Hello, leaving the Beats be for now and swiching over to another style of beats, one that preceded our digital age, the groove...".
The groove as "an intuitive sense of style as process, a perception of a cycle in motion, a form or organizing pattern being revealed, a recurrent clustering of elements through time." Aigen states that "when groove is established among players, the musical whole becomes greater than the sum of its parts, enabling a person […] to experience something beyond himself which he/she cannot create alone . When the musical slang phrase "Being in the groove" is applied to a group of improvisers, this has been called "an advanced level of development for any improvisational music group" which "forces of unseen connection that directly influence our experience and behaviour. Peter Forrester and John Bailey argue that the "chances of achieving this higher level of playing" (i.e., attain a "groove") is improved when the musicians are "open to other's musical ideas", "complemen[t] other participant’s musical ideas", and "taking risks with the music. Yes scientists have discovered the groove, they probably aren't allowed to use mind expanding stimulants to further grasp as to what is going on . I'll tell you one thing...you can't digitize it ! It's in your hips....
The coming weeks it's all about "Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" -- those are mighty titles, but no one can question that today's artist earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians were so influential over the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show: his performances were marvels of athletic stamina and split-second timing. He is ranked seventh on the music magazine Rolling Stone's list of its 100 greatest artists of all time......N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Through the gospel-impassioned fury of his vocals and the complex polyrhythms of his beats, Brown was a crucial midwife in not just one, but two revolutions in black American music. He was one of the figures most responsible for turning R&B into soul and he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. After the mid-'70s, he did little more than tread water artistically; his financial and drug problems eventually got him a controversial prison sentence. Yet in a sense, his music is now more influential than ever, as his voice and rhythms have been sampled on innumerable hip-hop recordings, and critics have belatedly hailed his innovations as among the most important in all of rock or soul.
Brown's rags-to-riches-to-rags story has heroic and tragic dimensions of mythic resonance. Born into poverty in the South, he ran afoul of the law by the late '40s on an armed robbery conviction. With the help of singer Bobby Byrd's family, Brown gained parole and started a gospel group with Byrd, changing their focus to R&B as the rock revolution gained steam. The Flames, as the Georgian group was known in the mid-'50s, signed to Federal/King and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." By that point, The Flames had become James Brown & the Famous Flames; the charisma, energy, and talent of Brown made him the natural star attraction.
All of Brown's singles over the next two years flopped, as he sought to establish his own style, recording material that was obviously derivative of heroes like Roy Brown, Hank Ballard, Little Richard, and Ray Charles. In retrospect, it can be seen that Brown was in the same position as dozens of other R&B one-shot: talented singers in need of better songs, or not fully on the road to a truly original sound. What made Brown succeed where hundreds of others failed was his superhuman determination, working the chitlin circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge of being dropped from King in late 1958 when his perseverance finally paid off, as "Try Me" became a number one R&B (and small pop) hit, and several follow-ups established him as a regular visitor to the R&B charts.
Brown's style of R&B got harder as the '60s began; he added more complex, Latin- and jazz-influenced rhythms on hits like "Good Good Lovin'," "I'll Go Crazy," "Think," and "Night Train," alternating these with torturous ballads that featured some of the most frayed screaming to be heard outside of the church. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in 1963. Capturing a James Brown concert in all its whirling-dervish energy and calculated spontaneity, the album reached number two on the album charts, an unprecedented feat for a hardcore R&B LP.
Live at the Apollo was recorded and released against the wishes of the King label. It was this kind of artistic standoff that led Brown to seek better opportunities elsewhere. In 1964, he ignored his King contract to record "Out of Sight" for Smash, igniting a lengthy legal battle that prevented him from issuing vocal recordings for about a year. When he finally resumed recording for King in 1965, he had a new contract that granted him far more artistic control over his releases.
Brown's new era had truly begun, however, with "Out of Sight," which topped the R&B charts and made the pop Top 40. For some time, Brown had been moving toward more elemental lyrics that threw in as many chants and screams as they did words, and more intricate beats and horn charts that took some of their cues from the ensemble work of jazz outfits. "Out of Sight" wasn't called funk when it came out, but it had most of the essential ingredients. These were amplified and perfected on 1965's "Papa's Got a Brand New Bag," a monster that finally broke Brown to the white audience, reaching the Top Ten. The even more adventurous follow-up, "I Got You (I Feel Good)," did even better, making number three.
