Hell

Performer: James Brown
Artist: Maceo Parker; Jon Faddis; David Sanborn; Fred Wesley; Lew Soloff
Engineer: Bob Both
Producer: James Brown
Distributor: Universal Distribution

Notes: Personnel includes: James Brown (vocals, piano, organ, synthesizer); Lyn Collins (vocals); Jimmy Nolen, Hearlon "Cheese" Martin, Joe Beck, Sam Brown, Charlie Brown (guitar); Joe Farrell (reeds, tenor saxophone); Eddie Daniels, David Tofani (reeds); Maceo Parker, Jimmy Parker, David Sanborn (alto saxophone); St. Clair Pinckney, Frank Vicari (tenor saxophone); Alfred "Pee Wee" Ellis (baritone saxophone); Isiah "Ike" Oakley, Lew Soloff, Jon Faddis (trumpet); Jimmy Buffington (French horn); Fred Wesley (trombone, tambourine, percussion, background vocals); Michael Gipson, Tom Harrell (trombone); Dave Matthews (piano, electric piano); Fred Thomas, Gordon Edwards, Charles Sherrell (bass); John "Jabo" Starks, John Morgan, Jimmy Madison (drums). Originally released on Polydor (9001). Includes liner notes by Alan Leeds. Digitally remastered by Gary Mayo (Polygram Studios). Personnel: James Brown (vocals, piano); Sam T. Brown, Hearlon "Cheese" Martin, Jimmy Nolen, Joe Beck , Charlie Brown (guitar); David Tofani, Eddie Daniels (reeds); David Sanborn, Jim Parker , Maceo Parker (alto saxophone); Frank Vicari, Joe Farrell, St. Clair Pinckney (tenor saxophone); Pee Wee Ellis (baritone saxophone); Isiah "Ike" Oakley, Jon Faddis, Lew Soloff (trumpet); James Buffington (French horn); Fred Wesley (trombone, tambourine, percussion, background vocals); Michael Gipson, Tom Harrell (trombone); David Matthews (piano, electric piano); James Madison, Harvey Mason, Sr. , John Morgan, John Starks (drums); Johnny Griggs (congas); Ralph MacDonald, Bob Both, Sue Evans (percussion); Johnny Scotton, Martha Harvin, Deborah McDuffie, Maretha Stewart, Lyn Collins, Hilda Harris (background vocals). Audio Remasterer: Gary N. Mayo. Liner Note Author: Alan Leeds. Photographer: Norman Hunter. Arrangers: David Matthews; James Brown. HELL was released at an interesting juncture in Brown's career. This 1974 album came in the wake of the highly regarded PAYBACK, and the unusual decision was made to include re-recorded versions of seven previously released songs. The packaging of the album leads one to believe that this is Brown's big social statement about the plight of those living in American ghettoes. Only the title song seems to address these issues, however powerfully. That's not to say HELL isn't full of captivating cuts, though. From the unrelenting '70s funk of "Sayin' and Doin' It" to the Latin feel given to "Please, Please, Please" this recording is full of obscure treasures. A few of the tracks feature the JB's, but most include killer session players like Gordon Edwards and Jimmy Madison. Interesting trivial note: almost all the songs are inexplicably separated by the crash of a gong.

The unrelenting intensity of James Brown's music has made him one of the most recognizable and influential performers since the 1950s. Starting out as a gospel singer, Brown soon switched to R&B and started scoring hits. As the '60s progressed, the self-proclaimed Godfather of Soul transformed the sounds of R&B into a tight, driving style that helped lay the foundations of funk. Personal troubles over the following decades threatened to sideline the ever-impassioned Brown, but he repeatedly bounced back. Countless JB samples--credited and uncredited--found on rap and hip-hop records testify to his enduring influence. The Godfather of Soul passed away on Christmas Day in 2006.

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