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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JULIE LONDON - WITH BODY & SOUL (LIBERTY 1967) Jap mastering cardboard sleeve

Short Bio
A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck and Rock Hudson in various films, and was married to Jack Webb of Dragnet fame for seven years before marrying songwriter Bobby Troup ("Route 66"). London performed her biggest hit, "Cry Me a River," in the Jayne Mansfield film The Girl Can't Help It. After recording her last album, Yummy, Yummy, Yummy, in 1969, she continued to act -- playing a nurse on the NBC medical drama Emergency from 1974-1978. Despite her "sex symbol" image -- London was known for her sexy LP covers, which make them collector's items -- she was surprisingly shy, and left show biz altogether in the late '70s. In the mid-'90s London suffered a stroke, which led to a half-decade of poor health and ultimately contributed to her death on October 18, 2000.
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This is one of my favorites!
Just a soft touch of the blues by the talented smoky-voiced Miss London and the magic spreads throughout the album.
Great!!!..Just Great!!
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LES McCANN & EDDIE HARRIS - SWISS MOVEMENT (ATLANTIC 1969) Jap mastering cardboard sleeve + 1 bonus

When Les McCann interpolates the melody of "Age of Aquarius" in the introduction to "Compared to What," one sits back and says, "Ah yes, 1969." But he more than pulls it off, leading into a rambunctious and utterly infectious rendition of the classic piece, replete with exhortations of "Sock it to me!" This piece, written by Gene McDaniels, has to be one of the masterpieces of jazz-pop and the album could be recommended for its inclusion alone. Happily, the remainder of this live set, recorded at the Montreux Jazz Festival in Switzerland (originally released on Atlantic), follows a similarly joyful and funky path, even if the group never quite scales the same heights. Saxophonist Eddie Harris' "Cold Duck Time" is as down-home as its title, and McCann's wincingly named "The Generation Gap" is as relaxed and cool as a lakeside breeze. Harris brings a needed tinge of free playing to the band, erupting into the occasional impassioned snarl while never neglecting the soulful roots. Trumpeter Benny Bailey also deserves special mention, his every contribution sharp and to the point. Altogether a fine recording, providing a shining example of what could be achieved in the soul-jazz genre without giving in to slickness in the slightest.[allmusic]
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CLARENCE WHEELER & THE ENFORCERS - THE LOVE I'VE BEEN LOOKING FOR (ATLANTIC 1971) Jap mastering cardboard sleeve

The second fantastic album from Chicago saxophonist Clarence Wheeler and his hard-hitting Enforcers combo – a group who were one of the brightest lights in soul jazz at the start of the 70s, really helping to keep the genre fresh and exciting! The groove here is in the tenor/organ mode first popularized in the 60s – but the overall sound is a lot more expansive, and filled with unusual time changes, complicated rhythms, and inventive solo work that go way beyond more familiar albums of this nature on Prestige or Blue Note! Sonny Burke is the organist in the group, and he's got a touch on the keys that's a lot like Jack McDuff at his best – filled with great sounds and unusual notes that always keep things interesting. Added to that is trumpet from Sonny Covington, guitar from Eric Gale, and tenor from Wheeler – all vamping and grooving in an amazing way! There's a bit of the Charles Earland sound from the same period going on here – and like Earland, the group have a great way of keeping things slightly funky, even when mellow! Titles include a great version of "Broasted or Fried", Charles Earland's "Mighty Burner", Jack McDuff's "The Heebie Jeebie Dance", plus "We've Only Just Begun" and "The Love I've Been Looking For".[Dusty Groove America]
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JUNIOR MANCE - WITH A LOTTA HELP FROM MY FRIENDS (ATLANTIC 1970) Jap mastering cardboard sleeve

