It's no surprise that the Godfather's late 60s/early 70s grooves were mined to form the backbeat of seemingly every hip-hop record of the 80s. And while he may have been heaped with mountains of long-overdue respect, JB wound up with the short end of the stick when it came to royalties. Thankfully, Polydor aimed to change this in 1986 with the release of In the Jungle Groove, a jaw-dropping collection of unreleased funk workouts and alternate mixes featuring some of his most famous drum breaks and samples in their original context. Featuring the first ever album-release of the sampled to death "Funky Drummer", the LP also included "It's a New Day", a snippet of unreleased title cut appended to the beginning of "I Got to Move" and the Bootsy Collins jam "Hot Pants (She Got To Use What She Got To Get What She Wants)". A well sequenced compilation that stands tall alongside any of the Godfather's studio or live LPs. The version here is the 2003 remaster, featuring much improved sound, a little extra chatter preceding some tracks and a bonus cut. Get into it!
Showing posts with label Jam. Show all posts
Showing posts with label Jam. Show all posts
Wednesday
James Brown
In the Jungle Groove - 1986
It's no surprise that the Godfather's late 60s/early 70s grooves were mined to form the backbeat of seemingly every hip-hop record of the 80s. And while he may have been heaped with mountains of long-overdue respect, JB wound up with the short end of the stick when it came to royalties. Thankfully, Polydor aimed to change this in 1986 with the release of In the Jungle Groove, a jaw-dropping collection of unreleased funk workouts and alternate mixes featuring some of his most famous drum breaks and samples in their original context. Featuring the first ever album-release of the sampled to death "Funky Drummer", the LP also included "It's a New Day", a snippet of unreleased title cut appended to the beginning of "I Got to Move" and the Bootsy Collins jam "Hot Pants (She Got To Use What She Got To Get What She Wants)". A well sequenced compilation that stands tall alongside any of the Godfather's studio or live LPs. The version here is the 2003 remaster, featuring much improved sound, a little extra chatter preceding some tracks and a bonus cut. Get into it!
It's no surprise that the Godfather's late 60s/early 70s grooves were mined to form the backbeat of seemingly every hip-hop record of the 80s. And while he may have been heaped with mountains of long-overdue respect, JB wound up with the short end of the stick when it came to royalties. Thankfully, Polydor aimed to change this in 1986 with the release of In the Jungle Groove, a jaw-dropping collection of unreleased funk workouts and alternate mixes featuring some of his most famous drum breaks and samples in their original context. Featuring the first ever album-release of the sampled to death "Funky Drummer", the LP also included "It's a New Day", a snippet of unreleased title cut appended to the beginning of "I Got to Move" and the Bootsy Collins jam "Hot Pants (She Got To Use What She Got To Get What She Wants)". A well sequenced compilation that stands tall alongside any of the Godfather's studio or live LPs. The version here is the 2003 remaster, featuring much improved sound, a little extra chatter preceding some tracks and a bonus cut. Get into it!
Monday
The Byrds
(Untitled)/(Unissued) - 1970
Recorded during the Byrds' post Sweetheart of the Rodeo transitional period, we hear the band dive headfirst into the depths of the Country Rock/Jam murk. With the working title of Phoenix to represent the band's fresh sense of beginning, the first half of this 2 record set is live, while the second, studio. Highlights include Clarence White in all his B-Bender telecaster glory, most notably on the 16-minute(!!!) version of "Eight Miles High"; Roger McGuinn's odd attempt at bayou rock, "Lover of the Bayou"; and possibly his last great composition "Chestnut Mare".
The Byrds never soared this high again.
Recorded during the Byrds' post Sweetheart of the Rodeo transitional period, we hear the band dive headfirst into the depths of the Country Rock/Jam murk. With the working title of Phoenix to represent the band's fresh sense of beginning, the first half of this 2 record set is live, while the second, studio. Highlights include Clarence White in all his B-Bender telecaster glory, most notably on the 16-minute(!!!) version of "Eight Miles High"; Roger McGuinn's odd attempt at bayou rock, "Lover of the Bayou"; and possibly his last great composition "Chestnut Mare".The Byrds never soared this high again.
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