Uncle Jam Wants You | ||||
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Studio album by | ||||
Released | September 21, 1979 | |||
Studio | United Sound Systems, Detroit, Michigan | |||
Genre | ||||
Length | 41:43 | |||
Label | Warner Bros. | |||
Producer | George Clinton | |||
Funkadelic chronology | ||||
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Singles from Uncle Jam Wants You | ||||
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Uncle Jam Wants You is a concept album by American funk rock band Funkadelic. [1] [2] It was released by Warner Bros. Records on September 21, 1979, [3] and was later reissued on CD by Priority Records. [4] It was produced by George Clinton under the alias Dr. Funkenstein. It is the first Funkadelic album since America Eats Its Young in 1972 not to sport a cover illustrated by Funkadelic artist Pedro Bell, though Bell did provide artwork for the album’s back cover and interior. Uncle Jam Wants You was the second Funkadelic album to be certified gold. The album peaked at No. 18 on the Billboard 200 and No. 2 on the Billboard Top R&B/Hip-Hop Albums chart. [5]
Uncle Jam Wants You (a reference to the "Uncle Sam wants you!" US Army recruitment posters) may be a more militant sequel to the band's previous album, One Nation Under a Groove , with the band waging war against the rise of disco. [6] Its purpose is also (as the cover claims) to "rescue dance music from the blahs." [7]
The cover art depicts George Clinton in a Huey Newton-Black Panthers pose. [8] The album features the band's last big hit single, "(Not Just) Knee Deep", an edited version of which went to number one on the Billboard Soul singles charts. The album title was adopted by the DJ organization known as Uncle Jamm's Army. [9]
Samples of the 15-minute cut "(Not Just) Knee Deep" can be heard on Digital Underground's "Kiss You Back"; the track has also been used by De La Soul for their song "Me Myself and I". [10] [11]
Review scores | |
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Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Bay State Banner | C+ [13] |
Blender | ![]() ![]() ![]() ![]() ![]() |
Christgau's Record Guide | B+ [15] |
MusicHound Rock: The Essential Album Guide | ![]() ![]() ![]() ![]() ![]() |
Record Mirror | ![]() ![]() ![]() ![]() ![]() |
(The New) Rolling Stone Album Guide | ![]() ![]() ![]() ![]() ![]() |
Spin Alternative Record Guide | 5/10 [19] |
The Virgin Encyclopedia of R&B and Soul | ![]() ![]() ![]() ![]() ![]() |
With a 4 out of 5 star rating, Paul Sexton of Record Mirror wrote: "Last year the Funkadelic battle campaign was based on the idea of having one nation under a groove. This year the plan is to Rescue Dance Music from the Blahs. No, I don't understand either, but once again this is marvellously enjoyable comic book funk." [17] The Bay State Banner concluded that, "on Side Two and 'Freak of the Week', we find the sort of directionless noise that sometimes ruins Funkadelic concerts—rhythmic anarchy and vocal chipmunk-ism instead of the clean and nasty, low-register funk and howling, inconsolable guitar solos." [13] The Globe and Mail determined that "the cover is misleading; one expects a record jammed with disco tracks and instead receives sensitive, even contemplative rhythm and blues." [21]
The New York Times noted that "Holly Wants to Go to California" "is the sort of social satire that Frank Zappa and the Mothers used to do so well." [1] Rolling Stone opined that "the strongest material here—notably the first ten minutes or so of '(Not Just) Knee Deep', with its snazzy synthesizer fills, razor-sharp Michael Hampton guitar solo, raucous vocals, and hook upon hook—is state-of-the-art black pop music." [22]
Ned Raggett of AllMusic stated that the album starts "out like a parody of patriotic recruitment ads before hitting its full, funky stride... It's still very much a disco effort, but one overtly spiking the brew even more than before with P-Funk's own particular recipe, mock drill instructors calling out dance commands and so forth." [12]
Parliament-Funkadelic is an American music collective of rotating musicians headed by George Clinton, primarily consisting of the funk bands Parliament and Funkadelic, both active since the 1960s. With an eclectic style drawing on psychedelia, outlandish fashion, and surreal humor, they have released albums such as Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978) to critical praise, and scored charting hits with singles such as "Tear the Roof Off the Sucker" (1975) and "Flash Light" (1978). Overall, the collective achieved thirteen top ten hits in the American R&B music charts between 1967 and 1983, including six number one hits. Their work has had an influential effect on subsequent funk, post-punk, hip-hop, and techno artists of the 1980s and 1990s, while their collective mythology has helped pioneer Afrofuturism.
