Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
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Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some
are recording dates and may not be everywhere clearly distinguished. 3.
Reissues are used to represent originals without much discussion. |
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This page is intended to cover
bands and musicians releasing their first records before 1970. We here
indulge in a little prehistory of rock and roll and witness its early
development via such as jump blues, rhythm and blues, etc.. Rock music originated in the forties, quite before its boom
in the fifties and various tunes which people are fond of naming the
"first" rock and roll song ('Rocket 88', for example). Indeed, the
decision as to whether R&B musicians are placed on this page or in
Fifties Rock is sometimes something arbitrary,
as numerous belong in both. Be as
may, the difference between R&B and rock and roll was,
at the time, a matter of billing and the audience that was sought, black
or white. As for later soul music, that, simplified, is R&B of gospel influence. One might think of R&B
as secular, soul otherwise. It had its origins in the latter fifties (Ray
Charles, say, and others on this page), its importance as a genre
extending into the Motown period, its decline in the early seventies
something coinciding with the origins of disco, also on this page.
"Disco" arose out "discothèque," which is what nightclubs in Occupied
France during World War II were called, there being restrictions against
live music such that records were played instead. That type of nightclub,
employing disc jockeys alike radio did, naturally shortened to "disco" and
came into wide usage both in Europe and the United States about 1960. Some early
R&B artists (Roy Brown, James Brown, etc.) are listed at
Fifties Rock because the only difference
between R&B and rock & roll during the latter's early period was that R&B
was marketed to chocolate folk, rock to vanilla. Indexing Fifties Rock per
rock n roll rather than audience leaves a few missing from this page. Others
absent are several who help fill out Boogie
Woogie (Tiny Bradshaw, Johnny Otis, et al). R&B by musicians who were in early
doo wop groups (the Platters, Little Anthony & the Imperials, etc.) are in Doo Wop,
though a few on this page were no strangers to that. As well, not a few
gospel singers engaged in R&B, even as gospel would become a major element
in soul music. Those closer to the
roots of gospel are indexed in Blues 5.
Nice introductions to R&B,
soul and
disco at Survey of American Popular Music.
See also Scaruffi on
R&B and
soul.
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'Rock & Roll' Early Use of the Term Before diving into R&B it is well to document a few of its progenitors. As a term, "rock & Roll" once referred to intimacy. "Roll" has long meant sex across cultures, from Ferdinand Morton assuming the out-front name, Jelly Roll Morton, as a teenager to country folk taking a "roll in the hay". It was 1954 when disc jockeys commonly began using the term to sell rhythm and blues to white audiences. Credit for naming the genre is generally given to Cleveland R&B disc jockey, Allan Freed, in the interest of getting chickens to listen to rhythm and blues produced by black musicians [1, 2, 3, 4]. Among the earliest uses of "rock" and "roll" in music are by blues musician, Trixie Smith, first recording in 1922 with 'My Man Rocks Me (With One Steady Roll)'. The tracks below bear no resemblance to rock n roll music three decades later, but it's the idiom (and "blues" part of rhythm and blues) we address for who might wonder how rock and roll came to be called rock and roll. More Trixie Smith at Blues 2. Trixie Smith 1922 My Man Rocks Me (With One Steady Roll) Composition: J. Berni Barbour Trixie Smith 1938 Composition: J. Berni Barbour
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Trixie Smith Source: Yehoodi |
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"Rock" was given a metaphorical Christian theme in 1926 by
Clara Smith on Columbia 14138-D. More Clara Smith
who began issuing records in 1923 at
Blues 2. Clara Smith 1926 Composition: Stanley S. Miller
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Boswell Sisters Source: Queer Music Heritage
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'Rock and Roll' by the Boswell Sisters, 1934, may have more to do with bobbing over waves of water in a boat than rock and roll, though there could be wavelength similarities. That was issued flip side to 'If I Had a Million Dollars' on Brunswick A 9672. The song was used in the film, 'Transatlantic Merry-Go-Round'. Be as may, R&B largely evolved from swing jazz toward the "rhythm" part of rhythm and blues. More of the Boswell Sisters, first recording in 1925, in Swing Jazz Song. Boswell Sisters 1934 Composition: Richard Whiting/Sidney Clare
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Julia Lee Photo: Gene Lester/Dave E. Dexter Jr. Collection Source: MEMIM |
The term, "rhythm and blues," is said to have been coined by record producer, Jerry Wexler, in 1947, he then working as an editor for Billboard Magazine [1, 2, 3, 4, 5]. Billboard began using the term on its charts as of 1942. Born in 1902 in Boonville, Missouri, Julia Lee [1, 2, 3] was raised in Kansas City. It was about 1920 when she began singing and playing piano in her brother's band, the George E. Lee Novelty Swing Orchestra. That was more a vaudeville operation than a jazz orchestra in its earlier years. George Lee's main rival in Kansas City during the twenties and thirties was Bennie Moten's Kansas City Orchestra. Charlie Parker would briefly play in George Lee's outfit in the thirties. Count Basie would take over Moten's operation upon the latter's death in 1935. Meanwhile Julia had long since recorded 'Waco Blues' and 'Just Wait Until I'm Gone' with the George E. Lee Novelty Swing Orchestra in June of 1923 for Okeh (matrices 8408, 8409). The fate of those is unknown. Working with her brother's orchestra to 1935, Julia made her debut recording to issue in 1927 with pianist, Jesse Stone, in George Lee's band: 'Downhome Syncopated Blues' (Meritt 2206). In 1929 George backed Julia on 'He's Tall Dark and Handsome' and 'Won't You Come Over to My House' (Brunswick 4761), Stone also in the orchestra. Lee ventured upon a solo career in 1935. In 1944 she was with Jay McShann's Kansas City Stompers for Capitol Records on 'Come on Over to My House'/'Trouble in Mind' [per BlackCatRockabilly]. 1946 witnessed 'Dream Lucky Blues'/'Lotus Blossom' for Mercury, after which she recorded by contract with Capitol Records as Julia Lee and Her Boy Friends [45Worlds]. Starting with 'Gotta Gimme Watcha Got' in 1946, Lee placed eight titles on Billboard's R&B Top Ten to 'I Didn't Like It the First Time' ('Spinach Song') in 1949. 'Snatch and Grab It' reached #1 in 1947, as did 'King Size Papa' in 1948. Lee issued titles into the fifties, also performing in the film, 'The Delinquents', in 1957. She was a major figure in Kansas City until she died of heart attack on December 8 of 1958. Julia's forte was the erotically suggestive song. Issues documented at 45worlds and Discogs. Further reading: 1, 2, 3. More Julia Lee in Blues 4. Julia Lee 1927 With George Lee Julia Lee 1929 With George Lee Composition: Julia Lee Won't You Come Over to My House With George Lee Composition: Julia Lee Julia Lee 1944 With Jay McShann Composition: Julia Lee Julia Lee 1946 Composition: Julia Lee Julia Lee 1947 Composition: Johnny Gomez/Richard Elliot Composition: Red Burns Composition: Sharon Pease I Didn't Like the First Time (Spinach Song) Composition: Johnny Gomez/Bill Gordon Composition: Yardley Yates Composition: Vernon White Julia Lee 1948 Composition: Johnny Gomez/Paul Vance Julia Lee 1949 Composition: Mildred Wax Julia Lee 1950 Composition: Richard Elliot Composition: John Kellette Composition: Yardley Yates Composition: Nacio Herb Brown/Arthur Freed 1929
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Mildred Bailey'
released the title, 'Rock It for Me' (Vocalion 4083) in 1938, nine years
after her initial issues in 1929. See
Mildred Bailey. Mildred Bailey 1938 Composition: Kay & Sue Werner
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'Rock That Thing' by
Lil Johnson went down in the summer
of 1929 for release on Vocalion 1410 [Chickenchokers]. Johnson was notably
a hokum blues (dirty blues) vocalist
[1,
2,
3,
4]. Lil Johnson 1929 Composition: From Papa Charlie Jackson's 'Shake That Thing' 1925
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Louis Jordan Source: Bio
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Born in 1908 in Brinkley, Arkansas, bandleader, saxophonist and vocalist, Louis Jordan [1, 2, 3, 4], is thought to have begun his recording career with the Jungle Band of Chick Webb on June 14, 1929, contributing alto sax and clarinet to 'Dog Bottom' in New York City. He would later perform with Webb's band at the Savoy Ballroom in 1936. Which was great until Jordan developed the notion that Ella Fitzgerald might leave Webb's orchestra to help him form his own band. Webb fired him for the attempt, after which Jordan put his own band together anyway, 'Honey In the Bee Ball' and 'Barnacle Bill the Sailor' his first recordings as a bandleader in December 20, 1938, with his Elks Rendez Vous Band. From thereon Jordan didn't miss a beat, enjoying a stellar career that rivaled the likes of Cab Calloway and Count Basie, largely with his band, the Tympany Five which debut tracks were Jordan's second session as a leader on March 29, 1939. Musicvf has Jordan charting for the first times in 1942 with 'I'm Gonna Leave You on the Outskirts of Town' at #3 and 'What's the Use of Getting Sober' at #1 on Billboard's R&B. He placed 17 more at the top of the charts to as late 1950 with 'Blue Light Boogie'. Jordan participated in well above 100 sessions into the seventies [Lord's disco] until his death by heart attack in 1975. Releases by Jordan documented at 45Worlds and Discogs at 1, 2, 3. Discography with composing credits. Jordan in visual media. See Louis Jordan at Swing Jazz Big Bands for earlier development toward R&B, including first recordings in 1929 with Chick Webb. Louis Jordan 1949 Composition: Louis Jordan/Ellis Lawrence Walsh Louis Jordan 1950 Composition: Sid Robin Composition: Steve Crlenica/Vaughn HortonLouis Jordan 1954 Composition: John Shifty HenryLouis Jordan 1956 Ain't Nobody Here But Us Chickens Composition: John Whitney/Alex Cramer Louis Jordan 1966 Filmed Live Composition: Louis Jordan/Ellis Lawrence Walsh
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'Rock Me Mama' was issued in March of 1929 on Brunswick
7059 [Discogs] by
Ikey Robinson
[1,
2].
Born in Dublin, Virginia, in 1904, Isaac "Banjo" Robinson, began working
for
Jelly Roll Morton in
Chicago in 1926. He began recording with
Jabbo Smith as well as his
own name titles in 1929, moving on to
Clarence Williams's
Jug Band in the early thirties. Ikey Robinson 1929 Composition: Ikey Robinson
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T-Bone Walker Source: Duduki |
T-Bone Walker (Aaron Thibeaux Walker) [1, 2, 3, 4, 5, 6. 7] was among the first musicians to employ the electric guitar. (Others were Alvino Rey, Charlie Christian and George Barnes.) Born in Linden, Texas, in 1910 [*], Walker began his recording career in 1929 for Columbia with 'Trinity River Blues' and 'Wichita Falls Blues' (14506-D)). Though largely a blues artist he recorded with a dose of jazz musicians as well and, like blues guitarist, Muddy Waters, would come to great prestige in the development of rock and roll via rhythm and blues. Among his more popular titles were 'Bobby Sox Blues' ('47), 'Call It Stormy Monday' ('48) and 'T-Bone Shuffle' ('49). Walker was one of the greatest musicians of the 20th century in any capacity, among the most highly regarded guitarists with whom to work until his first stroke in 1974. He would suffer a second stroke in 1975, after which bronchial pneumonia would kill him [*]. Among the numerous with whom Walker had recorded during his career were Les Hite, Freddie Slack, Marl Young, Ray Charles, Jim Wynn, Helen Humes, Walter Bishop Jr, Jack McVea, Al Killian, Dave Bartholomew, TJ Fowler, Memphis Slim, Jimmy Witherspoon, Norman Granz, Oscar Peterson, Big Joe Turner and Jay McShann. Compilation from 1929 to 1950 at Discogs. Compilation from 1940 to 1954 at Discogs. Other discos w production and songwriting credits at 1, 2, 3. Walker in visual media. More T-Bone Walker in Birth of the Blues 1. All titles below were written by Walker except as noted. T-Bone Walker 1942 T-Bone Walker 1945 T-Bone Walker 1946 Composition: T-Bone Walker/Lou Baxter
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Georgia White'
issued the title, 'Rock Me Daddy' (Decca 7436) in 1938, eight years after
her initial releases in 1930. See
Georgia White. Georgia White 1938 Composition: Richard M. Jones
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Lucky Millinder Source: Black Kudos |
Born in 1910 in Anniston, Alabama, bandleader, Lucky Millinder [1, 2, 3], was raised in Chicago. He played no instrument but was an important bridge from swing to rock and roll. He is first found on record in 1934 from a session on December 4, 1933, with the Mills' Blue Rhythm Band: 'Drop Me Off in Harlem', 'Reaching for the Cotton Moon' and 'Love Is the Thing'. In 1941 he supported Sister Rosetta Tharpe on 'Trouble In Mind', around the time that Millinder began advancing toward rhythm and blues. Millinder took on vocalist, Wynonie Harris, in 1944, then Ruth Brown. Millinder's most popular tunes were 'When the Lights Go On Again' ('42), 'Apollo Jump' ('43), 'Sweet Slumber' ('44) and 'Who Threw the Whiskey in the Well' ('45), all rising to Billboard's #1 spot in R&B [*]. He maintained a firm decade's worth of heydays until his band began to wane in popularity in the fifties, he having to take a job as a DJ in 1952, though he continued to tour and record until 1960. Millinder died in NYC six years later of a liver ailment. Documentation of his issues at 45Worlds, Discogs 1, 2 and AllMusic 1, 2, 3, 4, 5, 6. Millinder in visual media. More Lucky Millinder in Swing Jazz Big Bands. Lucky Millinder 1941 Composition: Lucky Millinder/P. Robinson/Ernest Purce Lucky Millinder 1950 Vocal: Wynonie Harris Composition: Milt Kabak/Louis Prima Lucky Millinder 1951 Vocal: John Carol Composition: Billy Briggs
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Helen Ward proposed
repentance via swinging rock and roll with
Benny Goodman in 1935. She had first recorded
on January 17, 1934, with the Ed Lloyd Orchestra for Melotone: 'This Little
Piggy Went to Market'. Main entry for Ward in Swing Jazz Song. Helen Ward 1935 Composition: Bill Livingston/J. Russel Robinson |
Helen Ward Source: From the Vaults
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Lloyd Glenn See
Blues: Lloyd Glenn. |
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Julian Dash
began his career playing alto sax but would quickly switch to tenor. Dash
is an illustration of a swing musician transitioning to R&B. Born in 1916 in
Charleston, South Carolina
[*], Dash is assumed to have been a
student at Alabama State Teachers College from '34 to '36, during which
period he played with the Charleston Nighthawks ('35), the Revellers and
the Bama State Collegians [*]. (It was 1936 when
Erskine Hawkins replaced the
Collegians' leader, Shims.) Dash apparently studied embalming in New York
after that, then ran his own band until he joined the
Erskine Hawkins Orchestra in
1938, replacing Paul Bascomb. (It was 1938 when
Hawkins changed the
Collegians' name to His Orchestra. Tenor saxophonist, Paul Bascomb, an original
member of the Collegians, made that transition.) Dash would make his name with the
Hawkins Orchestra, his first
session thought to have been on September 12 of '38 for such as 'Rockin'
Rollers Jubilee' and 'King Porter Stomp'. Dash remained with Erskine's
swing operation for years to come, Lord's disco showing a last session per
February 9, 1956, for such as 'The Yurt' and 'Waltz in Blue' with Ace
Harris at piano. Dash had begun releasing his own name titles as an
R&B musician in 1951. On December 12 of 1950 Dash recorded Mello-Roll 5001 ('My
Silent Love' and 'Creamin'') and Mello-Roll 5002 ('Going Along' and 'Long
Moan'). ('My Silent Love'/'Creamin'' may have been released as early as
that year by Mello-Roll.) 'Creamin''/'Going Along' was issued by Coral
(65094) in 1952. On February 7 of '51 Dash recorded four tracks for the
Sittin' In With label: 'Coolin' With Dash', 'Dashin' In', 'Preachin'' and
'Somebody's Gone'. He would begin recording for the Vee-Jay label in 1954.
