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[R.I.P.] James Brown (12/25/06) Soul Brother #1

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  • madchinaman
    Legendary Singer James Brown Dies at 73 By GREG BLUESTEIN 12.25.06, 3:10 AM ET http://www.forbes.com/business/services/feeds/ap/2006/12/25/ap3281366. html
    Message 1 of 1 , Dec 25, 2006
      Legendary Singer James Brown Dies at 73
      By GREG BLUESTEIN 12.25.06, 3:10 AM ET
      Website: http://www.funky-stuff.com/jamesbrown/

      James Brown, the dynamic, pompadoured "Godfather of Soul," whose
      rasping vocals and revolutionary rhythms made him a founder of rap,
      funk and disco as well, died early Monday, his agent said. He was 73.

      Brown was hospitalized with pneumonia at Emory Crawford Long Hospital
      on Sunday and died around 1:45 a.m. Monday, said his agent, Frank
      Copsidas of Intrigue Music. Longtime friend Charles Bobbit was by his
      side, he said.

      Copsidas said Brown's family was being notified of his death and that
      the cause was still uncertain. "We really don't know at this point
      what he died of," he said.

      Along with Elvis Presley, Bob Dylan and a handful of others, Brown
      was one of the major musical influences of the past 50 years. At
      least one generation idolized him, and sometimes openly copied him.
      His rapid-footed dancing inspired Mick Jagger and Michael Jackson
      among others. Songs such as David Bowie's "Fame," Prince's "Kiss,"
      George Clinton's "Atomic Dog" and Sly and the Family Stone's "Sing a
      Simple Song" were clearly based on Brown's rhythms and vocal style.

      If Brown's claim to the invention of soul can be challenged by fans
      of Ray Charles and Sam Cooke, then his rights to the genres of rap,
      disco and funk are beyond question. He was to rhythm and dance music
      what Dylan was to lyrics: the unchallenged popular innovator.

      "James presented obviously the best grooves," rapper Chuck D of
      Public Enemy once told The Associated Press. "To this day, there has
      been no one near as funky. No one's coming even close."

      His hit singles include such classics as "Out of Sight," "(Get Up I
      Feel Like Being a) Sex Machine," "I Got You (I Feel Good)" and "Say
      It Out Loud - I'm Black and I'm Proud," a landmark 1968 statement of
      racial pride.

      "I clearly remember we were calling ourselves colored, and after the
      song, we were calling ourselves black," Brown said in a 2003
      Associated Press interview. "The song showed even people to that day
      that lyrics and music and a song can change society."

      He won a Grammy award for lifetime achievement in 1992, as well as
      Grammys in 1965 for "Papa's Got a Brand New Bag" (best R&B recording)
      and for "Living In America" in 1987 (best R&B vocal performance,
      male.) He was one of the initial artists inducted into the Rock and
      Roll Hall of Fame in 1986, along with Presley, Chuck Berry and other
      founding fathers.

      He triumphed despite an often unhappy personal life. Brown, who lived
      in Beech Island near the Georgia line, spent more than two years in a
      South Carolina prison for aggravated assault and failing to stop for
      a police officer. After his release on in 1991, Brown said he wanted
      to "try to straighten out" rock music.

      From the 1950s, when Brown had his first R&B hit, "Please, Please,
      Please" in 1956, through the mid-1970s, Brown went on a frenzy of
      cross-country tours, concerts and new songs. He earned the
      nickname "The Hardest Working Man in Show Business."

      With his tight pants, shimmering feet, eye makeup and outrageous
      hair, Brown set the stage for younger stars such as Michael Jackson
      and Prince.

      In 1986, he was inducted in the Rock and Roll Hall of Fame. And rap
      stars of recent years overwhelmingly have borrowed his lyrics with a
      digital technique called sampling.

      Brown's work has been replayed by the Fat Boys, Ice-T, Public Enemy
      and a host of other rappers. "The music out there is only as good as
      my last record," Brown joked in a 1989 interview with Rolling Stone

      "Disco is James Brown, hip-hop is James Brown, rap is James Brown;
      you know what I'm saying? You hear all the rappers, 90 percent of
      their music is me," he told the AP in 2003.

