James Brown - Singles, Vol. 3: 1964 - 1965 CD

Singles, Vol. 3: 1964 - 1965 CD music This two-disc set brings together all the singles James Brown released in 1969 and '70, one of the Godfather's most prolific and artistically fruitful periods. By '69 Brown was deep into hard funk, and had mastered the tight-knit, polyrhythmic arrangements that characterize his best tracks. It's not only that the set contains "Mother Popcorn," "Funky President," and "Talkin' Loud and Sayin' Nothin'," it's that Brown and his infallible band play with ferocious energy and consummate skill on even the loosest jam tracks. Mr. Dynamite's yelps and screeches still have the power to rearrange one's molecules. The inclusion of discarded singles from the era and hard-to-find promotional mixes make this a must for collectors as well. Liner Note Author: Alan Leeds. Arrangers: David Matthews ; Nate Jones; James Razor Brown ; H.B. Barnum; Pee Wee Ellis. Personnel: James Razor Brown (vocals, organ); Alphonso "Country" Kellum, Eddie Setser, Jimmy Nolen, Kenny Poole, Arthur Adams (guitar); St. Clair Pinckney (flute, baritone saxophone); Jimmy McGary (alto saxophone, tenor saxophone); Pee Wee Ellis (alto saxophone, organ); Mike Andres (alto saxophone); Eldee Williams, Les Asch, Maceo Parker (tenor saxophone); Larry Dickson (baritone saxophone); Joe Dupars, Waymon Reed, Conte Candoli, Jerry Conrad, D.A. Brisbois, Marie Speziale, Richard "Kush" Griffith, Frank Brown, Paul Hubinon (trumpet); William Hinshaw, Henry Sigismonti (French horn); Paul Piller, Fred Wesley, Dick Leith (trombone); David Matthews (bass trombone, piano); Levi Rasbury (valve trombone); Frank Vincent, James Vaughn (piano); Don Randi, Timothy Hedding (organ); David Frerichs (vibraphone); Clyde Stubblefield, Ben Barrett, ...

Singles, Vol. 3: 1964 - 1965 songs Track Listing of songs: I Can't Stand Myself; There Was a Time; Soul of J.B., The; Funky Soul #1; You've Got to Change Your Mind; Bringing Up the Guitar; Gittin'a Little Hipper; I Got the Feelin'; If I Ruled the World; You've Got the Power; Shhhhhh; Here I Go; America Is My Home; America Is My Home; Licking Stick Licking Stick, Pt. 1; Licking Stick Licking Stick; Licking Stick Licking Stick; Licking Stick Licking Stick; There Was a Time; I Guess I'll Have to Cry, Cry, Cry; Just Plain Funk; I Guess I'll Have to Cry, Cry, Cry; DISC 2: Say It Loud, I'm Black and I'm Proud; Say It Loud, I'm Black and I'm Proud; Maybe Good Maybe Bad; Maybe Good Maybe Bad; Goodbye My Love; Shades of Brown; Shades of Brown; Santa Claus Go Straight to the Ghetto; You Know It; Tit for Tat; Believers Shall Enjoy; Let's Unite the Whole World at Christmas; In the Middle; In the Middle; Little Green Apples; Come on in the House; Give It Up or Turnit a Loose; I'll Lose My Mind; Soul Pride; Soul Pride; You Got to Have a Job;