Another operation Dash joined in the fifties was
Buck Clayton's in 1953-54, '56
and '67. Dash had joined
Clayton for such as 'Moten
Swing' and 'Sentimental Journey' in December of '53. Their last occasion
in '67 was in support of
Jimmy Rushing's 'Gee Baby, 'Ain't I Good To You' and 'Who Was It Sang
That Song?' on October 30. In May of 1970 Dash recorded his LP, 'A
Portrait of Julian'. March 6 of '72 found him backing
Jay McShann on 'Going to
Kansas City'. Releases documented by Discogs at
1,
2,
3. Dash died on February 15 of 1974 in New York City.
Bibliography: 'Charleston Jazz' by Jack McCray (Arcadia Publishing 2007).
Dash is featured on tenor
sax on 'Swingin' On Lenox Avenue' below. Erskine Hawkins Orchestra 1940 Recorded 1939 Composition: Erskine Hawkins/Bill Johnson Julian Dash/Buddy Feyne Erskine Hawkins Orchestra 1942 Recorded 1939 Composition: Don Redman Composition: Dud Bascomb/William Johnson Erskine Hawkins Orchestra 1946 Composition: William Johnson Julian Dash 1951 Julian Dash 1954 LP: 'Buck Clayton's Jam Session' Composition: Andy Gibson/Roy Alfred LP: 'Buck Clayton's Jam Session' Composition: Illinois Jacquet/Sir Charles Thompson Composition: S. Lowe Composition: Julian Dash Julian Dash 1955 Composition: Julian Dash/Sammy Lowe
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 Julian Dash Source: Charleston Jazz Initiative |
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Sister Rosetta Tharpe Source: Roq n Rol |
Gospel singer and guitarist Sister Rosetta Tharpe [*] released her first recordings in 1938 with pianist Albert Ammons and bandleader Lucky Millender. The samples below, recorded at Carnegie Hall in 1938, are also with Lucky Millender and Albert Ammons. Born in Cotton Plant, Arkansas, in 1915, Tharpe began her guitar and singing career as a young child tagging along behind her mother who was a traveling evangelist and gospel singer. Like other musicians who had difficulty reconciling religion with secular music, Tharpe had the same trouble, but blended the twain, not without controversy, nevertheless. In 1938 she was hired by Cab Calloway. She would next record with Lucky Millender the same year. Albeit Tharpe was religiously sincere and would have preferred to perform strictly gospel music, success upon need of a paycheck found her in a compromised "situation" in which the performance of secular music, or gospel amidst a secular atmosphere, got her ostracized by some of the religious community. A stroke in 1970 put an end to Tharpe's performing career, after which she had to have a leg amputated due to diabetes. She died in Philadelphia on October 9, 1973. Tharpe had composed such as 'Strange Things Happening Every Day' ('45) and 'Nobody Knows, Nobody Cares' ('47). See australiancharts for songwriting credits. See also allmusic 1, 2, 3, 4. Album catalogs at 1, 2. Tharpe in visual media. Other profiles and references for Tharpe at Blues and Swing Song. Sister Rosetta Tharpe 1938 Live at Carnegie Hall Piano: Albert Ammons Composition: Thomas Dorsey Live at Carnegie Hall Piano: Albert Ammons Composition: Rosetta Tharpe Sister Rosetta Tharpe 1943 Composition: Traditional Sister Rosetta Tharpe 1948 Duet with Marie Knight Composition: Traditional
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 Bill Doggett Source: Second Hand Songs |
Born in 1916 in Philadelphia, PA, arranger, composer and pianist/organist,
Bill Doggett [1,
2,
3,
4,
5.
6,
7] put together his first
band, the Five Majors, at age fifteen. During high school he worked in Jimmy
Gordon's pit orchestra at the Nixon Grand Theatre. Having a rough time
paying the rent in his early twenties, he also had difficulty paying his
band, so he sold it to
Lucky Millinder, then made
his first recordings with the same in NYC in late 1938 for the soundtrack to
'Readin', 'Ritin', and Rhythm' released in 1939, those titles: 'Ride, Red,
Ride' and 'Jazz Martini'. December of 1939 saw such as 'Little Old Lady From Baltimore'
and 'All Aboard', those for Varsity.
Millinder's orchestra was Doggett's
ticket to 1945. Doggett meanwhile began arranging for such as the
Ink Spots in 1942. He was with the
Ink Spots when he first recorded with
vocal giant,
Ella Fitzgerald, in NYC on November 3 of 1943 for 'Cow Cow
Boogie'. Future sessions with
Fitzgerald would arrive in '49, '50, '51, '53
and, finally, January of 1962 for 'Rhythm Is My Business'. Another
vocalist Doggett supported in the forties was
Helen Humes in June of 1945 for
such as 'Unlucky Woman' and 'Be-Baba-Leba'. Ever jazz oriented, Doggett
first surfaced in
Illinois Jacquet's All
Stars on August 2 of '45 to support Wynonie Harris
on 'Wynonie's Blues' and 'Here Comes the Blues'. Those included
Jacquet's brother,
trumpeter, Russell Jacquet. Doggett recorded on multiple occasions with
Jacquet to January of 1947
for 'For Europeans Only', 'Big Dog', etc.. Another important figure in
Doggett's career arrived in the person of Louis Jordan
in 1947, Doggett joining Jordan's
Tympany Five in Los Angeles on November 24 for such as 'Have You Got the
Gumption?' and 'We Can't Agree'. Doggett pushed into the early fifties with
Jordan's operation until latter 1951. Among those occasions was a
session with trumpet giant,
Louis Armstrong, on
August 23, 1950: 'Life Is So Peculiar' and 'You Rascal You'. January 19 of
1952 witnessed Doggett's first session as a leader, playing organ with Jimmy
Cannady on guitar and an unknown drummer for two parts of 'Big Dog Blues',
'Glo's Plug' and 'Please Don't Ever Let Me Go', the latter to which he
contributed vocals. He issued several 10" LPs in '54 and '55, then
'Moon Dust' in 1956, his initial 33 rpm LP, followed by a few more recorded
the same year. Doggett suddenly soared to Billboard's #1 tier in R&B in
1956, with 'Honky Tonk'. It there remained for a couple months and would
sell four million copies. Doggett topped the 'Cash
Box' charts in R&B from '57 to '59. Among the highlights of Doggett's
latter career was the LP, 'Lionel Hampton Presents: Bill Doggett' in 1977. Doggett issued his final LP of original material in 1991:
'The Right Choice'. March of 1995 found Doggett participating with
trumpeter,
Lester Bowie, in
guitarist/producer, Joe Ferry's, 'Hurricane' (Ferry's fourth 'Bluesiana'). He
died a couple years later in New York of heart attack on November 13 of '96.
Production and songwriting credits for Doggett titles at
1,
2,
3. Per 1939 below, excerpts are from the film, 'Paradise in Harlem'. Bill Doggett 1939 With Lucky Millinder Bill Doggett 1942 With Lucky Millinder Composition: Lucky Millinder/Trevor Bacon/Henri Woode With Lucky Millinder Composition: Lucky Millinder Someone's Rocking My Dream Boat With The Ink Spots Composition: Leon René/Otis René/Emerson Scott Bill Doggett 1955 Composition: Bill JenningsBill Doggett 1956 Composition: Billy Butler/Bill DoggettClifford Scott/Shep Shepherd Composition: Billy Butler/B. Red EllisBill Doggett 1957 Album Bill Doggett 1958 Composition: Buster HardingComposition: Billy Butler/Clifford ScottBill Doggett 1962 Composition: Bill Doggett Bill Doggett 1972 Television broadcast in France Composition: Billy Butler/Bill Doggett Clifford Scott/Shep Shepherd Bill Doggett 1978 Filmed in Nice, France Composition: Otis TurnerLP: 'Honky Tonk Popcorn King'
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Big Joe Turner See
Boogie Woogie: Big Joe Turner. |
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Buddy Johnson See
Boogie Woogie: Buddy Johnson. |
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Arthur Crudup See
Rockabilly: Arthur Crudup. |
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Rufus Thomas
was born in 1917 in Cayce, Mississippi
[1,
2]. He was in his first year of
college when he dropped out to join the
Rabbit
Foot Minstrels in 1936 as a comedian. Thomas is tentatively given a
first release date of 1941 because that's the notion multiple sources seem
to have, though minus any pertinent detail. No further record of such is
found. In 1942 he fathered
Carla
Thomas. It's said that in 1943 Thomas released 'I'll Be a Good Boy' b/w 'I'm So Worried'
on 78 for the Star Talent label in Texas. There is no documentation found
for that unless the date be changed to 1950, in which case Thomas may have
recorded those tracks (Star Talent 807) live at Currie's Club Tropicana in
Memphis, Tennessee
[1,
2,
3,
4,
5,
6,
7]. Be as may, the record didn't sell well, being one
reason Thomas was working at a textile plant since the early
forties, which employment he kept into the sixties while pursuing
a second career in music. In 1951 Thomas replaced
BB King as a disc
jockey at WDIA Radio in Memphis, where he continued a very popular show
into
the early seventies. It was 1953 when 'Bear Cat', his response to
Big Mama Thornton's 'Hound Dog' (Rock 4), put Thomas in
the spotlights. That charted at #3 on Billboard's R&B, after which he
placed five more titles in the Top Ten during his career: 'Walking the
Dog' (#4 '63), 'Jump Back' (#6 '64), 'Do the Funky Chicken' (#5 '70), 'Do
the Push and Pull' (#1 '70) and 'The Breakdown' (#2 '71)
[*]. After a strong recording career into the
seventies Thomas continued to work in radio. Titles issued well into the new millennium
weren't to match his earlier audience. He was inducted into the Blues
Hall of Fame in 2001 before dying in December that year of heart failure
in Memphis. Thomas had composed such as 'Can't Ever Let You Go' ('62), and
'Can Your Monkey Do the Dog' ('64) with Steve Cropper. Songwriting credits
to his titles at
1,
2,
3,
4. His composition, 'I'll Be a Good Boy', below, is an apt example of jump blues.
Release catalogs at
1,
2. Per Mack Rice below, Rice is also variously credited as Bonny Mack Rice and
Sir Mack Rice. Rufus Thomas 1950 Composition: Rufus Thomas Composition: Rufus Thomas Rufus Thomas 1953 Composition: Sam Phillips Composition: Joe Hill Louis/Sam Burns Composition: Rufus Thomas Rufus Thomas 1956 Composition: Rufus Thomas/Laslo Rufus Thomas 1963 Composition: B.B. King/Jules Taub Composition: Rufus Thomas Rufus Thomas 1964 Composition: Rufus Thomas Rufus Thomas 1965 Composition: Rufus Thomas Film Composition: Isaac Hayes/David Porter Rufus Thomas 1968 Composition: Rufus Thomas/Sir Mack Rice/Willie Sparks Rufus Thomas 1971 Composition: Jo Bridges/Rufus Thomas/Mack Rice/Tom Nixon Composition: Rufus Thomas Arrangement: Carl Hampton Rufus Thomas 1972 Composition: Ronald Hayes/Toby King Rufus Thomas 1973 Live performance Composition: Eddie Floyd/Mack Rice/Rufus Thomas Live performance Composition: Jo Bridges/Rufus Thomas/Mack Rice/Tom Nixon Rufus Thomas 1975 Composition: Rufus Thomas
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Rufus Thomas Source: Sixties Soul Music |
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| Ella Mae Morse See
Swing Jazz:
Ella Mae Morse. |
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Big Maybelle Source: Rubber City Review |
Born Mabel Louise Smith in 1924 in Jackson, Tennessee, rhythm and blues vocalist, Big Maybelle [1, 2, 3, 4, 5], gospel before picking up R&B a child. Wikipedia has her beginning her career at age twelve with Dave Clark's Memphis Band in 1936. She sang with the International Sweethearts of Rhythm from '36 to '44. In the early forties Maybelle became study to Christine Chapman at piano and vocals. She first recorded on April 6, 1944, with the Christine Chapman Orchestra for Decca Records: 'Bottin' the Boogie' and 'Hurry, Hurry'. She then hooked up with the Tiny Bradshaw Orchestra in Cincinnati in winter of '47 for such as 'Indian Giver' and 'Foolin' Blues' (King). Maybelle's first recordings with King Records didn't do well. But her first recording for Okeh Records on October 8 of 1952, 'Gabbin Blues', rose to No. 3 on the charts in January of '53, launching a highly successful career as she followed that later in the year with 'Way Back Home' at No. 10 in June and 'My Country Man' at No. 5 in November [*]. She was given the name, Big Maybelle, by producer, Fred Mendelsohn, of Okeh Records. Maybelle appeared in the documentary, 'Jazz on a Summer's Day', in 1959, filmed at the Newport Jazz Festival on July 5, 1958 [WorldCat]. Sadly, Maybelle died young, not quite fifty years old, of diabetic coma, in 1972 in Cleveland. Her last recordings were released the next year on an album titled, 'Last of Big Maybelle'. See allmusic for songwriting credits to some of her titles. Discos of releases at 1, 2. Earlier and other recordings in Blues 4. Big Maybelle 1953 Composition: Leroy Kirkland/Sidney Wyche Big Maybelle 1954 Composition: Leroy Kirkland/Robert Lee McCoy Big Maybelle 1956 Composition: Mack David/Joan Whitney/Alex Kramer Big Maybelle 1958 Filmed live at Newport Jazz Festival Issued '59 on 'Jazz on a Summer's Day' Filmed live at Newport Jazz Festival Issued '59 on 'Jazz on a Summer's Day' Big Maybelle 1967 Composition: Rudy Martinez
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Wynonie Harris Source: Artist Direct |
'Hurry Hurry' and 'Who Threw the Whiskey in the Well' were the first recordings made by R&B vocalist, Wynonie Harris, put down on May 26 of 1944 with Lucky Millinder. 'Hurry, Hurry' got released in 1944 on Decca 18609 with Millinder backing Judy Carroll on 'I Can't See For Looking'. 'Who Threw the Whiskey in the Well' didn't see issue until Decca 18674 in May of 1945 with the Millinder instrumental, 'Shipyard Social Function', flip side. Born in Omaha, Nebraska, in 1915 [1, 2, 3], Harris was among that group of vocalists called blues shouters, capable of singing unamplified to a hall without the band drowning them out. (Among other shouters of the day were Jimmy Rushing, Big Joe Turner, Eddie Cleanhead Vinson and Jimmy Witherspoon.) Harris dropped out of high school at age sixteen, but would soon be performing in Omaha nightclubs as a dancer with Velda Shannon, they appearing regularly at the Ritz in 1934. He was with Shannon when he began singing blues at Jim Bell's Club Harlem. At age twenty-one Harris married Olive Goodlow, she having given birth to a daughter, Patricia (Pattie), several months earlier. Leaving Pattie in the care of his mother, Harris and wife headed for Los Angeles in 1940. Apparently able to keep himself in gigs, he eventually ended up at the Rhumboogie Club in Chicago in 1943. Millinder was performing at the Regal when Harris joined his operation in March 1944, they next heading to Harlem (NYC) for a residency at the Apollo Theater, then the Savoy Ballroom. With the musician's strike of '42-'44 coming to its end, the stage was set for Harris' vocals on Millinder's 'Hurry Hurry', that reaching #4 in Billboard's Country category. (During the musician's strike of '42-'44 concerning royalties, no recording was done for major labels by union members, being most professional musicians [*]. That during World War II, the V-Disc military label, recording largely radio station performances, was an exception [1, 2]. Taking up the slack was the emergence of labels like Savoy and Apollo, musicians also recording under pseudonyms. The author at Wikipedia has that strike contributing to the decline of big bands in favor of their vocalists, less director Jack featuring Jill and more Jill backed by Jack. It was also during that strike that bebop began to surface from Dizzy Gillespie with Charlie Parker. Gillespie wrote his bopping tribute to Woody Herman, 'Woody 'n' You', for issue by Coleman Hawkins in 1944 on Apollo 751 [Discogs].) Harris' heydays ran into the early fifties, his most popular tunes being 'Good Rockin' Tonight' ('48) and 'All She Wants to Do Is Rock' ('49). Albeit Harris' recording career was a score of years long he dropped off the charts after 'Lovin' Machine' in 1952 at #5 on Billboard's R&B. His last studio session was in 1964, though those tracks weren't released during his lifetime: 'The Comeback', 'Buzzard Luck' and 'Conjured'. He died of esophageal cancer in June of 1969 in Los Angeles. Also putting his hand to composition, Harris had authored such as 'Around the Clock' and 'Baby Look at You' released in 1945. Songwriting credits for Harris' titles at 1, 2, 3, 4. Discography of issues. Other profiles: 1, 2, 3. Wynonie Harris 1944 With Lucky Millinder Composition: Richard Larkin/Benny Carter Wynonie Harris 1945 Who Threw the Whiskey In the Well With Lucky Millinder Composition: Eddie De Lange/Johnny Brooks With Oscar Pettiford & His All Stars Composition: Wynonie Harris Wynonie Harris 1948 Composition: Wynonie Harris/Theodore McRae Composition: Roy Brown Wynonie Harris 1950 Composition: Louis Innis Composition: Rudy Toombs Wynonie Harris 1951 Don't Roll Those Bloodshot Eyes at Me Composition: Ruth Hall/Hank Penny Composition: Dave Lambert/Lois Mann/O. O. Merritt Wynonie Harris 1953 Composition: Bob Schell/Henry Glover Wynonie Harris/Fred Weismantel Composition: Wynonie Harris Wynonie Harris 1954 Composition: Wynonie Harris