      Born in poverty in Barnwell, S.C., in 1933, he was abandoned as a 4-
      year-old to the care of relatives and friends and grew up on the
      streets of Augusta, Ga., in an "ill-repute area," as he once called
      it. There he learned to wheel and deal.

      "I wanted to be somebody," Brown said.

      By the eighth grade in 1949, Brown had served 3 1/2 years in Alto
      Reform School near Toccoa, Ga., for breaking into cars.

      While there, he met Bobby Byrd, whose family took Brown into their
      home. Byrd also took Brown into his group, the Gospel Starlighters.
      Soon they changed their name to the Famous Flames and their style to
      hard R&B.

      In January 1956, King Records of Cincinnati signed the group, and
      four months later "Please, Please, Please" was in the R&B Top Ten.

      While most of Brown's life was glitz and glitter, he was plagued with
      charges of abusing drugs and alcohol and of hitting his third wife,

      In September 1988, Brown, high on PCP and carrying a shotgun, entered
      an insurance seminar next to his Augusta office. Police said he asked
      seminar participants if they were using his private restroom.

      Police chased Brown for a half-hour from Augusta into South Carolina
      and back to Georgia. The chase ended when police shot out the tires
      of his truck.

      Brown received a six-year prison sentence. He spent 15 months in a
      South Carolina prison and 10 months in a work release program before
      being paroled in February 1991. In 2003, the South Carolina parole
      board granted him a pardon for his crimes in that state.

      Soon after his release, Brown was on stage again with an audience
      that included millions of cable television viewers nationwide who
      watched the three-hour, pay-per-view concert at Wiltern Theatre in
      Los Angeles.

      Adrienne Brown died in 1996 in Los Angeles at age 47. She took PCP
      and several prescription drugs while she had a bad heart and was weak
      from cosmetic surgery two days earlier, the coroner said.

      More recently, he married his fourth wife, Tomi Raye Hynie, one of
      his backup singers. The couple had a son, James Jr.

      Two years later, Brown spent a week in a private Columbia hospital,
      recovering from what his agent said was dependency on painkillers.
      Brown's attorney, Albert "Buddy" Dallas, said singer was exhausted
      from six years of road shows.


      James Brown, 'Soul Brother No. one,' dies at 73

      James Brown, known as "the Godfather of Soul," died aged 73, his
      agent said on Monday morning.

      Brown was a seminal force in the evolution of gospel and rhythm and
      blues into soul and funk. He has also left his mark on numerous other
      musical genres, including rock, jazz, reggae, disco, dance and
      electronic music, and hip-hop music.

      Brown began his professional music career in 1953 and skyrocketed to
      fame in the late 1950s and early 1960s on the strength of his
      thrilling live performances and a string of smash hits. In spite of
      various personal problems and setbacks, he continued to score hits in
      every decade through the 1980s.

      In the 1960s and 1970s Brown was a presence in American political
      affairs, noted especially for his activism on behalf of African
      Americans and the poor.


      James Brown
      From Wikipedia, the free encyclopedia

      James Joseph Brown, Jr. (May 3, 1933 - December 25, 2006)[1] was an
      African American entertainer who is recognized as one of the most
      influential figures in 20th century music. As a prolific singer,
      songwriter, bandleader and record producer, Brown was a seminal force
      in the evolution of gospel and rhythm and blues into soul and funk.
      He has also left his mark on numerous other musical genres, including
      rock, jazz, reggae, disco, dance and electronic music, and hip-hop

      Brown began his professional music career in 1953 and skyrocketed to
      fame in the late 1950s and early 1960s on the strength of his
      thrilling live performances and a string of smash hits. In spite of
      various personal problems and setbacks, he continued to score hits in
      every decade through the 1980s. In the 1960s and 1970s Brown was a
      presence in American political affairs, noted especially for his
      activism on behalf of African Americans and the poor (as well as his
      outspoken support for Richard Nixon).

      Brown is recognized by a plethora of (mostly self-bestowed) titles,
      including Soul Brother Number One, Mr. Dynamite, the Hardest-Working
      Man in Show Business, Minister of The New New Super Heavy Funk, Mr.
      Please Please Please, The Boss, and the best-known, the Godfather of
      Soul. He is renowned for his shouting vocals, feverish dancing and
      unique rhythmic style.

      On December 25 2006, around 1:45 a.m. "The Godfather of Soul" James
      Brown passed away. Brown was hospitalized Sunday at Emory Crawford
      Long Hospital with pneumonia.

      Early life
      Brown was born in the small town of Barnwell in Great Depression-era
      South Carolina as James Joseph Brown, Jr; as an adult, Brown would
      legally change his name to remove the "Jr." designation.[2] Brown's
      family eventually moved to nearby Augusta, Georgia. During his
      childhood, Brown helped support his family by picking cotton in the
      nearby fields and shining shoes downtown. In his spare time, Brown
      variously spent time either practicing his skills in Augusta-area
      halls, or committing petty crimes. At the age of sixteen, he was
      convicted of armed robbery and sent to a juvenile detention center
      upstate in Toccoa from 1948.

      While in prison, Brown later made the acquaintance of Bobby Byrd,
      whose family helped Brown secure an early release after serving only
      three years of his sentence, under the condition that he not return
      to Augusta or Richmond County and that he would try to get a job.
      After brief stints as a boxer and baseball pitcher (a career move
      ended by leg injury) Brown turned his energy toward music.

      The beginnings of the Famous Flames
      Brown and Bobby Byrd's sister Sarah performed in a gospel group
      called "The Gospel Starlighters" from 1955. Eventually, Brown joined
      Bobby Byrd's group the Avons, and Byrd turned the group's sound
      towards secular rhythm and blues. Now called The Famous Flames, Brown
      and Byrd's band toured the Southern "chitlin' circuit", and
      eventually signed a deal with the Cincinnati, Ohio-based King
      Records, presided over by Syd Nathan.

      The group's first recording and single, credited to "James Brown with
      the Famous Flames", was "Please, Please, Please" (1956). It was a #5
      R&B hit and a million-selling single. However, their subsequent
      records failed to live up to the success of "Please, Please, Please".
      After nine failed singles, King was ready to drop Brown and the
      Flames until the success of their 1958 single "Try Me." While not a
      big hit, it went to number forty-eight on the Billboard Hot 100,
      which was enough to keep the group working Southern one-night stands.
      [1] Nearly all of the group's releases were written or co-written by
      Brown, who assumed primary control of the band from Byrd and
      eventually began billing himself as a solo act with The Famous Flames
      as his backup.

      These early recordings, also including "I'll Go Crazy" (1959)
      and "Bewildered" (1960), were fairly straightforward gospel-inspired
      R&B compositions, heavily inspired by the work of contemporary
      musicians such as Little Richard and Ray Charles. Yet the songs were
      already marked by a rhythmic acuity and vocal attack that would later
      become even more pronounced, contributing to the developing style
      that would eventually be called "funk". Brown, in fact, called Little
      Richard his idol, and credited Little Richard's saxophone-studded mid-
      1950's road band The Upsetters as the first to put the funk in the
      rock and roll beat. [3]

      Brown's arrangements and instrumentation, initially standardized,
      began to give way to more improvisational and rhythm-heavy tracks
      such as 1961's #5 R&B hit "Night Train", arguably the first single to
      showcase the beginnings of what today is considered the "James Brown
      sound". Except for declamatory ad-libs by Brown, "Night Train" is
      completely instrumental, featuring prominent horn charts and a fast,
      highly accented rhythm track.

      "Papa gets a brand new bag"
      While Brown's early singles were major hits in the southern United
      States and regularly became R&B Top Ten hits, he and the Flames were
      not nationally successful until his self-financed live show was
      captured on the LP Live at the Apollo in 1962, released without the
      consent of his label King Records.

