James Brown And The Famous Flames - Cold Sweat FLAC album

Cold Sweat" is a song performed by James Brown and written with his bandleader Alfred "Pee Wee" Ellis. Brown recorded it in May 1967

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James Brown, His Famous Flames ‎– Cold Sweat. Label: King Records (3) ‎– 813 492-1, Polydor ‎– 813 492-1. Format: Vinyl, LP, Reissue, Album. Labels: James Brown & The Famous Flames ℗ 1967 POL. INC. Ed. A1.

Album · 1967 · 12 Songs. James Brown and His Famous Flames Tour the . The Amazing James Brown. It's a Man's Man's Man's World.

Released in the summer of 1967, Cold Sweat became one of James Brown’s signature funk tracks and became the title track to his 17th studio album. The song contains lyrical elements from the 1962 James Brown & The Famous Flames track I Don’t Care, which JB talked about in his 1986 autobiography The Godfather of Soul: was a slow, bluesy tune then. It was good that way, but I was really getting into my funk bag now, and it became an almost completely different tune, except for the lyrics. Alfred Pee Wee Ellis helped write Cold Sweat and talked about the creation of the.

Cold Sweat, Pt. 1, 02:24.

Cold Sweat" is the first recording in which Brown calls for a drum solo (with the famous exclamation "give the drummer some") from Clyde Stubblefield, beginning the tradition of rhythmic "breaks" that would become important in dance music and form the foundation of sampling. It also features a saxophone solo by Maceo Parker.

James Brown & The Famous Flames – Bewildered. James Brown and The Famous Flames – Try Me. 2:48. James Brown & The Famous Flames – Just You And Me Darling. James Brown & The Famous Flames – Good Good Lovin'. James Brown – Try Me. 2:34. James Brown & The Famous Flames – Try Me. 2:35. James Brown & The Famous Flames – Ain't That A Groove. James Brown & The Famous Flames – I Won't Plead No More. James Brown & The Famous Flames – Think. James Brown – Cold Sweat.

James Brown and the Famous Flames at the Apollo, New York, in 1964. Photograph: Michael Ochs Archives/Corbis. One of the accusations levelled at him by those who presumably never looked beyond Living in America and Sex Machine is that Brown was little more than a bullying band leader who bellowed childish gibberish over simplistic grooves played by other, more talented musicians. But the truth is that he could play more instruments than most. This phenomenal LP spearheaded a change in the perception of black musicians being only singles rather than album artists. Yet it would be another two years before the musician started living up to his initial promise as regards the Billboard chart.