The P-Funk mythology is a group of recurring characters, themes, and ideas primarily contained in the output of George Clinton's bands Parliament and Funkadelic. This "funkology" was outlined in album liner notes and song lyrics, in addition to album artwork, costumes, advertisements, and stage banter. P-Funk's "Dr. Seussian afrofunk" is often cited as a critical component of the Afrofuturism movement.
Funkadelic was an American funk rock band formed in Plainfield, New Jersey in 1968 and active until 1982. As one of the two flagship groups of George Clinton's P-Funk collective, they helped pioneer the funk music culture of the 1970s. Funkadelic initially formed as a backing band for Clinton's vocal group the Parliaments, but eventually pursued a heavier, psychedelic rock-oriented sound in their own recordings. They released acclaimed albums such as Maggot Brain (1971) and One Nation Under a Groove (1978).
America Eats Its Young is the fourth studio album and the first double album by Funkadelic, released in May 1972. This was the first album to include the whole of the House Guests, including Bootsy Collins, Catfish Collins, Chicken Gunnels, Rob McCollough and Kash Waddy. It also features the Plainfield-based band U.S., which consisted of guitarist Garry Shider and bassist Cordell Mosson, on most of the tracks. Unlike previous Funkadelic albums, America Eats Its Young was recorded in Toronto, Ontario, Canada, and in the UK. The original vinyl version contained a poster illustrated by Cathy Abel. The bottom of the poster features the first widespread appearance of the Funkadelic logo, which would appear on the cover of their next album Cosmic Slop.
Cosmic Slop is the fifth studio album by Funkadelic, released in July 1973 on Westbound Records. While it has been favorably reevaluated by critics long after its original release, the album was a commercial failure, producing no charting singles, and reaching only #112 on the Billboard pop chart and #21 on the R&B chart. The album was re-released on CD in 1991.
Let's Take It to the Stage is the seventh album by American funk rock band Funkadelic. It was released on April 21, 1975 on Westbound Records. The album charted at number 102 on the Billboard 200 and number 14 on the R&B Albums.
Hardcore Jollies is the ninth studio album by the funk rock band Funkadelic, released on October 29, 1976 by Warner Bros. Records, their first album to be issued on a major label. It is dedicated to "the guitar players of the world." Originally, the first side of the album was called "Osmosis Phase 1" and the second side was "Terribitus Phase 2." Hardcore Jollies was released one month after Funkadelic's final album for Westbound Records, Tales of Kidd Funkadelic, which was recorded during the same sessions.
Tales of Kidd Funkadelic is the eighth studio album by the band Funkadelic, released in September 1976. It was their final album on the Westbound record label. The tracks were recorded during the same sessions as their first release for Warner Bros. Records, Hardcore Jollies; which was released a month later. Two tracks from Tales of Kidd Funkadelic, the single “Undisco Kidd” and the party anthem “Take Your Dead Ass Home!” have been staples in the band’s live performances since the album’s 1976 release, and can be heard on the 1977 Parliament concert album Live: P-Funk Earth Tour. The album opener “Butt-To-Buttresuscitation” and the song “I’m Never Gonna Tell It” were included in the band’s live shows during the early 2000s. The song "Let's Take It to the People" has been sampled by hip-hop band A Tribe Called Quest for their song "Everything Is Fair", on their album The Low End Theory.