      Brown followed this success with a string of singles that, along with
      the work of Allen Toussaint in New Orleans, essentially defined funk
      music. 1964's "Out of Sight" was, even more than "Night Train" had
      been, a harbinger of the new James Brown sound. Its arrangement was
      raw and unornamented, the horns and the drums took center stage in
      the mix, and Brown's vocals had taken on an even more intensely
      rhythmic feel. However, Brown violated his contract with King again
      by recording "Out of Sight" for Smash Records; the ensuing legal
      battle resulted in a one year ban on the release of his vocal

      The mid-1960s was the period of Brown's greatest popular success. Two
      of his signature tunes, "Papa's Got a Brand New Bag" and "I Got You
      (I Feel Good)," both from 1965, were Brown's first Top 10 pop hits as
      well as major #1 R&B hits, remaining the top-selling single in black
      venues for over a month apiece. His national profile was further
      boosted that year by appearances in the films Ski Party and the
      concert film The T.A.M.I. Show, in which he upstaged The Rolling
      Stones. In his concert repertoire and on record, Brown mingled his
      innovative rhythmic essays with ballads such as "It's a Man's Man's
      Man's World" (1965), and even Broadway show tunes.

      Brown continued to develop the new funk idiom. "Cold Sweat" (1967), a
      song with almost no chord changes, was considered a departure even
      compared to Brown's other recent innovations. Critics have since come
      to see it as a high-water mark in the dance music of the 1960s; it is
      sometimes called the first "true" funk recording.

      Brown would often make creative adjustments to his songs for greater
      appeal. He sped up the released version of "Papa's Got a Brand New
      Bag" to make it even more intense and commercial. He also began
      spinning off new compositions from the grooves of earlier ones by
      continual revision of their arrangements. For example, the hit "There
      Was a Time" emerged out of the chord progression and rhythm
      arrangements of the 1967 song "Let Yourself Go."[5]

      The late 1960s: "Ain't It Funky Now"
      Brown 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; Maceo
      Parker's prominent saxophone solos provided a focal point for many
      performances. Other members of Brown's band included stalwart singer
      and sideman Bobby Byrd; drummers John "Jabo" Starks, Clyde
      Stubblefield, and Melvin Parker (Maceo's brother); saxophonist St.
      Clair Pinckney; trombonist Fred Wesley; guitarist Alphonso "Country"
      Kellum; and bassist Bernard Odum.

      As the 1960s came to a close, Brown refined his funk style even
      further with "I Got the Feelin'" and "Licking Stick-Licking Stick"
      (both recorded in 1968), and "Funky Drummer" (recorded in 1969). By
      this time Brown's "singing" increasingly took the form of a kind of
      rhythmic declamation that only intermittently featured traces of
      pitch or melody. His vocals, not quite sung but not quite spoken,
      would be a major influence on the technique of rapping, which would
      come to maturity along with hip hop music in the coming decades.
      Supporting his vocals were instrumental arrangements that featured a
      more refined and developed version of Brown's mid-1960s style. The
      horn section, guitars, bass, and drums all meshed together in strong
      rhythms based around various repeating riffs, usually with at least
      one musical "break".

      Brown's recordings influenced musicians across the industry, most
      notably Sly and his Family Stone, Charles Wright & the Watts 103rd
      Street Rhythm Band, Booker T. & the M.G.'s, and soul shouters like
      Edwin Starr , Temptations David Ruffin and Dennis Edwards, and a then-
      prepubescent Michael Jackson, who took Brown's shouts and dancing
      into the pop mainstream as the lead singer of Motown's The Jackson 5.
      Those same tracks would later be resurrected by countless hip-hop
      musicians from the 1970s on; in fact, James Brown remains the world's
      most sampled recording artist, and "Funky Drummer" is itself the most
      sampled individual piece of music.[citation needed]

      The content of Brown's songs was now developing along with their
      delivery. Socio-political commentary on the black person's position
      in society and lyrics praising motivation and ambition filled songs
      like "Say It Loud - I'm Black and I'm Proud" (1968) and "I Don't Want
      Nobody to Give Me Nothing (Open Up the Door I'll Get It Myself)"
      (1970). However, while this change gained him an even greater
      position in the black community, it lost him much of his white
      audience who could no longer relate to his lyrics.

