The two-volume King Labels recording sessions discography (i.e., “the red books“) compiled by Michael Ruppli with assistance from Bill Daniels, can be frustratingly incomplete, especially with regard to musician credits. Although this reference source is a great starting point, scholars of James Brown funk are forced to do quite a bit of digging on their own in order to piece together a more complete history.
Your ears might tell you, for instance, that William “Bootsy” Collins played bass on “Licking Stick,” a song first released as a two-part King 45 in May, 1968.
> AUDIO LINK for “Licking Stick Licking Stick (Pt. 1)”
James Brown and the Famous Flames (1968)
This classic funk bass riff, you might be startled to learn, was played by future Nashville session musician, Tim Drummond — one of six musicians who accompanied Mr. Brown on a Vietnam tour that same year. “Licking Stick” would also be issued as a single track on 1969’s Say It Loud I’m Black And I’m Proud album.
1968
1968
Musician credits, however, are absent on the original gatefold LP release — a common occurrence with King. This kind of information would not become more widely known until decades later, when these recordings were reissued on compact disc, with some of the better anthologies including detailed liner notes.
Say It Loud‘s barren back cover, information-wise
Bootsy first appears in Ruppli’s King Records discography — along with his brother Phelps “Catfish” Collins — as part of the studio backing band on an undated 1969 session (possibly July) for Hank Ballard‘s “Butter Your Popcorn“:
> AUDIO LINK for “Butter Your Popcorn”
Hank Ballard (1969)
According to Ruppli’s session notes —
Hank Ballard: Vocals
Don Martin: Drums
William Collins: Bass
Phelps Collins: Guitar
Clayton Garnell: Piano
Robert McCallum: Tenor Sax
“Butter Your Popcorn” was originally released as a 45 track only and not included on Ballard’s You Can’t Keep a Good Man Down LP released the previous year. Subsequent reissue in the UK in 2008 would see the song included as a bonus track. “Butter Your Popcorn” can also be found on Ace UK’s seminal anthology, King Funk.
“Butter Your Popcorn”
Test pressing
Sold at auction for $72 in 2012
What Ruppli doesn’t tell you, however, is that Bootsy, Catfish and the other members of The Pacesetters* had been enlisted earlier to back Bill Doggett on what would be the A-side of a King 45 – “Honky Tonk Popcorn” – recorded on June 4, 1969 at (what is assumed to be) Cincinnati’s King Studios and released that same month:
> AUDIO LINK for “Honky Tonk Popcorn”
Bill Doggett (1969)
As R.J. Smith writes in On the One, his biography of James Brown:
Henry Glover started hiring the band [i.e., The Pacesetters* — Frank “Kash” Waddy (drums), Phillippé Wynne (vocals), Robert “Chopper” McCullough (saxophone), and Clayton “Chicken” Gunnels & Darryl “Hasaan” Jamison (trumpet)] on sessions, including an Arthur Prysock record and Bill Doggett’s contribution to popcornography, “Honky Tonk Popcorn.”
US
Art by Dan Quest
Check out this full-page ad in the September 6, 1969 edition of Billboard placed by Starday-King on behalf of James Brown’s then-current single “World (Pts. 1 & 2)” that also name-checks five other “red hot sizzling” King 45s, including both Hank Ballard’s “Butter Your Popcorn” and Bill Doggett’s “Honky Tonk Popcorn.”
R.J. Smith’s tip (thank you!) leads me to a May 13, 1969 session at Cincinnati’s King Studios for Arthur Prysock that lists no musician credits for the four songs recorded that day, all but one included on 1969’s Where the Soul Trees Grow album produced by Henry Glover, who also wrote the title track that kicks off the LP:
> AUDIO LINK for “Where the Soul Trees Grow”
Arthur Prysock (1969)
Is that Bootsy and other members of The Pacesetters* backing Arthur Prysock on “Where the Soul Trees Grow“; “Soul Soliloquy” & “If I Were Young Again” [plus one unissued track “Let’s Talk Things Over“]? “Soul Soliloquy” b/w “Soul Trees” (both, in fact, penned by Henry Glover) were released as a King single, with a promo 45 issued June 1969, according to 45Cat. This album review from the November 22, 1969 edition of Billboard notes “Prysock’s move to the King label” and opines that this LP’s mix of “contemporary and standard songs demonstrates why he is one of the best singers around.”
Promo 45
The rest of the album, as it turns out, was recorded at another session that took place on June 16, 1969 at Cincinnati’s King Studios. Ruppli’s session notes list 9 songs recorded that day (though no musician credits), with a re-worked uptempo “Fever” being one of the standout tracks. Did members of The Pacesetters* play on both session dates for the Arthur Prysock album?
