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JB productions - worth chasing?

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  • JB productions - worth chasing?

    Last weekend I found JB's - Food for Thought & Hustle With Speed at a flea market, and these LPs are blowing me away. I have generally passed on JB & JB produced stuff (and LPs in general), but I have been doing some internet research, and want to know what other JB productions are worth the time to find them or the $$ to buy them.

    I definitely plan on buying the other JB's LPs released between the 2 above, but what about the Sweet Charles LP? 'Hang Out and Hustle' is a top tune, but I believe that is 45 only. Comments on the LP?

    Mace and the Macks - I have the 45s, am I missing any killer tracks that are LP only? (thinking of just buying the CD, if so).

    Moorish Vanguard - this 45 worth hunting down?

    Thanks for any comments.

  • #2
    Beau Dollar 45. Pricey, but one of the best. Will be available on a comp though, that's all I got it on.
    You can't take a stocking offa bare leg


    • #3
      J.B. productions has been one of my obsessions so you asked for it. Here's a run down of a lot of 45s:

      Pick Up The Pieces One By One/C.O.L.D. (I Dentify 75)
      Supposedly James Brown thought that the Average White Band was ripping him off, so he put together this 45 by A.A.B.B. (Above Average Black Band). No writing or production credits are listed on the single so I’m not sure who actually played on or wrote this, but it’s one of the more interesting James Brown related 45s. Pick Up The Pieces One By One is basically a funkier instrumental take off of the AWB song with strings and a stronger and more prominent bass and keyboard line. C.O.L.D. appears to be an original that has a bluesy Rock feel to it. It’s also an instrumental.

      Answer To Mother Popcorn (I Got A Mother For You)/I’ll Work It Out (King 69)
      This is probably the hardest Vicki Anderson 45 to find. Anderson, real name Myra Barnes, joined the James Brown Revue in 1965. She had already recorded a single for Fontana when James Brown stole her away from her manager. Brown always thought she was the best female singer he ever had in his show. Answer To Mother Popcorn starts off with some hi pitched guitar notes before Ms. Anderson’s vocals join in. The song is mid-tempo Funk with a bouncy bass line and horn accents in typical James Brown fashion. I’ll Work It Out is a slow RnB ballad.

      Baby, Don't You Know/Let It Be Me (King 70)
      In 1970 Vicki Anderson rejoined the James Brown revue after a three year hiatus. She came in and replaced Marva Whitney who had just left. Baby, Don't You Know was originally released in 1967. It’s a mid paced proto-funk song with stabbing horns. Let It Be Me is a really upbeat soul song with some strong vocals by Ms. Anderson. James Brown even threw in a couple lines at the end.

      Don’t Throw Your Love In The Garbage Can (Brownstone 72)
      Don’t Throw Your Love In The Garbage Can begins with a little message to women by Ms. Anderson to not waste their love on bad men. In fact the garbage can in the title refers to men. The song has some great lyrics to go with a slow grooving Soul-Funk tune. This was also the last single that Anderson recorded for Brown before her second retirement.

      I’ll Work It Out/In The Land Of Milk And Honey (Brownstone 71)
      In The Land Of Milk And Honey is one of Vicki Anderson’s best recordings. It has the short solo vocals before the subtle music leads into the more upbeat groove of the heart of the song. I’ll Work It Out is a slow RnB ballad with a spoken word intro by Ms. Anderson about relationship problems. Dave Matthews arranged both songs.

      I’m Too Tough For Mr. Big Stuff/Sound Funky (Brownstone 71)
      I’m Too Tough For Mr. Big Stuff was a reply to Jean Knight’s hit Mr. Big Stuff. The song has a catchy backing track, a nice intro, and Ms. Anderson’s rough vocals over the top to combine for a great tune. Sound Funky starts off with some piano and loud distorted guitar in a very un-James Brown sounding instrumental. It does hold up however.

      If You Don’t Give Me What I Want (I Gotta Get It Some Other Place)/Tears Of Joy (King 67)
      If You Don’t Give Me What I Want was written by James Brown and Vicki Anderson’s new husband Bobby Byrd, who she married in 1967. It has a title you would expect from that pair. The song has a great swinging dance beat to it with Anderson’s great singing over it. Tears Of Joy is a ballad.

      Message From The Soul Sisters/Yesterday (King 71)
      Message From The Soul Sisters originally came out in 1970 with Anderson recording under her real name Myra Barnes. In 1971 James Brown had the song released again with a new B-side, a cover of the Beatles’ Yesterday. Message is right up there with the best of Ms. Anderson’s work with Brown. You’ve got the swinging Funk beat with piano accents and Anderson’s strong singing making one hell of a tune backed by the Bootsy Collins era James Brown band. The flipside is a live power-ballad version of the Beatles’ tune.

      No More Heartaches, No More Pain (King 70)
      No More Heartaches, No More Pain hits you right where it counts with its high energy, high powered Soul. It has a funky big band backing and Ms. Anderson comes through with her usually strong singing. This is a really hot James Brown production.

      (Something Moves Me) Within My Heart/You Send Me (King 66)
      (Something Moves Me) Within My Heart starts off with some open drums before going into a string heavy early-60s Soul song. The flipside is a cover of Sam Cooke’s You Send Me. This is an early release by Anderson.

      Yesterday (King 71)
      This is a live recording of Vicki Anderson doing the Beatles’ classic Yesterday with arrangement by Dave Matthews. The song is played slow and mellow and Ms. Anderson gets to stretch her vocals out a bit in moments. If it wasn’t Anderson and a James Brown production, however, I’m not sure I would’ve bought this 45.

      Think/Nobody Cares (King 67)
      This isn’t the Lyn Collins version of Think that most people know, but rather James Brown’s version, which was released in the mid-1960s. This actually has James and Vicki singing a duet of Think with a nice driving soul beat. The B-side is a slower RnB tune.

      What The World Needs Now Is Love/You’ve Got The Power (King 68)
      The quest for James Brown related 45s continues with this being the latest addition. For something released in 1968, this single definitely has an earlier RnB sound to it beginning with You’ve Got The Power that’s a power ballad with Brown doing the first verse and then passing off the vocal duties to Ms. Anderson before the two start singing a duet. The flipside is a cover of the Burt Bacharach classic What The World Needs Now Is Love by Vicki Anderson alone, making for a mellow two-sider.

      Gimme Your Hand/Missin You (I Dentify 75)
      Lee Austin was one of the lesser-known artists that worked with James Brown. Both of these songs were co-written by Lee and Brown. Fred Wesley arranged Gimme Your Hand and Brown produced both tracks as well. For 1975 Gimme Your Hand is a pretty good Soul-Funk cut. There’s some strong soulful back-up singing throughout the track and the music is really solid. Missin You is an attempt at a ballad, but it comes off a little too hard.

      I’m A Man (Polydor 74)
      James Brown wrote, produced and arranged I’m A Man. The song immediately hits you with a catchy beat and horn line that’s sure to make your head nod. It even gets better with a funky breakdown in the middle. Easily the best Lee Austin 45 that I own.

