Rare JB on Mixcloud

A dazzling set of James Brown posts from the Soul Preacher at Mixcloud

James Brown, japanese single, Goodbye My Love / Shades Of Brown, 1968, DP-1641 by Soul Preacher's Album Gallery on Mixcloud

James Brown: EP from Mexico by Soul Preacher's Album Gallery on Mixcloud

James Brown, 45 from Italy by Soul Preacher's Album Gallery on Mixcloud

James Brown, 7" PYE EP from the UK, 1966 by Soul Preacher's Album Gallery on Mixcloud

James Brown: French EP, Birth Of Funk by Soul Preacher's Album Gallery on Mixcloud

The James Brown Story 1966-69 & 1970-73

What the reviewer below and , apparently, most of the rest of the world has failed to notice about these two LP's is that these ARE NOT the versions of these songs that were previously issued; a fact which DID NOT escape Unky Cliff. I was commissioned with the task of finding decent copies of both albums and ripping them. The resulting 79 minutes of music make a fine disc for those still addicted to hard copies.

 "In the first few years after James Brown left Polydor Records at the start of the '80s, the label did little with his catalog, issuing a perfunctory best-of and licensing early material to Solid Smoke. But in 1984, Polydor began looking for ways to repackage and reissue its treasure trove of material (which included not only Brown's '70s work for them, but also his Federal/King sides of the '50s and '60s). The initial result was two albums, Ain't That a Groove and Doing It to Death, both produced by British Brown expert Cliff White (who had compiled the well-regarded U.K. compilations Solid Gold and Roots of a Revolution). Ain't That a Groove presented Brown's hits from the second half of the '60s that hadn't turned up on The Best of James Brown, including such classics as "Don't Be a Drop Out," "I Can't Stand Myself (When You Touch Me)," "Licking Stick -- Licking Stick," "Give It up or Turnit a Loose," and "I Don't Want Nobody to Give Me Nothing (Open the Door, I'll Get It Myself)." These were the defining tracks in Brown's '60s funk revolution, irresistible dance songs that, as often as not, also contained potent social messages. The music's immediacy made it hard to think of in the retrospective sense the album implied, but with much of Brown's catalog out of print, it was good to hear these songs again." AMG

James Brown - 5 Classic Albums [flac]

 A little (okay BIG) surprise from Unky Cliff!

I think this is fairly self explanatory, eh? 

Gonna be pretty busy for a while...Jazz Fest is here!

James Brown - Live At The Garden Expanded Edition

You have probably already noticed the difference in the artwork posted here.  Like so many "live" albums from back in the day, Live At The Garden was edited to include arena crowd noise and a different tracklist. Why??  Because it wasn't recorded at Madison Square Garden!  Most deceptive was the inclusion of a brand new track, recorded with no audience at all.  The effort was for little reward as shortly after this release, Live At The Apollo was released - overshadowing this album.  

Unlike so many expanded/deluxe reissues, Hip-O-Select have really outdone themselves to create something of real value for Brown fans.  The album was infact recorded at a supper club;  The Latin Casino.  With this album we get two discs.  The original LP on disc one, and the original show in its entirety on disc two, with no trickery.  Also included is the proper recording session of the "Let Yourself Go" single, as it was recorded after hours at the Latin Casino.

All in all this album is a superb treat.  Everything has been remastered and has excellent fidelity, giving this performance a real edge towards the Apollo shows.  I have ripped everything in FLAC with full scans making this a pretty large DL.  So please enjoy and remember to keep it on the one... HHHHaaaaaaaayyyyuh!!!

There’s no shortage of live albums from the Godfather of Soul available, but James Brown’s 1967 release Live at the Garden is a comparative curio that’s only now received the treatment it deserves.
The original album is included here, compressing performances from two nights at New Jersey’s The Latin Casino into a 12-track souvenir. But the record’s cut-and-pasting of numbers between overdubs of excited audience appreciation (and its bizarre omitting of the full version of Papa’s Got a Brand New Bag and It’s a Man’s Man’s Man’s World entirely) rather lessened its longevity. A poorer cousin of the Live at the Apollo albums, …Garden rather paled into insignificance.
Until now, as modern technology has seen it restored to greatness, even if the scratchy sound contrasts unfavourably to contemporary collections. But that’s part of the appeal – with the mix cleaned up, relatively speaking, the audience’s hollering reduced and Brown’s every interjection present, there’s appealing warmth exuded despite the patchy fidelity. Brown’s thank you mid-set seems sincere; when he tells the crowd that without them there wouldn’t be a James Brown, catching his breath as he does so, there’s an honesty that few several-nights-a-week performers today can match. Truly, the man conveyed a rare charm.
“I’ll always be the same ol’ fella,” Brown remarks, before the evergreen It’s A Man’s Man’s Man’s World – and such is the boundless reach of the track that you have to pinch yourself that said ol’ fella isn’t with us anymore. Then again, as this performance is

