James Brown records breakthrough “Live at the Apollo” album

James Brown records breakthrough “Live at the Apollo” album

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James Brown began his professional career at a time when rock and roll was opening new opportunities for black artists to connect with white audiences. But the path he took to fame did not pass through Top 40 radio or through The Ed Sullivan Show and American Bandstand. James Brown would make his appearance in all of those places eventually, but only after a decade spent performing almost exclusively before black audiences and earning his reputation as the Hardest Working Man in Show Business. On October 24, 1962, he took a major step toward his eventual crossover and conquest of the mainstream with an electrifying performance on black America’s most famous stage—a performance recorded and later released as Live at the Apollo (1963), the first breakthrough album of James Brown’s career.

Having failed to convince the head of his label, King Records, to record and release the performance as a live album, James Brown, a man who was famously wise to the value of a dollar, financed the Apollo recording himself. In the end, the show went off not only without a hitch, but with such success that the famously tough Apollo crowd was in a state of rapture. Released in May 1963, Live at the Apollo ended up spending an astonishing 66 weeks on the Billboard album chart and selling upwards of a million copies, giving James Brown his first smash hit album and setting him on a course for his incredible crossover success in the mid-1960s and beyond.

Live at the Apollo, Volume II

Live at the Apollo, Volume II is a 1968 live double album by James Brown and The Famous Flames, recorded in 1967 at the Apollo Theater in Harlem. It is a follow-up to Brown's 1963 recording, Live at the Apollo. It is best known for the long medley of "Let Yourself Go", "There Was a Time", and "I Feel All Right", followed by "Cold Sweat", which document the emergence of Brown's funk style. It peaked at #32 on the Billboard albums chart. [2] Robert Christgau included the album in his "basic record library" for the 1950s and 1960s. [3]

On the original 1968 album and its 1987 CD reissue the performances were edited to accommodate the recording medium. A more complete recording of what was captured from the performances was remastered and released on a 2-CD Deluxe Edition in 2001. The Famous Flames, (Bobby Byrd and Bobby Bennett), were credited on the record label and the back cover of the album (although not on the front). [4] [5] But on the original album release, their group name was cut from the live intro, because in between the time of the recording of the album and its actual 1968 release, the group members quit James Brown due to salary disputes, essentially leaving Brown as a solo act. (Famous Flame Lloyd Stallworth had left the group during 1966 for the same reasons). [6] However, years later, on the 2001 Deluxe Edition CD release, the complete introduction by MC Frankie Crocker, including The Famous Flames' name, was restored.

This was the last live album recorded by James Brown & The Famous Flames as a group.


Professional ratings
Review scores
Allmusic [9]
BBC Musicfavorable [10]
Blender [11]
Entertainment WeeklyA+ [12]
Mojo [13]
Pitchfork Media10/10 [14]
PopMatters10/10 [15]
Rolling Stone [16]
Encyclopedia of Popular Music [17]
Yahoo! Musicfavorable [18]

Live at the Apollo was recorded on the night of October 24, 1962, at Brown's own expense. Although not credited on the album cover or label, Brown's vocal group, The Famous Flames (Bobby Byrd, Bobby Bennett, and Lloyd Stallworth), played an important co-starring role in Live at the Apollo, and are included with Brown by MC Fats Gonder in the album's intro. (It wasn't until the CD release of this album, decades later, that The Flames were finally credited for their work on this album). Brown's record label, King Records, originally opposed releasing the album, believing that a live album featuring no new songs would not be profitable. The label finally relented under pressure from Brown and his manager Bud Hobgood. [19]

To King's surprise, Live at the Apollo was an amazingly rapid seller. It spent 66 weeks on the Billboard Top Pop Albums chart, peaking at #2. [20] Many record stores, especially in the southeast US, found themselves unable to keep up with the demand for the product, eventually ordering several cases at a time. R&B DJs often would play side 1 in its entirety, pausing (usually to insert commercials) only to return to play side 2 in full as well. The side break occurred in the middle of the long track "Lost Someone".

In a retrospective article for Rolling Stone, music critic Robert Christgau said that Brown was a "striking but more conventional performer" in the show than on his contemporary studio recordings and wrote of the album:

Recorded in 1962 and barely half an hour long, it lacks the heft we associate with live albums, relegating major songs to the same eight-title medley as forgettable ones. But not only did it establish Brown as an r&b superstar and a sales force to be reckoned with, it's a time capsule, living testament of a chitlin circuit now defunct. The band is clean as a silk suit, and how the women love this rough singer's tender lover-in-song act. There is no music anywhere quite like the perfectly timed and articulated female fan-screeches that punctuate the 10-minute 'Lost Someone.' [21]

Brown went on to record several more albums at the Apollo throughout his career, including 1968's Live at the Apollo, Volume II (King), 1971's Revolution of the Mind: Live at the Apollo, Volume III (Polydor), and Live at the Apollo 1995 (Scotti Bros.).

In 2015, Rolling Stone listed it as the greatest live album of all time. [22]

MC5 guitarist Wayne Kramer cited Live at the Apollo as the inspiration to Kick Out the Jams [23] "Our whole thing was based on James Brown. We listened to Live at the Apollo endlessly on acid. We would listen to that in the van in the early days of 8-tracks on the way to the gigs to get us up for the gig. If you played in a band in Detroit in the days before The MC5, everybody did 'Please, Please, Please' and 'I Go Crazy.' These were standards. We modeled The MC5's performance on those records. Everything we did was on a gut level about sweat and energy. It was anti-refinement. That's what we were consciously going for."

Despite its renowned and historical significance, Live at the Apollo was not reissued on CD until 1990 because the original master recordings had been misplaced and the available copies were not of a high enough quality for a satisfactory CD release. The master tapes were recovered in late 1989. As Harry Weinger writes in the booklet of the reissued Deluxe Edition (featuring remastered sound and several alternate mixes) in 2004: "Finding the primary master, not the readily available copy, became a mission. It was tough to find, since the original LP didn't index individual tracks, meaning its song titles would not be properly listed in a database. The tape vault was 100,000 reels strong, and growing. As JB would say Good gawd. I shared this tale of woe with Phil Schaap, the noted jazz historian. One day, Philip was searching the vault for a Max Roach tape, his hand landed on what he thought was Max's master. Pulling the tape off the shelf, he realized he had instead an anonymous-looking audiotape box that said: 'Second Show James Brown'. It was initialed, in grease pencil, 'GR-CLS-King Records' (Gene Redd and Chuck L. Speitz). Phil handed it to me, saying with urgent economy, 'I think you need to hear this."

The track listing is as it appears on the 2004 remaster. The original 1963 issue of the album is unindexed.

October 24 1962 James Brown records breakthrough Live at the Apollo album

On October 24th 1962, James Brown took a major step toward his eventual crossover to, and conquest of, the mainstream with an electrifying performance on black America’s most famous stage—a performance recorded and later released as Live at the Apollo (1963), the first breakthrough album of his career.

James Brown began his professional career at a time when rock and roll was opening new opportunities for black artists to connect with white audiences.

But the path he took to fame did not pass through Top 40 radio or through The Ed Sullivan Show and American Bandstand.

James Brown would make his appearance in all of those places eventually, but only after a decade spent performing almost exclusively before black audiences and earning his reputation as the Hardest Working Man in Show Business.

By the time 1962 rolled around, James Brown was one of the most popular figures on the R&B scene, not so much on the strength of his recordings, but on the strength of his live act.

As he would throughout his long career, Brown ran his band, the Famous Flames, like a military unit, demanding of his instrumentalists and backing vocalists the same perfection he demanded of himself.

Even in the middle of a performance, Brown would turn around and dish out fines for missed or flubbed notes, all without missing or flubbing a dance step himself.

At the midnight show at the Apollo on October 24, 1962, however, every member of Brown’s band knew that the fines they faced would be far greater than normal.

“You made a mistake that night,” band member Bobby Byrd told Rolling Stone magazine, “the fine would move from five or ten dollars to fifty or a hundred dollars.”

The reason was simple. Having failed to convince the head of his label, King Records, to record and release the performance as a live album, James Brown, a man who was famously wise to the value of a dollar, was financing the Apollo recording himself.

In the end, the show went off not only without a hitch, but with such success that the famously tough Apollo crowd was in a state of rapture.

Released in May 1963, Live at the Apollo ended up spending an astonishing 66 weeks on the Billboard album chart and selling upwards of a million copies, giving James Brown his first smash hit album and setting him on a course for his incredible crossover success in the mid-1960s and beyond.

MUSIC: THIS WEEK Live at the Apollo, for 40 Years

ON Oct. 24, 1962, James Brown played his 24th show of the week at the Apollo Theater, in front of a crowd of New Yorkers terrified that the naval blockade of Cuba that had started that morning would trigger nuclear war.

The recording of his howlingly intense performance became his breakthrough album, ''Live at the Apollo'' -- the record that proved him ''the hardest-working man in show business'' and defined the Apollo as the center of R & B culture. Urban radio stations played the entire album every night half a dozen other soul hopefuls recorded live-at-the-Apollo albums of their own. On Friday and Saturday, Mr. Brown returns to the theater whose name was all but attached to his.

Throughout the 60's and early 70's, even when he could have easily filled Madison Square Garden, Mr. Brown appeared at the Apollo twice a year. Two more best-selling live albums he recorded there, in 1967 and 1971, documented his invention and refinement of funk. Finally, the reputation of his Apollo performances became impossible to live up to -- John Rockwell, writing in The New York Times, called a May 1972 show at the theater ''poorly paced yet too obviously calculated'' -- and he stayed away for a few years.

As the decades have passed and the flood of hits has dried up, though, Mr. Brown's occasional Apollo gigs have taken on the feeling of a homecoming for both artist and theater. A certain ossification has set in: the ''Live at the Apollo 1995'' album documents the well-oiled set he's been performing with little variation for years. Next weekend's shows were first announced, with questionable math, as commemorations of the original 'ɺpollo'' recording's 40th anniversary. Now they're billed as ''Seven Decades of Funk.'' Mr. Brown, who has been making noise about retiring, recently turned 70.

