The T.A.M.I. (Teenage Awards Music Intenational) Show was a concert documentary that combined footage from two concerts held in Santa Monica, California in October 1964. The concerts were attended mostly by local high school students, who had been given free tickets to the show, and were headlined by a mix of white pop and rock-and-roll artists and black R&B and soul musicians.

One of the most celebrated performances in the concerts was that of James Brown and his band, the Famous Flames. There had been a backstage conflict just moments earlier between Brown and the Rolling Stones over who would go last. The Stones prevailed, and Brown, before going onstage, supposedly said, “Watch this, y’all.”

Watch it here.

James Brown’s performance

in its most thrilling, compressed, erotic, explosive form, just eighteen minutes long, is also arguably the most electrifying performance in the history of postwar American music.

. . . The Stones had come to the States from England determined to play black R. & B. for a mainly white audience that did not know its Son House from its Howlin’ Wolf. They were already stars, and the T.A.M.I. producers had them scheduled to close the show. James Brown did not approve. “Nobody follows James Brown!” he kept telling the show’s director, Steve Binder. Mick Jagger himself was hesitant. He and Keith Richards were boys from Kent [England] with an unusual obsession with American blues. They knew what Brown could do. In Santa Monica, they watched him from the wings, just twenty feet away, and, as they did, they grew sick with anxiety.

Brown, who had played the Chitlin Circuit for years, was genuinely incensed that the producers would put him on before pallid amateurs (in his mind) like the Stones. His performance, he later admitted, was a cutting contest that he refused to lose. As Brown puts it in his memoir, “James Brown: The Godfather of Soul,” “We did a bunch of songs, nonstop, like always. . . . I don’t think I ever danced so hard in my life, and I don’t think they’d ever seen a man move that fast.” . . . 

Brown [said]  that the T.A.M.I. performance was the “highest energy” moment of his career: “I danced so hard my manager cried. But I really had to. What I was up against was pop artists—I was R. & B. I had to show ’em the difference, and believe me, it was hard. . .  It’s a Holiness feeling—like a Baptist thing . . . It’s a spiritual-background thing. You’re involved and you don’t want to quit. That’s the definition of soul, you know. Being involved and they try to stop you and you just don’t want to stop.”

. . . [Keith] Richards would eventually say that the very idea of following James Brown was the biggest mistake of the Stones’ careers.

You can see the results here.

In the 1991 Irish film “The Commitments,” set in the working-class neighborhood of North Dublin in the 1960s, an Irish soul fan tries to put together an American-style soul band. He shows his skeptical bandmembers a clip of James Brown’s T.A.M.I. performance, and tells them that, as the “Blacks of Europe,” they should be able to relate: