Saturday, December 27, 2008
Saturday, December 20, 2008
Saturday, December 13, 2008
Saturday, December 6, 2008
LITTLE RICHARD
A key figure in the transition from rhythm & blues to rock & roll, Penniman blew the lid off the 1950s, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. and influenced generations of rhythm & blues, rock and soul music artists. In addition, his original injection of funk during this period, via his saxophone-studded mid-1950s road band, The Upsetters, also influenced the development of that genre of rock music. Little Richard was subsequently honored by being one of seven of the first inductees into the Rock and Roll Hall of Fame in 1986 and was one of only four of these honorees (along with Ray Charles, James Brown, and Fats Domino) to also receive the Rhythm & Blues Foundation's Pioneer Lifetime Achievement Award.
Little Richard's early work was a mix of boogie-woogie, rhythm & blues and gospel music, but with a heavily accentuated back-beat, funky saxophone grooves and raspy shouted vocals, moans, screams, and other emotive inflections that marked a new kind of music. In 1957, while at the height of stardom, he became a born again Christian, enrolled in and attended Bible college, and withdrew from recording and performing secular music. Claiming he was called to be an evangelist, he has since devoted large segments of his life to this calling, though he has returned to recording secular music on numerous occasions over the years.
Little Richard has earned wide praise from many other performers. James Brown called Little Richard his idol and credited him with "first putting the funk in the rock and roll beat." Dick Clark described his music as "the model for almost every rock and roll performer of the '50s and years thereafter. Ray Charles asserted that Little Richard was "the man that started a kind of music that set the pace for a lot of what's happening today. In his high school year book, Bob Dylan declared that his ambition was "to join the band of Little Richard.", In 1966, Jimi Hendrix, who played and recorded with Little Richard's band from 1964 to 1965, was quoted as saying, "I want to do with my guitar what Little Richard does with his voice." In addition to James Brown, Bob Dylan, and Jimi Hendrix, Otis Redding,Wilson Pickett, Paul McCartney, George Harrison, Mick Jagger, John Fogerty, Bob Seger, David Bowie, and numerous other rock & roll icons have also cited Little Richard as being a first major influence on their music. He was chosen as the eighth greatest artist of all time by Rolling Stone magazine, although at least six of the seven artists who preceeded him on the list were influenced by Little Richard's music. (wikipedia)
Tutti Frutti
Long Tall Sally
Whole Lotta Shakin' Goin' On
Bama Lama Bama Loo
Ready Teddy
Good Golly Miss Molly
Lucille
Saturday, November 29, 2008
IKE AND TINA TURNER
As husband and wife, Ike & Tina Turner headed up one of the most potent live acts on the R&B circuit during the '60s and early '70s. Guitarist and bandleader Ike kept his ensemble tight and well-drilled while throwing in his own distinctively twangy plucking; lead vocalist Tina was a ferocious whirlwind of power and energy, a raw sexual dynamo who was impossible to contain when she hit the stage, leading some critics to call her the first female singer to embody the true spirit of rock & roll. In their prime, the Ike & Tina Turner Revue specialized in a hard-driving, funked-up hybrid of soul and rock that, in its best moments, rose to a visceral frenzy that few R&B acts of any era could hope to match. Effusively praised by white rock luminaries like the Rolling Stones and Janis Joplin, Tina was unquestionably the star of the show, with a hugely powerful, raspy voice that ranks among the all-time soul greats. For all their concert presence, the Turners sometimes had problems translating their strong points to record; they cut singles for an endless succession of large and small independent labels throughout their career, and suffered from a shortage of the strong original material that artists with more stable homes (Motown, Atlantic, Stax, etc.) often enjoyed. The couple's well-documented marital difficulties (a mild way of describing Ike's violent, drug-fueled cruelty) eventually dissolved their partnership in the mid-'70s. Tina, of course, went on to become an icon and a symbol of survival after the resurgence of her solo career in the '80s, but it was the years she spent with Ike that made the purely musical part of her legend.
Izear Luster "Ike" Turner, Jr. was born in Clarksdale, MS, in 1931; initially a pianist, he formed his first band in high school and put together the Kings of Rhythm in the late '40s. In 1951, that group cut the pivotal "Rocket 88," a tune often pinpointed as the first ever rock & roll record; however, since sax player Jackie Brenston took the vocal, the song was credited to Brenston & His Delta Cats rather than Turner & the Kings of Rhythm. Not long after, Turner switched from piano to guitar, and he and his band became a prolific session outfit in Memphis, backing various Sun artists and bluesmen during the early '50s. Turner moved the Kings of Rhythm to East St. Louis in the mid-'50s, where they became kingpins of the local R&B circuit. In 1956, he met a teenage, gospel-trained singer from Nutbush, TN, named Anna Mae Bullock, and promised her a chance to sing with his band. That chance kept failing to materialize, until one night Bullock simply grabbed the microphone and started belting. Impressed, Turner made her a part of his revue, changing her name to Tina. After Tina became pregnant by the band's saxophonist, Raymond Hill, she moved into Turner's house, an arrangement that led to their own relationship; the two were married in 1958 and soon had a child of their own.
In late 1959, Turner's band entered the studio to cut a song called "A Fool in Love" for the Sue Records label. The scheduled male vocalist failed to show up for the session, and Tina was pressed into service. Released in 1960, "A Fool in Love" shot to the number two spot on the R&B charts, also making the pop Top 30. Tina was now clearly the focal point of the act, which Turner rechristened the Ike & Tina Turner Revue; with a large, horn-filled ensemble and a group of leggy backup singers dubbed the Ikettes (who complemented Tina's short-skirted, uninhibited gyrating), the Revue eventually developed a reputation for putting on one of the most exciting live shows in R&B. The R&B-chart hits came fast and furious during the early '60s: 1961's "I Idolize You" (number five) and "It's Gonna Work Out Fine" (number two), 1962's "Poor Fool" (number four) and "Tra La La La La" (number nine). It was an impressive run, but the well went dry over the next several years; Ike supplied much of the band's original material, and although he was responsible for many of the early successes, he simply wasn't a world-class songwriter who could deliver hit-caliber tunes with regularity. Much of the Revue's repertoire consisted of bluesy, chitlin circuit R&B that wasn't exceptionally memorable. Ike & Tina branched out from Sue Records and spent the next few years issuing records on additional labels, including Kent, Modern, and Loma. While they had some undeniable high points and several chart entries, none reached the level of their initial run of Top Ten hits.
In 1966, the Turners worked with legendary producer Phil Spector, who was seeking a way to restore his artistic and commercial standing at the forefront of pop music in the wake of advances by the Beach Boys and Beatles. The powerful instrument that was Tina's voice appealed to Spector's sense of grandeur, and he conceived of a massive-scale production framing that voice that would rank as his greatest masterpiece. Ike already had a reputation for demanding control, and Spector struck his deal accordingly: although the records would be fully credited to Ike & Tina Turner, Ike would not be allowed to enter the studio or alter the finished recordings (in effect, Spector was paying him not to meddle). The centerpiece of Spector's collaboration with Tina was "River Deep - Mountain High," a monumental pop symphony that cost over $22,000 to produce (in 1966, this was a whopping sum for an album, let alone a single). The single represented Spector's so-called Wall of Sound style at its most gloriously excessive, and Tina's was one of the few voices in popular music strong enough to cut through the monolithic orchestral backing. With the high cost and his own slipping stature, Spector was betting the farm on "River Deep - Mountain High," and although it rocketed into the British Top Five and made Tina a star in the U.K., it flopped in America, where its mixture of black and white musical aesthetics was still slightly ahead of its time. A crushed Spector retreated from the music business not long after, and his Philles label yanked the accompanying album of the same name from American release (Spector wound up producing only five of the 12 cuts). Although some critics dismiss "River Deep - Mountain High" as overproduced bombast, many still consider it one of rock's greatest singles; George Harrison famously described it as "a perfect record from start to finish."
