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Breaking away from Savoy Brown to form this band, the members of Foghat knew from the start what sort of record they wanted to make. With heavy emphasis on the hard boogie, Foghat got down to work with the help of Dave Edmunds and crafted a hard rock gem. Covering Chuck Berry's "Maybellene," they goosed the beat up until it was almost a precursor of the heavy metal yet to come. Interspersing covers with original material, they immediately found a place for themselves in the rock world.
Foghat are a British rock band who had their peak success in the mid- to late-1970s. Their style can be described as "blues-rock," dominated by electric and electric slide guitar. The band has achieved five gold records. The group remained popular during the disco era, but their popularity waned in the early 1980s.
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Led Zeppelin III, the third album by English rock band Led Zeppelin, was released October 5, 1970 by Atlantic Records. It was recorded between January and July 1970 at Olympic Studios, London and Headley Grange, East Hampshire, then mixed at Ardent Studios, Memphis in August 1970 during Led Zeppelin's sixth American concert tour. The album was produced by guitarist Jimmy Page and engineered by Andy Johns.
It has been suggested that Led Zeppelin III was something of a watershed release for the band, as it marked a change from Page's domination of the first two albums towards a more democratic affair in which all four group members offered up their own compositions and ideas - a pattern that would continue in future sessions. The album added acoustic and folk rock elements to the band's established rock and blues repertoire, which also helped endear the band to progressive rock fans. However, some detractors attacked the heavier tracks as being mindless noise, whilst the acoustic material was criticised by others for imitating the music of Crosby, Stills, Nash & Young. Although these negative reviews had a slight effect on sales at the time, Led Zeppelin III was still a trans-Atlantic #1 hit. Sales eventually lagged in the wake of Led Zeppelin I and II, but with the passage of time III's reputation has recovered considerably.
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Jefferson Airplane formed in San Francisco during the summer of 1965, emerging from the San Francisco Bay folk music boom (see American folk music revival). Although the Airplane was considered the pre-eminent San Francisco group of the period, Kantner was the only native San Franciscan.
The group's founder was singer Marty Balin, who had established a minor career as a pop singer in the early Sixties and made several recordings under his own name. In mid-1965 Balin raised funds to open a nightclub, The Matrix and met folk musician Paul Kantner at another local club, the Drinking Gourd.
Kantner started out performing on the Bay Area folk circuit in the early 1960s, alongside fellow folkies Jerry Garcia, David Crosby and Janis Joplin, and he has cited folk group The Kingston Trio as a strong early influence. He briefly moved to Los Angeles, California, in 1964 to work in a folk duo with future Airplane/Starship member David Freiberg (who subsequently joined Quicksilver Messenger Service).
Balin and Kantner then set about selecting other musicians to form be the house band at the Matrix. Balin heard female vocalist Signe Toly Anderson at the Drinking Gourd and invited her to be the group's co-lead singer; however Anderson became pregnant with her first child in late 1965, which led to her departure in late 1966.
Kantner next recruited an old friend, blues guitarist Jorma Kaukonen, originally from Washington, DC. Kaukonen had moved to California in the early 1960s and met Kantner while at Santa Clara University in California in 1962. Kaukonen was invited to jam with the new band and although initially reluctant to join, was won over after playing his guitar through a tape delay device that was part of the sound system used by Ken Kesey for his Acid Test parties. The original lineup was completed by drummer Jerry Peloquin and acoustic bassist Bob Harvey.
The origin of the group's name is often disputed. "Jefferson airplane" is slang for a used paper match split to hold a marijuana joint that has been smoked too short to hold without burning the hands - an improvised roach clip . An urban legend claims this was the origin of the band's name, but according to band member Jorma Kaukonen, the name was invented by his friend Steve Talbot as a parody of blues names such as Blind Lemon Jefferson. A 2007 press release quoted Kaukonen as saying:
"I had this friend [Talbot] in Berkeley who came up with funny names for people," explains Kaukonen. "His name for me was Blind Thomas Jefferson Airplane (for blues pioneer Blind Lemon Jefferson). When the guys were looking for band names and nobody could come up with something, I remember saying, 'You want a silly band name? I got a silly band name for you!'"