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Born in Cleveland in 1919, rhythm and blues musician Bull Moose Jackson [1, 2, 3] taught himself to play saxophone and formed his first band, the Harlem Hotshots, in high school. He first played professionally with Lucky Millinder, joining his band in 1943. He picked up the nickname "Bull Moose" from members of that band. Though neither featured nor distinguishable amidst the horns, the first track below for year 1944, is one of the first recordings on which Jackson performed. He formed his band, the Buffalo Bearcats, in 1945. The track, 'I Know Who Threw The Whiskey' (below), is Jackson's response to the song by Wynonie Harris, 'Who Threw the Whiskey In the Well'. It was also his first recording in his own name, backed with 'Bad Man Jackson, That's Me'. Among Jackson's more popular tunes were 'I Can't Go on Without You' and 'I Love You Yes I Do' in 1948, both topping Billboard's R&B chart the same year he appeared in the film, 'Boarding House Blues'. Jackson largely retired from music in the fifties. Lord's disco shows last recordings from his early period circa 1956 in Los Angeles for Encino Records: 'Understanding', 'Watch My Signals', et al. A compilation of recordings made for King Records would be released in 1959 by Audio Lab titled 'Bull Moose Jackson Sings His All-Time Hits'. In the meantime, weary of touring, Jackson had taken employment with a catering business in Washington D.C., though played locally. In 1961 he issued another rendition of 'I Love You, Yes I Do' per 7 Arts #705, a Warwick subsidiary. In 1983 Jackson began working with a band called the Flashcats in Pittsburgh, PA, they recording 'I Got a Gal Who Lives on a Hill' and 'Get Off the Table, Mable' on November 27 that year for issue on 45rpm. Jackson's comeback album, 'Moosemania!', followed with the Flashcats in 1985. He successfully toured the United States and internationally until dying of lung cancer in Cleveland in July of 1989. Also putting his hand to composition, Jackson authored such as 'Big Fat Mamas Are Back in Style' ('50) and 'Nosey Joe' ('52). Production and songwriting credits for his titles at 1, 2. See also Discogs 1, 2. Other profiles: 1, 2. Thanks largely to J.C. Marion at Marion-Net E-zines for dates below. Bull Moose Jackson 1944 With Lucky Millinder & Wynonie Harris Composition: Benny Carter/Richard Larkin Bull Moose Jackson 1945 Composition: Jackson Bull Moose Jackson 1947 Composition: Sally Nix/Henry Glover Composition: Sally Nix/Henry Glover Composition: Sally Nix Bull Moose Jackson 1949 Composition: B. Smith/F. Henry Bull Moose Jackson 1950 Big Fat Mamas Are Back in Style Composition: Jackson Bull Moose Jackson 1952 Composition: Fred Weismantel Composition: Jackson
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Bull Moose Jackson Source: Discogs |
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Johnny Otis See
Boogie Woogie: Johnny Otis. |
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Pianist, Joe Liggins [1, 2, 3], was older brother to Jimmy Liggins. Joe served up good examples of jump blues, which was an up-tempo blues developing out of big band swing in the early forties, smaller groups soon appearing, including Liggin's sextet, the Honeydrippers (though employing several other session musicians for recordings). Liggins was born in 1915 in Guthrie, Oklahoma. Lord's disco has him in a coin toss with pianist, E. Brooks, per participation in titles by Cee Pee Johnson and His Orchestra circa December 1943 and January of '44, those AFRS 'Jubilee' broadcasts for titles such as 'Sherman Shuffle' and 'Leave Us, Linda'. Those of uncertain contribution weren't issued until years later on CD by RST. Liggin's debut issues are thought to have been recorded in Los Angeles with his band, the Honeydrippers, on March 26 of 1945: 'Blue Moods' and two parts to 'The Honeydripper'. In 1946 his composition, 'I've Got a Right to Cry', began its way to a million copies. Ditto 'Pink Champagne' in 1950 also authored by Liggins. The majority of Liggins' sessions were his own projects. Among others he backed were Jimmie Lunceford in 1945 for recorded radio broadcasts in California, New York and Missouri. Saxophonist, Little Willie Jackson, had been one of Liggin's Honeydrippers since their first release per above in 1945. In 1947 Liggin's Honeydrippers supported numerous Jackson titles ranging from 'I Ain't Got Nobody' on September 12 to 'Someday Somehow Somewhere' on December 20. April 11 and 18, 1950, saw a couple sessions with vocalist, Goldia Haynes for titles like 'Traveling' and 'Oh Lord, How Long?'. Liggins saw the peak of his career in the fifties, though he continued to perform until his death of stroke in July of 1987 in Lynwood, CA. Among Liggins' numerous contributions to composition were such as 'You Ain't Goin' to Heaven No How' ('46), 'One Sweet Letter' ('51) and 'Do You Love Me Pretty Baby?' ('54). Production and songwriting credits for his titles at 1, 2. Other discographies at 1, 2, 3. Joe Liggins 1945 Saxophone: Little Willie Johnson Composition: Joe Liggins Joe Liggins 1947 Tenor sax: James Jackson Composition: Joe Liggins Composition: Joe Liggins Joe Liggins 1950 Composition: Joe Liggins Joe Liggins 1954 Composition: Sonny Burke/Don Raye Whiskey, Women and Loaded Dice Composition: Sticks McGhee Composition: Jerry Leiber/Mike Stoller Joe Liggins 1984 Composition: Joe Liggins Joe Liggins 1985 Composition: Joe Liggins
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Joe Liggins Source: All Music |
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Roy Milton Source: maniadb |
Boogie woogie, jump blues and R&B drummer, Roy Milton [1, 2], was born in 1915 in Wynnewood, Oklahoma. He formed his own band, the Solid Senders, in 1933 to perform in clubs in the Los Angeles area. His first recording session was with his Sextet in September of 1945 for Lionel Hampton's Hamp-Tone label: 'I'll Always Be In Love With You'/'To Be Alone Blues' and 'Burma Road Blues Part 1'/'Burma Road Blues Part 2'. On December 11 he held a practice session with his Solid Senders for Art Rupe, founder of the fledgling Juke Box label (soon to become Specialty) who had discovered Milton while out scouting about for talent one evening in Los Angeles. Those titles weren't issued, but were rendered again on December 22, netting such as 'Milton's Boogie' and 'R.M. Blues'. The former was released with Camille Howard's 'Groovy Blues' on back per Jukebox 503, the latter with 'Rhythm Cocktail' per Jukebox 504, those Specialty issues as well. Those records were so successful ('R.M. Blues' reaching the No. 2 spot on the charts) that Milton was soon earning $5000 a week from touring alone, a night at the City Auditorium in Atlanta bringing in $1500. The boon rapidly brought Milton and his wife several investments: a $25,000 house, a $20,000 touring bus, a beauty salon, an apartment building worth 23 units and the founding of the Miltone record label in July of 1947 [*]. Somehow the top of the chart eluded Milton even as he placed numerous consecutive titles into the Top Ten to as late as 1953 both as a composer and performer. Most of Milton's recordings were his own projects, though he backed other operations on occasion. Various with whom he made records throughout the years were Pete Johnson and Camille Howard in the forties. Howard (no relation to Rosetta) had been Milton's pianist since 1943 before they began recording per his Sextet, above, in 1945, those also her debut recordings. Having begun her solo career in 1953, Howard's last tracks with Milton may have been December 31, 1955, in support of Big Joe Turner, at the Shrine Auditorium for titles like 'Flip, Flop and Fly' and 'Blues'. Jimmy Witherspoon and Helen Humes came knocking in the fifties. Milton appeared at the 1970 Monterey Jazz Festival on September 19 with Johnny Otis, contributing vocals to 'Baby You Don't Know' and 'R.M. Blues'. He contributed drums and vocals to Big Joe Turner's 'Boogie Woogie Jubilee' on May 23, 1981, recorded at Turner's home to celebrate the latter's seventieth birthday. They were joined by pianist, Axel Zwingenberger. Milton passed beyond on September 18 of 1983 in Los Angeles. Milton's compositions had done him well, fourteen of them finding Billboard's Top Ten from 'Milton's Boogie' (#4 '46) to 'Early in the Morning' in (#9 '53) [*]. Production and songwriting credits for Milton's titles at 1, 2. He authored all tracks below but as noted. Discographies of issues at 1, 2. Roy Milton 1945 Roy Milton 1945 Piano & vocal: Camille Howard Composition: Camille Howard/Milton Roy Milton 1947 Piano: Camille Howard Composition: Camille Howard Roy Milton 1948 Roy Milton 1949 Roy Milton 1955 Composition: Camille Howard
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| Born in Sanford, Florida,
in 1925, vocalist Sister Marie
Knight began her music career in gospel. She started touring
as a singer in 1939 with evangelist Frances Robison
[1,
2,,
3]. Knight released her
first recordings in 1946 with a group called the Sunset Four. Briefly
afterward
Sister Rosetta Tharpe invited her to tour with her.
They issued a couple of gospel duets in 1948 that reached Billboard's Top
Ten: 'Precious Memories' at #6 and 'Up Above My Head' at #9
[*]. Knight
released 'Gospel Train' in 1949 to chug its way to #9 on the R&B
[*]. Unlike
Tharpe who would
have preferred to return to gospel from secular circumstances which were
something presented to her, Sister Knight would be looking for a way to
break into secular music. Gospel would nevertheless continue a mainstay
throughout her career. Upon ceasing to tour with
Sister Tharpe in 1951 Sister Knight put together
a gospel group called the Millionaires, which recorded the album, 'Sons of
the Gospel' in 1956. Shortly afterward she began recording secular music for
various labels. Knight and Tharpe remained friends throughout
Tharpe's
life, often performing together until
Tharpe's stroke in 1970. Knight herself
would not die until much later on August 30 of 2009 of pneumonia. Knight
had also applied herself to composition, authoring 'The Florida Storm' in
1950 and 'A Traveler's Tune' in '55. She had collaborated with
Tharpe on
'He's All I Need' in 1949. Production and songwriting credits at
45Worlds. Other discographies
w additional information at 1,
2,
3.
Knight in visual media. Marie Knight 1946 With the Sunset Four With the Sunset Four Marie Knight 1948 With Rosetta Tharpe & the Sam Price Trio Composition: Tharpe With Rosetta Tharpe & the Sam Price Trio Composition: Dorothy Austin [mislabeled: *] With Rosetta Tharpe & the Sam Price Trio Composition: Tharpe/font> Marie Knight 1954 With Rosetta Tharpe Composition: Robert acGimsey Marie Knight 1955 Composition: George Hope Marie Knight 1956 Composition: Titus Turner Marie Knight 1958 I Thought I Told You Not To Tell Them Composition: M. Jackson Marie Knight 1960 Composition: Winfield Scott Marie Knight 1962 Composition: Bob Elgin/Kay Rogers/Robert A. Gardner Marie Knight 1963 Composition: Horace Ott/Don Covay Marie Knight 1964 Composition: Bob Elgin/Jerry Ragavoy Marie Knight 1966 Composition: Bob Elgin/Vic Millrose/Tony Bruno/Harold Spina
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Marie Knight Source: Phresh |
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Amos Milburn See
Boogie Woogie: Amos Milburn. |
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R&B bass vocalist
Jimmy Ricks was
born in 1924 in Adrian, Georgia, though raised in Jacksonville, Florida
[*].
Sometime during World War II he headed north to New York City to pursue a
musical career while waiting tables at the Four Hundred Tavern. Marv
Goldberg traces Rick's professional career as a musician to as early as
1945 with a group called the Melodeers. Ricks began his recording career
with the avant-garde doo wop group, the
Ravens, in 1946
[1,
2,
3], their first issue
that year being 'Honey'/'Lullaby' (Hub 3030) [*]. He
and pianist/arranger, Howard Biggs, collaborated on three titles that
found high altitude for the
Ravens on
Billboard's R&B: 'Be on Your
Merry Way' (#13 '48), 'Send for Me If You Need Me' (#5 '48) and 'Ricky's
Blues' (#4 '49). While
with the
Ravens, Ricks fronted
Benny Goodman's swing orchestra
in 1950 toward 'Oh Babe' and 'Walkin' With the Blues'. Leaving the
Ravens in spring of 1954, Ricks returned
half a year later to remain until late '55, early '56. His
solo career was less
successful than the decade he spent with the
Ravens (a very long time,
considering the major portion of doo wop
groups to follow which were one-hit wonders). Ricks released the LP,
'Jimmy Ricks', in 1960. He and
LaVern Baker issued their duet,
'You're the Boss' (Atlantic 2090), in 1961. In 1962 he and his group, the Raves, issued 'Daddy
Rollin' Stone'/'Um Gowa' (Festival 25004) and 'Daddy Rollin'
Stone'/'Homesick' (Atco 6220)
[*]. The LP, 'Vibrations', followed in 1965,
'Tell Her You Love Her' in 1969.