After the Spector deal fell through, Ike & Tina returned to their somewhat mercenary recording habits, cutting songs for Modern and Innis, then moving to Minit and Blue Thumb in 1969. That year, they went on the road as the opening act for the Rolling Stones, and Ike slightly retooled the Revue's sound to appeal to white rock audiences in addition to their core black following. In 1970, they signed with Liberty/United Artists and recorded Come Together, which incorporated contemporary rock & roll covers into their repertoire; versions of the Beatles' title track and Sly & the Family Stone's "I Want to Take You Higher" made the R&B Top 30. Released later that year, Workin' Together became the most popular album of their career, making the Top 25 on the strength of a storming reinterpretation of CCR's "Proud Mary." Featuring a notorious spoken intro by Tina, the "nice...and rough" version of "Proud Mary" gave Ike & Tina their first Top Five hit on the pop charts, and returned them to the same heights on the R&B side as well; it also won them a Grammy. The covers gimmick couldn't last forever, though, and their formula soon grew predictable; their last major success was 1973's "Nutbush City Limits," a semi-autobiographical song written by Tina that made the R&B Top 20 and just missed that placing on the pop side. By that point, Tina had grown increasingly uninterested in the duo's well-established act, and was tiring of the largely unchallenging material she continued to perform.
Unfortunately, the music itself wasn't the only factor in Ike & Tina's downturn. As a bandleader, Ike had long been a disciplinarian, but during the '60s he developed severe addictions to alcohol and, especially, cocaine. Wanting to maintain control over the star of his show at any cost, Turner kept his wife in line through an increasingly violent pattern of emotional and physical abuse; often drug-related, his flights of rage could result in severe beatings or burns that pushed Tina to attempt suicide in 1968, according to her autobiography. She continued to endure Ike's dominance through the early '70s, and her performances were clearly weary by the end; finally, she walked out on her husband and generally declined to pursue claims for financial compensation from their work together. Their divorce became official in 1976. After a long period of struggle, Tina re-emerged triumphantly in the '80s as a superstar solo act; Ike, meanwhile, ran his own recording studio for a time, but his drug problems worsened, resulting in several arrests. Sadly, and perhaps fittingly, he was serving prison time when he and his former wife were jointly inducted into the Rock and Roll Hall of Fame in 1991, and was unable to attend the ceremony. (allmusic.com)
Nutbush City Limit
Izear Luster "Ike" Turner, Jr. was born in Clarksdale, MS, in 1931; initially a pianist, he formed his first band in high school and put together the Kings of Rhythm in the late '40s. In 1951, that group cut the pivotal "Rocket 88," a tune often pinpointed as the first ever rock & roll record; however, since sax player Jackie Brenston took the vocal, the song was credited to Brenston & His Delta Cats rather than Turner & the Kings of Rhythm. Not long after, Turner switched from piano to guitar, and he and his band became a prolific session outfit in Memphis, backing various Sun artists and bluesmen during the early '50s. Turner moved the Kings of Rhythm to East St. Louis in the mid-'50s, where they became kingpins of the local R&B circuit. In 1956, he met a teenage, gospel-trained singer from Nutbush, TN, named Anna Mae Bullock, and promised her a chance to sing with his band. That chance kept failing to materialize, until one night Bullock simply grabbed the microphone and started belting. Impressed, Turner made her a part of his revue, changing her name to Tina. After Tina became pregnant by the band's saxophonist, Raymond Hill, she moved into Turner's house, an arrangement that led to their own relationship; the two were married in 1958 and soon had a child of their own.
In late 1959, Turner's band entered the studio to cut a song called "A Fool in Love" for the Sue Records label. The scheduled male vocalist failed to show up for the session, and Tina was pressed into service. Released in 1960, "A Fool in Love" shot to the number two spot on the R&B charts, also making the pop Top 30. Tina was now clearly the focal point of the act, which Turner rechristened the Ike & Tina Turner Revue; with a large, horn-filled ensemble and a group of leggy backup singers dubbed the Ikettes (who complemented Tina's short-skirted, uninhibited gyrating), the Revue eventually developed a reputation for putting on one of the most exciting live shows in R&B. The R&B-chart hits came fast and furious during the early '60s: 1961's "I Idolize You" (number five) and "It's Gonna Work Out Fine" (number two), 1962's "Poor Fool" (number four) and "Tra La La La La" (number nine). It was an impressive run, but the well went dry over the next several years; Ike supplied much of the band's original material, and although he was responsible for many of the early successes, he simply wasn't a world-class songwriter who could deliver hit-caliber tunes with regularity. Much of the Revue's repertoire consisted of bluesy, chitlin circuit R&B that wasn't exceptionally memorable. Ike & Tina branched out from Sue Records and spent the next few years issuing records on additional labels, including Kent, Modern, and Loma. While they had some undeniable high points and several chart entries, none reached the level of their initial run of Top Ten hits.
In 1966, the Turners worked with legendary producer Phil Spector, who was seeking a way to restore his artistic and commercial standing at the forefront of pop music in the wake of advances by the Beach Boys and Beatles. The powerful instrument that was Tina's voice appealed to Spector's sense of grandeur, and he conceived of a massive-scale production framing that voice that would rank as his greatest masterpiece. Ike already had a reputation for demanding control, and Spector struck his deal accordingly: although the records would be fully credited to Ike & Tina Turner, Ike would not be allowed to enter the studio or alter the finished recordings (in effect, Spector was paying him not to meddle). The centerpiece of Spector's collaboration with Tina was "River Deep - Mountain High," a monumental pop symphony that cost over $22,000 to produce (in 1966, this was a whopping sum for an album, let alone a single). The single represented Spector's so-called Wall of Sound style at its most gloriously excessive, and Tina's was one of the few voices in popular music strong enough to cut through the monolithic orchestral backing. With the high cost and his own slipping stature, Spector was betting the farm on "River Deep - Mountain High," and although it rocketed into the British Top Five and made Tina a star in the U.K., it flopped in America, where its mixture of black and white musical aesthetics was still slightly ahead of its time. A crushed Spector retreated from the music business not long after, and his Philles label yanked the accompanying album of the same name from American release (Spector wound up producing only five of the 12 cuts). Although some critics dismiss "River Deep - Mountain High" as overproduced bombast, many still consider it one of rock's greatest singles; George Harrison famously described it as "a perfect record from start to finish."
After the Spector deal fell through, Ike & Tina returned to their somewhat mercenary recording habits, cutting songs for Modern and Innis, then moving to Minit and Blue Thumb in 1969. That year, they went on the road as the opening act for the Rolling Stones, and Ike slightly retooled the Revue's sound to appeal to white rock audiences in addition to their core black following. In 1970, they signed with Liberty/United Artists and recorded Come Together, which incorporated contemporary rock & roll covers into their repertoire; versions of the Beatles' title track and Sly & the Family Stone's "I Want to Take You Higher" made the R&B Top 30. Released later that year, Workin' Together became the most popular album of their career, making the Top 25 on the strength of a storming reinterpretation of CCR's "Proud Mary." Featuring a notorious spoken intro by Tina, the "nice...and rough" version of "Proud Mary" gave Ike & Tina their first Top Five hit on the pop charts, and returned them to the same heights on the R&B side as well; it also won them a Grammy. The covers gimmick couldn't last forever, though, and their formula soon grew predictable; their last major success was 1973's "Nutbush City Limits," a semi-autobiographical song written by Tina that made the R&B Top 20 and just missed that placing on the pop side. By that point, Tina had grown increasingly uninterested in the duo's well-established act, and was tiring of the largely unchallenging material she continued to perform.
Unfortunately, the music itself wasn't the only factor in Ike & Tina's downturn. As a bandleader, Ike had long been a disciplinarian, but during the '60s he developed severe addictions to alcohol and, especially, cocaine. Wanting to maintain control over the star of his show at any cost, Turner kept his wife in line through an increasingly violent pattern of emotional and physical abuse; often drug-related, his flights of rage could result in severe beatings or burns that pushed Tina to attempt suicide in 1968, according to her autobiography. She continued to endure Ike's dominance through the early '70s, and her performances were clearly weary by the end; finally, she walked out on her husband and generally declined to pursue claims for financial compensation from their work together. Their divorce became official in 1976. After a long period of struggle, Tina re-emerged triumphantly in the '80s as a superstar solo act; Ike, meanwhile, ran his own recording studio for a time, but his drug problems worsened, resulting in several arrests. Sadly, and perhaps fittingly, he was serving prison time when he and his former wife were jointly inducted into the Rock and Roll Hall of Fame in 1991, and was unable to attend the ceremony. (allmusic.com)
River Deep Mountain High
Fool In Love/Work Out Fine
Please Please/Goodbye So Long
Proud Mary
Come Together
Nutbush City Limit
I've Been Loving You Too Long
Baby, Get It On
I Smell Trouble
With A Little Help From My Friends
I Want To Take You Higher
Get Back
Respect
Honky Tonk Woman
Saturday, November 22, 2008
SAM COOKE
Sam Cooke (January 22, 1931 – December 11, 1964) was an American gospel, R&B, soul, and pop singer, songwriter, and entrepreneur. He is considered to be one of the pioneers and founders of soul music.
