Funk my Soul

Johnny Nash may not readily prick the thirst buds of many soul aficionados out there. Although very well-known for his reggae-influenced hits such as ‘I can see clearly now’ and ‘Hold me tight’, I propose that he has as much kinship to these pages as the likes of Sam Cooke or Brenton Wood. And here is an LP that I like to assign to his more soulful period, during which the ‘My Merry-go-round’ and ‘Tears on my Pillow’ LPs trod similar experimental turf. He seems to have been vastly underestimated as a soul/soulful singer, and I would like to offer the opportunity to correct that mistake.

This is a @320 vinyl rip of the original CBS LP (supplied by Trakbuv) including covers.

Tracks
A1 Everybody’s Got An Aura 2:47
A2 You Can’t Go Halfway 2:46
A3  Beautiful Baby 2:46
A4  The Look In Your Eyes 3:07
A5  Fanny Big Horn 3:07
A6  Celebrate Life 4:10
B1  (You Gave Me Such) Good Vibrations 4:00
B2  Take Me Back Baby 3:04
B3  For Your Love 3:54
B4  The Very First Time 4:13
B5  Standing in The Rain 5:17

Review by Trakbuv

A light, airy alto/tenor with crystal clear phrasings may not immediately evoke the makings of a soul singer, but in the same mould as Brenton Wood and Labi Siffre, Johnny Nash has the sweetest of voices. Here is a man that had travelled a long road with mixed success before arriving at the recording studio for this little LP in 1974. Born August 19, 1940 in Houston, Texas, his angelic choir voice at the tender age of 13 earned him a place on a TV show, ‘Matinee’, singing several times a week for 3 years running. The high exposure meant that his first single, a cover of Doris Day’s ‘A very special love’ hit the Top 50 in December ’57. However, success did not match ABC’s expectations, and in the words of Johnny : “They were pitching me at an adult audience - I did some religious music and I did some standards, but mostly I did flops”. Check out ‘I wish I knew’ for some of that dreamy sound. Or any teenagers out there, give ‘The Teen Commandments’ a studious ear, ably assisted by Paul Anka and George Hamilton IV.

Meanwhile, a credible acting career was also blossoming, taking the lead role in ‘Taking the Giant Step’ (released in 1959 and produced by Burt Lancaster no less), and co-starring with Dennis Hopper in ‘Key Witness’ (1960), among others (check out the solid ratings on IMDB !). He moved from ABC to Warner Brothers with limited success (the wonderful ‘Moment of weakness’ was one of the better tracks to emerge). His first hint of soul I guess was under the auspices of Hugo & Luigi at RCA, yielding the phenomenal ‘It’s no good for me’ among a nest of mediocrity. But having Johnny Pate and Chess Records overseeing proceedings really kicked some life into the crooner, with ‘Strange feeling’ and ‘Love ain’t nothin” both portraying a man with fire in his hips.

The year is now 1965 as we enter his ‘entrepreneurial period’. Mr Nash decides to set up his own label (Joda Records). Mr Nash releases several tracks including the pleasant ‘Let’s move and groove’ hitting no. 4 on the R&B Charts. Mr Nash then decides to go out to Jamaica (with business partner Danny Simms) and embrace the local music scene having got the bug earlier during a tour there. Mr Nash cuts four tracks, including ‘Cupid’ and ‘Hold me tight’. Mr Nash introduces the record buying public in the States to Rocksteady on his new label (JAD Records) and scores big time with both tracks (‘Cupid’ went Top 40 and ‘Hold’ to the Top 5). Phew !! His vision of marrying reggae and soul to give a pop-tastic heady brew paid dividends. His label folded in ’71, but the hits continued for CBS, Johnny now basing himself in the UK. ‘Stir it up’ was written by Bob Marley while Johnny had signed The Wailers to his ill-fated JAD label back in ’68 (a collection of those demos has been made available recently), with his biggest hit to date, ‘I can see clearly now’, coming from his own pen (no. 1 for four weeks). And with two critically acclaimed LPs in his pocket (the brilliant ‘Hold Me Tight’ and ‘I Can See Clearly Now’ sets), the world seemed his oyster. However, his love affair with the public did not sustain itself. He retained some popularity in the UK with two of my favourites by the man, ‘There are more questions than answers’, and the utterly splendid ‘Ooh What a feeling’. He also resumed his acting career around this time in Sweden. As a result, “Celebrate Life” came at a lull in his recording career.