The group made its first public appearance at the opening night of The Matrix club on 13 August 1965. Peloquin was a seasoned musician whose disdain for the others' drug use was a factor in his departure a few weeks after the group began. Although he was not a drummer, singer-guitarist Skip Spence (who later founded Moby Grape) was then invited to take over.
They drew inspiration from The Beatles, The Byrds and The Lovin' Spoonful, gradually developing a more pop-oriented electric sound. The other members soon decided that Harvey's bass playing was not up to par, so he was replaced in October 1965 by guitarist-bassist Jack Casady, who was an old friend of Kaukonen's from Washington. Casady played his first gig with the Airplane at a college concert in Berkeley, California, two weeks after he arrived in San Francisco.
The group's performing skills improved rapidly and they gained a following in and around San Francisco, aided by reviews from veteran music journalist Ralph J. Gleason, the jazz critic of the San Francisco Chronicle; after seeing the band at the Matrix in late 1965 he proclaimed them "one of the best bands ever." Gleason's support raised the band's profile greatly, and within three months their manager Matthew Katz was fielding offers from record companies, although they were yet to perform outside the Bay Area.
Two significant early concerts featuring the Airplane were held in late 1965. The first was the dance at the Longshoremen's Hall in San Francisco on 16 October 1965, the first of many happenings in the Bay Area, and it was here that Ralph Gleason first saw the Airplane. At this concert they were supported by a local folk-rock group The Great Society, which featured Grace Slick as lead singer. Kantner met her for the first time that night. A few weeks later, on 6 November, they headlined a benefit concert for the San Francisco Mime Troupe, the first of many engagements for rising entrepreneur Bill Graham, who became their manager.
In November 1965 Jefferson Airplane signed a recording contract with RCA Victor, which included an unheard-of advance of $25,000. On December 10, 1965 it played at the first Bill Graham show at the Fillmore ballroom, supported by The Great Society and others, and it also appeared at Family Dog shows promoted by Chet Helms.
The group's first single was Balin's "It's No Secret" (a tune he had written with Otis Redding in mind); the B-side was "Runnin' Round The World", the song that led to the band's first major clash with RCA.
The debut LP Jefferson Airplane Takes Off was completed in March 1966, and Skip Spence quit the band. He was eventually replaced by Spencer Dryden from Los Angeles, who played his first show with the Airplane at the Berkeley Folk Festival on July 4, 1966.
Manager Matthew Katz was fired in August and the legal fallout continued for years. Balin's friend and roommate Bill Thompson was installed as permanent road manager and temporary band manager. Thompson, a friend and ally of the band, was a former Chronicle staffer who convinced reviewers Ralph Gleason and John Wasserman to see the band. Thanks to Gleason's influence, Thompson was able to book the group for appearances at the Berkeley Folk Festival and the Monterey Jazz Festival.
Jefferson Airplane Takes Off was released in September 1966. Folk music
influenced the album, which included John D. Loudermilk's "Tobacco Road" and Dino Valente's "Let's Get Together", as well as original ballads "It's No Secret" and "Come Up the Years." The LP garnered considerable attention in the USA and became a gold album.
RCA initially pressed only 15,000 copies, but it sold more than 10,000 in San Francisco alone, prompting the label to reprint it. It was at this point that the company deleted "Runnin' All Over The World" (which had appeared on early mono pressings), because executives objected to the word "trip" in the lyrics. They also substituted altered versions of two other tracks ("Let Me In" and "Run Around") because of similar concerns. The original pressings of Takes Off featuring "Runnin' 'Round The World" are now worth thousands of dollars.
Signe Anderson gave birth to her daughter in May 1966, and in October announced her departure. Her final gig with the Airplane took place at the Fillmore on 15 October 1966. The following night, her replacement Grace Slick made her first appearance. Slick, a former model, was already known to the band - she had attended the Airplane's debut gig at the Matrix in 1965 and her previous group The Great Society had often supported the Airplane in concert.