      I’m In Love/Moonlight (People 74)
      Lee Austin was one of the lesser-known James Brown protégés who released a couple 45s under the godfather. I’m In Love is a Bobby Womack tune. The song starts off slow with Austin giving a shout out to other Brown artists like Fred Wesley and the JB’s, Maceo And The Macks, Lyn Collins, etc. Unfortunately it never really picks up. Moonlight is an even mellower RnB ballad.

      Real Woman/Gimme Your Hand (People 72)
      Real Woman is a mid-tempo song that has a strong Southern Soul feel to it, but it never quite goes anywhere. Gimme Your Hand is a much better tune with a stronger rhythm track and singing to it. Austin would later record a faster version of the song in 1975 for the I-Dentify label as well.

      Truth/Moonlight (People 73)
      The Truth was written and arranged by Clarence Reid. It’s one of the better Lee Austin tunes that I’ve heard with a sound similar to Hi Records’ slow and easy Southern sound. Moonlight is a ballad.

      I’m Mad/Two Sided Love (King 67)
      I’m not sure if Lee Austin and Leon Austin were two separate people or one in the same. I do know that one of them was an ex-con that James Brown hired to be his bodyguard/muscle on tour. Mr. Brown wrote both sides of this 45. I’m Mad is a slow Blues track. Two Sided Love on the other hand, is an upbeat Soul tune. Good, but not great.

      Respect/Turn Me Loose (King 69)
      Leon Austin was an ex-con that got hired to be James Brown’s muscle on tour. He recorded under two names, Lee Austin and Leon Austin. Mr. Austin starts this 45 off with a cover of Respect. The tune is played well with a Southern Soul feel to it, close to the Otis Redding original, rather than the Aretha cover that we’re all familiar with. The flip sounds just as good, making this one of the best singles that Austin made for Brown.

      Annie Had A Baby/Teardrops On Your Letter (People 71)
      Hank Ballard was one of James Brown’s early influences and he tried to return the favor by helping out Ballard during his lean years in the late-1960s/early-1970s with a few singles on Kind, People and Polydor. Ballard also joined Brown’s Revue for a few years on the road. Annie Had A Baby is a fast paced, funked up RnB song with some blaring horns and Ballard’s blues inflected vocals. Teardrops On Your Letter is a slow RnB song that also appeared on a Ballard 45 on the King label. Dave Matthews arranged both songs.

      Are You Lonely For Me Baby/With Your Sweet Lovin Self (King 69)
      Are You Lonely For Me Baby starts off with a little conversation between James Brown and Hank Ballard about their hit songs before female vocals come in singing the chorus backed by a slow and easy rhythm track, making for a nice little Soul tune. With Your Sweet Loving Self is a little funkier with a strong bass line holding down it down making for a good two-sided 45.

      Blackenized/Come On Wit It (King 69)
      This 45 is another Hank Ballard-James Brown collaboration. Blackenized has this jazzy mid-tempo Funk sound to it with a flute playing in the background throughout the song to nice affect. Come On Wit It is a great, upbeat Soul-Funk track making a perfect compliment to the A-side.

      Butter Your Popcorn/Funky Soul Train (King 69)
      Butter Your Popcorn starts off with a female voice asking, “Mr. Ballad may I help you with something?” before Ballard goes into the chorus about the people buttering their popcorn over an extremely catchy and funky rhythm that would be sure to move a dance floor. Funky Soul Train has an earlier RnB feel to its rhythm and arrangement.

      Come On Wit It/I’m Back To Stay (King 68)
      Both of the songs on this 45 were co-written by James Brown. Come On Wit It is a fast-paced proto-Funk Soul tune with a nice rhythm section. I’m Back To Stay has basically the same backing track as Brown’s There Was A Time.

      Finger Poppin Time (People 72)
      This is a double-sided white label promo of Hank Ballard’s Finger Poppin Time song. The tune was also released with the flip From the Love Side on Polydor and With Your Sweet Loving Self on People. The song itself has a nice slow groove to it with some soulful singing by Ballard.

      Finger Poppin Time/From The Love Side (Polydor 72)
      James Brown produced both of these songs. Finger Poppin Time is a decent Soul-Funk tune, but From The Love Side, written by Brown, is the hot track! The sound has the trademark Brown rhythm arrangement and Brown and others are yelling encouragement to Ballard in the background.

      Finger Poppin Time/With Your Sweet Lovin Self (People 72)
      Finger Poppin Time starts off with Hank Ballard saying “Hey now, hey now” and he’s later joined by some females on the chorus. The rhythm track is sparse with some wah wah guitar, a bouncy bass line and horns that sort of sounds like Funk lite. With Your Sweet Loving Self is slower and I think better because the rhythm is just a little bit thicker sounding. While not bad, neither of these songs really compare with the other work that Ballard did with James Brown.

      From The Love Side (Polydor 72)
      From The Love Side was originally released as the flip to Finger Poppin Time. This is a promo 45 with the song on both sides. The song was written by James Brown who gives an introduction to Ballard before a trademark Brown rhythm comes in driving the song along as Ballard talks about how only his woman can do it for him.

      Funky Soul Train/Which Way Should I Turn (King 67)
      Despite the title, Funky Soul Train is actually a down-home sounding Soul tune by Mr. Ballard. Which Way Should I Turn is a ballad. James Brown did production on this 45.

      How You Gonna Get Respect/Teardrops On Your Letter (King 68)
      James Brown paired Hank Ballard with the white Funk group out of Cincinnati, Ohio, the Dapps on two singles for King. How You Gonna Get Respect has a rhythm track that’s a take off of James Brown’s Licking Stick. Ballard gets some cool female backing on the chorus and does his best to sound like Mr. Brown’s funky self. The recording is really raw as well, which adds to the flavor. The best part of all is that the lyrics to the chorus are about not getting respect until you get rid of your process and go with the afro. Teardrops On Your Letter is something of a power ballad.

      Thrill On The Hill/You’re So Sexy (King 69)
      Thrill On The Hill is an energetic piece that has an older RnB feel to it. You’re So Sexy is slower, but has more of a groove to it provided by a funkier backing by the Dapps.

      Unwind Yourself/You’re In Real Good Hands (King 67)
      Most probably know Marva Whitney’s version of Unwind Yourself since it was sampled and used on Yo! MTV Raps, but Hank Ballard wrote and recorded the song first. Ballard’s original has more of an RnB feel to it with a driving drum beat and a little breakdown in the middle where Ballard goes into a nice “sock it to me” routine. You’re In Real Good Hands is another strong RnB tune by Mr. Ballard about how he’ll do anything for his woman.

      Message From The Soul Sisters Pt. I & II (King 70)
      Myra Barnes was Vicki Anderson’s real name. This was recorded in 1970, the year she returned to the James Brown revue after a three year hiatus. Both of her recordings under her real name were done with the Bootsy Collins era James Brown band. Message From The Soul Sisters is one of her more classic recordings. The track was also released under Anderson’s own name on another King 45. Multiple releases of the same song seemed to be a habit of Mr. Brown’s 45s productions. The tune itself has a strong rhythm led by the bass with some piano and horn accents. Over that are Anderson’s raspy vocals, which fit perfectly with the lyrics about her not taking mess from a man.

