james brown - sex machine (2 x 33rpm lp halfspeed)
james brown - sex machine (2 x 33rpm lp halfspeed)
(Product No.: MFSL 2-591)
james brown - sex machine (2 x 33rpm lp halfspeed)
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james brown - sex machine (2 x 33rpm lp halfspeed)

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Stock: 1 pieces
73,50 EUR

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Description
MEDIUM Vinyl Record
WEIGHT 2 x 180gr (black Vinyl) 33rpm
CONDITION sealed
COVER Gatefold
CONDITION COVER M mint
COVER DAMAGES No, we take care about that
SERIALNUMBER Yes
LIMITED Yes
MISCELLANEOUS Stereo
MUSICIAN HOMEPAGE    jamesbrown.com

Alphonso "Country" Kellum - bass
Art Lopez - percussion
Bobby Byrd - organ, vocals
Bootsy Collins - bass
Clayton "Chicken" Gunnells - trumpet
Clyde Stubblefield - drums
Darryl "Hasaan" Jamison - trumpet
Alphonso "Country" Kellum - bass
Art Lopez - percussion
Eldee Williams - tenor sax
Fred Wesley - trombone
James Brown - organ, piano, vocals
Jerry Shearin - background vocals
Jimmy Nolen - guitar
John Starks - drums
Johnny Griggs - congas
Joseph Davis - trumpet
Kenny Poole - guitar, wah wah guitar
Maceo Parker - ogan, tenor sax
Marva Whitney - background vocals
Melvin Parker - drums
Pee Wee Ellis - alto sax
Phelps "Catfish" Collins - guitar
Richard "Kush" Griffith - guitar, trumpet
Robert "Chopper" McCullough - tenor sax
Robert Graham - background vocals
St. Clair Pinckney - baritone sax, tenor sax<
Sweet Charles Sherrell - bass
Eldee Williams - tenor sax
Fred Wesley - trombone

get up i feel like being like a sex machine (live) - 10:49
brother rap (part 1&2) (live) - 5:22
bewildered (Live) - 6:22
i got the feeling (live) - 1:07
give it or turn it a loose (live) - 6:34
i don't want nobody to give me nothing (live) - 4:38
licking stick (live) - 1:53
low down popcorn (live) - 2:52
spinning wheel (live) - 4:02
if i ruled the world (live) - 4:17
there was a time (live) - 4:12
it's a man's man's world (live) - 3:42
please, please, please (live) - 2:27
i can't stand myself (when you touched me) (live) - 1:28
mother popcorn (live) - 5:42

James Brown wants to know one thing before he and his band begin Sex Machine

"Can I get into the thing, really?," he asks

His cohorts enthusiastically respond in the affirmative

And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you're-doing-and-dance performance for the ages

Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown's inimitable legacy as well as the peak powers of his voice, vibrancy, and bands

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180-gram 33 RPM 2LP set presents Sex Machine in audiophile sound for the first time

It explodes with the energy the lightning-strike music demands

Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective

Then there's Brown's superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything

Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man

This definitive 55th anniversary reissue of Brown's monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape

Both in the studio and on the stage

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: "There were some artifacts that sounded a bit like mistracking

But they turned out to be breath blasts on the vocal microphone

That is part of history

JB was workin' hard, and breathin' hard

And there was an edit the timing of that was truly strange

Again, a part of history"

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation

Save for "Low Down Popcorn," the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown's adopted hometown of Augusta, GA

The special relationship between the singer, the audience, and the location is palpable

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change

Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.'s just months after the show

The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.'s prompted him to book a one-off session in Cincinnati, Ohio, on a late July night

Anchored by brothers William "Bootsy" Collins and Phelps "Catfish" Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of "Get Up I Feel Like Being Like a Sex Machine" and a thrilling medley of "Bewildered," "I Got the Feeling," and "Give It Up or Turnit a Loose"

A pair of then-recent studio singles cut in separate locations in 1969, "Brother Rapp" and "Low Down Popcorn," each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set

Complicated? Somewhat

Unusual? Definitely

But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work

He makes it positively electrifying

"Get Up I Feel Like Being Like a Sex Machine" is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and "good god" asides, and glides to a hypnotic groove that won't quit

Or look to the syncopated rhythms of "Brother Rapp (Part I and Part II)," one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool

Brown closes the three-song medley with his new band with a skedaddling "Give It Up or Turnit a Loose," which provides jolts on the order of sticking your finger into a socket

Not that the actual live material falls short in any way

Setting an insistent tempo for the vitality that follows, "I Don't Want Nobody to Give Me Nothing" positions Brown as a role model, leader, and self-sufficient entrepreneur

All simmer and boil, the short and sweet "Licking Stick" dares you to keep pace

The floating, almost comforting "Spinning Wheel" spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted "If I Ruled the World"

And Brown and his mates still aren't done

Just try to resist the one-two closing punch of "I Can't Stand Myself (When You Touch Me)" and "Mother Popcorn" Mercy

Ain't it funky? Sure ‘nuff

RECORDING June 12 1969 at Criteria Studios, Miami, Florida; October 14 1969 at King Studios, Cincinnati, Ohio; July 23 1970 at King Studios, Cincinnati, Ohio; October 1 1969 at Bell Auditorium, Augusta, Georgia
ENGINEERING Ron Lenhoff
LABEL Polydor
RE MASTERING Krieg Wunderlich
MASTER SOURCE 1/4" / 15 IPS Analog Copy to DSD 256 to Analog Console to Lathe
RE RELEASED 2025
AVERAGE RATING 4.73 Stars out of 5
PRESSING by Fidelity Record Pressing
MADE IN USA
STYLE Funk / Soul
AVAILABLE as long as inventory stock

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