Unfortunately, this was not the touch paper to re-ignite his fortunes. It really tests the listener’s breadth of musical taste midst some cracking tracks that require familiarity to get the best out of them. To the good stuff: first the Gordon DeWitty tracks with whom he co-produced the LP. His funky version of Rufus’ ‘Everybody’s got an aura’ is fabulous, retaining that ethereal feel of the original, without ever challenging Chaka’s vocal fire - it is a total success for me. The tuneful, slightly lightweight ‘Celebrate Life’ is sparked to life halfway through with a jazzy/Calypso rhythm. And one of my all-time favourites, and rationale for buying this LP – the humbling ‘Good vibrations’ – his voice simply lifts you to places you never want to leave. This is a very important track for me. Of the remainder, ‘The look in your eyes’ would have made a great little single release with hooks aplenty and finger snap-tastic. Similar claims could be made for ‘Take me back’ and the more pop-flavoured ‘You can’t go halfway’, the latter actually being the lead single, but doing very little. I also very much like the rocky mini-excursion ‘Fanny Big Horn’, and the tender, anthemic ‘Standing in the rain’ – an awesome way to sound off with the crowd still humming and swaying candles in the midnight air.

The LP was an experiment in recording, feeling the country while working out of a mobile studio. And there is a sense of abandon to these tracks, and the formulaic philosophy of a hit record. You can visualise every song warming contemplative orange faces around a campfire. And in the words of one scribe on release of the LP : “Johnny Nash is a man whose versatility condemns him to be mistrusted by those who like to pigeonhole artists”. Please open up your heart and soul to this little joy, an LP that the man himself ranks amongst his best.

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This post is dedicated to Raphy in celebration of the wonderful musical influences of his home country.  Enjoy !!

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Buy a vinyl copy at cheap and cheerful prices from Musicstack or Ebay. Never released on CD.

Since there’s no available video from the album, listen up the joyous “Ooh, What a Feeling” from his 1973 LP “My Merry-Go-Round”.

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I think we all agree that Luther Vandross was one of the greatest singers in the area for the last 30 years with his smooth, versatile tenor voice. He was one of the most successful R&B artists of the 1980s and ’90s. But he was in the business from early 70’s and he gained  recognition as a background singer working for David Bowie, Stephanie Mills, Bette Midler, Judy Collins, Ben E. King, Average White Band, Chic, Carly Simon, Quincy Jones, Cat Stevens, Roberta Flack, Chaka Khan, The Spinners among many others, before he became an R&B star for the next two decades.

Before his breakthrough, Vandross was part of a singing quintet in the late ’70s, consisting former Shades of Jade members Anthony Hinton and Diane Sumler, Theresa V. Reed, and Christine Wiltshire, also called Luther, signed to Cotillion Records. Although the singles “It’s Good for the Soul”, “Funky Music (Is a Part of Me)”, and “The Second Time Around” were relatively successful, their two albums, the self-titled Luther (1976) and This Close to You (1977), didn’t sell enough to make the charts. Vandross bought back the rights to these albums after the record label dropped the group, preventing their later re-release.

This is a @320 vinyl rip of the original Cotillion Records LP including covers.

Tracks
A1 Funky Music (Is A Part Of Me) 5:29
A2 The 2nd Time Around 6:25
A3 I’ll Get Along Fine 4:07
A4 Everybody Rejoice 3:2
B1 Emotion Eyes 5:58
B2 This Strange Feeling 4:44
B3 It’s Good For The Soul (Parts I And II) 8:42

This is an excellent album. Some of Luther’s best work. It didn’t receive the attention that it should have because of the Funk era being at an all time high and ballads being less listened too. In my opinion three songs on this album should have scored high on the R&B charts.

