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Biography by Jason Ankeny
Deep soul diva Tommie Young was born and raised in Dallas. While performing at a local nightclub in 1972, she was discovered by Bobby Patterson, a Shreveport, Louisiana-based performer and producer who, with fellow composer Jerry Strickland, operated the fledgling Soul Power label. Patterson signed Young virtually on the spot, and returned to Shreveport to mastermind instrumental versions of O.V. Wright's "That's How Strong My Love Is," and Percy Sledge's "Take Time to Know [Her]." Young then traveled to Shreveport to record vocals, completing each track in just one take each; the end result was her debut single, now a southern cult classic -- boasting a remarkable soprano deeply rooted in the gospel tradition, her delivery also bears the deep influence of Aretha Franklin's secular efforts, yet never sounds the least bit derivative. For Young's next single, Patterson and Strickland co-authored the original ballad "Do You Still Feel the Same Way" -- a major hit in Memphis and New Orleans, the single also cracked the national R&B Top 30, and would prove her biggest commercial hit. The follow-up, Patterson's "She Don't Have to See You (To See Through You)" is, in many respects, her masterpiece, although it was only a minor chart hit -- her lone secular LP, also titled Do You Still Feel the Same Way?, appeared soon after, generating the singles "You Brought It All On Yourself" and "You Came Just in Time." Hampered by Soul Power's ongoing distribution problems, Young's commercial hopes were further diminished by her disinterest in promoting her recordings, preferring instead to return to the relative anonymity of performing in her father's Dallas church. Ultimately, she abandoned her secular career altogether -- one last single, "Get Out of My Life," appeared in 1975, and was Soul Power's final release. Young briefly returned to prominence in 1978 when she headlined the soundtrack to the NBC tele-film A Woman Called Moses, a biography of slave leader Harriet Tubman. After marrying, she began using the name Tommye Young-West professionally, recording a series of gospel LPs including 1993's Just Call Me Tommye, and 2000's Believe, and virtually disowning her early Soul Power work, despite widespread acclaim from latter-day deep soul aficionados.
Review by Don Snowden
This is absolute manna from Southern soul heaven. On the strength of the one, long-unavailable 1973 LP that forms the core of this compilation, Tommie Young can stake a claim as perhaps the finest neo-Aretha Franklin stylist among the slew of early-'70s soul sisters. But she was a meteor flare, almost immediately retreating back to the gospel scene that nurtured her, save for singing lead on the soundtrack to A Woman Called Moses, Cicely Tyson's 1978 film about Harriet Tubman. (She recorded on Texas gospel labels in the '90s as Tommye Young West.) Granted, Young didn't have the protean power of Franklin (like anyone did?), so her vocal tone is lighter; but the sensational, effortless, melodic leaps on the commanding title track does nothing to dispel the Franklin impression. "Do We Have a Future?" is punchier and might be rushed for a singer lacking Young's immaculate phrasing; she's simply a natural-born singer with the same appealing forthrightness as Irma Thomas. The liner notes say producer Bobby Patterson cut backing tracks to O.V. Wright's "That's How Strong My Love Is" and Percy Sledge's "Take Time to Know Her" (gender-switched here) for her first session and Young just walked in and nailed 'em in one take -- and it ain't hard to believe at all. "You Came Just in Time" finds Young fighting through backing vocal clutter, but the ballads "She Don't Have to See You (to See Through You)" and "You Brought It All on Yourself" thankfully free her voice back to unadorned basics, with great command of dynamics and phrasing on the latter. Brilliant phrasing also marks the very strong "You Can Only Do Wrong So Long" and she shines again on the more down-home funky "You Can't Have Your Cake" with some Ann Peebles vocal sass in her delivery. In addition, "Everybody's Got a Little Devil in Their Soul" is just absolutely marvelous, a funk groove with a second-line, jump-up snap in the drums and nice horns -- no real melodic changes, but who needs 'em with a wondrous singer testifying in neo-Aretha mode over a killer groove? But it does make you wonder if Young was short-changed by material and production that favored a lighter, neo-Motown soul-pop sound ("That's All a Part of Loving Him" is pretty representative) when she had the voice for tougher, harder-hitting songs like this. The string and horn embellishments that were tasteful early on start to get overbearing on the non-LP extra tracks like "Get out of My Life." It sounds as if they heard the disco boom coming and pumped it all up; but Young is too much of a singer to need any of the forced drama in the arrangement to "I'm Not Going to Cry Any More." The forced histrionics do get pretty dire on "One-Sided Love Affair," but the final five tracks shouldn't throw anyone off Do You Still Feel the Same Way? Tommie Young was singing straight-up soul from a woman's perspective as well as or better than Peebles, Thomas, Laura Lee, Candi Staton, or any other '70s soul woman at that level one step down from Queen Aretha.
Wednesday, July 30, 2008
Saturday, July 26, 2008
THE TYMES
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Biography by Ron Wynn (Allmusic)
The Tymes began as the Latineers in 1956. This Philadelphia ensemble's founding members were Donald Banks, Albert Berry, Norman Burnett, and George Hilliard. After a four-year apprenticeship on the city's club circuit, they changed their name to the Tymes in 1960 and added lead singer George Williams. They were signed by Cameo-Parkway in 1963 following a successful appearance at a talent show sponsored by Philly radio station WDAS. The group scored its biggest hit with its debut single, "So Much in Love," a Williams composition rearranged by Roy Stragis and producer Billy Jackson. Their first LP, So Much in Love, contained both the title cut and follow-up hit, a cover of Johnny Mathis' "Wonderful, Wonderful." Those two songs were both crossover smashes as well as R&B winners, with "So Much in Love" topping the pop charts. But after a third hit, "Somewhere," the next year, the group faded. The Tymes tried issuing albums on their own label, Winchester, but had to fold it after two releases. They signed with MGM, but were dropped after two flops. They enjoyed a brief comeback on Columbia in 1968 with another remake; this time they covered "People" from the musical Funny Girl. But CBS also dropped them in 1969. They spent three years retooling their sound, while Hilliard departed. Their longtime producer, Billy Jackson, financed some sessions at Gamble & Huff's Sigma Sound studios in an attempt to get them on the Philadelphia International roster. Gamble & Huff passed on the unfinished demos, but RCA signed them. They scored three more hits from 1974-1976, the biggest being "It's Cool" in 1976, which reached number three on the R&B charts and number 18 pop. Various aggregations using the name have remained active on the oldies/cabaret circuit in the '80s and '90s.
Biography by Ron Wynn (Allmusic)
The Tymes began as the Latineers in 1956. This Philadelphia ensemble's founding members were Donald Banks, Albert Berry, Norman Burnett, and George Hilliard. After a four-year apprenticeship on the city's club circuit, they changed their name to the Tymes in 1960 and added lead singer George Williams. They were signed by Cameo-Parkway in 1963 following a successful appearance at a talent show sponsored by Philly radio station WDAS. The group scored its biggest hit with its debut single, "So Much in Love," a Williams composition rearranged by Roy Stragis and producer Billy Jackson. Their first LP, So Much in Love, contained both the title cut and follow-up hit, a cover of Johnny Mathis' "Wonderful, Wonderful." Those two songs were both crossover smashes as well as R&B winners, with "So Much in Love" topping the pop charts. But after a third hit, "Somewhere," the next year, the group faded. The Tymes tried issuing albums on their own label, Winchester, but had to fold it after two releases. They signed with MGM, but were dropped after two flops. They enjoyed a brief comeback on Columbia in 1968 with another remake; this time they covered "People" from the musical Funny Girl. But CBS also dropped them in 1969. They spent three years retooling their sound, while Hilliard departed. Their longtime producer, Billy Jackson, financed some sessions at Gamble & Huff's Sigma Sound studios in an attempt to get them on the Philadelphia International roster. Gamble & Huff passed on the unfinished demos, but RCA signed them. They scored three more hits from 1974-1976, the biggest being "It's Cool" in 1976, which reached number three on the R&B charts and number 18 pop. Various aggregations using the name have remained active on the oldies/cabaret circuit in the '80s and '90s.
Friday, July 25, 2008
DANN PENN
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Songwriter/producer Dan Penn has been a quiet force behind Southern soul music for over thirty years. Always moving just out of view of the limelight, Penn has produced and written hits for the Box Tops, Solomon Burke, Aretha Franklin and Ronnie Milsap, among others.
Originally from Vernon, Alabama, Penn began his career as a performer, leading several white R&B bands around the Muscle Shoals area. Achieving early success by selling a hit song to Conway Twitty ("Is a Bluebird Blue?") the songwriter eventually
moved to Memphis, joining producer Chips Moman at his American Studios. Together the two, along with Penn's writing partner, organist Spooner Oldham,wrote and/or produced several hits for the Box Tops, such as "The Letter" and "Cry Like a Baby," throughout the late '60s.
Penn eventually returned to Muscle Shoals during the period when Atlantic Records vice president Jerry Wexler was bringing acts like Aretha Franklin and Solomon Burke down from New York to record there. This led to Franklin cutting the Penn/Oldham
composition "Do Right Woman," and for the next several years, Penn compositions such as "Dark End of the Street," "Woman Left Lonely" and "I'm Your Puppet" became soul classics and were recorded by such greats as James Carr, Janis Joplin and Dionne Warwick, respectively.
Never really considered a performer, in 1994 Penn released the long awaited follow up to his 1973 solo album Nobody's Fool. This album contains Penn performances of songs that others are known for such as "I'm Your Puppet," as well as new material.
Moments from This Theater followed in 1999.
Review by Chris Nickson
If James Brown is Soul Brother Number One, you can make a very credible case for Dan Penn being number two. The Alabama native has had a hand in writing a fair number of classic soul songs, and here he commits his versions of them to tape for the first time, recording, of course, in Muscle Shoals, with their fabulous house band, and a horn section including former Memphis Horn member Wayne Jackson. It's a tall order Penn sets himself, offering himself up for comparison with greats like James Carr, Aretha Franklin, and James and Bobby Purify, who have sung his songs -- and that's just the start of the list. However, he comes out very well, beginning with a quiet take on"The Dark End of the Street," coming across like a note to a secret lover, rather than a cry of pain. "It Tears Me Up" conveys the anguish,"You Left the Water Running" bounces in its pain, and "Do Right Woman Do Right Man" is advice to a friend, instead of Aretha's extra freedom cry for equal rights."I'm Your Puppet" becomes a sigh of resignation. Given tracks like that, the other songs will inevitably suffer by comparison, and, to be fair, "Memphis Women and Chicken" is little more than a throwaway. But even the lesser-known material from a Craftsman-like Penn is head and shoulders above most of the competition, and "Zero Willpower," a song that he took 20 years to complete, has soul classic written all
over it, as good as the greatest hits. Penn can't just write 'em, he can perform 'em too, in a manner as soulful as the greats, as this record shows. The man deserves to be an American musical icon.
Biography by Steve Kurutz (Allmusic 4.25 starts out of 5)
Songwriter/producer Dan Penn has been a quiet force behind Southern soul music for over thirty years. Always moving just out of view of the limelight, Penn has produced and written hits for the Box Tops, Solomon Burke, Aretha Franklin and Ronnie Milsap, among others.
Originally from Vernon, Alabama, Penn began his career as a performer, leading several white R&B bands around the Muscle Shoals area. Achieving early success by selling a hit song to Conway Twitty ("Is a Bluebird Blue?") the songwriter eventually
moved to Memphis, joining producer Chips Moman at his American Studios. Together the two, along with Penn's writing partner, organist Spooner Oldham,wrote and/or produced several hits for the Box Tops, such as "The Letter" and "Cry Like a Baby," throughout the late '60s.
