James Brown started writing and producing for artist on his Revue (and other artist) beginning in 1959 after his huge breakthrough with "Try Me" inlate 58 goin' into 1959. King started to give him more freedom (though not as much as he would get later on in the 60s.) He was finally recording with his new road band and him and the fellas had many, many ideas they wanted to put out on wax ...

He was developing the early stages of funk. And while a few of his singles up until "Out Of Sight" were heading that way, he took way more chances on the production end of artist he was cutting on King/Federal and on his other label Mercury (Smash and Fontana), Dade, Loma, ect.

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This is the first production credited to "James Davis" who never existed. It's a combination of JC Davis (sax and his first bandleader) and James Brown from 1959.

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Nat Kendrick (drummer) & the Swans were James Brown and his band also. But because his first try at an instrumental failed, Syd said no more. He went to Miami at Dade records to cut the song (Do The) Mashed Potates which was a hit. And Syd gave in

They gettin' close to the funk here ...

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Little Bobby Roach (guitar) & his Combo was another names for James Brown's band. This track "Mush" was cut at the same time as (Do The) Mashed Potatoes.

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Now, James and his band were releasing instrumentals under The James Brown Band (and later Orchestra under Smash/Mercury)

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Fast forward to 1962. Yvonne Fair is the newest female on The JB Revue.

This is very funky, in early 1962 at that.

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Before 62 was over, JB was one more step closer to the funk with this number, I've Got Money which was originally a Baby Lloyd single from 1960 titled I Need Love. He is now the main draw at King Records taking over for Hamk Ballard, Bill Dogget and Little Willie John among other stars their in the mid-50's when he came abord.

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The Poets, another name for JB's band. The first release on his new Try Me Label.

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His right hand man, Bobby Byrd now on his own. This is one of my favs by him.

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More from Yvonne Fair ... Tami Montgomery was also on the review at this time ...

This sounds like the first funk ballad??

These 2 track above were A/B side in 1963 for DADE Records down in Miami. I would say these 2 are funk songs. What do y'all say? Say Yeah Yeah is a slightly sped up of the previous Poets track I posted.

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Ok, now he is here!

And it's another female Anna King. This is the 2nd funk ballad/record!!

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In 63, he was fighting with King Records that's when he signed with Smash Records. He only cut one track in 63 credited to him and the Flames, "Oh Baby Don't You Weep."

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He goin back in the past at the start of 64. Doo-Wop. track from The Epics.

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Bobby Byrd is back, not only is he a nobody, He's Lonely.

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Bobby and Anna King with a hit in early 1964. Check out the bass drum kick.

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Speaking of Anna, James produced a complete album for her in 1964 on smash Back to Soul. It was straight up soul, with a few early funk sounding records like the first single.

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He picked up alot of old friends along the way. Not only his old Flames buddies Sylvester King Keels and Johnny and Bill (Johnny Terry and Bill Hollings from Little Richard), but guys who probably helped him along the way. Hank Ballard was now on his Revue and being produced. The Five Royales also, and Bill Pinkney of Drifters fame.

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THAT WAS OUT OF SIGHT!!!

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By 1965, they are in full fledged funk! Bobby Byrd put this number out. He is no longer a nobody or lonley. He's in love.

And there is no one like his baby.

Or The Way He feels (Bobby Byrd)

A funkier version of his first single from 1962 "I Found Out"

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He found the funk with another one of his artist, James Crawford.

AND NOW PAPA GOT HIS BRAND NEW BAG by the end of 1965!!!

[Edited 7/19/12 18:46pm]

There live shows had a part in the funk beginnings. Long vamps and bridges while The Flames danced and JB screamed.

[youtube]http://www.youtube.com/watch?v=4NpRDA5YkAI[youtube]

This became a JB staple, but was first given to James Crawford. There is a 1965 performance floating around from the Nashville TV program "Night Train."

