Let's Take It to the Stage

Editorial Reviews

All Music Guide - Ned Raggett
One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. Perhaps the silliest is at the end -- there's not much else one can call the extended oompah/icing rink start of "Atmosphere." The title track is as much a call to arms as "Free Your Mind and Your Ass Will Follow" is, but with a more direct musical performance and a more open nod to party atmospheres not to mention the source of one of Andrew Dice Clay's longest-running bits. The targets of the band's good-natured wrath are, in fact, other groups -- "Hey, Fool and the Gang! Let's take it to the stage!" ...
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Editorial Reviews

All Music Guide - Ned Raggett
One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. Perhaps the silliest is at the end -- there's not much else one can call the extended oompah/icing rink start of "Atmosphere." The title track is as much a call to arms as "Free Your Mind and Your Ass Will Follow" is, but with a more direct musical performance and a more open nod to party atmospheres not to mention the source of one of Andrew Dice Clay's longest-running bits. The targets of the band's good-natured wrath are, in fact, other groups -- "Hey, Fool and the Gang! Let's take it to the stage!" There's no mistaking the track that immediately follows makes it even more intense -- "Get off Your Ass and Jam" kicks in with one bad-ass drum roll and then scorches the damn place down, from guitar solo to the insanely funky bass from Cordell "Boogie" Mosson. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Bootsy Collins' unmistakable vocals is usually enough to get anything on the crazy tip, but "Be My Beach" Collins' Funkadelic vocal debut just makes it all the more fun, as does the overall air of silly romance getting nuttier as it goes. "Good to Your Earhole" sets the outrageous mood just right -- it's one of the band's tightest monsters of funk, guitars sprawling all over the place even as the heavy-hitting rhythm doesn't let one second of groove get lost. Of course, there's also one totally notorious number to go with it, but "No Head No Backstage Pass" has one of the craziest rhythms on the whole album, not to mention lip-smackingly nutty lines delivered with the appropriate leer.
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Product Details

  • Release Date: 2/24/1992
  • Label: Southbound Records
  • UPC: 029667374415
  • Catalog Number: 44
  • Sales rank: 132,146

Album Credits

Performance Credits
Funkadelic Primary Artist
Technical Credits
Parliament Contributor
Bernie Worrell Composer
Eddie Hazel Contributor
Bill Bass Contributor
The Honeys Contributor
Ray Davies Composer
Bootsy Collins Composer, Contributor
Ron Bykowski Composer, Contributor
Jim Callon Engineer
George Clinton Composer, Producer
Gary "Mudbone" Cooper Contributor
Ramon Tiki Fulwood Composer
Clarence "Fuzzy" Haskins Composer
Reggie McBride Contributor
Garry Shider Composer
Calvin Simon Composer
Grady Thomas Composer
Pedro Bell Art Direction
Sir Lleb of Funkadelia Liner Notes
Paul Warren Contributor
Jim Uitti Engineer
Frosty Contributor
Mike Hammond Composer
Grace Cook Composer
"Boogie" C. Mosson Composer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    For Real Funkiteers, Only!

    I have this on vinyl. Original funk like this may not be appreciated by just anyone. The lyrics are silly-serious as well a nonsensical, the music groovy and tight. This one, along with 'Standing On The Verge Of Getting It On', 'Cosmic Slop', and 'Tales Of Kid Funkadelic' really shows the experimetal genius of George, Tiki, Gary, Bernie, Boosty, Eddie, et al. The average person may not get into it but if you can, you'll see how they make it "good to your earhole".

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