      Super Good (Answer To Super Bad) Pt. 1 & 2 (King 71)
      Super Good highlights the pure funkiness of Brown’s new band led by Bootsy Collins, and Anderson’s vocals. The song has the stripped down rhythm of Brown’s perfected Funk and a bridge in the middle that sounds just like the one used in Marva Whitney’s It’s My Thing. James even gets in some vocal encouragements at the end.

      (I Wanna Go) Where The Soul Trees Grow (King 70)
      Beau Dollar, real name William Bowman, was the drummer and singer for Cincinnati’s The Dapps. In 1965 James Brown discovered the group and used him as his backing group on two recordings. For reasons only known to Brown, only Beau Dollar was given credit on this single even though it was the entire Dapps. (I Wanna Go) Where The Soul Trees Grow begins with a male-female Gospel chorus before going into a mid-tempo Rock-Soul song. The back-up vocal chorus continues throughout the song, but Beau Dollar’s vocals just don’t do it for me.

      Man Came Down From The Mountain/Tomorrow’s Child (King)
      I didn’t even know about Carol Blakey until very recently. Man Came Down From The Mountain starts with some high-pitched singing before going into a Gospel influenced Soul song. Tomorrow’s Child is more of the same. Both songs actually sound like they belong in a musical like Hair. The 45 has the James Brown Production label on it, but Steve Baron actually produced both tracks.

      What My Baby Needs Now Is A Little More Lovin (Polydor 72)
      What My Baby Needs Now Is A Little More Lovin is a duet between James Brown and Lyn Collins. The song is poppy Soul that lacks any kind of hooks or power to really catch your attention. You would think that those two could’ve come up with something better to work with.

      Funky Soul #1 Part 1 & 2 (King 67)
      Bobby Byrd was one of James Brown’s oldest friends. They met in 1952 when Brown came to Byrd’s school. At that time Brown was serving a jail term for grand theft auto and playing on the prison basketball squad that would compete against local schools. When Brown was paroled later that year, he stayed with Byrd’s family for a time. Later the two would go on to form a band together, with Byrd eventually becoming a solo act on the James Brown Revue. Funky Soul is on one of the James Brown Revue live albums, but the 45 is so much better. On the single there’s a really gritty Bobby Byrd Funk going on, that’s missing from the live version. A very good, and bit overlooked release by Byrd.

      Hang Ups We Don’t Need (The Hungry We Got To Feed)/You Gave My Heart A Brand New Song To Sing (King 70)
      Hang Ups We Don’t Need sounds a little different from most of the Bobby Byrd 45s produced by James Brown. It has a low-key rhythm section led by the guitar with some horn accents. You Gave My Heart A Brand New Song To Sing is an RnB/Soul tune with one of those Northern Soul type drumbeats to it. While it’s got a nice horn melody, overall it’s not as good as the A-side.

      I Know You Got Soul/It’s I Who Love You (Not Him Anymore) (King 71)
      This 45 is another classic James Brown production. Bobby Byrd was Brown’s longtime sideman and co-wrote many of the Godfather’s hits. Together they penned I Know You Got Soul, which everyone should know already. It’s I Who Love You is a power ballad.

      I Need Help (I Can’t Do It Alone) Pt. 1 & 2 (King 70)
      I Need Help is a fast paced Funk tune with one of those great rhythms carrying it along.

      I’m Not To Blame/It’s I Who Loves You (Not Him Anymore) (King 70)
      I’m Not To Blame is a dramatic sounding power ballad with a loud horn line. It’s I Who Loves You is another ballad.

      If You Don’t Work You Can’t Eat/You’ve Got To Change Your Mind (King 70)
      James Brown had both Marva Whitney and Bobby Byrd record If You Don’t Work You Can’t Eat, which Byrd co-wrote. You’ve Got To Change Your Mind also appeared on another Byrd release on Brownstone. If You Don’t Work doesn’t have the speed and power of the Whitney version, but it’s still one damn good track. It has the trademark stripped down rhythm track and horn stabs of Brown’s other work and Byrd has a nice delivery. You’ve Got To Change Your Mind is a duet ballad between Brown and Byrd with an early 60s RnB sound to it.

      If You Got A Love You Better (Hold On To It)/You’ve Got To Change Your Mind (Brownstone 72)
      If You Got A Love is one of the toughest rhythms that James Brown Productions ever produced. It’s slow and grinding, a little underproduced and funky as hell. A great, great song. You’ve Got To Change Your Mind is a slow RnB ballad duet with Byrd and James Brown.

      Keep On Doin What You’re Doin/Let Me Know (Brownstone 71)
      Speaking of James Brown’s entourage, Bobby Byrd was one of the longest members and perhaps most accomplished male participant. His rough Soul singing can be heard on several James Brown tunes and his solo work is impeccable. Keep On Doin What You’re Doin is a mid-tempo Soul Funk tune with some nice horn work. Let Me Know is a ballad.

      My Concerto/Never Get Enough (Brownstone 72)
      My Concerto is a slow ballad that sounds more appropriate to the late-1950s than 1972. The real gem is the grooving Funk of Never Get Enough. It’s got one of those classic James Brown rhythms driving it along, and James even lays down the backing vocal track on the chorus and yells some encouragements to Bobby at the end. The song appeared on another 45 by Byrd the same year on Brownstone.

      Sayin It And Doin It Are Two Different Things/Never Get Enough (Brownstone 72)
      Sayin It And Doing It is more of the same by Bobby Byrd, strong rhythm track, horn stabs and Byrd’s great singing. James Brown wrote the song. Never Get Enough is based upon a JB’s rhythm track with back-up singing by Brown. A great 45.

      Signed, Sealed & Delivered (Brownstone 73)
      This was the last Bobby Byrd 45 on my want list. I gotta thank O-Dub for breaking me off a copy. Byrd gives this Stevie Wonder classic a good work over in this live recording. The energy is there with both Byrd’s singing and the band. A great little James Brown Prod. 45.


      • #4
        Baby Don’t Do It/If You Don’t Know Me By Now (People 75)
        This 45 comes from Lyn Collins’ Check Me Out If You Don’t Know Me By Now LP. Baby Don’t Do It has a laid back swinging Funk backing track to it. If You Don’t Know Me By Now is a cover of the Gamble and Huff Soul classic. Neither song is that hot, but I’m a completist so I had to have the 45.

        Don’t Make Me Over/Take Me Just As I Am (People 73)
        Take Me Just As I Am is on Lyn Collins’ Female Preacher LP. Don’t Make Me Over might be a 45 only release but I don’t know why they would want to make a single out of it because it’s a slow ballad like song. The B-side is some of that James Brown produced funk with Lyn Collins demanding her man take her just as she is. (In fact, this song was released as a JB’s instrumental if my ear serves me right). I like how this label says JAMES BROWN – THE HITMAN – THE GODFATHER OF SOUL. James was never one for modesty.

