by Jason Elias
Since 1976's Get Up Offa That Thing, Brown has been existing on comebacks, near-misses, and embarrassments, no matter how ultimately substantive and profitable they turned out to be. His work had been re-evaluated by the early '80s, but his newer work, primarily his album output, including 1992's Universal James, has been uneven and substandard. Although I'm Back isn't a masterwork of cohesion, it proves the artist's viability, and that's more than enough. This set starts off with a hip-hop, synth-based version of &Can't Stand It.& It should be appalling, but it's not. Throughout most of the album, Brown runs headlong into newer production values and remixes, and comes out generally unscathed. &Funk on Ah Roll& shows up in three versions, the best being &Funk on Ah Roll (S Class Club Mix).& The track has Brown singing, &Bring back the funk& -- and it does, sampling a few of his hard-edged '70s tracks in an inventive manner. The tracks devoid of studio wizardry fare less well. Brown phones in &What It Takes,& a bland duet reworking of Brook Benton and Dinah Washington's &Baby (You've Got What It Takes),& giving two people a chance to turn over their graves for the price of one. A potent remake of &Papa's Got a Brand New Bag& has St. Clair Pinckey doing a great, old-timey, honking sax riff. The uncomfortably astute, slightly anachronistic, early-'90s styled &Break Away& has Brown sounding off to fans who attempt to flee him, only to return his patently, screaming-loud R&B. I'm Back does have its share of duds, but it mostly shows Brown in command and still a viable presence.