proof positive of, such is Brown’s vocal power, so emotions-stirring are his from-the-heart hymns to love, that the passing of time is determinedly defied. In life he could stop you in your tracks, leave you hanging on his next word; after death, his recordings continue to do so.
Buoyed by a superb band that, just occasionally, found space for Miles Davis’ bassist Ron Carter, …Garden not only catches Brown in typically fine voice, but also marks the moment where Alfred ‘Pee Wee’ Ellis stepped into his musical director role (Nat Jones was apparently displeased with The Latin Casino’s modest backstage facilities). Thrown in at the deep end though he was, Ellis keeps his reins tight – he’d go on to work with Van Morrison.
Wonderfully rollicking from the off, …Garden is a set to cherish in its rebuilt form. Do, please, bring it up and let yourself go.   - Mike Diver/BBC

 Original Album:
King Records 1018
1967

A1 Out Of Sight
A2 Bring It Up
A3 Try Me
A4 Let Yourself Go
A5 Hip Bag 67'
B1 Prisoner Of Love
B2 It May Be The Last Time
B3 I Got You (I Feel Good)
B4 Ain't That A Groove
B5 Please, Please, Please

 Expanded Edition:

Hip-O-Select

2009

Disc one

1. "Out of Sight" James Brown 1:14
2. "Bring It Up" James Brown 4:01
3. "Try Me" James Brown 2:19
4. "Let Yourself Go" James Brown 3:47
5. "Hip Bag '67" James Brown 5:41
6. "Prisoner of Love" Russ Columbo, Clarence Gaskill, Leo Robin 4:59
7. "It May Be the Last Time" James Brown 4:50
8. "I Got You (I Feel Good)" James Brown 2:27
9. "Ain't That a Groove - Part 1" James Brown, Nat Jones 6:03
10. "Ain't That a Groove - Part 2" James Brown, Nat Jones 1:10
11. "Please, Please, Please" James Brown, Johnny Terry 2:45
12. "Bring It Up (Finale)" James Brown 1:25
13. "Introduction - Vonsheliah" James Brown, Nat Jones 0:35
14. "The King" James Brown 1:55
15. "Wade in the Water" Ramsey Lewis 5:42
16. "Devil's Den" James Brown 3:07
17. "Medley: Headache/Get Loose/Jabo" James Brown, Nat Jones 5:45
18. "Night Train" Jimmy Forrest, Oscar Washington 11:15


Disc two

1. "Introduction/Out of Sight" James Brown 1:18
2. "Bring It Up" James Brown 4:35
3. "Try Me" James Brown 2:37
4. "Come Rain or Come Shine" Harold Arlen, Johnny Mercer 3:02
5. "Papa's Got a Brand New Bag" James Brown 9:27
6. "Prisoner of Love" Russ Columbo, Clarence Gaskill, Leo Robin 5:15
7. "Maybe the Last Time" James Brown 4:44
8. "I Got You (I Feel Good)" James Brown 2:23
9. "James Brown Thank You" 3:09
10. "It's a Man's Man's Man's World" James Brown, Betty Jean Newsome 7:16
11. "Ain't That a Groove" James Brown, Nat Jones 8:34
12. "Please, Please, Please" James Brown, Johnny Terry 2:46
13. "Bring It Up (Finale)" James Brown 1:39
14. "Let Yourself Go (Instrumental Jam)" James Brown 4:11
15. "Let Yourself Go (False Start)" James Brown 1:24
16. "Let Yourself Go (Extended Released Version)" James Brown 4:00

James Brown - The Singles, Vols 4 & 5

 Pappa's post reminded me that I still had a couple more of these to do. I'm going to try to clean up those loose ends I've left hanging over the past year.