''Live at the Apollo'' was the sound of a desperate man proving himself at the end of his youth (in 1962, he was touring 300 days a year, screaming his heart out at up to five shows a day, and his record label still didn't think a live album could sell -- Mr. Brown paid $5,700 out of his own pocket to record it). This week, he's an aging hero revisiting the site of his early glories, which will probably be a spectacle anyway: he can only hint at the old vocal and physical acrobatics, but his charisma and showmanship remain matchless. DOUGLAS WOLK


Brown was born on May 3, 1933, in Barnwell, South Carolina, to 16-year-old Susie (née Behling 1916–2004) and 21-year-old Joseph Gardner Brown (1912–1993) in a small wooden shack. [15] Brown's name was supposed to have been Joseph James Brown Jr., but his first and middle names were mistakenly reversed on his birth certificate. [16] He later legally changed his name to remove "Jr." In his autobiography, Brown stated that he had Chinese and Native American ancestry and that his father was of mixed African-American and Native American descent, while his mother was of mixed African-American and Asian descent. [17] [18] [19] The Brown family lived in extreme poverty in Elko, South Carolina, which was an impoverished town at the time. [9] They later moved to Augusta, Georgia, when James was four or five. [20] His family first settled at one of his aunts' brothels. They later moved into a house shared with another aunt. [20] Brown's mother eventually left the family after a contentious and abusive marriage and moved to New York. [21] Brown spent long stretches of time on his own, hanging out in the streets and hustling to get by. He managed to stay in school until the sixth grade.

He began singing in talent shows as a young child, first appearing at Augusta's Lenox Theater in 1944, winning the show after singing the ballad "So Long". [22] While in Augusta, Brown 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. [22] He learned to play the piano, guitar, and harmonica during this period. He became inspired to become an entertainer after hearing "Caldonia" by Louis Jordan and his Tympany Five. [23] In his teen years, Brown briefly had a career as a boxer. [24] At the age of 16, he was convicted of robbery and sent to a juvenile detention center in Toccoa. [25] There, he formed a gospel quartet with four fellow cellmates, including Johnny Terry. Brown met singer Bobby Byrd when the two played against each other in a baseball game outside the detention center. Byrd also discovered that Brown could sing after hearing of "a guy called Music Box", which was Brown's musical nickname at the prison. Byrd has since claimed he and his family helped to secure an early release, which led to Brown promising the court he would "sing for the Lord". Brown was released on a work sponsorship with Toccoa business owner S.C. Lawson. Lawson was impressed with Brown's work ethic and secured his release with a promise to keep him employed for two years. Brown was paroled on June 14, 1952. [26] He would go on to work with both of Lawson's sons, and would come back to visit the family from time to time throughout his career. Shortly after being paroled he joined the gospel group the Ever-Ready Gospel Singers, featuring Byrd's sister Sarah. [27]

1953–1961: The Famous Flames Edit

Brown eventually joined Byrd's group in 1954. The group had evolved from the Gospel Starlighters, an a cappella gospel group, to an R&B group with the name the Avons. [28] He reputedly joined the band after one of its members, Troy Collins, died in a car crash. [29] Along with Brown and Byrd, the group consisted of Sylvester Keels, Doyle Oglesby, Fred Pulliam, Nash Knox and Nafloyd Scott. Influenced by R&B groups such as Hank Ballard and the Midnighters, the Orioles and Billy Ward and his Dominoes, the group changed its name, first to the Toccoa Band and then to the Flames. [30] [29] Nafloyd's brother Baroy later joined the group on bass guitar, and Brown, Byrd and Keels switched lead positions and instruments, often playing drums and piano. Johnny Terry later joined, by which time Pulliam and Oglesby had long left. [31]

Berry Trimier became the group's first manager, booking them at parties near college campuses in Georgia and South Carolina. [32] The group had already gained a reputation as a good live act when they renamed themselves the Famous Flames. [33] In 1955, the group had contacted Little Richard while performing in Macon. [34] Richard convinced the group to get in contact with his manager at the time, Clint Brantley, at his nightclub. [35] Brantley agreed to manage them after seeing the group audition. [36] He then sent them to a local radio station to record a demo session, where they performed their own composition "Please, Please, Please", which was inspired when Little Richard wrote the words of the title on a napkin and Brown was determined to make a song out of it. [36] [37] [ incomplete short citation ] [38] The Famous Flames eventually signed with King Records' Federal subsidiary in Cincinnati, Ohio, and issued a re-recorded version of "Please, Please, Please" in March 1956. The song became the group's first R&B hit, selling over a million copies. [39] None of their follow-ups gained similar success. By 1957, Brown had replaced Clint Brantley as manager and hired Ben Bart, chief of Universal Attractions Agency. That year the original Flames broke up, after Bart changed the name of the group to "James Brown and The Famous Flames". [40]

In October 1958, Brown released the ballad "Try Me", which hit number one on the R&B chart in the beginning of 1959, becoming the first of seventeen chart-topping R&B hits. [41] Shortly afterwards, he recruited his first band, led by J. C. Davis, and reunited with Bobby Byrd who joined a revived Famous Flames lineup that included Eugene "Baby" Lloyd Stallworth and Bobby Bennett, with Johnny Terry sometimes coming in as the "fifth Flame". Brown, the Flames, and his entire band debuted at the Apollo Theater on April 24, 1959, opening for Brown's idol, Little Willie John. [29] [42] Federal Records issued two albums credited to Brown and the Famous Flames (both contained previously released singles). By 1960, Brown began multi-tasking in the recording studio involving himself, his singing group, the Famous Flames, and his band, a separate entity from The Flames, sometimes named the James Brown Orchestra or the James Brown Band. That year the band released the top ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, billed under the pseudonym "Nat Kendrick & the Swans" due to label issues. [43] As a result of its success, King president Syd Nathan shifted Brown's contract from Federal to the parent label, King, which according to Brown in his autobiography meant "you got more support from the company". While with King, Brown, under the Famous Flames lineup, released the hit-filled album Think! and the following year released two albums with the James Brown Band earning second billing. With the Famous Flames, Brown sang lead on several more hits, including "I'll Go Crazy" and "Think", songs that hinted at his emerging style. [29]

1962–1966: Mr. Dynamite Edit

In 1962, Brown and his band scored a hit with their cover of the instrumental "Night Train", becoming a top five R&B single. That same year, the ballads "Lost Someone" and "Baby You're Right", the latter a Joe Tex composition, added to his repertoire and increased his reputation with R&B audiences. On October 24, 1962, Brown financed a live recording of a performance at the Apollo and convinced Syd Nathan to release the album, despite Nathan's belief that no one would buy a live album due to the fact that Brown's singles had already been bought and that live albums were usually bad sellers.

Live at the Apollo was released the following June and became an immediate hit, eventually reaching number two on the Top LPs chart and selling over a million copies, staying on the charts for 14 months. [44] In 1963, Brown scored his first top 20 pop hit with his rendition of the standard "Prisoner of Love". He also launched his first label, Try Me Records, which included recordings by the likes of Tammy Montgomery (later to be famous as Tammi Terrell), Johnny & Bill (Famous Flames associates Johnny Terry and Bill Hollings) and the Poets, which was another name used for Brown's backing band. [29] During this time Brown began an ill-fated two-year relationship with 17-year-old Tammi Terrell when she sang in his revue. Terrell ended their personal and professional relationship because of his abusive behavior. [45]

In 1964, seeking bigger commercial success, Brown and Bobby Byrd formed the production company, Fair Deal, linking the operation to the Mercury imprint, Smash Records. [29] [46] King Records, however, fought against this and was granted an injunction preventing Brown from releasing any recordings for the label. Prior to the injunction, Brown had released three vocal singles, including the blues-oriented hit "Out of Sight", which further indicated the direction his music was going to take. [47] Touring throughout the year, Brown and the Famous Flames grabbed more national attention after giving an explosive show-stopping performance on the live concert film The T.A.M.I. Show. The Flames' dynamic gospel-tinged vocals, polished choreography and timing as well as Brown's energetic dance moves and high-octane singing upstaged the proposed closing act, the Rolling Stones.

Having signed a new deal with King, Brown released his song "Papa's Got a Brand New Bag" in 1965, which became his first top ten pop hit and won him his first Grammy Award. [48] Brown also signed a production deal with Loma Records. [49] Later in 1965, he issued "I Got You", which became his second single in a row to reach number-one on the R&B chart and top ten on the pop chart. Brown followed that up with the ballad "It's a Man's Man's Man's World", a third Top 10 Pop hit (No. 1 R&B) which confirmed his stance as a top-ranking performer, especially with R&B audiences from that point on. [48]

1967–1970: Soul Brother No. 1 Edit

By 1967, Brown's emerging sound had begun to be defined as funk music. That year he released what some critics cited as the first true funk song, "Cold Sweat", which hit number-one on the R&B chart (Top 10 Pop) and became one of his first recordings to contain a drum break and also the first that featured a harmony that was reduced to a single chord. [50] [51] The instrumental arrangements on tracks such as "Give It Up Or Turnit A Loose" and "Licking Stick-Licking Stick" (both recorded in 1968) and "Funky Drummer" (recorded in 1969) featured a more developed version of Brown's mid-1960s style, with the horn section, guitars, bass and drums meshed together in intricate rhythmic patterns based on multiple interlocking riffs.

Changes in Brown's style that started with "Cold Sweat" also established the musical foundation for Brown's later hits, such as "I Got the Feelin'" (1968) and "Mother Popcorn" (1969). By this time Brown's vocals frequently took the form of a kind of rhythmic declamation, not quite sung but not quite spoken, that only intermittently featured traces of pitch or melody. This would become a major influence on the techniques of rapping, which would come to maturity along with hip hop music in the coming decades. Brown's style of funk in the late 1960s was based on interlocking syncopated parts: strutting bass lines, syncopated drum patterns, and iconic percussive guitar riffs. [52] The main guitar ostinatos for "Ain't It Funky" and "Give It Up or Turn It Loose" (both 1969), are examples of Brown's refinement of New Orleans funk irresistibly danceable riffs, stripped down to their rhythmic essence. On both recordings the tonal structure is bare bones. The pattern of attack-points is the emphasis, not the pattern of pitches, as if the guitar were an African drum, or idiophone. Alexander Stewart states that this popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s". [53] Those same tracks were later resurrected by countless hip-hop musicians from the 1970s onward. As a result, James Brown remains to this day the world's most sampled recording artist, but, two tracks that he wrote, are also synonymous with modern dance, especially with house music, jungle music, and drum and bass music, (which were sped up exponentially, in the latter two genres).

