In addition to backing Brown on stage and on record during this era, the J.B.'s also recorded albums and singles on their own, sometimes with Brown performing on organ or synthesizer. Their albums were generally a mixture of heavy funk tracks and some more jazz-oriented pieces. They scored a number of chart hits in the early 1970s, including "Pass the Peas," "Gimme Some More," and the #1 R&B hit, "Doing It to Death". Credited to "Fred Wesley & the J.B.'s", "Doing It to Death" sold over one million copies, and was awarded a gold disc by the R.I.A.A. in July 1973. Nearly all of their recordings were produced by Brown and most were released on his own label, People Records. Like most of James Brown's music, the J.B.'s recorded output has been heavily mined for samples by hip hop DJs and record producers.
' After growing frustrated with James Brown's fleeting focus, and a decline in the popularity of the sound the original JB's left to join George Clinton's "Parliament". James Brown continued to tour with differing versions of the J.B.'s, including a late-'70s outfit dubbed the J.B.'s International, but for all intents and purposes, the true J.B.'s no longer existed. This is the last of the James Brown produced JB's Albums. However, though mainly written and produced by James Brown this record is more disco-orientated. It's an absolute must for people who want to discover another aspect from these funkmeisters. ' source: discomusic.com
A great hardswinging album with lots of fire..groove and a lovely mix os 60s-70s jazz psychedelia.. if you like Herbie Hancock mwandishi…you will love this..or if you like ……. Brew ..Coltrane -Love supreme. This isn't so much a recreation as it is a reinvestigation of the fusion genre in that brief period thirty odd years ago when the idea was rife with positive implications and before the sterility set in. While this program isn't as radical in its departure from the norm as Miles Davis' music from that period was (what is?) it still burns with greater intensity than more established names seem to muster.
A posthumous collection of all of the Wonder Stuff's singles from 1987 to 1993, plus a cover of Slade's "Coz I Love You" from a charity compilation, If the Beatles had Read Hunter…the Singles is both a fine starting point and, for most, all the Wonder Stuff they'll ever actually need. Albums one and three, 1988's The Eight-Legged Groove Machine and 1991's Never Loved Elvis, are solidly entertaining (in wildly differing styles) throughout, but the rest of the group's output was fairly inconsistent. However, in the classic Brit-pop tradition pretty much all of the band's very best material, from the Kinks-like, music hall-style tune "The Size of a Cow" to the manic buzz of "Give Give Give Me More More More," was released as singles. There are a couple of iffy inclusions, particularly the frankly terrible version of Tommy Roe's "Dizzy," recorded in collaboration with British comedian Vic Reeves, but overall, this is a solid, completely representative overview. Those whose curiosity is stoked would do well to buy The Eight-Legged Groove Machine next.
Cardboard sleeve (mini LP) reissue from Soft Machine featuring the high-fidelity Blu-spec CD format (compatible with standard CD players) and 2012 24-bit remastering. The cardboard sleeve faithfully replicates the UK LP. Includes a booklet written in English. Part of a three-album Soft Machine Blu-spec CD cardboard sleeve reissue series featuring albums "Bundles," "Softs," and "Alive And Well Recorded In Paris." At this point in the band's history, Soft Machine might be considered an example of Theseus' paradox, akin to the original axe that George Washington used to cut down the cherry tree – original except that the head had been replaced three times and the handle twice. On Softs, Mike Ratledge, the only remaining original bandmember present on Bundles, the group's preceding Harvest LP, was relegated to guest status, contributing synthesizer to only two tracks, "Song of Aeolus" and "Ban-Ban Caliban."