These hits kicked off Brown's period of greatest commercial success and public visibility. From 1965 to the end of the decade, he was rarely off the R&B charts, often on the pop listings, and all over the concert circuit and national television, even meeting with Vice President Hubert Humphrey and other important politicians as a representative of the black community. His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar (heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time"). The lyrics were not so much words as chanted, stream-of-consciousness slogans, often aligning themselves with black pride as well as good old-fashioned (or new-fashioned) sex. Much of the credit for the sound he devised belonged to (and has now been belatedly attributed to) his top-notch supporting musicians such as saxophonists Maceo Parker, St. Clair Pinckney, and Pee Wee Ellis; guitarist Jimmy Nolen; backup singer and longtime loyal associate Bobby Byrd; and drummer Clyde Stubblefield.
Brown was both a brilliant bandleader and a stern taskmaster, the latter leading his band to walk out on him in late 1969. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers featuring guitarist Catfish Collins and bassist Bootsy Collins. Although they only stayed with him for about a year, they were crucial to Brown's evolution into even harder funk, emphasizing the rhythm and the bottom even more. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament-Funkadelic axis.
In the early '70s, many of the most important members of Brown's late-'60s band returned to the fold, to be billed as the J.B.'s (they also made records on their own). Brown continued to score heavily on the R&B charts throughout the first half of the '70s, the music becoming more and more elemental and beat-driven. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Critics charged, with some justification, that the Godfather was starting to repeat and recycle himself too many times. It must be remembered, though, that these songs were made for the singles radio jukebox market and not meant to be played one after the other on CD compilations (as they are today).
By the mid-'70s, Brown was beginning to burn out artistically. He seemed shorn of new ideas, was being out-gunned on the charts by disco, and was running into problems with the IRS and his financial empire. There were sporadic hits, and he could always count on enthusiastic live audiences, but by the '80s, he didn't have a label. With the explosion of rap, however, which frequently sampled vintage J.B.'s records, Brown became hipper than ever. He collaborated with Afrika Bambaataa on the critical smash single "Unity" and reentered the Top Ten in 1986 with "Living in America." Rock critics, who had always ranked Brown considerably below Otis Redding and Aretha Franklin in the soul canon, began to reevaluate his output, particularly the material from his funk years, sometimes anointing him not just "Soul Brother Number One," but the most important black musician of the rock era.
In 1988, Brown's personal life came crashing down in a well-publicized incident in which he was accused by his wife of assault and battery. After a year skirting hazy legal and personal troubles, he led the police on an interstate car chase after allegedly threatening people with a handgun. The episode ended in a six-year prison sentence that many felt was excessive; he was paroled after serving two years.
Throughout the '90s Brown continued to perform and release new material like Love Over-Due (1991), Universal James (1992), and I'm Back (1998). While none of these recordings could be considered as important as his earlier work and did little to increase his popularity, his classic catalog became more popular in the American mainstream during this time than it had been since the '70s, and not just among young rappers and samplers. One of the main reasons for this was a proper presentation of his recorded legacy. For a long time, his cumbersome, byzantine discography was mostly out of print, with pieces available only on skimpy greatest-hits collections. A series of exceptionally well-packaged reissues on PolyGram changed that situation; the Star Time box set is the best overview, with other superb compilations devoted to specific phases of his lengthy career, from '50s R&B to '70s funk.
In 2004, Brown was diagnosed with prostate cancer but successfully fought the disease. By 2006, it was in remission and Brown, then 73, began a global tour dubbed the Seven Decades of Funk World Tour. Late in the year while at a routine dentist appointment, the singer was diagnosed with pneumonia. He was admitted to the hospital for treatment but died of heart failure a few days later, in the early morning hours of Christmas Day. A public viewing was held at Apollo Theater in Harlem, followed by a private ceremony in his hometown of Augusta, GA.
