James Brown:The Singles Volume 5
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Artist:The Dapps featuring Alfred Ellis
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Album:James Brown:The Singles Volume 5 (1967-1969)
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Track:Bringing Up The Guitar
The years covered on this 2 CD set,1967 to 1969, were chaotic and painful for many, but they also encompassed the Summer Of Love and the growth of Rock music being taken seriously (which may or may not be a good thing).Whatever problems James Brown was having, his answer, in good times and bad, was to work, which he did maniacally in this (and every other) period. There are 43 singles here from the era, and he also released 13 albums. This is just what came out under his name (the end of his King records tenure). There was also constant touring in the States and trips to Africa (putting a huge injection into the economy there to go along with a lasting influence on what would later be called Afro-Beat)and Vietnam.In the latter, JB was disappointed, because he got less than star treatment from the Army ("who were used to hosting USO faves like Bob Hope and Wayne Newton"). He also caught grief for the trip from Black peace activisits (he supported the war) and militant Black nationalists (they thought he was sucking up to the man).Whatever JB’s troubles were, it did not affect the quality of the music (actually, these are recordings released from Nov. ’67 to March ’69), which by this time was all killer and no filler on the singles. Perhaps because “serious” Rock was getting so much attention at this time it allowed JB and the Flames to continue their expansion of the Funk idea unbothered by media and/or the business. The newly ensconced media passing off JB’s innovation as just Dance music (hey, they do this with dance music today) and the business end not saying anything ‘cause the records were selling. There is no doubt that James Brown connected with the people on a sales level (1969’s #1 male artist, edging Elvis), but it is the strength of the personal connections (the legendary live performances and constant presence on the radio didn’t hurt), and the profound influence he had on music all over the world, that is the avatar of the Godfathers greatness.Trying to pick songs to post from these sets is not easy, even though they don’t even approach JB’s full output.but I’m gonna focus on a few that have interesting stories (the tracks are annotated individually.)James Brown had contingency plans for everything..Including his band(s). During this period the Augusta, Georgia-based Famous Flames (Maceo Parker, Fred Wesley , Pee Wee Ellis, Bobby Byrd, Clyde et al) were the first string, playing the majority of the road shows and studio sessions (1969 would be the last year before many quit), while the Cincinnati -based(the home of James’ label King Records), and all-white band, The Dapps, were the second string. If someone in the Flames was sick, a Dapp would be ready to fly anywhere to replace them, If the Flames were back home on a rare break and the GFOS was up in Cincinnati doing business and wanted to cut a record, The Dapps were on call.
As I’ve said before, the 60’s were complicated and chaotic, no better example of this is the JB discography. “Bringing Up the Guitar” is credited to The Dapps featuring Alfred Ellis (that’s Pee Wee’s real name), even though this version was recorded in full by The Famous Flames. I guess JB wanted to throw the Dapps a bone because a year prior a Dapps song (see below) went out under the name of James Brown and The Famous Flames…At any rate it is a nice little funkstramental take of the vamp from Cold Sweat with master rhythm guitarist Jimmy Nolen and Maceo leading the way.In comments check out, “Say It Loud- I’m Black and I’m Proud- Part 1”, a tune cut by JB and the Flames in LA, far away from their usual haunts (Augusta + Cincinnati). The tune was JB’s woke-up and wrote-it-in-the- middle-of-the-night answer to the static he was getting from all sides in the black community, that (according to the notes) had him on the verge of retirement. Thanks to the JB way, whatever he was feeling he was able to get down on wax immediately, which meant a hastily thrown together session with the whole band pitching in to the arrangement of the tune . The final liner note nugget here is that the kids screaming “Say It Loud” in the background were mostly White and Asian kids from Van Nuys that a talent agency rushed over to the studio at the Godfather’s request. Though the band was halfway out the door, unable to deal with the blistering schedule and always present monetary issues, they all got a chuckle out of that irony.“Just Plain Funk” was the aforementioned Dapps tune that went out under James’ name. Not too shabby for some white cats from Cincinnati and clearly (I could be wrong) where current Caucasian raw funk masters The Dap-Kings draw inspiration and their name.I want to close with one of my all-time favorite JB grooves, “Give It Up Or Turn It Loose.” Though I prefer the massive Boosty-Phelps 1970 version, this late night Miami studio jam from ’69 might be the funkiest thing The Flames ever waxed. Not the crispest or tightest by far, but definitely paving the way for the funk generation to follow.By the dawn of the 70’s James Brown was already 15 years into the Music game, and though he might of thought about hanging it up in ’69, it didn’t show in the records. On the horizon was the arrival of Bootsy and Phelps Collins and the full flowering of Funk in the 70’s. Down, but never out, The Godfather had changed the world already, but he was just getting started.
As I’ve said before, the 60’s were complicated and chaotic, no better example of this is the JB discography. “Bringing Up the Guitar” is credited to The Dapps featuring Alfred Ellis (that’s Pee Wee’s real name), even though this version was recorded in full by The Famous Flames. I guess JB wanted to throw the Dapps a bone because a year prior a Dapps song (see below) went out under the name of James Brown and The Famous Flames…At any rate it is a nice little funkstramental take of the vamp from Cold Sweat with master rhythm guitarist Jimmy Nolen and Maceo leading the way.In comments check out, “Say It Loud- I’m Black and I’m Proud- Part 1”, a tune cut by JB and the Flames in LA, far away from their usual haunts (Augusta + Cincinnati). The tune was JB’s woke-up and wrote-it-in-the- middle-of-the-night answer to the static he was getting from all sides in the black community, that (according to the notes) had him on the verge of retirement. Thanks to the JB way, whatever he was feeling he was able to get down on wax immediately, which meant a hastily thrown together session with the whole band pitching in to the arrangement of the tune . The final liner note nugget here is that the kids screaming “Say It Loud” in the background were mostly White and Asian kids from Van Nuys that a talent agency rushed over to the studio at the Godfather’s request. Though the band was halfway out the door, unable to deal with the blistering schedule and always present monetary issues, they all got a chuckle out of that irony.“Just Plain Funk” was the aforementioned Dapps tune that went out under James’ name. Not too shabby for some white cats from Cincinnati and clearly (I could be wrong) where current Caucasian raw funk masters The Dap-Kings draw inspiration and their name.I want to close with one of my all-time favorite JB grooves, “Give It Up Or Turn It Loose.” Though I prefer the massive Boosty-Phelps 1970 version, this late night Miami studio jam from ’69 might be the funkiest thing The Flames ever waxed. Not the crispest or tightest by far, but definitely paving the way for the funk generation to follow.By the dawn of the 70’s James Brown was already 15 years into the Music game, and though he might of thought about hanging it up in ’69, it didn’t show in the records. On the horizon was the arrival of Bootsy and Phelps Collins and the full flowering of Funk in the 70’s. Down, but never out, The Godfather had changed the world already, but he was just getting started.
Comments (16)
Excellent post, Cody. A+.