Slick's recruitment proved pivotal to the Airplane's commercial breakthrough — she possessed a powerful and supple contralto voice, well-suited to the group's amplified psychedelic music, she was good looking, and her stage presence greatly enhanced the group's live impact.
The Great Society had recorded an early version of "Somebody To Love" (under the title "Someone To Love") as the B-side of the only single, "Free Advice"; it was produced by Sylvester Stewart (soon to become Sly Stone) but it reportedly took more than 50 takes to achieve a satisfactory rendition. The Great Society decided to split in late 1966 and played its last show on September 11. Soon after, Slick was asked to join Jefferson Airplane by Jack Casady (whose musicianship was a major influence) and her Great Society contract was bought out for $750.
The Acid Tests were a series of psychedelic parties held by Ken Kesey in the San Francisco Bay Area during the early 1960's, centered entirely around the use, experimentation, and advocacy of LSD, also known as "acid."
The name "Acid Test" was coined by Kesey, after the term "acid test". He advertised the parties with posters that read, "Can You Pass The Acid Test?", and the name was later popularized in Tom Wolfe's 1968 novel, "The Electric Kool-Aid Acid Test." Musical performances by the Grateful Dead (then the Warlocks) were commonplace, along with black lights, strobe lights, and fluorescent paint. The Acid Tests are notable for their influence on the LSD-based counterculture of the San Francisco area and subsequent transition from the beat generation to the hippie movement.
01. "Blues From an Airplane" (Marty Balin / Skip Spence) – 2:10
02. "Let Me In" (Marty Balin / Paul Kantner) – 2:55
03. "Bringing Me Down" (Marty Balin / Paul Kantner) – 2:22
04. "It's No Secret" (Marty Balin) – 2:37
05. "Tobacco Road" (Clay Warnick) 3:26
06. "Come Up The Years" (Marty Balin / Paul Kantner) - 2:30
07. "Run Around" (Marty Balin / Paul Kantner) – 2:35
08. "Let's Get Together" ( Chester Powers) – 3:32
09. "Don't Slip Away" (Marty Balin / Skip Spence) – 2:31
10. "Chauffeur Blues" (Lester Melrose) – 2:25
11. "And I Like It" (Marty Balin / Jorma Kaukonen) – 3:16
Bonus:
12. "Runnin' 'Round This World" (Marty Balin / Paul Kantner) - 2:25
13. "High Flying Bird" (Billy Edd Wheeler) - 2:35
14. "It's Alright" (Paul Kantner / Skip Spence) - 2:17
15. "Go To Her" (Early Version) (Paul Kantner / Irving Estes) - 4:09
16. "Let Me In" (Original Uncensored Version) (Marty Balin / Paul Kantner) - 3:31
17. "Run Around" (Original Uncensored Version) (Marty Balin / Paul Kantner) - 2:35
18. "Chauffeur Blues" (Alternate Version) (Lester Melrose) - 2:49
19. "And I Like It" (Alternate Version) (Marty Balin / Jorma Kaukonen) - 8:16
20. "Blues From An Airplane" (instrumental - hidden track) - 2:10
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Jefferson Airplane is an American rock band from San Francisco, a pioneer of the psychedelic rock movement.
The Airplane was the 'flagship' act for the burgeoning psychedelic music scene that developed in San Francisco in the mid-1960s. They were the first San Francisco group to perform at a dance concert — the famous 'happening' at the Longshoremen's Hall in October 1965. They were the first to sign a contract with a major record label, the first to appear on national television, the first to score hit records and the first to tour to the US East Coast and Europe.
Throughout the late 1960s Jefferson Airplane was one of the most sought-after (and highly-paid) concert acts in the world, their records sold in great quantities, they scored two US Top 10 hit singles and a string of Top 20 albums, and their 1967 LP Surrealistic Pillow is still widely regarded as one of the key recordings of the "Summer of Love."
1971 was a year of major upheaval for Jefferson Airplane. Grace Slick and Paul Kantner had begun a relationship during 1970 and on January 25, 1971 their daughter China Wing Kantner was born. Grace's divorce from her first husband had come through shortly before this, but she and Kantner agreed that they did not wish to marry.
