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Tales of Kidd Funkadelic Original recording remastered, Import


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Amazon.com: 4.4 out of 5 stars 25 reviews
13 of 13 people found the following review helpful
5.0 out of 5 stars I Wanna Go Back!!---P-Funk, 1976, Come & Take Me There!! 27 July 2009
By HE WHO FUNKS BEHIND THE ROWS!! - Published on Amazon.com
Format: Audio CD
This was one of the first albums that I ever bought
with my allowance, at age 12, for a whopping $5.99,
in the spring of 1976! ( It was the best of times!)
Actually, it was this album, Parliament's
"The Clones Of Dr. Funkenstein", and
Earth, Wind & Fire's "Gratitude"...all now classics!
I was already aware of Parliament / Funkadelic's previous works
from both my mother and older cousins who were all in their
20's then, and grooving to all this good funky music big time!
The main thing about Funkadelic was the "I-Don't-Give-A-Funk!!"
attitude of their music, the outlandish and cartoonish artwork
of their album covers from 1973's "Cosmic Slop" forward,
which were like little cryptic & naughty comic books to my
12 yr old mind. I remember putting it on the record player,
sitting in my favorite spot, which was on the big floor
pillows between the 4 large "quadraphonic" speakers,
and the opening track "Butt-To-Buttrescucitation" blew out
of them like a sonic tsunami!
I was offically a disciple of the P-Funk from that moment on! (-:
Now I know that alot of people don't get what the whole P-Funk
thing was about today, but you can't look & listen through
2009 eyes and ears. You have to understand the times---
Glam rock, elaborate stage extravaganzas, drugs, a free
spirited & open-minded young society that had tired of the
flower power of the late 60's, but was still rife with
rebellion, and game to breakdown social morays!
Though the concepts and the lyrics seem really out there
and silly, there was definitely a message within the madness!
P-Funk was full of symbolism, had it's own slangs and
catch phrases, and a real parallel ethos!
(See P-Funk Mythology) (Also Google "The Motherpage")
It was all based on the concept of black aliens of a higher
funky consciousness, who had returned to the earth ions later
to find it grooveless, uninspired, unoriginal, and most
heinously, unfunky!! Their mission was to raise the mindstate
of mankind and give them true freedom of mind, spirit,
and body through the booty-shakin' hum-drum breakin' force
of the HOLY P----Funk that is! (-:
You can't think in a linear stagnated way and understand
what the P-Funk was about!--You had to free your mind,
and let your azz follow suit!

Anywayz, back to the music...the highlights of this album were:

"Butt-To-Butt"--for it's sheer weirdness and that sick guitar
solo towards the end. which I don't know if it's the late
Eddie Hazel, Michael Hampton, or Ron Brykowski
(an unsung white member of the early funk mob!)
who was playing it, but whomever it was, they were killing it!

"Let's Take It To The People"--Just a groovy little clavinet & guitar
driven ditty that's short and sweet. I like the vocal arrangement and
overall attitude of the song, though it's quite nonsensical.

"Undisco Kidd" was just BAAADDD!!--Like the song says!
So dang funky with Bootsy bubblin' and thumpin' on his
mutron spacebass, Bernie "Da Vinci" Worrell creating whole
new soundscapes on synthesizers and piano that were then unheard of!
(Dr. Dre would capitalize off of them big time 20 yrs later!),
and ol' George signifying and recanting his tale of
"The Kidd V.S. The Freaky Little Groovy From The Funky Side Of Town"
in his cool laid back pre-hip hop era style!

"Take Your Dead Ass Home" gets a mention not for it's music,
but for it's rawkus chorus, which was a regular chant at P-Funk
shows, and it's naughty nursery rhyme style limericks
"There once was a man from Peru!"...etc.
Sounds harmless and silly by today's profane & in-your-face
standards, but it was taboo wicked stuff to my
12 yr old ears back then! (-:

"I'm Never Gonna Tell It" was an unusual approach,
chordally and vocally for a love song with a soulful & funky edge.
P-Funk wasn't so much into the schmaltzy syrupy romantic ballads
of the time, so they had to funk them up to make it fit
within their concept.