No idea which label had this page blocked, i can only hope it will safe them from financial ruin, meanwhile it's doubtful James Browns heirs will get any of it...not that i think they are entitled to any money James's creative juices brought forth but hey that's a wholly different discussion
xxxxx xxxxx xxxxx xxxxx xxxxx
An astonishing record of James and the Flames tearing the roof off the sucker at the mecca of R&B theatres, New York's Apollo. When King Records owner Syd Nathan refused to fund the recording, thinking it commercial folly, Brown single-mindedly proceeded anyway, paying for it out of his own pocket. He had been out on the road night after night for a while, and he knew that the magic that was part and parcel of a James Brown show was something no record had ever caught. Hit follows hit without a pause -- "I'll Go Crazy," "Try Me," "Think," "Please Please Please," "I Don't Mind," "Night Train," and more. The affirmative screams and cries of the audience are something you've never experienced unless you've seen the Brown Revue in a Black theater. If you have, I need not say more; if you haven't, suffice to say that this should be one of the very first records you ever own.
01 Introduction To James Brown 1:48
02 I'll Go Crazy 2:05
03 Try Me 2:26
04 Think 1:58
05 I Don't Mind 2:39
06 Lost Someone 10:43
07 Medley: Please, Please, Please / You've Got The Power / I Found Someone / Why Do You Do Me / I Want You So Bad / I Love You, Yes I Do / Strange Things Happen / Bewildered / Please, Please, Please 6:26
08 Night Train 3:28
09 Think 2:00
10 Medley: I Found Someone / Why Do You Do Me / I Want You So Bad 2:09
11 Lost Someone 2:41
12 I'll Go Crazy 2:18
xxxxx xxxxx xxxxx xxxxx xxxxx
By 1962, Brown scored a hit with his band with their cover of the instrumental, "Night Train", becoming not only a top five R&B single but also Brown's first top 40 entry on the Billboard Hot 100. Brown scored his first top 20 pop hit with his rendition of the standard, "Prisoner of Love". He also launched his first label, Try Me Records, which included recordings by the likes of Tammy Montgomery, Johnny & Bill and the Poets, which was another name used for Brown's backing band. In 1964, seeking bigger commercial success, Brown and Bobby Byrd formed the production company, Fair Deal, linking the operation to the Mercury imprint, Smash Records. King Records, however, fought against this and was granted an injunction preventing Brown from releasing any recordings for the label. Prior to the injunction, Brown had released three vocal singles, including the blues-oriented hit, "Out of Sight", which further indicated the direction his music was going to take. With a new deal with King, Brown released his composition, "Papa's Got a Brand New Bag", which became his first top ten pop hit and won Brown his first Grammy Award. Later in 1965, Brown issued "I Got You", which became his second single in a row to reach number-one on the R&B chart and top ten on the pop chart. Brown followed that up with the ballad, "It's a Man's Man's Man's World" which confirmed his stance as a top-ranking performer, especially with R&B audiences from that point on. This here then is a record of those days...
01 Night Train
02 Shout And Shimmy LIVE
03 Like A Baby
04 I've Got Money
05 Prisoner Of Love
06 These Foolish Things LIVE
07 (Can You) Feel It - Part 1
08 Lost Someone
09 Signed, Sealed, And Delivered
10 Waiting In Vain
11 In The Wee Wee Hours (Of The Nite)
12 Oh Baby Don't You Weep LIVE
13 Again
14 How Long Darling
15 So Long
16 The Things That I Used To Do
17 Out Of Sight
18 Maybe The Last Time
19 Have Mercy Baby
20 I Got You (I Feel Good)
21 Papa's Got A Brand New Bag - Part 1
22 Ain't That A Groove - Part 1
23 It's A Man's Man's Man's World
24 Money Won't Change You
xxxxx xxxxx xxxxx xxxxx xxxxx
There are several worthy James Brown compilations. But this is the one, more than any other, that presents his most fertile and innovative soul and funk material. From 1964's "Out of Sight" through 1969's "Mother Popcorn," this was Brown at the apex of his creativity, turning soul into funk in the mid-'60s, then pushing the rhythm even more to the forefront. Most of his hit singles from this five-year explosion of white heat are on this 27-track, two-CD set, including "Out of Sight," "Papa's Got a Brand New Bag," "I Got You (I Feel Good)," "Say It Loud--I'm Black and I'm Proud," and "Cold Sweat." There are some minor omissions that could be questioned (the absence of the studio version of "Bring It Up," for instance), and big James Brown fans will already have the lion's share of tracks, on the Star Time box and other releases. It does, however, contain minor but significant bonuses: an alternate take of "Cold Sweat," a previously unreleased live medley of "Out of Sight" and "Bring It Up," and a previously unreleased live version of "Licking Stick--Licking Stick." There are also longer versions of "I Don't Want Nobody to Give Me Nothing" (ten minutes!), "I Got the Feelin'," "The Popcorn," and "Brother Rapp" that were edited when they were prepared for official release.
