Funkadelic 2 Sealed 8 Track Tapes One Nation Under a Groove & Hardcore Jollies

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What can you say about Funkadelic?! Here's what allmusic.com says -
Though they often took a back seat to their sister group Parliament, Funkadelic furthered the notions of black rock begun by Jimi Hendrix and Sly Stone, blending elements of '60s psychedelia and blues plus the deep groove of soul and funk. The band pursued album statements of social/political commentary while Parliament stayed in the funk singles format, but Funkadelic nevertheless paralleled the more commercial group's success, especially in the late '70s when the interplay between bands moved the Funkadelic sound closer to a unified P-Funk style.
This lot is two sealed 8 tracks that have been carefully preserved for decades waiting for your ears. They are sold as-is because they're sealed, but I've been playing their sister tapes for years without issues. Anyway, it's tasty funk and nothing brings back a 70s vibe llke an 8 track!  Here are the reviews of these albums:

AllMusic Review by Steve Huey

One Nation Under a Groove was not only Funkadelic's greatest moment, it was their most popular album, bringing them an unprecedented commercial breakthrough by going platinum and spawning a number one R&B smash in the title track. It was a landmark LP for the so-called "black rock" movement, best-typified in the statement of purpose "Who Says a Funk Band Can't Play Rock?!"; more than that, though, the whole album is full of fuzzed-out, Hendrix-style guitar licks, even when the music is clearly meant for the dancefloor. This may not have been a new concept for Funkadelic, but it's executed here with the greatest clarity and accessibility in their catalog. Furthermore, out of George Clinton's many conceptual albums (serious and otherwise), One Nation Under a Groove is the pinnacle of his political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological "P.E. Squad"). The title cut is one of funk's greatest anthems, and "Groovallegiance" and the terrific "Cholly" both dovetail nicely with its concerns. The aforementioned "Who Says a Funk Band Can't Play Rock?!" is a seamless hybrid that perfectly encapsulates the band's musical agenda, while "Into You" is one of their few truly successful slow numbers. The original LP included a three-song bonus EP featuring the heavy riff rock of "Lunchmeataphobia," an unnecessary instrumental version of "P.E. Squad," and a live "Maggot Brain"; these tracks were appended to the CD reissue. In any form, One Nation Under a Groove is the best realization of Funkadelic's ambitions, and one of the best funk albums ever released.

Funkadelic's major-label jump brought its version of life more into line with Parliament, though the crucial difference between the two -- Funkadelic's guitars vs. Parliament's horns -- remains intact. Eddie Hazel is missed, as always, but Gary Shider and Mike Hampton do fine work. Whoever peels off the concluding solo at the end of "Comin' Round the Mountain" deserves credit, even if it's sometimes flash for flash's sake. Similar exercises in feedback can be found on the title track and elsewhere, sometimes great, sometimes timekeeping. Still, after all, the album itself is dedicated "to the guitar players of the world," so it can't be said that George Clinton and company aren't keeping the proper focus on things. Generally, things are fairly light on Hardcore Jollies, though a remake of earlier highlight "Cosmic Slop" retains the sharp sentiments, even if it's not quite as strongly delivered as before (musically it's much more centered around the bass and drums, though things get duly crazed all around toward the end). Otherwise, the emphasis is on fairly clean jams and rhythms, with more lower-key goofiness than before but still merrily out there. If it's not truly gone and great like Maggot Brain or Let's Take It to the Stage, it's still good listening at its best moments. "If You Got Fun, You Got Style" makes for a better chat-up dancefloor appreciation than most, while "Soul Mate" balances out obvious "want you bad" sentiments with squirrelly lead vocals that don't quite fit the subject at hand. And who could knock the use of the "there's a place in France/where the ladies wear no pants" melody in "You Scared the Lovin' Outta Me"? Pedro Bell does some of his best work ever for the cover and inside art, while the accompanying short story is hilarious.