featuring:
...and - for this engagement only - Mr. Pibb on tap!
Posted by count reeshard at 7:13 PM 0 comments
Labels: Count Reeshard, Fool's Paradise Twin
Posted by Debbie D at 9:22 AM 1 comments
Labels: Debbie D, James Brown Month
It's getting strange out there. The latest issue of The New Yorker features "A Psychotronic Childhood," being a pocket autobiography by Colson Whitehead, one focusing on the author's lifelong affection for fleapit cinema. The Psychotronic Encyclopedia Of Film and its author, Michael Weldon, receive significant mention throughout. A thoughtful, non-ironic take on Ray Dennis Steckler's films and others of comparably Incredibly Strange persuasion is given significant column inches within the current issue of this bastion of snootiness. Go figure.
Posted by count reeshard at 12:34 AM 2 comments
Wrapping up our series on the loudest, craziest, least-in-control James Brown numbers ever (which, as you may recall, I have designated a subgenre all its own, "Free James Brown"), we arrive at the top of the heap, the apex of insane, the single wildest track JB ever laid down on wax. It's the B-Side of "Don't Be a Drop Out", "Tell Me That You Love Me".
Posted by Mr. Soul Motion at 3:46 PM 0 comments
Labels: Dr. Filth, James Brown
Here's a (to me) previously unknown, "Funky Drummer"-ish, instrumental version of "Give It Up Or Turnit Loose". I found it on an Iranian three song EP on the Top 4 label, and it's credited to the James Brown Band. The EP also has the standard versions of Sly and the Family Stone's "Thank You Falettin' Me Be Mice Elf Again" and Bill Moss's "Sock It to Me Soul Brother", so I assume that it was a fairly standard licensing deal, if there was any deal at all, that resulted in this record's release. I have been unable to find any reference to it elsewhere. I don't, however, have absolute knowledge of every obscure Brown-involved cut ever recorded, and as far as I know this might just be tucked away on the corner of some obscure or not-so-obscure album or 45 I have overlooked, maybe under a different name. The sound on this is slightly dim, typical for a 45 with about six minutes on a side. Would love to find a fuller sounding version. Anyone out there know of this version's appearance on a record other than this one?
Posted by Mr. Soul Motion at 10:44 AM 0 comments
Labels: Bill Moss, Dr. Filth, James Brown Band, Sly and the Family Stone
![]() |
Ichiban New Bin |
Posted by Debbie D at 3:14 PM 1 comments
Labels: Bunnys, Debbie D, Gaylord Fields, Takeshi Terauchi
The final installment of our interview with The One author RJ Smith.
ICHIBAN: How in the world did James Brown have time to do everything that he did for himself AND produce the number of records he produced for other people? Do you have any insights on how involved he was in productions, or was it more of a brand name thing?
RJ SMITH: My sense is those numerous productions happened every way possible – some were cut without him being anywhere NEAR the studio. Some were built on ideas he had talked out with the musicians, or with JB stopping by the studio without being much invested in the moment. And some happened with JB at the center of the action. Then again, as Jim Dickinson once told me, sometimes the guy who brings the coffee is the one who really produces the session – you never know what is going to be the catalyst. It’s a mystery.
![]() |
"Needs more . . ." |
![]() |
Mind. Blown. GET READY YOU MOTHERS, FOR THE BIG PAYCHECK! |
![]() |
"I don't care how good it's doin'! I've got money - now I need love! Shut it down!" |
Posted by Mr. Soul Motion at 10:00 AM 0 comments
Labels: Dr. Filth, Future Shock, James Brown, JBs, Jim Dickinson, Johnny Paycheck, Lyn Collins, RJ Smith
Posted by Mr. Soul Motion at 10:00 AM 0 comments
Labels: Bill Doggett, Bootsy Collins, Dr. Filth, James Brown, JBs, Pacesetters
Posted by Debbie D at 10:04 AM 1 comments
Labels: Debbie D, Future Shock, James Brown Month