(A Brand New Bag 1964 - 1969)
01 Out Of Sight 2:22
02 Papa's Got A Brand New Bag Pt. 1 & 2 4:16
03 I Got You (I Feel Good) 2:45
04 Money Won't Change You Pt. 1 & 24:15
05 Introduction / Out Of Sight/Bring It Up (Live) 5:54
06 Let Yourself Go 3:57
07 There Was A Time 4:25
08 Cold Sweat Pt. 1 & 2 7:23
09 Get It Together Pt. 1 & 28:57
10 Goodbye My Love Pt. 1 & 2 5:36
11 I Can't Stand Myself (When You Touch Me) Pt. 1 & 2 7:19
12 I Got The Feelin' 3:05
13 The Popcorn 4:30
14 Cold Sweat (False Start) 0:23
15 Cold Sweat (Alternate Take) 6:50
xxxxx
01 Licking Stick-Licking Stick (Live) 4:15
02 Say It Loud I'm Black And I'm Proud Pt. 1 & 2 4:50
03 Give It Up Or Turnit Loose 4:30
04 You Got To Have A Mother For Me 5:39
05 I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself) 9:43
06 Let A Man Come In And Do The Popcorn Pt. 1 & 2 7:47
07 It's A New Day Pt. 1 & 2 6:25
08 Ain't It Funky Now 9:28
09 Brother Rapp 7:00
10 Funky Drummer Pt. 1 & 2 5:34
11 She's The One 2:59
12 Mother Popcorn (Live) 9:02
xxxxx xxxxx xxxxx xxxxx xxxxx
The groove as "an intuitive sense of style as process, a perception of a cycle in motion, a form or organizing pattern being revealed, a recurrent clustering of elements through time." Aigen states that "when groove is established among players, the musical whole becomes greater than the sum of its parts, enabling a person […] to experience something beyond himself which he/she cannot create alone . When the musical slang phrase "Being in the groove" is applied to a group of improvisers, this has been called "an advanced level of development for any improvisational music group" which "forces of unseen connection that directly influence our experience and behaviour. Peter Forrester and John Bailey argue that the "chances of achieving this higher level of playing" (i.e., attain a "groove") is improved when the musicians are "open to other's musical ideas", "complemen[t] other participant’s musical ideas", and "taking risks with the music. Yes scientists have discovered the groove, they probably aren't allowed to use mind expanding stimulants to further grasp as to what is going on . I'll tell you one thing...you can't digitize it ! It's in your hips....
The coming weeks it's all about "Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" -- those are mighty titles, but no one can question that today's artist earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians were so influential over the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show: his performances were marvels of athletic stamina and split-second timing. He is ranked seventh on the music magazine Rolling Stone's list of its 100 greatest artists of all time......N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Through the gospel-impassioned fury of his vocals and the complex polyrhythms of his beats, Brown was a crucial midwife in not just one, but two revolutions in black American music. He was one of the figures most responsible for turning R&B into soul and he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. After the mid-'70s, he did little more than tread water artistically; his financial and drug problems eventually got him a controversial prison sentence. Yet in a sense, his music is now more influential than ever, as his voice and rhythms have been sampled on innumerable hip-hop recordings, and critics have belatedly hailed his innovations as among the most important in all of rock or soul.
Brown's rags-to-riches-to-rags story has heroic and tragic dimensions of mythic resonance. Born into poverty in the South, he ran afoul of the law by the late '40s on an armed robbery conviction. With the help of singer Bobby Byrd's family, Brown gained parole and started a gospel group with Byrd, changing their focus to R&B as the rock revolution gained steam. The Flames, as the Georgian group was known in the mid-'50s, signed to Federal/King and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." By that point, The Flames had become James Brown & the Famous Flames; the charisma, energy, and talent of Brown made him the natural star attraction.
