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Avg: 4.5 (20 ratings)
- Date Released: May 2, 2005
- Genre: Hip-Hop/R&B
- Style: Funk
- Label: Westbound Records / Alpha Pup
Get off your ass and jam.
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We Say...
In 1974, George Clinton was given back the Parliament name (previously tied up in paperwork), and issued Up for the Down Stroke, the album that marked the beginning of P-Funk’s popular ascendance. While the idea was always that Parliament was the horn-focused soul band and Funkadelic the guitar-based rock one, the reality as the ’70s progressed was that Funkadelic sounded more like Parliament than like its early self. The final Funkadelic album where the split remained basically intact was Let’s Take It to the Stage, the group’s most consistent album on or off Westbound even if it doesn’t reach the heights of Maggot Brain or Uncle Jam Wants You. The title cut challenges to a play-off everyone else in the funk pantheon at the time, like “Snoofus” (Rufus) and “Godmother” (James Brown). And the snarling guitar of Michael Hampton and the rumpus-room chants of the too brief, self-explanatory “Get Off Your Ass and Jam” would serve as a threat by themselves.
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They Say...
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 Bootsy Collins. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Collins' unmistakable tones is usually enough to get anything on the crazy tip, but "Be My Beach" 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. [The 2005 reissue features excellent remastered sound, a thick booklet, and a U.S. Music track that features Funkadelic.]
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You Say...
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| 01. |  |
Good to Your Earhole |
4:34 |  |
| 02. | |
Better by the Pound |
2:43 | |
| 03. | |
Be My Beach |
2:39 | |
| 04. | |
No Head, No Backstage Pass |
2:40 | |
| 05. | |
Let's Take It to the Stage |
3:36 | |
| 06. | |
Get Off Your Ass and Jam |
2:27 | |
| 07. | |
Baby I Owe You Something Good |
5:48 | |
| 08. | |
Stuffs and Things |
2:14 | |
| 09. | |
The Song Is Familiar |
3:10 | |
| 10. | |
Atmosphere |
7:11 | |
| 11. | |
Baby I Owe You Something Good [Mono Version] |
3:51 | |
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Credits
- Bill Bass - ? // Ron Bykowski - ? // Jim Callon - Engineer // Clarence "Fuzzy" Haskins - Vocals // Clarence "Fuzzy" Haskins - Producer // Clarence "Fuzzy" Haskins - Group Member // Reggie McBride - Guest Appearance // Gary Shider - Guitar // Gary Shider - Vocals // Gary Shider - Group Member // Dean Rudland - Liner Notes // Dean Rudland - Compilation // Dean Rudland - Research // Duncan Cowell - Mastering // Jim Uitti - Engineer // Mike Hammond - Guitar // Mike Hammond - Group Member // Eddie Hazel - ?
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