Taking the stage sans legend on Friday night (1/16), James Brown [ tickets ]'s band funked up the sold-out House of Blues, effortlessly cruising through a complex medley of Brown's biggest hits.

The 14-piece group, composed of three backup singers, three horn players, two each of guitar, bass and drums, plus a percussionist and a keyboard player, was decked out in blazing red tuxedo jackets.

When Brown finally emerged from the shadows wearing a black tux with gold trim, the Godfather of Soul launched into his classic "Make it Funky."

Indeed, it's remarkable to watch Brown, once known as the hardest working man in show business, at the ripe ol' age of 70, playing bandleader. As each of his hits nears conclusion, Brown spins around and instantly transforms into the Conductor of Funk, pointing his band through stunning turns that end on a dime. While, admittedly, he's lost a few steps, Brown remains as ebullient and energetic as ever.

Sadly, his show is not without disappointment. These days, Brown employs a pair of scantily clad female dancers to make up for his old bones--something to look at while he takes it easy. Three songs in the ladies attacked the stage, settling on either side of the Godfather, synchronizing each of their hyper moves. Energetic? Sure, but the dancers took away from the main attraction--the music.

The most effective musicians onstage were the sax players, each delivering jaw-dropping solos throughout the night. Of course, there were also the ubiquitous trumpet-spinning, high-kicking dance steps that made Brown's horn section so legendary.

Midway through the evening, Brown introduced his surprise guest, "Here is the funkiest man in politics, Al Sharpton!" Then, the other man with the big thick mane appeared on cue to wax poetic about the Godfather's importance to music and society, working the mostly Caucasian crowd into a chant of "James Brown!"

But it was the hits that made the show so unforgettable. "Superbad" flat out rocked. Yes, Brown can't sustain those insane cries of funk for as long as he used to, but he can still hit those stratospheric notes--and his charisma remains frighteningly funky.

Brown then mumbled something about Janis Joplin, before introducing what sounded like, "Tawny Witt." The singer's real name remains a mystery. Her impact on the show was clear. The Janis impersonator and her three blues numbers were flat-out dull city. An unmistakable thump settled on the crowd. Where was James, the people wondered?

Brown returned to rescue the show with "Soul Power," his 1971 smash. Next came "Papa's Got a Brand New Bag" and "Payback," a delicious swampy funk. The noxious dancers returned for "I Feel Good," but it was Brown's fancy footwork that inspired the most intense response, earning him catcalls from the packed house.

Twice, the show's MC emerged from the dark to drape a flashy cape onto Brown's hunched over body. Each time, the icon threw off his wrap to return to the microphone. When he finally did relent, the Godfather mumbled a heartfelt thank you to his fans.

He left the stage as his band jammed on, only to reemerge from the shadows to launch into "Sex Machine," featuring a massive sax solo and Brown doing the running man dance.

No doubt, the Godfather of Soul is showing signs of slowing down. A show that runs from 8:30 p.m. to 10 p.m. devotes just half its time to the name on the ticket. But better to say you've seen the Godfather of Soul funk it up, still zig-zagging across the stage on one leg, than to never have seen the funk innovator at all.