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A complement to the 50th anniversary release of Live at Home With His Bad Self (which itself is an expansion of a 1969 live show that was heavily edited into the LP 'Sex Machine'), this RSD Black Friday exclusive is the after-show set, featuring extended versions of rare (released) cuts, new mixes, a duet with Marva Whitney and some revealing stage patter.
Side 1: 1. “Baby Here I Come (false start & complete take)” 2. “Spinning Wheel (take 1)” 3. “Spinning Wheel (take 2)”
Side 2: 1. “Rehearsal” 2. “Respect” 3. “A Talk With James Brown/You Got To Have A Job” 4. “Fat Wood (rehearsal)” 5. “Fat Wood”
October 1, 1969, in Augusta, GA, was a homecoming for James Brown. His and his band's smoking performance at the city's Bell Auditorium was captured on tape, with an intention to make an album of the show the cornerstone of a move back to his roots. Live at Home With His Bad Self was scheduled as a lucrative holiday release. But JB and that band broke up. Soul Brother No. 1 called in a new, young band, featuring Bootsy Collins, and within a few weeks they recorded the funk anthem 'Sex Machine.' With the single flying up the charts and no album to promote along with it, JB scrapped the planned Live at Home album. He instead doubled down on a Sex Machine album, a part-live 2LP set that included a portion of the Augusta show. Now, finally, as James Brown intended: the full show with his celebrated '60s band. Live at Home With His Bad Self arrives on its 50th anniversary newly mixed with seven unreleased performances that even include two actual live instrumentals, 'Lowdown Popcorn' and 'Spinning Wheel,' that were on the original LP in studio recordings with fake applause. The package includes an essay by former James Brown tour manager and publicist Alan Leeds, a Grammy-winner who is also the co-producer of the album.
As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of the modern technological trappings, the Budos pick up where they left off with 2014s Burnt Offering, and finds the group expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.
Black Pumas has announced their highly anticipated debut album set for release on June 21. The band is led by the creative partnership between Grammy Award-winning guitarist / producer Adrian Quesada and 27-year-old songwriter Eric Burton. Burton is a relative newcomer who arrived in Austin in 2015 after busking his way across the country from Los Angeles, while Quesada has a storied reputation for playing in bands like Grupo Fantasma and Brownout.
After the two connected via friends in the Austin scene, they began to collaborate on a new sound that transmutes soul into something idiosyncratically modern. Reminiscent of Ghostface Killah and Motown in equal measure, this original sound ensured that Black Pumas’ weekly residency at C-Boys quickly became “the hottest party in town” (Austin-American Statesman).
You’re The Man is the first-ever planned “lost” Tamla/Motown album from Marvin Gaye. 15 of the album’s 17 tracks make their vinyl debut and three tracks are newly mixed by SaLaAM ReMi. The album also includes a rare long LP version of Marvin Gaye’s cancelled Christmas single, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin’s biographer, David Ritz. You’re The Man was the album originally proposed to follow-up the monumental What’s Going On. The release coincides with the 60th anniversary of the Motown label and also Marvin Gaye’s 80th Birthday (April 2).
The 3rd album from pop sensation Ariana Grande, ‘Dangerous Woman’ is available once again on vinyl! Features the hit songs “Dangerous Woman,” “Be Alright” and “Into You”, with guest appearances by Nicki Minaj, Lil Wayne, Macy Gray and Future.
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In the fall of 2012, Jones left his small-town in Louisiana for the foothills of Indiana. Alto saxophone in tow he enrolled in the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications—comprised of Aaron Frazer (drums), Blake Rhein (guitar), Kyle Houpt (bass) and Justin Hubler (organ). Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings re-cording into the early hours of the morning. With comparisons from Charles Bradley and Lee Fields to Al Green, the only thing that separates this band from those greats is their youth. Having now taken their raucous live show all across the US, the band have galvanized a following that are ready to take them to the next level.
This June, The Prince Estate, in partnership with Warner Bros. Records and TIDAL, will release Originals, a 15-track album featuring 14 previously unreleased recordings that illuminate the vital, behind-the-scenes role Prince played in other artists' careers. The tracks were selected collaboratively by Troy Carter, on behalf of The Prince Estate, and JAY-Z.
By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he'd composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Occasionally, Prince's original demo recordings would be used as master takes on their albums, with only minor alterations to the instrumentation and a replacement of the vocal tracks. Other times, artists would rely on his demos to guide them through their own recording process, with Prince's initial take informing their final version of his song. The aggregate effect was a complete saturation and transformation of the pop music landscape, with Prince both leading and subverting mainstream culture.
Prince would follow The Rainbow Children with the stunning One Nite Alone… in May 2002. Featuring almost nothing but Prince’s acoustic piano and vocals (save for occasional rhythm from drummer John Blackwell and the ambient cooing of Divinity and Majesty, Prince’s pet doves), this intimate album offers favorites like “U’re Gonna C Me” and a cover of “A Case Of U,” written by one of Prince’s idols, Joni Mitchell. The original album never had a wide physical release as the CD was an exclusive to Prince’s NPG Music Club members and this marks it’s first time on vinyl.