Madlib T-shirts are available again. Quasimoto Q.E. is a homage to Public Enemy, their logo flipped by Jeff Jank. Madlib by Parra is the Dutch illustrator’s nearly impossible-to-read take on the Los Angeles Dodgers logo. Aliases is a tribute to the many characters of Madlib’s musical universe, designed by Brent Rollins. Smoked Out … yes, that says “Madlib” … this was designed by Gustavo Eandi for Madlib Medicine Show #11.
IN THE SHOP: THE J.B.’s – THESE ARE THE J.B.’s (Second edition)
By popular demand, a second edition of the lost James Brown/Bootsy Collins album. 1LP, Standard LP jacket, booklet. Now shipping
Last year we quickly sold out of the J.B.’s album These Are The J.B.’s, released by Now-Again Records. We sold out so fast that we and the label were inundated with requests from funk fans who couldn’t fathom that a record that was meant to sell for $25 wasn’t available in their local store and was appearing on the secondary market for between $35 and $50.
They asked us to remedy the situation and we did. We’re pleased to announce the second edition of the album, which is now in production and will be released sometime in late February.
The second edition has a different color scheme on the cover (seen in the photos above), and a standard LP sleeve rather than the old-school thick cardboard “tip-on” sleeve of the first edition. The second edition is labeled “second edition” in the label and copyright line on the back.
All else remains the same: same quality of wax, same booklet, same funk. But we wanted to make sure the folks who bought the first edition had something special and there would be no confusion between the two issues.
The history of this album:
In 1970 James Brown perfectly captured a definitive moment in modern music when he called Bootsy Collins into the studio to record the tracks that would be These Are The J.B.’s, a title given to a King Records test-press LP that was never released, and only rumored to exist.
This album is the epitome of funk music, Brown’s innovation that influenced everything that came after it, from Afro-beat to disco to hip-hop.
If there is any funk ensemble as influential as Brown’s in the post-“Cold Sweat” musical landscape, it’s the Bootsy Collins/Parliament/Funkadelic contingent. Those two streams, as Grammy-winning James Brown historian Alan Leeds details in this album’s liner notes, converged for the first time here.
This is the first commercial issue of this album, overseen by Now-Again’s Eothen “Egon” Alapatt alongside Leeds and Universal Music Group’s James Brown expert Harry Weinger. It was mastered specifically for vinyl by Elysian Master’s Dave Cooley, from the original two-track stereo master that James Brown and his engineer Ron Lenhoff delivered to production forty-four years ago. The album includes a booklet with liner notes by Leeds and Alapatt and unpublished photographs.
Photos: The JB’s in 1970; The JB’s perform with James Brown in 1971; Bobby Byrd and Bootsy Collins c. 1970; These Are The JB’s test-press credit sheet.
Video: The JB’s (with Bootsy and Phelps Collins) backing James Brown and Bobby Byrd in Rome on April 24, 1971.