Discographies w various credits at
1,
2,
3. Ricks died
young, perhaps age fifty, on July 2 of 1974 while working with the
Count Basie Orchestra. Jimmy Ricks 1946 With the Ravens Composition: Edgar Hayes/Ned Washington/Irving Mills Jimmy Ricks 1951 With Benny Goodman & Nancy Reed Composition: Louis Prima/Milton Kabak Jimmy Ricks 1953 Composition: Bill Sanford/Jimmy Ricks Jimmy Ricks 1954 Composition: Antonin Dvorak From Antonin Dvorak's 'Symphony No. 9' 1893 Jimmy Ricks 1956 With the Rickateers Composition: Jimmy Ricks Jimmy Ricks 1957 With the Suburbans Composition: Singleton/Dixon Jimmy Ricks 1959 Composition: Evans/Dixon/Sealey Composition: Thomas Jimmy Ricks 1960 Composition: Dixon/Ricks/Scinta With LaVern Baker Composition: Bill Sanford/Jimmy Ricks Jimmy Ricks 1962 With the Raves Composition: Otis Blackwell Jimmy Ricks 1967 Composition: Carl Sigmund/Charles Gates Dawes Arrangement: Horace Ott
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Jimmy Ricks Source: Rare Soul |
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Sonny Thompson Source: Second Hand Songs |
It was November of 1945 in Chicago that bandleader and pianist, Sonny Thompson [*], began recording, supporting vocalist, June Richmond, on titles like 'Hey Lawdy Mama' and 'I Haven't Changed Thing'. About summer of '46 he recorded the piano solos, 'South Side Boogie' and 'Sonny's Boogie' (Sultan 2502 and 2503). One source gives Thompson's birthdate as of August 1916, others 1923, either in Chicago or Centreville, Mississippi. Thompson topped the R&B chart twice in 1948 with his compositions, 'Late Freight' and 'Long Gone', the latter a collaboration with Lewis Simpkins. He placed four more Top Ten titles in '49 and '52 per 'Blue Dreams', 'I'll Drown in My Tears', 'Let's Call It a Day' and 'Mellow Blues'. Thompson first supported vocalist, Lula Reed, on December 14, 1951, per 'Let's Call It a Day' and 'I'll Drown My Tears'. Reed and Thompson would marry some time in the fifties, they meanwhile each the other's main musical asset for a decade, they recording numerously together to February of 1962 in Cincinnati, OH, with blues guitarist/vocalist, Freddie King, on 'Do the President Twist', 'You Can't Hide', et al. As for King, he was already becoming a major figure in Thompson's career, Thompson first joining King's operation in 1960 in time to record such as 'You Know That You Love Me' and 'See See Baby' on August 26. 'See See Baby' reached #21 on Billboard's R&B in 1961, co-written by King and Thompson. They also collaborated on King's 'Hide Away' at #5 that year as well as 'San-Ho-Zay' at #4. Thompson recorded with King to as late as September 26 of 1963 in Cincinnati for 'Surf Monkey', 'Zoo Surfin', et al. Composition was elemental to Thompson's career, he writing or co-writing numerous titles. He authored such as 'Blues for the Nightowls' issued in 1950, and 'Drive In' w 'Drive Out' in 1956. He composed 'I'm Tore Down' for release by King in 1961. Other songwriting credits at 1, 2, 3. Among Thompson's albums were 'Sonny Thompson' ('51), 'Moody Blues Play Only After Midnight' ('58), 'Sonny Thompson Swings In Paris' ('73) and 'The Blues Again' ('84). Discos of issues w various credits at 1, 2. He died in Chicago on August 11 of 1989. Per below, Thompson is at everything from swing to boogie woogie to R&B and, three decades later, disco. Sonny Thompson 1946 With June Richmond Composition: Nemo/Little/Goldsen Sonny Thompson 1948 Composition: Sonny Thompson Composition: Sonny Thompson Sonny Thompson 1950 Composition: Henry Bernard/Thompson Sonny Thompson 1951 Composition: Henry Glover/Thompson Sonny Thompson 1980 With Cosmic Force Composition: Thompson/W. J. Randolph
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Dave Bartholomew Photo: Elsa Hahne Source: Off Beat |
Born in 1918 in Edgard,
Louisiana,
trumpeter, Dave Bartholomew
[1,
2,
3,
4],
served in the Army during World War II, then put together a band, the Dew
Drippers, in 1945. It is thought he first recorded in 1947 for De Luxe,
such as: 'She’s
Got Great Big Eyes (and Great Big Thighs)'/'Bum Mae'. He began recording again
in 1949, 'Country Boy' (#14 R&B '50) among, the same year he began arranging as a bandleader
for Imperial Records, bringing Fats Domino to the label. Bartholomew began
producing Domino
in 1949, they to collaborate both as composers and performers until Domino
left Imperial Records in the early sixties
[1,
2,
3]. Highlighting innumerable samples of their
partnership was Bartholomew's arrangement of Domino's 'Blueberry Hill'
(Rose-Stock-Lewis) in '56
[*].
Another highlight in Bartholomew's career was work with
T-Bone Walker in 1953-54. Among first titles for Imperial with
Walker on March 20 of '53 in
New Orleans were 'I'm Still in Love with You' and 'Got No Use for You'.
Among last titles for Imperial with
Walker on June 20 of '54 in
Los Angeles were 'Hard Way' and 'Strugglin' Blues'. In 1967 Bartholomew
founded Broadmoor Records New Orleans, folding the next year upon the bankruptcy of its
distributor, Dover Records. Composing extensively, Bartholomew and Pearl King
collaborated on multiple titles like 'Ain't Gonna Do It' ('50) and 'The
Monkey' ('57). He wrote 'Railroad Station Blues' for release by
Walker in 1953 and 'Blue Monday' for issue by Smiley Lewis in '54. He
co-wrote numerous titles with Domino
like 'Honey Chile' ('56) and
'Whole Lotta Loving' ('58). Songwriting credits at
1,
2,
3,
4. Disco
of issues. Bartholomew was inducted into the
Rock and Roll Hall of Fame in 1991, though more as a producer/composer (: Domino,
Walker, et al) than
performer. As of this writing Bartholomew is less than two years shy of
his 100th birthday in 2018, yet playing traditional jazz in the
New Orleans area, including Preservation Hall.
2003 video interview at NAMM. Dave Bartholomew 1947 Composition: Bartholomew Composition: Bartholomew Dave Bartholomew 1949 Composition: Bartholomew Composition: Bartholomew Vocal: Jewel King That's How You Got Killed Before Composition: Bartholomew Dave Bartholomew 1952 Composition: Bartholomew/Pearl King Composition: Bartholomew Who Drank My Beer While I Was in the Rear Composition: Billy Austin Dave Bartholomew 1957 Composition: Bartholomew/Pearl King
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Born in December 1924 in Philadelphia, PA, session guitarist,
Billy Butler
[*], wrought a blend of R&B and jazz. He is easily confused with Billy Butler
born twenty years later in '45, younger brother by six years to
Jerry Butler. That
Butler, more vocalist than guitarist, ran the Enchanters, the Chanters and Infinity,
dying in 2015.
Lord's disco has this Butler beginning his recording career on August 29, 1947, in
Sammy Price's Trio
backing vocalist, Albinia Jones, on 'Give It Up Daddy Blues', 'The Rain Is
Falling' and 'Papa Tree Top Blues'. November 19 saw titles with vocalist,
Cousin Joe, like 'Beggin' Woman' and 'Sadie Brown'. Come the Harlemaires, a doo wop group
consisting of Percy Doll (bass), Chester Slater (guitar) and Dorothea
Smith (drums) on November 21 and December 7 for tracks like 'If You Mean What You Say' and 'Rose of
the Rio Grande' (Atlantic 856). Come the Doc Bagby Trio in Philadelphia in
early '1953 for 'I Surrender, Dear' and 'For You', et al. Butler's next
session would be a big deal in the person of organist,
Bill Doggett, in Cincinnati on August
23, 1955, for 'We Found Love', 'Honey Boy' and 'Misty Moon'. Butler would
play at
Doggett's side for the next decade. Of
their many titles together, 'Honky Tonk' was the most successful in 1956.
Butler's last titles with
Doggett are thought to have been in
1965 in NYC: 'Ko-Ko', 'Doctor Joy', 'Mr. Man', et al. Butler was a
consummate professional whom everybody had to have a piece of. Butler
attended well above 200 sessions during his career. Other than
Doggett, helping to keep Butler busy in the latter fifties was
vocalist, Little Jimmy Scott, on October 2, 1957, for 'What Sin' and
'Somewhere Down the Line'. Butler would see Scott again in '58 and later
in '69 for a couple sessions in March to bear such as 'Day by Day' and
'Our Day Will Come'. Highlighting the early sixties was tenor saxophonist,
King Curtis, whom Butler first supported on
June 11, 1961, toward 'It's Party Time'. Butler and
Curtis drove those doggies hard 'til
they got tired in 1962, Butler to last appear with
Curtis as one of the latter's Noble
Knights on titles like 'Soul Twist' and 'Twistin' Time'. Highlighting the
latter sixties was organist,
Jimmy Smith, on May 11, 1966, who
needed both Butler and
Barry Galbraith on guitar for
'Peter and the Wolf'. Butler recorded numerously with
Smith and
Galbraith to June of 1966 for
Smith's album, 'Hoochie Coochie Man'.
October 21, 1966, brought a character who would have been a major
highlight in any musician's career, that in trumpeter, Dizzy
Gillespie, for titles toward 'Melody Lingers On'. Butler would back
Gillespie again in '66 and numerously in 1969. Their last tracks
together are thought to have been in latter 1969 for
Gillespie's live album, 'Soul & Salvation'. (That got reissued in 1977
as 'Sweet Soul' with altered titles in altered sequence with noise
overdubbed.) Also highlighting the latter sixties was
Sonny Stitt's 'Soul Electricity' and
'Come Hither' recorded in latter 1968. Butler and
Stitt would visit again in 1972 and
'74, that latter occasion for
Stitt's 'Never Can Say Goodbye'. Among
the more important figures in Butler's career was tenor saxophonist,
Houston Person, the latter backing
Butler on his debut name album, 'This Is Billy Butler!', on December 16,
1968. Butler and
Person supported each other on
multiple projects to as late as 1971, Butler joining
Person in April that year for the
latter's 'Houston Express'. Among vocalists for whom Butler worked was
Ruth Brown, she needing his
services in August of 1969 for 'Black Is Brown and Brown Is Beautiful'.
Butler would see
Brown again in February of 1982
for 'The Soul Survives' and 1989 for 'Black and Blue'. Highlighting the
seventies was Butler's seventh and last LP issued in 1976: 'Don't Be That Way'.
The next year found him recording in France with vocalist,
Roy Milton, and Puerto Rican
pianist, Ram Ramirez. 1978 found him w vocalist,
Alberta Hunter for
'Amtrak Blues'. 1982 found him contributing to 'The Glory of Alberta
Hunter', 1983 'Looking for the Silver Lining'. (She would die the next
year in October.) Also highlighting the eighties was Jimmy McGriff
in 1982 for 'The Groover'. Butler backed blues pianist,
Charles Brown, on the latter's 1986
issue of 'One More for the Road' (Blue Site Records). Some of the tracks
on that were substituted with new ones for the 1989 reissue by Alligator.
Butler died a couple years later of cancer on March 20 of 1991 in a Chicago
nursing home. His final recordings are thought to have been with Renee
Manning in February the prior month for 'As Is'.
Butler at Discogs.
Per 1947 below, Butler's presence on guitar is assumed, not
confirmed. The Harlemaires 1947 With Wynonie Harris Composition: Wynonie Harris Billy Butler 1956 With Bill Doggett Composition: Billy Butler/Bill DoggettClifford Scott/Shep Shepherd Billy Butler 1969 Composition: Billy Butler/Bill Doggett Clifford Scott/Shep Shepherd LP: 'Guitar Soul' Composition: Billy Butler/Bill Doggett LP: 'This Is Billy Butler!'
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 Billy Butler Source: Discogs |
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Jimmy Liggins See
Boogie Woogie: Jimmy Liggins. |
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Born in 1922 in Richmond, Virginia [1, 2], crooner Tommy Edwards began his professional career in music as a teenager, hosting his own radio program of piano and song on WRNL Richmond [*]. He began his career as a songwriter by 1943 in NYC. His first recording experience is thought to have been in 1944 with the Sammy Price Orchestra for Decca, but those tracks saw no issue: 'Beer Bucket Love' and 'When the Deal Goes Down' [*]. He came to notability in 1946 when Louis Jordan recorded his composition, 'That Chick's Too Young to Fry', that rising to #3 on Billboard's R&B. Praguefrank's has Edwards' Trio recording a string of titles for Top Records at an unidentified location in the summer of 1947. Four of those were released in October per advertisements in 'Billboard Magazine' [1, 2]: 'You Didn't Want Me When You Had Me'/'Who's Gonna Reel Who In' (Top 1154) and 'The Cherry in My Fruit Cocktail'/'Who'll Take My Place When I'm Gone' (Top 1155). Those also saw release eleven years later in 1958 on Edwards' first LP, 'Tommy Edwards Sings' (Regent 6096). Another session or so in latter '48 saw unissued titles excepting 'Huckleberry Heaven' issued ten years later on Regent 6096 above. Among other unissued tracks gone down in January of 1949 were 'Just Love My Sweet' (National 9079 w /'Help! Help!' recorded in Feb) and 'That Five O'Clock Feeling'/'Love Me' (National 9091), issued per 'Billboard Magazine' in July and December respectively [1, 2]. 'I've Got the Blues in the Morning' saw release with those nine years later on Regent 6096 above. Praguefrank's doesn't list members of Edwards' Trio until a session on Feb 4 of 1949. Along with himself at vocals and piano were Hilton Brooks on guitar and Lucky Criss on bass. Along with 'Help! Help! that session yielded 'Up in the Alley'/'A Long Time' (National 9067) advertised in the March 5 issue of 'Billboard Magazine' [*]. Titles from that session also ended up on Regent 6069 above. Edwards' ballads were to the fringe of R&B to the popular side, he enjoying his greatest fanfare in the fifties. He first charted in 1951 with 'All Over Again' at #10. That same year 'It's All in the Game' rose to #1. 'You Win Again' reached #13 on the R&B in 1952, after which Edwards didn't chart at all for nigh another six years until another arrangement of 'It's All in the Game' placed at #1 again in August of 1958. Feb of 1959 saw 'Please Mr. Sun' reach #11. May of 1960 witnessed 'I Really Don't Want to Know' at #18, after which Edwards' career went horizontal until his death of a brain aneurism in Virginia in 1969, only 47 years old. Songwriting credits for Edwards' titles at 1, 2, 3, 4. Discos of issues at 1, 2. Edwards in visual media. Tommy Edwards 1949 Tommy Edwards 1951 Composition: Tommy Edwards Composition: Tommy Edwards From Charles Dawes' 'Melody in A Major' 1911 Lyrics: Carl Sigman 1951 Tommy Edwards 1953 Composition: Bill Trader Tommy Edwards 1958 Composition: John Malone/Ollie Blanchard Tommy Edwards 1959 Composition: Lee Pockriss/Peter Udell Composition: Mack David/Robert Allen Composition: Ben Raleigh/Don Wolf The Morning Side of the Mountain Composition: Larry Lawrence Stock/Dick Manning Composition: Ernie Burnett/George Norton/Maybelle Watson Tommy Edwards 1960 Composition: Hal David/Lee Pockriss Tommy Edwards 1961
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Tommy Edwards Source: Discogs
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Percy Mayfield Source: All Music |
Percy Mayfield
[1,
2,
3,
4] was
another class act composer and pianist with similar rivals like
Charles Brown, Nat King
Cole and
Ray Charles. Born in 1920 in Louisiana, Mayfield performed in Texas
before going to California in 1942. His first recordings occurred circa
December 1947, Parts 1 & 2 of 'Jack, You Ain't Nowhere' [spontaneouslunacy].