I've been trying to respond to this lol you know how YouTube slows things down but I'm not surprised he was that productive early on. Imagine if they were all like big hits or bigger on the R&B charts? Fascinating thought, huh?

Timmy84 said:

I've been trying to respond to this lol you know how YouTube slows things down but I'm not surprised he was that productive early on. Imagine if they were all like big hits or bigger on the R&B charts? Fascinating thought, huh?

I know a few of those Byrd singles charted. We're I Love was actually top 15 on the black charts in early 1965 and the duo of Anna King and Bobby's "Baby Baby Baby" charted 54 pop in early 64.

The others one's I'm not sure if they charted, I gotta investigate.

^ Yeah Bobby Byrd had some nice chart success back in the day. And we know about Lyn Collins charting with "Think". I doubt Yvonne Fair's charted or even Baby Lloyd's and Bobby Bennett's. Tammi's charted but barely.

Timmy84 said:

^ Yeah Bobby Byrd had some nice chart success back in the day. And we know about Lyn Collins charting with "Think". I doubt Yvonne Fair's charted or even Baby Lloyd's and Bobby Bennett's. Tammi's charted but barely.

If some didn't chart, I bet most were territorial picks. Joe Tex rarely charted is his early years, but damn near all his singles got high reviews from Billboard and were territorial picks on the East coast and South.

^ Now see, that is interesting because the same was said of Motown's early singles from Marvin, the Supremes, the Four Tops, the Miracles, Marvelettes, etc...

I also think that Ike Turner was doing the exact same thing with his productions and maybe his successes were more territorial than national too. You just brought up a really good point! lol

Timmy84 said:

^ Now see, that is interesting because the same was said of Motown's early singles from Marvin, the Supremes, the Four Tops, the Miracles, Marvelettes, etc...

I also think that Ike Turner was doing the exact same thing with his productions and maybe his successes were more territorial than national too. You just brought up a really good point! lol

All they cared about is being reginal in the places with the Theaters, cause thats were they make their money since they weren't charting. So if you're a territorial pick in DC and Baltimore that means you gonna play the Howatd and Royal Theaters. You might not headline like Jackie Wilson but you'll be on the bill.

I see! I didn't know it was like that then. So basically the early rock and roll, R&B, rockabilly and country artists all relied on territories rather than the entire nation because of the money they would bring? Explains why many of the artists still managed to have careers as they did because they seemed to rely on territories too. James' early records also relied on territories and if it sold well, they played there? Interesting and quite fascinating.

Timmy84 said:

I see! I didn't know it was like that then. So basically the early rock and roll, R&B, rockabilly and country artists all relied on territories rather than the entire nation because of the money they would bring? Explains why many of the artists still managed to have careers as they did because they seemed to rely on territories too. James' early records also relied on territories and if it sold well, they played there? Interesting and quite fascinating.

Early in JB's career after the Flames became hitless after "Please" Richmond, Virgina was a hot place for them. Also the Caronilas and Maryland.

I've Got to Change was a "Territorial Tip" in New York.

It Was You was a Territorial Tip in San Francisco, "Good Good Lovin" in Richmond, Virginia.

^ Oh wow... no wonder how artists survived then!

James Brown, where do I begin? Alot of his earlier music is very unappreciated... He had alot of gems during the 60s and completely took it to another level in the 70s

LittleBLUECorvette said:

Timmy84 said:

I've been trying to respond to this lol you know how YouTube slows things down but I'm not surprised he was that productive early on. Imagine if they were all like big hits or bigger on the R&B charts? Fascinating thought, huh?

I know a few of those Byrd singles charted. We're I Love was actually top 15 on the black charts in early 1965 and the duo of Anna King and Bobby's "Baby Baby Baby" charted 54 pop in early 64.

The others one's I'm not sure if they charted, I gotta investigate.

Baby Baby Baby was actually #52 on the pop charts and If SOmebody Told You (Anna King) #67.

http://books.google.com/b...mp;f=false