By the mid-'70s, Brown was beginning to burn out artistically. Like a, like a sex machine, man yeah, go ahead! Get Up Offa That Thing. I wanna count it off one more time now go ahead! Born into poverty in the South, he ran afoul of the law by the late '40s on an armed robbery conviction. Should I take 'em to the bridge?
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Get Up (I Feel Like Being A) Sex Machine
You said, you said you got the You said the feeling You got to get You give me the fever 'n' a cold sweat The way I like, is the way it is I got mine, don't worry 'bout his. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in Brown's rags-to-riches-to-rags story has heroic and tragic dimensions of mythic resonance. Live At the Apollo, Vol. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Like a, like a sex machine, man yeah, go ahead! Let's hit it and quit!
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"Get Up (I Feel Like Being A) Sex Machine" lyrics
Take 'em to the bridge? His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time". With the explosion of rap, however, which frequently sampled vintage J. You wanna hear it like it did on the top, fellas? Get on up get up Shake your arm then use your form.
Description:After a year skirting hazy legal and personal troubles, he led the police on an interstate car chase after allegedly threatening people with a handgun. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers featuring guitarist Catfish Collins and bassist Bootsy Collins. It must be remembered, though, that these songs were made for the singles radio jukebox market and not meant to be played one after the other on CD compilations as they are today. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament-Funkadelic axis. The way I like it is the way it is.