Cooke had 29 Top 40 hits in the U.S. between 1957 and 1965. Major hits like "You Send Me", A Change Is Gonna Come, "Chain Gang", "Wonderful World" and "Bring It on Home to Me" are some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and a publishing company as an extension of his careers as a singer and composer. He also took an active part in the American Civil Rights Movement.
Sam Cooke was born in Clarksdale, Mississippi. He added an "e" onto the end of his name because he thought it added a touch of class. He was one of seven children of Annie Mae and the Reverend Charles Cook, a Baptist minister. The family moved to Chicago in 1933.
Cooke began his musical career as a member of a quartet with his siblings, The Singing Children, and, as a teenager, he was a member of the Highway QCs, a gospel group. In 1950, at the age of 19, he joined The Soul Stirrers and achieved significant success and fame within the gospel community.
His first pop single, "Lovable" (1956), was released under the alias of "Dale Cooke" in order to not alienate his gospel fan base; there was a considerable taboo against gospel singers performing secular music. However, the alias failed to hide Cooke's unique and distinctive vocals. No one was fooled. Art Rupe, head of Specialty Records, the label of the Soul Stirrers, gave his blessing for Cooke to record secular music under his real name, but he was unhappy about the type of music Cooke and producer Bumps Blackwell were making. Rupe expected Cooke's secular music to be similar to that of another Specialty Records artist, Little Richard. When Rupe walked in on a recording session and heard Cooke covering Gershwin, he was quite upset. After an argument between Rupe and Blackwell, Cooke and Blackwell left the label.
In 1957, Cooke signed with Keen Records. His first release was "You Send Me", the B-side of his first Keen single (the A-side was a reworking of George Gershwin's "Summertime") which spent six weeks at #1 on the Billboard R&B chart. The song also had massive mainstream success, spending three weeks at #1 on the Billboard pop chart.
In 1961, Cooke started his own record label, SAR Records, with J.W. Alexander and his manager, Roy Crain. The label soon included The Simms Twins, The Valentinos, Bobby Womack, and Johnnie Taylor. Cooke then created a publishing imprint and management firm, then left Keen to sign with RCA Victor. One of his first RCA singles was the hit "Chain Gang." It reached #2 on the Billboard pop chart. This was followed by more hits, including "Sad Mood", "Bring it on Home to Me" (with Lou Rawls on backing vocals), "Another Saturday Night" and "Twistin' the Night Away".
Like most R&B artists of his time, Cooke focused on singles; in all he had 29 top 40 hits on the pop charts, and more on the R&B charts. In spite of this, he released a well received blues-inflected LP in 1963, Night Beat, and his most critically-acclaimed studio album Ain't That Good News, which featured five singles, in 1964.
Cooke died at the age of 33 on December 11, 1964 at 9137 South Figueroa in Los Angeles, California. He was shot to death by Bertha Franklin, manager of the Hacienda Motel (now known as the Hacienda Hotel & Conference Center), who claimed that he had threatened her, and that she killed him in self-defense. The shooting was ultimately ruled to be a justifiable homicide, though there have been arguments that crucial details did not come out in court, or were buried afterward. Cooke was interred in the Forest Lawn Memorial Park Cemetery, Glendale, California. (wikipedia)
For Sentimental Reasons
Ain't That Good News
Twistin' The Night Away
Cha Cha Cha with Jackie Wilson
Mary Lou
You Send Me
Blowin In The Wind
The Riddle Song
Old Man River
The Gang's All Here with Muhammad Ali
A Change Is Gonna Come
Cooke had 29 Top 40 hits in the U.S. between 1957 and 1965. Major hits like "You Send Me", A Change Is Gonna Come, "Chain Gang", "Wonderful World" and "Bring It on Home to Me" are some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and a publishing company as an extension of his careers as a singer and composer. He also took an active part in the American Civil Rights Movement.
Sam Cooke was born in Clarksdale, Mississippi. He added an "e" onto the end of his name because he thought it added a touch of class. He was one of seven children of Annie Mae and the Reverend Charles Cook, a Baptist minister. The family moved to Chicago in 1933.
Cooke began his musical career as a member of a quartet with his siblings, The Singing Children, and, as a teenager, he was a member of the Highway QCs, a gospel group. In 1950, at the age of 19, he joined The Soul Stirrers and achieved significant success and fame within the gospel community.
His first pop single, "Lovable" (1956), was released under the alias of "Dale Cooke" in order to not alienate his gospel fan base; there was a considerable taboo against gospel singers performing secular music. However, the alias failed to hide Cooke's unique and distinctive vocals. No one was fooled. Art Rupe, head of Specialty Records, the label of the Soul Stirrers, gave his blessing for Cooke to record secular music under his real name, but he was unhappy about the type of music Cooke and producer Bumps Blackwell were making. Rupe expected Cooke's secular music to be similar to that of another Specialty Records artist, Little Richard. When Rupe walked in on a recording session and heard Cooke covering Gershwin, he was quite upset. After an argument between Rupe and Blackwell, Cooke and Blackwell left the label.
In 1957, Cooke signed with Keen Records. His first release was "You Send Me", the B-side of his first Keen single (the A-side was a reworking of George Gershwin's "Summertime") which spent six weeks at #1 on the Billboard R&B chart. The song also had massive mainstream success, spending three weeks at #1 on the Billboard pop chart.
In 1961, Cooke started his own record label, SAR Records, with J.W. Alexander and his manager, Roy Crain. The label soon included The Simms Twins, The Valentinos, Bobby Womack, and Johnnie Taylor. Cooke then created a publishing imprint and management firm, then left Keen to sign with RCA Victor. One of his first RCA singles was the hit "Chain Gang." It reached #2 on the Billboard pop chart. This was followed by more hits, including "Sad Mood", "Bring it on Home to Me" (with Lou Rawls on backing vocals), "Another Saturday Night" and "Twistin' the Night Away".
Like most R&B artists of his time, Cooke focused on singles; in all he had 29 top 40 hits on the pop charts, and more on the R&B charts. In spite of this, he released a well received blues-inflected LP in 1963, Night Beat, and his most critically-acclaimed studio album Ain't That Good News, which featured five singles, in 1964.
Cooke died at the age of 33 on December 11, 1964 at 9137 South Figueroa in Los Angeles, California. He was shot to death by Bertha Franklin, manager of the Hacienda Motel (now known as the Hacienda Hotel & Conference Center), who claimed that he had threatened her, and that she killed him in self-defense. The shooting was ultimately ruled to be a justifiable homicide, though there have been arguments that crucial details did not come out in court, or were buried afterward. Cooke was interred in the Forest Lawn Memorial Park Cemetery, Glendale, California. (wikipedia)
For Sentimental Reasons
Ain't That Good News
Twistin' The Night Away
Cha Cha Cha with Jackie Wilson
Mary Lou
You Send Me
Blowin In The Wind
The Riddle Song
Old Man River
The Gang's All Here with Muhammad Ali
A Change Is Gonna Come
Saturday, November 15, 2008
READY FOR THE WORLD
Ready for the World is a R&B / funk / dance band from Flint, Michigan who scored several moderate pop, soul, and dance hits in the mid to late 1980s. Founded by Melvin Riley and Gordon Strozier in Flint, Michigan. They had performed throughout Flint at high school talent shows and were discovered by WJLB Detroit Radio personality The Electrifying Mojo in 1982. They gained regional fame with their first release "Tonight" in 1983. "Tonight" was an underground hit in Flint and Detroit which helped garner them national prominence shortly after their signing under the MCA label.
Ready for the World recorded their album Ready for the World during 1984 in Flint, Michigan under the production of Bernard Terry. The album showed influences by, and is often compared] to the work of Prince from around the same period - in particular the vocal style of Melvin Riley shared many similarities with the aforementioned.
