standells's Full Review: In the Jungle Groove [Bonus Track] [Remaster] by J...
Is it a bad thing to be too funky? I don't think so. If it is, then James Brown can get away with it. In the Jungle Groove was first released in 1986, when hip-hop was going through a tremendous wave in popularity. James Brown's songs were being sampled a lot in hip hop music, and his career was also in better shape after a slump in the mid-1970s.
This album compiles songs from the years 1969-1972. The tracks are presented in chronological order which doesn't hurt the flow between the tracks at all. Even though the album only spans three years, the musical development of Brown and his band (the always amazing J.B.'s) from rocking soul to hard funk is noticeable.
The CD starts with a fantastic, energetic number called It's a New Day. One of my favourite tracks on the album, the song has life and the band is tight. The track has everything that is typical of the James Brown style: Brown's screaming vocals, a hot horn section, and a rhythm section that keeps everything driving. And this is only the beginning of better things to come.
Funky Drummer is widely considered to be one of the most heavily sampled songs of the James Brown repertoire. It is most famous for its short but fantastic drum solo from Clyde Stubblefield. The song is easily one of James Brown's most complex grooves. The song is a fine example of how three very different ideas are interwoven into one. The riffs of the bass, guitar and drums are all completely different in character, but when they are put together it makes complete sense and the groove is unstoppable. Also on the album is the Funky Drummer (Bonus Beat Reprise), a two minute loop of the drum solo edited by Danny Krivit for all the hardcore fans. It's simple, and the subtle occasional additions like guitar and James Brown's voice make the drum solo groove even more.
Another highlight of this album is Give It Up Or Turnit A Loose, a track that was released on the 1970 live album Sex Machine. However, even though this track had background sounds of an audience clapping and cheering on that album, Brown actually recorded this track in the studio and later added the audience sounds and reverb. The version on In the Jungle Groove here is far superior, and removes all the fake audience and reverb. What is left is James Brown at his best. The track is intense and contains all the energy of a live show, even though it was in a studio.
Things get mellow with the previously unreleased track, I Got to Move, a mellow, laid back funk groove. It's in the same style as some of Brown's blaxploitation soundtracks, The Payback or Slaughter's Big Rip-off. The track is one of the weaker selections on the album, and my interest level started to wane throughout. Nonetheless, it's laid-back, and a good break from the three intense tracks that preceded it.
Talkin' Loud & Sayin' Nothing is presented here in an extended version. This is a classic duet of Brown with his longtime partner, Bobby Byrd. This is an excellent song, and the interplay between Brown and Byrd is excellent. It's easy to tell that they are having fun while recording this and that feeling comes through in the song.
Two classic songs from Brown are towards the end of the album, Soul Power and Hot Pants. Both tracks are presented here in their complete versions, each clocking in at over eight minutes.
This 2003 reissue contains a bonus track titled Blind Man Can See It. Originally part of the Black Caesar soundtrack, this version is presented in the extended form for the first time ever. It's a decent instrumental, not amazing, but it has enough moments and surprises to keep your interest.
The sound on the album is excellent. The remastering keeps all the instruments full and bright without losing any of the nuances in the highs and lows. James Brown's backing band, The J.B.'s were at the top of their game during this period so it's important to pay attention not only to The Godfather of Soul himself, but the musicians such as bassist Bootsy Collins, trombonist Fred Wesley, and sax Maceo Parker that bring the groove into the song.
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