In the period covered by these 4 discs (1966-69) JB ascends to 'Soul Brother Number One'. No longer is he opening for others, he is a headliner now. Judging by the material, he seems to have been ceded a pretty free hand in what he records in his new relationship with King. The fascinating thing to me is that undeniable classics like Cold Sweat and It's A Man's, Man's World are side by side with covers of I Loves You Porgy, Mona Lisa, and Our Day Will Come.

By Vol. 5 Brown seems to have fully committed to his new sound however, and there are fewer forays into attempted crossover material. In fact, the only cover on the 2 discs of vol5 is a jazzy instrumental of Little Green Apples.

These four discs are an absolute chronicle of the James Brown bands' development of their brand of funk.

James Brown - Jazz

I was pleasantly surprised by this album.  It was released in 2007, just like many albums were after JB's demise.  This one however is different.

Firstly, the tracks really flow nicely together and have the cohesiveness of a proper album.  In truth it's quite a hodge podge of tunes - including a couple unreleased tracks, instrumental jams and tracks with vocals added which had none.

All that said, the second and probably main difference of this collection would be musical relevance.  All the tracks here sound like A-sides rather than throw aways.  The JB crew is the Ellis/Parker vintage, and earlier, and man these guys can swing with little effort.  Brown really shows off his chops here too, both vocally and on the organ.

I ripped this in proper FLAC and included all of the scans... enjoy!!!

Brown helms dynamic takes on contemporary jazz tunes (Cannonball Adderley's "Tengo Tango" and Joe Zawinul's "Why (Am I Treated So Bad)," among others), as well as revitalizing much-loved standards like "That's My Desire." The material ranges through the 1960s and '70s, and features a number of alternate mixes and singles edits, some of which have never seen the light of day (making the set a must for Brown collectors). James Brown fans might wonder at the title and at the fact that this posthumous collection is issued on Verve, the classic jazz label, but one listen through these 12 cuts will answer any questions. The Godfather was the king of soul and the architect of funk, but he also had a yen for jazzier flavors, as this excellent swinging set demonstrates. - CD Universe

James Brown (organ); 

Dee Felice Trio (vocals); 

Les Buie, Wallace Richardson, Jimmy Nolen, Bill Pittman, Alfonzo Kellum, Louis Shelton (guitars); 

David Parkinson, Ernie Watts, Nat Jones, Joe Romano (alto saxophone); 

Eldee Williams, Al "Brisco" Clark, Les Asch, Pete Christlieb, St. Clair Pinckney, Buddy Collette (tenor saxophone); 

Charles Carr, Maceo Parker, Jimmy Mulidore (baritone saxophone); 

Teddy Washington, Joe Dupars, Waymon Reed, Richard "Kush" Griffith, Robert Knight , Ron Harper, Al Aarons, John Audino, Chuck Finley, Tommy Porello, Mack Johnson, Ron Tooley (trumpet); 

Kenny Schroyer, Wilmer Milton, Fred Wesley, Jimmy Cleveland, Nick Dimaio, Bill Tole (trombone); 

Levi Rasbury (valve trombone); 

Frank Vincent, Alfred Ellis (piano); 

Bernard Odum, Al Lucas, Ray Brown , Sam Thomas , Lee Tucker (bass guitar); Clyde Stubblefield, Nat Kendrick, Melvin Parker, Obie Williams, John Starks, Louie Bellson, Bernard "Pretty" Purdie, Dee Felice (drums); 

Jack Arnold (percussion).

James Brown - The Singles, Volume Three (2 discs)

Soul Brother Number One is baaaack! Yeah well that is almost unfair of me so let me say up front that this period and this pair of discs are no where near as brilliant as the two previous sets.

As on fire as Brown was through the previous two sets and the epic Apollo Concert of 1963 (I guess I should have posted that before this) he certainly takes a nose dive and comes up staggering on the majority of this stuff.

Brown had attempted to split from King and form his own Production company with Bobby Byrd. They signed with Mercury subsidiary Smash but King was not having it and went to court and won an injunction that prevented Brown from singing on record, he could only play organ. Three Smash vocal tracks came out prior to the injunction, one of which is actually pretty good, "Out Of Sight". Unfortunately also during this period King took advantage of the situation to empty their vaults of rejected songs, LP takes, and some MORON decide to take some perfectly good tracks and dub in crowd noise and screams in one of the most annoying production foibles ever.