"Tales Of Kidd Funkadelic" was a 12 minute and 56 minute
experimental synthesizer opus by one of the unsung innovators
and geniuses of modern popular music!
Bernie "Da Vinci" "The Insurance Man For The Funk" Worrell
was well versed in the classical, jazz, R&B and rock idioms
on keyboards since the age of 5, when he composed his own
first concerto! Though the keyboard sounds sound outdated
by today's standards, remember this was all analogue stuff!--
So Bernie was literally creating his own sounds that nobody
else was using at that time, and pushing the envelope for
what the synthesizer could do!--Creating a language for pop,
rock, alternative, techno, and everything that came after it!
Just smoke you a good joint or take you a few sips of a
good drink, turn this up in your headphones or your speakers
and take the journey! (Go on!--Don't be scuuurrrd!)
Sparse, ominous, weird vocals, congas...POST MODERN TRIBALISM!!

Last but not least, is still a favorite of mine...
"How Do You View Yeaw?" is bascially metaphysical theory
in a slow sinewy funky grooved out 3 minute & 39 second sermon!
(Hear "LIBERATION" by Outkast, and you'll see where they got
the vibe of that song from!)
"Have You Ever Known Someone Who Takes Personal The Rain?"
"Sees His Glass Half-Empty, Rather Than Half-Full?"
Basically, how you see yourself inside manifests itself
in the result of your life's experiences!--FUNK IS ZEN!!
Bootsy thumpin', Bernie whizzin', the KF girls sounding like
space sirens, George and the boys musin' together in key!
---Fade Out---
This album sounds great digitally remastered, and is essential
if you are just discovering what the whole P-Funk Movement
was about and collecting crucial albums in it's
evolutionary development. Don't let the unfunky, stodgy,
Placebo Syndrome-effected hum-drums turn you from your path!
Discover the hidden fun, smokin' groove, and subliminal brilliance
that was THE PARLIAFUNKADELICMENT THANG!! Funk On Y'all!
4 of 4 people found the following review helpful
5.0 out of 5 stars Funkadelic's Key Transitional Album 26 Oct. 2013
By Andre S. Grindle - Published on Amazon.com
Format: Audio CD
Although George Clinton was theoretically operating an enormous band of musicians during the 70's,they were releasing albums on two separate labels-with two very separate musical ethics. Parliament were a horn and keyboard based funk outfit. Funkadelic were the bands more rock oriented side-concentrating on guitar riffs as a key element of their sound. As the decade reached it's middle,the talents of keyboard/synthesizer maestro Bernie Worrell and bassist Bootsy Collins especially were blurring any lines that existed between the twin sides of P-Funk. By 1976 wiz kid Mike Hampton had replaced Eddie Hazel as the bands "axe hero" on guitar as it were. And Funkadelic had jumped shipped to Warner Bros records as well. Before doing that however,Clinton kept his contract by providing them with the last material they recorded on the label. It was somewhat skeletal and certainly not 100% complete. But it was more than enough quality music to create an album out of. And this is album is the result of all that.

"Butt-To-Buttresussicitation" opens up the album as an awe-inspiring showcase for Hampten. His lead and rhythm guitar are mixed into this majestically think layered groove with this calling vocal harmony guiding the listener into "Let's Take It To The People"-a powerfully clavinet led "people music" type of funk. Of course after that we're into "Undisco Kidd",one of the bands most creatively and commercially successful numbers. Now it's very much in the vein of a "Parliament Without Horns" attitude with Worrell's orchestral synthesizer and George's half rapped/sung vocals in attendance. And it represents Funkadelic's musical changes best in that regard. "Take Your Dead Ass Home" is actually another near Parliament type chant-built groove-dealing of course with the idea of flirtation without follow through,if you get my drift. "I'm Never Gonna Tell It",later done by Phillipe Wynne,is a more pop/soul structured song with funk instrumental ideas.