Penn eventually returned to Muscle Shoals during the period when Atlantic Records vice president Jerry Wexler was bringing acts like Aretha Franklin and Solomon Burke down from New York to record there. This led to Franklin cutting the Penn/Oldham
composition "Do Right Woman," and for the next several years, Penn compositions such as "Dark End of the Street," "Woman Left Lonely" and "I'm Your Puppet" became soul classics and were recorded by such greats as James Carr, Janis Joplin and Dionne Warwick, respectively.
Never really considered a performer, in 1994 Penn released the long awaited follow up to his 1973 solo album Nobody's Fool. This album contains Penn performances of songs that others are known for such as "I'm Your Puppet," as well as new material.
Moments from This Theater followed in 1999.
Review by Chris Nickson
If James Brown is Soul Brother Number One, you can make a very credible case for Dan Penn being number two. The Alabama native has had a hand in writing a fair number of classic soul songs, and here he commits his versions of them to tape for the first time, recording, of course, in Muscle Shoals, with their fabulous house band, and a horn section including former Memphis Horn member Wayne Jackson. It's a tall order Penn sets himself, offering himself up for comparison with greats like James Carr, Aretha Franklin, and James and Bobby Purify, who have sung his songs -- and that's just the start of the list. However, he comes out very well, beginning with a quiet take on"The Dark End of the Street," coming across like a note to a secret lover, rather than a cry of pain. "It Tears Me Up" conveys the anguish,"You Left the Water Running" bounces in its pain, and "Do Right Woman Do Right Man" is advice to a friend, instead of Aretha's extra freedom cry for equal rights."I'm Your Puppet" becomes a sigh of resignation. Given tracks like that, the other songs will inevitably suffer by comparison, and, to be fair, "Memphis Women and Chicken" is little more than a throwaway. But even the lesser-known material from a Craftsman-like Penn is head and shoulders above most of the competition, and "Zero Willpower," a song that he took 20 years to complete, has soul classic written all
over it, as good as the greatest hits. Penn can't just write 'em, he can perform 'em too, in a manner as soulful as the greats, as this record shows. The man deserves to be an American musical icon.
Biography by Steve Kurutz (Allmusic 4.25 starts out of 5)
CLAY HAMMOND & Z. Z. HILL
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Biography by Richie Unterberger
Clay Hammond may be best remembered as the author of Little Johnny Taylor's huge soul hit, "Part Time Love." He was also a decent Sam Cooke-style soul singer in his own right, however, who recorded for various labels in the 1960s. His most well-known efforts from that time are the four singles he did for Kent between 1966-69. These mixed Southern soul, gospel, and blues styles, yet also had a somewhat lighter and poppier production aura than much Southern soul, perhaps because they were recorded in Los Angeles. All eight songs from these 45s, as well as eight others that were recorded but not released in the 1960s, appear on the Ace CD Southern Soul Brothers, which also includes ten tracks recorded for Kent around the same time by fellow soul vocalist Z.Z. Hill. Hammond recorded sporadic singles and albums for various labels after the 1960s, in addition to singing in the lineups of groups such as the Drifters and the Rivingtons on the oldies circuit.
Biography by Bill Dahl
Texas-born singer Z.Z. Hill managed to resuscitate both his own semi-flagging career and the entire genre at large when he signed on at Jackson, Mississippi's Malaco Records in 1980 and began growling his way through some of the most uncompromising blues to be unleashed on black radio stations in many a moon.
His impressive 1982 Malaco album Down Home Blues remained on Billboard's soul album charts for nearly two years, an extraordinary run for such a blatantly bluesy LP. His songs "Down Home Blues" and "Somebody Else Is Steppin' In" have graduated into the ranks of legitimate blues standards (and there haven't been many of those come along over the last couple of decades).
Arzell Hill started out singing gospel with a quintet called the Spiritual Five, but the output of B.B. King, Bobby Bland, and especially Sam Cooke made a more indelible mark on his approach. He began gigging around Dallas, fashioning his distinctive initials after those of B.B. King. When his older brother Matt Hill (a budding record producer with his own label, M.H.) invited Z.Z. to go west to southern California, the young singer did.
His debut single on M.H., the gutsy shuffle "You Were Wrong" (recorded in an L.A. garage studio), showed up on the pop chart for a week in 1964. With such a relatively successful showing his first time out, Hill's fine subsequent singles for the Bihari brothers' Kent logo should have been even bigger. But "I Need Someone (To Love Me)," "Happiness Is All I Need," and a raft of other deserving Kent 45s (many produced and arranged by Maxwell Davis) went nowhere commercially for the singer.
Excellent singles for Atlantic, Mankind, and Hill (another imprint operated by brother Matt, who served as Z.Z.'s producer for much of his career) preceded a 1972 hookup with United Artists that resulted in three albums and six R&B chart singles over the next couple of years. From there, Z.Z. moved on to Columbia, where his 1977 single "Love Is So Good When You're Stealing It" became his biggest-selling hit of all.
Hill's vocal grit was never more effective than on his blues-soaked Malaco output. From 1980 until 1984, when he died suddenly of a heart attack, Z.Z. bravely led a personal back-to-the-blues campaign that doubtless helped to fuel the current contemporary blues boom. It's a shame he couldn't stick around to see it blossom.
boomp3.com
Biography by Richie Unterberger
Clay Hammond may be best remembered as the author of Little Johnny Taylor's huge soul hit, "Part Time Love." He was also a decent Sam Cooke-style soul singer in his own right, however, who recorded for various labels in the 1960s. His most well-known efforts from that time are the four singles he did for Kent between 1966-69. These mixed Southern soul, gospel, and blues styles, yet also had a somewhat lighter and poppier production aura than much Southern soul, perhaps because they were recorded in Los Angeles. All eight songs from these 45s, as well as eight others that were recorded but not released in the 1960s, appear on the Ace CD Southern Soul Brothers, which also includes ten tracks recorded for Kent around the same time by fellow soul vocalist Z.Z. Hill. Hammond recorded sporadic singles and albums for various labels after the 1960s, in addition to singing in the lineups of groups such as the Drifters and the Rivingtons on the oldies circuit.
Biography by Bill Dahl
Texas-born singer Z.Z. Hill managed to resuscitate both his own semi-flagging career and the entire genre at large when he signed on at Jackson, Mississippi's Malaco Records in 1980 and began growling his way through some of the most uncompromising blues to be unleashed on black radio stations in many a moon.
His impressive 1982 Malaco album Down Home Blues remained on Billboard's soul album charts for nearly two years, an extraordinary run for such a blatantly bluesy LP. His songs "Down Home Blues" and "Somebody Else Is Steppin' In" have graduated into the ranks of legitimate blues standards (and there haven't been many of those come along over the last couple of decades).
Arzell Hill started out singing gospel with a quintet called the Spiritual Five, but the output of B.B. King, Bobby Bland, and especially Sam Cooke made a more indelible mark on his approach. He began gigging around Dallas, fashioning his distinctive initials after those of B.B. King. When his older brother Matt Hill (a budding record producer with his own label, M.H.) invited Z.Z. to go west to southern California, the young singer did.
His debut single on M.H., the gutsy shuffle "You Were Wrong" (recorded in an L.A. garage studio), showed up on the pop chart for a week in 1964. With such a relatively successful showing his first time out, Hill's fine subsequent singles for the Bihari brothers' Kent logo should have been even bigger. But "I Need Someone (To Love Me)," "Happiness Is All I Need," and a raft of other deserving Kent 45s (many produced and arranged by Maxwell Davis) went nowhere commercially for the singer.
Excellent singles for Atlantic, Mankind, and Hill (another imprint operated by brother Matt, who served as Z.Z.'s producer for much of his career) preceded a 1972 hookup with United Artists that resulted in three albums and six R&B chart singles over the next couple of years. From there, Z.Z. moved on to Columbia, where his 1977 single "Love Is So Good When You're Stealing It" became his biggest-selling hit of all.
Hill's vocal grit was never more effective than on his blues-soaked Malaco output. From 1980 until 1984, when he died suddenly of a heart attack, Z.Z. bravely led a personal back-to-the-blues campaign that doubtless helped to fuel the current contemporary blues boom. It's a shame he couldn't stick around to see it blossom.
Saturday, July 19, 2008
IKE & TINA TURNER
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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.
Ike passed away December 12, 2007.
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.
Ike passed away December 12, 2007.
Thursday, July 17, 2008
THE FIVE DU-TONES
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The Five Du-Tones originally recorded "Shake a Tail Feather" in 1963, but reaped few benefits from being the first to do so. It was their biggest record, but only reached number 51 on the pop charts and number 28 on the R&B charts. Ike & Tina Turner cut a version, as did James & Bobby Purify, whose "Tail Feather" fared better than the Five Du-Tones', going to number 25 on the pop charts and number 15 on the R&B charts in 1967 (four years after the original). It even showed up in the film Hairspray in 1988.
The explosive quintet members were Willie Guest, Frank McCurrey, LeRoy Joyce, James West, and Andrew Butler. They formed at Patrick Henry High School in St. Louis, MO, in 1957. St Louis was a hotbed of music talent; significant artists such as Ike & Tina Turner, Luther Ingram, Mel & Tim, Fontella Bass, and others developed in the City on the River.
From 1963 to 1966, the Du-Tones recorded nine singles on George Leaner's One-derful Records. The first, "Please Change Your Mind" backed by "The Flea," sunk without a trace, as did the second, "Come Back Baby" coupled with "Dry Your Eyes." However, their final release in 1963 got them working on the chitlin' circuit; "Shake a Tail Feather" backed with the hilarious "Divorce Court" exploded over R&B stations across the country, and was extremely large in Chicago. The sales and chart positions didn't justify the airplay it received — it should have made the R&B Top Ten and cracked the pop Top 40. The follow-up to "Tail Feather" was "The Gouster" backed with "Monkey See Monkey Do." The B-side was better and got some airplay, but neither side built on the momentum of its predecessor. Single number five discarded the dance craze altogether but to no avail; "Nobody But (My Baby)" supported by "That's How I Love You did nothing. So it was back to the dance crazes, with "The Cool Bird" and "The Chicken Astronaut" being their final single for 1964; despite an incessant beat, however, "Bird" was ignored by disc jockeys. The Du-Tones' sister group, the Duettes, recorded "Bird" the same year on Mar-V-Lus, a subsidiary of One-Derful; both versions flopped. One-derful dropped two more of the Du-Tones' singles in 1965: "Sweet Lips" and "The Woodbine Twine." Their most popular recording next to "Tail Feather," "Woodbine Twine" received only sporadic play, but is sought after as a collectable. The last Five Du-Tones single, "Mountain of Love"/"Outside the Record Hop," dropped in 1966; they disbanded in 1967. Leaner folded his group of labels, which included Mar-V-Lus and M-Pac Records, in 1968.
Biography by Andrew Hamilton (Allmusic)
The Five Du-Tones originally recorded "Shake a Tail Feather" in 1963, but reaped few benefits from being the first to do so. It was their biggest record, but only reached number 51 on the pop charts and number 28 on the R&B charts. Ike & Tina Turner cut a version, as did James & Bobby Purify, whose "Tail Feather" fared better than the Five Du-Tones', going to number 25 on the pop charts and number 15 on the R&B charts in 1967 (four years after the original). It even showed up in the film Hairspray in 1988.
The explosive quintet members were Willie Guest, Frank McCurrey, LeRoy Joyce, James West, and Andrew Butler. They formed at Patrick Henry High School in St. Louis, MO, in 1957. St Louis was a hotbed of music talent; significant artists such as Ike & Tina Turner, Luther Ingram, Mel & Tim, Fontella Bass, and others developed in the City on the River.