In March 1971, Airplane's founder and co-lead singer Marty Balin decided to officially leave the band after months of isolation from the others. Although he had remained part of the band's live performances after the band's creative direction shifted from the brooding love songs that he specialized in, an emerging drinking problem, compounded by the evolution of the polarized Kantner/Slick and Kaukonen/Casady cliques, had finally left him the odd-man-out.
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The 3 Albert tracks here are outstanding - Albert in all his funky, string-bending, stage-bantering glory. But if you're buying it for the Albert tunes, you're only getting about 17 minutes of music.
Little Milton is a blues stud in his own right, but not when you can't hear his guitar. What you can hear on this disc is him screaming to the sound guys "gimme some mike!" Unfortunately, he never gets it. The drums, bass, horns, and vocals are there, but that doesn't cut it. Little Milton without the guitar work is Little Milton you can do without! If you're interested, I recommend the albums Little Milton Sings Big Blues ('66) or Grits Ain't Groceries ('69).
Chico Hamilton is an extremely talented jazz drummer and was influential on psychedelic rockers such as Carlos Santana. Some of his music was on the bluesy side of what label-slingers call "soul jazz" and could work alongside some of Albert's stuff. In View is a good 12-minute jam of mostly drums, saxophone, and bass, but it isn't really bluesy and makes me wonder why it was chosen for inclusion on this album.
Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer.
One of the "Three Kings of the Blues Guitar" (along with B. B. King and Freddie King), Albert King stood 6' 4" (192 cm) (some reports say 6' 7") and weighed 250 lbs (118 kg)[1] and was known as "The Velvet Bulldozer". He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church. One of 13 children, King grew up picking cotton on plantations near Forrest City, Arkansas where the family moved when he was eight. He began his professional work as a musician with a group called In The Groove Boys in Osceola, Arkansas. He also briefly played drums for Jimmy Reed's band and on several early Reed recordings. Influenced by blues musicians Blind Lemon Jefferson and Lonnie Johnson, but also interestingly Hawaiian music, the electric guitar became his signature instrument, his preference being the Gibson Flying V, which he named "Lucy".
King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually played right-handed guitars flipped over upside-down so the low E string was on the bottom. In later years he played a custom-made guitar that was basically left-handed, but had the strings reversed (as he was used to playing). He also used very unorthodox tunings (i.e., tuning as low as C to allow him to make sweeping string bends). Some believe that he was using open Eminor tuning (C-B-E-G-B-E) or open F tuning (C-F-C-F-A-D). A "less is more" type blues player, he was known for his expressive "bending" of notes, a technique characteristic of blues guitarists.
He recorded his first disc in 1953 for Parrot Records in Chicago, but it made no impact. His first minor hit came in 1959[1] with "I'm a Lonely Man" written by Bobbin Records A&R man and fellow guitar hero Little Milton, responsible for King's signing with the label. However, it was not until his 1961 release "Don't Throw Your Love on Me So Strong" that he had a major hit, reaching number fourteen on the U.S. Billboard R&B chart. In 1966 he signed with the Stax record label. Produced by Al Jackson, Jr., King with Booker T. & the MGs recorded dozens of influential sides, such as "Crosscut Saw" and "As The Years Go Passing By", and in 1967 Stax released the album, Born Under a Bad Sign. The title track of that album (written by Booker T. Jones and William Bell) became King's best known song and has been covered by many artists (from Cream to Homer Simpson).
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Freddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian, originally recording as Freddy King, and nicknamed "the Texas Cannonball", was an influential African-American blues guitarist and singer. He is often mentioned as one of "the Three Kings" of electric blues guitar, along with Albert King and B.B. King.
Freddie King based his guitar style on Texas and Chicago influences and was one of the first bluesmen to have a multi-racial backing band onstage with him at live performances. He is best known for singles such as "Have You Ever Loved A Woman" (1960) and his Top 40 hit "Hide Away" (1961). He is also known for albums such as the early, instrumental-packed Let's Hide Away and Dance Away with Freddy King (1961) and the later album Burglar (1974), which displayed King's mature versatility as both player and singer in a range of blues and funk styles.
