All Eyez on Me is the third studio album by American recording artist Monica. Named after its same-titled lead single, it marked the singer's first record under Clive Davis' J Records roster and was first released on October 21, 2002 in Japan. The tracks on the album are a mixture of uptempos and ballads, which are basically inspired by contemporary R&B and soul genres; it also features elements of hip hop, dance-pop and gospel music, crafted by musicians suchs as Dallas Austin, Bryan Michael Cox, Jermaine Dupri, Rodney "Darkchild" Jerkins, and Soulshock & Karlin.
William "Bootsy" Collins cut his teeth playing bass with the James Brown band in 1970, but when he landed in George Clinton's Parliament/Funkadelic crew in the mid-70s, he quickly became a figurehead of Clinton's messier, trippier cartoon funk. Throughout the 1976-82 period condensed into this two-disc set, Bootsy and his Rubber Band were essentially P-Funk for kids. His records had all the stage-crowding chaos of the Mothership, with the politics and priapism replaced by goofy spiels about the excellence of, well, Bootsy, plus squelchy, googly sounds and his infamous star-shaped shades. The tone he got out of his star-shaped bass, like huge bubbles surfacing from the bottom of a lake, was heavy enough that he could slow things way, way down–"Jam Fan (Hot)" crawls like no other hard-funk record. That, in turn, let him be the half-serious love-man Clinton couldn't risk being (check out the wacky, spacey slow jam "Munchies for Your Love"). Glory B mostly collects unedited album tracks, though it also throws in 1980's lost demi-hit "Freak to Freak" (credited to Sweat Band) and the 1982 single "Body Slam!".
While at least one track from this album showed up decades ago on an Epic compilation, the remainder of this album has remained in the Columbia archives until Reel Music had it remastered and release. The sound is incredible - even with some of the tracks in mono, This is the result of Steve Alaimo's production at the AGP studios in Memphis, the Memphis Boys backing (see the Ace album for more detail) supported by the Memphis Horns, and Bill Lacey's remastering. This is a stunning album - strong songs, great production and Gwen McCrae in fine voice. The hits - which are certainly evident 40 years later were buried as Columbia was in the midst of moving to its HBS-inspired black music strategy under the leadership of Clive Davis. This is a great addition to any 70s soul library.