His first LP was released in June 1976 The eponymously titled LP,  “Luther” featured his first R&B chartings, “It’s Good For The Soul (#28), “Funky Music”/”The Second Time Around” (#34). In fact, David Bowie originally heard Luther working on “Funky Music” a few years prior & with Luther, restructured it into “Fascination”. Carlos Alomar, who had become David Bowie’s guitarist, invited him to attend a Bowie recording session at Sigma Sound Studios in Philadelphia. He quickly became more than an observer, singing background vocals, serving as a vocal arranger, and co-writing the song “Fascination” with Bowie. The session resulted in the album Young Americans, released in March 1975, and Vandross also went on tour with Bowie in September 1974 as both backup singer and opening act. For their live shows, they were backed by a group that included Bernard Edwards & Nile Rodgers, who later became the architects of Chic.

Overall this debut album by the band led by the late soul legend Luther Vandross, is mid seventies style funky soul containing the very funky ‘It’s good for the soul‘, ‘Emotion Eyes‘ and ‘Funky Music is a part of me‘. A very rare chance to hear the roots of the master of smooth soul.

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Everything you have to know about legendary Luther Vandross here, including biography, singles - albums discography and awards.

It is very interesting to read an in person interview here,  conducted by David Nathan in New York City, in June1976, about the group, the album and much more.

Finally listen the killer “Funky Music” and check on Youtube David Bowie’s “Fascination”. You’ll see why..

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Here’s one of the most sought after funk/soul albums ever made, contributed by Mr.Moo, with two fantastic crossover soul tunes in “Got to get over” & “Take me back”, a great cover of the classic Sam Cooke’s “A change is gonna come” and my personal fav “Life, Dreams, Death” - a funk rock cut with killer organ, psych vocals and early 70’s war vibe.

Dusty Groove : An excellent album of southern funk  - and darn rare, too! We know almost nothing about the Brothers, but they’re a 14 piece combo with a tight ensemble funk sound that clearly shows roots of both the Memphis and Muscle Shoals scenes where the album was recorded! There’s a lot of fuzzy guitar, almost in a Detroit Westbound mode - but the band’s also got a sweetly southern funk style, with lots of organ bubbling underneath the tracks, punctuated by some pretty tight drum work that really makes the best cuts groove nicely in a more righteous take on the Stax/Volt sound of the time. A really wild one - and the kind of record that makes your jaw drop when you realize that some lucky A&R guy was actually able to get an underground soul album released by a major label!

This is a @320 vinyl rip (supplied by Mr.Moo) of the reissue Capitol LP including covers.

Tracks
A1. Who’s For The Young? 3.03
A2. A Change Is Gonna Come 3.44
A3. Got To Get Over 2.54
A4. Hey Little Rich Boy 3.33
A5. Get Away 2.49
B1. Life, Dreams, Death 5.40
B2. Spoonful 3.33
B3. Take Me Back 2.10
B4. What We Need Is Harmony 2.48

This group of musicians and vocalist came to together in Memphis, Tennessee in 1968, with a unique live sound blending funk, soul, rock, funkadelic, and smooth vocals. The group was organized by John “Kousi” Harris from Pensacola, Fl., formerly of the group J Robinson and The Dynamics who recorded on the MALA label, and Jerry Jones a local Memphis Vocalist. Curtis Johnson, and brother Harold “Quake” Johnson had formerly been members of The Chips/ Astors, that recorded with Stax Records. The musicians had been playing locally with several groups, when John and Jerry had and idea to join these different talents to create a new sound. The group was self managed, with Curtis doing the booking and creating tours throughout Memphis night clubs, and on the Florida, and Alabama Gulf Coast. The group also travelled north to the Michigan area, but spent most of their time in the lower south east. In 1970, the group produced (with Fame Records) and recorded an album that was released on the Capitol Records label, “Who’s For the Young”. In 1972, the group disbanded, allowing some members of the group to join the “new” Bar-Kays, when the group was re-organized, following the death of Ottis Redding and all but 2 members of The “Original” Bar-Kays.