"Bring it Up" has an Afro-Cuban guajeo-like structure. All three of these guitar riffs are based on an onbeat/offbeat structure. Stewart says that it "is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle." [54]

It was around this time as the musician's popularity increased that he acquired the nickname "Soul Brother No. 1", after failing to win the title "King of Soul" from Solomon Burke during a Chicago gig two years prior. [55] Brown's recordings during this period influenced musicians across the industry, most notably groups such as Sly and the Family Stone, Funkadelic, Charles Wright & the Watts 103rd Street Rhythm Band, Booker T. & the M.G.s as well as vocalists such as Edwin Starr, David Ruffin and Dennis Edwards from The Temptations, and Michael Jackson, who, throughout his career, cited Brown as his ultimate idol. [56]

Brown's band during this period employed musicians and arrangers who had come up through the jazz tradition. He was noted for his ability as a bandleader and songwriter to blend the simplicity and drive of R&B with the rhythmic complexity and precision of jazz. Trumpeter Lewis Hamlin and saxophonist/keyboardist Alfred "Pee Wee" Ellis (the successor to previous bandleader Nat Jones) led the band. Guitarist Jimmy Nolen provided percussive, deceptively simple riffs for each song, and Maceo Parker's prominent saxophone solos provided a focal point for many performances. Other members of Brown's band included stalwart Famous Flames singer and sideman Bobby Byrd, trombonist Fred Wesley, drummers John "Jabo" Starks, Clyde Stubblefield and Melvin Parker, saxophonist St. Clair Pinckney, guitarist Alphonso "Country" Kellum and bassist Bernard Odum.

In addition to a torrent of singles and studio albums, Brown's output during this period included two more successful live albums, Live at the Garden (1967) and Live at the Apollo, Volume II (1968), and a 1968 television special, James Brown: Man to Man. His music empire expanded along with his influence on the music scene. As Brown's music empire grew, his desire for financial and artistic independence grew as well. Brown bought radio stations during the late 1960s, including WRDW in his native Augusta, where he shined shoes as a boy. [48] In November 1967, James Brown purchased radio station WGYW in Knoxville, Tennessee, for a reported $75,000, according to the January 20, 1968 Record World magazine. The call letters were changed to WJBE reflecting his initials. WJBE began on January 15, 1968, and broadcast a Rhythm & Blues format. The station slogan was "WJBE 1430 Raw Soul". Brown also bought WEBB in Baltimore in 1970.

Brown branched out to make several recordings with musicians outside his own band. In an attempt to appeal to the older, more affluent, and predominantly white adult contemporary audience, Brown recorded Gettin' Down To It (1969) and Soul on Top (1970)—two albums consisting mostly of romantic ballads, jazz standards, and homologous reinterpretations of his earlier hits—with the Dee Felice Trio and the Louie Bellson Orchestra. In 1968, he recorded a number of funk-oriented tracks with The Dapps, a white Cincinnati band, including the hit "I Can't Stand Myself". He also released three albums of Christmas music with his own band.

1970–1975: Godfather of Soul Edit

In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to money disputes, a development augured by the prior disbandment of The Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd (who chose to remain in the band during this tumultuous period) subsequently recruited several members of the Cincinnati-based The Pacemakers, which included Bootsy Collins and his brother Phelps "Catfish" Collins augmented by the remaining members of the 1960s road band (including Fred Wesley, who rejoined Brown's outfit in December 1970) and other newer musicians, they would form the nucleus of The J.B.'s, Brown's new backing ensemble. Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine" the song and other contemporaneous singles would further cement Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins' use of LSD the Collins brothers would soon become integral members of Parliament-Funkadelic, while a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.

In 1971, Brown began recording for Polydor Records which also took over distribution of Brown's King Records catalog. Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label, an imprint founded by Brown that was purchased by Polydor as part of Brown's new contract. The recordings on the People label, almost all of which were produced by Brown himself, exemplified the mature flowering of his "house style". Several tracks thought by critics to be excessively sexual were released at this time. He would later soften his vocal approach. Songs such as "I Know You Got Soul" by Bobby Byrd, "Think" by Lyn Collins and "Doing It to Death" by Fred Wesley & the J.B.'s are considered as much a part of Brown's recorded legacy as the recordings released under his own name. That year, he also began touring African countries and was received well by audiences there. During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern. [57] The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience. [58] As a result, Brown's record sales and concerts in the United States reached a lull in 1973 as he failed to land a number-one R&B single that year. Brown relied more on touring outside the United States where he continued to perform for sold-out crowds in cities such as London, Paris and Lausanne. That year he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million five years earlier, the IRS had claimed he owed nearly $2 million. [59]

In 1973, Brown provided the score for the blaxploitation film Black Caesar. He also recorded another soundtrack for the film, Slaughter's Big Rip-Off. Following the release of these soundtracks, Brown acquired a self-styled nickname, "The Godfather of Soul", which remains his most popular nickname. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts he would reach No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess". Later that year, he returned to Africa and performed in Kinshasa as part of the buildup to The Rumble in the Jungle fight between Muhammad Ali and George Foreman. Admirers of Brown's music, including Miles Davis and other jazz musicians, began to cite him as a major influence on their own styles. However, Brown, like others who were influenced by his music, also "borrowed" from other musicians. His 1976 single, "Hot (I Need To Be Loved, Loved, Loved, Loved)" (R&B No. 31), interpolated the main riff from "Fame" by David Bowie while omitting any attribution to the latter song's composers (including Bowie, John Lennon and guitarist Carlos Alomar), not the other way around as was often believed. The riff was composed by Alomar, who had briefly been a member of Brown's band in the late 1960s. [60]

"Papa Don't Take No Mess" would prove to be his final single to reach the No. 1 spot on the R&B charts and his final Top 40 pop single of the 1970s, though he continued to occasionally have Top 10 R&B recordings. Among his top ten R&B hits during this latter period included "Funky President" (R&B No. 4) and "Get Up Offa That Thing" (R&B No. 4), the latter song released in 1976 and aimed at musical rivals such as Barry White, The Ohio Players and K.C. and the Sunshine Band. Brown credited his then-wife and two of their children as writers of the song to avoid concurrent tax problems with the IRS. Starting in October 1975, Brown produced, directed, and hosted Future Shock, an Atlanta-based television variety show that ran for three years.

1975–1991: Decline and resurgence Edit

Although his records were mainstays of the vanguard New York underground disco scene (exemplified by DJs such as David Mancuso and Francis Grasso) from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20. After 1976's "Bodyheat", he also failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, Brown's former bandmates, including Fred Wesley, Maceo Parker and the Collins brothers, had found bigger success as members of George Clinton's Parliament-Funkadelic collective. The emergence of disco also stopped Brown's success on the R&B charts because its slicker, more commercial style had superseded his more raw funk productions.

By the release of 1979's The Original Disco Man, Brown was not providing much production or writing, leaving most of it to producer Brad Shapiro, resulting in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals (or Soul G's). The band retained that name until his death. Despite Brown's declining record sales, promoters Gary LoConti and Jim Rissmiller helped Brown sell out a string of residency shows at the Country Club in Reseda. Brown's compromised commercial standing prevented him from charging a large live fee to the promoters for these shows. However, the great success of these shows marked a turning point for Brown's career, and soon he was back on top in Hollywood. Movies followed, starting with appearances in the feature films The Blues Brothers, Doctor Detroit and Rocky IV, as well as guest-starring in the Miami Vice episode "Missing Hours" (1987). In 1984, he teamed with rap musician Afrika Bambaattaa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986. It included Brown's final Top 10 pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top 10 pop entry since 1968. Produced and written by Dan Hartman, it was also featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as "The Godfather of Soul". 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".

In 1988, Brown worked with the production team Full Force on the new jack swing-influenced I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively, on the R&B charts. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose" (the recording included on the compilation album In the Jungle Groove) became so popular at hip hop dance parties (especially for breakdance) during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop". [61]

1991–2006: Final years Edit

After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992. [62] He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor also released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison also prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians. That same year, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation both listed Brown as their idol. Both musicians also sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times. Before the year was over, Brown–who had immediately returned to work with his band following his release–organized a pay-per-view concert following a show at Los Angeles' Wiltern Theatre, that was well received.

On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featured M.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.

Brown continued making recordings. In 1993 his album Universal James was released. It included his final Billboard charting single, "Can't Get Any Harder", which peaked at No. 76 on the US R&B chart and reached No. 59 on the UK chart. Its brief charting in the UK was probably due to the success of a remixed version of "I Feel Good" featuring Dakeyne. Brown also released the singles "How Long" and "Georgia-Lina", which failed to chart. In 1995, Brown returned to the Apollo and recorded Live at the Apollo 1995. It included a studio track titled "Respect Me", which was released as a single again it failed to chart. Brown's final studio albums, I'm Back and The Next Step, were released in 1998 and 2002 respectively. I'm Back featured the song "Funk on Ah Roll", which peaked at No. 40 in the UK but did not chart in his native US. The Next Step included Brown's final single, "Killing Is Out, School Is In". Both albums were produced by Derrick Monk. Brown's concert success, however, remained unabated and he kept up with a grueling schedule throughout the remainder of his life, living up to his previous nickname, "The Hardest Working Man in Show Business", in spite of his advanced age. In 2003, Brown participated in the PBS American Masters television documentary James Brown: Soul Survivor, which was directed by Jeremy Marre.

Brown celebrated his status as an icon by appearing in a variety of entertainment and sports events, including an appearance on the WCW pay-per-view event, SuperBrawl X, where he danced alongside wrestler Ernest "The Cat" Miller, who based his character on Brown, during his in-ring skit with The Maestro. Brown then appeared in Tony Scott's short film Beat the Devil in 2001. He was featured alongside Clive Owen, Gary Oldman, Danny Trejo and Marilyn Manson. Brown also made a cameo appearance in the 2002 Jackie Chan film The Tuxedo, in which Chan was required to finish Brown's act after having accidentally knocked out the singer. In 2002, Brown appeared in Undercover Brother, playing himself.

In 2004, Brown performed in Hyde Park, London as a support act for Red Hot Chili Peppers concerts. [63] The beginning of 2005 saw the publication of Brown's second book, I Feel Good: A Memoir of a Life of Soul, written with Marc Eliot. In February and March, he participated in recording sessions for an intended studio album with Fred Wesley, Pee Wee Ellis, and other longtime collaborators. Though he lost interest in the album, which remains unreleased, a track from the sessions, "Gut Bucket", appeared on a compilation CD included with the August 2006 issue of MOJO. [64] He appeared at Edinburgh 50,000 – The Final Push, the final Live 8 concert on July 6, 2005, where he performed a duet with British pop star Will Young on "Papa's Got A Brand New Bag". In the Black Eyed Peas album "Monkey Business", Brown was featured on a track called, "They Don't Want Music". The previous week he had performed a duet with another British pop star, Joss Stone, on the United Kingdom chat show Friday Night with Jonathan Ross. In 2006, Brown continued his "Seven Decades of Funk World Tour", his last concert tour where he performed all over the world. His final U.S. performances were in San Francisco on August 20, 2006, as headliner at the Festival of the Golden Gate (Foggfest) on the Great Meadow at Fort Mason. The following day, August 21, he performed at Humboldt State University in Arcata, CA, at a small theatre (800 seats) on campus. His last shows were greeted with positive reviews, and one of his final concert appearances at the Irish Oxegen festival in Punchestown in 2006 was performed for a record crowd of 80,000 people. He played a full concert as part of the BBC's Electric Proms on October 27, 2006, at The Roundhouse, [65] supported by The Zutons, with special appearances from Max Beasley and The Sugababes.

