Track Listing 1. Bring It Up 2. Don't Be a Drop Out 3. Till Then 4. Tell Me That You Love Me 5. Yours and Mine 6. Money Wont Change You Pt. 1 7. Money Wont Change You Pt. 2 8. Only You 9. Let Yourself Go 10. Nearness of You, The 11. Nobody Knows 12. Stone Fox
| Details | | Distributor: | Phantom Import Distributi | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes Personnel includes: James Brown (vocals); Nat Jones (MC, alto saxophone); Jimmy Nolen, Alfonzo "Country" Kellum, Troy Seals, Lonnie Mack (guitar); St. Clair Pinckney (tenor & baritone saxophone); Eldee Williams, Alfred "Pee Wee" Ellis (tenor saxophone); Charles Carr (baritone saxophone); Waymon Reed, Joe Dupars, Ron Harper (trumpet); Levi Rasbury (valve trombone); Bobby Byrd (organ, background vocals); Gene Redd (vibraphone); Bernard Odum, Michael Moore (bass), John "Jabo" Starks, Clyde Stubblefield (drums); Ron Selico (bongos); Vicki Anderson (background vocals). The Jewels: Grace Ruffin, Martha Harvin, Sandra Bears, Margie Clark (background vocals). Producers: James Brown, Bud Hobgood. Recorded between March 23, 1964 and January 15, 1967. Includes liner notes by Harry Weinger and Alan Leeds. Digitally remastered by Steve Fallone (Polygram Studios). Limited edition Japanese remastered pressing; packaged in original artwork preserved in paper slipcase. Surprisingly, the album's title is only about halfway true. The sessions contained here cover a wide span of time (1964-1968). Consequently, the later tracks bear the mark of Brown's souped-up funk, but earlier recordings include a sentimental take on the ballad "Till Then," previously popularized by the Mills Brothers (!), a quaint "message" song about staying in school ("Don't Be a Dropout"), and a loungey, vibes-led instrumental ("Yours and Mine"). The album naturally picks up when Brown and his band turn up the heat, as on the existential funk of "Money Won't Change You" and the aptly titled, hard-grooving "Let Yourself Go." An interesting spotlight is placed on Brown's roots when the '50s doo-wop standard "Only You" is given a 6/8, mid-'60s-style R&B treatment. Additionally, it's an unexpected treat to hear James merge jazz and soul on an impressive version of "The Nearness of You."
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