        Give It Up Or Turnit A Loose/What The World Needs Now Is Love (People 74)
        Give It Up Or Turnit A Loose is Collins’ doing a cover of one of her mentor, James Brown’s numbers. The song is re-arranged however, allowing Collins’ to give her own interpretation to this Brown classic. I have to say the results are just as good as the original. This song can also be found on the Female Preacher LP. The B-side is a 45 only release, and good thing it is because it’s a cover of the love song/easy listening classic.

        How Long Can I Keep It Up Part I & II (People 73)
        How Long Can I Keep It Up is from the Slaughter’s Big Rip Off OST. It’s a slow and easy tune with a lot of strings and orchestration behind it. If I wasn’t so much into collecting JB’s 45s I probably wouldn’t have bought this.

        Mama Feelgood/Fly Me To The Moon (People 73)
        This version of Mama Feelgood is taken from the Black Caesar soundtrack and is on mono. The flipside, Fly Me To The Moon, is in stereo. The A-side is a classic that everyone knows. The surprise was the flipside which is just as good as it slides back and forth between soul and funk.

        Me And My Baby Got A Good Thing Going/I’ll Never Let You Break My Heart Again (People 72)
        About 6 years ago I picked up one of Lyn Collins’ LPs at the Paris flea market. That’s about the last time I saw one of her records in a store. You can find her singles however. Me And My Baby Got A Good Thing Gong is from her Female Preacher LP, while the flip seems to be a 45 only release. Me And My Baby Got A Good Thing Going sounds like a JB’s song. The flip isn’t as good, and lacks the driving beat of a James Brown production. I like how on the label it says – JAMES BROWN – THE CREATOR.

        Mr. Big Stuff/Rock Me Again & Again & Again & Again & Again & Again (People 74)
        James Brown and Lyn Collins start off this 45 by giving a go at Jean Knight’s hit Mr. Big Stuff. Their take is a little faster, but lacks some of the soul of the original. Not that it’s bad, but it just seems to be missing something. The song only really gets down half way through when an original bridge brings some Funk to the tune. Collins does much better with the original Rock Me Again & Again with its driving beat and hard-hitting vocals. This 45 comes from Collins’ Check Me Out LP.

        Oh Uncle Sammy (Polydor 71)
        Oh Uncle Sammy is a 45 only Lyn Collins track that was the product of the collaboration between James Brown and Dave Matthews who wrote and produced the song. It has a great funky beginning and Ms. Collins’ usual strong singing making this an excellent single.

        Please Make The World A Better Place/Take Me Just As I Am (People 73)
        Take Me Just As I Am is one of those dark and funky pieces that really let Lyn Collins’ vocals shine and James Brown’s production style show through. A pure head knocker. Please Make The World A Better Place is a ballad

        Think (About It)/Ain’t No Sunshine (People 72)
        It took me a damn long time to find this. I actually have the album, which might be harder to find than the single, but I wanted it on 45 as well. Is it just me or could Think be one of the greatest songs of all time? I’m willing to say that it’s the best thing James Brown ever did. The singing, the horns, the drum break! Ain’t No Sunshine is a really Bluesy version of the Bill Withers standard.

        We Want To Parrty, Parrty, Parrty/You Can’t Beat Two People In Love (People 73)
        Lyn Collins was one of the many women such as Vicki Anderson and Tammi Terrell, who were members of James Brown’s Review. We Want To Parrty is from Collins’ Female Preacher LP. It’s a pretty good funk number although I think she did some better work. The B-side is a 45 only song, and, as you can tell from the title, is a love song, but it’s got a little funk to it. It’s a nice mood piece and the drums are turned up nice and loud in the mix at the beginning before the James and Collins sing a duet to each other. It also has some horn stabs to keep it interesting.

        Wheels Of Life (King)
        Wheels Of Life starts off with a nice drum break before going into a rockin little Soul tune. Ms. Collins’ vocals are strong as ever and the song is really catchy.

        Wide Awake In A Dream/Rock Me Again & Again & Again & Again & Again & Again (People 74)
        Rock Me Again has one of those infectious beats driving it along that make it an instant crowd pleaser. Wide Awake In A Dream is a ballad. Dave Matthews arranged both songs and James Brown did the production.

        You Can’t Love Me, If You Don’t Respect Me/Rock Me Again & Again & Again (People 74)
        Two classic cuts by the Female Preacher Lyn Collins from her Check Me Out If You Don’t Know Me By Now LP. The powerful play of the JB’s anchors each song. I like Rock Me Again & Again a little bit better than You Can’t Love Me because it’s a little faster paced, but you really can’t go wrong with either side.

        Fat Eddie/I’ll Work It Out (King 67)
        An open bass line starts off the fast paced funky Soul tune Fat Eddie. It’s so good it even comes with a drum break and a bass and drum breakdown in the middle. I’ll Work It Out is an RnB ballad that James Brown also had Vicki Anderson and Marva Whitney record.

        Got No Excuse/Hooray For The Child Who Has It’s Own (Blue Rock 65)
        James Crawford was a member of the early James Brown Revue. This is a James Brown Production on the Blue Rock label. Got No Excuse is a mid-tempo Soul groover that starts off with some drum hits and rolls. Hooray For The Child Who Has It’s Own is a ballad.

        Hold It/Stone Fox (King 67)
        This is a mid-60s release with a really raw and noisy production job. Hold It is an RnB instrumental that sounds just like James Brown’s pre-Funk work. Stone Fox has vocals and was co-written by Brown. It’s in the same style as the first side. Brown himself recorded both of these songs on his own albums.

        A Woman, A Lover, A Friend/I’ll Be Sweeter Tomorrow (Than I Was Yesterday) (King 69)
        The Dapps were the white protégés of James Brown out of Cincinnati, OH who released a couple 45s for him on King. James Brown discovered the band in 1965 and recorded a single with them, It’s A Gas, under the group name James Brown Dancers, but it was never released because of a dispute with the King label. This was the first single that the Dapps released for Brown. A Woman, A Lover, A Friend is a bluesy RnB tune with some B.B. King like guitar playing. I’ll Be Sweeter Tomorrow has 50s influenced RnB-Doo Wop versus and a 60s Pop-Rock chorus. This is a far cry from the group’s other 45s, which are much better.

        Bringing Up The Guitar/Gittin A Little Hipper (King 68)
        In late 1967 James Brown hooked up the Dapps with his bandleader, Alfred “Pee Wee” Ellis to release two singles. This was one of them. Bringing Up The Guitar is a true Funk banger with a solid rhythm track and some sax and guitar soloing over it. The sound is blasting and you can hear some vocals from the band in the background while they get down with the music. Gittin A Little Hipper is a James Brown tune that appeared on his Plays Nothing But Soul LP. Most of it is some of Brown’s well-known Funk, but in the middle there’s a jazzy bridge with horn solos.

        Rabbit Got The Gun/There Was A Time (King 68)
        This was the second single released by the Dapps and James Brown’s bandleader Alfred Ellis. Both sides of this 45 show the band’s talent as Ellis directed them through two instrumental Funk pieces beginning with Rabbit Got The Gun. A strong bass line provides the backbone of the song as the drummer plays the beat using the toms. Over this is laid down guitar and horns solos to great affect. The flip is a version of Brown’s classic There Was A Time.

