Born the 3th May
1928, in Barnwell, South Carolina, USA. Brown claims he was born
in 1933 in Macon, Georgia. 'The Hardest Working Man In Show-Business',
'The Godfather Of Soul', 'The Minister Of The New New Super Heavy
Funk' - such sobriquets only hint at the protracted James Brown
legend. Convicted of theft at the age of 16, he was imprisoned
at the Alto Reform School, but secured an early release on the
approbation of local singerBobby Byrd. Brown later joined his
group, the Gospel Starlighters, who evolved into the Flames after
embracing R&B. In 1955 they recorded a demo of 'Please Please
Please' at WIBB, a Macon, Georgia radio station. Local airplay
was such that talent scout Ralph Bass signed the group to the
King/Federal company. A re-recorded version of the song was issued
in March 1956. Credited to 'James Brown And The Famous Flames',
it eventually climbed to number 5 in the US R&B list. Further
releases fared poorly until 1958, when 'Try Me' rose to number
1 in the same chart. Once again Brown found it difficult to maintain
this level of success, but 'I'll Go Crazy' and 'Think' (both 1960)
put his progress on a surer footing. From thereon, until 1977,
almost every 'official' single charted. However, it was an album,
Live At The Apollo(1962), that assuredly established the singer.
Raw, alive and uninhibited, this shattering collection confirmed
Brown as the voice of black America - every track on the album
is a breathtaking event. More than 30 years on, with all the advances
in recording technology, this album stands as one of the greatest
live productions of all time. His singles continued to enthrall:
energetic songs such as 'Night Train' and 'Shout And Shimmy' contrasted
with such slower sermons as 'I Don't Mind' and 'Bewildered', but
it was the orchestrated weepie, 'Prisoner Of Love' (1963), that
gave Brown his first US Top 20 pop single. Such eminence allowed
Brown a new manoeuvrability. Dissatisfied with his record label
King, he ignored contractual niceties and signed with Smash Records.
By the time his former outlet had secured an injunction, 'Out
Of Sight' had become another national hit. More importantly, however,
the single marked the beginning of a leaner, tighter sound that
would ultimately discard accepted western notions of harmony and
structure. This innovative mid-60s period is captured on film
in his electrifying performance on the TAMI Show.
Throughout the 60s, Brown proclaimed
an artistic freedom with increasingly unconventional songs, including
'Papa's Got A Brand New Bag', 'I Got You (I Feel Good)', 'It's
A Man's Man's Man's World' (with a beautifully orchestrated string
section) and 'Money Won't Change You'. In 1967 Alfred Ellis replaced
Nat Jones as Brown's musical director and 'Cold Sweat' introduced
further radical refinements to the group's presentation. With
Clyde Stubblefield on drums, 'Say It Loud - I'm Black And I'm
Proud' (1968), 'Mother Popcorn' (1969), and 'Get Up (I Feel Like
Being A) Sex Machine' (1970) were each stripped down to a nagging,
rhythmic riff, over which the singer soared, sometimes screaming,
sometimes pleading, but always with an assertive urgency. In 1971
Brown moved to Polydor Records and unveiled a new backing band,
the JBs. Led byFred Wesley, it featured such seasoned players
as Maceo Parkerand St. Clair Pinckney, as well as a new generation
of musicians. Elsewhere, former bassist Bootsy Collinsdefected
with other ex-members toGeorge Clinton'sFunkadelic. Such changes,
coupled withSly Stone's challenge, simply reinforced Brown's determination.
He continued to enjoy substantial hits; in 1974 he had three successive
number 1 R&B singles in 'The Payback', 'My Thang' and 'Papa
Don't Take No Mess (Part 1)', and Brown also scored two film soundtracks,
Black Caesarand Slaughter's Big Rip Off. However, as the decade
progressed, his work became less compulsive, suffering a drop
in popularity with the advent of disco. A cameo role in the movie
The Blues Brothers marked time, and in 1980 Brown left the Polydor
label. Subsequent releases on such smaller labels as TK, Augusta
Sound and Backstreet were only marginally successful. However,
Brown returned with a vengeance in 1986 (the year he was inducted
into the Rock And Roll Hall Of Fame) with 'Livin' In America',
the theme song from the Rocky IV film soundtrack. An international
hit single, it was followed by two R&B Top 10 entries, 'How
Do You Stop' (1987) and 'I'm Real' (1988), the latter of which
inspired a compulsive album of the same name. The Brown resurrection
was abruptly curtailed that same year when the singer was arrested
after a high-speed car chase. Charged with numerous offences,
including illegal possession of drugs and firearms, aggravated
assault and failure to stop for the police, he was sentenced to
six and a half years' imprisonment at the State Park Correctional
Centre. He was released in 1991, having reportedly written new
material while incarcerated.
New urban-based styles are indebted
to the raw funk espoused by 'The Godfather of Soul', while Stubblefield's
rhythmic patterns, particularly those on 1970's 'Funky Drummer',
have been heavily sampled, as have Brown's notorious whoops, screams,
interjections and vocal improvisations. Artists as disparate asPublic
Enemy, George Michael, Sinead O'Connorand Candy Fliphave featured
beats taken from Brown's impressive catalogue. During the 90s
he has continued to have further problems with the law and a continuing
battle to quit drugs; in 1995 he was forced to cope with a tragic
medical accident when his ex-wife Adrienne died during surgery
for 'liposuction'. In January 1998 there were new fears for his
own health, and he was treated in hospital for addiction to painkillers.
Shortly afterwards he was arrested and charged for possession
of marijuana and unlawful use of a firearm. Through all this he
is still seen as one of the most dynamic performers of the century
and a massive influence on most forms of black music - soul, hip-hop,
funk, R&B and disco.
