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Funkadelic - Let's Take It To The Stage CD Cover Art CD music music CDs songs album

Funkadelic Let's Take It To The Stage CD

 Funkadelic Discography of CDs
4.7 stars (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


Detailed Let's Take It To The Stage Music Information



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

List all 26 contributors
Funkadelic Let's Take It To The Stage Songs


Funkadelic Let's Take It To The Stage Album Track Listing



1.Good to Your Earhole  
2.Better by the Pound  
3.Be My Beach
4.No Head, No Backstage Pass  
5.Let's Take It to the Stage
6.Get off Your Ass and Jam  
7.Baby I Owe You Something Good  
8.Stuffs and Things
9.Song Is Familiar, The
10.Atmosphere  
Let's Take It To The Stage Music


Let's Take It To The Stage Other Versions



Let's Take It To The Stage Music Review


Customer Let's Take It To The Stage Reviews 




Average Rating: (4.7 out of 5 stars) 4.5 stars

4 stars no wolf tickets sold here
an example of the 70's greatest funkrock band funkadelic and there ability to party you out and at the same time fill your head with sociological trueisms of the times
Submitted by richstew (omaha, ne., usa) Verified Buyer
Was This Review Helpful? Yes No

5 stars excelent music
its what we grew up with
Submitted by a reviewer (atlanta, ga) Verified Buyer
Was This Review Helpful? Yes No

5 stars put your hands together come on stomp your feet
another funkadelic classic good to your earhole is dope, eddie hazel goes off at the end, more qualified jams are no head, be my beach, and stuff and thangs funkadelic was one of the best rock bands in history and this proves it.
Submitted by Sherance (jasper ala)
Was This Review Helpful? Yes No

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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 ...
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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 ...
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