        In Heat/Wichita Lineman (Bethlehem 69)
        In Heat was the title of Dee Felice’s James Brown produced album. It has some fast piano work and a driving beat behind it to make it a surprisingly upbeat tune. The flip is a slow version of the classic Wichita Lineman.

        There Was A Time/Oh Happy Day (Bethlehem 69)
        I FINALLY went out and bought a copy of this 45 off of eBay. The Dee Felice Trio are best known because of their work with James Brown. There Was A Time is a much sought after track, although it’s played a little slower I think than the version that Brown and the Trio recorded together on the Getting Down To It album. The Trio adds their own little flair to the song with a little Jazz, while maintaining the powerful back beat and strong horn line. Oh Happy Day is a Gospel song with group vocals and lyrics about “when Jesus walks,” led by the piano. I believe the band also released There Was A Time with a different B-side.

        Hip Hug –Her/X-Sorcist (People 74)
        The Devils were another one of the more obscure artists that worked with James Brown. The A-side to this 45 is a cover of the classic Booker T. & The MG’s Hip Hug-Her. The Devils capture the feel of the original with its nice laidback funky groove. X-Sorcist is completely different with some talk about Satan leading into a fast paced Dance-Funk track led by some horns, guitar and moog. A nice two-sider to have.

        For Once In My Life/Twenty Five Miles (King)
        This is another one of those little known James Brown Production 45s. Larry from Funky16Corners was the one who informed me about its existence. It actually proved pretty hard to track down, but when I did, it turned out to be for a pretty cheap price. For Once In My Life is an instrumental version of the Stevie Wonder hit with lots and lots of organ by Doggett that makes it a little cheesy. Twenty Five Miles has much more energy to it making it the cut to check for on this single.

        Honky Tonk/Honky Tonk Popcorn (King 69)
        Bill Doggett was a longtime organ player. He released two 45 versions of Honky Tonk, this being the one to look for. Everyone will recognize the song as it’s been comped a lot and been sampled by the Beatnuts. It begins with a strong bass and drum intro before Doggett joins in with his organ soloing, supported by the guitar to make a really catchy instrumental Funk tune. Honky Tonk Popcorn is a continuation of the A-side with the guitarist getting his.

        Out Of Sight/Too Hot To Hold (King)
        James Duncan begins with a James Brown classic Out Of Sight. There’s a quick drum roll leading into the song, but it lacks the sharp proto-Funk of the original. He does a better job with Too Hot To Hold, which is just a take off of Out Of Sight, but has a harder edge to it.


        • #5
          Come On In The House/Little Green Apples (King 68)
          Alfred “Pee Wee” Ellis was one of James Brown’s early bandleaders. He released a few 45s on King along the way, including this single. Come On In The House is an upbeat RnB/Soul instrumental with a party feel to it, especially with the addition of some men and women shouting and screaming in the background to the music. The flipside is a cover of Little Green Apples that starts off pretty funky before mellowing out when the main melody comes in.

          In The Middle (Part 1 & 2) (King 69)
          Alfred “Pee Wee” Ellis was the longtime leader of the James Brown Band. In The Middle appeared on Brown’s Popcorn album. It’s a funky ass instrumental with a bouncing bass line and horns weaving around a tight rhythm.

          I Found You/If I Knew (King 62)
          I Found You was written by James Brown. It’s a good RnB tune with Fair giving a strong vocal performance. Brown liked the song so much he re-recorded it with a stripped down rhythm and it would become his big hit I Got You (I Feel Good). The lyrics to both songs are exactly the same. If I Knew is a slower love song led by the piano.

          Nobody Knows But My Baby And Me/Who Am I (King 70)
          The Famous Flames were James Brown’s original back-up band. Nobody Knows But My Baby And Me is a slow, but powerful RnB song with strong Gospel male vocals. Who Am I is a ballad. Dave Matthews arranged both songs.

          FIRST FAMILY
          Control (People Go Where We Send You Part I & II) (Polydor 74)
          The First Family was one of the lesser-known manifestations of the James Brown family consisting of Brown, Lyn Collins, Lee Austin, and the J.B.’s. Control is a mix of Funk and Gospel with religious lyrics and some great play on the sax by Maceo Parker who gets shout outs on Part II.

          My Lonely Hour/Stand Up And Be Counted (People 71)
          Later in their career, I guess the Famous Flames shortened their name down to just being the Flames when they released this 45 on James Brown’s People label. Stand Up And Be Counted is a really energetic funky Soul song with group male vocals and some strong playing behind it. My Lonely Hour isn’t as good with a dated early-1960s RnB sound to it.

          FRED & THE NEW J.B.'S
          Breakin Bread/Funky Music Is My Style (People 74)
          I just found the LP these two songs come from, so I guess it was karma that I found this 45 as well. Both sides are the infectious funk you've come to expect from the J.B.'s and Breakin Bread has a catchy chorus as well.

          FRED & THE NEW J.B.’S
          (It’s Not The Express) It’s The J.B.’s Monaurail (People 75)
          It’s The J.B.’s Monaurail is from the band’s Hustle With Speed LP. Despite being released in 1975, the song has all the elements of a classic JB’s’ song. There’s a little vocal intro before the guitar led rhythm starts off with the horns swirling around the beat.

          FRED & THE NEW J.B.’S
          Makin Love/Rice N Ribs (People 74)
          Both of these songs come from the JB’s Breakin Bread LP. Makin Love was a big departure from the band’s traditional sound as it’s a 70s funky dance tune with singing. The results are a bit mixed. Rice N Ribs is a more consistent instrumental.

          MARTHA HIGH
          Georgy Girl/Try Me (People 72)
          Martha High was another James Brown artist that I’d never heard of until just now. Both sides are very mellow ballads, perhaps a reason why people haven’t heard of Ms. High.

          Hustling/Soft Hustle (People 75)
          The Hustlers were another James Brown Production. Hustling is a fast paced dance tune with a Disco beat and guitar over it. There’s a drum break in the middle with party sounds over it. Soft Hustle is better with a moody intro of guitar, drums and horns that suddenly turns lighter during the versus with some flute thrown in. A much slower and funkier tune.

          In The Midnight Hour/Lonely Teardrops (People 74)
          I keep on coming across new James Brown related groups and 45s like this one by the Insiders. They start off with a completely rearranged version of In The Midnight Hour. The song is so different that if you didn’t know the title you wouldn’t even think it’s a cover. Fred Wesley did the arranging and added strings and a slicker sound to the original, plus the Insiders’ group vocals. Lonely Teardrops gets a similar remake by Dave Matthews. Again, there are strings and the Insiders’ rich singing style.

          All Aboard The Soul Funky Train (People 75)
          All Aboard The Soul Funky Train is one of the JB’s later releases coming from their Hustle With Speed album. Their sound is a bit updated with more of a 70s rhythm track behind it than the typical James Brown Funk going on. It’s still got quite a nice groove to it and the usual strong horn play by Fred Wesley holds down the soloing chores.

