![]() While perhaps not suitable for the film, it is certainly suitable to the dance floor as these songs run looooong and RtBE is not complaining about that. The Payback album was passed on by the producers of Hell Up In Harlem who rejected it as "the same old James Brown stuff". In the midst of the blaxploitation craze of the early 70's James and company were putting their funk stamp on movies, soundtracks and clubs. James brown greatest hits mega full#Where numbers 4 & 5 on our lists may have stunning singles, the complete flow of Get Up Offa That Thing makes for a more enjoyable full spin around the turntable Detroit) and I am not 100% sure this is is the same version that appears on his famous 20 All-Time Greatest Hits! The man had ants in his pants and he needed to dance (and re-recorded all of his hits for more money). Unfortunately finding out exactly which musicians are playing on any of Brown's albums can be impossible, but the drummer on the album closing "This Feeling" is putting in work.Īnother comment about the title track, he re-recorded his work often (Even for Dr. "I Refuse To Lose" is Brown's mission statement as the dance floor becomes funky and done to death while "Can't Take It With You" extends the titles track theme of living in the moment. The only two slow numbers are the ballad "You Took My Heart" and the blues of "Home Again" which fades out because it is time to dance again. The title track is a true banger cut into two parts it runs over nine minutes and those long vamps are what keeps this album flowing. Brown was also feeling disrespected by the industry, he gives dismissive shout-outs to Barry White, Elvis and others and in turn put in his best work of the mid/late 70's. James was in deep with the IRS so the composers of all of these songs magically became his wife Deanna and his daughters Deidre and Yamma. This one is a personal favorite and since Brown has very few must hear studio works, it ranks high on our list. ![]() One of Brown's first truly funky efforts "Cold Sweat" (the single) turned the corner for Brown into funk away from soul, it still sounds hot over fifty years later Brown ends that he can't stop singing and it truly feels like he and the band could go on for ever. The killer groove, the bright horns, the gravely crooner, the layers of funk percolating in every direction, "Cold Sweat Part 1" and "Cold Sweat Part 2" are seven and a half minutes of dirty bliss and elevate this studio recording into our top five. Each standard gets played, and then seems to pick up steam at the end as the band gets the smallest of spaces to truly get down.Īll that said, I saved the best for last with this record, it's the opening pairing of parts one and two of the title track. ![]() The recording was split between 19 and some of the quality fluctuates but when he grunts on "Fever" or "Kansas City's" kitchen scratch groove the mix matching isn't that jarring, and most of these songs are fantastic, if a bit too clean, for the godfather of soul. ![]() His cover choices here like "I Love You Porgy" and "Stagger Lee" are grooving, slinky and fit Brown better to these ears then other Flames albums, and we will get to the title track. The full length album is a mishmash of various covers, standards and odd recordings, all to somehow support one of the baddest ass pieces of funk ever recorded. To prove the point we will start with Cold Sweat. ![]()
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