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Taken from the back cover:

This is the real real thing. Real fine, funky, hard-driving, up-tempo, contemporary, own-home, nitty-gritty solid soul from Muscle Shoals and Memphis. If you wanted to give this sound a label, it would have to be one of those hyphenated ones – something like soul-pop-contemporary folk-rock. The basis is definitely country – cotton-row-feet country. But it’s also incredibly complex, sophisticated, right-now, urban-international. Organic. And original. And yet it sounds a bit like everything good you’ve ever heard. The Brothers Unlimited are not ordinary musicians – vocal and instrumental. They are twelve very specific guys who have worked together for the past year, playing on sessions at Fame Recording Studios in Memphis. They are very tight – personally and professionally – and working this way with their producer, they’ve developed a thing of their own that’s unique. The music is alive. It breathes and sweats. These are the sounds and the cries of youth – of empathetic everyones – today.

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It’s been a legendary rarity for years and made its long-overdue CD debut in 2008 through Fallout Records. Buy a digital copy from Amazon or Ebay along with a lot of reissue LP’s. The only available original LP I came across is in Groove Collector.

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This is one of the rarer releases on the Hot Wax label helmed by Brian and Eddie Holland and Lamont Dozier. Satisfaction Unlimited’s solitary album is yet another signature in the book of lost opportunities. But if I could only be remembered for one LP, I would definitely hope it was something nearly this good. Still with the one foot in the golden era of Motown, this has its good foot firmly planted in the 70s with a treasure trove of tuneful delights. Bypass at your peril, me hearties !!

This is a @320 vinyl rip of the original Hot Wax LP. A low quality rip was send a few months ago by a follower of the blog. But i never lost faith I could find a better one. So here it is.

Tracks
A1 Bright City Lights 3:43
A2 I Know It’s Love 2:35
A3  Spread Your Love Around 2:59
A4  Let’s Change The Subject 3:59
A5  Think Of The Children 4:03
B1  Time For Us 3:22
B2  Somebody Else’s Woman 2:23
B3  Why 3:21
B4  Seeing You Through The Eyes Of A Blind Man 2:37
B5  Don’t Call Me, I’ll Call You 2:59
B6  Come on Back 2:19

Review by Trakbuv

This release by the obscure combo, Satisfaction Unlimited, has the unfortunate accolade of being the final long player release on the Hot Wax Records imprint. Formed originally by the legendary Holland-Dozier-Holland team in 1969, Hot Wax ran into financial difficulties in 1973 whereupon they concentrated their efforts on the Invictus outlet. However, the roots of the band actually pre-date the H-D-H collaboration (H-D-H’s first Motown release being ‘Dearest one’ in 1962). As The Marvels, they originated in the backstreets of Washington DC, comprising of Sam Gilbert (lead), James “Junior” Isom (second tenor), Ronald Boyd (baritone), and James Mitchell (bass). In 1958, they ventured to New York to record the skip-a-long pleaser, ‘I Shed So Many Tears’ with James Isom on lead. The ensuing rush of tumbleweed meant the band didn’t venture back to the studio for another 3 years, with the tuneful doo-wop ballad, ‘For Sentimental Reasons’, and the similarly slanted ‘Wedding Bells’ a year later, this time under the name of The Senators (just check out that crazy lazy piano playing!).

Several personnel changes later, they returned as The Satisfactions around ‘66 with a string of 45s on the Smash and Lionel labels. Some mighty fine and feisty tracks were included among these sides, including the urgent ‘Use me’ (love this!) and ‘Take it or leave it’. They finally hit paydirt with ‘This Bitter Earth’ in 1970, reaching #36 on the R&B Charts. This was consolidated by the radiant, midtempo ‘One light, two lights’, peaking at #21 a few months later. A gorgeous track, by the way. They changed their name to Satisfaction Unlimited a year later, the personnel now standing at Lorenzo Hines (lead tenor), James Isom (second tenor), Earl Jones (baritone), and Fletcher Lee (bass), linking up with Hot Wax in ‘72.

