In addition to backing Brown on stage and on record during this era, the J.B.'s also recorded albums and singles on their own, sometimes with Brown performing on organ or synthesizer. Their albums were generally a mixture of heavy funk tracks and some more jazz-oriented pieces. They scored a number of chart hits in the early 1970s, including "Pass the Peas," "Gimme Some More," and the #1 R&B hit, "Doing It to Death". Credited to "Fred Wesley & the J.B.'s", "Doing It to Death" sold over one million copies, and was awarded a gold disc by the R.I.A.A. in July 1973. Nearly all of their recordings were produced by Brown and most were released on his own label, People Records. Like most of James Brown's music, the J.B.'s recorded output has been heavily mined for samples by hip hop DJs and record producers.
Whether you're just tuning in or replacing worn out connections you'd be well advised to grab this particular powerpack of four JB classics, especially as three of the tracks are uncut versions of recordings more commonly issued in edited form.
"The J.B.'s recorded under various billings in the early '70s, including The J.B.'s, Fred Wesley & the J.B.'s, The new J.B.'s, Maceo & the Macks, The First Family, the Last Word, and others. This double CD gathers 30 of the prime tracks by all of the above configurations from the first half of the '70s, including all nine of their chart hits and quite a few rare singles and long versions." RichieUnderberger@allmusic.com
' This is one of the great albums of all time, and is by far the most coherent, interesting and powerful album that James Brown was involved with. With Maceo Parker back on board to work with Fred Wesley and the gang at the height of their creativity, the album comes together as a coherent whole, exploring a number of funk and jazz themes. The album gives extended solo time to the horn players, while the guitar and bass players set up rock-solid foundations. The drumming and percussion are all superb. Even the mellow numbers on this album don't succumb to dullness, kept crisp by the sharpness of the band. The longer songs also challenge funk conventions, particularly since most of them don't even have vocals. This is a crucial album that every funk fan should have.' Rob.Clough@duke.edu
' After growing frustrated with James Brown's fleeting focus, and a decline in the popularity of the sound the original JB's left to join George Clinton's "Parliament". James Brown continued to tour with differing versions of the J.B.'s, including a late-'70s outfit dubbed the J.B.'s International, but for all intents and purposes, the true J.B.'s no longer existed. This is the last of the James Brown produced JB's Albums. However, though mainly written and produced by James Brown this record is more disco-orientated. It's an absolute must for people who want to discover another aspect from these funkmeisters. ' source: discomusic.com
' This album is a 'mutha' like James Brown would probably say! Tight jam after tight jam, concluding to the tightest, which has been hinted towards the whole records with snippets of the track - "You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight". It has an insane groove, which in turn explains, why it has been sampled so much. If you dig downright dirty and deep funk, get this @avax for free! ' email@example.com (rated 5/5)
' The JB's grab at a piece of the disco market that made Van McCoy a solo star with this production. It's excellent throughout despite James Brown's subdued arrangements on some songs. "(It's Not the Express) It's the JB's Monaurail," usually a six-minute song, rambles for over eight. Fred Wesley's funky trombone peppers "All Aboard the Soul Funky Train" (an update of "Night Train"). "Transmograpfication" is similar to jazz trumpeter Eddie Henderson's crossover attempts on his Sunburst and Realization albums. "Thank You for Letting Me Be Myself and You Be Yours" is better than the title, with a Dyke and the Blazers-type vocal that sets it right.' Andrew.Hamilton@allmusic.com
' By late 1974, however, James Brown's commercial momentum was beginning to slow, and that carried over to the J.B.'s as well. Polydor subsequently shut down Brown's People imprint, effectively ending the myriad side projects he'd managed during the first half of the decade. He continued to tour with differing versions of the J.B.'s, including a late-'70s outfit dubbed the J.B.'s Internationals on a studio recording in 1978. Now available again as a Japanese reissue packaged in a miniature LP sleeve that's limited to 5,000 pieces. 7 tracks, Polydor (2003).' source: answers.com