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Johnson to Britain, introducing the singer on the BBC television program Top of the Pops, but again his recording was superseded by a near-identical cover, this time by U.K. girl group queen Sandie Shaw.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

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  (1984)

Sex Shooter  from "Purple Rain"

Blue Limousine

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)

Nasty Girl  (1982)

He's So Dull

Drive Me Wild

Pretty Mess

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