To some extent you have to listen to disc one just to hear the train wreck, likely listening with horrified fascination, but at the end of the day if you ever want to hear any of it again, besides maybe tracks 13 and 16, I'd be surprised. Disc 2 does not begin any better and for 8 tracks it is more drek. I am reminded somehow of Roberto Duran in the first Sugar Ray Leonard fight. A guy who had previously seemed so terrifyingly invincible was suddenly lost and flailing about awkwardly, helpless, ineffective.

This image, however, is apparently to some extent artificially created by the record companies and the legal hassles. Behind this chaos JB and the band are still rocking monster shows and working out their new thang. That new thing finally comes to light when James and King make up and sign a new contract.  On track nine of disc two the world is set right with "I Got You". After the mess that precedes it this track burns like a red hot coal, a blinding neon light that says HE'S BACK! Two tracks later you know it for sure because "PAPA'S GOT A BRAND NEW BAG"!

It is like someone has opened up the window, lean back and breath deep - a couple of pleasant tracks of organ playing James doing instrumentals of Try Me and Papa and then just in case you thought that first version of "I Got You" was lacking something, JB ups the ante big time on his second, utterly explosive version of the song. "I Can't Help It" continues the return to form but the final two tracks, while good, are marred by more potted in crowd noise.

One thing has become clear to me about the JB singles; I had intended to stop after this set but I can't leave The Godfather hanging like that, it just wouldn't be right, so Volume Four where he explodes upon the American conscious and becomes part of the sound of an era will be coming. 

James Brown - The Singles, Volume 2 (King, 2 discs)

Yup, here we go! The next two disc entry into what you NEED to know about JB. (brace yourself chubby!) So that last Federal set? Yeah, well this is, if anything, better!

There is still a wonderful variety of sounds here, still casting about for a signature sound but certain things are clearly evolving. Brown has chosen to focus the band on Jazz and Jump Blues in their sound and approach. Most of the band solo space is the sax players. No question either that you can hear that Little Willie John has left an impression on James during the time he was opening for him. His phrasing, inflection and delivery have grown immensely. I'm really impressed with the whole package. The bottom line is that he a distinctly superior singer to the guy you heard on the first set and we all seemed to like THAT guy quite a bit!

The longer you listen you will hear the development of a 'sound' that carries across the different 'orientations' of the songs. JB is achieving an amazing synthesis of all those different earlier influences and has gotten his band "Ike Turner" tight. Extended instrumental breaks are regular and are dripping with Bill Dogget and Jimmy Forrest and the Johnny Otis 'show' influence is showing there as well. Quite simply, THIS IS SOME UTTERLY BRILLIANT SHIT!! One thing for damn sure, JB is given many modern major props as the Father of Funk and the Godfather of Soul but the undeniable genius is even more POTENT for me right here in these earlier recordings.

Footnotes: You guys are going to LOVE the disc 2 instrumental stuff like Devil's Den.
              And to my old buddy Wouter I would point out that in the early 60's EVERYBODY, JB, Wes Montgomery, Ben Webster, Little Willie John, I mean almost everyone had strings and cheesy backup singers. I guess I have developed a 'filter' of sorts, but yes, I asked for it!

James Brown - The Federal Years

If you have never heard this early material I think you will be fascinated like I was. James is obviously casting about in many directions looking for his 'sound'. His earliest version of Please, Please, Please shows that he idolized Little Richard at the time but the next track he is in a more Amos Milburn or Charles Brown mood. On track 3 he sounds a bit like Billy Wright as well. I'd definitely put him in that line from Wright thru Esquerita and Little Richard but he is adding pieces from all over. The fourth track is very much in the Roy Brown/Wynonie Harris mode and he handles that really well too. Later on there are even a few Doo Wop songs. In fact the one thing that really stands out on this material is what a fine singer Brown was, so much of his later material required so little actual singing that it is easy to forget what a dynamic voice he had. There are two discs to this first part and to each of the sets to follow as well.

"James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, musician, and recording artist. He is the originator of funk music and is a major figure of 20th century popular music and dance.