From 1963 to 1966, the Du-Tones recorded nine singles on George Leaner's One-derful Records. The first, "Please Change Your Mind" backed by "The Flea," sunk without a trace, as did the second, "Come Back Baby" coupled with "Dry Your Eyes." However, their final release in 1963 got them working on the chitlin' circuit; "Shake a Tail Feather" backed with the hilarious "Divorce Court" exploded over R&B stations across the country, and was extremely large in Chicago. The sales and chart positions didn't justify the airplay it received — it should have made the R&B Top Ten and cracked the pop Top 40. The follow-up to "Tail Feather" was "The Gouster" backed with "Monkey See Monkey Do." The B-side was better and got some airplay, but neither side built on the momentum of its predecessor. Single number five discarded the dance craze altogether but to no avail; "Nobody But (My Baby)" supported by "That's How I Love You did nothing. So it was back to the dance crazes, with "The Cool Bird" and "The Chicken Astronaut" being their final single for 1964; despite an incessant beat, however, "Bird" was ignored by disc jockeys. The Du-Tones' sister group, the Duettes, recorded "Bird" the same year on Mar-V-Lus, a subsidiary of One-Derful; both versions flopped. One-derful dropped two more of the Du-Tones' singles in 1965: "Sweet Lips" and "The Woodbine Twine." Their most popular recording next to "Tail Feather," "Woodbine Twine" received only sporadic play, but is sought after as a collectable. The last Five Du-Tones single, "Mountain of Love"/"Outside the Record Hop," dropped in 1966; they disbanded in 1967. Leaner folded his group of labels, which included Mar-V-Lus and M-Pac Records, in 1968.
Biography by Andrew Hamilton (Allmusic)
Monday, July 14, 2008
SLAVE
boomp3.com
Arguably the hottest of the '70s Ohio funk bands, Slave had a great run in the late '70s and early '80s. Trumpeter Steve Washington formed the group in Dayton in 1975. Vocalist Floyd Miller teamed with Tom Lockett Jr, Charlie Bradley, Mark Adams, Mark Hicks, Danny Webster, Orion Wilhoite, and Tim Dozier. Vocalists Steve Arrington and Starleana Young came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the thumping single "Slide" in 1977 for Cotillion, where they remained until 1984. Their best tracks were lyrically simple and at times silly, but the arrangements and rhythms were intense and hypnotic. Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. Young, Washington, and Lockett departed to form Aurra in 1979. Arrington himself left in the early '80s. They added Charles Carter, Delburt Taylor, Sam Carter, Kevin Johnson, and Roger Parker as replacements and continued on, though much less successfully, into the late '80s. They moved to Atlantic for one LP in 1984, then switched to the Atlanta-based Ichiban in 1986 for singles and LPs that were just a shade of the former vibrant Slave sound. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Funk: The Best of Slave, a first-rate anthology of their finest cuts, in 1994.
Biography by Ron Wynn (Allmusic)
Review:
The debut album from the Ohio-based funk aggregate Slave was a grand success, but resulted in the release of only one single, "Slide." Being the only single released from the album, "Slide" had no problem gaining airplay with its gothic introduction, animated vocals, and rumbling bassline. The funk anthem claimed the number one spot on the Billboard R&B charts inside of 20 weeks. The other cuts on the album continue the aggressive funk assault, but with subtle passion and their own distinctive arrangements. The exception is "Son of Slide," which is identical to the album's big hit, except that it's an instrumental save a brief chorus chant. The only ballad is "The Happiest Days," a sweet soul song arranged in the vein of the Ohio Players with its horns, lead and backing vocals.
Review by Craig Lytle (Allmusic)
Arguably the hottest of the '70s Ohio funk bands, Slave had a great run in the late '70s and early '80s. Trumpeter Steve Washington formed the group in Dayton in 1975. Vocalist Floyd Miller teamed with Tom Lockett Jr, Charlie Bradley, Mark Adams, Mark Hicks, Danny Webster, Orion Wilhoite, and Tim Dozier. Vocalists Steve Arrington and Starleana Young came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the thumping single "Slide" in 1977 for Cotillion, where they remained until 1984. Their best tracks were lyrically simple and at times silly, but the arrangements and rhythms were intense and hypnotic. Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. Young, Washington, and Lockett departed to form Aurra in 1979. Arrington himself left in the early '80s. They added Charles Carter, Delburt Taylor, Sam Carter, Kevin Johnson, and Roger Parker as replacements and continued on, though much less successfully, into the late '80s. They moved to Atlantic for one LP in 1984, then switched to the Atlanta-based Ichiban in 1986 for singles and LPs that were just a shade of the former vibrant Slave sound. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Funk: The Best of Slave, a first-rate anthology of their finest cuts, in 1994.
Biography by Ron Wynn (Allmusic)
Review:
The debut album from the Ohio-based funk aggregate Slave was a grand success, but resulted in the release of only one single, "Slide." Being the only single released from the album, "Slide" had no problem gaining airplay with its gothic introduction, animated vocals, and rumbling bassline. The funk anthem claimed the number one spot on the Billboard R&B charts inside of 20 weeks. The other cuts on the album continue the aggressive funk assault, but with subtle passion and their own distinctive arrangements. The exception is "Son of Slide," which is identical to the album's big hit, except that it's an instrumental save a brief chorus chant. The only ballad is "The Happiest Days," a sweet soul song arranged in the vein of the Ohio Players with its horns, lead and backing vocals.
Review by Craig Lytle (Allmusic)
PATTERSON TWINS
boomp3.com
The Patterson Twins (Estus Patterson, and Lester Patterson} were born in Magee, Mississippi on December 9, 1946.) Their musical background stems from singing in church, and High School. Their first professional singing performance was with a gospel group known as the Southern Sons. The twins pulled away from the Southern sons and started a Duo known as the “Soul Twins”. Both of the Patterson Twins had families to support, and didn’t make enough income from Music alone in the early days to pay all the bills, so they had to work regular jobs. They would work the local clubs, and bars on the weekends.
After graduating from high school, they moved to Erie Pennsylvania. In 1968/1969 the Twins would return home to neighboring Jackson Mississippi and perform with the “Mid – South Revue”. Hense Powell - the Musical Arranger, and Director for the Mid–South Revue, was attending Jackson State University at that particular time, and was impressed with the talent and raw soul of the Duo, and put them on the show,which also featured Dorothy Moore - who later recorded Misty Blue for Malaco Records in
the mid 1970’s.
The Soul Twins first recordings was released in 1972 on a label by the name of Big Beat, located in Greenville, Mississippi. Some of the songs released are; “Something you got”, “ It’s worthwhile having”, “Hold on to it”, and “Come on verybodget with the beat”.
The Soul Twins changed their name to “The Patterson Twins” when they signed with Star Fox Enterprises. Troy Shondell was their record producer. The first record “If I ever got you back” written by George Jackson, and Raymond Moore, was leased to
King Records. “Back In Love Again”, and “A Good Thing” was recorded on King Records. “If I Ever Get You Back”,and “Got Some Problems” were released on King in 1973. “Looking for a Lover” was recorded on Ronn Records and leased to Jewel-Paula Records. The Twins later on signed a deal with Commercial Records in Nashville, Tennessee, and recorded “Let me be your lover”, and “He’s a loser”, “You Give Me Someone To Love”, “Funk Machine”, and “Gonna Find A True Love”.
Ronn Records also recorded several songs on the Patterson Twins which were unissued until it appeared on a Japanese P-Vine CD issued in 1991, and was also released in the U. K. on a 2001 WestSide Cd.
The Twins recorded “I Need Your Love, and “Two Wrongs Don't Make A Right in 1973 with Malaco Records which was released in 1976, and was recorded at Muscle Shoals recording studioin Alabama. Most of the product recorded on the Patterson Twins
has been distributed in the United Kingdom, and Japan.
Migrating to Los Angeles,California in 1976, the Patterson Twins began working with Hense Powell who had moved to Los Angeles in 1970. Hense Powell during that time was a studio musician, and arranger working with Johnny Bristol, LaMont Dozier,
Edwin Starr, Richard Dimples Fields, and Bloodstone. Joining forces they began writing songs, and recording in various studios around the Los Angeles area.
If you're one of those people who are lucky enough to own "Gonna find a true love" on a 7" single then you are probably not pleased to learn that the album version is extended to 4min and 49sec.
The Patterson Twins (Estus Patterson, and Lester Patterson} were born in Magee, Mississippi on December 9, 1946.) Their musical background stems from singing in church, and High School. Their first professional singing performance was with a gospel group known as the Southern Sons. The twins pulled away from the Southern sons and started a Duo known as the “Soul Twins”. Both of the Patterson Twins had families to support, and didn’t make enough income from Music alone in the early days to pay all the bills, so they had to work regular jobs. They would work the local clubs, and bars on the weekends.
After graduating from high school, they moved to Erie Pennsylvania. In 1968/1969 the Twins would return home to neighboring Jackson Mississippi and perform with the “Mid – South Revue”. Hense Powell - the Musical Arranger, and Director for the Mid–South Revue, was attending Jackson State University at that particular time, and was impressed with the talent and raw soul of the Duo, and put them on the show,which also featured Dorothy Moore - who later recorded Misty Blue for Malaco Records in
the mid 1970’s.
The Soul Twins first recordings was released in 1972 on a label by the name of Big Beat, located in Greenville, Mississippi. Some of the songs released are; “Something you got”, “ It’s worthwhile having”, “Hold on to it”, and “Come on verybodget with the beat”.
The Soul Twins changed their name to “The Patterson Twins” when they signed with Star Fox Enterprises. Troy Shondell was their record producer. The first record “If I ever got you back” written by George Jackson, and Raymond Moore, was leased to
King Records. “Back In Love Again”, and “A Good Thing” was recorded on King Records. “If I Ever Get You Back”,and “Got Some Problems” were released on King in 1973. “Looking for a Lover” was recorded on Ronn Records and leased to Jewel-Paula Records. The Twins later on signed a deal with Commercial Records in Nashville, Tennessee, and recorded “Let me be your lover”, and “He’s a loser”, “You Give Me Someone To Love”, “Funk Machine”, and “Gonna Find A True Love”.
Ronn Records also recorded several songs on the Patterson Twins which were unissued until it appeared on a Japanese P-Vine CD issued in 1991, and was also released in the U. K. on a 2001 WestSide Cd.
The Twins recorded “I Need Your Love, and “Two Wrongs Don't Make A Right in 1973 with Malaco Records which was released in 1976, and was recorded at Muscle Shoals recording studioin Alabama. Most of the product recorded on the Patterson Twins
has been distributed in the United Kingdom, and Japan.
Migrating to Los Angeles,California in 1976, the Patterson Twins began working with Hense Powell who had moved to Los Angeles in 1970. Hense Powell during that time was a studio musician, and arranger working with Johnny Bristol, LaMont Dozier,
Edwin Starr, Richard Dimples Fields, and Bloodstone. Joining forces they began writing songs, and recording in various studios around the Los Angeles area.
If you're one of those people who are lucky enough to own "Gonna find a true love" on a 7" single then you are probably not pleased to learn that the album version is extended to 4min and 49sec.
Saturday, July 12, 2008
AMAZING!!!
AHHH MY BLOG!! Downloads are steadily growing - number of visitors is steadily growing ....
I must have put up a gem or two ....
For Example:
13 people downloaded Z.Z. Hill.
18 people downloaded Dennis Edwards.
AND not one of them knew how to type a comment!! SSSOOO how did they learn to click and download .... that means they can READ ....
I could go through all my statistics - but how annoying would that be!!
JUST ask me - and I'll tell ya .....
MOST of the comments I get are from other Blogger's -
(I LOVE THIS example: 298 people downloaded a file and it got 4 comments ....)
SO based on that statistic I have a way to go for a comment on anything - I need 74.5 downloads to get 1 comment!!!
SO for all you folks who are typing challenged (amongst other issues you have) -
A simple 'TY' in the comment field would be nice. MOST of us understand that means thank you. These files aren't downloading by themselves!
HMMMMM - my conundrum for the day .... IF someone does anything nice for those people - do they say 'thank you' in a face to face situation? Probably not ....
I must have put up a gem or two ....
