James replied to the mass resignation of his musicians by hiring a then-juvenile band called the Pacemakers from Cincinnati, Ohio. This band was composed of the young but heavy-hitting William "Bootsy" Collins on bass, his brother Phelps "Catfish" Collins on guitar, Robert McCullough on saxophone, Clayton Gunnels on trumpet, and Frank Waddy on drums. The new band was named The J.B.'s and marked a new era for James Brown. Months after this new band was formed Starks and Stubblefield returned. Despite this band's undeniable talent for playing breakneck funk, it was relatively short-lived as a group, as the Collins brothers soon left to join George Clinton's Parliament-Funkadelic organization. In 1972 Nolen returned to play with The J.B.'s. Nolen remained with Brown until December 18, 1983, when he died of a heart attack in Atlanta, Georgia. Nolen developed a style of picking known as "chicken scratch," in which the guitar strings are pressed lightly against the fingerboard and then quickly released just enough to get a muted “scratching” sound that is produced by rapid rhythmic strumming of the opposite hand near the bridge. This new guitar style was affected not only by Nolen’s choice of two and three note chord voicings of augmented 7th and 9th chords, but also by his strumming straight 16th note patterns, as in James Brown’s "Papa's Got a Brand New Bag." Nolen’s choices of guitars and amplifiers also affected the sound for which he would be nicknamed. In his first recordings with James Brown, Nolen used a Gibson ES-175 and an ES-5 switchmaster, both hollow-body jazz guitars equipped with single coil P-90s. He also relied on a Gibson Les Paul Recording model with single coil pickups, an Acoustic Black Widow, and a Fresher Straighter, which were also single coil instruments. The single coil pickups on these guitars produced a thin "chanky" sound; Nolen ran these guitars through a Fender Twin Reverb with the treble set at 8 out of 10. The result was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the electric bass and the cutting tone of the snare and hi-hats, with a rhythmically melodic feel that fell deep in the pocket. A good example of such tone would be in James Brown’s "I Got You (I Feel Good)" and "I’ve Got The Feeling."