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James Brown - Love Power Peace

James Brown - Love Power Peace

Musician: James Brown
Album title: Love Power Peace
Style: Funk, Soul
Released: 2014
Country: US
Size MP3 version: 1205 mb
Size APE version: 1484 mb
Size WMA version: 1866 mb
Rating ✫: 4.1
Votes: 995
Format: MP2 RA MP1 WMA AA AAC FLAC
Genre: Funk / Soul

James Brown - Love Power Peace

James Brown Funk Soul 2014 US

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James Brown - Love Power Peace
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James Brown - Love Power Peace
WMA version ZIP archive
1205 downloads at 18 mb/s

Tracklist Hide Credits

A1 Introduction
Voice – Fred Wesley
 4:36
A2 Brother Rapp
Written-By – James Brown
 3:02
A3 Ain't It Funky Now
Organ, Written-By – James Brown
 5:35
A4 Georgia On My Mind Part 1
Written-By – Hoagy Carmichael, Stuart Gorrell
 2:45
B1 Georgia On My Mind Part 2
Written-By – Hoagy Carmichael, Stuart Gorrell
 3:14
B2 Sunny
Written-By – Bobby Hebb
 3:50
B3 Intro: Bobby Byrd 0:49
Bobby Byrd:
B4 Signed, Sealed, Delivered I'm Yours
Written-By – Lee Garrett, Lula Hardaway, Stevie Wonder, Syreeta Wright
 2:10
B5 I Need Help (I Can't Do It Alone)
Written-By – Teddy Brown
6:04
C1 Intro 0:46
Vicki Anderson:
C2 Don’t Play That Song (You Lied)
Written-By – Ahmet Ertegun, Betty Nelson
 2:59
C3 Yesterday
Written-By – John Lennon-Paul McCartney*
 3:26
James Brown:
C4 Break & Intro Announcement 2:19
C5 Dance & It's A New Day
Written-By – James Brown
 2:50
C6 Bewildered Part 1
Written-By – Leonard Whitcup, Teddy Powell
 3:04
D1 Bewildered Part 2
Written-By – Leonard Whitcup, Teddy Powell
 2:47
D2 There Was A Time
Written-By – Bud Hobgood, James Brown
 2:16
D3 Sex Machine
Written-By – Bobby Byrd, James Brown, Ron Lenhoff
 8:39
D4 Try Me Part 1
Written-By – James Brown
 2:02
E1 Try Me Part 2
Written-By – James Brown
 0:12
E2 Papa's Got A Brand New Bag / I Got You / I Got The Feelin'
Written-By – James Brown
 1:29
E3 Give It Up Or Turnit A Loose
Written-By – Charles Bobbit
 5:21
E4 It's A Man's Man's Man's World
Written-By – Betty Jean Newsome, James Brown
 5:53
E5 Who Am I
Written-By – Johnny Terry
 4:08
F1 Please Please Please
Written-By – James Brown, Johnny Terry
 2:06
F2 Sex Machine (Reprise)
Written-By – Bobby Byrd, James Brown, Ron Lenhoff
 0:38
F3 Super Bad
Written-By – James Brown
 5:05
F4 Get Up, Get Into It, Get Involved
Written-By – Bobby Byrd, James Brown, Ron Lenhoff
 2:07
F5 Soul Power
Written-By – James Brown
 4:22
F6 Get Up, Get Into It, Get Involved (Reprise)
Written-By – Bobby Byrd, James Brown, Ron Lenhoff
 2:26
F7 Finale 0:52

Companies, etc.

  • Record Company – Universal Records
  • Manufactured By – Universal Music Enterprises
  • Copyright (c) – Sundazed Music, Inc.
  • Phonographic Copyright (p) – Universal Records
  • Pressed By – Rainbo Records – S-91395
  • Pressed By – Rainbo Records – S-91396
  • Pressed By – Rainbo Records – S-91397
  • Pressed By – Rainbo Records – S-91398
  • Pressed By – Rainbo Records – S-91399
  • Pressed By – Rainbo Records – S-91400
  • Recorded At – L'Olympia
  • Recorded At – King Studios
  • Mastered At – Sundazed Studios South
  • Lacquer Cut At – Cohearent Audio