          All Aboard The Soul Funky Train/Thank You For Lettin Me Be Myself, And You Be Yours (Part 1) (People 75)
          I have white label promo 45s of each of these songs so I might as well get them on one single as well. All Aboard The Soul Funky Train begins with a spoken intro about being ready to get down before the music comes in. The song is actually in a different style than a traditional J.B.’s tune. Instead of the usual strong mid-tempo Funk, you get an upbeat and light sound with a little dance influence. The new style works with Fred Wesley holding down most of the soloing work throughout the song. The title of the flipside is obviously a take-off of the Sly Stone song, but it’s an original composition. It could’ve used some help from Sly though, because despite the group vocals and horn work, the tune doesn’t really seem to go anywhere and doesn’t have any hooks to keep your interest. Both cuts come from the Hustle With Speed album.

          Crossover/Music For The People (Polydor 77)
          This is one of the rarer J.B.’s singles out there. Luckily it doesn’t go for much. Crossover is a nice funky track with some wah wah guitar, synthesizer in the background a strong rhythm track to hold your attention accentuated by some oh so subtle horn play. The group is able to pick it up at certain moments as well to give some variety to the tune. It shows that the J.B.’s could still hold it down as late as 1977, while at the same time adding a few new tricks of the times. Music For The People has a little more of a party flavor to it with vocals, and isn’t half the song as the flipside.

          Everybody Wanna Get Funky One More Time – Part I (People 76)
          This is another one of those elusive James Brown Production 45s scratched off my list. Everybody Wanna Get Funky One More Time starts off with some fake crowd applause as James Brown comes in with one of his spoken intros to the band before they go into a mid-70s Funk tune. It’s actually not that bad with a bouncy bass line and James singing over the top. At the end, James even jumps on the piano and then organ, but it’s so brief that you could easily miss it.

          Gimme Some More/The Rabbit Got The Gun (People 71)
          Gimme Some More is from the JB’s Food For Thought album, but the B-side is a 45 only release. Gimme Some More has that trademark JB’s rhythm and horn section churning along. The Rabbit Got The Gun starts off with just bass and drums before the guitar and horns join in. It’s a much faster paced number than Gimme Some More which is more of a groover. Oddly though, there’s something different about the sound. I wouldn’t recognize it as a JB’s song if I didn’t know it.

          Givin Up Food For Funk – Part 1 & Part 2 (People 72)
          Another classic JB’s tune. Great vocal beginning with the chorus, followed by the churning funk of James Brown’s backing band. Great stuff.

          The Grunt (Part 1 & 2) (King 70)
          The Grunt from the J.B.’s Food For Thought album might be one of their most distinctive songs. It’s got one of the hardest driven beats recorded by the group, a screeching sax at the beginning, and a loud horn chorus to make it an incredible jam.

          Hot Pants Road/Pass The Peas (People 72)
          This 45 comes from the Food For Thought LP. Both Hot Pants and Pass The Peas are classics. I think Peas might have been the first JB’s song that I ever heard in fact. The song is so popular that the Cosby Show even used it for its theme music in later years.

          My Brother Pt. 1 & 2 (People 71)
          My Brother is a 45 only JB’s song. The tune is a fast paced funker where the piano, bass, organ, and then horns get to play around with the rhythm and then solo. Great stuff.

          Rock Groove Machine (Part I & II) (Drive 79)
          Although released on the Drive label, this was still written and produced by James Brown. Unfortunately it’s bad Disco.

          Thank You For Letting Me Be Myself And You Be Yours (Part I & II) (People 75)
          Thank You isn’t a bad song, but compared to the JB’s earlier work, it pales in comparison. The rhythm track lacks that strong, driving and stripped down sound of the past. I’m a completist however, so I had to pick it up. This is from the Hustle With Speed LP.

          These Are The J.B.s Pt. 1 & 2 (King 70)
          This 45 is from the JB’s Food For Thought LP, which was released on People. This 45 though, came out on King. The song is another great instrumental track with a very subtle sound to it with some nice flute soloing in the middle in between a strong horn line and bass playing. Part 2 is even better.

          Nature (Pt. 1 & 2) (Brownstone 77)
          For 1977 this is actually a pretty good JB Production. The song is a pretty straightforward Funk track with no hints of Disco or Dance that Brown was trying to negotiate with at the time. The music is actually pretty minimal with a looping rhythm guitar, a plucking lead guitar line and some horn shouts every now and then backing up the vocal chorus. Pt. 2 has the singer spell out the title. Woo-hoo!

          J.B.’S WEDGE
          Bessie (Pt. 1 & 2) (Brownstone 76)
          Bessie is a funky dance tune. For some it probably works, but for me it just misses the mark. There’s a bit of that twangy late-70s Funk singing that I can only stand from Cameo, and group vocals throughout the versus. There is some nice conga work going on though.

          KING COLEMAN
          Boo Boo Song (Part 1 & 2) (King 67)
          Boo Boo Song is one of those less well known James Brown productions that proved to be a novelty hit for King Coleman. Beginning with a female chorus talking about hunting a fox, the song goes into an upbeat RnB party tune with King Coleman’s comedy ridden chorus of “boo boos”.


          • #6
            LAST WORD
            Keep On Bumpin Before You Give Out Of Gas (Polydor 74)
            Despite the name Last Word, the band was really James Brown and the J.B.’s. Brown is actually playing a synthesizer instead of his traditional organ on the cut. The song has a female chorus repeating the title and a funky backbeat in that usual catchy J.B.’s style.

            Drowning In The Sea Of Love/Show And Tell (People 74)
            This 45 comes courtesy of Maceo’s US album. Drowning In The Sea of Love is a cover of the Gamble and Huff hit, but with female vocals praising Maceo. That makes for a great combination. Show And Tell is another light Soul cover.

            Future Shock (Dance Your Pants Off – Part I & II) (People 75)
            For a short period of time in the mid-1970s James Brown had his own TV show called Future Shock. This 45 is the theme song to the program. As usual, Maceo and company lay down a funky rhythm track led by the horns, while singing the tune’s title and James saying “Future shock” over it. Overall, this is a pretty damn good tune.

            MACEO & THE MACKS
            Doing It To Death/I Can Play For (Just You & Me) (People74)
            Both of these songs come from Maceo’s Us album. The A-side is a rearrangement of the JB’s classic Doing It To Death, which was released the year before on the album of the same name. I think I like the original mix more because there’s just something missing with this rendition.I Can Play For (Just You & Me) is a mellow soul-jazz number which does little for me, although there is a short burst of wah wah guitar that sounds nice before a sax solo by Maceo.

            MACEO & THE MACKS
            I Can Play For (Just You & Me) (People 74)
            This is a white label promo from Maceo’s Us album. I Can Play (For Just You & Me) is a light Dance song, that only hints at the funk in a little breakdown in the middle with some wah wah guitar and conga playing in the background that backs up a sax solo. Otherwise the song isn’t that impressive.

            Parrty – Part I & II (People 73)
            Parrty is a perfect name for this song. Appearing on the Us album, the song features the soloing of Maceo Parker over a swinging rhythm track.