> AUDIO LINK for “Fever”
Arthur Prysock (1969)
* * *
*Name Check:
Pacesetters or Pacemakers?
You will see this group of Cincinnati musicians referred to as either The Pacesetters or The Pacemakers — so which is it? I have to go with Don Martin, Bootsy Collins, and Frank “Kash” Waddy who all say The Pacemakers.
Hold on a second, some funk scholars would assert — these Cincinnati musicians actually entered the picture back in 1967, thanks to songwriter (and future King A&R executive), Charles Spurling, whose “The Boy Needs a Girl” for Junior McCants was his initial connection to King Records. Charles Waring provides the back story about Spurling, who grew up in Lincoln Heights and was part of a gang whose rivals were The Isley Brothers:
More importantly, perhaps, Spurling was allowed to cut his own records for the company, and issued five singles, of which the driving, Motown-esque “She Cried Just A Minute”—released in 1967—has achieved cult status on the UK’s Northern Soul scene. (Original copies of the 45 can exchange hands for three hundred dollars.) Says Spurling about the song’s inspiration: “I had this woman, and every time I wanted to make love, she said, ‘Just a minute.’ She was always putting me on hold. So I decided to write a song about it. That’s a true story. She was the same girl that inspired ‘Ball Of Fire,’” as recorded by Connie Austin and Marva Whitney.
Backing up Spurling on the session was a teenage group he had discovered in Cincinnati that included bassist Bootsy Collins and his brother Catfish on guitar. They would later become [The Pacemakers] and, in 1970, the nucleus of James Brown’s backing band, the JB’s. “I was riding through town and I heard these guys practicing,” recollects Spurling. “I just stopped, parked, and listened to them. And I said to myself, ‘All these guys need is a little bit of coaching.’ So then I went in, introduced myself, and sat down and listened to them. They was at their mother’s home. We ended up on the road for three years.” When Syd Nathan asked Spurling to assemble a studio house band for King, the singer-songwriter knew who to call up: “I said, ‘Mr. Nathan, I know some guys who had been with me for three years. We’re tight and they’ll play anything.’ He said, ‘I’ll leave it up to you because if they play like you, these guys are good.’ So then I went and found Bootsy and them.”
Spurling used another Ohio band, Dayton’s The Untouchables, on some King sessions—they later morphed into The Ohio Players—and also nurtured a white band called The Dapps, which James Brown took under his wing.
Is it true (as Chuck Da Fonk and Charlie Fishman declare) that The Pacemakers’ first session at the King Studios was when they provided musical support for Charles Spurling on “That Woman,” recorded in early November 1967 along with its flip side “Which One”?
> AUDIO LINK for “That Woman”
Charles Spurling (1969)
Would love to know who backed Charles Spurling on this classic slice of soul, but unfortunately, the King recording session info (page 392 of Ruppli) is bereft of even a recording date, as you can see:
Fortunately, drummer Don Martin was at this session, and he was able to confirm with Zero to 180 these musician credits:
Charles Spurling: Vocals
Unknown: Backing Vocals
Don Martin: Drums
William Collins: Bass
Phelps Collins: Guitar
Artie Sherman: Piano
Artie Sherman would later become part of Midnight Blue, a Chicago outfit that has served as backing band for Buddy Guy, Jimmy Vaughn, and Aaron Neville, according to Discogs.
Bootsy’s next entry in the Ruppli sessionography is one that somehow escaped the book’s index — an uncredited appearance that is a bit of an oddball situation. That is, on page 427 you will find a listing for “More Mess on My Thing (Pt. 1 & 2)” by a group identified as The New Dapps but who we now know (thanks to these musician credits) to be The J.B.’s. Ruppli indicates that a single — King 6271 — was issued, and yet, no evidence exists of any releases whatsoever by a group called The New Dapps. Even stranger, check out this 45 Discography for King Records – 6000 Series and notice that the entry for King 6271 is a duplicate listing of its neighbor, 6272!
50 years later (this past November 29th, to be exact), “More Mess on My Thing” would finally be liberated, thanks to Now-Again Records, whose liner notes (by noted James Brown historian, Alan Leeds) indicate the recording to have been made at Cincinnati’s King Studios on July 2, 1969. How exhilarating to hear Bootsy, through sheer determination and the ferocity of his playing, will the musicians – who initially drop out at the 4:40 mark – back into the performance (after James Brown counts the band in) for one final musical burst:
> AUDIO LINK for “More Mess on My Thing”
The J.B.’s (1969)
Musician credits according to Discogs
Don Juan “Tiger” Martin: Drums
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Ron Lenhoff: Engineer
James Brown: Composer (& Coach)
The remaining months of 1969 and into the first few months of the new decade would see various players occupy the bassist chair, including the aforementioned “Sweet” Charles Sherrill, as well as West Coast session musicians, Ray Brown and Bob West, plus various collaborations with Cincinnati-area musicians, including Lee Tucker of The Dee Felice Trio.
