The Singles, Vol. 9: 1973-1975

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
James Brown continued to record until his death some 30 years down the road -- and even had a sizeable comeback a decade later via "Living in America" -- but the 45s collected on The Singles, Vol. 9: 1973-1975 effectively are the final act of his career: his last burst of innovation, the last time he set the scene. JB was headed out of a rough patch in 1972, a time where he adjusted to his new New York surroundings by ceding significant ground to Fred Wesley, with the end result of the JB's sounding jazzier than ever. On the singles chronicled on The Singles, Vol. 9, quite a bit of grit goes back into the funk but there's also a cinematic grandeur derived in no ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
James Brown continued to record until his death some 30 years down the road -- and even had a sizeable comeback a decade later via "Living in America" -- but the 45s collected on The Singles, Vol. 9: 1973-1975 effectively are the final act of his career: his last burst of innovation, the last time he set the scene. JB was headed out of a rough patch in 1972, a time where he adjusted to his new New York surroundings by ceding significant ground to Fred Wesley, with the end result of the JB's sounding jazzier than ever. On the singles chronicled on The Singles, Vol. 9, quite a bit of grit goes back into the funk but there's also a cinematic grandeur derived in no small part from the blaxploitation swagger of "The Payback," a song written for Hell Up In Harlem in 1973 but pulled from the film when a producer mistakenly believed it wasn't funky enough. "The Payback" is the masterpiece that anchors this entire era: it's as down and dirty as anything the stripped-down JB's cut at the dawn of the '70s but it's as nimble and flowing as their recent jazzified sessions. Echoes of these Hell Up In Harlem sessions are heard throughout these two discs -- "Papa Don't Take No Mess" is an outtake that turned into a number one R&B single in '74 -- but even before the JB's knocked out this masterpiece they had gotten into this groove, knocking out the mesmerizing "Same Beat" released under Fred Wesley & The JB's and they extended it to 1974's "Funky President," powered by the drumbeat that would later fuel dozens of hip-hop records. Prior to "The Payback," James Brown had some fun experimenting -- there's a snazzy salsa-fied duet on "Let It Be Me" with Lyn Collins it was backed by an infectious version of Curtis Mayfield's "It's All Right" and another duet with Lyn on the slow, soulful "You Can't Beat Two People in Love" both singles were canceled before they saw release -- but after this flash of greatness, JB hit the wall quickly struggling to come to terms with the rise of disco by re-recording "Sex Machine," taking young upstarts to task on the sputtering "Dead On It" then diving head-first into disco on 1975's "Hustle!!! Dead On It." The smooth, glitzy surroundings of disco didn't suit James Brown or the JB's and pretty soon his trusted band started jumping ship with Wesley leaving in '75. In the style that now is standard to the series -- excellent annotation by Alan Leeds, terrific sound, handsome packaging -- The Singles, Vol. 9 documents this last gasp of greatness and the sudden fall, with the latter hardly dampening the brilliance of the former even if it does illustrate why Brown would fade into the background in the latter half of the '70s.
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Product Details

  • Release Date: 9/21/2010
  • Label: Hip-O Select
  • UPC: 602527380209
  • Catalog Number: 001425902

Album Credits

Performance Credits
James Brown Primary Artist, Organ, Synthesizer, Piano, Electric Piano, Vocals, Background Vocals, Clavinet
Cat Anderson Trumpet
Michael Brecker Tenor Saxophone
St. Clair Pinckney Tenor Saxophone
Joe Sample Electric Piano
David Sanborn Alto Saxophone
Michael Moore Bass
Chuck Rainey Bass
Maceo Parker Alto Saxophone, Vocals
David T. Walker Guitar
Sue Evans Go Go Bell, Brushes
Sam Brown Guitar
Lyn Collins Vocals
Eddie Daniels Flute
Cornell Dupree Guitar
Gordon Edwards Bass
Joe Farrell Tenor Saxophone
Johnny Griggs Percussion, Conga
John Morgan Percussion, Drums
Leon Pendarvis Clavinet
Benny Powell Trombone
Margaret Ross Harp
Allan Schwartzberg Drums
John Starks Drums
Fred Thomas Bass, Vocals
David Tofani Flute
Frank Vicari Tenor Saxophone
Ernie Watts Tenor Saxophone
Fred Wesley Trombone, Trumpet, Tambourine, Vocals, Background Vocals, Spoken Word
Snooky Young Trumpet
Martha High Vocals, Background Vocals
Jimmy Madison Drums
Russell Crimes Trumpet
Jimmy Nolen Guitar
Bobby Roach Background Vocals
Hearlon "Cheese" Martin Guitar
Bob Both Stick, Tambourine, Background Vocals, Spoken Word
Jimmy Parker Alto Saxophone
Sweet Charles Sherrell Bass, Vocals, Clavinet
Michael Gipson Trombone
Isiah "Ike" Oakley Trumpet
Johnny Scotton Background Vocals
Arlene Background Vocals
Dave Matthews Conductor
Joe Beck Guitar
Ben Aronov Synthesizer
Jerone "Jassan" Sanford Trumpet
Alfred "Pee Wee" Ellis Baritone Saxophone
Leon Austin Vocals
Tom Malone Trombone
Hank Spann Spoken Word
Technical Credits
James Brown Arranger, Composer, Producer
Curtis Mayfield Composer
Gilbert Bécaud Composer
Bobby Byrd Composer
Pierre Delanoé Composer
Manny Kurtz Composer
Ron Lenhoff Composer
John Starks Composer
Fred Wesley Arranger, Composer
Willie Johnson Composer
Alan Leeds Liner Notes
Bob Both Additional Production
Mathieu Bitton Memorabilia
Charles Bobbit Producer
Dave Matthews Arranger
Seth Foster Mastering
Ryan Null Photo Coordination
Michele Horie Art Direction
Leon Austin Composer
Teresa Tsuzaki Licensing
Gwen Wesley Composer
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