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|~James Brown Bio
"Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" -- those are mighty titles, but no one can question that James Brown has earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians have been so influential on the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show; Brown's performances were marvels of athletic stamina and split-second timing.
Through the gospel-impassioned fury of his vocals and the complex polyrhythms of his beats, Brown was a crucial midwife in not just one, but two revolutions in American black music. He was one of the figures most responsible for turning R&B into soul; he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. His music is now more influential than ever, as his voice and rhythms were sampled on innumerable rap and hip-hop recordings, and critics have belatedly hailed his innovations as among the most important in all of rock or soul.
With the help of singer Bobby Byrd's family, Brown started a gospel group with Byrd, changing their focus to R&B as the rock revolution gained steam. The Flames, as the Georgian group were known in the mid-'50s, were signed by Federal/King, and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." By now the Flames had become James Brown & the Famous Flames, the charisma, energy, and talent of Brown making him the natural star attraction.
All of Brown's singles over the next two years flopped, as he sought to establish his own style, recording material that was obviously derivative of heroes like Roy Brown, Hank Ballard, Little Richard, and Ray Charles. In retrospect, it can be seen that Brown was in the same position as dozens of other R&B one-shots; talented singers in need of better songs, or not fully on the road to a truly original sound. What made Brown succeed where hundreds of others failed was his superhuman determination, working the chitlin circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge of being dropped from King in late 1958 when his perseverance finally paid off, as "Try Me" became a number-one R&B (and small pop) hit, and several follow-ups established him as a regular visitor to the R&B charts.
Brown's style of R&B got harder as the '60s began, as he added more complex, Latin- and jazz-influenced rhythms on hits like "Good Good Lovin'," "I'll Go Crazy," "Think," and "Night Train," alternating these with torturous ballads that featured some of the most frayed screaming to be heard outside of the church. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in 1963. Capturing a James Brown concert in all its whirling-dervish energy and calculated spontaneity, it reached number two in the album charts, an unprecedented feat for a hardcore R&B LP.
Live at the Apollo was recorded and released against the wishes of the King label. It was these kinds of artistic standoffs that led Brown to seek better opportunities elsewhere. In 1964, he ignored his King contract to record "Out of Sight" for Smash, igniting a lengthy legal battle that prevented him from issuing vocal recordings for about a year. When he finally resumed recording for King in 1965, he had a new contract that granted him far more artistic control over his releases.
Brown's new era had truly begun, however, with "Out of Sight," which topped the R&B charts and made the pop Top 40. For some time, Brown had been moving toward more elemental lyrics which threw in as many chants and screams as words, and more intricate beats and horn charts that took some of their cues from the ensemble work of jazz outfits. "Out of Sight" wasn't called funk when it came out, but it had most of the essential ingredients. These were amplified and perfected on 1965's "Papa's Got a Brand New Bag," a monster that finally broke Brown to the white audience, reaching the Top Ten. The even more adventurous follow-up, "I Got You (I Feel Good)," did even better, making number three.
These hits kicked off Brown's period of greatest commercial success and public visibility. From 1965 to the end of the decade, he was rarely off the R&B charts, often on the pop listings, and all over the concert circuit and national television, even meeting with Vice President Hubert Humphrey and other important politicians as a representative of the black community. His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar (heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time"). The lyrics were now not so much words as chanted, stream-of-consciousness slogans, often aligning themselves with black pride as well as good old-fashioned (or new-fashioned) sex. Much of the credit for the sound he devised belonged to (and has now been belatedly attributed) his top-notch supporting musicians, such as saxophonists Maceo Parker, St. Clair Pinckney, and Pee Wee Ellis; guitarist Jimmy Nolen; backup singer and longtime loyal associate Bobby Byrd; and drummer Clyde Stubblefield.
Brown was both a brilliant bandleader and a stern taskmaster, leading his band to walk out on him in late 1969. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers, featuring guitarist Catfish Collins and bassist Bootsy Collins. Although they only stayed with him for about a year, they were crucial to Brown's evolution into even harder funk, emphasizing the rhythm and the bottom even more. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament/Funkadelic axis.
In the early '70s, many of the most important members of Brown's late-'60s band returned to the fold, to be billed as the J.B's (they also made records on their own). Brown continued to score heavily on the R&B charts throughout the first half of the 1970s, the music becoming even more and more elemental and beat-driven. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Critics charged, with some justification, that the Godfather was starting to repeat and recycle himself too many times. It must be remembered, though, that these songs were made for the singles-radio-jukebox market and not meant to be played one after the other on CD compilations (as they are today).
With the explosion of rap, which frequently sampled vintage JB records, Brown was now hipper than ever. He collaborated with Afrika Bambaataa on the critical smash single "Unity," and re-entered the Top Ten in 1986 with "Living in America." Particularly his funk years, sometimes anointing him not just as Soul Brother Number One, but as the most important black musician of the rock era.
Brown music is probably more popular in the American mainstream today than it has been since the 1970s, and not just among young rappers and samplers. For a long time his cumbersome, byzantine discography was mostly out of print, with pieces available only on skimpy greatest-hits collections. A series of exceptionally well-packaged reissues on PolyGram has changed the situation; the Star Time box set is the best overview, with other superb compilations devoted to specific phases of his lengthy career, from '50s R&B to '70s funk. ~
~James Brown 'Civil Rights Activist'
James Brown's involvement with the civil rights movement also began in the mid-'60s. He embraced it with the same energy and dynamism he devoted to his performances. In 1966, the song "Don't Be a Drop-Out" urged black children not to neglect their education. In the same year, he flew down to Mississippi to visit the wounded civil rights activist James Meredith, shot during his "March Against Fear." From 1965 onward, Brown often canceled his shows to perform benefit concerts for black political organizations like the Southern Christian Leadership Conference (SCLC). In 1968, he initiated "Operation Black Pride," and, dressing as Santa Claus, presented 3,000 certificates for free Christmas dinners in the poor black neighborhoods of New York City. He also started buying radio stations.
By 1968, James Brown was very much more than an important musician; he was a major African-American icon. He often spoke publicly about the pointlessness of rioting and in February 1968, informed the black activist H. Rap Brown, "I'm not going to tell anybody to pick up a gun." On April 5, 1968, African Americans rioted in 110 cities following civil rights leader Martin Luther King Jr.'s assassination the day before. James Brown was due to perform in Boston, Massachusetts. Mayor Kevin White and Brown decided to proceed with the show and televise it. They realized people could not resist watching a James Brown concert, and the riots gripping other cities were averted in Boston.
In May 1968, President Lyndon Johnson invited James Brown to the White House. The following month, the government sponsored him to perform for the troops in Vietnam. In August, he recorded "Say It Loud -- I'm Black and I'm Proud." Brown later attested the song "cost me a lot of my crossover audience," but it definitely caught the rising spirit of African-American nationalism and became the unifying anthem of the age. He graced the cover of LOOK MAGAZINE, which asked, "Is this the Most Important Black Man in America?"
He continued to tour, different parts of the world, doing what he done best, Entertainment! James Brown raised $30 million on Wall Street against future royalties. He performed regularly, quickly selling out such prestigious venues as London's Albert Hall. James Brown is undoubtedly was a soul survivor: "Where I grew up there was no way out, no avenue of escape, so you had to make a way. Mine was to create JAMES BROWN." James Brown passed away December 25, 2006. Rest In Peace Soulful One.
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