Mothership Connection is the fourth album by American funk band Parliament, released on December 15, 1975 on Casablanca Records. This concept album is often rated among the best Parliament-Funkadelic releases, and was the first to feature horn players Maceo Parker and Fred Wesley, previously of James Brown's backing band the J.B.'s.
Funkentelechy vs. the Placebo Syndrome is the sixth studio album by the American funk band Parliament, released in 1977.
Chocolate City is the third album by the funk band Parliament, released in 1975. It was a "tribute to Washington D.C.", where the group had been particularly popular. The album's cover includes images of the United States Capitol, the Washington Monument, and the Lincoln Memorial in the form of a chocolate medallion, as well as sticker labeled "Washington DC". The album was very popular in the capital city, selling 150,000 copies alone there.
Gloryhallastoopid (Or Pin the Tale on the Funky) is the eighth album by the American funk band Parliament, released in 1979. It was their penultimate album on the Casablanca Records label, and is another concept album that tries to explain that Funk was responsible for the creation of the universe (see P Funk mythology). It reuses samples from previous albums, notably Mothership Connection and Funkentelechy vs. the Placebo Syndrome.
"(Not Just) Knee Deep" is a song by the American funk band Funkadelic written by George Clinton. The song was released as a single for their album Uncle Jam Wants You (1979).
Game, Dames and Guitar Thangs is the debut album by Parliament-Funkadelic lead guitarist Eddie Hazel. The album was released on July 25, 1977. It was Hazel's only album until his death in 1992, when it was followed by several posthumous releases.
Funk or Walk is the debut album by the Brides of Funkenstein, released on Atlantic Records in September 1978. The album was produced by George Clinton with the exception of the album's first single "Disco To Go" which was written and produced by Clinton and Bootsy Collins. The Brides of Funkenstein consisted of Lynn Mabry and Dawn Silva, who were members of Sly and the Family Stone prior to joining P-Funk. Funk Or Walk earned Mabry and Silva a Record World Award for Best New Female Artists and Best New R&B Group in 1979. The song was originally performed live by Bootsy's Rubber Band. To this day, the P-Funk All Stars continue to play "Disco To Go" in their live concerts. The Brides of Funkenstein also toured and recorded with Parliament/Funkadelic around this same time.
Urban Dancefloor Guerillas is the debut album of funk band the P-Funk All-Stars, released in 1983 on Uncle Jam Records. The album features an amalgamation of various alumni from the bands Parliament and Funkadelic, both of which were disbanded by 1981. It is the only studio album credited solely to the P-Funk All-Stars, as opposed to other albums that are credited to George Clinton and the P-Funk All Stars. The songs on Urban Dancefloor Guerillas were produced by a variety of members of the P-Funk musical collective including Clinton, Garry Shider, Walter Morrison, Sylvester Stewart, and Bootsy Collins.
The Whole Funk & Nothing But the Funk is a 2005 compilation album by Funkadelic featuring songs recorded for Warner Bros. Records during the band's career with that label from 1976 to 1981. No Funkadelic recordings from any other record labels or time periods are included. The compilation includes two rarities: instrumental versions of "One Nation Under a Groove" and "The Electric Spanking of War Babies" that had originally appeared as B-sides.
Motor City Madness is a compilation album by the American funk rock band Funkadelic, released in 2003 by Westbound Records. It features a selection of songs previously released on the band's original albums for Westbound from 1970 to 1976. The compilation's 29 tracks span the length of two discs. Music critic Robert Christgau has said that, "for those with the heart for it, this is their most listenable album."
A Fifth of Funk is the fifth and final installment of the George Clinton Family Series collection by Parliament-Funkadelic collective members. The album was released in Japan in 1993 by P-Vine Records, and later in the same year by AEM Records in the United States and Sequel Records in the United Kingdom. The compilation's producer and P-Funk leader George Clinton gives his final thoughts about the tracks on the album, as well as his feelings on the entire Family Series project, for A Fifth of Funk's final track. The title is a play on words of Beethoven's Symphony No. 5, as well as Walter Murphy's 1976 disco hit "A Fifth of Beethoven".