Singles, Vol. 3: 1964 - 1965 album for sale The singles included on this collection represent the period when the Godfather of Soul was coming fully into his own. By 1966 he had definitively cast off all remnants of the '50s-style R&B that influenced him and cropped up in his early-'60s recordings. On such tunes as the immortal "Cold Sweat," "Get it Together," and "Ain't That a Groove," one can hear the sound of James Brown as we know and love it today coming into full flower. The percolating, polyrhythmic, on-the-one grooves, the modal song structures, and of course Brown's unfettered vocal exhortations (not to mention his fabulously funky organ work)--it's all here in one neat package, vital funk for the ages and for your ears (and feet). Personnel: James Brown (vocals, piano, organ); Eldee Williams (vocals, tenor saxophone); Vicki Anderson (vocals, background vocals); Wallace Richardson, Bobby Roach, Jimmy Nolen, Lonnie Mack, Alfonzo Kellum, Troy Seals, Billy Butler, Carl Lynch (guitar); Ray Castillo, Ron Konieczka, Herman Wasserman, Joe Sherman (violin); Nat Jones (alto saxophone, organ); James McGary, George Dorsey (alto saxophone); Clifford Jordan, Alfred "Pee Wee" Ellis, Maceo Parker, Jr., Alfred Corley, J.C. Davis , Sam "The Man" Taylor , Seldon Powell, St. Clair Pinckney, Kiane Zawadi (tenor saxophone); Charles Carr, Haywood Henry (baritone saxophone); Levi Rasbury (trumpet, valve trombone); Joe Dupars, Waymon Reed, Reunald Jones, Fielder Floyd, Denny Bayliss, Dick Coghill, Johnny Grimes, Dud Bascomb, Ernie Royal, Frank Brown , Lamar Wright, Ron Harper (trumpet); Garnett Brown, Jimmy Cleveland, Richard Harris (trombone); Ernie Hayes (piano, organ); Albert Dailey, Jr., Sonny Thompson (piano); Bernard Odum, David "Hooks" Williams, Jimmy Tyrell, Al Lucas, Michael Moore (bass guitar); Clyde Sutbblefield, Jimmie Robinson, John Starks, Nat Kendrick, Panama Francis, Bernard "Pretty" Purdie (drums); Ron Selico (bongos); Grace Ruffin, Margie Clark, Sandra Bears, Dee Watkins, Gigi Griffin, Irene Vinegar, Johnny Terry, Lloyd Stallworth, Martha High, Bobby Bennett, Bobby Byrd (background vocals). Audio Remasterer: Seth Foster.

Singles, Vol. 3: 1964 - 1965 buy CD music Hip-O Select, the Internet mail-order arm of Universal Music Group's Hip-O reissue subsidiary, begins a James Brown series with The Singles, Vol. 1: The Federal Years: 1956-1960, which presents the A- and B-sides of Brown's 45s in chronological order by release date as issued originally on Federal Records, a division of the Cincinnati-based King Records label long since absorbed by Universal. Included are 18 regular Brown singles, along with an instrumental disc, "Doodle Bee"/"Bucket Head," credited to James Davis (Brown's saxophonist J.C. Davis); an experimental stereo single of two previously released songs, "I've Got to Change" and "It Hurts to Tell You," turned into stereo by shoving the original music onto one track and adding overdubs on the other; and a very scratchy demo of "Try Me," the song that revitalized Brown's career after a series of commercial flops. The start of that career as a recording artist is heard on the opening song, "Please, Please, Please," which Brown, Bobby Byrd, Johnny Terry, Sylvester Keels, and Nashpendle Knox thought they were recording on February 4, 1956, as the Flames, a vocal group with Brown on lead, only to find that when it was issued on March 3, 1956, it was credited to "James Brown with the Famous Flames." The result was a Top Five R&B hit, and the credit stayed for the next five non-charting singles until the four other vocalists left and one single, "Messing with the Blues"/"Love or a Game," was credited to Brown alone. Then, starting with "You're Mine, You're Mine"/"I Walked Alone," the credit was "James Brown & the Famous Flames," the secondary name now arbitrarily applied to whatever singers and musicians were backing Brown. None of this had any impact on the charts until "Try Me" came out on October 13, 1958, and hit number one R&B. That song comes at the start of the second disc here, so most of the first finds Brown looking for another hit to follow "Please, Please, Please," sometimes by simply copying it ("I Won't Plead No More," "Begging, Begging"), sometimes by aping other popular styles such as early rock & roll ("Chonnie-On-Chon"), the story songs of the Coasters ("That Dood It"), or doo wop ("That's When I Lost My Heart"). With "Try Me," Brown began to figure out his own sound, although his chart success remained hit-or-miss, with "I Want You So Bad," "I'll Go Crazy," "Think"/"You've Got the Power," and "This Old Heart" achieving placings, but other discs failing. Some of those discs were worthy, notably "Good Good Lovin'," but this collection, which contains all but five of the tracks Brown cut during the four-year period (the others turned up later on King 45s and LPs), remains a collector's effort, which makes sense given the price and limited availability. ~ William Ruhlmann