King had a twenty-year recording career and became established as an influential guitarist with hits for Federal Records, in the early 1960s. He inspired American musicians from Stevie Ray Vaughan and Jimmie Vaughan, and others. His influence was also felt in UK, through recordings by blues revivalists such as, Eric Clapton, Peter Green, and Chicken Shack. King died from heart failure on December 28, 1976, at the age of 42.
When King was only six, his mother Ella Mae and his uncle began teaching Freddie guitar. In autumn 1949 King and his family moved from Dallas to the South Side of Chicago. In 1952 King started working in a steel mill, the same year he married fellow Texas native Jessie Burnett, with whom he eventually had six children.
There are significant variations and unresolved confusion over King's use of the surname King. According to his estate, he was named "Freddy King" at birth and his parents were Ella Mae King and J.T.Christian. According to his sister, King had the surname Christian, even after their mother re-married and the family moved to Chicago and that by the mid 1950s he "Freddy Christian", was so musically ambitious that he changed his surname to King, to ride on the coat tails of B.B. King. It is notable that his first name is spelled "Freddy" on his recordings made between 1956 and 1964. From 1968 his name was credited as Freddie King.
Almost as soon as his family had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with guitarist Jimmy Lee Robinson and drummer Sonny Scott. In 1952, while employed at the steel mill, an eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s went on, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including guitarists Jimmy Rogers, Robert Lockwood, Jr., Eddie Taylor, Hound Dog Taylor, bassist Willie Dixon, pianist Memphis Slim, and harpist Little Walter.
In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,", and the B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these same years was also adding rhythm backing and fills to Little Walter's records.
King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was home to Muddy, Wolf, and Walter. The complaint was that Freddie King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. Bassist and producer Willie Dixon, during a late 1950s period of estrangement from Chess, had King come to Cobra Records for a session, but the results have never been heard. Meanwhile, though, King established himself as perhaps the biggest musical force on the West Side. King played along with Magic Sam and supposedly did uncredited backing guitar on some of Sam's tracks for Mel London's Chief and Age labels, though King does not stand out anywhere.
In 1959 King got to know Sonny Thompson, pianist, producer, and A&R man for Cincinnati's King Records and King owner Syd Nathan signed King to the subsidiary Federal label in 1960. King recorded his debut single for the label on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" (again as "Freddy" King). From the same recording session at the King Studios in Cincinnati, Ohio, King cut the instrumental "Hide Away," which the next year reached #5 on the R&B Charts and #29 on the Pop Singles Charts, an unprecedented accomplishment for a blues instrumental. "Hide Away" was originally released as the B-side of "I Love the Woman". "Hide Away" was King's conglomeration of a theme by Hound Dog Taylor and parts by others , such as from "The Walk" by Jimmy McCracklin and "Peter Gunn", as credited by King. The song's title comes from Mel's Hide Away Lounge, a popular blues club on the West Side of Chicago. Willie Dixon later claimed that he had recorded King doing "Hide Away" for Cobra Records in the late 1950s, but such a version has never surfaced.
After their success with "Hide Away," King and Sonny Thompson recorded thirty instrumentals, including "The Stumble," "Just Pickin'," "Sen-Sa-Shun," "Side Tracked," "San-Ho-Zay," "High Rise," and "The Sad Nite Owl". Vocal tracks continued to be recorded throughout this period, but often the instrumentals were marketed on their own merits as albums. During the Federal period King toured with many of the R&B acts of the day such as, Sam Cooke, Jackie Wilson and James Brown, who performed in the same concerts.
King's contract with Federal expired in 1966, and his first overseas tour followed in 1968. King's availability was noticed by producer and saxophonist King Curtis, who had recorded a cover of "Hide Away," with Cornell Dupree on guitar in 1962. Curtis signed King to Atlantic in 1968, which resulted in two LPs, Freddie King Is a Blues Master (1969) and My Feeling for the Blues (1970), produced by Curtis for the Atlantic subsidiary Cotillion Records.
