In this article, we will explore the topic of Trombipulation in depth, analyzing its origins, development, and relevance today. From its first appearances to its impact on contemporary society, Trombipulation has been a topic of great interest and debate in different areas. Throughout the next few lines, we will examine its influence on various aspects of daily life, as well as its relationship with other relevant topics. In order to offer a comprehensive vision, we will dive into the various perspectives and opinions that exist around Trombipulation, with the purpose of providing a broader and enriching understanding.
| Trombipulation | ||||
|---|---|---|---|---|
| Studio album by | ||||
| Released | December 1980 | |||
| Recorded | 1979–1980 | |||
| Studio | Concorde Studios, Los Angeles, California; Power Station, New York; Superdisc Inc., East Detroit, Michigan; United Sound Systems, Detroit, Michigan | |||
| Genre | Funk | |||
| Length | 43:47 | |||
| Label | Casablanca | |||
| Producer | George Clinton, Bootsy Collins, Ron Dunbar, Ron Ford | |||
| Parliament chronology | ||||
| ||||
Trombipulation is the ninth album by the funk band Parliament (see 1980 in music). It was released by Casablanca Records. It was the last album of original material produced by the group for 38 years, until Medicaid Fraud Dogg in 2018. Unlike previous Parliament albums, George Clinton did not serve as sole producer of the album, as other P-Funk figures assisted in producing individual tracks. Bassist Bootsy Collins emerged as the principal musician on this album, playing virtually all of the instruments on a number of tracks. The track "Let's Play House" was sampled by the hip-hop group Digital Underground for their single "The Humpty Dance".
While Trombipulation wasn't as commercially successful as previous Parliament albums, its first single, "Agony of DeFeet" peaked at number 7 on the Billboard Hot R&B/Hip-Hop Songs charts.
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic | |
| Robert Christgau | B−[2] |
The New York Times wrote that "this is street music, laced with jive talk, as alive with sound and color as a busy Manhattan street corner during rush hour... It is frequently ingenious, but it's never very compelling emotionally."[3]