The years spent fortifying their sound certainly paid dividends. Just give the opening track and lead single release, “Bright City Lights”, a listen. A gentle, summery track that reminds me a little of The Rascals ‘Groovin”, it’s the effortless confidence that is so remarkable with a sound more reminiscent of a band with a score of hit singles behind them. You know you’re in for a treat y’all !! “I Know It’s Love” keeps up the calibre, with the same fabulous lead (Lorenzo Hines ably assisted by James Isom) giving David Ruffin & The Temptations a run for their money. Then it’s one the highlights for me, the thunderously mature “Spread Your Love Around” - surely the perfect 45. With some glorious piano-tinselled highlights, the ballad with an insistent beat “Let’s Change The Subject” has a mesmerising message - absolutely top drawer, and probably my favourite track. The title track and its organ-ground melody is a definite wink at their doo-wop roots, and again it’s the natural feel of the lead vocal and harmonies that carry its success so effortlessly.

Side B leads with another big highlight, the ultra-smooth “Time For Us”, with exceptional use of blubby horns, I’m cast adrift on a boat just big enough for me, the one I love and a picnic for two, with a dangling bottle of wine being cooled by the still, sun-sprinkled water. We’re back on tried and tested H-D-H territory with the bold and striking “Somebody’s Else’s Woman” conveying its lyrics with the snarl of a banshee. The more pop-flavoured “Why” is actually a really nice change of pace (reminds me a little of Lamont Dozier’s own ‘Why’ from ‘Working On You’), with a terrific crescendo on the outro and a track that grows and grows. Then it’s another track that gets way way under my skin, the awkwardly hypnotic “Seeing You Through The Eyes Of A Blind Man” - nothing ordinary about this gem ! “Don’t Call Me” is a thoroughly intriguing inclusion with a fresh lead and rock slant, it definitely defies all that has come before - and I love it.

The exceptional quality of the tracks appears to be largely indebted to the incredible writing skills of Mr A. Rackey, Mr G. Taylor and Mr W. Terry. I have no idea who produced this album, but the calibre and musicianship is outta sight. I would go so far as to say that this is possibly the most satisfying of the LPs that I am familiar with on the Hot Wax label, which includes such luminaries as 100 Proof, Honey Cone, Flaming Ember, The Politicians and Laura Lee. Wow, some amazing LPs right there !! Perhaps as the final LP of the label, it demonstrated (together with The Politicians LP) that the Motown legacy had finally morphed into the more sophisticated sound that was the early 70s. Whatever, this really is another essential addition to your admirable, growing soul collection.

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Check out here for more info on The Marvels.

One of the hardest to find LP’s, the only available copy for sale (69,50 Euro) is on Groove Collector.

A digital copy (Japan import) can be found on Amazon from 43,78 $.

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I would like once again to thank Trakbuv for his incredible contribution to FMS. He’s been involved in difficult tasks and managed to do it great. Bless you brother!

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Raphy strikes again with his 1st contribution for 2010 and remind us the wonderful Earl Grant.

Those of us who can remember seeing his performances before his untimely death in an auto accident in 1970, at the peak of his career, remember him as one of the most outstanding jazz-pop-soul organists, a master of the power, many voices, and subtlety of the Hammond B-3 organ, as well as an accomplished vocalist and dancer.

This is a @320 vinyl rip of the original Decca Records LP, supplied by Raphy. Rip is perfect as usual but he couldn’t scan his own vinyl covers and thanks to Mr.Moo we found them through ebay.

Tracks
A1  A Brand New Me 2.10
A2 Elizabethan Reggae 2.35
A3  My Cherie Amour 2.22
A4  Steady 2.15
A5  Oh Happy Day 3.46
B1  Looking Back 2.52
B2  Model “A” Reggae 2.22
B3  Walk a Mile in My Shoes 3.24
B4  Grant’s Pass 2.36
B5  You’ve Lost That Lovin’ Feelin’ 2.30

Review by Raphy

Friends, Family Members of Funk My Soul>>>>>>>>This Is Earl Grant.

