| | Funkadelic Let's Take It To The Stage CD Funkadelic Discography of CDs
(3 Customer Reviews)
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Despite it's misleading title, Funkadelic's LET'S TAKE IT TO THE STAGE is not a live album. This 1975 studio release is what many Funkadelic aficionados consider the band's last true rock-funk album, before Clinton and Co. concentrated entirely on more dance-based and radio-friendly material. It is also the first Parliament-Funkadelic release to prominently feature the talents of the groups' recently acquired bassist, the outrageous Bootsy Collins, whom many regard as the very embodiment of funk. LET'S TAKE IT TO THE STAGE also finds Parliament-Funkadelic on the verge of shedding its long-lived cult status and finally reaching wide spread commercial success.
The title track, in which shots are taken at other popular '70s funk figures (such as Sly and even the Godfather of Soul, James Brown), gloriously displays the band's sense of humor. So do the sexually suggestive "No Head No Backstage Pass" and the album's party-anthem highlight, "Get Off Your Ass And Jam." Other top funk workouts include "Stuffs & Things," "Better By The Pound," "Good To Your Earhole," the more serene "Be My Beach," and the album-closing, largely instrumental "Atmosphere." LET'S TAKE IT TO THE STAGE continues Funkadelic's winning '70s streak.
another milestone of "Funkapsychedelicmentthangtypegroove"
Additional personnel includes: Paul Warren, Reggie McBride, Frosty, Mello Garcia, Honeys, Denise Hurd, Gary "Mudbone" Cooper, Telma Hopkins, Joyce Vincent.
Recorded at Hollywood Studios, Hollywood, California & United Sound, Detroit, Michigan.
Liner Note Author: Sir Lleb of Funkadelia.
Recording information: Hollywood Sound, Hollywood, CA; United Sound, Detroit, MI.
Unknown Contributor Roles: Frosty; Eddie Hazel ; Gary "Mudbone" Cooper; Bill Bass; Paul Warren; Parliament; Reggie McBride; The Honeys; Ron Bykowski; Bootsy Collins.
Funkadelic: Gary Shider (vocals, guitar); Bernie Worrell (vocals, keyboards); William "Bootsy" Collins, Cordell Mosson (vocals, bass); Calvin Simon (vocals, congas); George Clinton, Fuzzy Haskins, Grady Thomas (vocals); Michael Hampton, Eddie Hazel (guitar); Bill Nelson (bass); Tiki Fulwood (percussion); Ron Bykowski.
Let's Take It To The Stage Music | List Price | $16.97 (You save $4.68) | | Category | Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack, Soul/R&B, Funk, Rock, Enhanced CD | | Label | Westbound | | Orig Year | 1975 | | All Time Sales Rank | 24075  | | CD Universe Part number | 1070976 | | Catalog number | 215 | | Discs | 1 | | Release Date | Apr 04, 1992 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | George Clinton | | Engineer | Jim Uitti; Jim Callon | | Recording Time | 35 minutes | | Personnel | Hollywood Bernie Worrell - vocals, keyboards Reggie McBride Detroit Parliament Gary "Mudbone" Cooper Calvin Simon - vocals, congas Grady Thomas - vocals George "Uncle Jam" Clinton Tiki Fulwood - percussion
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Let's Take It To The Stage Music Let's Take It To The Stage Music Review Purchase Let's Take It To The Stage CD To buy, Click on price to add to cart | Parliament Funkentelechy vs. The Placebo Syndrome CD (1977)
Let's Take It To The Stage
$6.49 Though the dark, psychedelic element that characterized the group's early '70s output has been replaced with an emphasis on rump-shakin' dance anthems, the superior musicianship, creativity, and unabashed weirdness of the Funk Mob's members is no less in evidence. The songwriting team of frontman George Clinton, bassist Bootsy Collins, and--perhaps most notably--keyboardist Bernie Worrell concocted the #1 smash "Flashlight." An ecstatic, amorphous journey through chugging, liquid basslines (the unbelievably fat, quadruple bass sound here was created on Worrell's synthesizer), chaotic ...