In a career that spanned six decades, Brown profoundly influenced the development of many different musical genres. Brown moved on a continuum of blues and gospel-based forms and styles to a profoundly "Africanized" approach to music making. Brown performed in concerts, first making his rounds across the Chitlin' Circuit, and then across the country and later around the world, along with appearing in shows on television and in movies. Although he contributed much to the music world through his hitmaking, Brown holds the record as the artist who charted the most singles on the Billboard Hot 100 without ever hitting number one on that chart.

For many years, Brown's touring show was one of the most extravagant productions in American popular music. At the time of Brown's death, his band included three guitarists, two bass guitar players, two drummers, three horns and a percussionist. The bands that he maintained during the late 1960s and 1970s were of comparable size, and the bands also included a three-piece amplified string section that played during ballads. Brown employed between 40 and 50 people for the James Brown Revue, and members of the revue traveled with him in a bus to cities and towns all over the country, performing upwards of 330 shows a year with almost all of the shows as one-nighters. In 1986, he was inducted into the Rock and Roll Hall of Fame and in 2000 into the Songwriters Hall of Fame.

Brown died on Christmas Day 2006 from heart failure after becoming ill two days earlier and being hospitalized for hours. James Brown is buried in Beech Island, South Carolina.

James Brown was born in Barnwell, South Carolina on May 3, 1933 to Susie (née Behlings) Brown (August 8, 1916 - February 26, 2004) and Joseph ("Joe") Gardner (March 29, 1911 - July 10, 1993) (who changed his surname to Brown after Mattie Brown who raised him). Although Brown was to be named after his father Joseph, his first and middle names were mistakenly reversed on his birth certificate. He therefore became James Joseph Brown, Jr. As a young child, Brown was called Junior. When he later lived with his aunt and cousin, he was called Little Junior since his cousin's nickname was also Junior. Later as an adult, Brown legally changed his name to remove the "Jr." designation. He was of African American and Native American (Apache) descent through his father, and had Asian ancestry through his mother, who was also half African American.

As a young child, Brown and his family lived in extreme poverty in nearby Elko, South Carolina, which at the time was an impoverished town in Barnwell County. When Brown was two years old, his parents separated after his mother left his father for another man. After his mother abandoned the family, Brown continued to live with his father and his father's live-in girlfriends until he was six years old. His father then sent him to live with an aunt, who ran a house of prostitution. Even though Brown lived with relatives, he spent long stretches of time on his own, hanging out on the streets and hustling to get by. Brown managed to stay in school until he dropped out in the seventh grade. During his childhood, Brown earned money shining shoes, sweeping out stores, selling and trading in old stamps, washing cars and dishes and singing in talent contests. Brown also performed buck dances for change to entertain troops from Camp Gordon at the start of World War II as their convoys traveled over a canal bridge near his aunt's home. Between earning money from these adventures, Brown taught himself to play a harmonica given to him by his father. He learned to play some guitar from Tampa Red, in addition to learning to play piano and drums from others he met during this time. Brown was inspired to become an entertainer after watching Louis Jordan, a popular jazz and R&B performer during the 1940s, and Jordan's Tympany Five performing "Caldonia" in a short film.

Brown began his performing career at the age of 12, forming his first vocal group, the Cremona Trio in 1945, where they won local talent shows at Augusta concert halls such as the Lenox and Harlem theaters. As a result of this success, the group would later gig at several high schools and local army bases.  At the age of sixteen, he was convicted of armed robbery and sent to a juvenile detention center upstate in Toccoa in 1949. While in prison, he formed a gospel quartet with fellow cell mates Johnny Terry, "Hucklebuck" Davis and a person named "Shag", and made homemade instruments - a comb and paper, a washtub bass, a drum kit made from lard tubs and for Brown, what he called "a sort of mandolin [made] out of a wooden box." Due to the latter instrument, Brown was given his first nickname, "Music Box". In 1952, while still in reform school, Brown met future R&B legend Bobby Byrd, who was there playing baseball against the reform school team. Byrd saw Brown perform there and admired his singing and performing talent. As a result of this friendship, Byrd's family helped Brown secure an early release on June 14, 1952 after serving three years of his sentence. The authorities agreed to release Brown on the condition that he would get a job and not return to Augusta or Richmond County and also under the condition he find a decent job and sing for the Lord as he had promised in his parole letter. After stints as a boxer and baseball pitcher in semi-professional baseball (a career move ended by a leg injury), Brown turned his energy toward music.