A true treasure, if one can find such virtue in an individual. The Last of his kind that seems to grace us for a short period, yet impact us with endless memories…

(Liner Notes)
The Sparkling eyes, the ready grin, and the talent so big it spilled out of him in his piano, his organ, and his singing. This is what he was into in those last few weeks before the tragic accident that claimed his life. He was moving in a new and exciting directions.

The old Earl Grant magic was there, of course. That was always part of him. But he was digging deeper into the contemporary bag  for songs to happen to. He was doing more and more singing in his pleasant, easy-to-love voice. And he was getting greater and greater with

every new thing he probed. His singing, for example. Half of the songs on this album are vocals by Earl, and his style has never been better displayed. Listen, for example, to the charming salute to Nat’King’Cole that Earl worked into his vocal on “Looking Back”. And follow his sensitive rendition of “My Cherie Amour”, the Gospel feel on “Oh Happy Day” and the strident “A Brand New Me”.

Bill Holman and Don Peake, brilliant West Coast arrangers, wrote the charts for Earl to romp in during these last sessions. It was Earl’s delight to include the two reggaes because he knew they were brand new, were happening in England, and he would be the first with something fresh. The Calypso-like songs indicate that Earl was  onto something bright again.

Earl enjoyed these sessions hugely. In his performances you’ll hear  good-natured salutes to some of the giants of popular music…and  you’ll hear some of Earl’s musical comments, too.

But most of all, you’ll hear Earl Grant…singing, playing organ, playing piano, and bringing it all home with a big, rocking band behind him.

This was EARL GRANT.

The collector’s footnote: Earl Grant is an accomplished trumpeter, drummer and we all know he was one of the world’s greatest organist/pianist.. He was probably the first organist to make environmental sounds (like wind, birds, sea) etc.
He was as gifted as his well known relative the king, Nat Cole.

This album was recorded a few days before his death.
He considered this LP his best work he had ever done. Through this album, and all the other recorded music Earl Grant has left us, his magnificent talent will live on.

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For several decades, his music had been out of print and still now days only a few albums have a digital release. So, I suggest you all should check his Best Of on Amazon or Ebay along with a lot of his LP’s.

Since there’s no available clip from this album, listen up his signature song “The End”, a golden oldie.

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Big Thanks to Raphy for another great contribution. Please show some love and respect to him and of course Earl Grant for the music.

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A fabulous album, done when Pickett was in the midst of his best period at Atlantic. It had everything, great songs, wonderful production and arrangements, and a hungry, galvanizing Wilson Pickett hollering, screaming, shouting, and soaring on anything he covered, from ballads to uptempo dance and midtempo wailers.

This is a @320 vinyl rip of the original Atlantic LP including covers

Tracks
A1  Mustang Sally 3:04
A2  New Orleans 2:32
A3  Sunny 3:16
A4  Everybody Needs Somebody To Love 2:16
A5  Ohh Paa Pah Doo 2:37
A6  She Ain’t Gonna Do Right 2:14
B1  Knock On Wood 2:40
B2  Time Is On My Side 2:31
B3  Up Tight Good Woman 2:29
B4  You Left The Water Running 2:31
B5  Three Time Loser 2:19
B6  Nothing You Can Do 2:14

Review by J. P. Ryan

Wilson Pickett was one of the most dynamic, exuberant, and compelling soul singers of his generation. At his creative and commercial peak he recorded a dozen albums for Atlantic (including two hits compilations - and I’m not counting two various artist sets that each featured a pair of riveting Pickett live performances), released during 1964 - 72, when he left the label for a rather misguided period at RCA that, along with changing popular tastes, led his career to nosedive. But those Atlantic albums (which in the beginning included some earlier material, dating as far back as the Falcons’ 1961 “I Found A Love”) are all worthwhile, ranging from very good to classic. “The Wicked Pickett” is Pickett’s third for the label, a terrific set mostly recorded at Rick Hall’s Fame Studios in October 1966. As such it has a consistency of feel lacking in some of the artist’s more randomly compiled (but still worthwhile) sets, like the debut “In The Midnight Hour” or 1968’s “Midnight Mover.” With Hall and Tom Dowd overseeing a core band that includes Chips Moman, Roger Hawkins, Spooner Oldham, and Tommy Cogbill (the horn section includes Floyd Newman and Charles Chalmers) the emphasis is on deep Southern soul, slinky mid-tempo funk and the occasional rave-up. The hits include the immortal ‘Mustang Sally’ and a revved up ‘Everybody Needs Somebody To Love’. ‘Sunny’, the suave Bobby Hebb hit, is the wild card, but Pickett’s version works, and as always it is a pleasure to hear the artist’s distinctive, blistering take on New Orleans r & b (Jessie Hill’s ‘Ooh Poo Pah Do’ and Gary “U.S.” Bond’s slinky ‘New Orleans’) - Pickett transforms the usually relaxed, laconic character that typifies the city’s r & b and funk.