For Example:
13 people downloaded Z.Z. Hill.
18 people downloaded Dennis Edwards.
AND not one of them knew how to type a comment!! SSSOOO how did they learn to click and download .... that means they can READ ....
I could go through all my statistics - but how annoying would that be!!
JUST ask me - and I'll tell ya .....
MOST of the comments I get are from other Blogger's -
(I LOVE THIS example: 298 people downloaded a file and it got 4 comments ....)
SO based on that statistic I have a way to go for a comment on anything - I need 74.5 downloads to get 1 comment!!!
SO for all you folks who are typing challenged (amongst other issues you have) -
A simple 'TY' in the comment field would be nice. MOST of us understand that means thank you. These files aren't downloading by themselves!
HMMMMM - my conundrum for the day .... IF someone does anything nice for those people - do they say 'thank you' in a face to face situation? Probably not ....
Friday, July 11, 2008
Z. Z. HILL
boomp3.com
Daddy B. Nice's #5 ranked Southern Soul Forerunner
In a state known for its musically-ground-breaking iconoclasts-- Bob Wills, Buddy Holly and, more recently, Mel Waiters, Erykah Badu and Patrick Green--the Naples-born Z. Z. Hill (1935) is arguably Texas's most distinguished musical pioneer. Brought up on gospel music--he matriculated with a group called the Spiritual Five--Hill followed his producer-brother Matt into secular music and released a series of singles in the early sixties.
In tandem with Matt (the M.H. label) and a succession of recording companies (Kent, Atlantic, Mankind, Unitied Artists), Z. Z. (born Arzell) notched a number of now-obscure hit singles through the sixties and early seventies, including presently out-of-print albums on Kent (Lot Of Soul, 1969, and Dues Paid In Full, 1971), Mankind (Brand New Z. Z. Hill, 1971), and United Artists (The Best Thing That's Happened To Me, 1972, and Keep On Loving You, 1975).
In the late seventies Hill signed with the prestigious Columbia label (onetime home to Bob Dylan, Aretha Franklin, etc.). If you want to know the musical milieu of the period, watch the John Travolta-starred/Bee Gee's-scored "Saturday Night Fever" or (for an even more accurate musical barometer) the 1976 Richard Pryor-starred/Norman Whitfield-scored "Car Wash" and meditate on the inner-city, disco euphoria and enthusiasm of the day.
Even Johnnie Taylor and Hill had the "fever." (Hill's dalliance in disco beats and arrangements can be sampled on many of the tracks on Let's Make A Deal, 1978, and The Mark Of Z. Z. Hill, 1979, both on Columbia.)
In the face of this maelstrom of percussion-dominated dance music, the appearance of Z. Z. Hill's "Love Is So Good When You're Stealing It," (Columbia, 1977), which became an R&B hit single (and Hill's biggest ever), was as momentous a development in the history of R&B as had been Ray Charles' hit single "I Can't Stop Loving You" fifteen years earlier. Both were songs that went against the grain, that flew in the face of the prevailing musical winds. Both were songs people at the time thought they didn't want to hear. And yet, just as the Charles song had been foreshadowed by "Georgia On My Mind" and other country-like Charles material, so too was Hill's "Love Is So Good When You're Stealing It" a logical next-step from previous Hill tunes like the little-noticed, Swamp Dogg-produced classic "Second Chance," which Hill had recorded way back in 1971.
Z. Z. Hill's "Love Is So Good..." never really dented the pop charts, but Hill was prescient enough to understand the impact the record had made with his "core" Southern Black audience--an audience hungry for contemporary blues--and he had the forsight and fortitude to take a giant step forward.
As it worked out, it was also a benchmark step in the evolution of today's rhythm and blues. Z. Z. Hill's five year (80-84) collaboration with Jackson, Mississippi's Malaco Records was the true beginning of what we now call "Southern Soul." What Hill had done before--what he had only "hinted at"--now exploded in an effusion of across-the-board musical excellence. Hill's blues swung and sounded great. The albums were packed with quality songs. In order, they were:
Z. Z. Hill (81),
Down Home (82),
The Rhythm & The Blues (82),
and I'm A Blues Man (83),
all printed by Tommy Couch's Malaco Records. Of the four, the two undisputed classics were Down Home and I'm A Blues Man.
Hill was felled by a heart attack in 1984--at the height of his powers. A number of posthumous records have been released, but these days you're more likely to hear echoes of Z. Z. Hill tunes or themes in a "branching-out" process from the Z. Z. Hill/Southern Soul genealogical tree. The influence is extensive. Thus, "Love Is So Good When You're Stealing It" and its opening lines, "Here we are, darling/At the Hideaway Inn," leads directly to Ronnie Lovejoy's classic, "Sho' Wasn't Me," and its opening lines, "Girl, you say your sister saw me/Coming out of the Holiday Inn." Which comes full circle with another generation in the supercharged version of "Love Is So Good When You're Stealing It" done by Rue Davis and young Patti Sterling, who growls and snaps like a reincarnated Della Reese.
Thus, you have Hill's "Cheatin' In The Next Room" flowing into "I've got a wife and a woman too/And I don't know what to to do" from the Carl Sims' classic, "Trapped," and from there to the younger generation in the form of T. K. Soul's "It Ain't Cheatin' (Until You Get Caught)."
These days you're more likely to hear a Z. Z Hill tune in a remake. Not only will you hear old masters like Little Milton (now also passed) rendering their own classics from Z. Z. Hill vehicles (Milton's "This Time They Told The Truth"). You'll also hear Southern Soul "young guns" like Vick Allen ("Who You Been Giving It To"), Delbert McClinton ("Givin' It Up For Your Love"), Rick Lawson ("She Was Cheatin' Better Than Me") and Eddie Seawood ("Shade Tree Mechanic") delivering updated takes on Hill tunes and themes. Meanwhile, Hill's "Down Home Blues," written by George Jackson, has become the default/generic rocker of the genre. What Kool & The Gang's "Celebration" is to disco, "Down Home Blues" is to Southern Soul.
Biography by Bill Dahl (Allmusic)
Texas-born singer Z.Z. Hill managed to resuscitate both his own semi-flagging career and the entire genre at large when he signed on at Jackson, Mississippi's Malaco Records in 1980 and began growling his way through some of the most uncompromising blues to be unleashed on black radio stations in many a moon.
His impressive 1982 Malaco album Down Home Blues remained on Billboard's soul album charts for nearly two years, an extraordinary run for such a blatantly bluesy LP. His songs "Down Home Blues" and "Somebody Else Is Steppin' In" have graduated into the ranks of legitimate blues standards (and there haven't been many of those come along over the last couple of decades).
Arzell Hill started out singing gospel with a quintet called the Spiritual Five, but the output of B.B. King, Bobby Bland, and especially Sam Cooke made a more indelible mark on his approach. He began gigging around Dallas, fashioning his distinctive initials after those of B.B. King. When his older brother Matt Hill (a budding record producer with his own label, M.H.) invited Z.Z. to go west to southern California, the young singer did.
His debut single on M.H., the gutsy shuffle "You Were Wrong" (recorded in an L.A. garage studio), showed up on the pop chart for a week in 1964. With such a relatively successful showing his first time out, Hill's fine subsequent singles for the Bihari brothers' Kent logo should have been even bigger. But "I Need Someone (To Love Me)," "Happiness Is All I Need," and a raft of other deserving Kent 45s (many produced and arranged by Maxwell Davis) went nowhere commercially for the singer.
Excellent singles for Atlantic, Mankind, and Hill (another imprint operated by brother Matt, who served as Z.Z.'s producer for much of his career) preceded a 1972 hookup with United Artists that resulted in three albums and six R&B chart singles over the next couple of years. From there, Z.Z. moved on to Columbia, where his 1977 single "Love Is So Good When You're Stealing It" became his biggest-selling hit of all.
Hill's vocal grit was never more effective than on his blues-soaked Malaco output. From 1980 until 1984, when he died suddenly of a heart attack, Z.Z. bravely led a personal back-to-the-blues campaign that doubtless helped to fuel the current contemporary blues boom. It's a shame he couldn't stick around to see it blossom.
Daddy B. Nice's #5 ranked Southern Soul Forerunner
In a state known for its musically-ground-breaking iconoclasts-- Bob Wills, Buddy Holly and, more recently, Mel Waiters, Erykah Badu and Patrick Green--the Naples-born Z. Z. Hill (1935) is arguably Texas's most distinguished musical pioneer. Brought up on gospel music--he matriculated with a group called the Spiritual Five--Hill followed his producer-brother Matt into secular music and released a series of singles in the early sixties.
In tandem with Matt (the M.H. label) and a succession of recording companies (Kent, Atlantic, Mankind, Unitied Artists), Z. Z. (born Arzell) notched a number of now-obscure hit singles through the sixties and early seventies, including presently out-of-print albums on Kent (Lot Of Soul, 1969, and Dues Paid In Full, 1971), Mankind (Brand New Z. Z. Hill, 1971), and United Artists (The Best Thing That's Happened To Me, 1972, and Keep On Loving You, 1975).
In the late seventies Hill signed with the prestigious Columbia label (onetime home to Bob Dylan, Aretha Franklin, etc.). If you want to know the musical milieu of the period, watch the John Travolta-starred/Bee Gee's-scored "Saturday Night Fever" or (for an even more accurate musical barometer) the 1976 Richard Pryor-starred/Norman Whitfield-scored "Car Wash" and meditate on the inner-city, disco euphoria and enthusiasm of the day.
Even Johnnie Taylor and Hill had the "fever." (Hill's dalliance in disco beats and arrangements can be sampled on many of the tracks on Let's Make A Deal, 1978, and The Mark Of Z. Z. Hill, 1979, both on Columbia.)
In the face of this maelstrom of percussion-dominated dance music, the appearance of Z. Z. Hill's "Love Is So Good When You're Stealing It," (Columbia, 1977), which became an R&B hit single (and Hill's biggest ever), was as momentous a development in the history of R&B as had been Ray Charles' hit single "I Can't Stop Loving You" fifteen years earlier. Both were songs that went against the grain, that flew in the face of the prevailing musical winds. Both were songs people at the time thought they didn't want to hear. And yet, just as the Charles song had been foreshadowed by "Georgia On My Mind" and other country-like Charles material, so too was Hill's "Love Is So Good When You're Stealing It" a logical next-step from previous Hill tunes like the little-noticed, Swamp Dogg-produced classic "Second Chance," which Hill had recorded way back in 1971.
Z. Z. Hill's "Love Is So Good..." never really dented the pop charts, but Hill was prescient enough to understand the impact the record had made with his "core" Southern Black audience--an audience hungry for contemporary blues--and he had the forsight and fortitude to take a giant step forward.
As it worked out, it was also a benchmark step in the evolution of today's rhythm and blues. Z. Z. Hill's five year (80-84) collaboration with Jackson, Mississippi's Malaco Records was the true beginning of what we now call "Southern Soul." What Hill had done before--what he had only "hinted at"--now exploded in an effusion of across-the-board musical excellence. Hill's blues swung and sounded great. The albums were packed with quality songs. In order, they were:
Z. Z. Hill (81),
Down Home (82),
The Rhythm & The Blues (82),
and I'm A Blues Man (83),
all printed by Tommy Couch's Malaco Records. Of the four, the two undisputed classics were Down Home and I'm A Blues Man.
Hill was felled by a heart attack in 1984--at the height of his powers. A number of posthumous records have been released, but these days you're more likely to hear echoes of Z. Z. Hill tunes or themes in a "branching-out" process from the Z. Z. Hill/Southern Soul genealogical tree. The influence is extensive. Thus, "Love Is So Good When You're Stealing It" and its opening lines, "Here we are, darling/At the Hideaway Inn," leads directly to Ronnie Lovejoy's classic, "Sho' Wasn't Me," and its opening lines, "Girl, you say your sister saw me/Coming out of the Holiday Inn." Which comes full circle with another generation in the supercharged version of "Love Is So Good When You're Stealing It" done by Rue Davis and young Patti Sterling, who growls and snaps like a reincarnated Della Reese.