The albums title song is a 12 minute masterpiece from Worrell. Its surely of the mystical bent with this cinematic synthesizer orchestration going into this percussion,tribal vocal harmony part wordlessly illustrating what seem to be imaginary character traits of "Kidd Funkadelic" himself. The album ends with the beautifully textured keyboard based number "How Do Yeaw View You?"-a soulfully hook filled number espousing Clinton's attitude of letting the audience know not what to think,but that they can think-for themselves. In many ways this is my favorite Westbound era Funkadelic album. Though I was initially to understand it possessed no conceptual unity,it certainly seems to for a cobbled together collection of songs. The fact that some of them are incomplete-clocking in at less then 2 minutes,actually adds to the idea of this album perhaps meaning to include full songs plus brief interludes-even if not actually intended so. But the combination of looseness,instrumental virtuosity and intensely unique use of vocal/lyric ideas give this a quality of an album I'd actually recommend to someone who didn't particularly like or understand funk. And that because of the unexpected musical concepts and ideas this album espouses.
4 of 4 people found the following review helpful
5.0 out of 5 stars SHE GOT A DEADLY GROOVE!!!! 7 Aug. 2008
By wally gator - Published on Amazon.com
Format: Audio CD
Tales of the kidd has become one of my favorite Funkadelic albums. Sure its got some absolutely bizarre moments, but come on now! George Clinton was always looking for new ways to split your brain in half, and if he doesn't get you on this production with the 14 minute Bernie Worrell piece (the title track- starts off sounding like a Nintendo game, but ends with some demonic alley catting and insanity) he will definately deliver with the lyrics for TAKE YOUR DEAD ACE HOME or UNDISCO KIDD. Hillarity! There once was a man from Peru... Bernies keys really get a chance to shine in all three of these grooves.
This album is compiled of a bunch of rejects from Warner Bros. that Clinton gave to Westbound to fill obligations to the contract. The Warner album came out slightly before this one, and is pretty good, but more on the pop scale of things. The westbound release is a lot more adventurous, dirty, and over all a good time, and in my opinion a much better dig for your earholes. NEVER GONNA TELL IT sounds like a cheesy reggae ripoff at first, but repeated listens will uncover tons of subtle details and brilliance behind this track. HOW DO YEAW VIEW YOU is a great one. The primitive seventies rap offs between Clinton and the chick in Undisco, mixed with the wails at the end of that bit make the tune quickly addictive, even if the production doesn't match up to par with other P-Funk of this era. The song was an R&B smash anyways. The opening pair of tracks are weird and experimental, but they jam out pretty quickly. SO... bottom line. Put your pee-pee back in your pants kid and grab this disc. It's evil. But it's only rock and roll. Put your foot on it!
5.0 out of 5 stars The classic "Undisco Kidd" is mix of Parliament like rhythms along with a spacy funkadelic touch 13 April 2015
By robot - Published on Amazon.com
Format: Audio CD Verified Purchase
Looking to add to my funkadelic collection is the "Butt to Buutrescuciation" in which Bernie Worrell on keyboards and Michael Hampton on guitar just "kills it. The very short "Lets take It to the People" rocks with some guitar licks. The classic "Undisco Kidd" is mix of Parliament like rhythms along with a spacy funkadelic touch. The raucous "Take your dead Ass Home" shows the entire gammut of what funk rock is about. Other songs are awesome!!!
2 of 2 people found the following review helpful
5.0 out of 5 stars Hahahaha 17 Dec. 2012
By Santa Floss - Published on Amazon.com
Format: Audio CD
Those hateful reviews are hilarious. Expand your mind and get into the music Maan! Haha but yeah this album is classic the last offering from the westbound label. Funny thing is is that these songs are outtakes from the hardcore jollies sesh for Warner bros. so basically old p funk throwaways are better than other bands legit albums hahahahah! Funk on baby!
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