Bootsy next appears in Ruppli’s sessionography on the legendary “Sex Machine” session that took place April 25, 1970 at Starday-King’s Nashville studios. This session yielded the “Sex Machine” recording released as a two-part King 45 in June 1970:
> AUDIO LINK for “Get Up I Feel Like Being a Sex Machine (Pt. 1)”
James Brown (1970)
Musician credits according to Ruppli —
James Brown: Vocals
John “Jabo” Starks: Drums
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCullough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
“Get Up (I Feel Like Being a) Sex Machine (Part 1)” — a #2 R&B hit that also peaked at #15 on the Pop chart on August 8, 1970 — enjoyed a chart run that lasted 9 weeks.
France
Germany
Japan
Spain
US
May 20, 1970 found The J.B.’s making their first solo recording – “The Grunt” – at Cincinnati’s King Studios, a two-part 45 released on the heels of “Sex Machine” (and whose opening sounds would be famously sampled on “Rebel Without a Pause” by Public Enemy):
> AUDIO LINK for “The Grunt (Pts. 1 & 2)”
The J.B.’s (1970)
Musician credits according to Discogs —
Frank “Kash” Waddy: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Piano
Robert McCollough: Tenor Sax
Clayton “Chicken” Gunnels: Trumpet
Darryl “Hasaan” Jamison: Trumpet
James Brown: Producer
Ron Lenhoff: Engineer
Billboard, in its August 8, 1970 edition, would select “The Grunt” as part of that week’s Top 20 Soul Spotlights “predicted to reach the Top 20 of the Top Selling R&B Singles Chart.”
US 45
French B-side
That same May 20, 1970 Cincinnati session also produced a gospel recording by vocalist Kay Robinson, who enjoyed musical support from members of The J.B.’s on “The Lord Will Make a Way Somehow“:
> AUDIO LINK for “The Lord Will Make a Way Somehow (Pts. 1 & 2)”
Kay Robinson (1970)
Musician credits according to Ruppli —
Kay Robinson: Vocals & Piano
Frank “Kash” Waddy: Drums
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
James Brown: Backing Vocals
Charles Bobbitt: Backing Vocals
Faye Pridgon: Backing Vocals
According to the bio on Discogs:
Dr. Kay Robinson currently lives in Columbus, Ohio, and started singing at the age of 18. She recorded for King Records and James Brown Productions. James Brown flew her down to Cincinnati from Dayton (she was living in Springfield) for recording sessions. Her career with James Brown Productions ended when she wouldn’t record R&B songs.
US promo
Reissued
The May 20, 1970 session at the King Studios also yielded a two-part James Brown track written by David Matthews — “The Drunk” — (on which Bootsy plays bass) that was issued on King subsidiary, Bethlehem. According to Ruppli’s notes, Part Two ended up being issued as the B-side of “A Man Has to Go Back to the Crossroads,” with Part One locked away to this day in Polydor’s vaults.
> AUDIO LINK for “The Drunk”
James Brown (1970)
Musician credits according to Discogs
William “Beau Dollar” Bowman: Drums
William “Bootsy” Collins: Bass
Kenny Poole: Guitar
Frank Brown: Trumpet
Jerry Conrad: Trumpet
Marie Speziale: Trumpet
Millard Dusenbury: Trombone
Larry Dickson: Baritone Sax
David Matthews: Composer & Arranger
US
Canada
The double-album set Sex Machine, meanwhile, combined studio tracks disguised to sound as stage recordings, along with actual live performances recorded in concert at Atlanta’s Bell Auditorium on October 1, 1969, with a large ensemble that featured three personnel on drums — Clyde Stubblefield, John “Jabo” Starks & Melvin Parker — plus a six-member horn section, and Charles Sherrill on bass, among others.