Singles, Vol. 3: 1964 - 1965 songs In between the release of the first collection of James Brown singles by the Internet mail-order imprint Hip-O Select (The Singles, Vol. 1: The Federal Years: 1956-1960) on September 26, 2006, and the appearance of this second volume on March 27, 2007, Brown died on Christmas Day, 2006, at the age of 73. That tragic event doesn't affect the reissue campaign, except to accentuate its importance. The Singles, Vol. 2: 1960-1963 picks up the story of Brown's 45 rpm releases at the point when he switched from the Federal Records subsidiary of Cincinnati-based independent King Records to the main label. The promotion signaled a change in his approach. Now a steadily touring act on the chitlin circuit with a show that showcased his backup band, he treated his recordings as an adjunct to his live work. He helped the company coffers by agreeing to cut songs for which King owned the publishing. He was allowed to record instrumentals on which the artist credit read, "James Brown Presents His Band." And he continued to develop original compositions, although increasingly these seemed to consist of riffs he had worked up with the band during shows, over which he improvised some chanted lyrics. But his days of searching for hits were over; of the 40 A- and B-sides on this album, 13 made the Billboard R&B and/or pop charts, the most successful being "Baby, You're Right" (number two R&B, number 49 pop), "Lost Someone" (number two R&B), "I Don't Mind" (number four R&B, number 47 pop), "Night Train" (number five R&B, number 35 pop), and "Prisoner of Love" (number six R&B, number 18 pop). He was not unaffected by popular trends: "Shout and Shimmy" (number 16 R&B, number 61 pop) was a thinly veiled remake of the Isley Brothers' "Shout," for example. But he was also ambitious. The cover of Johnny Otis' "Every Beat of My Heart" (the B-side of the number 24 R&B hit "Like a Baby") was a jazzy instrumental featuring Brown on organ, one of many such tracks to be found here. "Prisoner of Love," a much transformed cover of a 1931 song that had been a hit for Russ Columbo and Perry Como, featured a string section and a chorus, as did a version of "These Foolish Things" (number 25 R&B, number 55 pop). Still, Brown's future was not as another Jimmy Smith or as a pop balladeer. During the period when he was cutting these singles, he recorded (October 24, 1962) and released (May 1963) his Live at the Apollo LP, which established him as an R&B and even a pop star who was more important than any one song he might perform. Singles like "Night Train" and "Mashed Potatoes U.S.A." (number 21 R&B, number 82 pop) actually pointed the way forward, with Brown reciting tour itineraries in a raspy, excited voice over the dance rhythms. By the end of this period, he was the James Brown who would be familiar to fans ever afterward. ~ William Ruhlmann

Singles, Vol. 3: 1964 - 1965 album for sale THE SINGLES VOLUME SEVEN: 1970-1972 documents the point when James Brown chose to fire his veteran band and tap a then-unproven Cincinnati combo led by brothers/future funk legends Phelps "Catfish" Collins on guitar and and William "Bootsy" Collins on bass. The fiery new JB's helped deliver some of the Godfather of Soul's most enduring hits, including the iconic "Get Up I Feel Like Being a Sex Machine," "Super Bad," and "Hot Pants." The two-disc set collects every Brown single of the era, including multiple versions of the aforementioned classics and unusual detours like a jazzy cover of Blood, Sweat & Tears' "Spinning Wheel."