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Biography and discography on Wikipedia

Buy the vinyl from Ebay and the CD from Amazon.  A Japan CD reissue along with a lot of vinyl copies can be found on Gemm.

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FMS stuff would like to wish you and your families season greetings.

Open your heart to the Christmas spirit and enjoy a funky New Year.

This is our Christmas “present” to you

Holiday compilation featuring funky yuletide tunes by the Godfather Of Soul. At his superstar peak in the 1960s and early ’70s, Brown tried to appeal to several constituencies on his many LPs, and the Christmas market was not neglected. Indeed, for a while, he was on a regular schedule: this 17 track compilation includes selections from seasonal albums cut by J.B. in 1966, 1968, and 1970. Includes ‘Santa Claus Go Straight To The Ghetto’, ‘Christmas In Heaven’ and ‘Please Come Home For Christmas’.

This is a CD rip of the 1995 Polydor compilation.

Tracks
1. Go Power At Christmas Time 3:12
2. Let’s Unite The Whole World At Christmas 2:44
3. Santa Claus Go Straight To The Ghetto 3:03
4. Merry Christmas Baby 3:56
5. Let’s Make Christmas Mean Something This Year 6:31
6. Soulful Christmas 3:09
7. The Christmas Song 2:44
8. Sweet Little Baby Boy 5:17
9. Christmas Is Love 6:02
10. Please Come Home For Christmas 3:24
11. Santa Claus Is Definitely Here To Stay 4:24
12. Tit For Tat (Ain’t No Taking Back) 3:07
13. Santa Claus, Santa Claus 4:04
14. Merry Christmas, I Love You 2:33
15. Signs Of Christmas 4:39
16. Christmas In Heaven 2:56
17. Hey America 3:56

Recorded at the height of Mr. Superbad’s reign, this high-octane, 17-song set is guaranteed to give Santa Claus a soul transfusion - and put a little extra kick into that mistletoe kiss. While JB spends a fair amount of time pouring his heart out on inspired renditions of favorites such as “Merry Christmas Baby” and “Please Come Home,” he and his always-stellar band really shine on a spate of originals that takes Christmas from an idealized holiday and makes it real. They do so in ways that are fun (”Go Power at Christmas Time”) or with a dose of social consciousness (”Santa Claus Goes Straight to the Ghetto”), but the mere fact that Brown makes it all work–and makes it funky in the process–is a joy to behold. –David Sprague

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God, I love this album. Like some of my fellow reviewers, I wasn’t quite sure what to make of it at first, and didn’t play it too much for a time. However, on the second round, I got completely hooked. It has such a great blend of deep soul, as well as outright cheer, that it’s incredibly catchy. When I first started to “get” it, I was floored by the orchestration and musicality, and then, upon second glance, I was amazed by the messages James Brown puts across. Very eye-opening. Now, this is ALWAYS on the shuffler at my Christmas parties, and very often during summer picnics, too. It shouldn’t fall under any category - it’s completely playable year-round. I love it, love it, love it. Don’t know how to put it better!! (Danielle Bennignus) - Amazon Review.

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This compilation could be the perfect way of remembering one of the 20th century’s most charismatic performers.
IF you want to hear something DIFFERENT than the most familiar Christmas songs, then this ALBUM WILL amaze YOU.

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