JAMES BROWN~KING 771~NIGHT TRAIN~TRUE STEREO~US ORIG~NM

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JAMES BROWN

and the famous flames

NIGHT TRAIN

"JUMP AROUND"

RARE 1963 US TRUE STEREO US KING

SUPER THICK VINYL

BLUE & SILVER LABEL

ONLY STEREO VERSION

KING

771

• RARE "TRUE STEREO" ORIGINAL SUPER THICK VINYL 1963 US ORIGINAL PRESSING on the DEEP GROOVE blue "silver letter" KING stock label (see photo). This is the only way to obtain the true stereo version of "NIGHT TRAIN" on lp. You will not be able to listen to the mono versions of these James Brown gems once you hear the WIDE-ANGLE true stereo versions. The fidelity is truely incredible. Do not be fooled by the re-channelled language on the cover there are six TRUE STEREO songs including a killer WIDE-ANGLE TRUE STEREO "Night Train". No James Brown vinyl collection is complete without this STEREO LP and the TRUE STEREO King 780 (see my other listing).
• The LP is pressed on very thick non flexible KING vinyl (see photos).
• The TRUE STEREO ORIGINAL ANALOG mixes are full bodied with incredible fidelity and are much more desirable than any MONO or later pressings.
• This early KING cover is manufactured from thick American style cardboard stock with a pasted on back paper slick (see photos).
• Do not be fooled by inferior digital re-mastering, re-mixes or compilation CD's. This is an original STEREO ANALOG recording; the real thing.

"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 James Brown has earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians have been so influential on the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show; Brown's performances were marvels of athletic stamina and split-second timing.

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 American black music. He was one of the figures most responsible for turning R&B into soul; he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. Since the mid-'70s, he's done 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 were sampled on innumerable rap and 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 were known in the mid-'50s, were signed by Federal/King, and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." By now the Flames had become James Brown & the Famous Flames, the charisma, energy, and talent of Brown making 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-shots; 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, as 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, it reached number two in 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 these kinds of artistic standoffs 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 which threw in as many chants and screams as 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 now 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) 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.(AMG)

This LP has an incredible track line up and does not come up often in the 1963 rare true stereo version WITH SUPER THICK VINYL and the blue stereo KING labels. I'll let the market decide what this one is worth. Please bid accordingly. Please see the other JAMES BROWN LP's I have up for Auction.

Record Condition: Side 1 & 2: Near Mint Minus ...the SUPER THICK non flexible DEEP GROOVE vinyl has FULL LIKE NEW GLOSS and looks almost unplayed. The wide-angle stereo mix of "NIGHT TRAIN" is truly incredible. The beautiful blue KING labels are clean with almost no wear around the spindle holes (See photos). The matrix numbers in the dead wax are KSD-12-771-A-1 on side one and KSD-12-771-B-1 on side two. CD's and later vinyl pressings can't even come close to the incredible fidelity of this ORIGINAL true stereo KING LP.

Cover/Jacket Condition: Very Good+/Very Good ... the purple front cover has light wear along the bottom edge and a drill hole in the upper corner (see photo). The back cover is also nice with only light aging wear (see photo). The top and bottom seams are intact and sharp other than at the top opening corner which is beginning to split. The spine is intact and lettering sharp (see photo). No writing, age yellowing, cut corners, indents, saw marks, razor marks, stickers, stamps, warping, bar codes, stains, water damage, tears, or peel off marks. Please see the photos in the listing.

Thanks for looking!!!

WHY BID ON THIS ITEM?

HERE'S WHY!

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