Ruppli’s sparse notes (no musician credits) indicate the three-song medley on side B to have been recorded in Cincinnati on July 23, 1970 (along with unissued versions of “The Boss” and “There Was a Time“) — musician credits for Sex Machine‘s medley (below) provided courtesy of this German pressing:
> AUDIO LINK for “Bewildered” [part one]
> AUDIO LINK for “I Got the Feelin’” [part two]
> AUDIO LINK for “Give It Up Or Turnit A Loose” [part three]
Musician credits taken from Discogs
James Brown: Vocals
Clyde Stubblefield [prob.]: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
“There Was a Time” (a.k.a., “I Got to Move“), from the July 23, 1970 Cincinnati session referenced above, found freedom 25 years later as track number five on a collection of 1970 James Brown recordings that feature members of The J.B.’s, Funk Power – 1970: A Brand New Thing:
> AUDIO LINK for “There Was a Time (I Got to Move)”
James Brown (1970)
Musician credits according to Discogs —
James Brown: Vocals
John “Jabo” Starks: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnels: Trumpet
Darryl “Hasaan” Jamison: Trumpet
Ron Lenhoff: Engineer
James Brown: Producer & Songwriter
That same Cincinnati session also produced a version of “Sex Machine” that, according to Ruppli, is the nearly 11-minute version you hear kicking off side A of the Sex Machine LP released in September of that year. Amusing to note that Augusta, GA and Cincinnati are the first two cities name-checked by Brown in his wide-ranging roll call of US cities prior to the song’s final bridge:
> AUDIO LINK for “Sex Machine (Extended LP Version)”
James Brown (1970)
Musician credits taken from Discogs
[Same Cincinnati session as ‘Live Medley’]
James Brown: Vocals
Bobby Byrd: Vocals
Clyde Stubblefield [prob.]: Drums
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
Sex Machine would peak at #29 on Billboard‘s Top 200 album chart [#4 R&B].
Brown’s next album Super Bad would give the King engineering team another opportunity to fashion a “live” album — via the superimposition of concert crowd sounds — from recordings produced at Starday-King’s studio facilities in both Cincinnati and Nashville. “Super Bad,” the 9-minute opening title track recorded on June 30, 1970 in Nashville, is the album’s sole selection to feature The J.B.’s:
> AUDIO LINK for “Super Bad (Pts. 1-3)”
James Brown (1970)
Musician credits according to Ruppli —
James Brown: Vocals
John “Jabo” Starks: Drums
Johnny Griggs: Conga
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
“Super Bad” — a #1 R&B hit for James Brown (#13 Pop, peak date Nov. 21, 1970) — would spend a total of 10 weeks on the chart. The Super Bad album, meanwhile, would reach as high as #4 on Billboard’s R&B chart, #61 on the Pop chart.
Germany
Canada
Iran (unofficial)
At that June 30, 1970 session, The J.B.’s also laid down two of their own recordings: **“When You Feel It, Grunt If You Can” (includes musical quotations from songs by Kool & the Gang, The Meters & Jimi Hendrix) and “I’ll Ze“:
> AUDIO LINK for “When You Feel It, Grunt If You Can”
The J.B.’s (1970)
> AUDIO LINK for “I’ll Ze”
The J.B.’s (1970)
Musician credits according to Ruppli —
James Brown: Vocals
John “Jabo” Starks: Drums
Johnny Griggs: Conga
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Organ
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
Note: These liner notes say that (1) Frank “Kash” Waddy played drums on “I’ll Ze” and (2) Clyde Stubblefield [possibly Frank “Kash” Waddy] played drums on “When You Feel It, Grunt If You Can.”
Also captured on tape at that June 30, 1970 Nashville session was a vocal tune by James Brown, with help from Bobby Byrd and backing by The J.B.’s, that was initially kept in the can — “Since You’ve Been Gone” — but has since been issued on such collections as 1988’s Motherlode and 1996’s Funk Power – 1970: A Brand New Thang:
> AUDIO LINK for “Since You’ve Been Gone”
James Brown (1970)
Musician credits according to Discogs —
James Brown: Vocals
Bobby Byrd: Vocals
Clyde Stubblefield: Drums
Johnny Griggs: Percussion
Bootsy Collins: Bass
Catfish Collins: Guitar
Ruppli’s session notes for “Since You’ve Been Gone” state “same band” as the personnel used for “Super Bad” — on which “Jabo” Starks served as the drummer, not Clyde Stubblefield — so I feel compelled to point out the discrepancy with the credits above. Starks played drums on “When You Feel It, Grunt If You Can” & “I’ll Ze” – tracks all recorded the same day – so it stands to reason, perhaps, that he performed likewise on “Since You Been Gone.”
On September 10, 1970, The J.B.’s laid down the title track “These Are The J.B.’s.” for what was intended to be their debut long-player:
> AUDIO LINK for “These Are the J.B.’s”
The J.B.’s (1970)
Musician credits according to Discogs —
Clyde Stubblefield: Drums
Johnny Griggs: Percussion
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
St. Clair Pinckney: Flute & Baritone Saxophone
Robert McCollough: Tenor Sax
Clayton “Chicken” Gunnels: Trumpet
Darryl “Hasaan” Jamison: Trumpet
James Brown: Producer
Ron Lenhoff: Engineer
US
Belgium
Ruppli’s session notes indicate this recording to be part of King LP 1126, a four-song test pressing engineered by Ron Lenhoff (as previously noted) that would be shelved, once James Brown inked a new contract with Polydor, in favor of a more expansive ten-track debut album on James Brown’s People label in 1972 [By the way, that original four-song mix of These Are The J.B.’s finally saw daylight in 2014, thanks to Now-Again Records, with liner notes again by Alan Leeds — the previous year, someone had paid $1600 for a copy of the test pressing that allegedly came from the estate of Hal Neely (who directed operations for the merged Starday-King labels after Syd Nathan’s passing on behalf of new owner, Lin Broadcasting)].
