JAMES BROWN - SUPER BAD (KING 1971) Jap mastering cardboard sleeve

Super Bad (the song) originally released as a three-part single & it went to number one on the soul singles chart and number 13 on the Hot 100. The song's lyrics include the refrain "I've got soul and I'm super bad." The positive use of the word "bad" is an example of linguistic reappropriation, which Brown had done before in "Say It Loud - I'm Black and I'm Proud".
The song includes a tenor saxophone solo by Robert McCollough, during which Brown yells "Blow me some Trane, brother!"
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James Brown re-recorded "Super Bad" for this 1971 album of the same name.
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"SUPER BAD"
Watch me! Watch me! I got it! Watch me!
I got it! Yeeaah!
I got somethin' that makes me wanna shouta!
I got somethin' that tells me what its all about
Huh! I got soul an I'm super bad
I got soul, huh, and I'm super bad, huh!
Now I got a move that tells me what to do
Sometimes I tease
Now I gotta move that tells me what to do
Sometimes I feel so nice I wanna try
Myself with you, huh! uh!
I got soul and I'm super bad, huh!
I'm a lover, I love to do my thing ha
An a, an I don't need no one else
Sometimes I feel so nice, good Lord!
I jump back, I wanna kiss myself!
I've got soul, huh, and I'm super bad, HEY!
I said I'm super bad

Come on, up and down an
Round an round, up and down, all around
Right on people, huh, let it all hang out
If you don't brothers and sisters, then you won't know
Ha! what it's all about, gimme, gimme, gimme, gimme
Gimme, gimme, gimme, YEEAAH! AACCKK!
Uh, come on

I got the somethin' that makes me wanna shout
I got that thing, tell me what it's all about
I got soul, ha, and I'm super bad, heh!
Got the move that tells me what to do
Sometimes I feel so nice, I said
I wanna tie myself to a fuse, huh, I
I, I, I got soul, heh, and I'm super bad

Hit me! up and down and all around
Right on people, heh, let it all hang out
If you don't brothers and sisters, then you won't know
A what it's all about, gimme, gimme, gimme, gimmie
AAAAAAAAYYYYYYYYYEEEEEEEEEEE!
Uh! come on! come on rap it, come on brother
Do the rap it, how about me some trains brother
Hey! gimme!, huh! gimme! uh! gimme, gimme
Some super bad, a super bad brother, ha! heh!
Super bad uh! come on dance it, come on
Super bad, jab, good Lord! super bad
Mercy, huh! let me hear ya, super bad.......
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JAMES BROWN - IT'S A NEW DAY LET A MAN COME IN (KING 1970) Jap mastering cardboard sleeve

Further genius from James Brown at the start of the 70s – a record that's starting to show some of the more open-ended grooves he'd explore with the JBs on their own albums – longer, stretched-out tracks that are way more than simple funk and soul! There's a sense of freewheeling energy here that's totally great – dynamic, powerful calls from James at the top of most tunes – and incredibly sharp work on horns and rhythm from the band – cutting grooves and turning lines like no other combo in the business, all with a great mix of deep soul and hard funk! The album features the 7 minute killer version of "Let a Man Come In & Do The Popcorn", plus "World (parts 1 & 2)", "It's A New Day (parts 1 & 2)", "Give It Up or Turn It Loose", "If I Ruled The World", "The Man In The Glass (part 1)", and "I'm Not Demanding (part 1)". A treasure trove of funk and soul! [Dusty Groove America]
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MUDDY WATERS - SINGS "BIG BILL" (CHESS 1960) Jap mastering cardboard sleeve

In 1960, when Muddy Waters recorded this album as a tribute to Big Bill Broonzy two years after Broonzy's death, he could be sure of Broonzy's approval. "Oh yeah, Muddy is a real singer for the Blues," Big Bill, the Mississippi foundation stone, was heard to say early on in Muddy Waters' career. Full of confidence after a Best Of compilation released on the Chess label in 1959 and his legendary appearance at the Newport Folk Festival, Muddy set down his own Broonzy songs. It goes almost without saying that such successful numbers as "I Feel So Good" and "Tell Me Baby" are overflowing with a Chicago feeling that gets right under your skin. Muddy's backing band includes Otis Spann, James Cotton and Willie "Big Eyes" Smith.[acousticsounds.com]
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MUDDY WATERS - THE REAL FOLK BLUES (CHESS 1965) Jap mastering cardboard sleeve

It's hard to talk about Muddy Waters without resorting to superlatives. While the songs on Real Folk Blues can be described as standard blues--and over the years, many of them became blues standards--Muddy Waters simply did them the best. Maybe it's that there's never a note out of place, yet Muddy makes it sound easy; or maybe it's that baritone voice. Or maybe it's the magical pairing of Muddy the player and Willie Dixon the songwriter, which produced "Mannish Boy," "Walking Blues," "Same Thing," and more. Whatever it is, it's on this album--blues music so real you can taste it. --Genevieve Williams
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SONNY BOY WILLIAMSON - BUMMER ROAD (CHESS 1969) Jap mastering cardboard sleeve + 4 bonus

This album by the Rice Miller fellow who called himself Sonny Boy Williamson -- in other words, the Mississippi harmonica player rather than the Tennessee harmonica player -- may have been one of the best volumes in the grim-looking series of single-album reissues and collections Chess put out before switching to double-album sets. Those who enjoy both blues and the film noir style will enjoy the graphic design of these albums, which often sported singularly unattractive photography of the artists. The grainy, out-of-focus picture of Williamson that fills this front cover is no exception; in fact, in a way, it established the rule. It isn't that he looks mean, he just looks like he could care less. Such a look of indifference has perhaps never before been captured by the camera. It could easily have been taken during some of the discussion that occurs between the artist and his producers during the recording of a song called "Little Village." It was the reissue producer's decision to put an entire 11 minutes of takes, re-takes, and related arguing on the first side of this collection, complete with a severe warning that the proceedings are not suitable for airplay. Blues fans rushed to this track immediately, and were not disappointed in the slice of recording-studio life that is revealed here. Far better than Frank Zappa's secretly recorded band discussions and arguments, this is one of the best examples of enlarging the scope of a musical track by adding auxiliary material that wasn't originally meant for release. Bless T.T. Swan for compiling this series, and giving us this view of the "Little Village," such a profound moment that an all-star rock band eventually named itself after the track. There's lots of other great stuff here as well; really, every track is a burner. Robert Jr. Lockwood is here on lead guitar, playing from the heart in his style of that era, not as jazzy as what would come later but hardly just a bunch of stock blues licks. "Temperature 110" is fantastic, a totally believable sizzler. "Santa Claus Blues" is many listeners' favorite Sonny Boy Williamson track, after which one can never rummage through a room looking for hidden booty without hearing harmonica riffs in the background. Other great tracks include "Open Road" and "This Old Life." Quite a bit of this material was released for the first time in this set, certainly one the blues fans will want to sail off to that desert island with. [allmusic]
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