Brown's last televised appearance was at his induction into the UK Music Hall of Fame in November 2006, before his death the following month. Before his death, Brown had been scheduled to perform a duet with singer Annie Lennox on the song "Vengeance" for her new album Venus, which was released in 2007.

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. [66] 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 the ballads. [67] 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. [68] [69]

Concert introduction Edit

Before James Brown appeared on stage, his personal MC gave him an elaborate introduction accompanied by drumrolls, as the MC worked in Brown's various sobriquets along with the names of many of his hit songs. The introduction by Fats Gonder, captured on Brown's 1963 album Live at the Apollo is a representative example:

So now ladies and gentlemen it is "Star Time". Are you ready for "Star Time?" Thank you and thank you very kindly. It is indeed a great pleasure to present to you at this particular time, national[ly] and international[ly] known as "The Hardest-Working Man in Show Business", the man that sings "I'll Go Crazy". "Try Me". "You've Got the Power". "Think". "If You Want Me". "I Don't Mind". "Bewildered". the million dollar seller, "Lost Someone". the very latest release, "Night Train". let's everybody "Shout and Shimmy". "Mr. Dynamite", the amazing "Mr. Please Please" himself, the star of the show, James Brown and The Famous Flames!! [70]

Concert repertoire and format Edit

James Brown's performances were famous for their intensity and length. His own stated goal was to "give people more than what they came for — make them tired, 'cause that's what they came for.'" [71] Brown's concert repertoire consisted mostly of his own hits and recent songs, with a few R&B covers mixed in. Brown danced vigorously as he sang, working popular dance steps such as the Mashed Potato into his routine along with dramatic leaps, splits and slides. In addition, his horn players and singing group (The Famous Flames) typically performed choreographed dance routines, and later incarnations of the Revue included backup dancers. Male performers in the Revue were required to wear tuxedoes and cummerbunds long after more casual concert wear became the norm among the younger musical acts. Brown's own extravagant outfits and his elaborate processed hairdo completed the visual impression. A James Brown concert typically included a performance by a featured vocalist, such as Vicki Anderson or Marva Whitney, and an instrumental feature for the band, which sometimes served as the opening act for the show.

Cape routine Edit

A trademark feature of Brown's stage shows, usually during the song "Please, Please, Please", involved Brown dropping to his knees while clutching the microphone stand in his hands, prompting the show's longtime MC, Danny Ray, to come out, drape a cape over Brown's shoulders and escort him off the stage after he had worked himself to exhaustion during his performance. As Brown was escorted off the stage by the MC, Brown's vocal group, the Famous Flames (Bobby Byrd, Lloyd Stallworth, and Bobby Bennett), continued singing the background vocals "Please, please don't go-oh". [72] Brown would then shake off the cape and stagger back to the microphone to perform an encore. Brown's routine was inspired by a similar one used by the professional wrestler Gorgeous George, as well as Little Richard. [70] [73] [74] [ incomplete short citation ] In his 2005 autobiography I Feel Good: A Memoir in a Life of Soul, Brown, who was a fan of Gorgeous George, credited the wrestler as the inspiration for both his cape routine and concert attire, stating, "Seeing him on TV helped create the James Brown you see on stage". [75]

Brown performs a version of the cape routine in the film of the T.A.M.I. Show (1964) in which he and The Famous Flames upstaged The Rolling Stones, and over the closing credits of the film Blues Brothers 2000. The Police refer to "James Brown on the T.A.M.I. Show" in their 1980 song "When the World Is Running Down, You Make the Best of What's Still Around".

As band leader Edit

Brown demanded extreme discipline, perfection and precision from his musicians and dancers – performers in his Revue showed up for rehearsals and members wore the right "uniform" or "costume" for concert performances. [76] During an interview conducted by Terri Gross during the NPR segment "Fresh Air" with Maceo Parker, a former saxophonist in Brown's band for most of the 1960s and part of the 1970s and 1980s, Parker offered his experience with the discipline that Brown demanded of the band:

You gotta be on time. You gotta have your uniform. Your stuff's got to be intact. You gotta have the bow tie. You got to have it. You can't come up without the bow tie. You cannot come up without a cummerbund . [The] patent leather shoes we were wearing at the time gotta be greased. You just gotta have this stuff. This is what [Brown expected] . [Brown] bought the costumes. He bought the shoes. And if for some reason [the band member decided] to leave the group, [Brown told the person to] please leave my uniforms . .

Brown also had a practice of directing, correcting and assessing fines on members of his band who broke his rules, such as wearing unshined shoes, dancing out of sync or showing up late on stage. [78] During some of his concert performances, Brown danced in front of his band with his back to the audience as he slid across the floor, flashing hand signals and splaying his pulsating fingers to the beat of the music. Although audiences thought Brown's dance routine was part of his act, this practice was actually his way of pointing to the offending member of his troupe who played or sang the wrong note or committed some other infraction. Brown used his splayed fingers and hand signals to alert the offending person of the fine that person must pay to him for breaking his rules. [79]

Brown's demands of his support acts were, meanwhile, quite the reverse. As Fred Wesley recalled of his time as musical director of the JBs, if Brown felt intimidated by a support act he would try to "undermine their performances by shortening their sets without notice, demanding that they not do certain showstopping songs, and even insisting on doing the unthinkable, playing drums on some of their songs. A sure set killer." [80]

Education advocacy and humanitarianism Edit

Brown's main social activism was in preserving the need for education among youths, influenced by his own troubled childhood and his being forced to drop out of the seventh grade for wearing "insufficient clothes". Due to heavy dropout rates in the 1960s, Brown released the pro-education song, "Don't Be a Drop-Out". Royalties of the song were donated to dropout-prevention charity programs. The success of this led to Brown meeting with President Lyndon B. Johnson at the White House. Johnson cited Brown for being a positive role model to the youth. A lifelong Republican, Brown gained the confidence of President Richard Nixon, to whom he found he had to explain the plight of Black Americans. [81]

Throughout the remainder of his life, Brown made public speeches in schools and continued to advocate the importance of education in school. Upon filing his will in 2002, Brown advised that most of the money in his estate go into creating the I Feel Good, Inc. Trust to benefit disadvantaged children and provide scholarships for his grandchildren. His final single, "Killing Is Out, School Is In", advocated against murders of young children in the streets. Brown often gave out money and other items to children while traveling to his childhood hometown of Augusta. A week before his death, while looking gravely ill, Brown gave out toys and turkeys to kids at an Atlanta orphanage, something he had done several times over the years.

Civil rights and self-reliance Edit

Though Brown performed at benefit rallies for civil rights organizations in the mid-1960s, Brown often shied away from discussing civil rights in his songs in fear of alienating his crossover audience. In 1968, in response to a growing urge of anti-war advocacy during the Vietnam War, Brown recorded the song, "America Is My Home". In the song, Brown performed a rap, advocating patriotism and exhorting listeners to "stop pitying yoursel[ves] and get up and fight". At the time of the song's release, Brown had been participating in performing for troops stationed in Vietnam.

The Boston Garden concert Edit

On April 5, 1968, a day after the assassination of Martin Luther King, Jr. in Memphis, Tennessee, Brown provided a free citywide televised concert at the Boston Garden to maintain public order and calm concerned Boston residents (over the objections of the police chief, who wanted to call off the concert, which he thought would incite violence). [48] The show was later released on DVD as Live at the Boston Garden: April 5, 1968. According to the documentary The Night James Brown Saved Boston, then-mayor Kevin White had strongly restrained the Boston police from cracking down on minor violence and protests after the assassination, while religious and community leaders worked to keep tempers from flaring. [82] White arranged to have Brown's performance broadcast multiple times on Boston's public television station, WGBH, thus keeping potential rioters off the streets, watching the concert for free. [82] Angered by not being told of this, Brown demanded $60,000 for "gate" fees (money he thought would be lost from ticket sales on account of the concert being broadcast for free) and then threatened to go public about the secret arrangement when the city balked at paying up afterwards, news of which would have been a political death blow to White and spark riots of its own. [82] White eventually lobbied the behind-the-scenes power-brokering group known as "The Vault" to come up with money for Brown's gate fee and other social programs, contributing $100,000. Brown received $15,000 from them via the city. White also persuaded management at the Garden to give up their share of receipts to make up the differences. [82] Following this successful performance, Brown was counseled by President Johnson to urge cities ravaged from riots following King's assassination to not resort to violence, telling them to "cool it, there's another way". [83]

Responding to pressure from black activists, including H. Rap Brown, to take a bigger stance on their issues and from footage of black on black crime committed in inner cities, Brown wrote the lyrics to the song "Say It Loud – I'm Black and I'm Proud", which his bandleader Alfred "Pee Wee" Ellis accompanied with a musical composition. Released late that summer, the song's lyrics helped to make it an anthem for the civil rights movement. Brown only performed the song sporadically following its initial release and later stated he had regrets about recording it, saying in 1984, "Now 'Say It Loud – I'm Black and I'm Proud' has done more for the black race than any other record, but if I had my choice, I wouldn't have done it, because I don't like defining anyone by race. To teach race is to teach separatism." [84] In his autobiography he stated:

The song is obsolete now . But it was necessary to teach pride then, and I think the song did a lot of good for a lot of people . People called "Black and Proud" militant and angry – maybe because of the line about dying on your feet instead of living on your knees. But really, if you listen to it, it sounds like a children's song. That's why I had children in it, so children who heard it could grow up feeling pride . The song cost me a lot of my crossover audience. The racial makeup at my concerts was mostly black after that. I don't regret it, though, even if it was misunderstood. [85]

In 1969, Brown recorded two more songs of social commentary, "World" and "I Don't Want Nobody to Give Me Nothing", the latter song pleading for equal opportunity and self-reliance rather than entitlement. In 1970, in response to some black leaders for not being outspoken enough, he recorded "Get Up, Get into It, Get Involved" and "Talkin' Loud and Sayin' Nothing". In 1971, he began touring Africa, including Zambia and Nigeria. He was made "freeman of the city" in Lagos, Nigeria, by Oba Adeyinka Oyekan, for his "influence on black people all over the world". [86] [87] With his company, James Brown Enterprises, Brown helped to provide jobs for blacks in business in the communities. [88] As the 1970s continued, Brown continued to record songs of social commentary, most prominently 1972's "King Heroin" and the two-part ballad "Public Enemy", which dealt with drug addiction.