In 1969 King hired Jack Calmes as his manager , who secured him an appearance at the 1969 Texas Pop Festival, alongside Led Zeppelin and others, and this led to King's being signed to Leon Russell's new label, Shelter Records. The company treated King as an important artist, flying him to Chicago to the former Chess studios for the recording of Getting Ready and gave him a backing line-up of top session musicians, including rock pianist Leon Russell. Three albums were made during this period, including blues classics and new songs written by Russell and Don Nix.
King performed alongside the big rock acts of the day, such as Eric Clapton and for a young, mainly white audience, before signing to RSO. In 1974 he recorded Burglar, for which Tom Dowd produced the track "Sugar Sweet" at Criteria Studios in Miami, with guitarists Clapton and slide guitarist George Terry, drummer Jamie Oldaker and bassist Carl Radle. Mike Vernon produced all the other tracks. Vernon also produced a second album Larger than Life with King, for the same label. Vernon brought in other notable musicians for both albums such as, Bobby Tench of The Jeff Beck Group, to complement King.
King had an intuitive style, often creating guitar parts with vocal nuances. He achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side Chicago blues. In his early career he played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-345 guitars, using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style he learned from Jimmy Rogers. He had a relatively more aggressive and creative style of improvisation than others such as, B.B King and Albert King, considered by many to be a more exploratory and less traditional approach.
01. Pack It Up
02. Shake Your Booty Baby
03. Ain't Nobody's Business
04. Woman Across the River
05. Sweet Home Chicago
06. Sugar Sweet
07. TV Mama
08. Gambling Woman Blues
09. Farther on up the Road [Live]
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Wildlife is the third album by the band Mott the Hoople.
It was originally released in 1971; in the UK by Island Records (catalogue number ILPS 9144) and in the US by Atlantic Records (cat. no. SD 8382). After the edgier rock of their first two albums this record has a softer feel (leading to its nickname "Mildlife" among band members). Even Ian Hunter's trio of compositions are introspective, though disarmingly beautiful. For the first (and only) time Mick Ralphs' contributions predominate, leading to an almost country-rock feel.
"Keep a Knockin'" is a shambolic live version, all that was deemed salvageable at the time from a prospective live album recorded at Croydon's Fairfield Halls in 1970. During this song the band also plays "What'd I Say" by Ray Charles, which singer Ian Hunter incorrectly introduces as being written by Jerry Lee Lewis.
Since they had little success and seemed to be going off the tracks, Mott the Hoople was encouraged to produce their third album with anyone that wasn't Guy Stevens. Eventually, they chose themselves, creating a record that is bright and punchy, standing in direct contrast to Mad Shadow's enveloping fog. They wound up with Wildlife, a record that still seems a little transitional, yet is considerably more confident, unified, and enjoyable. Ironically, even if this is a much better record, few songs are as immediately gripping as "Walkin' with a Mountain," but both Mick Ralphs and Ian Hunter turn out some fine rockers, while driving the group toward some interesting territory, like the string-drenched "Waterlow," the country-tinged "It Must Be Love," and the ambling "Original Mixed-Up Kid," or even the surprisingly straight and faithful reading of Melanie's "Lay Down." These give the record a slightly rural feel, lending credence to the title, and the album is unique in Mott's decidedly urban body of work for that very reason — it's lighter, quirkier, and more friendly than the rest. Of course, it didn't widen their audience, and they returned to brutal rock with Brain Capers, but in retrospect it's a charming anomaly in their catalog.
01."Whiskey Woman" (Mick Ralphs) - 3.42
02."Angel of Eighth Avenue" (Ian Hunter) - 4.33
03."Wrong Side of the River" (Ralphs) - 5.19
04."Waterlow" (Hunter) - 3.03
05."Lay Down" (Melanie Safka) - 4.13
06."It Must Be Love" (Ralphs) - 2.24
07."Original Mixed-Up Kid" (Hunter) - 3.14
08."Home Is Where I Want To Be" (Ralphs) - 4.11
09."Keep a Knockin' (Live)" (Richard Penniman) - 10.10
Bonus:
10."It'll Be Me" - 2.58
11."Long Red" (West/Pappalardi/Ventura/Landsberg - 3.47
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Though James Brown and His Famous Flames had scored an R&B Top Ten hit in 1956 with "Please, Please, Please," and Brown's next nine singles for Federal Records flopped but the next, "Try Me," his third single of 1958, scored. That was when King Records (Federal's parent label) assembled this, Brown's debut album, out of some of those singles sessions.
