The Twelve Inch 129 : Living In America (James Brown)
Why did the "busiest man in show business" suddenly seemed less busy when disco broke through ?
Welcome, I’m Pe Dupre and this is “The Twelve Inch”, a newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.
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The Godfather of Soul: A Legacy Beyond the Stage
When you think of James Brown, the “Godfather of Soul,” images of wild stage antics, sweat-drenched performances, and that unmistakable raspy shout come to mind. In the 1960s, he was one of the most influential Black artists, and while he briefly reclaimed the spotlight in the '80s, his legacy from the previous decades still loomed large. Yet, despite his undeniable impact on music, Brown's role in disco—the genre that took over the '70s—remains surprisingly underappreciated. How could the man who laid the very foundation for funk, a crucial pillar of disco, not enjoy the same prominence in the disco era as some of his peers?
A Funk Revolution: How James Brown Reshaped Popular Music
The story of James Brown is an important one because it is one of innovation, not just success. Without him, disco—and the countless genres that followed—wouldn’t exist in the way we know them today. To understand this, we need to rewind to the late 1960s, when music was on the brink of a revolution. Already dominating the charts with hits like “Papa’s Got a Brand New Bag” and “I Got You (I Feel Good),” Brown began to reshape the sound of popular music. Stripping down the excesses of R&B and soul, he focused heavily on the rhythm, particularly the bass and drums, creating a groove-heavy, hypnotic style that would eventually be known as funk. It was his 1964 album Out Of Sight that marked the beginning of this transformation.
Laying the Groove: The Birth of Funk with Cold Sweat
Brown’s 1967 hit “Cold Sweat” is often hailed as the first true funk song, a groundbreaking track that introduced a one-chord vamp (reducing the harmony to a single chord) and syncopated basslines. It also featured the first-ever drum break, setting the stage for what dance music would evolve into over the following years. His signature emphasis on “the one”—the first beat of each measure—became not just the heart of funk, but a cornerstone of dance music as well.
By this point, Brown’s vocal style had evolved into a unique blend of rhythmic speech and song, eschewing traditional melody for a more primal, declamatory delivery. This would go on to heavily influence the early pioneers of rap and hip-hop, making Brown a key figure not just in funk, but in the birth of yet another cultural movement. While many Black artists of the era honed their voices in church choirs, Brown’s delivery was closer to that of a preacher—powerful, commanding, and relentlessly rhythmic.
The Funk Guitar: Jimmy Nolen and the Iconic “Chicken Scratch” Sound
Another vital ingredient in Brown’s funk revolution was the "chicken scratch" guitar sound, or “chanking,” pioneered by his guitarist, Jimmy Nolen. This staccato, percussive guitar playing became the hallmark of funk guitar, further solidifying Brown’s innovations as the blueprint for much of what would follow.
The Technical Terms Explained
“Syncopation” ? “One Chord Vamp” ? “Chanking” ? As we are going a bit into technical terminology this week let me explain with this helpful video’s.
The rhythmic changes James Brown brought to music explained :
The importance of the inventions of his most famous guitar player Jimmy Nolen (like the “chicken scratch guitar sound” and the “one chord vamp”) explained :
The Fall from the Funk Throne: James Brown’s Reluctant Relationship with Disco
James Brown's career was nothing short of legendary. From his first hit in 1956 through to 1974, he dominated the American R&B charts, scoring nearly 100 hits—13 of them climbing all the way to No. 1. But by the end of 1974, following the release of his No. 4 single "Funky President," his streak of chart-toppers came to an abrupt halt. This was also the dawn of the disco era. And while Brown’s music continued to thrive in the underground disco scene of New York, championed by trailblazing DJs like David Mancuso and Francis Grasso, he never consciously embraced the genre's rise.
In fact, Brown made it clear that disco was not to his taste. In his 2003 autobiography I Feel Good, he wrote, "There was a new sound in the air, and it was just about the opposite of everything I had come to stand for in music. It was called disco." By 1977, the once unstoppable force in R&B found himself losing his grip on the charts. Despite the success of his 1976 hit "Get Up Offa That Thing," Brown's influence waned, with 13 of his late 1970s releases for Polydor, failing to break into the Top 10 of the R&B charts.
FUN FACT n°1 (..a fact that wasn’t any fun for those who had to “enjoy” it) :
James Brown was known for demanding nothing short of excellence from his musicians and dancers. Discipline, precision, and perfection were non-negotiable in his world. Performers in his legendary Revue were expected to attend every rehearsal without fail and arrive on stage in the proper “uniform” or “costume” for each concert, reflecting the high standards Brown upheld.
But it wasn’t just about showing up. Brown had a strict practice of enforcing his rules through a unique, and often costly, form of discipline. Band members who broke his rules—whether it was wearing unshined shoes, dancing out of sync, or arriving late to the stage—would face fines. During live performances, Brown often turned his back to the audience, sliding across the floor and flashing intricate hand signals that seemed like part of his high-energy dance routine. In reality, those signals were aimed at his band, calling out anyone who had hit a wrong note or made an error. Each pulsating finger and flick of his hand wasn’t just for show—it was Brown’s way of notifying the culprit that a fine was coming their way. Audiences may have seen it as part of the act, but for the musicians, it was a reminder that Brown’s perfection came at a price—literally! Ouch !