            MACEO & THE MACKS
            Soul Power 74 – Part I & Part II (People 73)
            Two more off Maceo’s US LP, this is an instrumental version of James Brown’s Soul Power song. All the funky elements are there to make this a jam.

            Nobody Knows But My Baby And Me (King 70)
            The Solars were another James Brown offshoot group consisting of Bobby Byrd, Phelps Collins, Bootsy Collins, John Starks and others. Nobody Knows But My Baby And Me is a Gospel influenced power ballad that has a melody similar to Amen.

            SONS OF FUNK
            From The Back Side – Pt. 1 & 2 (King 71)
            The Sons Of Funk was another name for the JB’s. At the time, the group and James Brown had signed a deal with Polydor. In order to record with their old label, King, the band had to change their name, and hence the Sons Of Funk. From The Back Side starts off with some solo guitar before the rest of the band joins in for a jazzy instrumental with the usual strong horn play and funkiness thrown in. Pt. 2 is even better than the beginning.

            STEVE SOUL
            James Brown – A Talk With The News/Shades Of Brown (Pt. 2) (King 69)
            James Brown – A Talk With The News is an early cut and paste single. There’s a narrator who’s asking Mr. Brown questions and the responses are snippets from his songs. Shades Of Brown (Pt. 2) is actually an organ led instrumental with some horn stabs accentuating the rhythm. I would assume that it’s Brown playing on the keys.

            STEVE SOUL
            Soul President/Popcorn With Feeling (Federal 70)
            I’m not sure if Steve Soul was a real person, but there are two James Brown Production 45s under that name, one on King, and this one on Federal. This was the second of the two. Both are examples of early cut and paste work with the voice of Steve Soul interviewing James Brown with the responses consisting of snippets from Brown songs. Both 45s feature instrumentals on the flipside. Soul President is the cut and paste tune while Popcorn With Feeling is the instrumental with some real fine flute playing over a funky rhythm track led by the guitar.

            Buddy Boy/Popcorn Charlie (King 69)
            If my memory serves me right, Charles Spurling was part of the James Brown review during the mid-60s. But don't quote me on that because I'm not at home to check and make sure. This 45 is a James Brown production with the Godfather's mug on the label. Buddy Boy is a mellow, crooner song. Popcorn Charlie is a real nice duet with a female singer (probably another one of the James Brown review, maybe Marva Whitney?) who isn't named. Catchy rhythm, lyrics and horn section.

            Mr. Cool/You’d Be Surprised (King 67)
            Charles Spurling was one of the less well-known members of the James Brown revue. He released a couple 45s with Brown such as this one. Mr. Cool is a really soulful tune that reminds me a bit of an upbeat version of the Impressions. You’d Be Surprised is a fast-paced RnB dance track with female back-up singers.

            SWEET CHARLES
            Dedicated To The One I Love (People 74)
            This 45 is from Sweet Charles album For Sweet People From Sweet Charles. It’s a cover of the classic Dedicated To The One I Love with a little original twist to it. Sweet Charles singing sounds just a tad bit like Curtis Mayfield with his falsetto singing.

            SWEET CHARLES
            I Won’t Last A Day Without You (People 75)
            I Won’t Last A Day Without You is a slow and mellow Soul piece that can catch your attention. First up there’s a strong bass line and after the beginning the guitar and strings adds some extra flavor to the track. It’s really something nice to listen to while chilling out in the house.

            CLAY TYSON
            Clay Tyson (Man On The Moon)/Clay Tyson (You Don’t Know What I Want) (King 68)
            Clay Tyson was a comedian who hooked up with James Brown in the late 1960s to release two singles on the King label. Both sides consist of Tyson doing comedy routines over the I Can’t Touch Myself rhythm. Man On The Moon is a skit about what else, but going to the moon, interspersed with comments about race and James Brown. You Don’t Know What I Want is about being a king.

            GLORIA WALKER
            My Precious Love/Papa’s Got The Wagon (People)
            Gloria Walker was one of the lesser-known artists on James Brown’s People label. My Precious Love is a love song. Papa’s Got The Wagon is the side to listen to as it’s a slow Funky number with a strong bass line.

            FRED WESLEY & THE J.B.’S
            Alone Again (Naturally)/Watermelon Man (People 72)
            I think both of these songs were released just on this single because I don’t remember them being on any JB’s records. Alone Again (Naturally) is a Gilbert O’Sullivan cover song (made famous when he sued Biz for sampling it). Unfortunately, Fred and the boys don’t do any rearranging and play it like an easy listening song. Of course, the same cannot be said for the B-side which is a funked up version of Watermelon Man. Now that’s more like the J.B.’s I know and love. Look for this 45 for that side alone.

            FRED WESLEY & THE JB’S
            Back Stabbers (People 72)
            I believe this is a 45 only release of Fred, Maceo, James and the boys doing a cover of the O’Jays Backstabbers hit. The beginning has the band chanting lines followed by some slick female vocals before a series of horn solos. A pretty good cover.

            FRED WESLEY & THE JB’S
            Back Stabbers/J.B. Shout (People 72)
            This is a 45 only release. The A-side is a cover of the O’Jays classic. The chorus is sung really stiffly, which sounds a bit odd until some females take over for the men. That leads into a trombone solo by Fred Wesley. J.B. Shout is an upbeat Soul-Jazz piece with more great horn playing by the gang. There’s even a short drum break to boot.

            FRED WESLEY & The J.B.’S
            Dirty Harri/Sportin Life (People 73)
            Both of these tracks are mellow Funk mood pieces from James Brown’s Black Caesar soundtrack. I can really get into the subtle groove of the guitar and organ play on Sportin Life.

            FRED WESLEY & THE J.B.’S
            Doing It To Death (People 73)
            Doing It To Death might be one of the most popularly known JB’s songs along with Pass The Peas. Many in the general public will probably know it from various commercials that have featured it over the last 10 years or so. The song has a great rhythm track with James Brown singing and talking to the band. A pure classic.

            FRED WESLEY & THE J.B.’S
            Doing It To Death/Everybody Got Soul (People 73)
            You Can Have Watergate Just Gimme Some Bucks And I’ll Be
            Straight/If You Don’t Get It The First Time Back Up And Try It Again, Party (People 73)
            Damn Right I Am Somebody Part I/Damn Right I Am Somebody (Last
            Part That Went Over The Fence) (People 74)
            3 45s by Fred Wesley & the J.B.’s with James Brown’s vocalizing over the jams. Despite the 2 different song titles on the 1st 45, both sides are just Doing It To Death. These songs probably represent some of the best work James did in the 70s. Not that hard to find and all the songs appear on LPs as well.

            FRED WESLEY & THE J.B.’S
            Rockin Funky Watergate Part 1 (People 74)
            A bumpin bass line holds down Rockin Funky Watergate that has all the elements of one of the J.B.’s catchy Funk tunes.

            FRED WESLEY & THE J.B.’S
            Same Beat – Part 1/Part 2 & 3 (People 73)
            You can never have enough 45s by the JB’s. Same Beat was released as a 45 in 1973, and would appear on the Damn Right I Am Somebody LP the next year. It’s one of those slow groovers that the JB’s were known for with a famous speech by Rev. Jesse Jackson dubbed over it.