You can hear the sound of a group and its enthusiastic singer looking for a hit, sometimes in the rock & roll of "Chonnie-On-Chon" (1957) or the 1956 B-side "I Feel That Old Feeling Coming On," sometimes by remaking "Please, Please, Please" under another name, such as "I Don't Know" (1956), sometimes by tackling Coasters-like novelty material such as "That Dood It" (1958), sometimes by aping the smooth Sam Cooke, as on the 1958 B-side "That's When I Lost My Heart," and once by rewriting "My Bonnie (Lies over the Ocean)" as the 1958 B-side "Baby Cries over the Ocean." Only the two hits were really memorable, but the album presented the sound of a major star-to-be in search of his sound.
01. Please, Please, Please
02. Chonnie-On-Chon
03. Hold My Baby's Hand
04. I Feel That Old Feeling Coming On
05. Just Won't Do Right
06. Baby Cries Over The Ocean
07. I Don't Know
08. Tell Me What I Did Wrong
09. Try Me
10. That Dood It
11. Begging, Begging
12. I Walked Alone
13. No, No, No, No
14. That's When I Lost My Heart
15. Let's Make It
16. Love Or A Game
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When James Brown and His Famous Flames finally scored a second hit with their 11th single, "Try Me," King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, "I Want You So Bad"/"There Must Be a Reason," "I've Got to Change"/"It Hurts to Tell You," and "Got to Cry"/"It Was You"; the B-side of a fourth follow-up, "Don't Let It Happen to Me"; the 1957 single "Can't Be the Same"/"Gonna Try"; the 1957 B-sides "I Won't Plead No More" and "Messing With the Blues"; the B-side of Brown's first hit ("Please Please Please"), "Why Do You Do Me"; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer. None of it measured up to "Try Me," but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown's greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.)
01. Try Me
02. (You Made Me Love You) I Want You So Bad
03. I Wont Plead No More
04. There Must Be A Reason
05. Why Do You Do Me
06. Ive Got To Cry
07. Fine Old Foxy Self
08. Strange Things Happen
09. Messing With The Birds
10. It Was You
11. Ive Got To Change
12. Cant Be The Same
13. It Hurts To Tell You
14. Youre Mine Youre Mine
15. Gonna Try
16. Dont Let It Happen To Me
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James Joseph Brown (May 3, 1933 – December 25, 2006), commonly referred to as "The Godfather of Soul" and "The Hardest Working Man in Show Business," was an American entertainer recognized as one of the most influential figures in 20th century popular music. He was renowned for his shouting vocals, feverish dancing and unique rhythmic style.
As a prolific singer, songwriter, bandleader, and record producer, Brown was a pivotal force in the evolution of gospel and rhythm and blues into soul and funk. He left his mark on numerous other musical genres, including rock, jazz, disco, dance and electronic music, reggae and hip hop.[5] Brown's music also left its mark on the rhythms of African popular music, such as afrobeat, jùjú and mbalax, and provided a template for go-go music.
Brown began his professional music career in 1953 and skyrocketed to fame during the late 1950s and early 1960s on the strength of his thrilling live performances and string of smash hits. In spite of various personal problems and setbacks, he continued to score hits in every decade through to the 1980s. In addition to his acclaim in music, Brown was a presence in American political affairs during the 1960s and 1970s, noted especially for his activism on behalf of fellow African Americans and the poor. During the early 1980s, Brown's music helped to shape the rhythms of early hip hop music, with many groups looping or sampling his funk grooves and turning them into what became hip hop classics and the foundations of this music genre.