His composition originally intended for
Jimmy Witherspoon, 'Two Years of Torture'
[spontaneouslunacy], saw release in '48 as well, that backed by 'Mama, Get
Way Back' with his Gang O'Swing. [See
houndblog,
soulfulkindamusic.] Mayfield
didn't charge everybody's batteries all at once. He issued three more plates
in '49 that didn't chart either. He came to national attention in a big way,
though, in 1950 when 'Please Send Me Someone to Love' rose to #1 on
Billboard's R&B. Mayfield placed six more titles in the
Top Ten
to 'The Big Question' in 1952 at #6. Unfortunately an auto accident between
Las Vegas and L.A. put him off track. He continued to record, though to no
success nearing that before his accident. His composing, however, was
another matter. He is responsible, for example, for 'Hit the
Road Jack', recorded by
Ray Charles in 1961.
Charles took three more of
Mayfield's compositions to the Top Ten in '61 and '62: 'But On the Other
Hand Baby', 'At the Club' and 'Hide Nor Hair'. As
Charles' career continued
volcanically onward, however, Mayfield's gradually dropped away despite
several albums. His first, 'My Jug and I', issued in '66. 1969 saw 'Walking
on a Tightrope', followed in 1970 by 'Sings Percy Mayfield' and 'Weakness Is
a Thing Called Man'. 1971 brought 'Blues... And Then Some' and 'Bought
Blues'. Mayfield then went stealth for eight years until 'Hit the Road
Again' saw issue in 1983, that with the Phillip Walker Blues Band. He died of heart attack in
relative obscurity on August 11, 1984. Among Mayfield's numerous
compositions were 'Half Awoke', 'The Hunt Is On', 'Never Say Naw', 'This
TIme You Suffer Too' and 'Yes, You'll Play'. Other songwriting credits at
45Worlds,
45Cat and
Discogs.
Further reading: 1,
2.
More of Mayfield in
Blues 4. Percy Mayfield 1947 Composition: Percy Mayfield Percy Mayfield 1948 Composition: Percy Mayfield Percy Mayfield 1950 Composition: Percy Mayfield Percy Mayfield 1952 Composition: Percy Mayfield Percy Mayfield 1963 Composition: Percy Mayfield Percy Mayfield 1970 Composition: Percy Mayfield
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R&B guitarist, Granville Henry Stick(s) McGhee [*], was born in 1917 in Knoxville, Tennessee. He picked up "Stick" as a youth due to using one to push his older polio-stricken brother around in a cart [*]. His first record release was in 1947 with that brother, Brownie McGhee. McGhee and his Buddies placed 'Drinkin' Wine Spo-Dee-O-Dee' at the #2 spot on Billboard's R&B in August of '49. It was #2 again in 1951 with 'Tennessee Waltz Blues'. Unable to sell records after that, though recording throughout the fifties, he retired from the music profession in 1960, dying in Bronx in August of 1961 of lung cancer. McGhee had composed the majority of his titles, writing such as 'Jungle Juice' ('53) and 'Six to Eight' ('55). Songwriting credits at 1, 2, 3. See also Discogs 1, 2. Stick McGhee 1947 Composition: Stick McGhee/J. Mayo Williams Stick McGhee 1950 Composition: Stick McGhee Composition: Stick McGhee Composition: Stick McGhee
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Stick McGhee Source: Changing Aging
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Ruth Brown, was born Ruth Weston in 1926 in Portsmouth, Virginia [1, 2, 3, 4, 5]. Though raised on gospel she began singing at local USO clubs during World War II. During that period soldiers paid her fare to NYC to win a talent contest at the Apollo Theater before she left home at age seventeen with trumpeter, Jimmy Brown, whom she married. They performed as Brown & Brown, 'Hey Pretty Baby' among their unissued recordings [1, 2]. Goldberg has Ruth working at the Frolic Show Bar in Detroit when Lucky Millinder hired her. That was good through a lot of rehearsals and only one performance for only a matter of weeks before Millinder fired Ruth without pay, there apparently differences between them [*]. As sometimes occurs during critical moments - Ruth broke and a long way from home - that occasioned her better welfare otherwise, she taken up at the Crystal Caverns managed by Blanche Calloway. A deal with Atlantic was put together, she, Jimmy and Calloway heading for NYC in October of 1948 for an appearance at the Apollo and recording sessions. But they didn't make it through Pennsylvania, there an auto accident that put Ruth in the hospital for several months. Atlantic, intent on making a star of Brown, paid her hospital bills and rescheduled sessions in spring of 1949. Brown released her first plate, 'It's Raining'/'So Long', in 1949, from a session on May 25. Her first recording the month before on April 6, 'Rain Is a Bringdown' (Brown), wouldn't see issue until 'Sweet Baby of Mine' in 1979 (Route 66 KIX 16). [1, 2, 3. There may be a discrepancy in multiple sources lending Texas Johnny Brown as Jimmy Brown. Whatever the case, the Brown whom Ruth married isn't the same Brown as guitarist, Texas Johnny: 1, 2.] Beginning with 'So Long' at #4 on the R&B in Sep of 1949, Brown placed 20 titles in the Top Ten to 'Don't Deceive Me' in 1960 at #10. Sides reaching #1 were 'Teardrops From My Eyes' (1950), '5-10-15 Hours' (1952), 'He Treats Your Daughter Mean' (1953), 'Oh What a Dream' (1954) and 'Mambo Baby' (1954) [*]. Brown concentrated more on motherhood than music in the sixties, though didn't drop away entirely. Upon revamping her career in the seventies she included acting on television, film and Broadway. Starting in 1989 she hosted NPR's 'Blues Stage' for six years. She was elected into the Rock & Roll Hall of Fame in 1993. In 1995 Brown published her memoir, 'Miss Rhythm'. Brown's last recording is thought to have been a duet with vocalist, Jacey Falk, in 2003 in Hilton Head, South Carolina, that on Falk's 'From a Place Within'. She continued touring until 2005, dying the next year on November 17 in Las Vegas of surgical complications upon a heart attack and stroke. Production and songwriting credits for titles by Brown at 1, 2, 3, 4, 5. Brown in visual media. Ruth Brown 1949 Composition: La Vern Farr Composition: Remus Harris/Russ Morgan/Irving Melsher Composition: Rudy Toombs Ruth Brown 1952 Composition: Rudy Toombs Ruth Brown 1953 Composition: A. Nugetre (Ahmet Ertegun) Ruth Brown 1954 Composition: Chuck Willis Filmed live Composition: Rudy Toombs Ruth Brown 1955 Mama He Treats Your Daughter Mean Filmed live Composition: Robert Range/Sammy Lowe Ruth Brown 1957 Composition: Johnny Wallace/Herbert Lance Ruth Brown 1959 Composition: Jerry Leiber/Mike Stoller Composition: Bobby Stevenson/Brook Benton Ruth Brown 1960 Composition: Howell/Van McCoy Arrangement: Howard Biggs Ruth Brown 1961 Composition: Van McCoy/Dixon/Elmo Glick Ruth Brown 1989 Composition: Harry Akst/Grant Clarke Ruth Brown 1993 Filmed live with BB King Composition: 1922 Porter Grainger/Everett Robbins Ruth Brown 1999 Composition: Hoy Lindsey/Ricky Ray Rector
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Ruth Brown Source: Музыка MP3 и Ogg |
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Ray Charles Source: No Put Thy Footing |
Ray Charles Robinson in 1930 in Albany, Georgia [1, 2], it was 1949 that R&B pianist Ray Charles released his first songs, recording as a member of the Maxim Trio consisting of GD McKee (guitar) and Milton Garred (bass): 'I love You, I Love You' and 'Confession Blues' per Swingtime #171. Charles began losing his sight of glaucoma at age five and was completely blind by age seven. His father died when he was age 10, his mother when he was fifteen. He learned classical and played at school assemblies as a child. Upon his mother's death in 1946, friends of his mother took Charles with them to Jacksonville, Florida, where he began to play professionally at the Ritz Theater for four dollars a night. It was in Tampa that he made his first three unissued recordings in 1947: 'Guitar Blues', 'Walkin' and Talkin'' and 'I'm Wonderin' and Wonderin''. About that time Charles asked a friend what city was furthest away, which is why he went to Seattle the same year, there to form a friendship with boxer, Sugar Ray Robinson, who was a couple years younger. He then took the coastline south to Los Angeles where 'Confession Blues' was recorded, that to rise to the No. 3 spot on the charts. Charles was in like Flint from that point onward. By the time he switched from Atlantic Records to ABC ten years later in 1959 he was worth a $50,000 advance. From '49 to 1993 Charles placed no less than 45 titles on Billboard's Top Ten in R&B, Adult Contemporary and Dance. Fourteen alone rose to #1:
I've Got a Woman 1955 Though his heydays were the fifties and sixties, Charles scored a #9 spot in AC as late as 1993 with 'A Song for You'. Of the 149 sessions which Lord's disco ascribes to Charles, the high majority of them were his own projects. Among his more important musical associates was saxophonist, Hank Crawford, who first backed Charles in July of 1958 at the Newport Jazz Festival for titles like 'Hot Rod' and 'The Blue Waltz'. Crawford would support Charles to 1964, Charles also arranging a few titles for Crawford during that time. 1965 saw them backing Percy Mayfield on such as 'Life Is Suicide'. They would reunite in Montreax, Switzerland, in 1978 for a concert with Dizzy Gillespie. Among others with whom Charles worked on projects were Billy Eckstine ('56) and trumpeter/producer, Quincy Jones ('59, '60, '65, '88, '89). Charles' use of heroin, begun as a teenager in Florida, seems to have had relatively little destructive consequence beyond his third arrest in 1965, after which he sought rehabilitation more to stay out of jail than due to need. (Heroin is a sleepy time substance which people averse to living somnolently may find a nice sleeping aid, but less than addictive as a functional mode. Unlike cocaine, a "go" drug which is often a sign of having prospered, heroin is more oft a sign of things altogether hopelessly broken down for the leaving.) In 1979 the state of Georgia made Charles' version of 'Georgia On My Mind' its state song. In 1985 he performed at Reagan's second inauguration, then at Clinton's first in 1993. (President Clinton was himself a saxophone player.) Among Charles' favorite pursuits beyond music was chess. He played Grand Master, Larry Evans, in 2002, and lost. Lord's disco has Charles' last recordings in 2003 with Poncho Sanchez for the latter's 'Out of Sight!'. His final performance was in 2004 at the dedication of his music studio in Los Angeles, built in 1964, as an historic landmark. Charles died the same year on June 10 of liver disease. His final studio release was in August, his posthumous 'Genius Loves Company', garnering the Album of the Year Grammy Award in 2005. Compositional credits to some of Charles' recordings at australiancharts. Early titles by Ray Charles in Blues 4. A sessions discography for Charles at Praguefrank's. Discographies of issues at 1, 2, 3. Lyrics at AZ. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2, 3, 4, 5, 6, 7. Visual media: *. Interview w Les Tomkins 1971. Tribute sites: 1, 2, 3. The Ray Charles Foundation: 1, 2. See also 'Ray Charles; The Birth of Soul' ('07/'09) by Mike Evans. Ray Charles 1954 Composition: Ray Charles Composition: Walter Davis 1940 Lyrics: Ray Charles Ray Charles 1959 Filmed live Composition: Ray Charles Composition: Ray Charles Ray Charles 1960 Filmed concert Ray Charles 1961 Composition: Percy Mayfield
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Don Gardner 2012 Source: Wikipedia |
Born in 1931 in Philadelphia,
Pennsylvania, drummer and vocalist,
Don Gardner [1,
2], was yet in high school when
he began his professional career. He is thought to have first recorded in
1949 for the Gotham label: 'Dearest Darlin'/'September Song'. In 1950 he released
'Heart Throb' and 'September Song', also for Gotham. In 1951 he joined
Julian Dash to record 'Seems Like We Met Before' and 'Why Was I Born' for the Sittin'
In With label. In 1954 Gardner and his Sonotones released 'How Do You
Speak to an Angel'/'Sonotone Bounce' on Bruce 105. Gardner was best known for his collaborations with vocalist Dee Dee Ford
in the early sixties. Two of their duets saw Billboard's Top Ten in 1962:
'I Need Your Loving' (#4) and 'Don't You Worry' (#7). They released the LPs: 'I Need Your Lovin''
('62) and 'Quintet in
Sweden' ('64). The latter year Gardner also released 'Jimmy Smith Plays' (Crown
Records CST 469) with his Trio and the Arthur Glenn Quartet. 1973 saw
titles with
Baby Washington on 'Lay a Little Lovin' on Me' (Master Five
901). 'Forever' reached #30 on Billboard's R&B. Gardner had contributed to
the composition of both Top Ten titles above with Dee Dee Ford. He
authored 'My Baby Likes to Boogaloo' for issue in '66. Production and songwriting
credits
at 45Worlds. Discographies also at
1,
2,
3. In 1985 Gardner took a position as a manager at the Clef Club of Jazz in Philadelphia,
where he remained throughout his latter career. As of this writing Gardner is assumed to be in recent retirement from performing. Don Gardner 1954 With his Sonotones Organ: Jimmy Smith Composition: Hilliard/Stein With his Sonotones Organ: Jimmy Smith Composition: Smith/Gardner Don Gardner 1962 With Dee Dee Ford Composition: Bobby Robinson/Gardner With Dee Dee Ford Composition: Gardner/Bobby Robinson T.C.B. (Taking Care of Business) With Dee Dee Ford Composition: Titus Turner Don Gardner 1966 Composition: Joe Moore/Jesse Herring Jr Composition: Gardner Don Gardner 1968 Composition: Gardner Don Gardner 1969 Composition: James Vanleer Don Gardner 1970 Composition: James Vanleer Don Gardner 1973 Composition: Brian Holland/Freddie Gorman/Lamont Dozier Composition: Leroy Fann/Dorothy Mitchell
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Clyde McPhatter Source: I'll Keep You Posted |
Born in 1942 in Durham, North
Carolina, tenor vocalist,
Clyde McPhatter
[1,
2,
3,
4,
5,
6,
7], relocated to NYC
with his family while in high school, where he formed his first group, a gospel
ensemble called the Mount Lebanon Singers. In 1950 he joined the doo wop group,
the Dominoes, run by
Billy Ward. The Dominoes
issued their first plate, 'Chicken Blues'/'Do Something For Me' (Federal
12001), in Dec 1950 with McPhatter singing lead on 'Do Something For Me'.
That reaching #4 on Billboard's R&B in Feb '51, McPhatter kept with Ward
through the Dominoes' only two #1 titles on the R&B: 'Sixty Minute Man'
(5/61) and 'Have Mercy Baby' (5/52). McPhatter sang lead on the latter. McPhatter hung with the Dominoes until May of 1953 when he formed the
Drifters. He was with that group
when they topped Billboard's chart at #1 in 1953 with 'Money Honey'. McPhatter
was drafted into the U.S. Army in spring of '54. Stationed in New Jersey,
he was able to continue recording professionally not only with the
Drifters, but Ruth Brown
('Love Has Joined Us Together' in late '55, et al). McPhatter's first solo
titles were issued in early 1956: 'Seven Days'/'I'm Not Worthy of You'
(Atlantic 1081).