$1600 test pressing (1971) for These Are the J.B.’s
Given that Myra Barnes (a.k.a., Vicki Anderson) made her recording of “Message From the Soul Sisters (Pt. 1 & 2)” at Cincinnati’s King Studios on September 10, 1970 — the same session where “These Are The J.B.’s” was recorded — it should come as no surprise to learn that The J.B.’s provided musical support:
> AUDIO LINK for “Message From the Soul Sisters (Pts. 1 & 2)”
Myra Barnes (1970)
Musician credits according to Discogs —
Myra (“Vicki Anderson”) Barnes: Vocals
Clyde Stubblefield: Drums
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Byrd: Piano
St. Clair Pinckney: Baritone Sax
Robert McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hasaan” Jamison: Trumpet
October 1, 1970 would find The J.B.’s backing James Brown on a pair of recordings made at Bobby Smith Studios in Macon, Georgia, with one of the tracks (“We Need Liberation“) locked away in the vaults never having been issued, while the other — “Talkin’ Loud and Sayin’ Nothing” — was held back for release until January, 1972:
> AUDIO LINK for “Talkin’ Loud and Sayin’ Nothing”
James Brown (1970)
Musician credits according to Discogs —
James Brown: Vocals
Bobby Byrd: Vocals
Clyde Stubblefield: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Hearlon “Cheese” Martin: Guitar
Bobby Byrd: Organ
St. Clair Pinckney: Baritone Sax
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hasaan” Jamison: Trumpet
“Talkin’ Loud (and Sayin’ Nothing)” was a #1 R&B hit (#27 Pop) that would spend 7 weeks on the chart, having peaked on March 18, 1972.
Belgium
Germany
But wait! One additional recording (not mentioned in the Ruppli discography) was made at that October 1, 1970 session — a J.B.’s instrumental named “The Wedge” that only saw freedom when issued as the second track on the More Mess On My Thing album released this past November:
> AUDIO LINK for “The Wedge”
The J.B.’s (1970)
2019’s More Mess On My Thing album — mixed by Mario Caldato directly from the original multi-track masters — also features a 22-minute version of **“When You Feel It, Grunt If You Can” (see credits below) recorded in Nashville on June 30, 1970:
> AUDIO LINK for “When You Feel It, Grunt If You Can” [complete take]
The J.B.’s (1970)
Musician credits according to Discogs
Clyde Stubblefield: Drums
Frank “Kash” Waddy: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Robert “Chopper” McCollough: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
James Brown: Vocals [i.e., “Right On!”s]
Ron Lenhoff: Engineer
Written by = James Brown, with help** from a few friends:
[“Chicken Strut”] = Art Neville, George Porter, Jr., Joseph Modeliste & Leo Nocentelli
[“I Was Made to Love Her”] = Hank Cosby, Lula Hardaway, Stevie Wonder & Sylvia Moy
[“Let the Music Take Your Mind”] = Gene Redd + Kool & The Gang
[“Power of Soul”] = Jimi Hendrix
[“Something”] = George Harrison
The first week of November, 1970 would see two big King 45s committed to tape at Cincinnati’s King Studios. Ruppli tells us that Vicki Anderson‘s response record to “Super Bad” (penned by James Brown ) — “Super Good (Pts. 1 & 2)” — was recorded on November 3rd, while Dave Thompson, in his Funk listening guide, confirms that “Bootsy Colllins-era JBs” are the backing band on this single, as Ruppli’s notes do not contain musician credits:
> AUDIO LINK for “Super Good (Pts. 1 & 2)”
Vicki Anderson (1970)
Musician credits according to Discogs —
Vicki Anderson: Lead Vocals
James Brown: Backing Vocals [Comments]
John “Jabo” Starks: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps ‘Catfish‘ Collins: Guitar
Hearlon “Cheese” Martin: Guitar
Robert McCollough: Tenor Sax
St. Clair Pinckney: Baritone Sax
Darryl “Hasaan” Jamison: Trumpet
Jerone “Jasaan Sanford” Melson: Trumpet
US
France
Nigeria
“Get Up, Get Into It, Get Involved (Pts. 1 & 2)” — a #4 R&B (#34 Pop) hit that spent a total of 8 weeks on the charts, having peaked on February 6, 1971 — was also recorded in early November at King Studios:
> AUDIO LINK for “Get Up, Get Into It, Get Involved”
James Brown (1970)
Musician credits according to Discogs —
James Brown: Vocals
Bobby Byrd: Vocals
Clyde Stubblefield: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Hearlon “Cheese” Martin: Guitar
Robert “Chopper” McCollough: Tenor Sax
St. Clair Pinckney: Baritone Sax
Darryl “Hasaan” Jamison: Trumpet
Ron Lenhoff: Engineer
James Brown: Producer
Germany
Norway
Ruppli’s session notes also identifies five tracks recorded at the King Studios on November 5, 1970 by James Brown (backed by a group of unnamed musicians) that remain unissued: “All the King’s Men” (a name later used for Maceo Parker’s own band) and “I’ll Be There” (presumably, a version of that year’s big Jackson 5 hit), plus three recordings of no fixed title. Could this Untitled Instrumental (taken from 1988’s Motherlode funk compilation) be one of those unnamed recordings from the session at the King Studios on November 5, 1970?
