Some musical artists are able to move; others are a movement. Such artists tap into a need within a mass of people, musically feeding off of the axiom that there is strength in numbers. George Clinton has always had both, strength and numbers, and from 1975 to 1978 he led a funk movement that changed the landscape of popular music forever. For that four-year period he and the numerous members of his bands Parliament and Funkadelic, always two sides of the world’s funkiest coin, were Masters of the Form that traded masterpieces back and forth while creating a new brand of musical expression and black consciousness. It was a movement that any casual Funkadelic fan should have known was coming. The title track of their 1974 release, Standing on the Verge of Getting It On was a proclamation to all that would listen that Funkadelic should be listened to by all. The following year they released the amazing Let’s Take It to the Stage.
Let’s Take It to the Stage was part invitation, part challenge, part promise and all funk. It was the work of a group that had turned a corner, a combination of all the disparate aspects of Funkadelic’s music up to that point, the extended jams, aggressive guitars, smooth ballads, tight vocals, psychedelic flourishes, risqué sexual lyrics and dirty funk into the most concise songs they’d ever recorded. In 1974 they had asked listeners to, “Stick us in your ears and dig us”; in 1975 they promised, “to be good to your earhole”. On Let’s Take It to the Stage it’s a promise the group kept.