Credits

  • Bass – William "Bootsy" Collins*, Bootsy Collins (tracks: E5)
  • Booking [Booking Agent] – Universal Attractions
  • Coordinator [Production] – Stephanie Kennedy
  • Design – John Sellards, Sundazed Music
  • Directed By [Unidentified Horns and Strings] – Dave Matthews
  • Drums [Primary] – John "Jabo" Starks*, Don Juan "Tiger" Martin* (tracks: B4, B5, C2, C3)
  • Drums [Secondary] – Don Juan "Tiger" Martin*
  • Engineer [Original Recordings], Mixed By – Ron Lenhoff
  • Engineer [Venue Audio] – Jerry Shearin
  • Guitar – Kenny Poole (tracks: E5)
  • Lacquer Cut By – Kevin Gray
  • Lead Guitar, Soloist [Guitar] – Phelps "Catfish" Collins*
  • Liner Notes – Alan Leeds
  • Management [Personal] – Charles Bobbit
  • Management [Project] – John Sellards
  • Management [Road Manager] – Freddie Holmes
  • Management [Tour Director] – Alan Leeds
  • Management [Tour Manager] – Bob Patton
  • Mastered By – Bob Irwin, Bob Irwin
  • Organ, Arranged By – Dave Matthews (tracks: E5)
  • Other [Hair Stylist] – Henry Stallings
  • Other [Personal Assistant to Mr. Brown, Security] – Kenneth Hull
  • Other [Security] – "Baby" James Pearson
  • Other [Wardrobe] – Gertrude Sanders
  • Performer [The "JB Dancer"] – Ann Norman
  • Producer [Original Recordings], Mixed By, Vocals – James Brown
  • Rhythm Guitar – Hearlon "Cheese" Martin*
  • Tenor Saxophone – Gordon Brisker (tracks: E5), St. Clair Pinckney*
  • Trombone, Directed By [Music] – Fred Wesley
  • Trumpet – Clayton "Chicken" Gunnels*, Darryl "Hasaan" Jamison*
  • Vocals, Drums, Arranged By – James Brown (tracks: E5)
  • Vocals, Organ – Bobby Byrd

Notes

*Original production and sequence by James Brown
*Recorded March 8, 1971 at The Olympia Theatre, Paris, France (except "Who Am I" recorded January 12 and April 12, 1971 at King Studios, Cincinnati, Ohio).
*Auto coupled record - record one (1/6) titled LOVE, record two (2/5) titled POWER, record three (3/4) titled PEACE.
*Excerpt of A1, B2-B4, C1-C4, excerpts of C5-D1, D2, excerpts of E4, and E5 previously unreleased. (Track B5 released on "Bobby Byrd Got Soul - The Best of Bobby Byrd.")

This release is not broken into actual tracks and is a live recording with no real breaks

Catalog number on spine and jacket is "LP 5470"
Catalog number on labels is "LP-5470"

Two stickers found on shrink wrap (see images)

Sides are "auto-coupled" and are listed as follows:
Record One Side One - Side A
Record Two Side Two - Side B
Record Three Side Three - Side C
Record Three Side Four - Side D
Record Two Side Five - Side E
Record One Side Six - Side F

Barcode and Other Identifiers

  • Barcode: 0 90771 54701 9
  • Matrix / Runout (Side A Etched): LP5470 B0019194-01-1 RECORD ONE SIDE ONE S-91395 KPG@CA
  • Matrix / Runout (Side B Etched): LP5470 B0019194-01-2 RECORD TWO SIDE TWO S-91396 KPG@CA
  • Matrix / Runout (Side C Etched): LP5470 B0019194-3 RECORD THREE SIDE THREE S-91397 KPG@CA
  • Matrix / Runout (Side D Etched): LP5470 B0019194-01-4 RECORD THREE SIDE FOUR S-91398 KPG@CA
  • Matrix / Runout (Side E Etched): LP5470 B0019194-01-5 RECORD TWO SIDE FIVE S-91399 KPG@CA
  • Matrix / Runout (Side F Etched): LP5470 B0019194-01-6 RECORD ONE SIDE SIX S-91400 KPG@CA

Other versions

Category Artist Title (Format) Label Category Country Year
314 513 389-2 James Brown Love Power Peace ‎(CD, Album) Polydor 314 513 389-2 US 1992
UICY-77147 James Brown Love Power Peace - Live At The Olympia, Paris, 1971 ‎(CD, Album, Ltd, RE) Polydor UICY-77147 Japan 2015
513 389-2 James Brown Love Power Peace (Live At The Olympia, Paris, 1971) ‎(CD, Album, RP, Son) Polydor 513 389-2 Europe Unknown
314 513 389-2 James Brown Love Power Peace - Live At The Olympia, Paris, 1971 ‎(CD, Album, RE) Polydor 314 513 389-2 US Unknown
POCP-1268 James Brown Love Power Peace ‎(CD, Album) Polydor POCP-1268 Japan 1992