The group consists of lead vocalist/keyboardist/occasional rhythm guitarist Melvin Riley with Gordon Strozier (lead guitar), Gregory Potts (keyboards), Willie Triplett (percussion/keyboards), John Eaton (bass guitar),and Gerald Valentine (drums). Their aforementioned self-titled debut was released in 1985 and included perhaps their best-known hit "Oh Sheila," which went to number one on the R&B, Billboard Hot 100, and the Hot Dance Club Play charts that year, becoming the first ever single to hold the number one spot on all three of these charts simultaneously. The song "Digital Display" followed and hit number 21. In 1986, the band released their second album Long Time Coming, which returned them to the Top 10 on the pop charts when the slow jam "Love You Down" climbed to number nine. The band would go on to release a couple more albums into the 90s, but they weren't as successful as the first pair. When the band later separated in the early 1990s, lead singer Riley went on to record solo albums, one in 1994 and one in 2000. A Ready for the World reunion album followed in 2004, featuring mostly urban ballads. "Oh Sheila" is according to legend written about Sheila E. (wikipedia)
Ready for the World recorded their album Ready for the World during 1984 in Flint, Michigan under the production of Bernard Terry. The album showed influences by, and is often compared] to the work of Prince from around the same period - in particular the vocal style of Melvin Riley shared many similarities with the aforementioned.
The group consists of lead vocalist/keyboardist/occasional rhythm guitarist Melvin Riley with Gordon Strozier (lead guitar), Gregory Potts (keyboards), Willie Triplett (percussion/keyboards), John Eaton (bass guitar),and Gerald Valentine (drums). Their aforementioned self-titled debut was released in 1985 and included perhaps their best-known hit "Oh Sheila," which went to number one on the R&B, Billboard Hot 100, and the Hot Dance Club Play charts that year, becoming the first ever single to hold the number one spot on all three of these charts simultaneously. The song "Digital Display" followed and hit number 21. In 1986, the band released their second album Long Time Coming, which returned them to the Top 10 on the pop charts when the slow jam "Love You Down" climbed to number nine. The band would go on to release a couple more albums into the 90s, but they weren't as successful as the first pair. When the band later separated in the early 1990s, lead singer Riley went on to record solo albums, one in 1994 and one in 2000. A Ready for the World reunion album followed in 2004, featuring mostly urban ballads. "Oh Sheila" is according to legend written about Sheila E. (wikipedia)
Oh Sheila (1986)
Love You Down
In My Room
Digital Display
1985 Interview
Saturday, November 8, 2008
JOHNNIE TAYLOR
Young gospel phenom, gritty Stax/Volt soulster, lady-killing balladeer, chart-topping disco king, Southern soul-blues stalwart -- Johnnie Taylor somehow always managed to adapt to the times, and he parlayed that versatility into a recording career that lasted nearly four decades. Nicknamed the "Philosopher of Soul" during his Stax days, that version of Taylor is best remembered for his 1968 R&B chart-topping smash "Who's Making Love," but far and away his biggest success was 1976's across-the-board number one "Disco Lady," the first single ever certified platinum (which at the time meant sales of over two million copies). When the national hits dried up, Taylor wound up as one of the most prolific artists on the Malaco label, a refuge for many Southern soul and blues veterans whose styles had fallen out of popular favor by the '80s. Taylor called Malaco home for over 15 years and kept on recording and performing right up to his passing in 2000.
Johnnie Harrison Taylor was born in Crawfordsville, AR, on May 5, 1934 (though he usually gave his birth year as 1938); he grew up mostly in nearby West Memphis. He began singing in church as a young child and later moved to Kansas City, where he performed with a gospel group called the Melody Kings; it was through this outfit that he initially met and befriended Soul Stirrers frontman Sam Cooke. In 1953, Taylor left home and moved to Chicago, where he joined the doo wop group the Five Echoes; shortly thereafter, he began performing concurrently with the gospel group the Highway Q.C.'s, which had once been home to Sam Cooke. In 1957, Taylor would replace Cooke in the hugely influential Soul Stirrers, after Cooke departed for a career in secular music.
After four years with the Soul Stirrers, Taylor escaped gospel music's waning popularity and followed Cooke into the world of secular soul, becoming the first artist to sign with Cooke's label, Sar, in 1961. Taylor released a few singles on Sar and another Cooke label, Derby, over the next few years, including the minor R&B hit "Rome (Wasn't Built in a Day)." Unfortunately, Cooke was murdered in late 1964, and his labels folded, leaving Taylor without a record deal. He returned to the Memphis area and signed with the enormously popular Stax label in 1965, debuting early the following year with "I Had a Dream." Taylor scored a few minor R&B hits over the next few years, including "I Got to Love Somebody's Baby," "Somebody's Sleeping in My Bed," and "Next Time." He hit it big in late 1968 with the gritty, funky "Who's Making Love," his first number one R&B hit, which also made the pop Top Five. Taylor was able to land some decent-sized follow-up hits in the years to come, among them "Take Care of Your Homework," "Jody's Got Your Girl and Gone," "Steal Away," and "I Am Somebody." By the early '70s, Taylor's bread and butter had become smooth, elegant crooning, as typified by his 1973 album Taylored in Silk and his two attendant ballad smashes, "I Believe in You (You Believe in Me)" and "Cheaper to Keep Her."
When Stax went bankrupt in 1975, Taylor moved over to CBS/Columbia, debuting in 1976 with the album Eargasm. Its first single, "Disco Lady," was an instant smash, capturing the spirit of the era and selling over two million copies (although some soul fans still debate whether it was a true disco song). "Disco Lady" was Taylor's first number one pop hit, despite losing airplay over its supposedly suggestive lyrics, and it proved such a phenomenon that CBS eagerly pushed him to record more disco-oriented material, something Taylor wasn't extraordinarily comfortable with. He recorded several more albums for the label through 1980, but never came close to duplicating the success of "Disco Lady" and left to sign with the smaller Beverly Glen imprint in 1982.
Taylor recorded one album for Beverly Glen, 1982's Just Ain't Good Enough, which produced a minor R&B hit in "What About My Love." Still searching for a home more in line with the environment at Stax, Taylor soon jumped to Malaco Records, a Southern label dedicated to preserving the region's classic soul and blues sounds (albeit sometimes with a bit less grit than in days of old). Debuting with 1984's This Is Your Night, Taylor and Malaco clicked right away, and he wound up recording a total of 12 albums for the label over the next 15 years, ranking as one of their best-selling artists. Taylor's style during this era had evolved into a hybrid of soul and blues, with more emphasis on the latter than at any other point in his career; he continued to tour steadily through the '80s and '90s, and landed a few more singles on the lower reaches of the R&B chart up until 1990. In 1996, his album Good Love! topped the Billboard blues chart. Taylor's final album was 1999's Gotta Get the Groove Back; on May 31, 2000, he suffered a heart attack at his home in Duncanville, TX (a suburb of Dallas), and died at the hospital. (allmusic.com)
Johnnie Harrison Taylor was born in Crawfordsville, AR, on May 5, 1934 (though he usually gave his birth year as 1938); he grew up mostly in nearby West Memphis. He began singing in church as a young child and later moved to Kansas City, where he performed with a gospel group called the Melody Kings; it was through this outfit that he initially met and befriended Soul Stirrers frontman Sam Cooke. In 1953, Taylor left home and moved to Chicago, where he joined the doo wop group the Five Echoes; shortly thereafter, he began performing concurrently with the gospel group the Highway Q.C.'s, which had once been home to Sam Cooke. In 1957, Taylor would replace Cooke in the hugely influential Soul Stirrers, after Cooke departed for a career in secular music.
After four years with the Soul Stirrers, Taylor escaped gospel music's waning popularity and followed Cooke into the world of secular soul, becoming the first artist to sign with Cooke's label, Sar, in 1961. Taylor released a few singles on Sar and another Cooke label, Derby, over the next few years, including the minor R&B hit "Rome (Wasn't Built in a Day)." Unfortunately, Cooke was murdered in late 1964, and his labels folded, leaving Taylor without a record deal. He returned to the Memphis area and signed with the enormously popular Stax label in 1965, debuting early the following year with "I Had a Dream." Taylor scored a few minor R&B hits over the next few years, including "I Got to Love Somebody's Baby," "Somebody's Sleeping in My Bed," and "Next Time." He hit it big in late 1968 with the gritty, funky "Who's Making Love," his first number one R&B hit, which also made the pop Top Five. Taylor was able to land some decent-sized follow-up hits in the years to come, among them "Take Care of Your Homework," "Jody's Got Your Girl and Gone," "Steal Away," and "I Am Somebody." By the early '70s, Taylor's bread and butter had become smooth, elegant crooning, as typified by his 1973 album Taylored in Silk and his two attendant ballad smashes, "I Believe in You (You Believe in Me)" and "Cheaper to Keep Her."
