js Damn Right I am Somebody’ is an excellent jazzy funk release recorded by the JB’s during their second peak after reforming under the leadership of tromboner par excellance, Fred Wesley. Wesley’s records usually reflect the style of the people he is working with at the time, in this case that would be one of James Brown’s very best early 70s ensembles. This is hard grooving James style funk with the characteristic slight swing feel and Afro-Cuban accents from conga player Johnny Griggs. Unfortunately, the musicians on here are not listed, but some givens include Jimmy Nolan on guitar, Maceo Parker on sax, John Starks on drums and James Brown on incidental vocals. If you have ever seen Eddie Murphy’s hilarious send- up of James’ nonsense syllable improvisations, you will love album opener ‘Damn Right I am Somebody’ where Brown unleashes a constant stream of onomatopoeia crazyness.

If you know your early hip-hop samples and loops you will know that this is the JB’s album with the synthesizer. Some references claim that James is the synth player, while others list vocalist Bobby Byrd. Either way, the persistent synth noodling on several cuts adds an excellent exotic flavor to this record. All the songs on here are great, but one stand out is ‘I’m Payin Taxes, What am I Buyin’, where Jimmy Nolan provides a killer guitar riff that won’t quit. Jimmy Nolan is the god of rhythm guitar .. word.

Most of the songs on here are classic JB’s funk except for ‘Make Me what You Want Me to be’ which is a classy orchestrated soul-jazz pop number, likewise their lover’s groove re-make of Marvin Gaye’s ‘You Sure Love to Ball’ sets a different mood as it closes the album and turns down the lights for the rest of the evening.

js 'A Blow for Me and a Toot to You’ was recorded in 1977 and reflects Wesley’s switch from working with James Brown to George Clinton’s Parliament ensemble. The music on here is not as jazzy as the old JBs and doesn’t sound a lot different from a Parliament record from this same era. Most songs are built around repeating vocal refrains that feature the usual p-funk style of complex polyphony. The interconnecting vocals lines are answered by some of the finest ensemble horn work in the business and they are all supported by the funky Parliament rhythm section. Some tunes also leave room for Wesley and some of his other horn players to go off. All of the expected Parliament stars are here including Bootsy, Maceo, Bernie Worrell, The Brecker Brothers, Gary Shider and Mike Hampton.

Recorded during the height of the disco era, this album reflects some commercial concerns with its steady 4 on the floor thump and slightly smooth disco production, but it is still funky and nasty and not overly slick. Album closer ‘Peace Fugue’ offers something different with its complex orchestrated melody that sounds like one of those Isaac Hayes soul symphonies. Although some may prefer Fred’s more jazzy syncopated work with the JBs, this is still a fun party record full of expert ensemble horn work and makes a fine companion to all those great 70s Parliament sides.