Musicvf has 'Seven Days' residing at R&B's #2 spot in Feb
of 1956. About the same time McPhatter was
released from the Army he issued 'Treasure of Love'/'When You're Sincere'
(Atlantic 1092), the former to rise to R&B's #1 tier in May of '56. 'Long
Lonely Nights' did the same in Aug 1957, 'A Lover's Question' in Oct 1958. Atlantic
had released the LP, 'Clyde McPhatter and the Drifters', in 1957. 'Deep
in the Heart of Harlem' was his last Top Ten title at #10 in 1964. 'Crying
Won't Help You Now' found #22 in May of '65. In 1968 McPhatter moved
to England, returning in 1970. He died in Bronx in 1972, only 39 years of
age, of heart, kidney and liver disease. McPhatter applied his hand to a
little composing as well, writing such as 'I'm Not Worthy Of You' ('55),
'Let's Forget About the Past' ('62) and 'I Found My Love' ('65).
Songwriting credits for McPhatter's titles at
1,
2,
3. Discos at Discogs:
1,
2.
McPhatter in visual media. Clyde McPhatter 1951 With the Dominoes Composition: Billy Ward/Rose Marks Clyde McPhatter 1953 With the Drifters Composition: Jesse Stone With the Drifters Composition: Johnny Parker Clyde McPhatter 1955 With Ruth Brown Composition: Marguerite James/Billy Dawn Smith/Dick Smith Clyde McPhatter 1956 Composition: Joe Shapiro/Lou Stallman Composition: Eve Johnson Composition: Danny Small Clyde McPhatter 1957 Composition: Abbott/Douglas Henderson Lee Andrews/Mimi Uniman Composition: Joyce Heath Clyde McPhatter 1958 Composition: Joe Shapiro/Lou Stallman Clyde McPhatter 1959 Composition: Billy Hill Composition: Neil Sedaka/Howard Greenfield Clyde McPhatter 1960 Live with Bobby Darin Composition: Billy Ward/Rose Marks Clyde McPhatter 1961 Composition: Billy Dawn Smith Clyde McPhatter 1962 Composition: Bill Swan Composition: Robert Byrd
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| Born in Cleveland, Ohio, in
1922,
organist, pianist and arranger,
Ernie Freeman (aka Sir Chauncey)
[1,
2,
3], began playing
nightclubs professionally in 1935. Circa 1939 Freeman formed what would
become the Evelyn Freeman Swing Band with his sister Evelyn (Evelyn
Freeman Roberts). That band played largely at the Circle Ballroom, also
performing radio broadcasts for WHK Radio. Most of that band joined the
Navy together, even managing to stay together, getting stationed in Indiana as the Gobs
of Swing. After leaving the Navy in 1945 Freeman attended Cleveland Institute of
Music, eventually taking his masters in composition from the University of
California to where he moved in 1946 to eventually perform in clubs in Los Angeles with such as
Dinah Washington
and
Dorothy Dandridge. Lord's
discography has an Ernie Freeman contributing piano to recordings in NYC
on August 3 of 1949 and May 30 of 1950 with Jimmy Baby Face Lewis for
Atlantic. He is supposed to have been in California during that period, so
either he toured to the East Coast a couple times or Lord's has a
different Ernie Freeman indexed. Scant biographies of Freeman don't
mention him recording in NYC during that period. But since it's not
impossible: Atlantic 884, 901, 913 and 927 bear Lewis titles such as 'All
Right Lovers Blues', 'I'm So Good to You', 'All the Fun's On Me' and 'I've
Gotta Right to Love'. Lord's next entry for Freeman is likely accurate,
backing
Helen Humes in Los Angeles in the
Dexter Gordon Orchestra on November
20, 1950, for such as 'Ain't Gonna Quit You' and 'Airplane Blues'. It's
assumed those weren't a rush job, thus released in 1951. Since we can't
confirm that Lord's has the identical Freeman listed with Lewis in NYC we
give his titles with
Humes as his first issue date.
Lord's also has him recording in Los Angeles with the Billy Hadnott
Orchestra in 1952 and tenor saxophonist, Lorenzo Holden, in 1953-56.
Freeman was eventually hired as an arranger at Mambo Records.
His first name recordings (perhaps in '54) were released by Mambo in 1955:
'Poor Fool'/'Somehow I Know' (vocals by Lawrence Stone). Freeman also
released sides with
Charles Brown and
Plas Johnson that year (such as 'No No
Baby' with
Johnson). He also worked in the Ernie Fields Orchestra
about
that period. Lord's has him recording for the Cash label in Los Angeles in
1955, such as 'Hey Now' and 'Two Things I Love'. Freeman recorded as a session player with a few labels
by the time he placed his instrumental, 'Jivin' Around' (Cash 1017), at #5
on Billboard's R&B in 1956. Landing at Imperial the same year, he would
remain for the next seven, his first score for that label being
'Lost Dream' in 1956 at #7 on Billboard. Freeman is thought to have recorded his first album for Imperial, 'Plays
Irving Berlin', on August 23, 1956. The next year in Nov 'Raunchy'
sat atop the R&B chart at #1. During the early sixties Freeman became
musical director at Reprise Records and an arranger at Liberty. He began composing for films in the sixties
as well.
He died
in Los Angeles on May 16 of 1981 of heart attack. Accompanying and/or
arranging for vocalists were among Freeman's pronounced talents, working
with not a few to include Johnny Otis,
Dinah Washington and
June Christy. Composition also
elemental to Freeman's career, he authored such as 'A Summer Love',
'Always With You' and 'Night Sounds' in 1959. He wrote 'Beautiful
Obsession' and 'Tenderfoot' for issue in 1960 as Sir Chauncey and His
Exciting Strings. He and Lew Bedell partnered in 1961 on 'Percolator' for
Billy Joe & the Checkmates. Composing credits for his titles at
1,
2.
Other discos at
1,
2,
3. Per below are samples of Freeman's
arrangements for
Julie London and
Dean Martin. Ernie Freeman 1955 Ernie Freeman Combo with Charles Brown Composition: Fred Coots/Sam Lewis Backing the Platters Composition: Buck Ram Ernie Freeman Combo with Charles Brown Composition: Charles Brown/Jesse Ervin Ernie Freeman 1956 With Eddie Cochran Ernie Freeman Combo with Charles Brown Composition: John Gray/Mike Akapoff Ernie Freeman Combo with Charles Brown Composition: John Gray/Mike Akapoff Ernie Freeman 1957 Composition: Doc Bagby (Harry Bagby) Composition: Ernie Freeman Composition: Bill Justis/Sid Manker Ernie Freeman 1958 Composition: Billy Butler/Clifford Scott/Herb Ellis/Shep Shepherd Composition: Harry Land/Jon Sheldon Composition: H. Stanley/John Pye/Mimi Uniman Ernie Freeman 1959 LP Ernie Freeman 1960 The Dark at the Top of the Stairs Film theme Composition: Max Steiner Ernie Freeman 1961 Backing Dinah Washington Composition: Harold Arlen/Ted Koehler Ernie Freeman 1963 Ernie Freeman Orchestra with Julie London Composition: Consuelo Velázquez Arrangement: Ernie Freeman Ernie Freeman Orchestra with Julie London Music: Antônio Carlos Jobim Lyrics (Portuguese): Newton Mendonça Arrangement: Ernie Freeman Ernie Freeman 1965 Composition: Bill Justis/Sid Manker You'll Always Be the One I Love Arrangement for Dean Martin Composition: Ticker Freeman/Sunny Skylar Ernie Freeman 1965 Arrangement for Dean Martin Composition: John Hartford
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 Ernie Freeman Source: Discogs |
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Johnny Ace Source: Time Goes By
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Born John Marshall Alexander Jr. in Memphis, Tennessee, in 1929, crooner Johnny Ace [1, 2] was the son of a preacher. After a time in Korea while in the Navy, he joined the band of Adolph Duncan as a pianist. He then joined BB King's outfit with Bobby Bland as vocalist. Upon King's and Bland's exits from that ensemble he assumed Bland's spot as vocalist, forming the Beale Streeters. His initial vinyl issue was for Duke Records in 1952: 'My Song' and 'Follow The Rule'. 'My Song' topped Billboard's R&B chart at #1 in Aug of 1952. Ace placed seven more titles in the Top Ten to 'Pledging My Love' at #1 and 'Anymore' at #7 in 1955, those posthumously as Ace's career was among the briefest in the music industry: Ace had been fond of guns, delighting in such as shooting at road signs. But on Christmas Day of 1954 he pointed a pistol he didn't think was loaded at his head, goofing around, and pulled the trigger. As he was touring with Big Mama Thornton at the time, she watched [*]. He was only 25 years of age. 'Memorial Album for Johnny Ace' was released in 1956. Ace had written titles like 'Aces Wild' ('53) and 'You've Been Gone So Long' ('54). Discos w various credits at 1, 2. Johnny Ace 1952 Composition: Johnny Ace Composition: Johnny Ace/David James Mattis Johnny Ace 1953 Composition: Johnny Ace/David James Mattis Johnny Ace 1954 Composition: Joe Scott Johnny Ace 1955 Composition: Don Robey/Fats Washington Composition: Don Robey/Fats Washington
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 Little Milton Source: Letras |
Born
James Milton Campbell in 1934 in Inverness, Mississippi,
Little Milton
[1,
2,
3,
4,
5]
was raised in Greenville. He was busking on guitar at age twelve. Early in
the fifties he toured the Delta region with a trio called the Rhythm Aces.
In December of 1951 he laid several tracks with Willie Love and His Three
Aces in Jackson for Trumpet Records: 'Feed My Body to the Fishes',
'Falling Rain', 'Vanity Dresser Boogie', 'Seventy Four Blues', '21 Minutes
to Nine', 'Shady Lane Blues', 'Nelson Street Blues' and 'V-8 Ford'.
Ike Turner, who was a talent scout for Sun Records at the time, played
piano on Milton's first name record release in December 1953: 'Beggin' My
Baby'/'Somebody Told Me'. Some time after leaving Sun in 1955 Milton
founded the Bobbin Records label, producing not only his own material, but
that of others such as
Albert King and
Fontella Bass. 1958 saw the
issue of 'I'm a Lonely Man'. Milton's first
vinyl to chart
on the R&B was 'So Mean to Me' in 1962 at #14. His Top Ten
singles were as follows: 1965 'We're Gonna Make It' March #1 R&B #25 US 'Who's Cheating Who?' June #4 R&B #43 US 1967 'Feel So Bad' February #7 R&B #91 US 1970 'If Walls Could Talk' January #10 R&B #71 US 'Baby I Love You' May #6 R&B #82 US 1972 'That's What Love Will Make' February #9 R&B #59 US Milton issued his last track to chart in 1983, 'Age Ain't Nothin' But a Number' at a faint #89. He ceased releasing singles in the eighties, concentrating on albums, the last of which is thought to be 'Think of Me' as of May 2005. Having released well over thirty LPs during his career, Milton was inducted into the Blues Hall of Fame in 1988. He died on August 4 of 2005 in Memphis of stroke complications. Milton had composed titles like 'Lookin' for My Baby' ('55), 'Meddlin'' ('63) and 'Ain't No Big Deal on You' ('65). Songwriting credits for his titles at 1, 2, 3, 4. See also Discogs. Other discos: 1, 2. Milton in visual media. Per the 1952 release below, see Willie Love for more recordings with him in December of 1951. Little Milton 1952 Willie Love and His Three Aces Composition: Willie Love Little Milton 1953 Beggin' My Baby/Somebody Told Me Compositions: Little Milton (James Milton Campbell) Little Milton 1965 Composition: Deadric Malone/Joseph ScottAlbum: 'We're Gonna Make It' Little Milton 1969 Album (studio) Little Milton 1971 Album (live) I'm Living Off the Love You Give Composition: Homer Banks/Raymond JacksonLittle Milton 1973 Composition: Roosevelt JamisonLittle Milton 1985 Little Milton 1986 Little Milton 1990 Composition: Larry AddisonAlbum: 'Too Much Pain' Composition: John Penbrook/Tommy TateAlbum: 'Too Much Pain' Composition: Denise LaSalleAlbum: 'Too Much Pain' Little Milton 1999 With Lucinda Williams Composition: Boudleaux BryantLittle Milton 2005
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| Born in Philadelphia, PA, in
1934,
Billy Paul
[1,
2,
3]
began his career at age eleven singing on radio at WPEN Philadelphia.
Advancing to nightclubs and college campuses, Paul released his first single in 1952: 'Why Am I' with 'That's Why
I Dream' B side (Jubilee 5081). That was followed the same year with the
Buddy Lucas Orchestra by 'You Didn't Know' bw 'The Stars Are Mine'
(Jubilee 5086). Drafted into the Army in 1957, he served his
tour in Germany at the same base as
Elvis Presley (who spent his service
as a jeep driver). After release from duty, Paul issued 'Ebony Woman' with
'Go to Hell' in 1959 (New Dawn 1001), followed by 'There's a Small Hotel'/'I’m
Always a Brother' (Finch 1005) in 1960. He then performed with the doo wop groups, the
Blue Notes and the
Flamingos for a brief period. Paul released his initial
album in 1968: 'Feelin' Good at the Cadillac Club'. 1971 saw the release
of the LP, 'Going East'. In 1972 Paul issued the album, '360 Degrees Of
Billy Paul', featuring the song, 'Me and Mrs. Jones'. The album went gold
and the song platinum, remaining No. 1 on U.S. charts for three weeks and
peaking at No. 12 in the U.K. in 11/72
[*].
Paul's only other title to reach the Top Ten was 'Thanks for Saving My
Life' at #9 in Jan of '74. Nevertheless an international star, Paul's
release of 'Let's Make a Baby' in 1975 caused some controversy. The song
was downright bad advice to most people, especially the poor. Politician, Jesse Jackson, tried to get it banned from the airwaves for promoting promiscuity. Howsoever, the matter was ultimately left to
the discretion of individual radio stations. Paul released his last studio album in 1988,
'Wide Open'. Paul announced his retirement the next year, which turned out
to be a kind of but not really matter as he continued touring into the new
millennium. In 2000 he issued the CD, 'Live World Tour 1999-2000' on his
own label, PhillySounds. It was also 2000 when Nike, the sports shoe
manufacturer, used 'Me and Mrs. Jones' in a commercial without licensing,
for which Paul pursued a lawsuit of a million dollars. Following that he
was awarded half a million from Philadelphia International Records for
poor accounting that had resulted in unpaid royalties. In 2009 Paul
starred in the film, 'Am I Black Enough For You?'. Among the names with
whom Paul performed over the years were
Charlie Parker,
Dinah Washington,
Nina Simone, Miles
Davis,
The Impressions,
Sammy Davis Jr., Roberta Flack
and Chimène Badi. Paul died in April 24 of 2016 in Blackwood, New Jersey.
Songwriting credits for his titles at
1,
2. See also
Discogs. Other discos:
1,
2.