Thus, you have Hill's "Cheatin' In The Next Room" flowing into "I've got a wife and a woman too/And I don't know what to to do" from the Carl Sims' classic, "Trapped," and from there to the younger generation in the form of T. K. Soul's "It Ain't Cheatin' (Until You Get Caught)."
These days you're more likely to hear a Z. Z Hill tune in a remake. Not only will you hear old masters like Little Milton (now also passed) rendering their own classics from Z. Z. Hill vehicles (Milton's "This Time They Told The Truth"). You'll also hear Southern Soul "young guns" like Vick Allen ("Who You Been Giving It To"), Delbert McClinton ("Givin' It Up For Your Love"), Rick Lawson ("She Was Cheatin' Better Than Me") and Eddie Seawood ("Shade Tree Mechanic") delivering updated takes on Hill tunes and themes. Meanwhile, Hill's "Down Home Blues," written by George Jackson, has become the default/generic rocker of the genre. What Kool & The Gang's "Celebration" is to disco, "Down Home Blues" is to Southern Soul.
Biography by Bill Dahl (Allmusic)
Texas-born singer Z.Z. Hill managed to resuscitate both his own semi-flagging career and the entire genre at large when he signed on at Jackson, Mississippi's Malaco Records in 1980 and began growling his way through some of the most uncompromising blues to be unleashed on black radio stations in many a moon.
His impressive 1982 Malaco album Down Home Blues remained on Billboard's soul album charts for nearly two years, an extraordinary run for such a blatantly bluesy LP. His songs "Down Home Blues" and "Somebody Else Is Steppin' In" have graduated into the ranks of legitimate blues standards (and there haven't been many of those come along over the last couple of decades).
Arzell Hill started out singing gospel with a quintet called the Spiritual Five, but the output of B.B. King, Bobby Bland, and especially Sam Cooke made a more indelible mark on his approach. He began gigging around Dallas, fashioning his distinctive initials after those of B.B. King. When his older brother Matt Hill (a budding record producer with his own label, M.H.) invited Z.Z. to go west to southern California, the young singer did.
His debut single on M.H., the gutsy shuffle "You Were Wrong" (recorded in an L.A. garage studio), showed up on the pop chart for a week in 1964. With such a relatively successful showing his first time out, Hill's fine subsequent singles for the Bihari brothers' Kent logo should have been even bigger. But "I Need Someone (To Love Me)," "Happiness Is All I Need," and a raft of other deserving Kent 45s (many produced and arranged by Maxwell Davis) went nowhere commercially for the singer.
Excellent singles for Atlantic, Mankind, and Hill (another imprint operated by brother Matt, who served as Z.Z.'s producer for much of his career) preceded a 1972 hookup with United Artists that resulted in three albums and six R&B chart singles over the next couple of years. From there, Z.Z. moved on to Columbia, where his 1977 single "Love Is So Good When You're Stealing It" became his biggest-selling hit of all.
Hill's vocal grit was never more effective than on his blues-soaked Malaco output. From 1980 until 1984, when he died suddenly of a heart attack, Z.Z. bravely led a personal back-to-the-blues campaign that doubtless helped to fuel the current contemporary blues boom. It's a shame he couldn't stick around to see it blossom.
Sunday, July 6, 2008
DENNIS EDWARDS
boomp3.com
Once a Temptation, always a Temptation might be the motto for explosive vocalist Dennis Edwards, who's joined, left, and re-joined the group three times. Edwards was born in Birmingham, but his family moved to Detroit when he was seven. As a high school student, Edwards sang with the Crowns of Joy gospel group, then formed a soul-jazz band called Dennis Edwards & the Firebirds, inspired by organist Richard "Groove" Holmes. Motown bass legend James Jamerson heard Edwards singing one night and suggested he audition. They needed a lead singer quickly for the Contours, and his feature on "It's So Hard Being Alone" was Edwards' entry into the company. A song he recorded for Soulsville, "I Didn't Have To (But I Did)," got moderate reaction, but Edwards was soon enlisted to replace David Ruffin as lead singer of the Temptations in 1968. He spent the next nine years in that role, his gritty leads fueling such songs as "Cloud Nine," "I Can't Get Next to You," "Ball of Confusion," and "Psychedelic Shack," as well as the groundbreaking singles "Papa Was a Rolling Stone" and "Masterpiece." He left for the first time in 1977, returned in 1979, and left again in 1983. A year later, he made one of the great duets of the decade, "Don't Look Any Further," with Siedah Garrett. It didn't make it to the top of the R&B charts, but there weren't many numbers that better combined sensuality, vocal assertiveness, excellent production, and a superb arrangement. The follow-up, "(You're My) Aphrodisiac," was a Top 20 R&B single, but things then cooled considerably. "Coolin' Out" was Edwards' final hit, peaking at number 23, but he returned to the Temptations in 1987. Edwards briefly teamed with ex-Temptations David Ruffin and Eddie Kendricks in the trio Ruffin/Kendricks/Edwards, but nothing was ever released.
Biography by Ron Wynn (Allmusic)
Once a Temptation, always a Temptation might be the motto for explosive vocalist Dennis Edwards, who's joined, left, and re-joined the group three times. Edwards was born in Birmingham, but his family moved to Detroit when he was seven. As a high school student, Edwards sang with the Crowns of Joy gospel group, then formed a soul-jazz band called Dennis Edwards & the Firebirds, inspired by organist Richard "Groove" Holmes. Motown bass legend James Jamerson heard Edwards singing one night and suggested he audition. They needed a lead singer quickly for the Contours, and his feature on "It's So Hard Being Alone" was Edwards' entry into the company. A song he recorded for Soulsville, "I Didn't Have To (But I Did)," got moderate reaction, but Edwards was soon enlisted to replace David Ruffin as lead singer of the Temptations in 1968. He spent the next nine years in that role, his gritty leads fueling such songs as "Cloud Nine," "I Can't Get Next to You," "Ball of Confusion," and "Psychedelic Shack," as well as the groundbreaking singles "Papa Was a Rolling Stone" and "Masterpiece." He left for the first time in 1977, returned in 1979, and left again in 1983. A year later, he made one of the great duets of the decade, "Don't Look Any Further," with Siedah Garrett. It didn't make it to the top of the R&B charts, but there weren't many numbers that better combined sensuality, vocal assertiveness, excellent production, and a superb arrangement. The follow-up, "(You're My) Aphrodisiac," was a Top 20 R&B single, but things then cooled considerably. "Coolin' Out" was Edwards' final hit, peaking at number 23, but he returned to the Temptations in 1987. Edwards briefly teamed with ex-Temptations David Ruffin and Eddie Kendricks in the trio Ruffin/Kendricks/Edwards, but nothing was ever released.
Biography by Ron Wynn (Allmusic)
CHARLES & EDDIE
boomp3.com
At a time when urban radio was obsessed with the hip-hop-minded new jack swing of Bell Biv DeVoe, Bobby Brown, and Guy (among others), Charles & Eddie turned to pre-1980 African-American music for inspiration. The male vocal duo's first album, Duophonic, owes a major debt to the classic Northern soul of the '60s and '70s. This CD came out in 1992, but Duophonic is quite mindful of the days when Curtis Mayfield, the Spinners, Al Green, and Marvin Gaye soared to the top of the R&B charts. Duophonic, however, isn't hardcore soul, and no one will mistake this release for a Temptations album from 1970. Rather, Charles & Eddie show their appreciation of classic soul in a very pop-friendly way, and the obvious comparisons include Simply Red, Terence Trent d'Arby, and Culture Club. Charles & Eddie aren't R&B purists, which isn't to say that they aren't expressive -- only that soul and pop considerations are both a part of what they do. Duophonic is a solid debut, and the duo shows a great deal of promise on smooth pop-soul offerings such as "Love Is a Beautiful Thing" and the hit single "Would I Lie to You." Most of the songs deal with romantic matters, although Duophonic detours into sociopolitical territory on "Father to Son" and "Unconditional." Both of these songs indicate that Charles & Eddie are well aware of the sociopolitical soul classics of the early '70s -- one gets the impression that both of them have spent a lot of time listening to Mayfield's Superfly soundtrack and Marvin Gaye's What's Going On album. Anyone who is a big fan of Simply Red, d'Arby, or Culture Club is advised to give Duophonic a close listen.
Review by Alex Henderson (Allmusic)
At a time when urban radio was obsessed with the hip-hop-minded new jack swing of Bell Biv DeVoe, Bobby Brown, and Guy (among others), Charles & Eddie turned to pre-1980 African-American music for inspiration. The male vocal duo's first album, Duophonic, owes a major debt to the classic Northern soul of the '60s and '70s. This CD came out in 1992, but Duophonic is quite mindful of the days when Curtis Mayfield, the Spinners, Al Green, and Marvin Gaye soared to the top of the R&B charts. Duophonic, however, isn't hardcore soul, and no one will mistake this release for a Temptations album from 1970. Rather, Charles & Eddie show their appreciation of classic soul in a very pop-friendly way, and the obvious comparisons include Simply Red, Terence Trent d'Arby, and Culture Club. Charles & Eddie aren't R&B purists, which isn't to say that they aren't expressive -- only that soul and pop considerations are both a part of what they do. Duophonic is a solid debut, and the duo shows a great deal of promise on smooth pop-soul offerings such as "Love Is a Beautiful Thing" and the hit single "Would I Lie to You." Most of the songs deal with romantic matters, although Duophonic detours into sociopolitical territory on "Father to Son" and "Unconditional." Both of these songs indicate that Charles & Eddie are well aware of the sociopolitical soul classics of the early '70s -- one gets the impression that both of them have spent a lot of time listening to Mayfield's Superfly soundtrack and Marvin Gaye's What's Going On album. Anyone who is a big fan of Simply Red, d'Arby, or Culture Club is advised to give Duophonic a close listen.
Review by Alex Henderson (Allmusic)
Saturday, July 5, 2008
LEE MCDONALD aka CLEVELAND PARKER
boomp3.com
Lee McDonald (aka: CLEVELAND PARKER) has recorded soul music & GOSPEL for the last 35 years. He was was born in Norfolk Virginia in 1945.
His birth-name Cleveland Parker was later changed to Lee McDonald. He later resumed using his birth-name and goes under that name presently.
He started singing at the age of 13 in his church choir, school Talent shows and on street corners.
He attended the "BOOKER T. WASHINGTON" public school in Norfolk.
Always admiring singers such as Smokey Robinson, Four Tops, But his main influence was Cuba Gooding, lead singer of the R&B group "MAIN INGREDIENT".
Lee went to NEW YORK in 1969 and sang in NIGHTCLUBS and HOTELS. He also sang with many local bands.
Recording a DEMO with group called "AUGUST HEAT" was When he met Ron Foster who would eventually produce, write and arrange his first professional recording. This recording was a"45" 2-sided vinyl record and was called "LITTLE THINGS "backed by song 'MEMORIES".
His last recording with Ron Foster was a seven song 12" vinyl LP which was released in 1981 on DEBBIE RECORDS (located in PATERSON, NEW JERSEY U.S.A.)Owned and operated by Ron Foster along with Samuel Robinson.
All songs are published by TRACE BACK publishing also under The umbrella of DEBBIE RECORDS with the exception of two Cover songs, "WE'VE ONLY JUST BEGUN" & "I'LL DO ANYTHING FOR YOU". Other titles on LP are "SWEET MAGIC" (vocal & title of ALBUM), "SLOW DOWN", "GOTTA GET HOME", "SHOW ME", "LET'S PLAY LUCK", and instrumental version of "SWEET MAGIC". One 45 was released from the LP with titles "SHOW ME" and extended version of "GOTTA GET HOME" on DEBBIE RECORDS.
