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Personnel: James Brown (vocals, organ); Bobby Byrd (vocals, keyboards);
Jimmy "Chank" Nolen, Healon "Cheese" Martin, Alphonso "Country" Kellum, Phelps "Catfish" Collins, Jimmy Nolan, Robert Coleman (guitar); Jimmy Parker, Alfred "Pee Wee" Ellis, Joe Poff (alto saxophone); Robert McCollough, Maceo Parker, L.D. "Eldee" Williams (tenor saxophone); St. Clair Pinckney, Louis Tilford (baritone saxophone); Darryl "Hasaan" Jamison, Jerone "Jasaan" Sanford, Ike Oakley, Richard "Kush" Griffith, Joseph Davis, Waymond Reed, Joe Dupars (trumpet); Louis Tilford, Fred Wesley, Levi Rasbury, Hollie Farris (trombone); Mike Lawler (Clavinet); Fred Thomas, William "Bootsy" Collins (bass); John "Jabo" Starks, Melvin Parker (drums); Johnny Griggs (percussion).
Producer: James Brown.
Compilation producers: Tim Rogers, Cliff White.
Recorded between 1967 & 1976. Originally released on Polydor (6093). Includes liner notes by Cliff White.
Personnel: James Razor Brown , Bobby Byrd (vocals, organ); Alphonso "Country" Kellum, Hearlon "Cheese" Martin, Jimmy Nolen, Phelps "Catfish" Collins (guitar); Pee Wee Ellis (alto saxophone, organ); Jimmy Parker (alto saxophone); St. Clair Pinckney (tenor saxophone, baritone saxophone); Eldee Williams, Robert McCollough, Maceo Parker (tenor saxophone); Louis Tilford (baritone saxophone); Joe Dupars, Waymon Reed, Isiah "Ike" Oakley, Joseph Davis , Jerone "Jasaan Sanford" Melson, Darryl "Hasaan" Jamison, Richard "Kush" Griffith (trumpet); Levi Rasbury, Fred Wesley (trombone); Clyde Stubblefield, Melvin Parker, John Russell Morgan, John Starks (drums); Johnny Griggs (congas, percussion); Benny Parks (percussion).
Audio Mixers: Tom "Curly" Ruff; Dennis M. Drake.
Liner Note Author: Clifford White.
Recording information: Bell Auditorium, Augusta, GA (04/11/1969-09/??/1976); Bobby Smith Studios, Macon, GA (04/11/1969-09/??/1976); Criteria Studios, Miami, FL (04/11/1969-09/??/1976); International Studios, Augusta, GA (04/11/1969-09/??/1976); King Studios, Cincinnati, OH (04/11/1969-09/??/1976); Mastersound Studios, Atlanta, GA (04/11/1969-09/??/1976); RCA Studios, Los Angeles, CA (04/11/1969-09/??/1976); Starday-King Studios, Nashville, TN (04/11/1969-09/??/1976); The Apollo, New York, NY (04/11/1969-09/??/1976); United Artists Studios, Hollywood, CA (04/11/1969-09/??/1976).
Editors: Tom "Curly" Ruff; Dennis M. Drake.
Illustrator: Chris Thompson .
Introduction by: James Razor Brown .
Unknown Contributor Role: Danny Ray.
During the mid- and late '80s, after Brown and Polydor parted ways, the label began to reissue his work, some of which had been out of print for close to a decade. Motherlode is one of the finest compilations. Coming a few years after In the Jungle Groove, a compilation effort that culled some of Brown's harder-edged 1969-1971 tracks, this covers 1969-1973 and has the smoothness of a regular release effort.
By this point, Motherlode producers Cliff White and Tim Rogers began to know more about Brown's "classic" work than he did and could do compilations where the tracks were all potent. This set starts off with an explosive live take of "There It Is" recorded at the Apollo in 1972. 1969's "She's the One" with his late-'60s orchestra has great guitar work from both Jimmy "Chank" Nolan and Alphonso "Country" Kellum. Since most of the tracks here weren't hits, or were even released, it provides a fresh interpretation of Brown's production style and the skills of his players. "Untitled Instrumental" features Brown's rock and psychedelic-influenced unit, with included guitarist Phelps Collins and his brother, Bootsy Collins, and his singular bass skills. The heart of this CD, however, is "People Drive Your Funky Soul." Originally on Slaughter's Big Rip Off in a too brief 3:50 version, Motherlode brings the entire take to the public for the first time. The track, which manages to subtly cross reggae with bebop, again features Brown with his 1971-1975 band and it exhibits their chemistry and the band's unQ (8/01, p.146) - 4 stars out of 5 - "...Fantastic..."
Since You Been Gone with Bobby Byrd, James Brown Bobby Byrd
5:33
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Untitled Instrumental with James Brown)
3:22
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Say It Loud Say It Live with James Brown, James Brown)
4:50
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Can I Get Some Help with James Brown)
4:57
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You Got To Have a Mother For Me with James Brown)
5:11
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Funk Bomb with Alfred "Pee Wee" Ellis
4:13
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Baby Here I Come with James Brown)
4:28
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People Get Up and Drive Your Funky Soul with Fred Wesley, J.B.'s
9:05
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I Got Ants In My Pants (and I Want To Dance) with James Brown)
7:26
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You've Changed with James Brown)
3:18
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Body Heat with James Brown)
11:52
Motherlode Music Review
Customer Motherlode Reviews
Average Rating: (5 out of 5 stars)
Say it.........REAL LOUD !!!!!!!! The cuts here are not for the faint at heart. I remember having this album when it was first released but I forgot about it. But looking at Spiderman 3 and listening to "People Get Up And Drive Your Funky Soul", brought it all back. Back then there was no funkier band than James Brown and his beloved, talented and soulful JB's. Man what sounds Submitted by mfoster (Saint Louis, MO, USA) Was This Review Helpful? YesNo
A great set for deep and casual fans alike You might wonder why a CD with so many unfamiliar tracks should satisfy *all* fans, but just look at the Personnel list above. There's nothin' left to say...but dig in to these cuts.
Yes, the historian has a field day even for two tracks only! - the live There It Is (from a reportedly unreleased album to feature JB, Lynn Collins, and the JBs); the live Say It Loud, I'm Black And I'm Proud - ommitted from the Sex Machine double-l.p. of 1970 (which used studio cuts on the "live" segment!).
You've Changed is the one worth the entire CD price, for me. It's a reissue bonus, JB (on a demo for Marva Whitney?), shoutin' and soulin', just riding the funk - sounds is passable for a specialty collection - I assume we're listening to an acetate.
Other tracks not found on the original vinyl have very little value for the CD theme - I Got Ants In My Pants...and (what appears to be) a longer, newly mixed Bodyheat. Why?
There's just one cut I would place in the historical interest, You Got To Have A Mother For Me, a withdrawn 45rpm (the backing track was later used by Bobby Byrd, and most of the lyrics on the Mother Popcorn hit single).
The Brownologist knows what he's really singing about....it's nothing for a Saturday morning drive to McDonalds, friends - and he seems to enthuse over the risque arrangement.
Submitted by Beau (Red Bank, NJ, USA) Was This Review Helpful? YesNo
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