      The 1970s: The JB's
      By 1970, most of the members of James Brown's classic 1960s band had
      quit his act for other opportunities. He and Bobby Byrd employed a
      new band that included future funk greats such as bassist Bootsy
      Collins, Collins' guitarist brother Phelps "Catfish" Collins, and
      trombonist/musical director Fred Wesley. This new backing band was
      dubbed "The JB's", and made their debut on Brown's 1970 single "(Get
      Up I Feel Like Being a) Sex Machine". Although it would go through
      several lineup changes (the first in 1971), The JB's remain Brown's
      most familiar backing band.

      As Brown's musical empire grew (he bought radio stations in the late
      1960s, including Augusta's WRDW, where he had shined shoes as a boy),
      his desire for financial and artistic independence grew as well. In
      1971, he began recording for Polydor Records; among his first Polydor
      releases was the #1 R&B hit "Hot Pants (She Got To Use What She Got
      To Get What She Wants)". Many of his sidemen and supporting players,
      such as Fred Wesley & the JB's, Bobby Byrd, Lyn Collins, Myra Barnes,
      and Hank Ballard, released records on Brown's subsidiary label,
      People, which was created as part of Brown's Polydor contract. These
      recordings are as much a part of Brown's legacy as those released
      under his own name, and most are noted examples of what might be
      termed James Brown's "house" style. The early 1970s marked the first
      real awareness, outside the African-American community, of Brown's
      achievements. Miles Davis and other jazz musicians began to cite
      Brown as a major influence on their styles, and Brown provided the
      score for the 1973 blaxploitation film Black Caesar.

      In 1974 Brown performed in Zaire as part of the build up to the The
      Rumble in the Jungle fight between Muhammad Ali and George Foreman.

      His 1970s Polydor recordings were a summation of all the innovation
      of the last twenty years, and while some critics maintain that he
      declined artistically during this period, compositions like "The
      Payback" (1973); "Papa Don't Take No Mess" and "Stoned to the Bone"
      (1974); "Funky President (People It's Bad)" (1975); and "Get Up Offa
      That Thing" (1976) are still considered among his best.

      Into the late-1970s and 1980s
      By the mid-70s, Brown's star-status was on the wane, and key
      musicians such as Bootsy Collins had begun to depart to form their
      own groups. The disco movement, which Brown anticipated, and some say
      originated, found relatively little room for Brown; his 1976 albums
      Get Up Offa That Thing and Bodyheat were his first flirtations
      with "disco-fied" rhythms incorporated into his funky repertoire.
      While 1977's Mutha's Nature and 1978's Jam 1980's generated no
      charted hits, 1979's The Original Disco Man LP is a notable late
      addition to his oeuvre. It contained the song "It's Too Funky in
      Here," which was his last top R&B hit of the decade.

      Brown experienced something of a resurgence in the 1980's,
      effectively crossing over to a broader, more mainstream audience. He
      made cameo appearances in the feature films The Blues Brothers,
      Doctor Detroit, and Rocky IV, as well as being a guest star in the
      Miami Vice episode "Missing Hours" in 1988. He also released Gravity,
      a modestly popular crossover album, and the hit 1985 single "Living
      in America". Acknowledging his influence on modern hip-hop and R&B
      music, Brown collaborated with hip-hop artist Afrika Bambaataa on the
      single "Unity", and worked with the group Full Force on a #5 R&B hit
      single, 1988's "Static," from the hip-hop influenced album "I'm Real".

      Later years
      In spite of his return to the limelight, by the late 1980s, Brown
      met with a series of legal and financial setbacks. In 1988, he was
      arrested following a high-speed car chase down Interstate 20 in
      Augusta. He was imprisoned for threatening pedestrians with firearms
      and abuse of PCP, as well as for the repercussions of his flight.
      Although he was sentenced to six years in prison, he was eventually
      released in 1991 after having only served three. A new album called
      Love Overdue was released that same year, with the new single "Move

      During the 1990s and 2000s, Brown was repeatedly arrested for drug
      possession and domestic abuse. However, he has continued to perform
      regularly and even record, and has made appearances in television
      shows and films such as Blues Brothers 2000. The 1991 four-CD box set
      Star Time spans his four-decade career. Nearly all his earlier LPs
      have been re-released on CD, often with additional tracks and
      commentary by experts on Brown's music. In 1993, James Brown released
      a new album called Universal James, which spawned the singles "Can't
      Get Any Harder", "How Long" and "Georgia-Lina". In 1995, the live
      album Live At The Apollo 1995 was released, featuring a new track
      recorded in the studio called "Respect Me". It was released as a
      single that same year. A megamix called "Hooked on Brown" was
      released as a single in 1996. And in 1998, James Brown released a new
      studio album, I'm Back, featuring the single "Funk On Ah Roll".

      In 2002, James Brown released the album The Next Step, which features
      the single "Killing is Out, School is In." Brown appeared at
      Edinburgh 50,000 - The Final Push, the final Live 8 concert, on July
      6, 2005, where he did a duet with British pop star Will Young
      on "Papa's Got A Brand New Bag." He also did a duet with another
      British pop star, Joss Stone, a week earlier on the UK chat show
      Friday Night with Jonathan Ross. He will perform a duet with singer
      Annie Lennox on the song "Vengeance" on her new album Venus,
      scheduled for release in early 2007.

      In 2006, Brown continued his "Seven Decades Of Funk World Tour", to
      be his last, performing all over the world. His latest shows were
      still greeted with positive reviews.

      On November 14, 2006, Brown was inducted to the UK Music Hall of
      Fame. He was one of several inductees that performed at the ceremony.

      Brown was admitted to the Emory Crawford Long Hospital in Atlanta,
      Georgia on December 24, 2006 after a dentist visit where he was found
      to be ill. Apparently, Brown passed away the next day, on Christmas
      morning, of heart failure. [1]

      Personal life and dedications to Brown
      Brown has been married four times. He and his last wife Tommie Raye
      Hynie were married in 2002, but the marriage was annulled. They
      remarried in 2004 and had one child together. Brown also had two
      children by his first wife, Velma Warren, and three more by his
      second, Deidre Jenkins. Adrienne Rodriegues, Brown's wife through
      most of the 1980s and 1990s, had him arrested four times on charges
      of assault, and like him had problems with drug abuse.

      James Brown lived in a riverfront home in Beech Island, South
      Carolina, directly across the Savannah River from Augusta. On
      November 11, 1993, Augusta mayor Charles DeVaney held a ceremony
      during which Augusta's 9th Street was renamed "James Brown Boulevard"
      in the entertainer's honor. On May 6, 2005, as a seventy-second
      birthday present for James Brown, the city of Augusta unveiled a
      seven-foot bronze statue of Brown. The statue was to have been
      dedicated a year earlier, but the ceremony was put on hold because of
      a domestic abuse charge Brown was facing at the time. He later
      forfeited bond on the domestic abuse charge.

      On August 22, 2006, the Augusta-Richmond County Coliseum Authority
      voted to rename the city civic center the James Brown Arena.

      Illness and death
      On December 24, 2006, Brown was admitted to Emory Crawford Long
      Hospital in Atlanta, Georgia, for severe pneumonia. News Story On
      December 25, 2006, around 1:45 a.m. (EST) (06:45 UTC) Brown died
      after being hospitalized the day before with pneumonia.[6] James
      leaves behind four ex-wives, five children.

      Brown was a recipient of Kennedy Center Honors for 2003, and a
      scheduled 2004 unveiling of a statue of Brown in Augusta was delayed
      because of James Brown's ongoing legal problems.
      Brown's eyebrows are tattoos.
      In December 2004 Brown was diagnosed with prostate cancer, which was
      successfully treated with surgery.
      Brown collaborated in the production of Soul Survivor -- The James
      Brown Story with English director Jeremy Marre.
      Brown holds the record for the artist who has charted the most
      singles on the Billboard Hot 100 without ever hitting number one on
      that chart.
      At around the time of his legal troubles in the late 1980s, there
      happened to be a Supreme Court vacancy. Late-night talk-show host
      Arsenio Hall proposed nominating Brown, because "He's black, he's
      liberal... and he's familiar with the court system!"
      A mistaken news broadcast reported him as dead in 1992. A sample of
      that broadcast became the basis of a techno hit for L.A. Style
      called "James Brown Is Dead".
      James Brown Jr. was featured as a recurring character on Mad TV,
      played by Aries Spears. The portrayal was an humorously exaggerated
      parody of Brown's energetic performing style.
      Brown is the subject of the Tom-Tom Club's 1982 hit song, "Genius of
      Brown's 1976 single "Hot" (I Need To Be Loved, Loved, Loved, Loved)"
      (R&B #31) was a cover of David Bowie's "Fame", not the other way
      around. The funky riff was provided to co-writers Lennon/Bowie by
      guitarist Carlos Alomar.
      "Funky President" and "The Payback" were included in the videogame
      Grand Theft Auto: San Andreas, playing on fictional radio station
      Master Sounds 98.3.
      "The Payback" was prominently played in the film Lock, Stock and Two
      Smoking Barrels.
      Brown's works have been sampled by a number of the most popular rap
      artists of the 80's, 90's and 00's.
      The Godfather of Soul appeared on the wrestling Pay-Per-View WCW
      Superbrawl 2000, dancing alongside wrestler Ernest "The Cat" Miller.

      Top ten singles
      These singles reached the top ten on either the Billboard Hot 100 or
      the Billboard Top R&B Singles charts.

      1956: "Please, Please, Please" (R&B #5)
      1959: "Try Me" (R&B #1, U.S. #48)
      1960: "Think" (R&B #7, U.S. #33)
      1961: "Baby, You're Right" (R&B #2, U.S. #49)
      1961: "Bewildered" (R&B #8, U.S. #40)
      1961: "I Don't Mind" (R&B #4, U.S. #47)
      1962: "Lost Someone" (R&B #2, U.S. #48)
      1962: "Night Train" (R&B #5, U.S. #35)
      1963: "Prisoner of Love" (R&B #6, U.S. #18)
      1965: "Papa's Got a Brand New Bag" - Part I (R&B #1, U.S. #8)
      1965: "I Got You (I Feel Good)" (R&B #1, U.S. #3)
      1966: "Ain't That a Groove" Pts. 1 & 2 (R&B #6, U.S. #42)
      1966: "Don't Be A Drop-Out" (R&B #4, U.S. #50)
      1966: "It's a Man's Man's Man's World" (R&B #1, U.S. #8)
      1966: "Sweet Little Baby Boy" - Part 1 (U.S. #8)
      1967: "Cold Sweat" - Part 1 (R&B #1, U.S. #7)
      1967: "Let Yourself Go" (R&B #5, U.S. #46)
      1968: "I Can't Stand Myself (When You Touch Me)" (R&B #4, U.S. #28)
      1968: "I Got The Feelin'" (R&B #1, U.S. #6)
      1968: "Licking Stick - Licking Stick" - Part 1 (R&B #2, U.S. #14)
      1968: "Say it Loud - I'm Black and I'm Proud" - Part 1 (R&B #1, U.S.
      1968: "There Was A Time" (R&B #3, U.S. #36)
      1969: "Ain't It Funky Now" (R&B #3, U.S. #24)
      1969: "Give It Up Or Turnit A Loose" (R&B #1, U.S. #15)
      1969: "I Don't Want Nobody To Give Me Nothing (Open Up The Door, I'll
      Get It Myself)" (R&B #3, U.S. #20)
      1969: "Let A Man Come In And Do The Popcorn" - Part One (R&B #2, U.S.
      1969: "Mother Popcorn (You Got To Have A Mother For Me)" Part 1(R&B
      #1, U.S. #11)
      1970: "Get Up (I Feel Like Being Like A) Sex Machine" (Part 1)" (R&B
      #2, U.S. #15)
      1970: "Santa Claus Is Definitely Here To Stay" (U.S. #7)
      1970: "Super Bad" - Part 1 & Part 2 (R&B #1, U.S. #13)
      1971: "Escape-ism" - Part 1 (R&B #6, U.S. #35)
      1971: "Get Up, Get Into It, Get Involved" - Pt. 1 (R&B #4, U.S. #34)
      1971: "Hot Pants (She Got To Use What She Got To Get What She
      Wants)" – Part 1 (R&B #1, U.S. #15)
      1971: "I'm A Greedy Man" - Part I (R&B #7, U.S. #35)
      1971: "Make It Funky" - Part 1 (R&B #1, U.S. #22)
      1971: "Soul Power" - Pt. 1 (R&B #3, U.S. #29)
      1972: "Get On The Good Foot" - Part 1 (R&B #1, U.S. #18)
      1972: "King Heroin" (R&B #6, U.S. #40)
      1972: "Talking Loud And Saying Nothing" - Part I (R&B #1, U.S. #27)
      1973: "Down And Out In New York City" (R&B #13, U.S. #50)
      1973: "I Got A Bag Of My Own" (R&B #3)
      1973: "Sexy, Sexy, Sexy" (R&B #6, U.S. #50)
      1974: "Funky President" (People It's Bad)" (R&B #4, U.S. #44)
      1974: "My Thang" (R&B #1, U.S. #29)
      1974: "Papa Don't Take No Mess" - Part I (R&B #1, U.S. #31)
      1974: "Stoned To The Bone" - Part 1 (R&B #4, U.S. #58)
      1974: "The Payback" - Part I (R&B #1, U.S. #26)
      1976: "Get Up Offa That Thing" (R&B #4, U.S. #45)
      1985: "Living in America (R&B #10, U.S. #4)
      1987: "How Do You Stop" (R&B #10)
      1988: "I'm Real" (R&B #2)
      1988: "Static, Pts. 1 & 2" (with Full Force) (R&B #5)