Political views Edit

During the 1968 presidential campaign, Brown endorsed Democratic presidential candidate Hubert Humphrey and appeared with Humphrey at political rallies. Brown was labeled an "Uncle Tom" for supporting Humphrey and also for releasing the pro-American funk song, "America Is My Home", in which Brown had lambasted protesters of the Vietnam War as well as the politics of pro-black activists. Brown began supporting Republican president Richard Nixon after being invited to perform at Nixon's inaugural ball in January 1969. [89] Brown's endorsement of Nixon during the 1972 presidential election negatively impacted his career during that period with several national Black organizations boycotting his records and protesting at his concert shows [90] a November 1972 show in Cincinnati was picketed with signs saying, "James Brown: Nixon's Clown". Brown initially was invited to perform at a Youth Concert following Nixon's inauguration in January 1973 but bailed out due to the backlash he suffered from supporting Nixon. Brown joined fellow black entertainer Sammy Davis Jr., who faced similar backlash, to back out of the concert. Brown blamed it on "fatigue". Brown later reversed his support of Nixon and composed the song, "You Can Have Watergate (Just Gimme Some Bucks And I'll Be Straight)" as a result. After Nixon resigned from office, Brown composed the 1974 hit, "Funky President (People It's Bad)", right after Gerald Ford took Nixon's place. Brown later supported Democratic President Jimmy Carter, attending one of Carter's inaugural balls in 1977. [91] Brown also openly supported President Ronald Reagan's reelection in 1984. [92]

Brown stated he was neither Democratic nor Republican despite his support of Republican presidents such as Nixon and Reagan as well as Democratic presidents John F. Kennedy, Lyndon B. Johnson and Carter. [93] In 1999, when being interviewed by Rolling Stone, the magazine asked him to name a hero in the 20th century Brown mentioned John F. Kennedy and then-96-year-old U.S. Senator, and former Dixiecrat, Strom Thurmond, stating "when the young whippersnappers get out of line, whether Democratic or Republican, an old man can walk up and say 'Wait a minute, son, it goes this way.' And that's great for our country. He's like a grandfather to me." [94] In 2003, Brown was the featured attraction of a Washington D.C. fundraiser for the National Republican Senatorial Committee. [95] Following the deaths of Ronald Reagan and his friend Ray Charles, Brown said to CNN, "I'm kind of in an uproar. I love the country and I got – you know I've been around a long time, through many presidents and everything. So after losing Mr. Reagan, who I knew very well, then Mr. Ray Charles, who I worked with and lived with like, all our life, we had a show together in Oakland many, many years ago and it's like you found the placard." [96] Despite his contrarian political views, Brown mentored black activist Rev. Al Sharpton during the 1970s. [97]

At the end of his life, James Brown lived in Beech Island, South Carolina, directly across the Savannah River from Augusta, Georgia. Brown had diabetes that went undiagnosed for years, according to his longtime manager Charles Bobbit. [98] In 2004, Brown was successfully treated for prostate cancer. [99] Regardless of his health, Brown maintained his reputation as the "hardest working man in show business" by keeping up with his grueling performance schedule.

In 1962, Tammi Terrell joined the James Brown Revue. Brown became sexually involved with Terrell even though she was only 17 in a relationship that continued until she escaped his abuse. [100] Bobby Bennett, former member of the Famous Flames, told Rolling Stone about the abuse he witnessed: "He beat Tammi Terrell terrible", said Bennett. "She was bleeding, shedding blood." Terrell, who died in 1970, was Brown's girlfriend before she became famous as Marvin Gaye's singing partner in the mid-Sixties. "Tammi left him because she didn't want her butt whipped", said Bennett, who also claimed he saw Brown kick one pregnant girlfriend down a flight of stairs. [101]

Marriages and children Edit

Brown was married four times. His first marriage was to Velma Warren in 1953, and they had one son together. [102] Over a decade later, the couple had separated and the final divorce decree was issued in 1969. They maintained a close friendship that lasted until Brown's death. Brown's second marriage was to Deidre "Deedee" Jenkins, on October 22, 1970. They had two daughters together. The couple were separated by 1979, after what his daughter describes as years of domestic abuse, [103] and the final divorce decree was issued on January 10, 1981. [104] His third marriage was to Adrienne Lois Rodriguez (March 9, 1950 – January 6, 1996), in 1984. It was a contentious marriage that made headlines due to domestic abuse complaints. [105] [106] Rodriguez filed for divorce in 1988, "citing years of cruelty treatment", but they reconciled. [107] Less than a year after Rodriguez died in 1996, Brown hired Tomi Rae Hynie to be a background singer for his band and she later became his fourth wife. [108]

On December 23, 2002, Brown and Hynie held a wedding ceremony that was officiated by the Rev. Larry Flyer. Following Brown's death, controversy surrounded the circumstances of the marriage, with Brown's attorney, Albert "Buddy" Dallas, reporting that the marriage was not valid Hynie was still married to Javed Ahmed, a man from Bangladesh. Hynie claimed Ahmed married her to obtain residency through a Green Card and that the marriage was annulled but the annulment did not occur until April 2004. [109] [110] In an attempt to prove her marriage to Brown was valid, Hynie produced a 2001 marriage certificate as proof of her marriage to Brown, but she did not provide King with court records pointing to an annulment of her marriage to him or to Ahmed. [111] According to Dallas, Brown was angry and hurt that Hynie had concealed her prior marriage from him and Brown moved to file for annulment from Hynie. [112] Dallas added that though Hynie's marriage to Ahmed was annulled after she married Brown, the Brown–Hynie marriage was not valid under South Carolina law because Brown and Hynie did not remarry after the annulment. [111] [113] In August 2003, Brown took out a full-page public notice in Variety featuring Hynie, James II and himself on vacation at Disney World to announce that he and Hynie were going their separate ways. [114] [115] In 2015, a judge ruled Hynie as Brown's legal widow. [108]

Brown had numerous children and acknowledged nine of them including five sons – Teddy (1954–1973), Terry, Larry, Daryl, and James Joseph Brown Jr. and four daughters – Lisa, Dr. Yamma Noyola Brown Lumar, Deanna Brown Thomas, and Venisha Brown (1964–2018). [116] Brown also had eight grandchildren and four great-grandchildren. Brown's eldest son, Teddy, died in a car crash on June 14, 1973. [117] According to an August 22, 2007, article published in the British newspaper The Daily Telegraph, DNA tests indicate that Brown also fathered at least three extramarital children. The first one of them to be identified is LaRhonda Pettit (born 1962), a retired air stewardess and teacher who lives in Houston. [118] During contesting of Brown's will, another of the Brown family attorneys, Debra Opri, revealed to Larry King that Brown wanted a DNA test performed after his death to confirm the paternity of James Brown Jr. (born 2001)—not for Brown's sake but for the sake of the other family members. [119] In April 2007, Hynie selected a guardian ad litem whom she wanted appointed by the court to represent her son, James Brown Jr., in the paternity proceedings. [120] James Brown Jr. was confirmed to be his biological son. [121]

Drug abuse Edit

For most of his career, Brown had a strict drug- and alcohol-free policy for any member in his entourage, including band members, and would fire people who disobeyed orders, particularly those who used or abused drugs. Although early members of the Famous Flames were fired for using alcohol, Brown often served a highball consisting of Delaware Punch and moonshine at his St. Albans, Queens house in the mid-1960s. [122] Some of the original members of Brown's 1970s band, the J.B.'s, including Catfish and Bootsy Collins, intentionally took LSD during a performance in 1971, causing Brown to fire them after the show because he had suspected them of being on drugs all along. [123]

Aide Bob Patton has asserted that he accidentally shared a PCP-laced cannabis joint with Brown in the mid-1970s and "hallucinated for hours", although Brown "talked about it as if it was only marijuana he was smoking". [122] By the mid-1980s, it was widely alleged that Brown was using drugs, with Vicki Anderson confirming to journalist Barney Hoskyns that Brown's regular use of PCP (colloquially known as "angel dust") "began before 1982". [122] After he met and later married Adrienne Rodriguez in 1984, she and Brown began using PCP together. [124] This drug usage often resulted in violent outbursts from him, and he was arrested several times for domestic violence against Rodriguez while high on the drug. [125] [126] By January 1988, Brown faced four criminal charges within a 12-month span relating to driving, PCP, and gun possession. [107] After an April 1988 arrest for domestic abuse, Brown went on the CNN program Sonya Live in L.A. with host Sonya Friedman. The interview went viral due to Brown's irreverent demeanor, with some asserting that Brown was high. [127]

One of Brown's former mistresses recalled in a GQ magazine article on Brown some years after his death that Brown would smoke PCP ("until that got hard to find") and cocaine, mixed with tobacco in Kool cigarettes. He also engaged in the off-label use of sildenafil, maintaining that it gave him "extra energy". [128] While once under the influence of PCP (which he continued to procure contingent on its availability) when traveling in a car, Brown alleged that passing trees contained psychotronic surveillance technology. [122]

In January 1998, he spent a week in rehab to deal with an addiction to unspecified prescription drugs. A week after his release, he was arrested for an unlawful use of a handgun and possession of cannabis. [129] Prior to his death in December 2006, when Brown entered Emory University Hospital, traces of cocaine were found in the singer's urine. [130] His widow suggested Brown would "do crack" with a female acquaintance. [130]

Theft and assault convictions Edit

Brown's personal life was marred by several brushes with the law. At the age of 16, he was convicted of theft and served three years in juvenile prison. During a concert held at Club 15 in Macon, Georgia in 1963, while Otis Redding was performing alongside his former band Johnny Jenkins and the Pinetoppers, Brown reportedly tried to shoot his musical rival Joe Tex. [131] [132] The incident led to multiple people being shot and stabbed. [133] Since Brown was still on parole at the time, he relied on his agent Clint Brantley "and a few thousand dollars to make the situation disappear". [133] According to Jenkins, "seven people got shot", and after the shootout ended, a man appeared and gave "each one of the injured a hundred dollars apiece not to carry it no further and not to talk to the press". [133] Brown was never charged for the incident.

On July 16, 1978, after performing at the Apollo, Brown was arrested for reportedly failing to turn in records from one of his radio stations after the station was forced to file for bankruptcy. [59] [134] Brown was arrested on April 3, 1988, for assault, [135] and again in May 1988 on drug and weapons charges, and again on September 24, 1988, following a high-speed car chase on Interstate 20 near the Georgia–South Carolina state border. He was convicted of carrying an unlicensed pistol and assaulting a police officer, along with various drug-related and driving offenses. Although he was sentenced to six years in prison, he was eventually released on parole on February 27, 1991, after serving two years of his sentence. Brown's FBI file, released to The Washington Post in 2007 under the Freedom of Information Act, [136] related Brown's claim that the high-speed chase did not occur as claimed by the police, and that local police shot at his car several times during an incident of police harassment and assaulted him after his arrest. [137] Local authorities found no merit to Brown's accusations.