A Misstep on the Dance Floor: James Brown’s Brief Foray into Disco
As disco fever swept the music industry, even James Brown couldn't escape its pull—much to his own discomfort. In his 2003 biography, Brown recalls the pressure from his record label, Polydor: "Because disco was taking over, Polydor tried to get me to record something in that style with the hopes we might capture a share of the market... Although I wasn't particularly into the sound, the truth was that I had recorded every one of those rhythms in my own music, without the disco label attached..”
Brad Shapiro
The result? A string of disco-influenced tracks that culminated in the release of The Original Disco Man in 1979. However, this era marked a significant departure for Brown. For one, he took a step back from the songwriting and production, leaving much of that work to producer Brad Shapiro. Gone were the syncopated, groove-heavy rhythms that defined Brown’s sound, replaced by the standardized “four-to-the-floor” disco beat.
To make matters worse, the album dropped during a time when disco was facing a fierce backlash, hitting stores the same month as the infamous anti-disco riots at Chicago’s Comiskey Park. Unsurprisingly, given his minimal involvement in the creative process and the growing disdain for anything disco-related, Brown would later disown The Original Disco Man and its Shapiro-produced follow-up People (1980), labeling them as some of the worst material he ever recorded. What could have been a strategic pivot instead became a painful chapter in Brown’s illustrious career.
Fun Fact n°2 : As high as a kite
Throughout much of his career, James Brown maintained a strict no-drugs, no-alcohol policy for his entourage, including his band members. He wasn’t shy about enforcing it either—if anyone violated this rule, they were out. In fact, Bootsy Collins, a future funk legend, was fired from Brown’s band in 1971 for taking LSD.
But as it turned out, Brown himself wasn’t immune to substance abuse. His drug of choice? PCP. And his use wasn’t without consequence. PCP fueled violent outbursts that led to multiple arrests, including for domestic violence. This wasn't Brown’s only brush with the law. By January 1988, he was facing four criminal charges in a span of 12 months related to driving offenses, drug use, and gun possession.
After being arrested for domestic abuse in April 1988, Brown appeared on the CNN show Sonia Live in L.A. with host Sonia Friedman. The interview became infamous due to Brown's erratic, irreverent behavior, with many speculating that he was under the influence during the broadcast. You can “judge” for yourself—there’s a link to the video in the “Further Reading” section 😁.
A “Knockout” Comeback: James Brown’s Unlikely Partnership for Rocky IV
By the mid-1980s, disco had long since faded, but dance music had taken on new life in the forms of electro and house. It was during this time that James Brown found himself in an unexpected collaboration with Dan Hartman, a former member of the Edgar Winter Group who had reinvented himself as a successful disco and pop producer.
Hartman had made waves with hits like "Instant Replay" in 1978 and "I Can Dream About You" in 1984, and his songwriting caught the attention of Hollywood. Filmmakers were lining up to have him create soundtracks for their movies, including Sylvester Stallone, who had a bold proposition: write a song for James Brown to perform in Rocky IV. Despite the high-profile offer, Hartman wasn’t immediately sold. “We had a lot of reservations”, Hartman admitted. “There was a request that the the song be slightly patriotic and I don’t believe in being a flag waver at all.”
Crafting a Hit: The Unlikely Success of "Living in America"
A bigger question loomed for Dan Hartman: could he actually create a hit for James Brown? Hartman admitted his doubts, recalling “The funny thing is the film people made it clear that they wanted a Top 10 single--and I didn’t know if that was possible. I think of the Top 10 these days (in 1985) as sort of whipped cream and vanilla--and I worried that Brown would be too strong for radio. “I said that if I write something for James Brown, it would be too organic ever to be in the Top 10. I had too much respect for him to water down his style.”
Despite his reservations, Hartman and his co-writer Charlie Midnight eventually devised a concept they believed could work. The result was "Living in America"—a lively celebration of pop culture rather than a straightforward patriotic anthem. When the track was sent to Brown, he responded positively and saw it as an opportunity to introduce himself to a new generation of listeners.
Recording the song turned out to be an unforgettable experience for Hartman.“The session was great . . . not difficult at all. The thing that struck me the most was that he asked me to be right next to him when we did the vocals to show him how we intended the song to be sung. That’s something you’d never expect from an artist of his stature. Brown’s humility shone through as he told Hartman ‘Now when I do it, I’m going to do it like James Brown, but you must have had something in mind when you wrote it and I want to know what it was.’ ”
A Triumphant Comeback
The result is the twelve inch of this week and a big worldwide hit. His first pop chart top 5 in the US in almost 20 years and the first top 10 hit in the US clubs & dance charts. The single was followed by an album, produced by Dan Hartman, who expressed his pride in their collaboration : “I am proud of what we did on the album. I think it does present a contemporary James Brown. It’s not candy-coated. It has a lot of statement and a lot of heart.”
