Unsatisfied
The Panic Is On
Magic Potion
If I Ever Get To Love You
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Johnson to Britain, introducing the singer on the BBC television program Top of the Pops, but again his recording was superseded by a near-identical cover, this time by U.K. girl group queen Sandie Shaw.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)
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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