James Brown Studio

20 All-Time Greatest Hits! features 20 songs from the 1950s, 1960s, and 1970s, 16 of which had previously topped the US R&B charts. The album itself reached #99 on the R&B/Hip-Hop Albums chart when it was first released in 1991, and has been ranked #414 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Needless to say it wasn't a stretch for the late James Brown to play at Studio 54, the storied palace of decadence and dance. The funk he laid down from the beginning dug the foundation for the good-time sounds and musical sophistication of the genre. It's also true that in 1980 when this was recorded, disco music itself was way on the wind down, giving way to a much more urbane form of dancefloor soul. But this performance is as hot, sweaty, and full of backbone slip groove as anything else, despite rather dodgy sound quality (sounds like a worn board tape). The Godfather lays down his hits as professionally as ever with some interesting textures in the arrangements and horn charts to accent the disc's reliance on circular rhythm, repetitive basslines, and hopped up dynamics. Brown could truly run the spectrum, but only does so on "Please, Please, Please," and the medley of "It's a Man's Man's Man's World" and "Lost Someone" (and you can feel the restlessness of a crowd who wants to do more lines and dance). He gives them plenty more of that as the speeds of his up-tempo numbers are furious, revved but deeper in the pocket to encourage the free-form aspects of the disco for the serious dancers. The band is spot on and never played better, so utterly tight, focused and "on" that the groove never suffers and in fact transcends the Godfather himself at times.

Needless to say it wasn't a stretch for the late James Brown to play at Studio 54, the storied palace of decadence and dance. The funk he laid down from the beginning dug the foundation for the good-time sounds and musical sophistication of the genre. It's also true that in 1980 when this was recorded, disco music itself was way on the wind down, giving way to a much more urbane form of dancefloor soul. But this performance is as hot, sweaty, and full of backbone slip groove as anything else, despite rather dodgy sound quality (sounds like a worn board tape). The Godfather lays down his hits as professionally as ever with some interesting textures in the arrangements and horn charts to accent the disc's reliance on circular rhythm, repetitive basslines, and hopped up dynamics. Brown could truly run the spectrum, but only does so on "Please, Please, Please," and the medley of "It's a Man's Man's Man's World" and "Lost Someone" (and you can feel the restlessness of a crowd who wants to do more lines and dance). He gives them plenty more of that as the speeds of his up-tempo numbers are furious, revved but deeper in the pocket to encourage the free-form aspects of the disco for the serious dancers. The band is spot on and never played better, so utterly tight, focused and "on" that the groove never suffers and in fact transcends the Godfather himself at times.

Sex Machine is the 1970 album by James Brown. While promoted as a live album, the applause of some of the tracks were dubbed in during post-production. A few of these songs would become the source of countless hip-hop samples, including "Give It Up Or Turnit A Loose". This CD was released on 23 March, 1993.

Needless to say it wasn't a stretch for the late James Brown to play at Studio 54, the storied palace of decadence and dance. The funk he laid down from the beginning dug the foundation for the good-time sounds and musical sophistication of the genre. It's also true that in 1980 when this was recorded, disco music itself was way on the wind down, giving way to a much more urbane form of dancefloor soul. But this performance is as hot, sweaty, and full of backbone slip groove as anything else, despite rather dodgy sound quality (sounds like a worn board tape). The Godfather lays down his hits as professionally as ever with some interesting textures in the arrangements and horn charts to accent the disc's reliance on circular rhythm, repetitive basslines, and hopped up dynamics. Brown could truly run the spectrum, but only does so on "Please, Please, Please," and the medley of "It's a Man's Man's Man's World" and "Lost Someone" (and you can feel the restlessness of a crowd who wants to do more lines and dance). He gives them plenty more of that as the speeds of his up-tempo numbers are furious, revved but deeper in the pocket to encourage the free-form aspects of the disco for the serious dancers. The band is spot on and never played better, so utterly tight, focused and "on" that the groove never suffers and in fact transcends the Godfather himself at times.

James Brown's Funky People is a series of compilation albums highlighting the music released on James Brown's People Records subsidiary. The first edition was released in 1986 and due to its success, a second volume was released in 1988. Polydor, now Universal, didn't follow up with a new edition until 2000. The songs on the first two compilations became staples of hip-hop samples due to its placement in this series.

Live At The Apollo Volume II is a 1968 live album by James Brown. Originally released by King Records in June 1968, this is the 2CD Deluxe Edition released by Polydor/Universal on 26 June, 2001. It is remastered by Kevin Reeves.

Love Power Peace - Live At The Olympia, Paris, 1971 is a 1992 live CD by James Brown. This was the band before Bootsy Collins left to become a part of the P-Funk Empire and this is arguably better than the actual live album Brown released at the time, Revolution Of The Mind. This Paris show was recorded on the 8th of March, 1971.