Paul in visual media. Billy Paul 1959 Composition: Morris Bailey Billy Paul 1968 Don`t Think Twice, It´s All Right Composition: Bob Dylan Album: 'Feelin' Good at the Cadillac Club' Composition: Leslie Bricusse/Anthony Newley Album: 'Feelin' Good at the Cadillac Club' Billy Paul 1971 Album Billy Paul 1972 Composition: Kenny Gamble/Leon Huff Album: '360 Degrees Of Billy Paul' Composition: Carole King/Toni Stern Album: '360 Degrees Of Billy Paul' Composition: Kenny Gamble/Leon Huff/Cary Gilbert Album: '360 Degrees Of Billy Paul' Billy Paul 1973 Composition: Kenny Gamble/Leon Huff Album: 'War of the Gods' Billy Paul 1975 Composition: Kenny Gamble/Leon Huff Album: 'When Love is New' Composition: Kenny Gamble/Leon Huff Album: 'When Love is New' Billy Paul 1976 Composition: Dexter Wansel Billy Paul 1988 Album: 'Wide Open' Album: 'Wide Open' Billy Paul 2014 Television performance Composition: Kenny Gamble/Leon Huff/Cary Gilbert
|
 Billy Paul Source: Urban Buzz |
|
 Lloyd Price Source: All Music |
Born in 1933 in the New
Orleans suburb of Kenner,
Louisiana,
vocalist
Lloyd Price
[1,
2,
3] sang gospel at church while in high school, his mother a restaurateur,
owning the Fish 'n' Fry Restaurant
[*]. Art Rupe, who had founded Specialty
Records in 1946 in Los Angeles [*], visited New Orleans in 1952 to
result in Lloyd's first commercial session on March 13. Backing his vocals
on such as 'Lawdy Miss Clawdy' and 'Mailman Blues'
(Specialty 428) was
Fats Domino,
that session produced by Dave Bartholomew [*]. His next
issue was in September: 'Oooh, Oooh, Oooh' bw 'Restless Heart' (Specialty
440) followed by 'Ain't It a Shame?'/'Tell Me Pretty Baby' in January of
1953.
'Lawdy Miss Clawdy' found
Billboard's #1 spot in R&B. Each title above
except 'Mailman' took up residence in the Top Ten in '52 and '53. Drafted
into the Army to serve in Korea in 1954
[*], his next
Top Ten tracks followed in Feb of 1957 with 'Just Because' at #3. Come his second
#1 title, 'Stagger Lee', in December of 1958, repeated in April 1959 w
'Personality' and August 1959 w 'I'm Gonna Get Married'. Price's final Top
Ten song arrived in 1960 w 'Question' at #5, his career in decline
thereafter, though 1963 saw 'Misty' reach #11 on the R&B. 'Bad Conditions'
was another strong title in 1969 at #21. Price had spent some time in the Army, after which he helped found KRC (Kent
Record Company) in 1956 with Harold Logan and Bill Boskent (initially
distributed by ABC). Rocky52 has Price's LP, 'The Exciting Lloyd
Price', issued in Feb of 1959. Also released that year were 'Lloyd Price'
and 'Mr. Personality'.
Price and Logan founded Double L Records in 1962. Upon Logan's murder in
1969 Price founded the Turntable record label, opening a nightclub in NYC
by the same name. He later put his profits to work building 42 townhouses
in Bronx. Price currently manages Icon Food Brands which handles Lawdy
Miss Clawdy food products. He released his autobiography, 'The True King
of the Fifties: The Lloyd Price Story', in June 2009. Having issued about 27
original and compilation albums, Price presently resides in Westchester
County, New York, yet performing as of this writing. Price had
composed such as 'Where Are You?' in 1953 and 'I'm Glad, Glad' in 1956. Discos w various credits at
1,
2.
Other discos at
1,
2.
Price in visual media. Lloyd Price 1952 Composition: Lloyd Price Lloyd Price 1956 Composition: Lloyd Price Lloyd Price 1958 Composition: See Wikipedia Lloyd Price 1959 Composition: Lloyd Price Composition: Harold Logan/John Patton/Lloyd Price Lloyd Price 1960 'Saturday Night Beech-Nut Show' Composition: Lloyd Price/Harold Logan Composition: Harold Arlen Ted Koehler Lloyd Price 1961 Composition: Harold Logan/Lloyd Price Album: 'Cookin''
|
|
| Born in Detroit in 1934 vocalist,
Jackie Wilson
[1,
2,
3,
4,
5],
became a Golden Gloves boxer a short while after dropping out of high
school at age fifteen. He exchanged boxing for music at age seventeen, forming a
group called the 4 Falcons (not to be confused with
Wilson Pickett's Falcons
[*]),
his first professional gig at Lee's Sensation, a club in Detroit. He then joined a group called the Thrillers (which would later become the Royals, then
the Midnighters). Wilson shared his
first commercial session
sometime in 1952 as Sonny Wilson with Billy Mitchell at tenor sax to
result in: 'Rainy Day Blues' (Dee Gee 4000) and 'Danny Boy' (Dee Gee 4001).
Supporting that session also bearing the instrumentals, 'Rockaway Rock'
and 'Bulldozer
Blues', were
Thad Jones (trumpet),
Terry Pollard (piano/vibraphone), Jimmy
Richardson (bass) and
Elvin Jones (drums). The Dee Gee label was owned by
Dizzy Gillespie. In 1953, age
nineteen, Wilson replaced Clyde McPhatter
as lead singer with the doo wop group, the
Dominoes. Fired from the
Dominoes in early 1957 upon an
argument with Billy Ward, Wilson returned to a solo career [*]. His
first session on July 12 w the Dick Jacobs Orchestra was at the Decca
studio at the Pythian Temple building in NYC, resulting in 'Reet Petite' with 'By the Light of the
Silvery Moon' flip side (Brunswick 9-55024). 'It's So Fine' saw release on
his debut LP, 'He's So Fine' in 1958. 'Hush-a-Bye' saw issue on the LP, 'Lonely
Teardrops', in 1959. 'Reet Petite' squeaked like a rubber duck in the
States, but
charted at #6 in the UK.
Wilson more effectively announced his presence in the States when 'To Be
Loved' rose to #7 on the R&B in March of 1958. Wilson issued a total of 17
Top Ten titles in the States to as late as 'This Love Is Real' in Dec of
1970 at #9. Praguefrank's tracks Wilson to a couple of sessions in 1975 to
result in titles toward the albums, 'Nobody But You' ('76) and 'S.R.O.'
('82). Wilson's last album to be issued during his lifetime was 'Nowstalgia'
in 1974. His career was punctuated upon a heart attack during a stage performance of 'Lonely Teardrops'
at the Latin Casino in Cherry Hill, New Jersey, on September 29 of 1975.
Incapacitated, he was hospitalized until his death nigh ten years later of
pneumonia at the relatively young age of 49 on January 21, 1984. Wilson
had collaborated in the composition of a number of his titles such as
'Each Time' with Norm Henry in 1959, 'All My Love' with Billy Myles in
1960, 'Call Her Up' with Rex Garvin in '64 and 'The Kickapoo' w Leroy Fann
in '64. Songwriting credits at
1,
2,
3,
4.
See also Discogs. Other discoa:
1,
2.
Lyrics at AZ.
Wilson in visual media.
More Wilson with the Dominoes
in Doo Wop. Jackie Wilson 1952 As Sonny Wilson Composition: Fred Weatherly As Sonny Wilson Composition: Billy Mitchell/Sonny Wilson Jackie Wilson 1953 With the Dominoes Composition: Billy Ward With the Dominoes Composition: Jerry Ross/Richard Adler Jackie Wilson 1956 With the Dominoes Composition: Jerry Ross/Richard Adler Jackie Wilson 1957 By the Light of the Silvery Moon Composition: Edward Madden/Gus Edwards Composition: Berry Gordy Jr./Tyran Carlo Jackie Wilson 1958 Composition: Alonzo Tucker/Tom Clay Composition: Jackie Wilson Live performance Composition: Berry Gordy Jr./Tyran Carlo Studio version Composition: Berry Gordy Jr./Tyran Carlo Composition: Earl Wilson/Frank Wilson/Jackie Wilson Composition: Berry Gordy Jr./Tyran Carlo Live performance Composition: Jackie Wilson Jackie Wilson 1959 Composition: Berry Gordy Jr./Tyran Carlo Jackie Wilson 1960 Composition: Bob Hamilton/Tom King Composition: Lena Agree Composition: Johnny Lehman/Herb Miller Composition: Sid Wyche Jackie Wilson 1962 Live on the 'Ed Sullivan Show' Composition: Berry Gordy Jr./Tyran Carlo Jackie Wilson 1963 Composition: Alonzo Tucker/Jackie Wilson Composition: Otis Blackwell/Winfield Scott Jackie Wilson 1964 Composition: Alonzo Tucker/Jackie Wilson Jackie Wilson 1965 Composition: Alonzo Tucker/Jackie Wilson Jackie Wilson 1966 Alternate version Composition: Eddie Singleton Jackie Wilson 1967 Album Jackie Wilson 1968 With Count Basie Composition: Arthur Brooks/Richard Brooks/Jerry Butler Jackie Wilson 1974 Live performance Composition: Gary Jackson/Raynard Miner/Carl Smith Live performance Composition: Berry Gordy Jr./Tyran Carlo Jackie Wilson 1975 Live performance Composition: Berry Gordy Jr./Tyran Carlo Live performance Composition: Berry Gordy Jr./Tyran Carlo
|
Jackie Wilson Photo: Simon/Retna UK Source: Efemerides Musicales |
|
|
Faye Adams [1, 2, 3] was born Fanny Tuell in Newark, New Jersey in 1923. She began singing spirituals on radio at age five with her sisters. She worked under her married name of Faye Scruggs in NYC in the late forties/early fifties. It was when Ruth Brown caught her show in Atlanta that thrust exceeded gravity in Adams' career. Brown got her an audition with bandleader, Joe Morris. Her first session on December 23 of 1952 as Faye Scruggs with the Joe Morris Blues Cavalcade resulted in the early 1953 release of 'I'm Going To Leave You'/'That's What Makes My Baby Fat' (Atlantic 985) [1, 2, 3, 4]. Morris then changed Scruggs' name to Adams and signed her to Herald Records, she releasing 'Shake A Hand'/'I've Got to Leave You' in late 1953. 'Shake a Hand' topped Billboard's R&B in Aug of 1953, followed by 'I'll Be True' in December and 'Hurts Me to My Heart' in Aug of 1954. 'Keeper of My Heart reached #13 in June of 1957. Adams pursued her musical career only a decade, making her last release in 1962 with 'Goodnight, My Love' before retiring into obscurity in 1963 in New Jersey. Discos w various credits at 1, 2. Adams in visual media. Faye Adams 1953 As Faye Scruggs w Joe Morris Composition: Joe Morris Composition: Jesse Stone Composition: Joe Morris As Faye Scruggs w Joe Morris Composition: Barker Faye Adams 1954 Composition: Evelyn Roberts/Rose Marie McCoy Faye Adams 1955 'Rhythm and Blues Revue' television show Composition: William McLemore Faye Adams 1956 Composition: Ruth Kardon/Hal Gordon/Alan Freed Faye Adams 1957 Composition: Dave Bartholomew/Pearl King Faye Adams 1960 Composition: Craft Faye Adams 1961 Composition: Tucker
|
Faye Adams Source: Weird Wild Dream |
|
|
Ann Cole Source: Dreamy Pops |
Pianist, Cynthia Coleman,
born in 1934 in New Jersey
[1,
2], began singing in a gospel group called the Coleman
Brothers with her father and uncles. In 1949 she formed the Colemanaires,
another gospel group, with Joe Walker, Sam Walker and Wesley Johnson, which
ensemble released its first of five issues in 1953 on Timely 101 w 'Old
Zion'. Coleman changed her name to
Ann Cole in 1954 upon
beginning to play in piano bars and shifting toward R&B. It was also 1954
when she made her first solo recordings with Timely records: 'Danny Boy'/'Smilin'
Through', 'I'll Find a Way'/'Oh Love of Mine' and 'So Proud of You'/'Down
in the Valley'. In 1955 she released 'Please Forgive Me' b/w 'I Want To Be
A Big Girl'. 1956 saw 'Are You Satisfied' reach #10 on Billboard's R&B. Cole was the first to record Preston Foster's famous
'I've Got My Mojo Working', issuing that in 1956. She had briefly toured
the South with
Muddy Waters that year. 1957 witnessed 'In the
Chapel' ascend to #14. Cole performed on the 'Mike Douglas Show' in early
April of '62 prior to her last title to notably chart, 'Have Fun', in
December. Sadly, her career in music had come to a finish the same
year when an
auto accident consigned her to a wheelchair until her death in Newark, New
Jersey, in 1986. Discos w various credits at 1,
2. See also
*. Ann Cole 1954 With the Colemanaires Composition: Lenora Cross With the Colemanaires Arrangement: Walker Ann Cole 1955 Composition: Sheb Wooley/Homer Escamilla Ann Cole 1956 Composition: Bob Kornegay/Paul Winley Composition: Oscar Black/Bob Davis/Lou Sprung Composition: Preston Foster Composition: Lou Sprung Composition: Goodman/Schacter Ann Cole 1957 Composition: Davis/Jackson Composition: David Clowney/Larry Coleman Composition: Fred Ebb/Paul Klein Composition: Bob Kornegay/David Clowney Ann Cole 1958 Composition: Ron Raleigh/Ben Weisman Composition: Fisher Ann Cole 1959 Composition: Billy Myles Composition: Billy Myles Ann Cole 1960 Plain As the Nose On Your Face Composition: Blackwell/Drummlogs Ann Cole 1962 Composition: Freddy Johnson/Leroy Kirkland/Pearl Woods Composition: Floyd McRae/Frank Moore
|
|
| Born Curtis Ousley in Ft.
Worth in 1934,
King Curtis [1,
2,
3,
4,
5,
6] was an R&B and, later, soul saxophonist who swam with the blues, jazzed, and
rocked as well. Curtis began playing sax at age twelve. At age eighteen Curtis seems to have known exactly what to do: head for New
York City and find employment as a session musician. Which he did,
also putting together a quintet and releasing his first 45 the next year
in 1953 (Gem 208: 'Tenor In the
Sky' b/w 'No More Crying On My Pillow'). Of the 140 sessions that Lord's
disco ascribes to Curtis, the majority were R&B customers such as
Big Joe Turner ('58, '59),
Ruth Brown ('58, '59, '60) and
LaVern Baker ('58, '59, '60,
'61).
He issued his first two albums in 1959: 'The Good Old Fifties' and 'Have
Tenor Sax, Will Blow'.
Musicvf has Curtis placing his composition,
'Soul Twist', on Billboard's R&B at #1 in February of 1962. It was a hand
of years before he saw the Top Ten again, first in August of '67 at #6 for
his composition, 'Memphis Soul Stew', followed the next month by Bobbie
Gentry's 'Ode to Billy Joe'. Curtis was
murdered twelve years later by knife in August of 1971, age only 37, during an altercation with a couple
drug dealers outside his residence in New York City. He had recorded 'Live
at Fillmore West' that year in San Francisco, and 'Blues at Montreux' in
Switzerland on June 17, the latter with
Champion Jack Dupree
(piano/vocals), Cornell Dupree (guitar) and Jerry Jemmott (electric bass).
Composition and production credits for Curtis'
releases on
45 rpm. Songwriting
credits to some of his later soul recordings at Discogs
1,
2,
3. See
also
australiancharts.
Other discographies:
1,
2,
3.