But why wasn’t Hartman’s original recording of "Living in America" used in Rocky IV instead of Brown’s? The answer lies in star power. While Hartman was a talented musician and producer, he didn’t carry the iconic weight of James Brown. The fact that “I Can Dream About You” became a hit but didn't do the film “Streets Of Fire” no good, didn’t help (as you can read in episode 113). The filmmakers behind Rocky IV needed an artist with undeniable presence, one who could not only deliver the patriotic punch the song required but also appear in the film. Enter James Brown—his larger-than-life persona and status as a music trailblazer made him the perfect fit. Brown’s unforgettable performance in the film cemented both the song’s success and his triumphant return to the pop landscape.
The Legacy of “Living in America” and Its Place in Dance Music History
“Living in America” was a triumph for James Brown, marking one of the few times in his career when he was able to successfully adapt to the changing musical landscape. The song not only brought Brown back into the spotlight but also introduced his music to a new generation of listeners. It was a rare moment where the past met the present, and it worked.
In the broader context of dance music history, “Living in America” serves as a reminder of James Brown’s enduring influence. Even though he didn’t ride the wave of disco to the top, his impact on the genre—and on dance music as a whole—is undeniable. The grooves he created in the late sixties and early seventies laid the foundation for everything that came after, from disco to house to, certainly, hip-hop.
So what happened to James Brown during the disco period?
For those who have followed along in previous episodes, you know that I love to dig deeper, exploring the mindset of those involved at the time. It’s already been established that James Brown wasn’t a fan of disco—far from it. But then again, many of his contemporaries probably felt the same. Yet, that didn’t stop them from jumping on the disco bandwagon and scoring hits.
But Brown’s case was unique. He wasn’t just one of the greatest entertainers of his era; he was a visionary, and he knew it. He knew exactly what he wanted, and his success in the 1960s gave him the leverage to get it. In a 1986 interview with MTV, he explained his rise by saying, “I got more control over my recordings.” Brown wasn’t just riding the wave of popular music—he was shaping it.
Disco, with its polished production and lavish arrangements, was a far cry from the raw, gritty sound that Brown had pioneered. Disco's straight, "four-to-the-floor" beat was the opposite of the syncopated grooves that defined his funk. To Brown, disco felt like a watered-down, commercialized version of the genre he had created. Fred Wesley, a key member of Brown’s band, famously described disco as “funk with a bow tie.”, capturing Brown’s disdain for its slickness.
But Brown’s aversion to disco wasn’t just about the music. It was also cultural. Disco was urban, cosmopolitan, and often associated with the gay community—worlds away from Brown’s Southern roots and his image as a symbol of Black empowerment. While artists like Donna Summer and the Bee Gees embraced disco’s lush orchestration, Brown stayed true to his grit, continuing to produce groove-driven tracks that didn’t fit into the disco mold. And when he finally dipped his toes into the genre in 1979, it was a case of “too much, too little, too late.”
Fun Fact 3 (The last one, I promise) :
When you picture James Brown, what’s the first thing that grabs your attention? For me, it’s always the hair and that dazzling smile. The man had a “Colgate” grin, and his hair? Well, it could withstand a gale-force wind and still stay perfectly in place. But these weren’t just superficial details for Brown—they were essentials. As he once famously put it, “Hair is the first thing. And teeth the second. Hair and teeth. A man got those two things, he's got it all.”
Call to Action: Your Turn
What are your memories of James Brown during this era? Did “Living in America” introduce you to the Godfather of Soul, or were you already a fan? How do you see his influence on the music you love today? I’d love to hear your thoughts and stories.
Further reading (or should I say watching)
There are a number of interesting video’s/links :
The always funny Weird Al Yankovic with his version : “Living With A Hernia” (and watch how he too mimics the “Colgate” smile of JB)
A 1986 MTV interview done by someone who doesn’t know anything about his career. It’s a non edited interview so you hear everything and you see how bored James is.
So You Wanna Hear More ?
I thought you would !
It’s fun to write about music but let’s be honest. Music is made to listen to.
Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.
So what’s in this week’s mix ?
The 1985 Dan Hartman production of "Living In America" draws heavily from the sound he crafted on his 1984 solo album I Can Dream About You, featuring hits like "We Are The Young" and "Second Nature." It’s a vibrant fusion of the era’s dominant synth-funk, laced with hints of the emerging Latin hip-hop and electro sounds that would define the late '80s. The track seamlessly blends these influences, with the first half incorporating Latin hip-hop rhythms and the second half diving deep into the funk groove, creating a dynamic, genre-crossing anthem that captures the energy of the time.
Enjoy !
Next week we ask ourselves the question we’ve been asking whole summer long, here in Belgium : “Où est le soleil” ?. Not that we didn’t get any summer but the feeling remains that we had better ones… Anyway, enough about the weather. The question refers to the song of episode 130 and the peculiar relationship of one of the biggest stars with dance music.
James’ appearance was the only good thing in the movie. I duly bought the 12”. It was pure America. 🇺🇸
Excellent post! I was going to a lot of clubs when "Living in America" was released. It was a pretty exhilarating song to dance to! I never had the 12-inch but I did play the 45 a lot. Great energy!