Link:

Faezahn
Geat album, but this one deserves a CD release, too
Flocton
It came out on CD in the 90's https://www.discogs.com/James-Brown-Love-Power-Peace/release/558147 word!
TheJonnyTest
While I love the vinyl reissue overall, the main problem I had was the insistence, in the name of (misguided) authenticity, to replicate the track order according to how one might have listened to the LPs in the mid-70's, with an automatic (stacking) record changer (sides 1 and 6 together, 2 with 5, and 3 with 4). Most would agree that the ideals of vinyl authenticity are best "honored" in terms of audio/sound quality (sourcing from original master tapes) followed by the visual/tactile in terms of graphics, text and packaging. However, given that the vinyl was finally released in 2014, I do not know of many vinyl listeners today using an automatic record changer turntable. As a result, listening to the 3xLP concert in chronologic order, as sequenced here, is an aggravation, where one is forced to - manually - change LPs after each side instead of simply having to flip each LP to the next (chronologic) side (side 1 with 2, 3 with 4, and 5 with 6).
Whitestone
Well, I still haven't taken shrink off, but I agree it's not really relevant these days. My main problem is only being able to get one disc out without fully removing the shrink. My advice is to just listen to the flacs!
Skilkancar
I definitely agree with you. A quite complicated thing to do.
POFOD
No I don't agree although I understand your reasoning. Pain as it is, this is the correct way to do it. Why? Because otherwise someone else would argue the opposite, that it is inauthentic, how dare Sundazed violate The Godfather's wishes etc etc. If we were to start agreeing to one change, where would it all end? The release must be authentic in every way and Sundazed need to be applauded for doing this rather than stamping their own concept on what JB wanted. Besides vinyl is so darned inconvenient anyway that it makes little difference that side 2 is on a completely separate record (try changing sides on a VPI Scout to see what I mean - you ain't ever gonna be able to "flip sides" on that sucker)
FLIDER
Fantastic to finally have this full night of music released. "Love Peace Power" was always my favorite James Brown CD. If I'm not mistaken, it was Brown himself's idea of how the songs were laid out. That might explain the song splits. Personally, they didn't bother me much. The additional tracks more than make up for the splits. The other singers songs are fine versions to hear. The one thing I wish was a little cleaner was the actual mastering onto the vinyl. Overall, it's a good enough job. The only live performance of the original JBs. Any fan of them will enjoy.
Aurizar
Having had a change to listen to the album (both as it was released in 1992, as well as here, the way it was INTENDED to be heard), it is hard to pick which is the essential version. The set above is wonderful--Vicki's vocals on "Yesterday" alone make it one of the best covers I have ever heard--and yet the flaws can be hard to overlook: due to the limitations of the media (or just how it was mastered originally), each side was just about over 15 minutes. So "Georgia On My Mind," "Bewildered" and "Try Me" are split into two (most puzzling is the latter--short enough as it is, part two that opens side five is just TWELVE SECONDS LONG, which is just unneccessary). Then you have "Who Am I", revealed to be a studio track overdubbed with audience from other spots of the album (as James, let's face it, has pretty much done on almost ALL his live albums). While a great track, he ends up using most of the audience reaction that people recognize to close out the album -- not only does it just sound out of place, but because of the subtraction, the album doesn't really end with the bang it deserves and that we're familiar with - it just ends.
Runeshaper
I totally agree with your opinion on "the end" of the record. It doesn't deserve the silent "steppin off the stage" kind of ending.
Capella
I agree. And while I love the vinyl reissue overall, the other problem I had was the insistence, in the name of (misguided) authenticity, to replicate the track order according to how one might have listened to the LPs in the mid-70's, with an automatic (stacking) record changer (sides 1 and 6 together, 2 with 5, and 3 with 4). Most would agree that the ideals of vinyl authenticity are best "honored" in terms of audio/sound quality (sourcing from original master tapes) followed by the visual/tactile in terms of graphics, text and packaging. However, given that the vinyl was finally released in 2014, I do not know of many vinyl listeners today using an automatic record changer turntable. As a result, listening to the 3xLP concert in chronologic order, as sequenced here, is an aggravation, where one is forced to - manually - change LPs after each side instead of simply having to flip each LP to the next (chronologic) side (side 1 with 2, 3 with 4, and 5 with 6).
hardy
This release has been delayed a couple weeks! Should ship sometime in August

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