> AUDIO LINK for Untitled Instrumental
James Brown (1970)
January 26, 1971 would find James Brown at Washington, DC’s Rodel Studios, with “Soul Power” being one of the key recordings captured that day. Ruppli neglects to mention, however, that The J.B.’s provided musical support on these tracks:
> AUDIO LINK for “Soul Power”
James Brown (1971)
Musician credits according to Discogs —
James Brown: Lead Vocals
Bobby Byrd: Backing Vocals
John “Jabo” Starks: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Roach: Guitar
St. Clair Pinckney: Tenor Sax
Fred Wesley: Trombone
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hasaan” Jamison: Trumpet
“Soul Power” reached as high as #4 on the R&B chart (#29 Pop) and spent 9 weeks on the charts, having peaked on April 3, 1971.
Germany
France
Iran (Unofficial)
Zero to 180 asked DC’s Dave Nuttycombe if he knew where Rodel Studios was once located, to which he typed forth this reply:
[Rodel] was in Georgetown, off Wisconsin down by Key Bridge. The “Ro” was Fritz Roland, perhaps the top cinematographer in town. The studio did a lot of film post-production, back when DC was churning out industrial and government films.
Dave’s friend, Paul Dunlap, meanwhile provides this complementary bit of information:
The “Del” in Rodel was Del Ankers, Fritz’s partner. Fritz shot all the Wilkins Coffee commercials there with Jim Henson too.
During the same January 26, 1971 session at DC’s Rodel Studios, Lyn Collins also recorded the A-side of her next single — “Wheels of Life” — which was then completed, according to this website, the following month on February 15, 1971 at Bobby Smith Studios in Macon, Georgia:
> AUDIO LINK for “Wheels of Life”
Lyn Collins (1971)
Musician credits according to this website —
Lyn Collins: Vocals & Handclaps
James Brown: Piano
Don Juan “Tiger” Martin: Drums
Johnny Griggs: Tambourine
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Roach: Guitar
St. Clair Pinckney: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
Fred Wesley: Trombone
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France
“Wheels of Life” was issued as the fourth single release on People – a subsidiary label for James Brown Productions that was active from 1971 through 1974 – as well as King.
Ruppli also informs us that Roberta Dubois – one of The Sisters of Righteous – recorded “Who Am I” on January 26, 1971 at DC’s Rodel Studios (with these same musicians, one presumes). “Who Am I” would be selected as the A-side of King 6375. Good luck, however, finding a copy.
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Tip of the hat to 45Cat contributor jukebox george, who points us to a 1995 Billboard review of the Bobby Byrd anthology Bobby Got Soul, in which it is revealed that James Brown, along with Roberta Dubois and Geneva “Gigi” Kinard of The Sisters of Righteous, provided vocal support on Byrd’s “I Need Help (I Can’t Do It Alone),” a Top 20 hit on the Soul Singles chart (that also hit #69 on the Pop chart in 1970).
Dubois was not the first King artist to record “Who Am I,” as this song makes several appearances in the Ruppli sessionography around this time, interestingly enough, Ruppli’s notes for King master K13740 indicate that “Who Am I” attributed to King recording artist Leon Austin (who had taught James Brown “the right way to play piano,” according to biographer Don Rhodes) was “transferred to K13792” on September 10, 1970. When you then skip to K13792 (an undated entry), you find the song “Who Am I” instead attributed to The Famous Flames — a King 45 released December, 1970. James Brown would record his own unissued version the following month, shortly before Vicki Anderson then recorded her version of “Who Am I’ at the Cincinnati studios on January 21, 1971 that also never saw the light of day.
