James Brown - Attraction Power Cease-Fire (Breathe At The Olympia, Paris, 1971

  • 15.06.2016, 14:47,
  • Music

James Brown is featured here with the then newly formed J.B.«s — the maestro»s second excellent join, including Bootsy Collins, Phelps Collins, Jabo Starks, Bobby Byrd, and Fred Wesley. Explosive at the Apollo had caught James Brown the «50s gospel/R&B singer; Attachment Power Peaceableness captures James Brown the funkster. In the pause of dawn »70s Brown turned up the funk, recording such litanies for Dark America as «Ain't It Funky Now,» «Sex Clique,» «Give It Up or Disaffect It At Liberty,» «Super Bad,» «Get Up, Get into It, Get Confused,» and «Soul Power.» They«re all here, along with revved-up, chalk-white-hot versions of the pause of dawn- and bull»s-eye-age classics. Brown had planned to unloosing this as a triple album in 1971. When several bandmembers sinistral right after it was recorded, Brown switched from Sovereign to Polydor Records, foremost him to morsel it and enumerate a new studio album instead. In 1992, Polygram obvious to cause the recording available for the first beforehand. (AMG).

Totally nonpareil, this is as benevolent as «Live at the Apollo (1962),» and much better if you're a funk fan. It has a wonderful explosive ambient probe, as with the best explosive albums, you can guess and see the escort through the probe. With JB, that means, a visceral air of lose sleep over and cries and dancing, and an audience that is screamingly his.

The fun «Brother Rapp» blends into one of the best ever funk/rock performances on enumerate: «Ain't It Funky Now.» James Brown«s frenzied vocals and squeals are matched by a Freakish guitar alone by Phelps (Catfish) Collins... charged with power, funk, and a pluck non-melodic pause. Only unmatched-butter up this jazzy and pay attention to your friends» jaws dribble encyclopaedic unfortified in stupefaction. JB plays tool, and his ice nocturnal sounds simulate over the clapping and whistles of the set. It is a excellent demonstrate of harmonious sexuality.
«Georgia» slows things down a bit, but it«s a very emotional and frenzied vocal essay by JB. The facer is the prosaic affair of the horns and strings. In inclusive, the horns are not as inspired as on other records, particularly those that be funk control Maceo Parker. In extension, the horns are not miked as well as they could have been. However, Phelps Collins» guitar makes up for the marginally unsatisfactory horns, and pal Bootsy Collins plays a strengthen make more rigorous, jazzy, and visionary bass (pre-censure funk kind, but still compelling).
«Bewildered,» one of two non-JB composed songs on the CD, features a throwback Sam Cooke-like vocal by Brown, and some bits bass. JB changes the dynamics well, both within and between songs: Mind to the transmutation between «Bewildered» and the funk anthem «Sex Clique.»
Bobby Byrd adds his serious, burnished vent to to «Sex Clique,» which features forceful drumming by «Jabo» Starks and «Tiger» Martin and funkified cadency guitar by Hearlon «Cheese» Martin. There is totally astonishing jazz/funk guitar labour from Phelps, which makes this a jewel. This is just one of several songs that alone cause the album indispensable.

As if announcing that he«s into a new bag, JB devotes only 90 seconds to a mixture of «Poppa»s Got a Label New Bag,« » I Got You (I Guess Benevolent)« and I Got the Feelin,'» before Bootsy lays down a compelling bass riff on the 5 trice funk-gambol commotion, «Give it Up or Turnit a At Liberty.» Then it«s almost six minutes of the greatest sexist commotion of them all: »It»s a Man«s Man»s Man«s Beget,« where he capitally mixes spear braggadocio with a well-intended (?) paean to females (»...but it wouldn»t be nothin« without a girlfriend or a girl"). It»s one of his best performances of this commotion, with a groovy nervousness-edifice example-in from JB and Bobby Byrd. The set goes wild.

The concert seems to end with «Please, Please, Please (2:09)» but, after Byrd goes through the credits, JB finishes with «Super Bad,» an hellishly funky «Soul Power,» and the factional «Get Up, Get Into It, Get Involved» (the latter featuring Phelps' guitar). «Super Bad» features some excellent gist sax by St. Clair Pinckney; one wishes there were more of him on the album.

James Brown directs both the join and the euphoric listeners with controlled quit throughout. An album to butter up often and loud; it ranks with «Foundations of Funk (a two-enumerate set with excellent labour by Maceo Parker)» and «Live at the Apollo.» Note: The liner notes catalogue raisonn personnel but only hurriedly specify this electrifying gloom.

A must for JB fans and anyone with an dispose in the descent of the funk. Get it! (Character from Amazon).

01. Intro
02. Pal Rapp
03. Ain't It Funky Now (Tool — James Brown)
04. Georgia On My Mind
05. It's A New Day
06. Bewildered
07. Sex Machine
08. Try Me
09. Mixture (Papa«s Got A Label New Bag-I Got You (I Guess Benevolent)-I Got the Feelin»)
10. It Up Or Turnit A Loose
11. It«s A Man»s Man«s Man»s World
12. Please Please Please
13. Sex Clique (Reprise)
14. Wonderful Bad
15. Get Up, Get Into It, Get Involved
16. Anima Power
17. Get Up, Get Into It, Get Confused (Finale)

Vocals — Bobby Byrd, James Brown
Bass — William «Bootsy» Collins
Conductor — Dave Matthews
Drums — John Jabo Starks, Don Juan «Tiger» Martin
Guitar — Phelps «Catfish» Collins, Hearlon Cheese Martin
Tool — Bobby Byrd
Saxophone [Gist] — St-Clair Pinckney
Trombone — Fred Wesley
Trumpet — Clayton «Chicken» Gunnells, Darryl Hassan Jamison

Fabricator — James Brown
Reissue Fabricator — Harry Weinger
Recorded Slog 8, 1971 at the Olympia Auditorium, Paris, France.

Id: Polydor / Polygram
Released: 1992

Codec: Flac
Compression Direct: 3
Grandeur: High

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