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*four stars (out of five)
*four stars (out of five)
**[http://www.allmusic.com/cg/amg.dll?p=amg&sql=Au1uw6j8h71u0 the All Music Guide]
**[http://www.allmusic.com/cg/amg.dll?p=amg&sql=Au1uw6j8h71u0 the All Music Guide]

==External links==
*[http://www.duke.edu/~tmc/motherpage/albums_funkadelic/alb-jollies.html the Motherpage]

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'''Hardcore Jollies''' is also the name of the title track on the abovementioned album; it is widely considered to be the best early example of [[Michael Hampton]]'s guitar work. In the song, the singer tries to seduce a [[woman]] who stubbornly resists him.
'''Hardcore Jollies''' is also the name of the title track on the abovementioned album; it is widely considered to be the best early example of [[Michael Hampton]]'s guitar work. In the song, the singer tries to seduce a [[woman]] who stubbornly resists him.

Revision as of 20:33, 2 December 2006

Untitled

Hardcore Jollies is an album by the funk band Funkadelic. It was released in 1976, on the Priority record label, a subsidiary of Warner Brothers Studios.

This was the first album that Funkadelic released on a major label. Priority is a subsidiary of Warner Brothers. It is dedicated to "the guitar players of the world." Hardcore Jollies was the last album to include three of the original Parliaments: Fuzzy Haskins, Calvin Simon and Grady Thomas. Originally, the first side of the album was called Osmosis Phase 1 and the second side was Terribitus Phase 2.

Track listing

  1. "Comin' Round the Mountain" (George Clinton, Grace Cook)
  2. "Smokey" (Clinton, Garry Shider)
  3. "If You Got Funk, You Got Style" (Clinton, Bootsy Collins, Bernie Worrell)
  4. "Hardcore Jollies" (Clinton, Worrell)
  5. "Soul Mate" (Clinton, Cook)
  6. "Cosmic Slop" (Live--studio version on Cosmic Slop album) (Clinton, Worrell)
  7. "You Scared the Lovin' Outta Me" (Clinton, Glen Goins)
  8. "Adolescent Funk" (Clinton, Michael Hampton, Worrell)

Personnel

Critical response


Hardcore Jollies is also the name of the title track on the abovementioned album; it is widely considered to be the best early example of Michael Hampton's guitar work. In the song, the singer tries to seduce a woman who stubbornly resists him.

Complete lyrics at the Motherpage