JAMES BROWN 
That's what it says: The Magnificent Moodies. This record was released in 1965 and was the first album by the Moody Blues. Like many of the British Invasion bands, they started out as a crackerjack rhythm and blues band, and the U. S. release of the album has a different cover and some variation in the songs. You probably have difficulty imagining the Moody Blues covering songs by James Brown (two of them, no less), Willie Dixon and George Gershwin; but that is exactly what they do on this album. (September 2012) * * * Several of the performers that had appeared at the original Woodstock Music & Art Fair in 1969 were in attendance at the Vietnam Veterans Benefit Concert near Washington, D.C., on July 4, 1987: Richie Havens, Country Joe, John Sebastian, and Crosby, Stills, Nash & Young (at least individually, with Stephen Stills and Neil Young appearing in a reformed Buffalo Springfield). Other musicians at the Vietnam Veterans Benefit Concert included James Brown, Stevie Wonder, the Byrds, Bonnie Raitt, Kris Kristofferson, Linda Ronstadt, Frankie Valli, and the Four Tops; and there were also speeches by John Ritter, Louis Gossett, Jr., Whoopi Goldberg, Oliver Stone, and Ed Asner. (January 2013) * * * You can talk about your pioneers of rock and roll – Chuck Berry, Little Richard, Elvis Presley, James Brown, just to name a few – and you can even bring up your British Invasion greats – the Beatles, the Rolling Stones, the Animals, the Yardbirds, the Kinks, just to name another few. All of them are already in the Rock & Roll Hall of Fame, and deservedly so. However, you can play a lot of more modern rock records all day long and not really discern more than a hint of their direct influence; no question it’s in the DNA, but actual Elvis Presley-style vocals or Chuck Berry guitar licks or James Brown wails are elusive.
That is not so with Link Wray: His influence is front and center on a good 50% of the records that I play, because he is credited with introducing the “power chord” on electric guitar to rock and roll, a technique whose effect is often enhanced by distortion. (February 2013) * * *
Most of the music on the Fur CD is in 3rd or 4th gear; in fact, on “Sex Drive”, the song moves from 3rd gear to 4th gear when the tape speeds up in a way. However, on one track, “James Brown” – still another legend that I don’t have room for here – the band slows down to a respectful pace; Holly Ramos even counts down before starting to sing her lyrics:
“I met you once by chance like some lucky people do – I said I wasn’t wearing any underwear, & you smiled and you said, me too.” I assume that must be a true story of Holly Ramos’ meeting James Brown, because who could make up something like that? Ramos continues: “I know you wrote the book ’cause I see you got the scars – & all the other boys are trying hard but no one’s coming close to being how you are.”
(June 2013/2)
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“This is a man’s world!” – sentiments that James Brown, among many others have been saying for years. Things have been moving quickly to change that, a LOT, particularly over the past five decades. Brown continued in this song (actually the title of the song is “It’s a Man’s, Man’s, Man’s World”): “But it wouldn’t be nothing, nothing without a woman or a girl.”
Many of James Brown’s songs were taken from catchphrases of the day – some that he picked up on, others that he popularized – such as “Get Up (I Feel Like Being a) Sex Machine”, “Say it Loud – I’m Black and I’m Proud”, “Papa’s Got a Brand New Bag”, “Don’t Be a Dropout”, “Night Train”, etc.
(October 2013)
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Kim Fowley was a hustler first and foremost and would be a contender with James Brown as the Hardest Working Man in Show Business, at least among those (mostly) working behind the scenes. The Sun Herald obituary noted: “[Kim Fowley] went on to write or produce songs for a range of musicians, including the Byrds, the Beach Boys, Frank Zappa and the Mothers of Invention, Gene Vincent, Helen Reddy, and Warren Zevon” – but the article could just as easily have listed a different half-dozen prominent names.
(January 2015/1)
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Black Russian had some assistance with the lyrics, perhaps because English is not their native language; they hardly spoke the language at all at the time that they defected. Lyricists who lent a hand include Allee Willis, who co-wrote the lyrics for their beautiful first single “Leave Me Now”. Willis has had a long career as a writer, songwriter, set designer, and artist. From Wikipedia: “[Allee Willis]’ songs have sold over 50,000,000 records, including ‘September’ and ‘Boogie Wonderland’ by Earth, Wind and Fire, ‘Neutron Dance’ by the Pointer Sisters, ‘What Have I Done to Deserve This?’ by Pet Shop Boys with Dusty Springfield, and ‘Lead Me On’ by Maxine Nightingale. Willis has collaborated with hundreds of leading artists and composers from all fields of music, including Bob Dylan, Patti LaBelle, James Brown, Herbie Hancock, Deniece Williams, and Motown legend Lamont Dozier.”
(April 2015/1)
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“Train Kept A-Rollin’” (often given as “The Train Kept A-Rollin’”) dates from the year of my birth (1951) and was originally recorded by R&B singer Tiny Bradshaw. Bradshaw co-wrote the song with Syd Nathan (who used the pseudonym Lois Mann), a King Records executive who is credited with discovering many famous musicians, most notably James Brown. (June 2015) * * * Writing in 2010 for the Detroit Metro Times, Bill Holdship writes that “the Ramrods [were] Detroit's first ‘official punk’ band” and also gives a great overview of what the Lovemasters were all about: “Bootsey X & the Lovemasters were the best live rock ’n’ roll show in town then — sometimes approaching rock ’n’ roll carnivaldom. . . . [I]n the mid-to-late ’80s, a Bootsey X & the Lovemasters performance was akin to seeing Iggy Stooge fronting a James Brown and His Famous Flames Revue — that is, if both the Godfathers of Soul and Punk had even greater senses of humor . . . plus, everything else such a concept would involve (with flashes of George Clinton’s Funkadelic and Sly and the Family Stone, both of which were psychedelicized versions of the [James] Brown revue anyway). The act came complete with horns, keyboards, a jive-talking emcee (who doubled on sax), and the ever-present — and ever-hot — Sugarbabes of Soul. . . . “And if that weren’t enough, the crew mixed it all with such perfect punk-ified covers as Neil Diamond’s ‘Brother Love’s Travelin’ Salvation Show’, Elvis' ‘Kissin’ Cousins’ and ‘Suspicious Minds’, Roy Head’s ‘Treat Her Right’ (the instrumental that always announced Bootsey’s imminent arrival onstage), and perhaps the greatest cover of the O’Jays’ ‘Love Train’ of all time.” (March 2016) |