Short Bio
Junior Mance is well-known for his soulful bluesy style, but he is also expert at playing bop standards. He started playing professionally when he was ten. Mance worked with Gene Ammons in Chicago during 1947-1949, played with Lester Young (1950), and was with the Ammons-Sonny Stitt group until he was drafted. He was the house pianist at Chicago's Bee Hive (1953-1954), worked as Dinah Washington's accompanist (1954-1955), was in the first Cannonball Adderley Quintet (1956-1957), and then spent two years touring with Dizzy Gillespie (1958-1960). After a few months with the Eddie "Lockjaw" Davis/Johnny Griffin group, Mance formed his own trio and has mostly been a leader ever since. He has led sessions for Verve, Jazzland, Riverside, Capitol, Atlantic, Milestone, Polydor, Inner City, JSP, Nilva, Sackville, and Bee Hive, among other labels.
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"Funky breaking piano! Although Junior Mance has made some pretty mellow albums in his time, this is a great record of funky piano tracks – with a nice groove that puts it in a Three Sounds/Young Holt camp! The highlight of the record is the great "Well, I'll Be White Black", which starts with a great breakbeat – but there's a number of other great tracks, like "Thank You Falletin Me Be Mice Elf Again", "Spinning Wheel", and "Home Groovin". Players include Eric Gale, Chuck Rainey, and Billy Cobham – but Junior's piano is the hard, heavy star of the record!" [Dusty Groove America]
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ISLEY BROTHERS - GIVIN' IT BACK (T-NECK 1971) Jap mastering cardboard sleeve

Givin' It Back is as much a time capsule as an album. Not that it can't be enjoyed on its own absolute musical terms by someone just off a boat who wasn't even around in 1971, but to really appreciate how daring it was and how delightful it is, that side of its history should be known. Those who are old enough should recall the time whence it came, an era in which hatred and disunity over the Vietnam War, civil rights, school desegregation, the environment, and a multitude of other issues were threatening what seemed, potentially, like the beginning of a new civil war, this one not between states but between factions and ethnic and racial groups in 1,000 individual neighborhoods. The opening cut of Givin' It Back, "Ohio/Machine Gun," is a slap-in-your-face reminder of just how angry the times and the people were. The track evokes instant memories of the campus bloodshed of 1970, not just at Kent State but also the often-forgotten killings a few days later at Jackson State University in Mississippi, where the victims of a fusillade of sheriff's deputies' bullets were black students. More than that, the track itself is also a reminder of the divisions that existed on the left; to listen to pundits on the right, the anti-war and civil rights movements, along with the counterculture, were all part of one vast, organized, calculated left-wing conspiracy. The truth is that there was nearly as big a split, culturally and politically, between young blacks and young whites on the left and on college campuses as there was anywhere else in the population. Blacks reacting to years of oppression had little use for mostly middle-class white college students, however sympathetic many of them purported to be to their situation, while well-meaning white students and activists couldn't begin to know what privation of the kind experienced by blacks and Hispanics in most American towns and cities was. In music, too, there was a lot of division; blacks usually didn't resonate to the top artists in the white world and, in particular, were oblivious to (and even resentful of) the adoration accorded Jimi Hendrix by the white community. So, when the Isley Brothers -- whose appeal among black audiences was unimpeachable -- opened Givin' It Back with a conflation of Neil Young's "Ohio" and Jimi Hendrix's "Machine Gun," they were speaking to anger and bloodshed in the streets, but they were also performing an act of outreach that was about as radical as any they could have committed on record in 1971. That they incorporated a prayer into their reformulation of the two songs, amid Ernie Isley's and Chester Woodard's guitar pyrotechnics, turned it into one of the most powerful and personal musical statements of its era, and it's worth the price of the album just for the one cut. Givin' It Back is filled with virtues of that kind, however; it was the first Isley Brothers album to rely entirely on outside material, but the group's reworkings of songs by James Taylor ("Fire and Rain") and Stephen Stills ("Love the One You're With") show no lack of originality. They're unafraid to take the song apart and rebuild it from the ground up, smoothing Bob Dylan's "Lay Lady Lay" into a sensual soul ballad, turning the James Taylor number into a sweaty, earnest shouter, and transforming War's "Spill the Wine" into an extended workout for voices, electric guitars (several layers deep), flute, and percussion. The album was also an early showcase for Bill Withers, whose funky blues "Cold Bologna" is covered by the group with the composer -- who was about to emerge as a major star in his own right -- on guitar. And the closer, "Love the One You're With," is sent soaring to heights that the Stephen Stills original could only gaze up at. Givin' It Back is often held at arm's length by soul listeners, who don't regard it as central to what the Isley Brothers or their music are about; on the contrary, the group is so successful at remaking all of the songs here their own in style and approach and sending careful messages (alas, largely lost with the passage of time) in their selection as well as their content, that it really represents a lot of what the Isley Brothers and soul music were about in 1971, and it's still great listening. Reissued by Sony with new notes, and worth every cent of its list price.[allmusic]
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