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Amazon.com essential recording
George Clinton's post-bicentennial message to those in the "chocolate cities" was that America could be theirs, too, without any loss of their own black, regional identities. One Nation Under a Groove remains Funkadelic's most provocative release, as well as one of the funkiest long-playerG
G
Amazon.com essential recording
George Clinton's post-bicentennial message to those in the "chocolate cities" was that America could be theirs, too, without any loss of their own black, regional identities. One Nation Under a Groove remains Funkadelic's most provocative release, as well as one of the funkiest long-players released in the disco era. The band vamps on a world where people of different color play each other's songs ("Who Says a Funk Band Can't Play Rock?!"), lose their inhibitions (the classic title track), and bond together with the glue of shared secrets (the wonderful "Groovallegiance"). Standout: the slow-grooved "Into You," in which a lover vows to stay true or a patriot pledges devotion to a new flag--take your pick. You might think that a complex and moving ode to commitment is out of place on an album with such political overtones, but it's not. It's really the quiet-storm centerpiece. --Don Harrison --This text refers to an out-of-print edition of this title.
""When One Nation came out, Parliament Funkadelic ringleader George Clinton compared his visionary music with mainstream black pop: "James Brown, Jimi, Sly and ourselves took the whole other thing so far anyway that most of 'em ain't nowhere near catching up yet." But the public made One Nation Funkadelic's first million-seller, meaning a million people got down not just to the title track and to guitar-heavy make-out soul like "Into You," but to scatological philosophizing like "The Doo Doo Chas"
"“Who Says a Funk Band Can't Play Rock?! is the title of a song on Funkadelic's One Nation Under a Groove, but it was also the band's long-time statement of purpose. For years, George Clinton had been wheeling and dealing his musicians into different configurations, mostly as a way to outwit the record companies. Parliament was the dance band; Funkadelic was the home for guitar-frenzy acid-rock freak-outs. On One Nation, he brought the sides together for a crazy electro-jam dance party. The tit"