When Stax went bankrupt in 1975, Taylor moved over to CBS/Columbia, debuting in 1976 with the album Eargasm. Its first single, "Disco Lady," was an instant smash, capturing the spirit of the era and selling over two million copies (although some soul fans still debate whether it was a true disco song). "Disco Lady" was Taylor's first number one pop hit, despite losing airplay over its supposedly suggestive lyrics, and it proved such a phenomenon that CBS eagerly pushed him to record more disco-oriented material, something Taylor wasn't extraordinarily comfortable with. He recorded several more albums for the label through 1980, but never came close to duplicating the success of "Disco Lady" and left to sign with the smaller Beverly Glen imprint in 1982.
Taylor recorded one album for Beverly Glen, 1982's Just Ain't Good Enough, which produced a minor R&B hit in "What About My Love." Still searching for a home more in line with the environment at Stax, Taylor soon jumped to Malaco Records, a Southern label dedicated to preserving the region's classic soul and blues sounds (albeit sometimes with a bit less grit than in days of old). Debuting with 1984's This Is Your Night, Taylor and Malaco clicked right away, and he wound up recording a total of 12 albums for the label over the next 15 years, ranking as one of their best-selling artists. Taylor's style during this era had evolved into a hybrid of soul and blues, with more emphasis on the latter than at any other point in his career; he continued to tour steadily through the '80s and '90s, and landed a few more singles on the lower reaches of the R&B chart up until 1990. In 1996, his album Good Love! topped the Billboard blues chart. Taylor's final album was 1999's Gotta Get the Groove Back; on May 31, 2000, he suffered a heart attack at his home in Duncanville, TX (a suburb of Dallas), and died at the hospital. (allmusic.com)
Who's Making Love
Jody's Got Your Girl
Running Out Of Lies
Last Two Dollars
Take Care Of Your Homework
Stop Doggin' Me Around
I'm Changin
Disco Lady
It's Cheaper To Keep Her
Saturday, November 1, 2008
JAMES BROWN Live In Paris 1971
If I only had a time machine.
Brother Rapp/Ain't It Funky Now
Sunny
Georgia On My Mind
There Was A Time/Sex Machine
Give It Up Or Turn It Loose
Get Up, Get Into It, Get Involved
Super Bad
Saturday, October 25, 2008
LOU JOHNSON
Often dismissed as little more than "the male Dionne Warwick," uptown soul singer Lou Johnson indeed rivaled Warwick as the premier interpreter of the songs of Burt Bacharach and Hal David during the composing team's formative years, but unlike so many of the vocalists who recorded the duo's work, commercial success proved frustratingly elusive. Born in 1941, Johnson first surfaced as a member of the vocal group the Zionettes before going solo in 1963. He signed with Big Top Records, a subsidiary of the Brill Building publishing firm Hill & Range; his debut effort, "Unsatisfied," earned little notice, so Johnson was assigned to the fledgling team of composer Bacharach and lyricist David. With his dramatic, smoky vocals and melodic flexibility, the singer proved ideally matched to Bacharach and David's material: the first of their collaborative efforts, "Magic Potion," remains perhaps more notable for its B-side "Reach Out for Me," recorded by Warwick a few months later in what amounted to a virtual note-for-note cover. But while Johnson's version was not a hit, Warwick's was -- it was a scenario that would play out several more times in the years to follow. His next single, the stately "(There's) Always Something There to Remind Me," would prove his biggest hit, peaking at number 49 in 1964; Bacharach himself then escorted Johnson to Britain, introducing the singer on the BBC television program Top of the Pops, but again his recording was superseded by a near-identical cover, this time by U.K. girl group queen Sandie Shaw. Johnson's next Bacharach/David-penned effort was arguably his best: the beautiful "Kentucky Bluebird (Send a Message to Martha)" nevertheless failed to crack the Hot 100 altogether, although British teen idol Adam Faith faithfully copied its arrangement on his way to a massive U.K. hit. The B-side of "Kentucky Bluebird," the cult favorite "The Last One to Be Loved," proved Johnson's last session with Bacharach and David at the helm -- somewhat remarkably, their collaborative work would not merit commercial reissue until the release of the three-disc anthology Look of Love: The Burt Bacharach Collection over three decades later. On his own, Johnson recorded a handful of subsequent Big Top singles including "Thank You Anyway (Mr. DJ)" and "Park Avenue" before the label terminated his contract; he next surfaced at Cotillion in 1969, issuing his first-ever full-length LP, the self-explanatory Sweet Southern Soul. After 1971's Volt label release With You in Mind, Johnson's ill-fated recording career finally dwindled to a halt -- in subsequent years he was a fixture of the Los Angeles nightclub circuit, also performing in a latter-day version of the Ink Spots. (allmusic.com)
Unsatisfied
The Panic Is On
Magic Potion
If I Ever Get To Love You
Saturday, October 18, 2008
APOLLONIA 6
Apollonia 6 was a 1980s female singing trio created by Prince as a continuation/succession of a previous group, Vanity 6. After a number of disputes with Prince, Vanity (Denise Matthews), the lead singer of Prince-created Vanity 6, fled the Prince entourage in 1983 to pursue solo endeavors recording with Motown Records and acting in films. She left open an acting position for the role written for her by Prince in the film Purple Rain.
After a frantic casting call, the film's director met actress and model Patricia Kotero. Renamed by Prince as "Apollonia", Kotero stepped into Vanity's role in the film Purple Rain, as well as in the fragmented group, Vanity 6. The other two members of Vanity 6, Brenda Bennett and Susan Moonsie, joined Apollonia and the group was christened "Apollonia 6" for the film and what would be their sole album (featuring Prince associates Jill Jones and Wendy & Lisa on backing vocals). During this time it was rumored that Apollonia and Prince were romantically involved with one another, but it was later revealed that Apollonia was actually married. Her "relationship" with Prince had been more of a PR stunt for the film than anything serious.
Although the album was certified platinum, Apollonia 6 only had a top 10 pop and R&B hit with the single "Sex Shooter" in 1984.
Prince had originally intended his classic tracks "Manic Monday" (later recorded by The Bangles), "17 Days" (later used as the B-side to "When Doves Cry"), and "The Glamorous Life" (recorded by Sheila E. in 1984) for the Apollonia 6 album but he soon lost interest in the project when he became convinced that Apollonia was only there to fulfill her job's obligations and would not be continuing with his group after her contractual obligations to completing the film and one album were fulfilled. Apollonia 6 were slated to open the Purple Rain tour with Prince and Sheila E., but that idea was scrapped after the group returned from a promotional tour of Europe.
After the group's demise, Kotero continued working on TV shows such as Falcon Crest and in B-movies for the next decade. She even released a solo album to lackluster success in 1988. The main criticism of the album was that Kotero tried too hard to give the impression of change; she adopted a more pop/California sound in place of her signature R&B/funk sound that had been successfully established for her formerly by Prince. (wikipedia)
Sex Shooter from "Purple Rain"
After a frantic casting call, the film's director met actress and model Patricia Kotero. Renamed by Prince as "Apollonia", Kotero stepped into Vanity's role in the film Purple Rain, as well as in the fragmented group, Vanity 6. The other two members of Vanity 6, Brenda Bennett and Susan Moonsie, joined Apollonia and the group was christened "Apollonia 6" for the film and what would be their sole album (featuring Prince associates Jill Jones and Wendy & Lisa on backing vocals). During this time it was rumored that Apollonia and Prince were romantically involved with one another, but it was later revealed that Apollonia was actually married. Her "relationship" with Prince had been more of a PR stunt for the film than anything serious.
Although the album was certified platinum, Apollonia 6 only had a top 10 pop and R&B hit with the single "Sex Shooter" in 1984.
Prince had originally intended his classic tracks "Manic Monday" (later recorded by The Bangles), "17 Days" (later used as the B-side to "When Doves Cry"), and "The Glamorous Life" (recorded by Sheila E. in 1984) for the Apollonia 6 album but he soon lost interest in the project when he became convinced that Apollonia was only there to fulfill her job's obligations and would not be continuing with his group after her contractual obligations to completing the film and one album were fulfilled. Apollonia 6 were slated to open the Purple Rain tour with Prince and Sheila E., but that idea was scrapped after the group returned from a promotional tour of Europe.
After the group's demise, Kotero continued working on TV shows such as Falcon Crest and in B-movies for the next decade. She even released a solo album to lackluster success in 1988. The main criticism of the album was that Kotero tried too hard to give the impression of change; she adopted a more pop/California sound in place of her signature R&B/funk sound that had been successfully established for her formerly by Prince. (wikipedia)
Sex Shooter (1984)
Blue Limousine
Saturday, October 11, 2008
VANITY 6
Vanity 6 was a female vocal trio assembled by Prince in the early 1980s. They released one album, which blended the sounds of pop, New Wave, dance music, R&B, and funk.