Brown was recognized by a plethora of (mostly self-bestowed) titles, including Soul Brother Number One, Mr. Dynamite, The Hardest Working Man in Show Business, Minister of The New New Super Heavy Funk, Mr. Please Please Please, The Boss, and the best-known, the Godfather of Soul.
In 1955, Brown and Bobby Byrd's sister Sarah performed in a group called "The Gospel Starlighters." Eventually, Brown joined Bobby Byrd's vocal group, the Avons, and Byrd turned the group's sound towards secular rhythm and blues. After the group's name was changed to The Flames, Brown and Byrd's group toured the Southern "chitlin' circuit," and the group eventually signed a deal with the Cincinnati, Ohio-based label Federal Records, a sister label of King Records.
The group's first recording was the single "Please, Please, Please" (1956). The single was a #5 R&B hit, selling over a million copies. Nine subsequent singles released by The Flames failed to live up to the success of their debut, and group was in danger of being dropped by King Records until the group returned to the charts in 1958 with the #1 R&B hit "Try Me." This hit record was the best-selling R&B single of the year, becoming the first of 17 chart-topping R&B singles by Brown over the next two decades. By the time "Try Me" was released on record, the group's billing was changed to James Brown and The Famous Flames. "The Famous Flames" was a vocal group, rather than a backing band contrary to popular belief.
Cover of the landmark Live at the Apollo LP from 1963 Brown's early recordings were fairly straightforward gospel-inspired R&B compositions, heavily influenced by the work of contemporary musicians such as Ray Charles and Little Richard. Richard's relations with Brown were particularly significant in Brown's development as a musician and showman. Brown once called Richard his idol, and credited Richard's saxophone-studded mid-1950s road band, The Upsetters, with being the first group to put the funk in the rock and roll beat. When Richard bolted from pop music in 1957 to become a preacher, Brown filled out Richard's remaining tour dates in his place. Several former members of Little Richard's backup band joined Brown's group as a consequence of Richard's exit from the pop music scene.
In 1959, Brown and The Famous Flames moved from Federal Records to King Records. Brown began to have recurring conflicts with King Records president Syd Nathan over repertoire and other matters. In one notable instance, Brown recorded the 1960 Top Ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, under the pseudonym Nat Kendrick & The Swans (Kendrick was Brown's drummer at that time). Brown recorded the record under a pseudonym for the Dade Records label because Nathan refused to allow him to record it for King Records.
Brown scored on the charts in the early 1960s with recordings such as his 1962 cover of "Night Train." While Brown's early singles were major hits across the southern United States and then regular R&B Top Ten hits, he and the Famous Flames were not successful nationally until his self-financed live show was captured on the 1963 LP Live at the Apollo. Brown financed the recording of the album himself, and it was released on King Records over the objections of label owner Syd Nathan, who saw no commercial potential in a live album containing no new songs. Defying Nathan's expectations, the album stayed on the pop charts for fourteen months, peaking at #2. In addition, Brown recorded a hit version of the ballad "Prisoner of Love" in 1963 and founded (under King auspices) the fledgling Try Me Records, Brown's first attempt at running a record label.
Brown followed the success of Live at the Apollo with a string of singles that, along with the work of Allen Toussaint in New Orleans, essentially defined the foundation of funk music. Driven by the success of Live at the Apollo and the failure of King Records to expand record promotion beyond the "black" market, James Brown and Bobby Byrd formed a production company, Fair Deal, to promote sales of Brown's record releases to white audiences. In this arrangement, Smash Records, a subsidiary of Mercury Records, was used as a vehicle to distribute Brown's music. Smash released his 1964 hit "Out of Sight," which reached #24 on the pop charts and pointed the way to his later funk hits. Its release also triggered a legal battle between Smash and King that resulted in a one year ban on the release of Brown's vocal recordings.
01. Think
02. Good Good Lovin'
03. Wonder When You're Coming Home
04. I'll Go Crazy
05. This Old Heart
06. I Know It's True
07. Bewildered
08. I'll Never, Never Let You Go
09. You've Got the Power
10. If You Want Me
11. Baby, You're Right
12. So Long
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