Lee McDonald met up with Ron Foster again in year 2003 and worked on another CD of GOSPEL titles mostly written by Ron Foster and produced on his own label entitled "RONFO" MUSIC & ART.
Lee McDonald (aka: CLEVELAND PARKER) has recorded soul music & GOSPEL for the last 35 years. He was was born in Norfolk Virginia in 1945.
His birth-name Cleveland Parker was later changed to Lee McDonald. He later resumed using his birth-name and goes under that name presently.
He started singing at the age of 13 in his church choir, school Talent shows and on street corners.
He attended the "BOOKER T. WASHINGTON" public school in Norfolk.
Always admiring singers such as Smokey Robinson, Four Tops, But his main influence was Cuba Gooding, lead singer of the R&B group "MAIN INGREDIENT".
Lee went to NEW YORK in 1969 and sang in NIGHTCLUBS and HOTELS. He also sang with many local bands.
Recording a DEMO with group called "AUGUST HEAT" was When he met Ron Foster who would eventually produce, write and arrange his first professional recording. This recording was a"45" 2-sided vinyl record and was called "LITTLE THINGS "backed by song 'MEMORIES".
His last recording with Ron Foster was a seven song 12" vinyl LP which was released in 1981 on DEBBIE RECORDS (located in PATERSON, NEW JERSEY U.S.A.)Owned and operated by Ron Foster along with Samuel Robinson.
All songs are published by TRACE BACK publishing also under The umbrella of DEBBIE RECORDS with the exception of two Cover songs, "WE'VE ONLY JUST BEGUN" & "I'LL DO ANYTHING FOR YOU". Other titles on LP are "SWEET MAGIC" (vocal & title of ALBUM), "SLOW DOWN", "GOTTA GET HOME", "SHOW ME", "LET'S PLAY LUCK", and instrumental version of "SWEET MAGIC". One 45 was released from the LP with titles "SHOW ME" and extended version of "GOTTA GET HOME" on DEBBIE RECORDS.
Lee McDonald met up with Ron Foster again in year 2003 and worked on another CD of GOSPEL titles mostly written by Ron Foster and produced on his own label entitled "RONFO" MUSIC & ART.
LITTLE ANTHONY & THE IMPERIALS
boomp3.com
This is Little Anthony & The Imperials Debut album, OF COURSE they were just The Imperials back then. Issued in 1959. So - what can I say - it is a moldie oldie. Enjoy!
This is Little Anthony & The Imperials Debut album, OF COURSE they were just The Imperials back then. Issued in 1959. So - what can I say - it is a moldie oldie. Enjoy!
LITTLE ANTHONY & THE IMPERIALS
boomp3.com
If you don't have any - the 25 Greatest Hits is a great place to start!! And even if you have lots of Tony & The Boys - it is a lazy woman/man play list. LOL
If you don't have any - the 25 Greatest Hits is a great place to start!! And even if you have lots of Tony & The Boys - it is a lazy woman/man play list. LOL
Friday, July 4, 2008
DORIS DUKE
boomp3.com
Deep soul diva Doris Duke was born Doris Curry in Sandersville, GA, in 1945. After stints in a series of gospel units, including the Raspberry Singers, the David Sisters, and the Caravans, by 1963 she was settled in New York City, working as a session vocalist in addition to backup duties at the legendary Apollo Theater. Under her married name of Doris Willingham, she cut her debut solo single, "Running Away from Loneliness," for the tiny Hy-Monty label in 1966; "You Can't Do That" followed two years later on Jay Boy. Despite solid reviews, neither record made a commercial splash, and she returned to her session career, often commuting to Philadelphia to record with the production team of Kenny Gamble and Leon Huff. When former Atlantic Records producer Jerry "Swamp Dogg" Williams Jr. struck out on his own, he signed the singer and renamed her Doris Duke, recording the 1969 LP I'm a Loser at Capricorn, Phil Walden's studio in Macon, GA.
Though considered the finest deep soul record of all time by no less than soul expert Dave Godin, I'm a Loser was rejected by dozens of labels before it finally surfaced on Wally Roker's Canyon label. Although the first single, "To the Other Woman," cracked Billboard's R&B Top Ten, Canyon soon spiraled into financial disaster, destroying the album's commercial momentum. Duke spent the next several years in creative limbo, finally reuniting with Swamp Dogg for 1975's Mankind label release A Legend in Her Own Time -- their partnership ended acrimoniously prior to its release, however, and the record received scant attention. Duke next resurfaced on the British label Contempo with Woman, a much-acclaimed set released stateside on the Scepter imprint. After 1981's Manhattan set Funky Fox, she retired from music, and at the time of this writing her whereabouts and activities are unknown.
Biography by Jason Ankeny (Allmusic)
Deep soul diva Doris Duke was born Doris Curry in Sandersville, GA, in 1945. After stints in a series of gospel units, including the Raspberry Singers, the David Sisters, and the Caravans, by 1963 she was settled in New York City, working as a session vocalist in addition to backup duties at the legendary Apollo Theater. Under her married name of Doris Willingham, she cut her debut solo single, "Running Away from Loneliness," for the tiny Hy-Monty label in 1966; "You Can't Do That" followed two years later on Jay Boy. Despite solid reviews, neither record made a commercial splash, and she returned to her session career, often commuting to Philadelphia to record with the production team of Kenny Gamble and Leon Huff. When former Atlantic Records producer Jerry "Swamp Dogg" Williams Jr. struck out on his own, he signed the singer and renamed her Doris Duke, recording the 1969 LP I'm a Loser at Capricorn, Phil Walden's studio in Macon, GA.
Though considered the finest deep soul record of all time by no less than soul expert Dave Godin, I'm a Loser was rejected by dozens of labels before it finally surfaced on Wally Roker's Canyon label. Although the first single, "To the Other Woman," cracked Billboard's R&B Top Ten, Canyon soon spiraled into financial disaster, destroying the album's commercial momentum. Duke spent the next several years in creative limbo, finally reuniting with Swamp Dogg for 1975's Mankind label release A Legend in Her Own Time -- their partnership ended acrimoniously prior to its release, however, and the record received scant attention. Duke next resurfaced on the British label Contempo with Woman, a much-acclaimed set released stateside on the Scepter imprint. After 1981's Manhattan set Funky Fox, she retired from music, and at the time of this writing her whereabouts and activities are unknown.
Biography by Jason Ankeny (Allmusic)
Thursday, July 3, 2008
BARBARA MASON
boomp3.com
Oh How It Hurts: Barbara Mason's second album was released in 1968 on Artic Records. She had 14 albums with Artic. This is NOT that album. In 1996 Bear released a compilation of her hits - and called it by the same name. THIS is that compilation - 26 tunes by Barbara! And I have to say - I love the Bear collections - hard to get though.
If you want the writeup from Allmusic - it is there - I didn't agree with it - so not posting it!!
TRAKBUV - in your comments at Baby Brotha's you said that your 'fav' was 'Shakin UP' - It WAS not on the Bear Share compilation - but it is on her Greatest Hits issued in 2003 .... so with a little creative license LOL - it is now on the Bear as a bonus - Hope I got you the right song!!!
AS you can see Trakbuv and I are having a running dialogue on Shackin' Up - here is the first version (according to him) .... LOL - and I don't honestly remember which version came first - so have a listen to this version ..... Sheesh! That will teach me to add a bonus - LOL
boomp3.com
Looks like on each album the version is slightly different - Another Man has a version, Lady Love has a version, Greatest Hits has a version - LOL - and I've given up checking!!! AT least we know he has his 'fav' Barb Mason song .....
Oh How It Hurts: Barbara Mason's second album was released in 1968 on Artic Records. She had 14 albums with Artic. This is NOT that album. In 1996 Bear released a compilation of her hits - and called it by the same name. THIS is that compilation - 26 tunes by Barbara! And I have to say - I love the Bear collections - hard to get though.
If you want the writeup from Allmusic - it is there - I didn't agree with it - so not posting it!!
TRAKBUV - in your comments at Baby Brotha's you said that your 'fav' was 'Shakin UP' - It WAS not on the Bear Share compilation - but it is on her Greatest Hits issued in 2003 .... so with a little creative license LOL - it is now on the Bear as a bonus - Hope I got you the right song!!!
AS you can see Trakbuv and I are having a running dialogue on Shackin' Up - here is the first version (according to him) .... LOL - and I don't honestly remember which version came first - so have a listen to this version ..... Sheesh! That will teach me to add a bonus - LOL
boomp3.com
Looks like on each album the version is slightly different - Another Man has a version, Lady Love has a version, Greatest Hits has a version - LOL - and I've given up checking!!! AT least we know he has his 'fav' Barb Mason song .....
Wednesday, July 2, 2008
J. BLACKFOOT
boomp3.com
Name sound familiar??? It should - as far as I'm concerned he was the most distinctive voice in the Soul Children.
And even though we (Throwback music & Trakbuv) have uploaded the discography of the Soul Children - I had to let you know - "It Ain't Over Till It's Over" .....
Daddy B. Nice's #32 ranked Southern Soul Artist
Name sound familiar??? It should - as far as I'm concerned he was the most distinctive voice in the Soul Children.
And even though we (Throwback music & Trakbuv) have uploaded the discography of the Soul Children - I had to let you know - "It Ain't Over Till It's Over" .....
Daddy B. Nice's #32 ranked Southern Soul Artist
LITTLE ANTHONY & THE IMPERIALS
boomp3.com
TIME FOR SOME REAL 'THROWBACK MUSIC' - LOL - DOO WOP
I remember when I first became REALLY aware of this group - I heard their song Shimmy Shimmy Ko Bop - Ya know a song filters through your brain - and you go 'who is that'? THAT song was my wake-up call to really pay MORE attention to this group - they could throw curve balls ...
I had no idea I already knew their music, I couldn't grasp the concept that he had been singing silky smooth doo wop like 'Tears On My Pillow', 'Prayer & A Jukebox', 'Take Me Back' with Shimmy Shimmy. Shimmy Shimmy was so very different from their other stuff. I was sure it had to be a different group. Went and bought Shimmy Shimmy, sorted through my 45's and sure enuf - one and the same group. (Of course, after listening to him for over 40 years - I can't believe I didn't recognize THAT voice.) Shimmy Shimmy began my fascination with Tony & the Boys for many years to come .... I was always sure he could sing the phone book and it would sound wonderful .... at least to me.... So I'm gonna do their best stuff - and some of his lesser known stuff ....
Doo Wop was not even a termed kicked around in my neighbourhood at that time. Mostly everyone was into 'Elvis the Pelvis" ....
Bio:
Little Anthony & the Imperials enjoyed one of the longest career runs of any doo wop group, adapting their honey-smooth style to fit the sweet uptown soul sound of the mid-'60s. Right from the beginning, Little Anthony's aching way with a ballad was the group's calling card, but their repertoire was balanced by more R&B-inflected dance tunes. Little Anthony was born Jerome Anthony Gourdine in 1940, and grew up in Brooklyn's Fort Greene projects. While in high school, he sang in a doo wop group called the Duponts, who recorded a single called "Prove It Now" in 1957. They disbanded after graduation, however, and Gourdine joined another group called the Chesters, which had been formed by his friend Clarence Collins (baritone) and also featured longtime friend Ernest Wright, Jr. (tenor); the other members were Tracy Lord (tenor) and Nat Rogers (bass). After a one-off single for Apollo, they landed a record deal with the End label in 1958, at which point their name was changed to the Imperials. ("Little Anthony" was later tagged onto the beginning by DJ Alan Freed.)