In 1998, a woman named Mary Simons accused Brown in a civil suit of holding her captive for three days, demanding oral sex and firing a gun in his office Simons' charge was eventually dismissed. [133] In another civil suit, filed by former background singer Lisa Rushton alleged that between 1994 and 1999, Brown allegedly demanded sexual favors and when refused, would cut off her pay and kept her offstage. [133] She also claimed Brown would "place a hand on her buttocks and loudly told her in a crowded restaurant to not look or speak to any other man besides himself" Rushton eventually withdrew her lawsuit. [133] In yet another civil suit, a woman named Lisa Agbalaya, who worked for Brown, said the singer would tell her he had "bull testicles", handed her a pair of zebra-print underwear, told her to wear them while he massaged her with oil, and fired her after she refused. [133] A Los Angeles jury cleared the singer of sexual harassment but found him liable for wrongful termination. [133]

The police were summoned to Brown's residence on July 3, 2000, after he was accused of charging at an electric company repairman with a steak knife when the repairman visited Brown's house to investigate a complaint about having no lights at the residence. [138] In 2003, Brown was pardoned by the South Carolina Department of Probation, Parole, and Pardon Services for past crimes that he was convicted of committing in South Carolina. [139]

Domestic violence arrests Edit

Brown was repeatedly arrested for domestic violence. Adrienne Rodriguez, his third wife, had him arrested four times between 1987 and 1995 on charges of assault. In one incident, Rodriguez reported to authorities that Brown beat her with an iron pipe and shot at her car. [107] [140] Rodriguez was hospitalized after the last assault in October 1995, but charges were dropped after she died in January 1996. [140]

In January 2004, Brown was arrested in South Carolina on a domestic violence charge after Tomi Rae Hynie accused him of pushing her to the floor during an argument at their home, where she suffered scratches and bruises to her right arm and hip. [141] In June, Brown pleaded no contest to the domestic violence incident, but served no jail time. Instead, Brown was required to forfeit a US$1,087 bond as punishment. [142]

Rape accusation Edit

In January 2005, a woman named Jacque Hollander filed a lawsuit against James Brown, which stemmed from an alleged 1988 rape. When the case was initially heard before a judge in 2002, Hollander's claims against Brown were dismissed by the court as the limitations period for filing the suit had expired. Hollander claimed that stress from the alleged assault later caused her to contract Graves' disease, a thyroid condition. Hollander claimed that the incident took place in South Carolina while she was employed by Brown as a publicist. Hollander alleged that, during her ride in a van with Brown, Brown pulled over to the side of the road and sexually assaulted her while he threatened her with a shotgun. In her case against Brown, Hollander entered as evidence a DNA sample and a polygraph result, but the evidence was not considered due to the limitations defense. Hollander later attempted to bring her case before the Supreme Court, but nothing came of her complaint. [143]

Illness Edit

On December 23, 2006, Brown became very ill and arrived at his dentist's office in Atlanta, Georgia, several hours late. His appointment was for dental implant work. During that visit, Brown's dentist observed that he looked "very bad . weak and dazed". Instead of performing the work, the dentist advised Brown to see a doctor right away about his medical condition. [144]

Brown went to the Emory Crawford Long Memorial Hospital the next day for medical evaluation and was admitted for observation and treatment. [145] According to Charles Bobbit, his longtime personal manager and friend, Brown had been struggling with a noisy cough since returning from a November trip to Europe. Yet, Bobbit said, the singer had a history of never complaining about being sick and often performed while ill. [144] Although Brown had to cancel upcoming concerts in Waterbury, Connecticut, and Englewood, New Jersey, he was confident that the doctor would discharge him from the hospital in time for his scheduled New Year's Eve shows at the Count Basie Theatre in New Jersey and the B. B. King Blues Club in New York, in addition to performing a song live on CNN for the Anderson Cooper New Year's Eve special. [145] Brown remained hospitalized, however, and his condition worsened throughout the day.

Death Edit

On Christmas Day 2006, Brown died at approximately 1:45 a.m. EST (06:45 UTC), [16] at age 73, from congestive heart failure, resulting from complications of pneumonia. Bobbit was at his bedside [146] and later reported that Brown stuttered, "I'm going away tonight", then took three long, quiet breaths and fell asleep before dying. [147]

In 2019, an investigation by CNN and other journalists led to suggestions that Brown had been murdered. [148] [149] [150] [140] [130]

Memorial services Edit

After Brown's death, his relatives, a host of celebrities, and thousands of fans gathered, on December 28, 2006, for a public memorial service at the Apollo Theater in New York City and, on December 30, 2006, at the James Brown Arena in Augusta, Georgia. A separate, private ceremony was held in North Augusta, South Carolina, on December 29, 2006, with Brown's family in attendance. Celebrities at these various memorial events included Michael Jackson, Jimmy Cliff, Joe Frazier, Buddy Guy, Ice Cube, Ludacris, Dr. Dre, Little Richard, Dick Gregory, MC Hammer, Prince, Jesse Jackson, Ice-T, Jerry Lee Lewis, Bootsy Collins, LL Cool J, Lil Wayne, Lenny Kravitz, 50 Cent, Stevie Wonder, and Don King. [151] [152] [153] [154] Rev. Al Sharpton officiated at all of Brown's public and private memorial services. [155] [156]

Brown's memorial ceremonies were all elaborate, complete with costume changes for the deceased [ clarification needed ] and videos featuring him in concert. His body, placed in a Promethean casket—bronze polished to a golden shine—was driven through the streets of New York to the Apollo Theater in a white, glass-encased horse-drawn carriage. [157] [158] In Augusta, Georgia, his memorial procession stopped to pay respects at his statue, en route to the James Brown Arena. During the public memorial there, a video showed Brown's last performance in Augusta, Georgia, with the Ray Charles version of "Georgia on My Mind" playing soulfully in the background. [151] [152] [159] His last backup band, The Soul Generals, also played some of his hits during that tribute at the arena. The group was joined by Bootsy Collins on bass, with MC Hammer performing a dance in James Brown style. [160] Former Temptations lead singer Ali-Ollie Woodson performed "Walk Around Heaven All Day" at the memorial services. [161]

Last will and testament Edit

Brown signed his last will and testament on August 1, 2000, before J. Strom Thurmond Jr., an attorney for the estate. [162] The irrevocable trust, separate and apart from Brown's will, was created on his behalf, that same year, by his attorney, Albert "Buddy" Dallas, one of three personal representatives of Brown's estate. His will covered the disposition of his personal assets, such as clothing, cars, and jewelry, while the irrevocable trust covered the disposition of the music rights, business assets of James Brown Enterprises, and his Beech Island, South Carolina estate. [163]

During the reading of the will on January 11, 2007, Thurmond revealed that Brown's six adult living children (Terry Brown, Larry Brown, Daryl Brown, Yamma Brown Lumar, Deanna Brown Thomas and Venisha Brown) were named in the document, while Hynie and James II were not mentioned as heirs. [162] [164] Brown's will had been signed 10 months before James II was born and more than a year before Brown's marriage to Tomi Rae Hynie. Like Brown's will, his irrevocable trust omitted Hynie and James II as recipients of Brown's property. The irrevocable trust had also been established before, and not amended since, the birth of James II. [165]

On January 24, 2007, Brown's children filed a lawsuit, petitioning the court to remove the personal representatives from the estate (including Brown's attorney, as well as trustee Albert "Buddy" Dallas) and appoint a special administrator because of perceived impropriety and alleged mismanagement of Brown's assets. [166] [167] On January 31, 2007, Hynie also filed a lawsuit against Brown's estate, challenging the validity of the will and the irrevocable trust. Hynie's suit asked the court both to recognize her as Brown's widow and to appoint a special administrator for the estate. [168]

On January 27, 2015, Judge Doyet Early III ruled that Tomi Rae Hynie Brown was officially the widow of James Brown. The decision was based on the grounds that Hynie's previous marriage was invalid and that James Brown had abandoned his efforts to annul his own marriage to Hynie. [108] [169]

On February 19, 2015, the South Carolina Supreme Court intervened, halting all lower court actions in the estate and undertaking to review previous actions itself. [170] The South Carolina Court of Appeals in July 2018 ruled that Hynie was, in fact, Mr. Brown's wife. [171]

Brown received awards and honors throughout his lifetime and after his death. In 1993 the City Council of Steamboat Springs, Colorado, conducted a poll of residents to choose a new name for the bridge that crossed the Yampa River on Shield Drive. The winning name, with 7,717 votes, was "James Brown Soul Center of the Universe Bridge". The bridge was officially dedicated in September 1993, and Brown appeared at the ribbon-cutting ceremony for the event. [172] A petition was started by local ranchers to return the name to "Stockbridge" for historical reasons, but they backed off after citizens defeated their efforts because of the popularity of Brown's name. Brown returned to Steamboat Springs, Colorado, on July 4, 2002, for an outdoor festival, performing with bands such as The String Cheese Incident. [173]

During his long career, Brown received many prestigious music industry awards and honors. In 1983 he was inducted into the Georgia Music Hall of Fame. Brown was one of the first inductees into the Rock and Roll Hall of Fame at its inaugural induction dinner in New York on January 23, 1986. At that time, the members of his original vocal group, The Famous Flames (Bobby Byrd, Johnny Terry, Bobby Bennett, and Lloyd Stallworth) were not inducted. [174] However, on April 14, 2012, The Famous Flames were automatically and retroactively inducted into the Hall of Fame alongside Brown, without the need for nomination and voting, on the basis that they should have been inducted with him in 1986. [175] [176] On February 25, 1992, Brown was awarded a Lifetime Achievement Award at the 34th annual Grammy Awards. Exactly a year later, he received a Lifetime Achievement Award at the 4th annual Rhythm & Blues Foundation Pioneer Awards. [177] A ceremony was held for Brown on January 10, 1997, to honor him with a star on the Hollywood Walk of Fame. [177]

On June 15, 2000, Brown was honored as an inductee to the New York Songwriters Hall of Fame. On August 6, 2002, he was honored as the first BMI Urban Icon at the BMI Urban Awards. His BMI accolades include an impressive ten R&B Awards and six Pop Awards. [178] On November 14, 2006, Brown was inducted into the UK Music Hall of Fame, and he was one of several inductees to perform at the ceremony. [179] In recognition of his accomplishments as an entertainer, Brown was a recipient of Kennedy Center Honors on December 7, 2003. [177] In 2004 Rolling Stone magazine ranked James Brown as No. 7 on its list of the 100 Greatest Artists of All Time. [180] In an article for Rolling Stone, critic Robert Christgau cited Brown as "the greatest musician of the rock era". [181]

He appeared on the BET Awards June 24, 2003, and received the Lifetime Achievement Award presented by Michael Jackson, and performed with him.