In 1981, Prince, himself a rising musical star, suggested that his three female friends—Susan Moonsie, his wardrobe mistress, Boston native Brenda Bennett, and his personal assistant, Jamie Shoop form a girl group that would be called "The Hookers." Prince's vision was that the three women would perform in lingerie and sing sensual songs with lyrics about sex and fantasy. Prince had been wanting to mentor a girl singer or group since the late 70s when he saw the film A Star is Born with Barbra Streisand and Kris Kristofferson.
The original trio recorded a few demos before Prince met Denise Matthews, a nude model and Canadian B-movie actress, in January of 1982. Prince was so taken by Matthews' charisma that he decided she would be the perfect front-woman for his "Hookers" project. Around this time, Prince and Matthews began a romantic relationship. With Matthews' arrival, Shoop bowed out of the group. Matthews was eventually re-christened Vanity. (Some versions of the name's origin have Prince suggesting that Matthews use the stage name "Vagina" (pronounced "Vageena"), she refused and renamed herself "Vanity" instead; other versions of the story suggest that it was Prince himself who coined the name "Vanity," as he said that looking at Matthews was like looking in a mirror at the female version of himself.)
With the new trio finalized, Prince renamed the group Vanity 6 (the number representing the group's breast count). He provided the group, now dressed in lingerie and high heels, with provocative songs (although within the album credits, group members were sometimes given sole writing credits). Their first single, "He's so Dull" did not do much on the charts, but did appear in the film National Lampoon's Vacation.
The second single "Nasty Girl" was a hit on both the U.S. R&B chart and U.S. Dance chart (where it hit number one), and it also made an appearance on the Bubbling Under Hot 100 Singles chart. The song was featured in the film Beverly Hills Cop, although it was not included on the soundtrack. Members of the group also provided backing vocals on Prince's albums during their existence.
The third single, "Drive Me Wild," was another minor hit. Music videos were shot for all three singles. Their self-titled album (which would turn out to be their only release) was eventually certified gold. The group opened up on the Triple Threat Tour, between 1982 and 1983, which also featured The Time and Prince, as the headliner. The fact that The Time played behind a curtain while Vanity 6 performed caused a rift between the bands and friction within those friendships.[citation needed]
To the other group members' dismay, Prince chose Vanity to pose with him for a Richard Avedon photograph used on the cover of an issue of Rolling Stone magazine. The issue also contained a two-page Avedon photo of Vanity 6.
In 1983, Vanity recorded a demo for a new song, "Sex Shooter," and started reading for her lead role in Purple Rain opposite Prince. Prior to the shooting of the movie, later in 1983, Vanity abruptly decided to leave the Prince camp and relinquish her role in the film. Many reasons were given for her sudden departure, including money, the end of their romantic relationship, and, most importantly, Vanity having been offered a lucrative solo deal from Motown Records.
Vanity was replaced in Purple Rain by Patricia Kotero, who would later use the stage name Apollonia. She also inherited the lead role in Vanity 6, which was renamed Apollonia 6, alongside Bennett and Moonsie. The new trio also recorded what would be their only album in 1984, but that album went on to outsell the Vanity 6 album, mainly on the strength of Kotero’s newfound fame, thanks to her movie role and its popularity. In the years since the group’s breakup, Matthews renounced her Vanity persona and music and became a born again Christian. (wikipedia)
He's So Dull
In 1981, Prince, himself a rising musical star, suggested that his three female friends—Susan Moonsie, his wardrobe mistress, Boston native Brenda Bennett, and his personal assistant, Jamie Shoop form a girl group that would be called "The Hookers." Prince's vision was that the three women would perform in lingerie and sing sensual songs with lyrics about sex and fantasy. Prince had been wanting to mentor a girl singer or group since the late 70s when he saw the film A Star is Born with Barbra Streisand and Kris Kristofferson.
The original trio recorded a few demos before Prince met Denise Matthews, a nude model and Canadian B-movie actress, in January of 1982. Prince was so taken by Matthews' charisma that he decided she would be the perfect front-woman for his "Hookers" project. Around this time, Prince and Matthews began a romantic relationship. With Matthews' arrival, Shoop bowed out of the group. Matthews was eventually re-christened Vanity. (Some versions of the name's origin have Prince suggesting that Matthews use the stage name "Vagina" (pronounced "Vageena"), she refused and renamed herself "Vanity" instead; other versions of the story suggest that it was Prince himself who coined the name "Vanity," as he said that looking at Matthews was like looking in a mirror at the female version of himself.)
With the new trio finalized, Prince renamed the group Vanity 6 (the number representing the group's breast count). He provided the group, now dressed in lingerie and high heels, with provocative songs (although within the album credits, group members were sometimes given sole writing credits). Their first single, "He's so Dull" did not do much on the charts, but did appear in the film National Lampoon's Vacation.
The second single "Nasty Girl" was a hit on both the U.S. R&B chart and U.S. Dance chart (where it hit number one), and it also made an appearance on the Bubbling Under Hot 100 Singles chart. The song was featured in the film Beverly Hills Cop, although it was not included on the soundtrack. Members of the group also provided backing vocals on Prince's albums during their existence.
The third single, "Drive Me Wild," was another minor hit. Music videos were shot for all three singles. Their self-titled album (which would turn out to be their only release) was eventually certified gold. The group opened up on the Triple Threat Tour, between 1982 and 1983, which also featured The Time and Prince, as the headliner. The fact that The Time played behind a curtain while Vanity 6 performed caused a rift between the bands and friction within those friendships.[citation needed]
To the other group members' dismay, Prince chose Vanity to pose with him for a Richard Avedon photograph used on the cover of an issue of Rolling Stone magazine. The issue also contained a two-page Avedon photo of Vanity 6.
In 1983, Vanity recorded a demo for a new song, "Sex Shooter," and started reading for her lead role in Purple Rain opposite Prince. Prior to the shooting of the movie, later in 1983, Vanity abruptly decided to leave the Prince camp and relinquish her role in the film. Many reasons were given for her sudden departure, including money, the end of their romantic relationship, and, most importantly, Vanity having been offered a lucrative solo deal from Motown Records.
Vanity was replaced in Purple Rain by Patricia Kotero, who would later use the stage name Apollonia. She also inherited the lead role in Vanity 6, which was renamed Apollonia 6, alongside Bennett and Moonsie. The new trio also recorded what would be their only album in 1984, but that album went on to outsell the Vanity 6 album, mainly on the strength of Kotero’s newfound fame, thanks to her movie role and its popularity. In the years since the group’s breakup, Matthews renounced her Vanity persona and music and became a born again Christian. (wikipedia)
Nasty Girl (1982)
He's So Dull
Drive Me Wild
Pretty Mess
Saturday, October 4, 2008
SHARON JONES AND THE DAP KINGS
By the sound of them, you would think Sharon Jones & the Dap-Kings started making funk-threaded soul music together in the 1960s. Few devotedly retro acts are as convincing. Few singers as skilled as Sharon Jones at stuffing notes with ache and meaning might be willing to invest in a sound so fully occupied by the likes of Bettye LaVette and Tina Turner in the Ike years, too. But what Jones brings to the funkified table has legs of its own -- eight of them, to be exact -- and they belong to Binky Griptite, Bugaloo Velez, Homer Steinweiss, and Dave Guy -- her Dap-Kings.