| | Parliament Clones Of Dr. Funkenstein CD (1976)
Let's Take It To The Stage
$6.55 Following closely on the heels of MOTHERSHIP CONNECTION, the group's undisputed high-water mark, THE CLONES OF DR. FUNKENSTEIN furthers George Clinton's conceptual and musical master plan to funkify the world. THE CLONES unravels the Funk Mob's cosmology and populates it with a cast of mythological characters that includes Starchild (introduced on MOTHERSHIP) and the Funk overlord himself, Dr. Funkenstein. By this album, Parliament have almost completely moved away from the guitar-dominated psychedelic soul of their early '70s output and entrenched themselves in the realm ...
| | Parliament Motor-Booty Affair CD (1978)
Let's Take It To The Stage
$6.69 Possibly the oddest of all the Parliament album concepts, 1978's MOTOR-BOOTY AFFAIR is about water. Well, actually, it's about racial identity--like all of George Clinton's projects--but water is the defining metaphor. It works more often than not, surprisingly, but as always, the real focus is not on the goofy-serious lyrics, or even on the tape-effect vocals of Clinton and superstar bassist Bootsy Collins as the character Sir Nose D'Void of Funk, who gets his comeuppance in the manic and hilarious "Aqua Boogie." No, it's the monster funk grooves that Clinton, Collins, and the other 31 (!) credited musicians and vocals lay down that are the real point of MOTOR-BOOTY AFFAIR, from the jazz-tinged title track to the spacey and psychedelic love song "Water Sign." Fred Wesley's Horny Horns are the real stars of the show, their tight syncopations as much of a lead voice in the complex arrangements as Bernie ...
| | Tales Of Kidd Funkadelic CD (1976)
Let's Take It To The Stage
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| | Bootsy Collins Bootsy? Player Of The Year CD (1978)
Let's Take It To The Stage
$7.59 Bootsy Collins's 1978 solo album, BOOTSY? PLAYER OF THE YEAR, has a title that shows, without bragging, just how essential the bassist/songwriter/producer/all-around creative sparkplug was to George Clinton and the P-Funk empire. For the first time since starting his own project in the P-Funk extended family, Collins seems to have focused intently on his own material, which means that these seven songs lack the occasionally meandering jams that weighed down earlier Bootsy's Rubber Band albums. The grooves here are sharper, but the tempos are also slower, with over half of the record perfecting the deep-groove ballad style that Collins had first experimented with on 1977's "Munchies for Your Love." In particular, the centerpiece track, "May the Force Be with You," makes the listener wonder if Collins and Clinton (a producer on this outing) had been listening to Lee Perry's classic mid-'70s dub sides; a ...
| | Parliament Mothership Connection CD (1976) Bonus Track; Remastered
Let's Take It To The Stage
$6.55 Includes liner notes by Tom Vickers (former P-Funk Minister Of Imformation).
Parliament was one arm in George Clinton's funk army during the 70s, a large conglomeration of groups and musicians (including Bootsy's Rubber Band, Funkadelic, The Horny Horns and others) dedicated to rewriting the rules of funk, soul and rock. Clinton's bands sounded like James Brown gone mad, partly because of the inclusion of former JB sidemen Bootsy Collins, Maceo Parker and Fred Wesley, but mostly because of the alternate universe they inhabited--a sort of drugged-out traveling sci-fi soul revue.
MOTHERSHIP CONNECTION shows why Clinton's formula for funk domination of the free world worked so well. The music is tight and groovy, with heavy bass lines, precise horn runs and ultra-electronic keyboards (provided by Bernie Worrell). The lyrics are often no more than spaced-out spoken word excursions, sounding like Sly Stone reciting Isaac Asimov. And the whole concept and presentation was so totally ...
| | Fatback Band Gigolo CD (1981) (Import) United Kingdom
Let's Take It To The Stage
$12.45 This 1981 outing is probably the slickest album in the Fatback catalog, and that's not necessarily a good thing. Although the instrumentation still has a familiar earthiness to it, the album employs a new set of different, slicker vocalists and just as many engineers to create an album that appears designed to appeal to as many different segments of the R&B market as possible. Gigolo is professional enough to live up to this ambition, but its attempts to be all things to all people cause it end up as an album that is neither fish nor fowl. It also robs the band of the distinctive personality that characterized past albums like Raising Hell and XII. Case in point: The slick but lifeless cover of the Chi-Lites' classic "Oh Girl," which sounds like it could have been recorded by any second-tier soul band. That said, ...
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