In 2004, he received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Aretha Franklin. [182] [183]

Brown was also honored in his hometown of Augusta, Georgia, for his philanthropy and civic activities. On November 20, 1993, Mayor Charles DeVaney of Augusta held a ceremony to dedicate a section of 9th Street between Broad and Twiggs Streets, renamed "James Brown Boulevard", in the entertainer's honor. [177] On May 6, 2005, as a 72nd birthday present for Brown, the city of Augusta unveiled a life-sized bronze James Brown statue on Broad Street. [177] The statue was to have been dedicated a year earlier, but the ceremony was put on hold because of a domestic abuse charge that Brown faced at the time. [184] In 2005, Charles "Champ" Walker and the We Feel Good Committee went before the County commission and received approval to change Augusta's slogan to "We Feel Good". Afterward, officials renamed the city's civic center the James Brown Arena, and James Brown attended a ceremony for the unveiling of the namesake center on October 15, 2006. [177]

On December 30, 2006, during the public memorial service at the James Brown Arena, Dr. Shirley A.R. Lewis, president of Paine College, a historically black college in Augusta, Georgia, bestowed posthumously upon Brown an honorary doctorate in recognition and honor of his many contributions to the school in its times of need. Brown had originally been scheduled to receive the honorary doctorate from Paine College during its May 2007 commencement. [185] [186]

During the 49th Annual Grammy Awards presentation on February 11, 2007, James Brown's famous cape was draped over a microphone by Danny Ray at the end of a montage in honor of notable people in the music industry who died during the previous year. Earlier that evening, Christina Aguilera delivered an impassioned performance of Brown's hit "It's a Man's Man's Man's World" followed by a standing ovation, while Chris Brown performed a dance routine in honor of James Brown. [187]

On August 17, 2013, the official R&B Music Hall of Fame honored and inducted James Brown at a ceremony held at the Waetjen Auditorium at Cleveland State University.

ART THE BOX began in early 2015 as a collaboration between three organizations: the City of Augusta, the Downtown Development Authority and the Greater Augusta Arts Council. 19 local artists were selected by a committee to create art on 23 local traffic signal control cabinets (TSCCs). A competition was held to create the James Brown Tribute Box on the corner of James Brown Blvd. (9th Ave.) and Broad St. This box was designed and painted by local artist, Ms. Robbie Pitts Bellamy and has become a favorite photo opportunity to visitors and locals in Augusta, Georgia.

"I have a lot of musical heroes but I think James Brown is at the top of the list", remarked Public Enemy's Chuck D. "Absolutely the funkiest man on Earth . In a black household, James Brown is part of the fabric – Motown, Stax, Atlantic and James Brown." [188]

As a tribute to James Brown, the Rolling Stones covered the song, "I'll Go Crazy" from Brown's Live at the Apollo album, during their 2007 European tour. [189] Led Zeppelin guitarist Jimmy Page has remarked, "He [James Brown] was almost a musical genre in his own right and he changed and moved forward the whole time so people were able to learn from him." [190]

On December 22, 2007, the first annual "Tribute Fit For the King of King Records" in honor of James Brown was held at the Madison Theater in Covington, Kentucky. The tribute, organized by Bootsy Collins, featured Tony Wilson as Young James Brown with appearances by Afrika Bambaataa, Chuck D of Public Enemy, The Soul Generals, Buckethead, Freekbass, Triage and many of Brown's surviving family members. Comedian Michael Coyer was the MC for the event. During the show, the mayor of Cincinnati proclaimed December 22 as James Brown Day. [191]

As of 2019, a significant collection of James Brown clothing, memorabilia, and personal artifacts are on exhibit in downtown Augusta, Georgia at the Augusta History Museum.

On October 24, 1962, James Brown’s ‘Live At the Apollo’ Was Recorded

James Brown’s Live at the Apollo, 1962 is a masterclass in showmanship and musicianship that transcends genre. From the Rolling Stones to Anderson .Paak, you can see the influence that The Hardest Working Man in Show Business has left with this album, this performance, and so many of his other albums and recorded performances (many of them back at The Apollo!).

This pioneering record is a sizzling cauldron of soul, funk, blues, and something electric and ineffable. It’s perfect in almost every way, but it almost didn’t come to be…

History of Live at the Apollo

This record was a hair away from not being produced at all. Syd Nathan, the “king” of King Records at the time, saw James Brown as more of a single artist and refused to finance the making of a full album, nonetheless a live one. Nathan signed Brown and put out “Please, Please, Please,” which sold quite well. Unfortunately, Brown’s next nine singles were complete flops.

Brown even had to record a new song under a completely different, fake name — Nat Kendrick and the Swans’ “Mashed Potatoes,” for a different label entirely — just to get Nathan to reconsider.

Luckily, their 11th song they recorded with Nathan was, “Try Me,” which renewed the label’s faith in the band, James Brown and his Famous Flames.

You can hear how popular this song really was in Live at the Apollo by listening to how bonkers the crowd goes during that track. But while their faith may have been restored, they still didn’t see Brown as anything more than a single artist, inconsistent at best.

Brown thus had to finance the album himself to get it made, which today isn’t so rare but during the time this was virtually unheard of. James Brown knew that a live album was the best way to showcase his music, and his incredible band, to the world after seeing the success of Ray Charles’s 1960 live record, In Person. It may have seemed like a risky move, but Brown was completely confident in his band and his ability to move an audience. It’s just that… well, Brown had to make very clear to his band that he would triple any fines they got that night for messing up. You know, normal band stuff.

Brown proved he was a different type of entertainer with this album. Although he isn’t doing anything new, yet, the way he directed the band and interacted with the audience felt revolutionary. He took what other band leaders were doing and upped the ante, upped the energy, and all-around raised the bar to set a new normal for how flamboyant and confident an entertainer should be. His exuberance can be heard throughout the performance.

Live at the Apollo, 1962 opens with Fats Gonder, the emcee of the evening, addressing the Harlem, New York crowd. He says, “So now, ladies and gentlemen, it is Star Time. Are you ready for Star Time?!” He then rattles off a list of Brown’s hits to further bolster the frontman’s larger-than-life persona. After a brief instrumental, the band launches into “I’ll Go Crazy,” which sets the tone for the evening. The band is inhumanly tight and every musician is an absolute slayer on their instrument. I’ll remind you that this was a Wednesday night.

The nearly 11-minute version of “Lost Someone” is a high point Brown demonstrates his ability to ensconce his sexuality in a preacher’s cloak. Throughout this song, it feels like he’s beseeching the audience to believe in a higher power. Judging by the screams of the audience, I’d say he converted all of them. This style of performance would later go on to be emulated by other larger-than-life performers such as Prince or Bruce Springsteen.

It’s impossible to understate the musicianship, the magnetism, the raw power hedged within Brown’s tender affection. Even though Brown financed the production of this record himself, was it ever really a risk? How could it be? From start to finish this album is perfect, and Brown knew it would be. His unbridled confidence (which in his later years calcified into what some may describe as arrogance) was completely warranted and I think he would have done whatever it took to share his genius with the world.

And the record did great in the marketplace. The fact that this was a full live performance documented for the world to see meant that Brown could advertise his intense, immense live show to audiences around the country who hadn’t yet seen him perform — further securing revenues from future tours and album sales for decades to come.

The Influence of Live at the Apollo

This album also did two things beyond Brown himself. First, it would help cement soul and funk as commercially viable mainstream music genres. Soul could be fun, loud, raucous and youthful not just sentimental and romantic. Secondly, it demonstrated the power of a live album to make money, and assured record producers and labels alike that consumers would be willing to buy the same songs on two different albums if one was live.

The album spent 66 weeks on the Billboard Top Pop Album charts, peaking at #2. It was a smash hit that elevated James Brown to household name status all over America.

And all of this happened before Brown’s future mega hits like “Sex Machine,” “Papa’s Got a Brand New Bag,” and “It’s a Man’s Man’s Man’s World” were even conceived. Live at the Apollo paved the way for Brown’s later successes, it was a jumping off point to reaching the black audiences and households to whom he really wanted to communicate. At this point, Brown was playing around 300 shows a year but was still mostly known by black audiences.

This album was also one of the only albums to be played start to finish by radio DJs at the time. They were encouraged by the indisputable hoards of screaming fans audible in the Apollo theatre audience. Bobby Byrd, one of the Famous Flames, said, “People were calling in, they really wanted to hear the whole thing, the excitement and everything.” The album catapulted James Brown from the chitlin circuit to the main stage.

Much of what’s popular today — from Mark Ronson to Kendrick Lamar to Anderson .Paak to Bruno Mars to Cardi B — seems to owe much of its funky swagger to James Brown’s crowd-pleasing, smile-inducing live recordings. Brown would go on to record several other live performances at the Apollo for decades to come. The appreciation for a well-orchestrated show with a god-like frontman singing songs that they themself wrote was increased tenfold by this album, leading to the success of other songwriter-performers such as David Bowie, The Rolling Stones, and Nirvana.

And lastly, there’s more than probably a bit of synchronicity in the fact that as Brown’s album starts with “I’ll Go Crazy,” Prince’s live show inspired soundtrack album Purple Rain starts with a raucous, no holds barred version of his “Let’s Go Crazy.”

We want to connect with a performer, and that’s maybe what James Brown does best on this album he connects with his audience in a way that over 50 years later we can’t deny feels absolutely great to listen in on.