Jones, like James Brown, was born in Augusta, GA; there she sang in her church choir, and from fellow parishioners picked up the kind of back-patting she needed to convince her to go mainstream. As a teenager, she moved with her family to Brooklyn, where she immersed herself in 1970s disco and funk with an eye toward cutting a record of her own. Instead, studios came calling and with them steady work -- by her twenties, Jones was turning in backup vocals for gospel, soul, disco and blues artists, most of it uncredited. In the '80s, however, Jones' sound was deemed unfashionable, and instead of pushing ahead with her soul diva's dream she went back to church singing. She also took a job as a corrections officer at New York's Rykers Island. It wouldn't be until 1996 that Desco Records would rediscover Jones' sweat-basted, lived-in talent. With that label's house band, the Soul Providers, Jones released several singles in the late '90s; their warmth and genuineness propelled the act across the Atlantic, and Jones picked up a moniker -- the queen of funk -- that stuck. Jones released her first full-length with the Dap-Kings, Dap Dippin' with Sharon Jones & the Dap-Kings, after signing with Daptone Records in 2002. Years of touring behind it, as well as cutting singles with other artists (including Greyboy) ensued. In 2005, Jones reteamed with the Dap-Kings for the winking groovefest that is Naturally, following it up two years later with 100 Days, 100 Nights. Jones also had a bit part The Great Debaters as the singer Lila. (allmusic.com)
100 Days, 100 Nights
Nobody's Baby
Let Them Knock
Amazing Grace
I'm Not Gonna Cry
Keep On Looking
Summetime w/Charles Walker
Saturday, September 27, 2008
D'ANGELO
D'Angelo was one of the founding fathers and leading lights of the neo-soul movement of the mid- to late '90s, which aimed to bring the organic flavor of classic R&B back to the hip-hop age. Modeling himself on the likes of Marvin Gaye, Stevie Wonder, Prince, Curtis Mayfield, and Al Green, D'Angelo's influences didn't just come across in his vocal style -- like most of those artists, he wrote his own material (and frequently produced it as well), helping to revive the concept of the R&B auteur. His debut album, Brown Sugar, gradually earned him an audience so devoted that the follow-up, Voodoo, debuted at number one despite a five-year wait in between.
Michael D'Angelo Archer was born February 11, 1974, in Richmond, VA, the son of a Pentecostal minister. He began teaching himself piano as a very young child, and at age 18, he won the amateur talent competition at Harlem's Apollo Theater three weeks in a row. He was briefly a member of a hip-hop group called I.D.U. and signed a publishing deal with EMI in 1991. His first major success came in 1994 as a writer/producer, helming the single "U Will Know" on the Jason's Lyric soundtrack; it featured a one-time, all-star R&B aggregate dubbed Black Men United. That helped lead to his debut solo album, 1995's Brown Sugar. Helped by the title track and "Lady," Brown Sugar slowly caught on with R&B fans looking for an alternative to the hip-hop soul dominating the urban contemporary landscape; along with artists like Erykah Badu, Lauryn Hill, and Maxwell, D'Angelo became part of a retro-leaning, neo-soul revivalist movement. Brown Sugar received enormously complimentary reviews and sold over two million copies, and D'Angelo supported it with extensive touring over the next two years.
And then -- not much of anything happened. D'Angelo took some time off to rest and split acrimoniously with his management; meanwhile, EMI went under, leaving his 1998 stopgap release Live at the Jazz Cafe out of print. On occasion, D'Angelo contributed a cover tune to a movie soundtrack, including Eddie Kendricks' "Girl You Need a Change of Mind" (Get on the Bus), the Ohio Players' "Heaven Must Be Like This" (Down in the Delta), and Prince's "She's Always in My Hair" (Scream 2). He also duetted with Lauryn Hill on "Nothing Really Matters," a cut from her Grammy-winning blockbuster The Miseducation of Lauryn Hill. Still, fans awaiting a proper follow-up to Brown Sugar remained frustrated -- at first by no news at all, and then by frequent delays in the recording process and the scheduled release date. Finally, the special-guest-laden Voodoo was released in early 2000 and debuted at number one, an indication of just how large -- and devoted -- D'Angelo's fan base was. The extremely Prince-like lead single, "Untitled (How Does It Feel)," was a smash on the R&B charts and won a Grammy for Best Male R&B Vocal; likewise, Voodoo won for Best R&B Album. Reviews of Voodoo were once again highly positive, although a few critics objected to the looser, more atmospheric, more jam-oriented feel of the record, preferring the tighter songcraft of Brown Sugar. (allmusic.com)
Michael D'Angelo Archer was born February 11, 1974, in Richmond, VA, the son of a Pentecostal minister. He began teaching himself piano as a very young child, and at age 18, he won the amateur talent competition at Harlem's Apollo Theater three weeks in a row. He was briefly a member of a hip-hop group called I.D.U. and signed a publishing deal with EMI in 1991. His first major success came in 1994 as a writer/producer, helming the single "U Will Know" on the Jason's Lyric soundtrack; it featured a one-time, all-star R&B aggregate dubbed Black Men United. That helped lead to his debut solo album, 1995's Brown Sugar. Helped by the title track and "Lady," Brown Sugar slowly caught on with R&B fans looking for an alternative to the hip-hop soul dominating the urban contemporary landscape; along with artists like Erykah Badu, Lauryn Hill, and Maxwell, D'Angelo became part of a retro-leaning, neo-soul revivalist movement. Brown Sugar received enormously complimentary reviews and sold over two million copies, and D'Angelo supported it with extensive touring over the next two years.
And then -- not much of anything happened. D'Angelo took some time off to rest and split acrimoniously with his management; meanwhile, EMI went under, leaving his 1998 stopgap release Live at the Jazz Cafe out of print. On occasion, D'Angelo contributed a cover tune to a movie soundtrack, including Eddie Kendricks' "Girl You Need a Change of Mind" (Get on the Bus), the Ohio Players' "Heaven Must Be Like This" (Down in the Delta), and Prince's "She's Always in My Hair" (Scream 2). He also duetted with Lauryn Hill on "Nothing Really Matters," a cut from her Grammy-winning blockbuster The Miseducation of Lauryn Hill. Still, fans awaiting a proper follow-up to Brown Sugar remained frustrated -- at first by no news at all, and then by frequent delays in the recording process and the scheduled release date. Finally, the special-guest-laden Voodoo was released in early 2000 and debuted at number one, an indication of just how large -- and devoted -- D'Angelo's fan base was. The extremely Prince-like lead single, "Untitled (How Does It Feel)," was a smash on the R&B charts and won a Grammy for Best Male R&B Vocal; likewise, Voodoo won for Best R&B Album. Reviews of Voodoo were once again highly positive, although a few critics objected to the looser, more atmospheric, more jam-oriented feel of the record, preferring the tighter songcraft of Brown Sugar. (allmusic.com)
Brown Sugar
Untitled (How Does It Feel?)
Chicken Grease
Cruisin'
Lady
Me And Those Dreamin' Eyes Of Mine
Shit, Damn, Motherfucker
Send It On
Jonz In My Bonz
Sweet Sticky Thing
Use Me
Saturday, September 20, 2008
Dusty Springfield
Mary Isabel Catherine Bernadette O'Brien, professionally known as Dusty Springfield, was an English pop singer. Of the female artists of the British Invasion, Springfield made the biggest impression on the U.S. market. From 1963 to 1970, she scored 18 singles in the Billboard Hot 100. She was voted the Top British Female Artist by readers of New Musical Express in 1964, 1965, and 1968. Springfield is an inductee of the Rock and Roll Hall of Fame and the UK Music Hall of Fame. She was named among the 25 female rock artists of all time by readers of Mojo magazine (1999), editors of Q magazine (2002), and a panel of artists on the TV channel VH1 (2007).
A fan of American soul music, Dusty Springfield created a distinctive blue-eyed soul sound. Her distinctive voice was described by Burt Bacharach as:"...three notes and you knew it was Dusty." Her dashing, glamourous image was supported by a peroxided blonde beehive hairstyle, heavy use of eyeliner, and luscious evening gowns. The fact that Springfield was never in a publicly known relationship meant that the question of whether she was lesbian continued to be raised throughout her life.
Springfield began her solo career in 1963 with the Phil Spector-influenced pop/rock song "I Only Want To Be With You". Her following chart hits included "I Just Don't Know What to Do with Myself" and "You Don't Have to Say You Love Me". She campaigned to bring little-known soul singers to a wider U.K. audience by devising and hosting the first British performances of top-selling Motown Records artists on The Sound of Motown, a special edition of the Ready Steady Go! TV series in 1965. "The Look of Love", written for Springfield by Burt Bacharach and Hal David, was featured in the scene of Ursula Andress seducing Peter Sellers in the film Casino Royale. The song was nominated for an Academy Award for Best Song. The sudden changes of world pop music towards the experimentation of Sgt. Pepper's Lonely Hearts Club Band, Summer of Love themes, and psychedelia left Springfield out of fashion. To boost her credibility, she went to Memphis, Tennessee to record an album of pop and soul music with Atlantic Records' production team of Jerry Wexler, Arif Mardin, and Tom Dowd. The LP Dusty in Memphis received the Grammy Hall of Fame award in 2001 and was listed among the 100 Greatest Albums of All Time by Rolling Stone and VH1, readers of New Musical Express, and viewers of Channel 4. The standout track of the album, "Son of a Preacher Man", was an international Top 10 chart hit in 1969. The song was revived in 1994 by Quentin Tarantinoincluding it in the Pulp Fiction soundtrack, which sold over three million copies.Springfield's low period after Dusty in Memphis ended in 1987, when a collaboration with the Pet Shop Boys returned her to the top 20 of UK and U.S. charts with the singles "What Have I Done to Deserve This?", "Nothing Has Been Proved" and "In Private". Springfield kept recording until she was diagnosed with breast cancer in 1995 and died in 1999. (wikdipedia)
Spooky
A House Is Not A Home
A fan of American soul music, Dusty Springfield created a distinctive blue-eyed soul sound. Her distinctive voice was described by Burt Bacharach as:"...three notes and you knew it was Dusty." Her dashing, glamourous image was supported by a peroxided blonde beehive hairstyle, heavy use of eyeliner, and luscious evening gowns. The fact that Springfield was never in a publicly known relationship meant that the question of whether she was lesbian continued to be raised throughout her life.
