James Brown - Funk Power 1970: Brand New Thing
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Music CD Cover
Artist: James BrownEdition: Music CD
CD Release Date: 1996-06-04
Music Label: Polygram Records
Soundtracks:
- Get Up I Feel Like Being A Sex Machine
- Super Bad
- Since You Been Gone
- Give It Up Or Turnit A Loose
- There Was A Time (I Got To Move)
- Talkin' Loud And Sayin' Nothing
- Get Up, Get Into It, Get Involved
- Soul Power
- Get Up I Feel Like Being A Sex Machine
- Fight Against Drug Abuse (Public Service Anouncement)
Free Music Notes for Funk Power 1970: Brand New Thing
Free Music Review: Take It to the Bridge, Bootsy!
Hit: 5 Stars
In my old neighborhood when I was growing up the Beatles may have been more popular than God, but James Brown trumped even the Beatles. Which made James Brown the divine ruler of the metaphysical universe of the kids who hung around Prospect Park, in Flatbush Brooklyn in the late Sixties and early Seventies. The Beatles were the young princes of pop music, but only a heretic would refuse to pay tribute to the Godfather, the hardest working man in show biz.
"Funk Power" is significant because it represents an entirely new direction for the music of James Brown. It is a snapshot of James Brown's short one year association with a revolutionary group of musicians who gave birth to da funk.
It all began when Maceo Parker and all of the members of his legendary JBs were abruptly fired by James over a salary dispute in March, 1970. James turned around and hired on a crew of unknown, unproven crew of teenagers to replace his veteran JB members. The new band featured the Ohio based Bootsy Collins, his brother Phelps, Clayton Gunnels, Daryl Johnson, Robert McCullough, and Frank Waddy, and when Brown hired them, they were gigging at a joint called the Wine Cellar.
Prior to forming the new JBs, Bootsy's crew was variously known as the New Dapps, the Blackenizers, or the Pacemakers depending on the day of the week. Of course many of the players in this refurbished edition of the JBs went on to become players aboard the Parliament/Funkadelic Mothership founded by the legendary George Clinton.
Bootsy's crew of the young turks places James Brown at the very foundation and on the cutting edge of the Seventies funk explosion. This Collins led edition of the JBs had a high decibal stripped down sound with a heavy bass and drum sound influenced by the raw and shambling garage sound of the psychedelic bands of the late Sixties.
The highly professional and polished JBs led by Maceo Parker sounded like the London Symphony Orchestra compared to the radical funk and jungle riddims of the reorganized Collins edition of the JBs.
Much of "Funk Power" contains material that Brown had already recorded with the old JBs but the contrast in how each edition of the JBs play the music is striking.
This album was recorded in 1970 but never released until 1996, "Funk Power" documents the James Brown's reinvention of soul music into funk. Brown's year long association with Booty's crew in 1970 transformed R&B in as profound a manner as hip-hop transformed R&B in 1980 with the breakthough of Kurtis Blow, the first commercially successful rap artist.
RECOMMENDED SONGS: "Give It Up or Turnit Loose", "Get Up I Feel Like Being A Sex Machine", "Talking Loud and Saying Nothing."
Funk Power 1970: Brand New Thing Poster
Import pressing of his 1996 compilation that's unavailable domestically. This compilation, prepared and ideally notated by Harry Weinger and one-time JB manager Alan Leeds, is so full of groove it could doubtless sub for a faulty pacemakerThe short-lived first incarnation of the JB's, with future Parliament-arian bassist Bootsy Collins, brother Catfish Collins on guitar, Jabo Starks and/or Clyde Stubblefield on drums, this is the edgiest, meanest, leanest lineup maestro James Brown ever assembled, and the music they made in this single year is still among the freshest, most soul-stirring funk on earth decades later. Check out James's pleas for tenor saxophonist Robert McCollough to "blow me some 'Trane, brother!" Expansive, incisive. This compilation, prepared and ideally notated by Harry Weinger and one-time JB manager Alan Leeds, is so full of groove it could doubtless sub for a faulty pacemaker. --John Corbett
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