All of Brown's singles over the next two years flopped, as he sought to establish his own style, recording material that was obviously derivative of heroes like Roy Brown, Hank Ballard, Little Richard, and Ray Charles. In retrospect, it can be seen that Brown was in the same position as dozens of other R&B one-shot: talented singers in need of better songs, or not fully on the road to a truly original sound. What made Brown succeed where hundreds of others failed was his superhuman determination, working the chitlin circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge of being dropped from King in late 1958 when his perseverance finally paid off, as "Try Me" became a number one R&B (and small pop) hit, and several follow-ups established him as a regular visitor to the R&B charts.
Brown's style of R&B got harder as the '60s began; he added more complex, Latin- and jazz-influenced rhythms on hits like "Good Good Lovin'," "I'll Go Crazy," "Think," and "Night Train," alternating these with torturous ballads that featured some of the most frayed screaming to be heard outside of the church. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in 1963. Capturing a James Brown concert in all its whirling-dervish energy and calculated spontaneity, the album reached number two on the album charts, an unprecedented feat for a hardcore R&B LP.
Live at the Apollo was recorded and released against the wishes of the King label. It was this kind of artistic standoff that led Brown to seek better opportunities elsewhere. In 1964, he ignored his King contract to record "Out of Sight" for Smash, igniting a lengthy legal battle that prevented him from issuing vocal recordings for about a year. When he finally resumed recording for King in 1965, he had a new contract that granted him far more artistic control over his releases.
Brown's new era had truly begun, however, with "Out of Sight," which topped the R&B charts and made the pop Top 40. For some time, Brown had been moving toward more elemental lyrics that threw in as many chants and screams as they did words, and more intricate beats and horn charts that took some of their cues from the ensemble work of jazz outfits. "Out of Sight" wasn't called funk when it came out, but it had most of the essential ingredients. These were amplified and perfected on 1965's "Papa's Got a Brand New Bag," a monster that finally broke Brown to the white audience, reaching the Top Ten. The even more adventurous follow-up, "I Got You (I Feel Good)," did even better, making number three.
These hits kicked off Brown's period of greatest commercial success and public visibility. From 1965 to the end of the decade, he was rarely off the R&B charts, often on the pop listings, and all over the concert circuit and national television, even meeting with Vice President Hubert Humphrey and other important politicians as a representative of the black community. His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar (heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time"). The lyrics were not so much words as chanted, stream-of-consciousness slogans, often aligning themselves with black pride as well as good old-fashioned (or new-fashioned) sex. Much of the credit for the sound he devised belonged to (and has now been belatedly attributed to) his top-notch supporting musicians such as saxophonists Maceo Parker, St. Clair Pinckney, and Pee Wee Ellis; guitarist Jimmy Nolen; backup singer and longtime loyal associate Bobby Byrd; and drummer Clyde Stubblefield.
Brown was both a brilliant bandleader and a stern taskmaster, the latter leading his band to walk out on him in late 1969. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers featuring guitarist Catfish Collins and bassist Bootsy Collins. Although they only stayed with him for about a year, they were crucial to Brown's evolution into even harder funk, emphasizing the rhythm and the bottom even more. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament-Funkadelic axis.
In the early '70s, many of the most important members of Brown's late-'60s band returned to the fold, to be billed as the J.B.'s (they also made records on their own). Brown continued to score heavily on the R&B charts throughout the first half of the '70s, the music becoming more and more elemental and beat-driven. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Critics charged, with some justification, that the Godfather was starting to repeat and recycle himself too many times. It must be remembered, though, that these songs were made for the singles radio jukebox market and not meant to be played one after the other on CD compilations (as they are today).
