And while he was widely known as a must-see live act, his performances were still limited to the Chitlin’ Circuit (since refashioned to “Urban Theater Circuit”), making it difficult to reach mainstream (translation: white) audiences. Brown strongly believed he had to try something different and proposed a live album to his masters at King Records. Displaying insight similar to the MLB executives who fought television every step of the way and allowed football to supplant baseball as the American pastime, head man Syd Nathan squashed the idea, arguing that a live recording would discourage fans from attending Brown’s performances.
Imbued with the entrepreneurial spirit most Americans admire, Brown decided to fund the enterprise himself, forking over a lot of his hard-earned dough to pay for the recording equipment, theater rental and tuxedos for the Famous Flames.
Live at the Apollo is the culmination of a mid-20th Century Horatio Alger story. James Brown faced more obstacles than most people reading this review will ever face. Through a combination of guts, willpower, talent and a commitment to his craft, he climbed to the top of his profession and made a whole lot of people happy as they grooved to his music. Live at the Apollo is a celebration of his talent and his pluck, and is more than worth the modest price of admission.
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