            MARVA WHITNEY
            All My Love Belongs To You/I’ll Work It Out (King 68)
            This is a mellow two sider. Both songs are slow MOR Pop tunes. There’s not a hint of James Brown’s Funk, or Ms. Whitney’s trademark vocals on either cut.

            MARVA WHITNEY
            Get Out Of My Life/Things Got To Get Better (King 69)
            The arrangement on Get Out Of My Life sounds different from Marva Whitney and James Brown’s usual work. The song has strong hints of Jazz, sounding something like a funkier version of Shirley Bassey perhaps. Things Got To Get Better is much more in tune with Whitney and Brown’s work with a great danceable beat and the horns blaring away in support of the rhythm.

            MARVA WHITNEY
            He’s The One/This Girls In Love With You (King 70)
            He’s The One has a restrained, yet funky rhythm to it with a strong RnB backbone to it. You can always count on Marva Whitney’s vocals to be strong on such a track. This Girls In Love With You on the other hand is a power ballad.

            MARVA WHITNEY
            I Made A Mistake Because It’s Only You Pt. 1 & 2 (King 69)
            I Made A Mistake Because It’s Only You is one funky ass song with great lyrics about love and one of the thickest James Brown beats ever recorded. Funny enough, Brown would later have Hank Ballard record the song, but with the title From The Love Side. The songs are exactly the same, except for the words on the chorus are different depending upon the title.

            MARVA WHITNEY
            I’m Tired, I’m Tired, I’m Tired/If You Love Me (King 68)
            Both of these songs come from Ms. Whitney’s It’s My Thing album. I’m Tired, I’m Tired, I’m Tired is an upbeat, yet mid-tempo song with a light backing track led by the guitar and Marva Whitney’s strong vocals. In the background the band is shouting out encouragement to Ms. Whitney that ads a great feel to the cut as well. If You Love Me is a ballad. Oddly enough I’m Tired, I’m Tired, I’m Tired was released on another King 45 with a different B-side.

            MARVA WHITNEY
            Things Got To Get Better (Get Together)/What Kind Of Man (King 68)
            Things Got To Get Better is one of Marva Whitney’s best song with its upbeat tempo, sharp horn stabs and her trademark blaring vocals. What Kind Of Man has more of a Soul-RnB sound to it, but it’s just as good.

            MARVA WHITNEY
            What Kind Of Man/Your Love Was Good For Me (King 68)
            What Kind Of Man is a hard-edged RnB song with Ms. Whitney’s strong vocals carrying it along. The tune is from the It’s Your Thing LP. Your Love Was Good For Me is a ballad that was a 45 only release

            MARVA WHITNEY
            You Got To Have A Job (If You Don’t Work – You Can’t Eat) (King 69)
            You Got To Have A Job might be my all-time favorite Marva Whitney song. It’s a duet with Bobby Byrd with both of them screaming through the vocals. They’re backed by a great Brown Funk track to make a near perfect tune.


            • #7
              And don't forget the LPs. These I would call essential. Although some are very pricey.

              Hank Ballard – You Can’t Keep A Good Man Down


              Lyn Collins – Check Me Out


              Lyn Collins - Think


              Bill Doggett – Honky Tonk Popcorn


              Fred & The New JB’s – Breakin Bread


              JB’s – Doing It To Death
              - Food For Thought
              - Hustle With Speed


              Maceo – Us


              Fred Wesley And The J.B.s – Damn Right I Am Somebody


              Marva Whitney – It’s My Thing
              - Live And Lowdown


              I also have about 5 CD mixes of James Brown Prod. 45s if you're interested.


              • #8
                Originally posted by djr
                Moorish Vanguard - this 45 worth hunting down?
                It's a quality 45 - last one I saw went for around the £150 mark. And I think I've only seen four for sale, ever. Tricky rekkid to find.


                • #9
                  I can't believe anyone could overlook JB productions... have you also overlooked the Man himself? Shame on you! I'm amazed.

                  couple of others:

                  Yvonne Fair - Say Yeah Yeah (dade) JB isn't credited on the record, but its accepted that he produced this, maybe as a favour to the label owner, whose name I can't remember. Its really early, maybe even 1964? Shockingly funky, considering the date. Great record, really good.
                  Dizzie Jones - however you play, so you must pay (New Breed) Great tune, always goes down well with afficionados and random punters alike.
                  Elsie Mae - do you really want rescue me (king) fucking brilliant, one of my fave female vocals, really great tune.
                  Lee austin - steal away (king) Vocal cut to 'nose job'...anyone got a spare? seems rather elusive, but then I hardly ever remember to look for it.

                  Personally i think Moorish Vanguard is badly over-rated, scene-y 'his obscurest 45 syndrome' like with that curtis 'New world' thing i think, you can buy tens of dozens of $5 JB productions which shit all over it from a great height before you start chasing that one I'd say. Not that it isn't a good record, but if you're going to shell out all that cash, why not spend half that amount on a grip of much better JB tunes? Of the more expensive ones, Beau Dollar smashes it to bits in my book.
                  Last edited by francis; 05-01-2005, 11:21 AM.


                  • #10
                    Does it make any difference whether you have the yellow or blue King?
                    Last edited by Belson; 05-01-2005, 11:53 AM.


                    • #11
                      Originally posted by francis
                      I can't believe anyone could overlook JB productions... have you also overlooked the Man himself?
                      I don't look over them entirely. If the price is right, I pick up JB & JB-related 45s. But before I take the plunge into spending real $$ for any, I wanted to hear some opinions.

                      thanks for all comments.


                      • #12
                        Originally posted by djr
                        I don't look over them entirely. If the price is right, I pick up JB & JB-related 45s. But before I take the plunge into spending real $$ for any, I wanted to hear some opinions.

                        thanks for all comments.

                        You don't need to spend real $$. There are only a few 45s which will realistically cost you more than $30, and you can get tons of great ones for between $5 and $20. If you're in the states, you really shouldn't have to pay more than $5 for 90% of them.


                        • #13
                          Originally posted by Belson
                          Does it make any difference whether you have the yellow or blue King?
                          Motown, Greg, Francis (anyone!) - what's the deal with the King label colours? I assume white means demo but what about the rest - I've seen black, red, blue, yellow... Are any the dreaded styrene?

                          And what about the relationships between the labels (Brownstone and King in particular)? Are there any good discographies or potted histories online?

                          You freeking scientologists are all the same, quible, dribble and then demand ice creams. Ohhhhhhhhhhh.


                          • #14
                            LEON AUSTIN
                            Respect/Turn Me Loose (King 69)

                            Note to Mr Cope - Didn't you say this was the vocal version of Nosejob then or am I getting confused - because it doesn't sound like it to me??

                            Nice track though


                            • #15
                              Originally posted by francis
                              Lee austin - steal away (king) Vocal cut to 'nose job'....
                              Confusion reigns...
                              You freeking scientologists are all the same, quible, dribble and then demand ice creams. Ohhhhhhhhhhh.