By 1954, Brown had tried to get a deal with his gospel group, the Ever Ready Gospel Singers after recording a version of "His Eye Is on the Sparrow", but returned to Toccoa when they failed to get a deal. Returning, his friend Bobby Byrd asked Brown to join his R&B group, the Avons, who had went under the previous name, the Gospel Starlighters to avoid controversy with church leaders. Brown replaced another vocalist, Troy Collins, who died in a car crash. The group, which included alongside Byrd and Brown; Sylvester Keels, Doyle Oglesby, Fred Pulliam and Johnny Terry, modeled themselves after the R&B groups of the day including The Orioles, The Five Keys and Billy Ward and His Dominoes. Gigging through Georgia and South Carolina, they again changed their name to the Toccoa Band to avoid confusion with two other groups who shared the Avons moniker. Under this name, Brown recruited guitarist Nafloyd Scott and, under their manager Barry Tremier, added assorted percussion.

While performing in Macon, Georgia having now changed their name to the Flames, a club promoter, Clint Brantley (then agent of one of Brown's idols, Little Richard, suggested the band add "Famous" in front of their name to draw more people to his club. The group began composing their own songs during this time and performing them too including a Brown composition called "Goin' Back to Rome" and a ballad Brown co-wrote with Terry titled "Please, Please, Please". After Little Richard left Macon for Los Angeles after the release of "Tutti Frutti", Brantley included the band at every venue Richard had performed, leading to the growth of the group's success. Before Christmas 1955, Brantley had the group record a demo of "Please, Please, Please" for a local Macon radio station. Different accounts on how "Please, Please, Please" came together vary, one story from Etta James stated that during her first meeting with Brown in Macon, Brown "used to carry around an old tattered napkin with him, because Little Richard had written the words, 'please, please, please' on it and James was determined to make a song out of it...". Another story came the group had gotten inspiration for writing the song after hearing The Orioles' rock'n'roll version of Big Joe Williams' hit, "Baby Please Don't Go", taking its melody from the song.

Federal Records president Ralph Bass signed the Famous Flames to his label in February 1956 and had them record the song in Cincinnati's King Studios. Released the following March, the song became the Famous Flames' first R&B hit, selling over a million copies. Despite the song's success, other songs such as "I Don't Know", "No No No", "Just Won't Do Right" and "Chonnie-On-Chon" failed to chart. By March of 1957 after the release of "Please, Please, Please", most members of the Famous Flames walked out on Brown after the group's new manager, Universal Attractions Agency Chief Ben Bart insisted on the group's billing officially be "James Brown and The Famous Flames". After Little Richard left show business for the ministry, Brown was asked to fill in leftover dates, which led to an increase in his concert success in which afterwards, he recruited members of the vocal group the Dominions to be his replacement Famous Flames. The first single under this new lineup, "That Dood It", failed to chart. In late 1958, Brown financed the demo of the ballad, "Try Me". Released that October, it returned the Famous Flames to the charts, reaching #1 on the R&B chart, the first time it reached that position, in February of 1959, becoming the first of 17 chart-topping hits on the R&B chart, credited to Brown over the next decade and a half, with six of them crediting the Famous Flames.

Bolstered by this success, Brown recruited a new band, consisted of saxophonist J. C. Davis, guitarist Bobby Roach, bassist Bernard Odum, trumpeter Roscoe Patrick, saxophonist Albert Corley, drummer Nat Kendrick and his old band mate Bobby Byrd, who had rejoined Brown's band on organ. This resulted in the next Brown hit, "I Want You So Bad", which peaked at the Billboard R&B top twenty. The newly hailed "James Brown Band" debuted at the Apollo Theater on April 24, 1959, opening for Little Willie John. Following his dismissal of the 1957-58 Famous Flames lineup, he hired "Baby" Lloyd Stallworth, Bobby Bennett as replacements with Byrd and Johnny Terry returning as members. The confusion of the band was that for years, the Famous Flames were often mistaken for Brown's backing band; fellow Famous Flame Byrd was also a member of the backing band at one point. Initially a vocal and instrumental group, the group focused primarily as a vocal act after signing with Federal. In early 1960, Brown's band recorded the top ten R&B hit, "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, under the pseudonym "Nat Kendrick & The Swans" because Brown's label refused to release it. As a result of this, Syd Nathan decided to shift Brown's contract from Federal to Federal's parent label, King Records.