Springfield began her solo career in 1963 with the Phil Spector-influenced pop/rock song "I Only Want To Be With You". Her following chart hits included "I Just Don't Know What to Do with Myself" and "You Don't Have to Say You Love Me". She campaigned to bring little-known soul singers to a wider U.K. audience by devising and hosting the first British performances of top-selling Motown Records artists on The Sound of Motown, a special edition of the Ready Steady Go! TV series in 1965. "The Look of Love", written for Springfield by Burt Bacharach and Hal David, was featured in the scene of Ursula Andress seducing Peter Sellers in the film Casino Royale. The song was nominated for an Academy Award for Best Song. The sudden changes of world pop music towards the experimentation of Sgt. Pepper's Lonely Hearts Club Band, Summer of Love themes, and psychedelia left Springfield out of fashion. To boost her credibility, she went to Memphis, Tennessee to record an album of pop and soul music with Atlantic Records' production team of Jerry Wexler, Arif Mardin, and Tom Dowd. The LP Dusty in Memphis received the Grammy Hall of Fame award in 2001 and was listed among the 100 Greatest Albums of All Time by Rolling Stone and VH1, readers of New Musical Express, and viewers of Channel 4. The standout track of the album, "Son of a Preacher Man", was an international Top 10 chart hit in 1969. The song was revived in 1994 by Quentin Tarantinoincluding it in the Pulp Fiction soundtrack, which sold over three million copies.Springfield's low period after Dusty in Memphis ended in 1987, when a collaboration with the Pet Shop Boys returned her to the top 20 of UK and U.S. charts with the singles "What Have I Done to Deserve This?", "Nothing Has Been Proved" and "In Private". Springfield kept recording until she was diagnosed with breast cancer in 1995 and died in 1999. (wikdipedia)
I Only Want To Be With You
You Don't Have To Say You Love Me
Son Of A Preacher Man
Everyday I Have To Cry
The Look Of Love
Can I Get A Witness
Wishing & Hoping
All I See You
Think It's Going To Rain Today
Get Ready
Knowing When To Leave
By Myself
How Can I Be Sure
w/ Tom Jones
Silly Fool
Baby Blue
Once Upon A Time
Nowhere To Run
In The Middle Of Nowhere
Anything You Can Do
I Am Woman
Since I Fell For You
Some Of Your Lovin'
Saturday, September 13, 2008
The O'Jays
The O'Jays are a Philadelphia soul group, originally consisting of Walter Williams (born August 25, 1942), Bill Isles, Jerome Pierson, Bobby Massey, William Powell (January 20, 1942 - May 26, 1977) and Eddie Levert (born June 16, 1942). The O'Jays were inducted into the Vocal Group Hall of Fame in 2004 and The Rock and Roll Hall of Fame in 2005. The O'Jays (now a trio after the departure of Isles) had their first hit with "Lonely Drifter" in 1963. In spite of its success, the group was considering quitting the music business until Gamble & Huff, a legendary team of producers and songwriters, took an interest in the group. With Gamble & Huff, the O'Jays emerged at the forefront of Philadelphia soul with Back Stabbers (1972), a huge pop hit.
They formed the group in Canton, Ohio in 1958 while attending high school. Originally known as The Triumphs, followed by The Mascots, the friends began recording with "Miracles" in 1961, which was a moderate hit in the Cleveland area. They took the name "the O'Jays", in tribute to radio disc jockey Eddie O'Jay (Toop, 1991), in 1963 and released "Lonely Drifter", which charted nationally. Their debut LP was Comin' Through. Throughout the 1960s, they continued to chart with songs such as "Lipstick Traces" (which they performed nationally on the ABC Television program , "Shivaree") , "Stand In For Love","Let It All Out", "I'll Be Sweeter Tomorrow", "Deeper In Love With You" and "One Night Affair", along with several other regional & national Pop & R&B hits. In 1972, they finally scored with their first million-seller, "Back Stabbers", from the gold album of the same name. By this time, original member Bobby Massey had also departed , leaving the group a trio. This album also produced several more hit singles, including "992 Arguments", "Sunshine", "Time To Get Down", and the #1 Pop smash, "Love Train".
During the remainder of the 1970s, the O'Jays continued releasing chart-topping singles, including "Put Your Hands Together" (Pop #10), "For the Love of Money" (Pop #9), "Give the People What They Want", "Let Me Make Love To You", "I Love Music" (Pop #5), "Livin' for the Weekend", "Message in Our Music", and "Darlin' Darlin' Baby (Sweet Tender Love)". Original member William Powell died of cancer in 1977.
After adding Sammy Strain (born December 9, 1941) (of Little Anthony & the Imperials), the O'Jays continued recording, though with limited success. 1978's "Use ta Be My Girl" was their final Top Five hit, though they continued placing songs on the R&B charts throughout the 1980s. Their 1987 album, Let Me Touch You, was a breakthrough of sorts, and included the #1 R&B hit "Lovin' You". Though they continued charting on the R&B charts in the late 80s and early 1990s, the O'Jays never again achieved pop success. In 1992, Sammy Strain left the group, and returned to the Imperials, to be replaced by Nathaniel Best, and later, by Eric Grant. Later in the 90s, the group did little recording, though they remained a popular live draw. Their latest album was Imagination in 2004. (wikipedia)
Lipstick Traces (1966)
I Love Music
For The Love Of Money
They formed the group in Canton, Ohio in 1958 while attending high school. Originally known as The Triumphs, followed by The Mascots, the friends began recording with "Miracles" in 1961, which was a moderate hit in the Cleveland area. They took the name "the O'Jays", in tribute to radio disc jockey Eddie O'Jay (Toop, 1991), in 1963 and released "Lonely Drifter", which charted nationally. Their debut LP was Comin' Through. Throughout the 1960s, they continued to chart with songs such as "Lipstick Traces" (which they performed nationally on the ABC Television program , "Shivaree") , "Stand In For Love","Let It All Out", "I'll Be Sweeter Tomorrow", "Deeper In Love With You" and "One Night Affair", along with several other regional & national Pop & R&B hits. In 1972, they finally scored with their first million-seller, "Back Stabbers", from the gold album of the same name. By this time, original member Bobby Massey had also departed , leaving the group a trio. This album also produced several more hit singles, including "992 Arguments", "Sunshine", "Time To Get Down", and the #1 Pop smash, "Love Train".
During the remainder of the 1970s, the O'Jays continued releasing chart-topping singles, including "Put Your Hands Together" (Pop #10), "For the Love of Money" (Pop #9), "Give the People What They Want", "Let Me Make Love To You", "I Love Music" (Pop #5), "Livin' for the Weekend", "Message in Our Music", and "Darlin' Darlin' Baby (Sweet Tender Love)". Original member William Powell died of cancer in 1977.
After adding Sammy Strain (born December 9, 1941) (of Little Anthony & the Imperials), the O'Jays continued recording, though with limited success. 1978's "Use ta Be My Girl" was their final Top Five hit, though they continued placing songs on the R&B charts throughout the 1980s. Their 1987 album, Let Me Touch You, was a breakthrough of sorts, and included the #1 R&B hit "Lovin' You". Though they continued charting on the R&B charts in the late 80s and early 1990s, the O'Jays never again achieved pop success. In 1992, Sammy Strain left the group, and returned to the Imperials, to be replaced by Nathaniel Best, and later, by Eric Grant. Later in the 90s, the group did little recording, though they remained a popular live draw. Their latest album was Imagination in 2004. (wikipedia)
Back Stabbers
Love Train
Let Me Make Love To You
Used To Be My Girl
Emotionally Yours
Deeper In Love With You
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