James Brown and the Famous Flames are PURE DYNAMITE and this is the GREATEST LIVE ALBUM EVER RECORDED...But I wonder ...just how many people reviewing this CD really KNOW just WHO The FAMOUS FLAMES really were? If you ,like so many other music writers and Rock historians think that the FLAMES were the name of JAMES BROWN'S BAND ...you are INCORRECT !!! Please go back and read or re- read James' autobiography...then go on the internet and obtain the movies SKI PARTY and the TAMI SHOW.Then read the liner notes on the LIVE AT THE APOLLO CD...and ALL of the POLYDOR CD re-issues of James and the Flames early albums... such as the "PLEASE PLEASE PLEASE" album,the "THINK" album and the TRY ME album...They all say the SAME THING..."THE FAMOUS FLAMES ARE NOT THE BACKUP BAND ...THEY ARE THE VOCAL GROUP" !!! ANYONE who says otherwise DOESNT KNOW THE HISTORY OF JAMES BROWN!! JAMES himself even explained this on the DAVID LETTERMAN SHOW...but many so- called rock music historians still dont get the MESSAGE !! THE FAMOUS FLAMES were: BOBBY BYRD-the group's founder, and the man who actually discovered James Brown,BOBBY BENNETT,and the late LLOYD STALLWORTH..who replaced departing original member JOHNNY TERRY...JAMES BROWNS BAND was called ...believe it or not... THE JAMES BROWN BAND !! This means that stellar players such as FRED WESLEY, MACEO PARKER,ALFRED "PEE WEE " ELLIS AND OTHERS were BAND MEMBERS...NOT FAMOUS FLAMES !!THE FAMOUS FLAMES AND THE BAND WERE TWO SEPARATE ENTITES !!the ROLLING STONE HISTORY OF ROCK AND ROLL was one of the few printed publications that actually GOT IT RIGHT! In showing a picture of the JB troupe on stage back in the sixties..it clearly stated that JAMES was..."with the Famous Flames AND the James Brown Band!!Why the confusion? Part of the reason centered around a very strange practice of KING RECORDS (JAMES'record label back then) of showing ONLY THE LEAD SINGER on many of their vocal groups' classic fifties and sixties albums.They did this- not only with JAMES BROWN AND THE FLAMES'albums...but with HANK BALLARD AND THE MIDNIGHTERS'albums as well. People only know what they see...And what they saw was only JAMES BROWN'S AND HANK BALLARD'S faces on the album covers...but not their respective groups.Another problem is the unfortunate practice on the part of music writers over the last 15 years or so of calling the great r&b vocal groups "bands" because their rock- oriented counterparts were. (example..artists such as THE MIRACLES,THE TEMPTATIONS,AND THE FOUR TOPS ARE NOT "BANDS",BUT RATHER VOCAL GROUPS OR SINGING GROUPS...While artists such as THE BEATLES , THE ROLLING STONES,AND THE BEACH BOYS are bands..They actually play instruments on stage).These two factors have combined to cause a confusion toward THE FAMOUS FLAMES in the eyes of the music buying public that has persisted to this day... and has cost them a possible spot in the ROCK AND ROLL HALL OF FAME along with JAMES,which they so richly deserve.(ANYONE WHO HAS SEEN THE MOTION PICTURE "THE TAMI SHOW" will have to admit-JAMES BROWN AND THE FAMOUS FLAMES STOLE THE SHOW - BLOWING AWAY THE STONES , THE SUPREMES , AND EVERYONE ELSE}.the FLAMES also appeared with James in the Frankie Avalon movie "SKI PARTY" in a non- singing, non-speaking role,and on the ED SULLIVAN SHOW twice,dressed differently than the band, and unfortunately uncredited .THE FAMOUS FLAMES are one of the great UNSUNG GROUPS of rock and R&B history.In 1964,James stopped recording with the FLAMES in the studio,But they still continued to perform with him on stage for another 4-5 years...and their name still appeared on the records,so most people thought the name applied to the band.After the FLAMES disbanded , BOBBY BYRD remained with James, and that's his voice you hear echoing James on hits such as "SEX MACHINE","SOUL POWER","MAKE IY FUNKY",AND "GET ON UP, GET INTO IT,GET INVOLVED" . So,the next time you listen to "live at the apollo", or early hits such as PLEASE PLEASE PLEASE , TRY ME,THINK, BEWILDERED,OH BABY DONT YOU WEEP,or other great songs... remember..the guys you hear SINGING ...NOT PLAYING INSTRUMENTS in the background...are indeed the mighty FAMOUS FLAMES..BOBBY BYRD, BOBBY BENNETT,JOHNNY TERRY, AND LLOYD STALLWORTH. read JAMES'AUTOBIOGRAPHY...IT'S ALL THERE..THE FAMOUS FLAMES ARE A SINGING GROUP.. NOT A BAND!!

1962 'Absolutely' LIVE At The Apollo, I'd consider the LP and CD as about the BEST by James Brown And The Famous Flames.
Since 'Stereo' was still under development for Rock and Soul in the early 60's, the recording on CD 'SHOULD' be in the original mono. If you have a mixer, or mono capability, try mono. Live At The Apollo rates over '5', it's more near 20, very wild, very LIVE. Absolute MUST for any true music afficianado and collector. Mono for this CD. I've already submitted my mono request to the issuing recording label. Don't miss this title!
"Please, Please, Please, this is one for music history! AA!

October 24, 1962 is a date that will live in music infamy. For it was then at the midnight show at Harlem's famed Apollo Theater when James Brown recorded the album that fully introduced soul music to America and gave documented proof that he was indeed the greatest showman alive.

The story behind it is well known. Brown had a few R&B hits dating back to 1956, including the 1959 chart topper "Try Me", but was largely unheard of outside young black America and even with that success his singles career was maddeningly inconsistant in terms of sales and even musical direction. But in person it was a different story, for in front of an audience Brown tore it up night after night on the chitlin' circuit, an act no rival wanted to try and follow. It is safe to assume that anyone who saw his show live was instantly a fan for life.

Therefore what he wanted was to record a concert, much like Ray Charles had done at Newport a few years before, that would show people who hadn't yet bought a ticket just what they'd been missing. King Records chief Syd Nathan rejected it flatly, saying - and not without some merit - that albums did not sell well to the generally lower economic strata of R&B fans, and without even a single to garner from it the venture would be foolhardy at best. Naturally Brown ignored this dictive and paid for the recording himself, and thus with his own ego, reputation and perhaps career on the line gave the single greatest performance ever caught on tape. Nathan had no choice but to put it out.

Sales built slowly, spurred on by enormous word of mouth publicity and frequent airings of the entire album on the tiny R&B outposts at the far ends of the AM dial, until it became the "must have" LP of 1963. Consider this: at the time albums were strictly the realm of pop singers. For the year in question only two other rock LP's (both by the Beach Boys) even entered the Top Ten on the album charts, and before that only Elvis Presley among rockers had been able to sell LP's in sufficient quantities to make releasing them worthwhile. For Brown, who was still relatively unknown, singing in a style few Americans had ever heard of or thought possible, to crack that chart, spending a remarkable 66 weeks there and reaching #2 at one point, becoming the 32nd highest selling album of any kind that year, was absolutely inconceivable. To put it bluntly, THIS is what put James Brown on the map and let the world know that soul music, introduced in the early-50's by the "5" Royales, Dominoes and others, honed by Ray Charles in the mid-50's and polished for the masses by Sam Cooke in the late-50's, had a bold new leader. James Brown forever after was Soul Brother Number One.

If you've never heard it you're surely not ready for what awaits you, but that doesn't mean you should avoid it, just don't expect anything specific, for you'll have no reference points to compare it to because it truly is like nothing you've heard before. Frenetic to the point of lunacy, with an almost religious type fervor in the way he puts over the songs in shortened medley-esque fashion, never pausing for a breath, the tight band turning on the dime, high point after high point reached and then broken once again, all culminating in the extended gospel-like reading of the epic ballad "Lost Someone". It is during that performance where he fully hypnotizes the audience and the listener with a repeated desperate plea, as all the suffering, passion and ecstasy of soul music is delivered with a raw, almost naked, grab for their approval. His quavering voice fading with despair into the shadows, as the tension in the crowd rises to unbearable levels, he drains every ounce of emotion he can muster from himself, the song and the masses before suddenly offering release by exploding into "Please, Please, Please" which detonates the crowd like a nuclear bomb before carrying us all home with the chugging farewell, "Night Train". It is truly a one of a kind experience, yet magically one that can be repeated over and over again.

It will almost surely take you many listens to comprehend what is happening. But give it time. Listen to it in the dark, going to bed night after night, imagining yourself in the crowd that cold Wednesday in '62, seeing the future of R&B music unfolding before your eyes. Before long you too will be rhythmically intoning along to Fats Gonder's famed opening, "And now ladies and gentlemen, it's star time... Are you ready for Star Time?!!"

Are you?

This CD is just okay. The early JB ballads are the thing here. Gives you a good idea of a good chitlin' circuit performance as typically done for Black audiecnes in those days with approrpiate audience response. The standouts here include the extended version of "Lost Someone" which leads into "Please Please Please." Even without being able to see the infamous cape routine, it's quite entertaining. But overall, Vol. 2 is better since that CD plays up the more uptempo stuff that put JB on the map.

In answer to the gratitude that someone thought of recording James live during that seminal period of his recording career, it should be known that it was none other than James Brown himself, who put his own money on the line, rented out the Apollo theatre and the recording equipment and financed the entire deal on his own. He was ahead of his time musically and this artistic foresight extended to marketing as well. This album is a must-own for a little bit of insight as to what it might have been like to experience the James Brown band live as they were just hitting a groove that hasn't stopped so many decades later.