James Brown Hell CD

Personnel includes: James Brown (vocals, piano, organ, synthesizer); Lyn Collins (vocals); Jimmy Nolen, Hearlon "Cheese" Martin, Joe Beck, Sam Brown, Charlie Brown (guitar); Joe Farrell (reeds, tenor saxophone); Eddie Daniels, David Tofani (reeds); Maceo Parker, Jimmy Parker, David Sanborn (alto saxophone); St. Clair Pinckney, Frank Vicari (tenor saxophone); Alfred "Pee Wee" Ellis (baritone saxophone); Isiah "Ike" Oakley, Lew Soloff, Jon Faddis (trumpet); Jimmy Buffington (French horn); Fred Wesley (trombone, tambourine, percussion, background vocals); Michael Gipson, Tom Harrell (trombone); Dave Matthews (piano, electric piano); Fred Thomas, Gordon Edwards, Charles Sherrell (bass); John "Jabo" Starks, John Morgan, Jimmy Madison (drums).
Originally released on Polydor (9001). Includes liner notes by Alan Leeds.
Digitally remastered by Gary Mayo (Polygram Studios).
Personnel: James Brown (vocals, piano); Sam T. Brown, Hearlon "Cheese" Martin, Jimmy Nolen, Joe Beck , Charlie Brown (guitar); David Tofani, Eddie Daniels (reeds); David Sanborn, Jim Parker , Maceo Parker (alto saxophone); Frank Vicari, Joe Farrell, St. Clair Pinckney (tenor saxophone); Pee Wee Ellis (baritone saxophone); Isiah "Ike" Oakley, Jon Faddis, Lew Soloff (trumpet); James Buffington (French horn); Fred Wesley (trombone, tambourine, percussion, background vocals); Michael Gipson, Tom Harrell (trombone); David Matthews (piano, electric piano); James Madison, Harvey Mason, Sr. , John Morgan, John Starks (drums); Johnny Griggs (congas); Ralph MacDonald, Bob Both, Sue Evans (percussion); Johnny Scotton, Martha Harvin, Deborah McDuffie, Maretha Stewart, Lyn Collins, Hilda Harris (background vocals).
Audio Remasterer: Gary N. Mayo.
Liner Note Author: Alan Leeds.
Photographer: Norman Hunter.
Arrangers: David Matthews; James Brown.
Brown's early-'70s run of classic singles and good-to-great albums is still impressive. Hell was the double album released a year after the gold selling The Payback. To some, the title might put this effort in the realm of kitsch, but in many ways Hell was one of Brown's strongest albums. The album was the pinnacle of his work as the Minister of the Super New New Heavy Funk. From the tough and nimble Latin rhythms of "Coldblooded," and "Sayin' It and Doin' It" to the title track, all are prime pre-disco Brown. "My Thang" is probably as hard and unrelenting as he got without spontaneously combusting. The biggest surprise of Hell is that no matter how odd the song choices seemed, practically everything worked, excluding a few key songs of course. Both "When the Saints Go Marching In" and "Stormy Monday" don't belong in James Brown's catalogue, let alone the same album. Ballad-wise, Brown fares better. "These Foolish Things Remind Me of You" has him getting all warm and fuzzy as he inexplicably throws in an "I'm hurt, I'm hurt" for good measure. That song, as well as the weepers "A Man Has to Go to the Cross Road Before He Finds Himself" and "Sometime," were produced by David Matthews who could always get good ragged yet poised vocals from Brown. Although Brown did roll snake eyes on all of side three, he did leave Hell on a good note. "Papa Don't Take No Mess" is laid-back, funky jazz that's worth each of its 13-plus minutes. Despite a few detours, Hell is worth listening to. ~ Jason Elias
HELL was released at an interesting juncture in Brown's career. This 1974 album came in the wake of the highly regarded PAYBACK, and the unusual decision was made to include re-recorded versions of seven previously released songs. The packaging of the album leads one to believe that this is Brown's big social statement about the plight of those living in American ghettoes. Only the title song seems to address these issues, however powerfully. That's not to say HELL isn't full of captivating cuts, though. From the unrelenting '70s funk of "Sayin' and Doin' It" to the Latin feel given to "Please, Please, Please" this recording is f