in the Originals’ style, with contributions from long-time collaborators and new musicians. It marks a post-Clinton project by former Funkadelic members, capturing their approach to rhythm, percussion, and vocal layering without George Clinton’s involvement.

Songwriting credits primarily go to Haskins, Simon, and Thomas, with additional contributions from William Mims, Ben Powers Jr., Greg Jackson, Michael Williams, Betty Jo Drake, and Stanley Geter on select tracks.

“Phunklords” opens with guitar-driven funk-rock. “You’ll Like It Too” features steady rhythm and prominent keyboard lines. The three-part suite “The Witch Shade” shifts through multiple tempo and rhythm patterns. “Connections and Disconnections,” “Come Back,” and “Call the Doctor” rely on disco-influenced beats and layered vocals. “Who’s a Funkadelic” closes the album with the Originals’ signature vocal interplay.

A1. “Phunklords” (5:33)
A2. “You’ll Like It Too” (4:28)
A3a. “The Witch Shade I: The Proclafunktion” (2:48)
A3b. “The Witch Shade II: The Infunktation” (4:13)
A3c. “The Witch Shade III: The Celefunktion” (2:29)

B1. “Connections and Disconnections” (5:00)
B2. “Come Back” (4:44)
B3. “Call the Doctor” (5:12)
B4. “Who’s a Funkadelic” (5:46)

The album credits list Fuzzy Haskins, Calvin Simon, and Grady Thomas on vocals and percussion; Michael Williams on keyboards, guitar, and vocals; Billy Mims on clavinet, guitar, and vocals; Ben Powers Jr. on drums, bass, and vocals; John Quad Wiley, Stan Thorn, and Ken Blackmon on keyboards and bass; Thomas McEvoy on jazz horn; and additional background vocals by Betty Jo Drake, Dede Dickerson, Ngoh Spencer, and Vicky Randal.

Sessions occurred at studios in Germany with producers Fuzzy Haskins, Calvin Simon, Grady Thomas, and Greg Errico.

“Phunklords” and “You’ll Like It Too” both appeared as singles.

The Electric Spanking of War Babies

Funkadelic released their twelfth proper album, The Electric Spanking of War Babies, on April 14, 1981, on Warner Bros.

The album combines funk, rock, and political commentary, continuing the band’s dense, experimental production while integrating newcomers who would collaborate with George Clinton on future projects. It marks the final Funkadelic appearance of several key members, including Eddie Hazel, Ray Davis, Garry Shider, Junie Morrison, Mallia Franklin, and Jessica Cleaves, and features Roger Troutman and Sly Stone as guest contributors.

George Clinton and Walter “Junie” Morrison wrote the majority of the material, with contributions from Ron Ford, Sly Stone, Dewayne McKnight, and Ron Dunbar on select tracks, and a cover of Lennon/McCartney’s “She Loves You.”

The album begins with the title track, presenting political commentary framed as an observation from extraterrestrial eyes. Junie Morrison plays all instruments except Michael Hampton’s guitar solo. “Electro-Cuties” features driving bass from Jimmie Ali and rapid drums by Kenny Colton.

“Funk Gets Stronger (Part I)” employs Lige Curry’s elastic bass lines alongside Hampton’s guitar, while the extended “Funk Gets Stronger (Killer Millimeter Longer Version)” adds Sly Stone on drums and rhythm guitar. “Brettino’s Bounce” centers on Larry Fratangelo’s percussive textures. “Shockwaves” delivers reggae-influenced patterns with Donnie Sterling on vocals. “Oh, I” features Garry Shider singing, and “Icka Prick” closes the album with dense, abrasive instrumentation and provocative lyrics.

A1. “The Electric Spanking Of War Babies” (8:37)
A2. “Electro-Cuties” (6:10)
A3. “Funk Gets Stronger (Part I)” (6:37)

B1. “Brettino’s Bounce” (3:38)
B2a. “Funk Gets Stronger (Killer Millimeter Longer Version)” (4:26)
B2b. “She Loves You” (0:16)
B3. “Shockwaves” (5:10)
B4. “Oh, I” (4:51)
B5. “Icka Prick” (4:07)

Sessions occurred at Super Disc Inc., Sound Ideas Studios, and Allen Zentz Mastering with producers George Clinton, Walter Morrison, Ron Ford, Sly Stone, Bootsy Collins, Garry Shider, and Ron Dunbar. The album credits twelve engineers.

Key members performed under Funkadelic cosmic categories: Michael Hampton on guitar (Axe Force); Lige Curry on bass (Bass Anti-Flam Units); Tyrone Lampkin on drums (Uncle Jam’s Drums and Percussion); George Clinton, Garry Shider, Dawn Silva, Ray Davis, and others on vocals (Vocal Assault & Funkatition Team).

The Electric Spanking of War Babies features cover artwork by Pedro Bell, Edwina “Sistah Slim” Owens, and G. “Sir Lance” Everett. The original design, which included an explicit phallic spaceship and nude figure, was replaced by a lime-green sketch with a warning message after label censorship.

Singles included an edited release of the title track, backed with “Electro-Cuties,” and follow-up edits of Funk Gets Stronger tracks.

Discography: