James Brown, the “Godfather of Soul,” remains one of the most influential figures in music history. His dynamic performances and innovative soundscapes have left an indelible mark on genres ranging from soul and funk to rock and hip-hop. This article delves into the world of James Brown Songs, exploring his early career, signature hits, and the lasting impact of his music.
James Brown at a piano
James Brown performing on piano, showcasing his musical talent and energetic stage presence.
Just as Chuck Berry significantly shaped early rock and roll, James Brown carved his own unique path, initially marketed towards the rock and roll audience before forging his own distinct sound. Brown’s journey is a testament to musical genius driven by relentless work ethic and a singular vision. He stands as an archetype of the demanding musical innovator, surrounded by talented employees rather than friends, extracting exceptional performances while maintaining tight control over his artistic and financial domains. This demanding approach, while sometimes controversial, was undeniably instrumental in shaping the iconic James Brown songs we know today.
From Hardship to Harmony: The Early Life of James Brown
James Brown’s early life was marked by hardship, shaping his drive and ambition. Abandoned by his mother at a young age and later raised in a challenging environment by a relative who ran a brothel, Brown faced adversity from childhood. Despite these difficulties, music became his refuge and ambition. He found solace and inspiration in jazz and gospel, while curiously, blues held less initial appeal, even though he learned from blues legend Tampa Red through a connection at his aunt’s house.
His musical inclinations leaned towards the vibrant energy of jazz and swing, styles that were evolving into Rhythm and Blues (R&B). Count Basie and his “One O’Clock Jump” became a significant influence, foreshadowing the jazz roots that would later blossom in Brown’s groundbreaking funk music. However, Louis Jordan held the position of Brown’s ultimate idol. Captivated by Jordan’s performances on records and film, young James aspired to emulate his energy and showmanship. Early performances featured covers of Jordan’s hits like “Caldonia,” a song Brown later recorded as a tribute.
[Excerpt: James Brown, “Caldonia”]
A sample of James Brown’s rendition of “Caldonia,” highlighting his energetic performance style and paying homage to his idol, Louis Jordan.
However, youthful missteps led Brown down a path of petty theft, escalating to car theft and eventually landing him in a juvenile detention center at the age of sixteen. Ironically, this incarceration became a turning point, leading him to Bobby Byrd, a meeting that would prove pivotal for James Brown songs and his career.
The Birth of a Partnership: Bobby Byrd and the Famous Flames
During a baseball game between inmates and outsiders at the detention center, Brown met Bobby Byrd. Byrd, leading a gospel group, recognized Brown’s musical talent. Impressed by Brown’s singing and piano skills (which had earned him the nickname “Music Box”), Byrd intervened at Brown’s parole hearing, facilitating his early release. Initially, Brown joined Byrd’s sister’s gospel group before transitioning to Byrd’s own group, which evolved from the Gospel Starlighters to the R&B-focused Avons, and finally, the Famous Flames. Johnny Terry, a fellow inmate and musician, also joined, forming the core of the Famous Flames alongside Brown and Byrd.
Little Richard’s influence on early James Brown songs cannot be overstated. Brown’s early performances were heavily inspired by Little Richard, sharing Georgian roots, Louis Jordan influences, and gospel music inspiration. In the nascent stages of his career, Brown essentially operated as a Little Richard tribute act.
An intriguing anecdote involves Brown and the Famous Flames essentially ghost-performing as Little Richard and the Upsetters. When Little Richard’s rising fame allowed him to book larger venues, his agent, Clint Brantley, ingeniously had Brown’s group fill Richard’s pre-existing smaller venue commitments. Brown would take the stage with the introduction “Please welcome the hardest working man in show business today, Little Richard!” This introduction resonated with Brown, so much so that he adopted a modified version, replacing Richard’s name with his own, solidifying his image as a tireless performer and a key element of the James Brown songs persona.
Early recordings by the Famous Flames for smaller labels, though difficult to track down, reportedly included covers of R&B hits and hinted at Brown’s developing style. His 1961 re-recording of “So Long” offers a glimpse into this period, showcasing his Little Richard-esque vocal style.
[Excerpt: James Brown, “So Long”]
An example of James Brown’s 1961 recording of “So Long,” illustrating his early vocal style and influences from artists like Little Richard.
“Please Please Please”: The Breakthrough Hit and the Dawn of a Legend
Clint Brantley, recognizing the group’s potential, facilitated a demo recording session, where the Famous Flames showcased their original material. Among these songs was “Please, Please, Please,” co-written by Brown and Johnny Terry. The song’s title originated from a phrase Little Richard had scribbled on a napkin, sparking Brown’s creative vision.
“Please Please Please” fits into the genre of R&B ballads, reminiscent of Little Richard’s “Directly From My Heart to You” and drawing inspiration from Faye Adams’ “Shake a Hand,” a foundational song for slow-burn blues ballads of the era.
[Excerpt: Little Richard, “Directly From My Heart to You”]
A sample of Little Richard’s “Directly From My Heart to You,” demonstrating the R&B ballad style that influenced “Please Please Please”.
[Excerpt: Faye Adams, “Shake a Hand”]
Faye Adams’ “Shake a Hand,” a key example of the slow-burn blues ballad genre that shaped the musical landscape for songs like “Please Please Please”.
Crucially, the Orioles’ rendition of Big Joe Williams’ “Baby Please Don’t Go” provided the backing vocal arrangement that became a signature element of “Please Please Please.”
[Excerpt: The Orioles, “Baby Please Don’t Go”]
The Orioles’ “Baby Please Don’t Go,” showcasing the backing vocal arrangement that inspired a key element of “Please Please Please”.
The Famous Flames consciously modeled themselves after groups like Billy Ward and the Dominoes and Hank Ballard and the Midnighters, aiming for raw energy and visceral emotion, contrasting with the smoother sounds of groups like The Platters.
Ralph Bass, an A&R executive at Federal Records, a subsidiary of King Records, championed the Famous Flames and “Please Please Please,” despite initial skepticism from his boss, Syd Nathan, who famously dismissed the song as repetitive screaming. Despite internal resistance, Bass persevered, believing in the song’s hit potential.
“Please Please Please” became a resounding success. Brown’s emotionally charged vocals resonated deeply, particularly with female audiences who connected with the raw vulnerability in his performance. The song became a live performance staple, evolving into a theatrical routine featuring Brown dramatically collapsing, being draped with a cape (inspired by wrestler Gorgeous George), and being “helped” offstage, only to dramatically return to continue singing. These elaborate stage antics became synonymous with James Brown songs performances.
[Excerpt: James Brown and the Famous Flames, “Please Please Please”]
A clip of “Please Please Please” by James Brown and the Famous Flames, showcasing the raw emotion and vocal intensity that made it a hit.
The song reached number six on the R&B charts and reportedly sold millions of copies, launching James Brown and the Famous Flames into the spotlight. However, the success was bittersweet. Credited to “James Brown and the Famous Flames,” rather than just the group, tensions arose, leading to the original Famous Flames disbanding.
Rebuilding and Refining: The Hardest Working Man in Show Business Emerges
Despite losing his original group, Brown, along with Bobby Byrd and Johnny Terry who rejoined, persevered. He assembled a new lineup of the Famous Flames and continued performing, leveraging the momentum of “Please Please Please.” However, subsequent releases failed to replicate its success for three years. Songs like “Chonnie On Chon,” while attempting to capitalize on popular trends, fell flat.
[Excerpt: James Brown, “Chonnie On Chon”]
A sample of “Chonnie On Chon,” illustrating James Brown’s attempts to follow up “Please Please Please” and the challenges he faced in maintaining momentum.
This period of struggle solidified Brown’s demanding leadership style and his “hardest working man in show business” persona. He instilled a culture of rigorous discipline within his band, imposing fines for missed cues, unpolished shoes, or any deviation from his exacting standards. These fines, sometimes issued publicly onstage, became part of his performance and management style, though often misunderstood by audiences as choreographed dance moves.
Brown’s relentless pursuit of perfection, while bordering on tyrannical, yielded undeniable results. He recognized that his path to success relied on sheer hard work and unwavering determination. Despite not possessing what he perceived as a conventionally “good” voice or fitting into typical physical ideals of the time, Brown and his band relentlessly toured the chitlin’ circuit, a network of venues catering to Black audiences across the US.
The chitlin’ circuit was a proving ground, demanding exceptional performances and offering little tolerance for mediocrity. Audiences were discerning and vocal, particularly at venues like the Apollo Theater’s amateur nights, notorious for harsh critiques and even hurled projectiles towards performers who failed to impress. However, these audiences also rewarded exceptional performances with fierce loyalty. Brown cultivated this loyalty by consistently delivering high-energy, captivating shows, outworking every other act on the circuit. After three years of relentless effort, he finally achieved his second major hit.
“Try Me”: A Second Breakthrough and Apollo Theater Triumph
Inspired by Jerry Butler’s “For Your Precious Love,” another soul-stirring ballad, Brown penned “Try Me.” Initially rejected by Syd Nathan at Federal Records, who was ready to drop Brown from the label, Brown’s conviction in the song led him to record a demo at his own expense and directly promote it to radio stations. The song quickly gained traction, becoming a highly requested track.
[Excerpt: Jerry Butler, “For Your Precious Love”]
Jerry Butler’s “For Your Precious Love,” the soul ballad that inspired James Brown’s “Try Me”.
Faced with overwhelming pre-orders for “Try Me,” Nathan relented, agreeing to a proper studio recording. “Try Me” surpassed even the success of “Please Please Please,” reaching number one on the R&B charts and cracking the pop top 50.
[Excerpt: James Brown and the Famous Flames, “Try Me”]
A sample of “Try Me” by James Brown and the Famous Flames, showcasing the smoother soul ballad style that became another major hit.
Yet again, success was followed by band turmoil. Shortly before a prestigious residency at the Apollo Theater, Brown’s band dissolved again. Despite initial concerns about his new lineup facing the demanding Apollo audience alongside acts like the Upsetters and Little Willie John, the new Famous Flames exceeded expectations. They captivated audiences, outshining even the headliners and quickly being promoted to co-headlining status, much to Little Willie John’s chagrin.
This Apollo Theater residency marked a pivotal moment, forging a lasting association between James Brown and the Apollo. The venue became synonymous with his electrifying performances, and Brown, in turn, elevated the Apollo’s legendary status. The Apollo became a crucial platform for solidifying James Brown songs and his career.
However, for Brown personally, the most significant event of that Apollo residency occurred after its conclusion. In his autobiography, Brown recounts a poignant encounter:
“The day after we finished at the Apollo I was in my room at the Theresa, fixing to leave for Washington, when somebody knocked on the door.
“Come in,” I said. I was gathering up my belongings, not really watching the door. I heard it open, real slow, but that was all. After a minute, when I realized how quiet it was, I turned around. There was a small woman standing there, not young, not old. I hadn’t seen her since I was four years old, but when I looked at her I knew right away it was my mother.
I had no idea she was coming to see me that day or any day.
“I’ve been looking for you for a long time,” I said. “I’m glad to see you.”
She started to smile, and when she did I could see she’d lost all her teeth.
All I could think to say was, “I’m going to get your mouth fixed for you.”
She didn’t say anything. She just walked toward me. We hugged, and then I kissed my mother for the first time in more than twenty years.”
This emotional reunion, following his Apollo triumph, underscores the personal journey intertwined with the rise of James Brown songs and the legend of the Godfather of Soul.
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