Which brings us to the final entry of The J.B.’s in volume one of the Ruppli “red books”: King LP1137. Go to Discogs and type the terms “King 1137” and you will encounter a lot of “noise” — but if you go back and add the word “Olympia,” notice that you pull up exactly one item for a triple-album test pressing of an unenhanced live performance of James Brown & The J.B.’s recorded March 8, 1971 at the Olympia Theatre in Paris that got shelved for 20 years, until the release of Polydor’s Love Power Peace CD in 1992, an edited mix of the concert. In 2014, Sundazed performed a tremendous public service with their issue of a 3-LP “trifold” album that included the following statement:
This collection represents original stereo mixes, as overseen and approved by James Brown in 1971, of materials intended for a 3-LP set with uniquely titled discs: “Love,” “Power,” and “Peace.” Documentation shows that the sides would have been presented in then-common automatic record changer, with side one and side six appearing together, sides two and five, and three and four following suit [i.e., “auto-coupled“] to facilitate continuous play; we have honored that intention in this edition. In the aftermath of both a change in labels and key members of the band departing just after these [eight-track] masters were completed, the project was not issued. Although a CD edition of the album was issued by Polydor in 1992, it was not the complete show and was newly mixed. This is the first time this storied slice of searing soul has been available exactly as James Brown envisioned.
Musician credits according to Discogs —
James Brown: Vocals
Bobby Byrd: Vocals
John (Jabo) Starks: Drums [Primary]
Don Juan (Tiger) Martin: Drums [Secondary]
William (Bootsy) Collins: Bass
Phelps (Catfish) Collins: Guitar
Hearlon (Cheese) Martin: Rhythm Guitar
Bobby Byrd: Organ
St. Clair Pinckney: Tenor Sax
Clayton (Chicken) Gunnells: Trumpet
Darryl (Hassan) Jamison: Trumpet
Fred Wesley: Trombone
David Matthews: Conductor [Horns And Strings]
Ron Lenhoff: Engineer
1971 King 3-LP test pressing
Sundazed’s 3-LP set
To replicate concert –
Play 3-LP set “auto-coupled” on a Crosley Stack-o-Matic
Compared to the 1992 CD with 17 tracks, check out the three-LP Sundazed mix that has a total of 31 selections across six sides. These three discs contain the entire Paris show with one notable exception — “Who Am I” recorded January 12 and April 12, 1971 at King Studios, Cincinnati, Ohio (with Kenny Poole on guitar).
Worth mentioning that on page 452, close to the end of Ruppli’s King sessionography, you will find an undated session on which The J.B.’s recorded a pair of unissued songs, “My Brother” and “Texas Green.”
1972’s Get on the Good Foot album includes one recording with the Collins brothers — “The Whole World Needs Liberation” — that must be among their last recordings with James Brown:
> AUDIO LINK for “The Whole World Needs Liberation”
James Brown (1972)
Musician credits according to Discogs—
James Brown: Vocals
Bobby Byrd: Backing Vocals
Hal Neely: Backing Vocals
Lois Wong: Backing Vocals
Clyde Stubblefield: Drums
Bootsy Collins: Bass
Catfish Collins: Guitar
H.B. Barnum: Conductor
After their departure from the James Brown organization, Bootsy Phelps and Complete Strangers put out a single, “Fun In Your Thang (Pts. 1 & 2)”:
> AUDIO LINK for “Fun in Your Thang (Pt. 1)”
Bootsy Phelps and Complete Strangers (1972)
Released in 1972 on General American, an independent label out of Columbia, Missouri (that was also based in Cincinnati), this 45 would be re-issued the following year on Cincinnati-based Philmore Sound: Would love to know where this recording was made – possibly at King Studios?
1972 single
1973 release
But check this out: Mere months ago (August 23, 2019), Shake It Records — in collaboration with Bootsy Collins — remastered a number of classic 45 sides directly from the master tapes and produced The House Guests Meet The Complete Strangers and Bootsy, Phelps & Gary, a new 12-inch vinyl LP! Shake It reports that the orange vinyl edition has already sold out, but black vinyl is still available.
This vinyl-only collection (with liner notes by RJ Smith + these musician credits) is a limited edition release from Shake It Records, who have this to say —
A slab of Cincinnati hard funk slammers – most reissued (legally) for the first time! Post JB’s / Pre-P-funk outfits headed up by brothers Catfish & Bootsy Collins along with a Cincinnati who’s-who of top club players who could turn it out night after night after night in places like The Psychedelic Grave or The Round Up Club – that featured a caged bear in the club!
This selection, hand picked by Bootsy, highlights that youthful output under various names as The House Guests, The Complete Strangers and Bootsy, Phelps & Gary. The monikers may have changed, but what they brought to the stage every night – leaving the club and audience devastated – never did.