The Imperials' first single for End was the classic heartache ballad "Tears on My Pillow," a Top Five smash on both the pop and R&B charts. Little Anthony's dramatic interpretation was certainly helped in the public eye by his youthful-sounding voice and name, which recalled the recently popular Frankie Lymon. The single's B-side, "Two People in the World," was also something of a hit, making the Imperials one of the hottest vocal groups around. Landing a follow-up hit proved difficult, however; the group charted several singles -- "So Much," "Wishful Thinking," "A Prayer and a Juke Box" -- without even approaching their earlier success. Finally, the novelty dance track "Shimmy, Shimmy, Ko-Ko-Bop" caught on in 1960 and returned Little Anthony & the Imperials to the upper reaches of the charts (though it missed the Top Ten). The follow-ups "My Empty Room" and "Please Say You Want Me" flopped, however, and Little Anthony decided to try a solo career in late 1961.
The Imperials continued on with a new lineup of Collins, Wright, Sammy Strain, and George Kerr, the latter of whom was replaced by Kenny Seymour in 1962. Neither Little Anthony nor his erstwhile group had any luck on their own, and in late 1963 he returned to the fold, replacing Seymour. The next summer, the reconstituted Imperials signed with the DCP label, where producer/songwriter Teddy Randazzo made them a priority. His first effort with the group, "I'm on the Outside (Looking In)," reached number 15 on both the pop and R&B charts in 1964, reestablishing the Imperials as a commercial presence. The follow-up, "Goin' Out of My Head," was a smash, returning them to the pop Top Ten for the first time since "Tears on My Pillow"; it was covered quite often in the years that followed, and grew into something of a pop standard. The Imperials' streak of good fortune continued with the equally dramatic ballad "Hurt So Bad," another Top Ten hit that also became their second R&B Top Fiver in 1965. A couple of smaller hits followed later that year in "I Miss You So" and the pop/R&B Top 20 "Take Me Back."
Little Anthony & the Imperials continued to chart singles over the next several years, but only one -- 1969's "Out of Sight, Out of Mind" -- breached the Top 50 on either the pop or R&B sides. That same year, the group switched labels to United Artists, and Ernest Wright, Jr. departed to join singer Tony Williams' latter-day version of the Platters. He was replaced by a returning Kenny Seymour, who was in turn replaced by Bobby Wade in 1971, the year of the group's last chart single, "Help Me Find a Way (To Say I Love You)." Sammy Strain left in 1972 and wound up joining the O'Jays four years later; his replacement was Harold Jenkins. Little Anthony himself left the group a second time in 1975 to pursue solo recording as well as an acting career, which effectively spelled the end of the road; nonetheless, a Collins-led lineup did manage to score one last hit in the U.K., 1977's "Who's Gonna Love Me." Little Anthony became a born-again Christian in 1978 and subsequently recorded a gospel album, Daylight. Anthony, Collins, Wright, and Strain reunited in 1992 and toured the oldies circuit steadily thereafter.
Biography by Steve Huey (Allmusic)
TIME FOR SOME REAL 'THROWBACK MUSIC' - LOL - DOO WOP
I remember when I first became REALLY aware of this group - I heard their song Shimmy Shimmy Ko Bop - Ya know a song filters through your brain - and you go 'who is that'? THAT song was my wake-up call to really pay MORE attention to this group - they could throw curve balls ...
I had no idea I already knew their music, I couldn't grasp the concept that he had been singing silky smooth doo wop like 'Tears On My Pillow', 'Prayer & A Jukebox', 'Take Me Back' with Shimmy Shimmy. Shimmy Shimmy was so very different from their other stuff. I was sure it had to be a different group. Went and bought Shimmy Shimmy, sorted through my 45's and sure enuf - one and the same group. (Of course, after listening to him for over 40 years - I can't believe I didn't recognize THAT voice.) Shimmy Shimmy began my fascination with Tony & the Boys for many years to come .... I was always sure he could sing the phone book and it would sound wonderful .... at least to me.... So I'm gonna do their best stuff - and some of his lesser known stuff ....
Doo Wop was not even a termed kicked around in my neighbourhood at that time. Mostly everyone was into 'Elvis the Pelvis" ....
Bio:
Little Anthony & the Imperials enjoyed one of the longest career runs of any doo wop group, adapting their honey-smooth style to fit the sweet uptown soul sound of the mid-'60s. Right from the beginning, Little Anthony's aching way with a ballad was the group's calling card, but their repertoire was balanced by more R&B-inflected dance tunes. Little Anthony was born Jerome Anthony Gourdine in 1940, and grew up in Brooklyn's Fort Greene projects. While in high school, he sang in a doo wop group called the Duponts, who recorded a single called "Prove It Now" in 1957. They disbanded after graduation, however, and Gourdine joined another group called the Chesters, which had been formed by his friend Clarence Collins (baritone) and also featured longtime friend Ernest Wright, Jr. (tenor); the other members were Tracy Lord (tenor) and Nat Rogers (bass). After a one-off single for Apollo, they landed a record deal with the End label in 1958, at which point their name was changed to the Imperials. ("Little Anthony" was later tagged onto the beginning by DJ Alan Freed.)
The Imperials' first single for End was the classic heartache ballad "Tears on My Pillow," a Top Five smash on both the pop and R&B charts. Little Anthony's dramatic interpretation was certainly helped in the public eye by his youthful-sounding voice and name, which recalled the recently popular Frankie Lymon. The single's B-side, "Two People in the World," was also something of a hit, making the Imperials one of the hottest vocal groups around. Landing a follow-up hit proved difficult, however; the group charted several singles -- "So Much," "Wishful Thinking," "A Prayer and a Juke Box" -- without even approaching their earlier success. Finally, the novelty dance track "Shimmy, Shimmy, Ko-Ko-Bop" caught on in 1960 and returned Little Anthony & the Imperials to the upper reaches of the charts (though it missed the Top Ten). The follow-ups "My Empty Room" and "Please Say You Want Me" flopped, however, and Little Anthony decided to try a solo career in late 1961.
The Imperials continued on with a new lineup of Collins, Wright, Sammy Strain, and George Kerr, the latter of whom was replaced by Kenny Seymour in 1962. Neither Little Anthony nor his erstwhile group had any luck on their own, and in late 1963 he returned to the fold, replacing Seymour. The next summer, the reconstituted Imperials signed with the DCP label, where producer/songwriter Teddy Randazzo made them a priority. His first effort with the group, "I'm on the Outside (Looking In)," reached number 15 on both the pop and R&B charts in 1964, reestablishing the Imperials as a commercial presence. The follow-up, "Goin' Out of My Head," was a smash, returning them to the pop Top Ten for the first time since "Tears on My Pillow"; it was covered quite often in the years that followed, and grew into something of a pop standard. The Imperials' streak of good fortune continued with the equally dramatic ballad "Hurt So Bad," another Top Ten hit that also became their second R&B Top Fiver in 1965. A couple of smaller hits followed later that year in "I Miss You So" and the pop/R&B Top 20 "Take Me Back."
Little Anthony & the Imperials continued to chart singles over the next several years, but only one -- 1969's "Out of Sight, Out of Mind" -- breached the Top 50 on either the pop or R&B sides. That same year, the group switched labels to United Artists, and Ernest Wright, Jr. departed to join singer Tony Williams' latter-day version of the Platters. He was replaced by a returning Kenny Seymour, who was in turn replaced by Bobby Wade in 1971, the year of the group's last chart single, "Help Me Find a Way (To Say I Love You)." Sammy Strain left in 1972 and wound up joining the O'Jays four years later; his replacement was Harold Jenkins. Little Anthony himself left the group a second time in 1975 to pursue solo recording as well as an acting career, which effectively spelled the end of the road; nonetheless, a Collins-led lineup did manage to score one last hit in the U.K., 1977's "Who's Gonna Love Me." Little Anthony became a born-again Christian in 1978 and subsequently recorded a gospel album, Daylight. Anthony, Collins, Wright, and Strain reunited in 1992 and toured the oldies circuit steadily thereafter.
Biography by Steve Huey (Allmusic)
Tuesday, July 1, 2008
THE THREE DEGREES
boomp3.com
BEFORE you all get really excited about this version of Love Train IT is performed by the Three Degrees & Harold Melvin & The Blue Notes.
IT IS NOT on the Roulette Years. (this post) I'm not actually sure where it originated from. But it sure would be a heck of an album to lay hands on.
Why have I posted this?? Today is my friend Duley's Birthday. And I wanted to give him a song he probably didn't have. He is always looking for obsure (odd?) songs from me. I guess he thinks I only have obscure stuff!! LOL!
HAPPY BIRTHDAY MY MEIHO ....
THIS SONG IS ON THE ROULETTE YEARS- IT IS ONE OF Baby Brothas (YA-BOY'S) FAVS .....
boomp3.com
The Three Degrees
When you hear the name, The Three Degrees, you immediately think of their most famous song, "When Will I See You Again", and the vision of three beautiful ebony women, perfectly co-ordinated in both their dance routines and their vocal harmonies. True, "When Will I See You Again" was a major hit record throughout the world, topping the chart in the U.S.A., the U.K, Japan and most European countries, earning the trio every conceivable accolade at the time -- not to mention enough Gold records to make Fort Knox a little envious!
More than two decades on, the threesome have retained all three of their major qualities -- their beauty, their sparkling choreography and their precise vocal qualities. And, in between, they have amassed an impressive list of hit records.
Today, the line-up consists of Valerie Holiday, Helen Scott and Cynthia Garrison.
The actual beginning of the group dates back more than 3 decades, when their then-manager, the enigmatic Richard Barrett brought three young teenagers together in Philadelphia. After a couple of years of constant rehearsing and local record hops, the group made its first mark on the recording scene by way of the Philly-based Swan Records.
But they were tough days for the teenagers! "I remember taking the bus to rehearsals every day," recalls Helen. "We'd rehearse until 8 or 9 o'clock every night and on weekends. And we'd play local record hops whenever we could. Gradually, we started to make noise outside of Philadelphia and we went to Pittsburgh, into Ohio and Rhode Island. Always on weekends, though, because we were all still at school."
During the Swan years, the group's line up was Helen, Fayette Pinkney and Janet Harmon. Their biggest success on Swan was probably "Gee Baby", which featured Fayette on lead vocals. "Those original recordings were quite different from the way we record now," Helen reflects. "We would record with a 'live' band, all in one room at the same time. Only towards the end of the years with Swan did we record our vocals after the band had finished recording the tracks. Many of the musicians went on to become members of MFSB and I remember when Kenny Gamble would come by the office and the studio to tout his songs!
"You know, we were just happy-go-lucky teenagers...we had no big expectations and we did it for the sheer pleasure of music. We just wanted to sing! I remember getting my first TV paycheck...it was for $90 and I thought I'd hit the jackpot. To a fifteen year old, that was a lot of money."
Soon thereafter Helen got married and left the group. By this time, they had signed with New York-based Roulette Records and the line-up was Fayette, Valerie Holiday and Sheila Ferguson and this line-up was to remain intact for their glory years with Roulette and Philadelphia International.
The hits began with a remake of the Chantels 1958 hit, "Maybe" and continued through "I Do Take You", "You're The One", "There's So Much Love All Around Me" (all produced by Barrett) and closed out with "Trade Winds" for Roulette. It was during this two-year span that they made a cameo appearance in the movie, "The French Connection", singing "Everybody Gets To Go To The Moon", portraying themselves in a cabaret scene.
In 1972, they aligned their recording fate with Gamble and Huff's Philadelphia International label and hit immediate paydirt in 1972 with "Dirty Ol Man". Soon after came "TSOP", which featured the ladies with MFSB. The following year came 'When Will I See You Again". "The whole Philadelphia Sound was the brainchild of Kenny (Gamble) and Leon (Huff)," Valerie explains. "They wrote and produced most of the hits...Harold Melvin & the Blue Notes, the O'Jays, Billy Paul, the Intruders. In all honesty, we weren't aware of the potential of the label when we first signed but at our first session with them, we felt the magic. It was different from anything we had ever experienced before.
"To be perfectly honest, I didn't hear "When Will I See You Again"! We had released "Dirty Ol Man" as the first single and, to me, it was just another track on the album! I really wasn't knowledgeable enough to be a good judge.
"I was very disappointed when we left the label. I thought that Kenny and Leon were the best writers and producers we had ever worked with. I liked their work and I liked working with them. To this day, Richard Barrett has never explained why we left!"
During their 3 year stint with Philadelphia International, they enjoyed a good measure of success with "Year Of Decision", "Take Good Care Of Yourself" and, again with MFSB, "Love Is The Message".
It was during this era that the threesome made their biggest forward strides. A great deal of attention has been given to the fact that Prince Charles publicly acclaimed The Three Degree as his favourite group....Charlie's Angels, they were tagged! "It was a great feeling...a feeling of awe," is how Valerie remembers this accolade. "Going to Buckingham Palace was......I'm lost for words! The British royal family was an institution and it really didn't sink in at the time the magnitude of the people we were meeting. But the British people....the actual people...also took to us very quickly and very warmly and that warmth has always remained."
"It was actually the press who tagged us Charlie's Angels," Helen interjects. "I don't know if Prince Charles himself ever said that. But we did many charity events for several members of the Royal Family and we met Princess Diana, of course. In fact, on one occasion, just after she had given birth to Prince Harry and I was pregnant with my daughter, Karis, she whispered to me that she thought she was pregnant, too!"
In fact, The Three Degrees were invited guests at the wedding reception of Princess Diana and Prince Charles. "The only other American guest was Nancy Reagan and (actress) Susan George was the only other show business guest." Helen recalls.
Helen had rejoined the group in 1976, replacing Fayette. They moved on to Epic Records, where one album was released but did not achieve any major success for the ladies. A year later, they teamed up with Giorgio Moroder (he of Donna Summer fame) and a new string of hits began. "Giving Up, Giving In", "My Simple Heart" and the lush ballad, "Woman In Love", were the highlights of this period.
In 1986, Sheila decided to leave the group and after a short period of regrouping, Valerie and Helen brought in Cynthia Garrison and set about their business again. Ever since, they have been constantly touring all over the world, occasionally recording but always working.
Their hard work in the early years has held them in good stead for today's more demanding audiences. "For us, it is still exciting and we still enjoy our work," Valerie points out. "We are blessed with a wide age group appeal....from fifteen to sixty-five. This is why we have survived, I think. We learned and were taught how to entertain and even before we had hit records, we knew how to do our job -- our choreography, our costumes, the lights...these were all things that we learned at an early age."
"I think we have done many firsts in our career."Helen adds. "We have opened a lot of doors for other entertainers. In some cases, we may not have always succeeded but we have never given up. It still amazes me when we see teenagers singing along with our songs. And yet we still have the fans who have grown with us."
Cindy is, after 14 years, still the baby of the group! "It was a little frightening at the beginning," she recalls. "I had sung background for several artists (Millie Jackson, Change, Kathy Sledge and Brandy Wells) but I had never been a full member of a group before. I felt good from the first time I met Helen and Valerie. We got on great right from that first meeting. They were very down to earth and made me feel comfortable. My first tour was to Japan (in 1990) and I remember I didn't know all of the choreographs for the songs....it was difficult but I enjoyed it very much and still do!"
So, after more than three decades of existence, the Three Degrees can still make the claim as being the longest running female vocal group in history....see the Guiness Book of Records for confirmation of this fact! And they show no signs of slowing down!
Group personnel listing:
1963 Fayette Pinckney, Linda Turner, Shirley Poole
1963 Fayette, Helen Scott, Janet Harmon
1966 Fayette, Janet, Sheila Ferguson
1967 Fayette, Sheila, Valerie Holiday
1976 Sheila, Valerie, Helen Scott (return)
1986 Valerie, Helen, Vera Brown
1987 Valerie, Helen, Rhea Harris
1988 Valerie, Helen, Victoria Wallace
1989 Valerie, Helen, Cynthia Garrison
BEFORE you all get really excited about this version of Love Train IT is performed by the Three Degrees & Harold Melvin & The Blue Notes.
IT IS NOT on the Roulette Years. (this post) I'm not actually sure where it originated from. But it sure would be a heck of an album to lay hands on.
Why have I posted this?? Today is my friend Duley's Birthday. And I wanted to give him a song he probably didn't have. He is always looking for obsure (odd?) songs from me. I guess he thinks I only have obscure stuff!! LOL!
HAPPY BIRTHDAY MY MEIHO ....
THIS SONG IS ON THE ROULETTE YEARS- IT IS ONE OF Baby Brothas (YA-BOY'S) FAVS .....
boomp3.com
The Three Degrees
When you hear the name, The Three Degrees, you immediately think of their most famous song, "When Will I See You Again", and the vision of three beautiful ebony women, perfectly co-ordinated in both their dance routines and their vocal harmonies. True, "When Will I See You Again" was a major hit record throughout the world, topping the chart in the U.S.A., the U.K, Japan and most European countries, earning the trio every conceivable accolade at the time -- not to mention enough Gold records to make Fort Knox a little envious!
More than two decades on, the threesome have retained all three of their major qualities -- their beauty, their sparkling choreography and their precise vocal qualities. And, in between, they have amassed an impressive list of hit records.
Today, the line-up consists of Valerie Holiday, Helen Scott and Cynthia Garrison.
The actual beginning of the group dates back more than 3 decades, when their then-manager, the enigmatic Richard Barrett brought three young teenagers together in Philadelphia. After a couple of years of constant rehearsing and local record hops, the group made its first mark on the recording scene by way of the Philly-based Swan Records.
But they were tough days for the teenagers! "I remember taking the bus to rehearsals every day," recalls Helen. "We'd rehearse until 8 or 9 o'clock every night and on weekends. And we'd play local record hops whenever we could. Gradually, we started to make noise outside of Philadelphia and we went to Pittsburgh, into Ohio and Rhode Island. Always on weekends, though, because we were all still at school."
During the Swan years, the group's line up was Helen, Fayette Pinkney and Janet Harmon. Their biggest success on Swan was probably "Gee Baby", which featured Fayette on lead vocals. "Those original recordings were quite different from the way we record now," Helen reflects. "We would record with a 'live' band, all in one room at the same time. Only towards the end of the years with Swan did we record our vocals after the band had finished recording the tracks. Many of the musicians went on to become members of MFSB and I remember when Kenny Gamble would come by the office and the studio to tout his songs!
"You know, we were just happy-go-lucky teenagers...we had no big expectations and we did it for the sheer pleasure of music. We just wanted to sing! I remember getting my first TV paycheck...it was for $90 and I thought I'd hit the jackpot. To a fifteen year old, that was a lot of money."
Soon thereafter Helen got married and left the group. By this time, they had signed with New York-based Roulette Records and the line-up was Fayette, Valerie Holiday and Sheila Ferguson and this line-up was to remain intact for their glory years with Roulette and Philadelphia International.
The hits began with a remake of the Chantels 1958 hit, "Maybe" and continued through "I Do Take You", "You're The One", "There's So Much Love All Around Me" (all produced by Barrett) and closed out with "Trade Winds" for Roulette. It was during this two-year span that they made a cameo appearance in the movie, "The French Connection", singing "Everybody Gets To Go To The Moon", portraying themselves in a cabaret scene.
In 1972, they aligned their recording fate with Gamble and Huff's Philadelphia International label and hit immediate paydirt in 1972 with "Dirty Ol Man". Soon after came "TSOP", which featured the ladies with MFSB. The following year came 'When Will I See You Again". "The whole Philadelphia Sound was the brainchild of Kenny (Gamble) and Leon (Huff)," Valerie explains. "They wrote and produced most of the hits...Harold Melvin & the Blue Notes, the O'Jays, Billy Paul, the Intruders. In all honesty, we weren't aware of the potential of the label when we first signed but at our first session with them, we felt the magic. It was different from anything we had ever experienced before.
"To be perfectly honest, I didn't hear "When Will I See You Again"! We had released "Dirty Ol Man" as the first single and, to me, it was just another track on the album! I really wasn't knowledgeable enough to be a good judge.
"I was very disappointed when we left the label. I thought that Kenny and Leon were the best writers and producers we had ever worked with. I liked their work and I liked working with them. To this day, Richard Barrett has never explained why we left!"
During their 3 year stint with Philadelphia International, they enjoyed a good measure of success with "Year Of Decision", "Take Good Care Of Yourself" and, again with MFSB, "Love Is The Message".
It was during this era that the threesome made their biggest forward strides. A great deal of attention has been given to the fact that Prince Charles publicly acclaimed The Three Degree as his favourite group....Charlie's Angels, they were tagged! "It was a great feeling...a feeling of awe," is how Valerie remembers this accolade. "Going to Buckingham Palace was......I'm lost for words! The British royal family was an institution and it really didn't sink in at the time the magnitude of the people we were meeting. But the British people....the actual people...also took to us very quickly and very warmly and that warmth has always remained."
"It was actually the press who tagged us Charlie's Angels," Helen interjects. "I don't know if Prince Charles himself ever said that. But we did many charity events for several members of the Royal Family and we met Princess Diana, of course. In fact, on one occasion, just after she had given birth to Prince Harry and I was pregnant with my daughter, Karis, she whispered to me that she thought she was pregnant, too!"
In fact, The Three Degrees were invited guests at the wedding reception of Princess Diana and Prince Charles. "The only other American guest was Nancy Reagan and (actress) Susan George was the only other show business guest." Helen recalls.
Helen had rejoined the group in 1976, replacing Fayette. They moved on to Epic Records, where one album was released but did not achieve any major success for the ladies. A year later, they teamed up with Giorgio Moroder (he of Donna Summer fame) and a new string of hits began. "Giving Up, Giving In", "My Simple Heart" and the lush ballad, "Woman In Love", were the highlights of this period.
In 1986, Sheila decided to leave the group and after a short period of regrouping, Valerie and Helen brought in Cynthia Garrison and set about their business again. Ever since, they have been constantly touring all over the world, occasionally recording but always working.
Their hard work in the early years has held them in good stead for today's more demanding audiences. "For us, it is still exciting and we still enjoy our work," Valerie points out. "We are blessed with a wide age group appeal....from fifteen to sixty-five. This is why we have survived, I think. We learned and were taught how to entertain and even before we had hit records, we knew how to do our job -- our choreography, our costumes, the lights...these were all things that we learned at an early age."
"I think we have done many firsts in our career."Helen adds. "We have opened a lot of doors for other entertainers. In some cases, we may not have always succeeded but we have never given up. It still amazes me when we see teenagers singing along with our songs. And yet we still have the fans who have grown with us."
Cindy is, after 14 years, still the baby of the group! "It was a little frightening at the beginning," she recalls. "I had sung background for several artists (Millie Jackson, Change, Kathy Sledge and Brandy Wells) but I had never been a full member of a group before. I felt good from the first time I met Helen and Valerie. We got on great right from that first meeting. They were very down to earth and made me feel comfortable. My first tour was to Japan (in 1990) and I remember I didn't know all of the choreographs for the songs....it was difficult but I enjoyed it very much and still do!"
So, after more than three decades of existence, the Three Degrees can still make the claim as being the longest running female vocal group in history....see the Guiness Book of Records for confirmation of this fact! And they show no signs of slowing down!
Group personnel listing:
1963 Fayette Pinckney, Linda Turner, Shirley Poole
1963 Fayette, Helen Scott, Janet Harmon
1966 Fayette, Janet, Sheila Ferguson
1967 Fayette, Sheila, Valerie Holiday
1976 Sheila, Valerie, Helen Scott (return)
1986 Valerie, Helen, Vera Brown
1987 Valerie, Helen, Rhea Harris
1988 Valerie, Helen, Victoria Wallace
1989 Valerie, Helen, Cynthia Garrison
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