By the mid-'70s, Brown was beginning to burn out artistically. He seemed shorn of new ideas, was being out-gunned on the charts by disco, and was running into problems with the IRS and his financial empire. There were sporadic hits, and he could always count on enthusiastic live audiences, but by the '80s, he didn't have a label. With the explosion of rap, however, which frequently sampled vintage J.B.'s records, Brown became hipper than ever. He collaborated with Afrika Bambaataa on the critical smash single "Unity" and reentered the Top Ten in 1986 with "Living in America." Rock critics, who had always ranked Brown considerably below Otis Redding and Aretha Franklin in the soul canon, began to reevaluate his output, particularly the material from his funk years, sometimes anointing him not just "Soul Brother Number One," but the most important black musician of the rock era.
In 1988, Brown's personal life came crashing down in a well-publicized incident in which he was accused by his wife of assault and battery. After a year skirting hazy legal and personal troubles, he led the police on an interstate car chase after allegedly threatening people with a handgun. The episode ended in a six-year prison sentence that many felt was excessive; he was paroled after serving two years.
Throughout the '90s Brown continued to perform and release new material like Love Over-Due (1991), Universal James (1992), and I'm Back (1998). While none of these recordings could be considered as important as his earlier work and did little to increase his popularity, his classic catalog became more popular in the American mainstream during this time than it had been since the '70s, and not just among young rappers and samplers. One of the main reasons for this was a proper presentation of his recorded legacy. For a long time, his cumbersome, byzantine discography was mostly out of print, with pieces available only on skimpy greatest-hits collections. A series of exceptionally well-packaged reissues on PolyGram changed that situation; the Star Time box set is the best overview, with other superb compilations devoted to specific phases of his lengthy career, from '50s R&B to '70s funk.
In 2004, Brown was diagnosed with prostate cancer but successfully fought the disease. By 2006, it was in remission and Brown, then 73, began a global tour dubbed the Seven Decades of Funk World Tour. Late in the year while at a routine dentist appointment, the singer was diagnosed with pneumonia. He was admitted to the hospital for treatment but died of heart failure a few days later, in the early morning hours of Christmas Day. A public viewing was held at Apollo Theater in Harlem, followed by a private ceremony in his hometown of Augusta, GA.
No idea which label had this page blocked, i can only hope it will safe them from financial ruin, meanwhile it's doubtful James Browns heirs will get any of it...not that i think they are entitled to any money James's creative juices brought forth but hey that's a wholly different discussion
xxxxx xxxxx xxxxx xxxxx xxxxx
An astonishing record of James and the Flames tearing the roof off the sucker at the mecca of R&B theatres, New York's Apollo. When King Records owner Syd Nathan refused to fund the recording, thinking it commercial folly, Brown single-mindedly proceeded anyway, paying for it out of his own pocket. He had been out on the road night after night for a while, and he knew that the magic that was part and parcel of a James Brown show was something no record had ever caught. Hit follows hit without a pause -- "I'll Go Crazy," "Try Me," "Think," "Please Please Please," "I Don't Mind," "Night Train," and more. The affirmative screams and cries of the audience are something you've never experienced unless you've seen the Brown Revue in a Black theater. If you have, I need not say more; if you haven't, suffice to say that this should be one of the very first records you ever own.
01 Introduction To James Brown 1:48
02 I'll Go Crazy 2:05
03 Try Me 2:26
04 Think 1:58
05 I Don't Mind 2:39
06 Lost Someone 10:43
07 Medley: Please, Please, Please / You've Got The Power / I Found Someone / Why Do You Do Me / I Want You So Bad / I Love You, Yes I Do / Strange Things Happen / Bewildered / Please, Please, Please 6:26
08 Night Train 3:28
09 Think 2:00
10 Medley: I Found Someone / Why Do You Do Me / I Want You So Bad 2:09
11 Lost Someone 2:41
12 I'll Go Crazy 2:18
xxxxx xxxxx xxxxx xxxxx xxxxx
By 1962, Brown scored a hit with his band with their cover of the instrumental, "Night Train", becoming not only a top five R&B single but also Brown's first top 40 entry on the Billboard Hot 100. Brown scored his first top 20 pop hit with his rendition of the standard, "Prisoner of Love". He also launched his first label, Try Me Records, which included recordings by the likes of Tammy Montgomery, Johnny & Bill and the Poets, which was another name used for Brown's backing band. In 1964, seeking bigger commercial success, Brown and Bobby Byrd formed the production company, Fair Deal, linking the operation to the Mercury imprint, Smash Records. King Records, however, fought against this and was granted an injunction preventing Brown from releasing any recordings for the label. Prior to the injunction, Brown had released three vocal singles, including the blues-oriented hit, "Out of Sight", which further indicated the direction his music was going to take. With a new deal with King, Brown released his composition, "Papa's Got a Brand New Bag", which became his first top ten pop hit and won Brown his first Grammy Award. Later in 1965, Brown issued "I Got You", which became his second single in a row to reach number-one on the R&B chart and top ten on the pop chart. Brown followed that up with the ballad, "It's a Man's Man's Man's World" which confirmed his stance as a top-ranking performer, especially with R&B audiences from that point on. This here then is a record of those days...