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A D D I T I O N A L R E L A T E D R E C O R D I N G S
Maceo and the Macks would incorporate new horn work (as well as audio excerpts from Dr. Martin Luther King Jr.’s stirring “Mountaintop” speech) on a reinvigorated mix entitled “Soul Power ’74” that saw release in October 1973:
> AUDIO LINK for “Soul Power ’74”
Maceo and the Macks (1973)
Musician credits according to Discogs —
John “Jabo” Starks: Drums
Johnny Griggs: Congas
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Bobby Roach: Guitar
Bobby Byrd: Organ
Maceo Parker: Alto Sax [Overdubbed]
St. Clair Pinckney: Tenor Sax
St. Clair Pinckney: Tenor Sax [Overdubbed]
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hasaan” Jamison: Trumpet
Ike Oakley: Trumpet [Overdubbed]
Jerone “Jasaan Sanford” Melson: Trumpet [Overdubbed]
Fred Wesley: Trombone
“Soul Power ’74 (Part 1)” would “bubble under” Billboard‘s Hot 100 chart, peaking at #109 on January 19, 1974.
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Netherlands
From poking around in Discogs, I have discovered that 1995’s Bobby Byrd anthology Bobby Got Soul includes two obscure 45 tracks, plus a pair of previously unreleased recordings that feature Bootsy, Catfish and The J.B.’s —
- “Fight Against Drug Abuse” — 1970 promo 45 track, unreleased commercially
- “Signed, Sealed, Delivered” — 1973 single track (with “Tiger” Martin on drums)
- “When Something Is Wrong With My Baby” — previously unreleased
- “I Need Help (I Can’t Do It Alone)” — previously unreleased version
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Also this recording that can be found on James Brown’s Funky People Volume 3 — “Doin’ the Doo” by Bobby Byrd Featuring The J.B.’s:
> AUDIO LINK for “Doing the Doo”
Bobby Byrd Featuring The J.B.’s
Musician credits according to Discogs —
Bobby Byrd: Vocals & Songwriter
James Brown: Backing Vocals
John “Jabo” Starks: Drums
Johnny Griggs: Percussion
William “Bootsy” Collins: Bass
Phelps “Catfish” Collins: Guitar
Hearlon “Cheese” Martin: Guitar
St. Clair Pinckney: Tenor Sax
Clayton “Chicken” Gunnells: Trumpet
Darryl “Hassan” Jamison: Trumpet
Fred Wesley: Trombone
Bootsy in far-left corner of inset photo on Byrd’s European LP cover
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Bootsy Talks King History @ National Public Radio
November 1, 2017’s edition of NPR radio show “What’s Good With Stretch & Bobbito” features Bootsy Collins, who reflects on his experiences at Cincinnati’s King Records (starting at age 17), as well as the birth of the J.B.’s, among other things.
[32-minute program = includes transcript]
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James Brown:
A Mad Magazine Salute
September 1971 issue
Mad Fold-In
by Al Jaffee
James Brown’s “Hot Pants” — released June 1971 — was a #1 R&B and #15 Pop hit that spent 11 weeks on the chart and whose popularity reached its apex on Aug. 7, 1971, around the time this issue of Mad Magazine was hitting the presses.
“Hots Pants” Picture Sleeve
4 Responses
MY NAME IS DON JUAN TIGER MARTIN…..DRUMMER WITH THE PACEMAKERS BAND.. THE BLACKENIZERS BAND…AND THE JB’S BAND. IT SAD WHEN YOU’RE TOLD HALF TRUTH AND LIES I.. GOT PICTURES ASK FRANK WADDY WERE HIS PICTURES WITH JAMES BROWN…EVERY RECORDING I DID Y’ALL TRYING TO GIVE JABO AND CLYDE MY CREDITS…MY SELF AND CAT FISH AND BOOTSY..STARTED PLAYING FOR CHARLES SPURLING AT KING STUDIO THEN HANK BALLARD AND THE MIDNIGHTERS..THEN MARVA WHITNEY AND THEN BECAME THE JB;S
Don Tiger Martin is right. The first Bootsy / Martin / Waddy recordings at King are for Charles Spurling. https://www.youtube.com/watch?v=O_IVpnRPiDs
Historical, cultural and remarkable! So glad to hear these amazing songs by such outstanding musicians, vocalists, writers, arrangers and producers.
This is sensational! I too have devoured Michel Ruppli’s painstaking handiwork in order to piece together the history of James’ guitarists for my YouTube channel. I wish I had’ve found this site before I completed chapter one. Then perhaps Alan Leeds wouldn’t have had to set me straight on a few things, hahaha!
Anyway, brilliant work and I’m garnering some real nuggets here for my next vid.
Thank you!