BIG Poppa's Got A Brand New Bag (instrumental) (3:59)
Review: When it comes to mash-ups and unofficial reworks, sometimes the simplest ideas are the ones that make for the most effective versions. That's certainly the case here, as Soul Mates main man Amerigo Gazaway crafts four slabs of funk/hip-hop fusion fusing funky beats with hip hop accapellas plus the all essential instrumental versions...only 300 copies. Don't sleep !
BIG Poppa's Got A Brand New Bag (instrumental) (3:58)
Review: When it comes to mash-ups and unofficial reworks, sometimes the simplest ideas are the ones that make for the most effective versions. That's certainly the case here, as Soul Mates main man Amerigo Gazaway crafts a fresh slab of funk/hip-hop fusion out of three key elements: a legendary Biggie Smalls acapella, sections lifted from James Brown classic "Papa's Got a Brand New Bag" and his own head-nodding hip-hop beats. There's not much more to it than that, but the resultant cut, "Big Poppa's Got a Brand New Bag", sounds like a guaranteed dancefloor winner. The A-side version is the full vocal take, while the flipside is a Biggie-free instrumental mix.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
The Boss
Blind Man Can See It
Make It Good To Yourself
White Lightning (I Mean Moonshine)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Dynamite Cuts latest double seven-inch presentation takes us back to 1973, and James Brown's often-overlooked soundtrack to Blaxploitation crime movie "Black Ceasar", a set previously described by one critic as "a full-frontal funk attack". What we get is four of the soundtrack's strongest cuts: electric piano solo-laden funk shuffler "Blind Man Can See", one of Brown's most celebrated and best-loved songs, "The Boss" (sample lyric: "look at me, what do you see? A bad mother!"), the softly sweet, strings-and-solo laden breeziness of "White Lightning", and the crunchy heavy funk strut of "Make It Good To Yourself". As the old saying goes: all killer, no filler.
Review: Dynamite Cuts latest double seven-inch presentation takes us back to 1973, and James Brown's often-overlooked soundtrack to Blaxploitation crime movie "Black Ceasar", a set previously described by one critic as "a full-frontal funk attack". What we get is four of the soundtrack's strongest cuts: electric piano solo-laden funk shuffler "Blind Man Can See", one of Brown's most celebrated and best-loved songs, "The Boss" (sample lyric: "look at me, what do you see? A bad mother!"), the softly sweet, strings-and-solo laden breeziness of "White Lightning", and the crunchy heavy funk strut of "Make It Good To Yourself". As the old saying goes: all killer, no filler.
Review: Having enjoyed a successful 2020, DJ Soopasoul strides into the new year in confident mood via a fresh Soopastole Edits release focused on the work of one of his favourite artists, the Godfather of Soul himself, James Brown. Interestingly, the legendary artist doesn't actually feature all that much on the A-side vocal mix of 'Boston Drop', with Soopasoul limiting his involvement to a few excited yelps, grunts and instructions to the backing band. That's not necessarily a bad thing though, because the musical accompaniment - which can be admired further on the tight, DJ-friendly instrumental take - offers an enticing mixture of hard, sun-bright guitar licks, heavy drum-breaks, handclaps and chunky bass. Like the rest of the series, it sounds like a guaranteed floor-filler.
Review: This James Brown 7" release is a must-have for any soul and funk aficionado. The Side-1, 'Never Can Say Goodbye' from the There It Is LP, is a quintessential Brown track with irresistible grooves, a punchy bassline, and killer horn lines that showing his creativity of funk. On Side-2, 'You Took My Heart' from Get Up Offa That Thing offers a lush, swinging rhythm with a captivating movement that highlights Brown's soulful versatility. Both tracks are presented on a highly desirable 7" vinyl, making it a perfect addition for DJs and rare groove enthusiasts. The grooves are tight, the energy is infectious and this release truly captures the essence of James Brown's legendary sound.
Review: This is a much warranted reissue of another gem from the one and only DJ Soopasoul that finds him work his favourite artist, the Godfather of Soul himself, James Brown. Interestingly, the legendary artist doesn't actually feature all that much on the A-side vocal mix of 'Boston Drop', with Soopasoul limiting his involvement to a few excited yelps, grunts and instructions to the backing band. That's not necessarily a bad thing though, because the musical accompaniment - which can be admired further on the tight, DJ-friendly instrumental take - offers an enticing mixture of hard, sun-bright guitar licks, heavy drum-breaks, handclaps and chunky bass.
Review: Get on Down conclude the series of deluxe 7" reissues from the vaults of Mr James Brown on their People Records sub label with a real gem from the Godfather Of Soul himself! A highlight of the Hot Pants LP, "Escapism" also holds historical importance as the record that launched Brown's People Records label in 1971 (from which Get on Down took the name for their own sublabel). The three part track will be instantly familiar with any JB scholars out there with the excitable funk frontman doing his trademark grunts and call and response patter over a parping sax and taut breakbeat.
Review: We Got To Change is an uncovered gem from James Brown, recorded in Miami at Criteria Studios on August 16, 1970. Featuring the original J.B.'s lineup, including Bootsy Collins, Catfish Collins, and Clyde Stubblefieldithe legendary Funky Drummerithe track was laid down in between some of Brown's most iconic releases like Sex Machine and Soul Power. With its unmistakable groove and fiery energy, this lost recording is an essential piece of Brown's storied career, capturing the raw funk sound that defined an era.
Review: Check out James Brown at the hammond organ on this killer, mostly instrumental funk jam (bar a few grunts and vocal phrases from James himself). An underground hit from 1968 for the northern soul dancers, it was also embraced by the funk fraternity with gusto. On The flip, "I've Got Money" is early funk/R&B from 1962 which has the drummer furiously knocking out the rhythm whilst James screams about how he's rather have some good old fashioned lovin' instead of money. The vocal performance is offset by a big brass section and a throbbing electric bass - way ahead of its time, and quite unique. Classic stuff.
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