      Best albums
      Complete Discography:

      The question of which are the most critical albums of Mr. Brown's
      career is debatable. Until the early 1970s he was famous mostly for
      his roadshow and singles rather than his albums (his live LPs being a
      major exception). Many of his early albums include tracks that were
      recorded in the studio and later overdubbed with the sounds of a live
      audience in an attempt to recreate the explosive excitement of the
      original Live at the Apollo. Four James Brown albums, all but one of
      them compilations, appear on Rolling Stone's 2003 list of the 500
      greatest albums of all time:

      Live at the Apollo (1963)
      In the Jungle Groove (1986)
      Star Time (1991)
      20 All-Time Greatest Hits! (1991)
      The following albums, originally released as double LP records,
      feature extensive playing by the legendary JB's. They have been a
      prolific source of samples for later musical artists:

      The Payback (1973)
      Get on the Good Foot (1972)
      Hell (1974)
      The Live at the Apollo Vol. 2 double LP album, released in 1968, was
      notably influential on then-contemporary musicians. It remains an
      example of Mr. Brown's highly energetic live performances and
      audience interaction, as well as documenting the metamorphosis of his
      music from R&B and soul styles into hard funk.

      Chronological collections
      In addition to the career-spanning Star Time, Polydor released a
      series of CD collections devoted to specific periods in Brown's long
      career, similar to Columbia Records' Miles Davis boxed sets.

      Roots of a Revolution (2 CD; covers 1956-1964)
      Foundations of Funk: A Brand New Bag, 1964-1969 (2 CD)
      Funk Power 1970: A Brand New Thang (1 CD)
      Make It Funky - The Big Payback: 1971-1975 (2 CD)
      Dead on the Heavy Funk, 1975-1983(2 CD)
      Two other collections anthologize Brown's instrumental recordings
      with his 60s band and the JBs:

      Soul Pride: The Instrumentals (1960-69) (2 CD)
      Funky Good Time: The Anthology (2 CD; covers 1970-1976)
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