01 Night Train
02 Shout And Shimmy LIVE
03 Like A Baby
04 I've Got Money
05 Prisoner Of Love
06 These Foolish Things LIVE
07 (Can You) Feel It - Part 1
08 Lost Someone
09 Signed, Sealed, And Delivered
10 Waiting In Vain
11 In The Wee Wee Hours (Of The Nite)
12 Oh Baby Don't You Weep LIVE
13 Again
14 How Long Darling
15 So Long
16 The Things That I Used To Do
17 Out Of Sight
18 Maybe The Last Time
19 Have Mercy Baby
20 I Got You (I Feel Good)
21 Papa's Got A Brand New Bag - Part 1
22 Ain't That A Groove - Part 1
23 It's A Man's Man's Man's World
24 Money Won't Change You
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There are several worthy James Brown compilations. But this is the one, more than any other, that presents his most fertile and innovative soul and funk material. From 1964's "Out of Sight" through 1969's "Mother Popcorn," this was Brown at the apex of his creativity, turning soul into funk in the mid-'60s, then pushing the rhythm even more to the forefront. Most of his hit singles from this five-year explosion of white heat are on this 27-track, two-CD set, including "Out of Sight," "Papa's Got a Brand New Bag," "I Got You (I Feel Good)," "Say It Loud--I'm Black and I'm Proud," and "Cold Sweat." There are some minor omissions that could be questioned (the absence of the studio version of "Bring It Up," for instance), and big James Brown fans will already have the lion's share of tracks, on the Star Time box and other releases. It does, however, contain minor but significant bonuses: an alternate take of "Cold Sweat," a previously unreleased live medley of "Out of Sight" and "Bring It Up," and a previously unreleased live version of "Licking Stick--Licking Stick." There are also longer versions of "I Don't Want Nobody to Give Me Nothing" (ten minutes!), "I Got the Feelin'," "The Popcorn," and "Brother Rapp" that were edited when they were prepared for official release.
(A Brand New Bag 1964 - 1969)
01 Out Of Sight 2:22
02 Papa's Got A Brand New Bag Pt. 1 & 2 4:16
03 I Got You (I Feel Good) 2:45
04 Money Won't Change You Pt. 1 & 24:15
05 Introduction / Out Of Sight/Bring It Up (Live) 5:54
06 Let Yourself Go 3:57
07 There Was A Time 4:25
08 Cold Sweat Pt. 1 & 2 7:23
09 Get It Together Pt. 1 & 28:57
10 Goodbye My Love Pt. 1 & 2 5:36
11 I Can't Stand Myself (When You Touch Me) Pt. 1 & 2 7:19
12 I Got The Feelin' 3:05
13 The Popcorn 4:30
14 Cold Sweat (False Start) 0:23
15 Cold Sweat (Alternate Take) 6:50
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01 Licking Stick-Licking Stick (Live) 4:15
02 Say It Loud I'm Black And I'm Proud Pt. 1 & 2 4:50
03 Give It Up Or Turnit Loose 4:30
04 You Got To Have A Mother For Me 5:39
05 I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself) 9:43
06 Let A Man Come In And Do The Popcorn Pt. 1 & 2 7:47
07 It's A New Day Pt. 1 & 2 6:25
08 Ain't It Funky Now 9:28
09 Brother Rapp 7:00
10 Funky Drummer Pt. 1 & 2 5:34
11 She's The One 2:59
12 Mother Popcorn (Live) 9:02
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1 comment:
loved waking up on Saturdays to check out your Beats posts. Lots of Respect. Thank You
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