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Live At The Apollo (1962)

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Think (About It)

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The Exciting Wilson Pickett

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I Never Loved a Man the Way I Love You

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Black Moses

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Free Your Mind and Your Ass Will Follow

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The Very Best of Joe Tex

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Funkify Your Life: The Meters Anthology

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Mothership Connection

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The Very Best of Rufus Thomas

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Play album

Think (About It)

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The Exciting Wilson Pickett

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I Never Loved a Man the Way I Love You

Play album

Black Moses

Play album

Free Your Mind and Your Ass Will Follow

Play album

The Very Best of Joe Tex

Play album


Play album

Funkify Your Life: The Meters Anthology

Play album

Mothership Connection

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The Very Best of Rufus Thomas

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External Links


Professional ratings
Review scores
Source Rating
Allmusic [3]
BBC Music favorable [4]
Blender [5]
Entertainment Weekly A+ [6]
Mojo [7]
Pitchfork Media 10/10 [8]
PopMatters 10/10 [9]
Rolling Stone [10]
Virgin Encyclopedia [11]
Yahoo! Music favorable [12]

Live at the Apollo was recorded on the night of October 24, 1962 at Brown's own expense. Although not credited on the album cover or label, Brown's vocal group, The Famous Flames (Bobby Byrd, Bobby Bennett, and Lloyd Stallworth), played an important co-starring role in Live at the Apollo, and are included with Brown by M.C. Fats Gonder in the album's intro. Brown's record label, King Records, originally opposed releasing the album, believing that a live album featuring no new songs would not be profitable. The label finally relented under pressure from Brown and his manager Bud Hobgood. [13]

To King's surprise, Live at the Apollo was an amazingly rapid seller. It spent 66 weeks on the Billboard Top Pop Albums chart, peaking at #2. [14]  Many record stores, especially in the southeast US, found themselves unable to keep up with the demand for the product, eventually ordering several cases at a time. R&B disc jockeys often would play side 1 in its entirety, pausing (usually to insert commercials) only to return to play side 2 in full as well. The side break occurred in the middle of the long track "Lost Someone".

Get on Up (2014)

No. It's the real James Brown that we hear singing in the movie, which features remixes of his live and studio recordings (put together by the film's executive producer Mick Jagger). The songs can be heard on the Get On Up Soundtrack. For the recreations of Brown's historic concerts at the Apollo, Boston Garden in 1968, and the Paris Olympia, director Tate Taylor had the actors sing and play live on top of backing tracks. -Variety

Was James Brown really deserted by his mother and father when he was a child?

To some degree, yes. James was born in a one-room sharecropper's shack near the Georgia border in South Carolina in 1933. His father Joe did have a gambling addiction and was away from home for long periods, eventually enlisting in the Navy (although not until James was older). Like in the movie, James went to live with his aunt, referred to as Aunt Honey (real name Hansone Washington), who ran a brothel.

His mother Susie's abandonment was likely less willful than the movie portrays. Friends say that she left because Brown's father had tried to kill her. The movie echoes this somewhat in the scene where Joe threatens her with a gun (in real life he is rumored to have tried to push her out of a window). Contrary to the movie, city records indicate that Susie lived with her son for periods of time as James grew up.

As a boy, was James Brown really paid to box other black boys while blindfolded?

Yes. Like in the movie, the autobiography James Brown: The Godfather of Soul supports the scene where a young James Brown is paid a dollar to exchange punches with other black boys. They were blindfolded with one hand tied behind their backs. A boxing glove was placed on the free hand, and they swung wildly trying to hit one another. According to Brown, these events were known as battle royals and were held for the comedic entertainment of the white audience.

Did the real James Brown go to prison at age 15?

Yes. The Get On Up true story reveals that a 15-year-old James Brown was arrested for stealing clothes from parked cars that he had broken into. This contradicts the movie a bit, which finds him stealing a single suit. In reality, he was charged with four counts of breaking and entering and larceny from an automobile. After turning 16, he was tried as an adult and sentenced to three years in a juvenile detention institution. Having been a member of his church choir prior to his arrest, Brown organized and led the prison gospel choir.

Did James Brown really meet Bobby Byrd in prison?

Yes. James met Bobby Byrd as a teenager while he was serving time in the juvenile detention institution. Byrd performed at the institution with his family's gospel group. However, Brown and Byrd actually met during a baseball game between the inmates and local members of the community. The two became friends and Bobby Byrd's family eventually helped to secure Brown's release, with the promise that they would take him in and get him a job.

Did James Brown really date Bobby Byrd's sister?

Did Little Richard really persuade James Brown's group to make a demo record?

Yes. Little Richard, who Brown admired, put them in contact with his manager, Clint Brantley, who agreed to manage them and made plans for them to record a demo at a local radio station. They performed "Please, Please, Please," which in 1956 became their first R&B hit. After a string of unsuccessful follow-ups, they found a new manager, Ben Bart (portrayed by Dan Aykroyd, who shared the screen with the real James Brown in the 1980 John Landis comedy The Blues Brothers), and in 1958 their song "Try Me" became a national chart-topper, reaching Number One in R&B and Number 48 in pop.

Did several members of the group really quite because James Brown was given top billing?

Yes. Like in the Get On Up movie, the true story confirms that original group members Bobby Byrd, NaFloyd Scott, Sylvester Keels, Nash Knox and Johnny Terry left the group in 1957 due to group managers Ben Bart and Clint Brantley giving James Brown top billing, renaming the group "James Brown and The Famous Flames".

Did James Brown really finance his Live at the Apollo album himself?

Yes. The Get On Up true story confirms that King Records, believing that there was no commercial potential in a live album, refused to finance it. So, Brown paid for it himself and the album went on to sell a million copies, landing at Number Two in 1963. The Live at the Apollo album remained on the pop chart for 14 months, an unprecedented feat for a black music album at the time.

Did James Brown's mother Susie really show up unexpectedly at his Live at the Apollo performance?

This scene was most likely made-up for dramatic effect. In reality, James Brown's then-wife Velma Warren tracked down his mother Susie in Brooklyn in the mid-1960s and revived their relationship.

Did he really make his bandmates refer to him as "Mr. Brown"?

Yes. Like in the movie, he made his bandmates (a few of whom were longtime friends) call him "Mr. Brown." He would also fine musicians for missing notes and made them improvise on the spot during shows. "You had to think quick to keep up," said one of his musicians (

Did the plane James Brown was on really almost get shot down while flying over Vietnam?

No. We found no evidence supporting the movie's depiction of the transport plane James Brown was on being nearly shot down when he was flying into Vietnam. That's not to say that they were never in danger.

"I was scared to death," says singer and former girlfriend Marva Whitney, who Brown brought with him to Vietnam. ". especially in the planes when they, every now and then we could kinda peep out the window and it's something to look up, down, and all you see is fire, fire, and then they tell you you have to lay down in the belly of the plane. So we laid down. We were very obedient cause we didn't want to get shot. And I think he felt comfortable if he had at least a stick, to fight in case somebody came, and he said, 'I must have a stick to protect myself.' I was very glad that he did. -Soul Survivor - The James Brown Story

Did James Brown really have all of the nicknames that he has in the movie?

Yes. Most people have heard James Brown referred to both as "The Godfather of Soul" and "The Hardest Working Man in Show Business." However, during his lifetime he was also given or gave himself the nicknames "Mr. Dynamite," "Superbad," "Minister of New New Super Heavy Funk," "Soul Brother Number 1," " The Original Disco Man " and "Little Junior," the latter when he was a child living with his Aunt Honey. Certainly, there were others.

Did James Brown really threaten a group of people with a shotgun and then lead police on a high-speed chase?

Yes, however, there is no evidence that he actually shot a hole in the ceiling. On September 24, 1988, James Brown walked into an insurance seminar in Augusta, Georgia carrying a shotgun and told everyone to leave. He was supposedly upset that someone had used the bathroom in his office, which was located in the same office complex as the seminar. He fled in his pickup truck and led the police on an interstate car chase until they eventually had to shoot out three of his tires. He was subsequently sentenced to six years in a work-release program but was paroled in 1991 after serving only two.

How many top-10 singles did James Brown have?

Over the course of his recording career, James Brown had seven songs crack the top 10 on Billboard's Hot 100, including "Papa's Got a Brand New Bag," "I Got You (I Feel Good)," "It's a Man's Man's Man's World," "Cold Sweat," "Living in America," "Say It Loud (I'm Black and I'm Proud)" and "I Got the Feelin'."

How many wives did the real James Brown have?

The Get On Up movie features two of James Brown's three wives, including his first wife Velma Warren (1953-1969) and second wife Deidre (DeeDee) Jenkins (1970-1981). Longtime wife Adrienne Rodriguez (1984-1996), who he was still married to in 1993 when the movie's timeline ends, is not included in the film.

Not long after the death of his third wife in 1996, Brown hired Tomi Rae Hynie as a background singer and the two soon began dating. They held a wedding ceremony in 2002, which would have resulted in Brown's fourth marriage, but the nuptials were not valid under South Carolina law because Hynie was still married to Javed Ahmed, a Bangladesh man who she had helped get a Green Card.

I heard that Rev. Al Sharpton was one of James Brown's managers, is that true?

Yes. Though not included in the Get On Up movie, Rev. Al Sharpton was James Brown's road manager at one time. -The Augusta Chronicle

Expand your knowledge of the Get On Up true story by watching interviews with the real James Brown, in addition to viewing him performing some of his most well-known hits. Lastly, check out the Get On Up movie trailer.

"Please, Please, Please" was recorded by James Brown and The Famous Flames and was released as a single in 1956. It was the group's first recording. As the story goes, Little Richard wrote the words "please, please, please" on a napkin and James Brown was determined to make a song out of it.

Watch James Brown's full T.A.M.I. Show performance from 1964. The T.A.M.I. Show (Teenage Music International) is a 1964 concert film recorded at the Santa Monica Civic Auditorium. The footage of the announcer being sprayed with a fire extinguisher just prior to introducing "James Brown and His Famous Flames" is featured in the Get On Up movie. Like in the movie, The Rolling Stones followed James Brown, a choice that Rolling Stones band member Keith Richards has said was the biggest mistake of their careers.

This performance of his hit song "I Got You (I Feel Good)" was recorded in Italy in 1989 at the Legends of Rock 'n' Roll concert, which also featured Jerry Lee Lewis, Bo Diddley, Fats Domino, Little Richard and B.B. King. Brown released "I Got You (I Feel Good)" as a single in 1965 and it became his highest charting song.

James Brown singing "Papa's Got a Brand New Bag" on the 1960s TV show Shindig!. The song was released in 1965 and was Brown's first song to hit the Top Ten of the Billboard Hot 100. It also won Brown his first Grammy Award, taking home the title of Best Rhythm & Blues Recording.

Filmed in 2002, this concert performance of "It's a Man's Man's Man's World" features The Godfather of Soul James Brown performing with Luciano Pavarotti. The song was originally recorded in 1966. It was written by Brown's onetime girlfriend and co-writer, Betty Jean Newsome, based on her observations regarding relationships between men and women.

Watch the 1986 James Brown "Living in America" music video. The song was featured along with Brown himself in the 1985 boxing movie Rock IV starring Sylvester Stallone and Dolph Lundgren. "Living in America" won Brown a Grammy Award for Best Male R&B Vocal Performance.

View the Get On Up movie trailer for the James Brown biopic starring Chadwick Boseman. The movie chronicles James Brown's rise from poverty and abandonment to become one of the most well-known and iconic musicians in history.

Watch the video: Ray Charles vs. Etta James - Who Did It Better 19591963 (June 2022).


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