Curtis in visual media. More King
Curtis in Blues 4 and
Jazz 4. King Curtis 1953 First issue Composition: King Curtis (Curtis Ousley) King Curtis 1957 Composition: Mickey Baker/Ernest Hayes/King Curtis King Curtis 1958 With the Coasters Composition: Jerry Leiber/Mike Stoller King Curtis 1959 With Waylon Jennings Composition: Buddy Dee With Waylon Jennings Composition: Bob Venable King Curtis 1961 Composition: Roy Alfred/Andy Gibson King Curtis 1962 With Buddy Holly Composition: King Curtis Composition: King Curtis King Curtis 1964 Composition: Herbie Hancock/Jon Hendricks King Curtis 1966 Live Composition: Jerry Leiber/Mike Stoller King Curtis/Melvin Lastie King Curtis 1967 Composition: Henry Cosby/Lula Mae Hardaway Sylvia Moy/Stevie Wonder Composition: King Curtis King Curtis 1968 I Heard It Through the Grapevine Composition: Norman Whitfield/Barrett Strong King Curtis 1969 Composition: King Curtis King Curtis 1970 Composition: William Robinsons King Curtis 1971 Everything's Gonna Be All Right Live Piano: Champion Jack Dupree Composition: Champion Jack Dupree/King Curtis Composition: Champion Jack Dupree/King Curtis
|
King Curtis Source: Jigsaw |
|
 Tommy Hunt Source: Black Kudos |
Born Charles James Hunt in
Pittsburgh, PA, in 1933, tenor vocalist,
Tommy Hunt
[1,
2,
3], somehow picked up "Tommy" as a child and that his name remained. Relocated
to Chicago at age ten, Hunt was later in the U.S. Air Force during which
period his mother died. Returning to Chicago after his military tour was
up, he formed a doo-wop group called the Five Echoes
[*]. That group issued
'Lonely Mood'/'Baby Come Back to Me' in 1953 and 'Why Oh Why'/'That's My
Baby' in 1954. In October of 1956 he replaced Zeke Carey, in the
Flamingos, his first recordings
released with that group in 1957 beginning with 'The Ladder of Love' and
'Let's Make Up' (the Flamingos switching from the Checker label to Decca).
Hunt kept with the Flamingos until
1961, his last last recordings with the group being 'Mio Amore' and 'You, Me
and The Sea' in 1959 for the End label (1065)
[1,
2].
Shortly before leaving the Flamingos Hunt had recorded the first titles of
his solo career, 'Parade of Broken Hearts' and 'Human' (Scepter 1219 '61). It was the former
track intended for airplay, but a disc jockey played the B side by
accident and 'Human' ended up at the #5 spot on Billboard's R&B in
September of '61. Hunt enjoyed one more Top Ten position in November of
1963 with 'I Am a Witness' scaling to #3. Familiar with the Apollo Theatre
since his Flamingos days, Hunt
often there performed with all number of others
from
Ray Charles to the
Supremes. In 1969 he left the United
States to live in the United Kingdom. By the time he moved to Amsterdam in
1986 he was doing the oldies clubs. In 1996 he toured internationally
before returning to the UK. His autobiography, 'Only Human, My Soulful
Life', was written with Jan Warburton and published in December 2008.
Hunt's major awards were per the Flamingos:
Vocal Group Hall of Fame in 2000, Doo-Wop Hall of Fame in 2001 and the
Rock and Roll Hall of Fame in 2001. Hunt is
yet active as of this writing
with his group, the New Flamingos. Discos w various credits:
1,
2.
Issues
with the Flamingos. Hunt in
visual media.
Per 1959 below, most sources have those
issued in 1960. Goldberg and 45Cat give Dec 1959 per End 1065 above. Five Echoes 1953 Lonely Mood/Baby Come Back to Me Compositions: Walter Spriggs Five Echoes 1954 Recorded '54 Unissued Flamingos 1957 First with the Flamingos Side A Composition: Clint Ballard Jr. Orchestral Director: Sid Bass First with the Flamingos Side B Composition: Nate Nelson Orchestral Director: Sid Bass Flamingos 1959 Last with the Flamingos Side A Composition: See 45Cat Last with the Flamingos Side B Composition: Terry Johnson Tommy Hunt 1961 Composition: Luther Dixon Tommy Hunt 1962 I Just Don't Know What to Do with Myself Composition: Burt Bacharach/Hal David Arrangement/Conductor: Burt Bacharach Composition: Jacques Wagner Arrangement: Teacho Wiltshire (George Wiltshire) Tommy Hunt 1963 Composition: Ed Townsend/Tony Bruno Tommy Hunt 1967 Composition: Luther Dixon/Kitty Noble Tommy Hunt 1975 Composition: Roy Hamilton Tommy Hunt 1976 Television performance Composition: Edward Adamberry/Tony Craig New Flamingos 2011 Filmed live Composition: Luther Dixon New Flamingos 2014 Filmed live Composition: Johnny Carter
|
|
| Born Earl Silas Johnson IV
in 1934 in New Orleans, Earl
King began playing guitar at age fifteen. His first record
release was in 1953 aka Earl Johnson: 'Have You Gone Crazy' b/w 'Begging At Your Mercy'
(Savoy 1102).
Earl King wasn't
related to either
Albert King,
BB King or
Freddie King. He died of diabetes on
April 17, 2003. King composed all titles below but as noted. Main
entry for King at
Blues 3. Earl King 1953 Composition: Jimi Hendrix Earl King 1956 Earl King 1957 Composition: King/Johnny Vincent Earl King 1959 Earl King 1960 Earl King 1962
|
Earl King Photo: Rick Olivier Source: Black Kudos |
|
|
Staple Singers See
Folk Music: Staple Singers. |
||
|
Hank Marr See
Jazz Piano: Hank Marr. |
||
 Lou Rawls Source: Blue Note |
Born in 1933 in
Chicago, jazz, soul and disco vocalist
Lou Rawls
[1,
2,
3,
4,
5,
6],
released his first recordings in 1954 with the Chosen Gospel Singers, he
featured on eight of the 22 tracks that group issued that year on the
album, 'The Lifeboat'. He next grooved vinyl a few years later with the
Pilgrim's Travelers. He is thought to have made his first solo recordings
in 1959 for release the next year by the Shar-Dee label: 'Love, Love,
Love'/'My Heart Belongs to You'. Other releases in 1960 were 'Walkin' (For
Miles)'/'Kiddio' for Shar-Dee and 'In My Little Black Book'/'Just
Thought You'd Like To Know' for Candix. He laid tracks again for Candix in
1961 ('Ways'/'When We Get Old') before moving to Capitol to issue 'That
Lucky Old Sun'/'In My Heart' and 'Nine-Pound Hammer'/'Above My Head' the
same year. Rawls remained with Capitol for the next decade as his career
exploded. In addition to his music career Rawls sold Spur and
Budweiser beer, and Colonial Penn life insurance on radio and television.
His first song to reach Billboard's Hot 100 was 'Three O'Clock in the
Morning' in 1965 at #83, though #27 on the AC. Rawls came around especially strong in 1966,
particularly with the albums, 'Live!' and 'Soulin'. Included on the latter
was 'Love Is a Hurtin' Thing', reaching #1 on
Billboard's R&B.
Of seven more Top Ten titles, 'You'll Never Find Another Love Like Mine'
would find Billboard's #1 spot in June of 1976. Rawls won his first Grammy
in '67 for 'Dead End Street'. The latter sixties saw Rawls
on 'Yesterday's Heroes' per 'The Airmen of Note & Friends' released in
1968. (The Airmen of Note were a United States Air Force swing band
fashioned after Glenn Miller.) Rawls also found himself recording with a
couple jazz giants in the latter sixties in the figures of
Cannonball Adderley and Duke
Ellington. 1968 saw 'I'd Rather Drink Muddy Water' with
Adderley. 1969 witnessed
'Baby, You're Too Much' and 'The Lonely Ones' with
Ellington.
Ellington later performed 'Satin Doll' on the 'Lou Rawls Show' in
1971. In February of 1969 Rawls had appeared on the 'Dean Martin Show',
later taking a guest role
that year on the television series, 'The Big Valley', thereafter dipping into acting
on both television and in films. His final television performance was in
September 2005 (aired January 2006) for the 'Lou Rawls Parade of Stars
Telethon', which production he'd begun in 1980 to benefit the UNCF (United
Negro College Fund). Rawls died on January 6 of 2006 in Los Angeles.
Composers of his titles and other credits at
1,
2,
3,
4.
Lyrics at AZ.
Rawls in visual media.
Lou Rawls 1954 Album: 'The Lifeboat' With the Chosen Gospel Singers Lou Rawls 1957 With the Pilgrim Travelers Composition: James Woodie Alexander II/Jesse Whitaker Lou Rawls 1958 With the Pilgrim Travelers Composition: Don Robey Lou Rawls 1960 Composition: Brook Benton/Clyde Otis Composition: Strick Lou Rawls 1962 Piano: Les McCann Composition: T-Bone Walker Lou Rawls 1963 Composition: John D. Loudermilk Lou Rawls 1965 Composition: Julián Robledo/Dorothy Terriss Lou Rawls 1966 Composition: Billie Holiday/Arthur Herzog Jr. Album: 'Soulin'' Music: Johnny Mandel Lyrics: Paul Francis Webster Album: 'Live!' Composition: T-Bone Walker Album: 'Live!' Lou Rawls 1967 Composition: David Axelrod/Ben Raleigh/Rawls Lou Rawls 1977 Composition: Kenny Gamble/Leon Huff You'll Never Find Another Love Like Mine Composition: Kenny Gamble/Leon Huff Lou Rawls 1979 Composition: Kenny Gamble/Leon Huff Lou Rawls 1986 Duet with Tata Vega Composition: David Foster/Jay Graydon/Richard Page Stop Me From Starting This Feeling Composition: David Foster/Tom Keane/Alan Thicke Lou Rawls 1989 Filmed live Composition: T-Bone Walker Lou Rawls 1991 Filmed concert
|
|
|
Bobby Womack Photo: Michael Ochs Archives/Getty Images Source: Discogs |
Born in 1944 in Cleveland,
Bobby Womack [1,
2,
3,
4,
5]first recorded for the Pennant label at the age of ten in 1954 ('Buffalo
Bill'/'The Bible Tells Me So')
[*]. His father, Friendly Womack,
had formed a gospel group called Curtis Womack and the Womack Brothers with Bobby and his four brothers:
Friendly Womack Jr., Howard Curtis, Harry and Cecil. Bobby's father, a
guitarist, had equipped all five of his sons with guitars, and played with
the group on tour along with Bobby's mother, Naomi, an organist. The
Womack Brothers later became the Valentinos in
1956 when Sam Cooke signed all five
to his label, SAR Records
[1,
2]. That group
issued 'Lookin' for Love' in 1962, reaching Billboard's #8 tier in August.
'It's All Over Now' rose to #21 in May of 1964. The Valentinos came to an
abrupt end upon the murder of Cooke in December of '64, after which Womack worked
as a sessions guitarist to be found on tracks by such as
Joe Tex, the
Box Tops and
Aretha Franklin. Womack's debut
album appeared in 1968, 'Fly Me to the Moon', containing his first solo
titles to chart on the R&B: 'What Is This' (#33), 'Fly Me to the Moon'
(#16) and 'California Dreamin'' (#20). His initial of ten Top Ten tracks
was 'That's the Way I Feel About 'Cha' at #2 in December of 1971. 'Woman's
Gotta Have It' topped the R&B chart in May of 1972. 'Lookin' for a Love'
did the same in Feb of '74. Womack's last Top Ten arrived in 1985 with 'I
Wish He Didn't Trust Me So Much' at #2. Composition was a major element in
Womack's career, writing titles like 'What Is This?' ('66), 'I Can
Understand It' ('72) and 'Across 110th Street' ('72). He authored 'Baby,
Help Me' ('67) for
Percy Sledge, 'I'm In Love' ('67) for
Wilson Pickett
and 'Trust Me' ('71) for
Janis Joplin. Songwriting credits for his titles
at 1,
2,
3,
4.
Womack published his memoir, 'Midnight
Mover', in 2006, dying on June 2 of 2014 at age seventy in Tarzana, CA
[*].
Releases by the Valentinos at
1,
2,
3.
Songwriting credits. Discos
Discos w various credits:
1,
2,
3.
Lyrics at AZ.
Womack in visual media.
Bobby is thought the lead vocalist on titles with the Womack Brothers and Valentinos below. Bobby Womack 1961 With the Womack Brothers Composition: Anon Negro spiritual With the Womack Brothers Composition: Roscoe Robinson Bobby Womack 1962 With the Valentinos Composition: J. W. Alexander/Zelda Samuels Bobby Womack 1968 Composition: John & Michelle Phillips Bobby Womack 1969 Composition: Jimmy Williams/Larry Weiss Bobby Womack 1971 That's the Way I Feel About Cha Composition: Bobby Womack/Jim Grisby/Joe Hicks Album: 'Communication' Bobby Womack 1972 Composition: Bobby Womack/J.J. Johnson Composition: Bobby Womack/Darryl Carter/Linda Cooke Bobby Womack 1981 If You Think You're Lonely Now Composition: Richard Griffin/Patrick Moten/Bobby Womack Album: 'The Poet' Bobby Womack 1987 Composition: Harold Payne/Bobby Womack
|
|
| Born Benjamin Franklin ay in
1931 in Lugoff, South Carolina,
Brook Benton left for NYC in 1948 to
join a series of gospel groups [1,
2,
3]. Upon returning to North Carolina the next
year he joined the vocal R&B group, the Sandmen, with which he returned to
NYC to acquire his first recording contract in 1955 with Okeh.
Marv Goldberg has 'When I Grow Too Old to Dream'/'Somebody to Love' (Okeh
4-7052) released in February of '55. Sessions backing Lincoln Chase and
Chuck
Willis followed [Gonzalez] to 'Ooh' on May 20, which Sandmen title got added to a
track by Benton
on June 2 called 'The Kentuckian Song' for issue on 7058 in August of '55
[45cat/see also
sessions/issues]. That June 2 session produced by
Quincy Jones also saw 'Can I Help
It' to get included on the LP, 'Brook Benton At His Best' (Epic LN 3573)
in '59. Discogs has his next release w the Ray Ellis Orchestra on January
28 of '56 per 'Some of My Best Friends'/'Bring Me Love' (Okeh 7065). Benton placed 49 singles on the Billboard Hot
100 during his career. His first in March of 1958 was 'Million Miles from
Nowhere' at a barely recognizable #98. In Jan of 1959 'It's Only a Matter
of Time' reached #3, #1 on the R&B. Seven more #1 tracks followed during
Benton's career: 'Thank You Pretty Baby' (7/59), 'So Many Ways' (10/59),
'Baby You've Got What It Takes' (1/60 w
Dinah Washington), 'A Rockin' Good
Way' (5/60 w
Washington) 'Kiddio' (8/60), 'The Boll Weevil Song' (5/61)
and 'Rainy Night in Georgia' (1/70) [1,
2].
Brook maintained presence in the sixties with an occasional strong
release amidst other faint titles. 'Don't It Make You Want to Go Home'
reached #4 on the AC in May of 1970, 'Shoes' #18 in December, after which
he entered oblivion insofar as record sells went. Others with whom Benton
had recorded were the
Troggs and the Dixie Flyers. He issued 'Soft' in
1984, several years before dying of pneumonia in Queens on April 9 of
1988 [*]. Benton had participated in the composition of numerous titles. He
authored 'Only for Your Love' in 1959, also writing 'I'll Take Care of
You' for
Bobby Bland that year. He composed 'Frankie and Johnny' in '61
and 'Stop Foolin' in '63. Production and songwriting credits for Benton's tracks at
1,
2,
3,
4.
Benton in visual media. Brook Benton 1955 With the Sandmen Composition: Bill Cook Brook Benton 1956 Composition: Brook Benton Composition: Otis Blackwell Brook Benton 1957 Composition: Brook Benton/Cirino Colacrai Brook Benton 1958 Composition: Daryl Petty Brook Benton 1959 Composition: Brook Benton/Clyde Otis Composition: Brook Benton/Clyde Otis/Belford Hendricks Brook Benton 1960 Composition: Brook Benton/Clyde Otis Composition: Brook Benton/Clyde Otis Composition: Brook Benton/Clyde Otis Brook Benton 1961 Composition: Joe Shapiro/Jimmy Williams/Clyde Otis Brook Benton 1962 Composition: Robert MacGimsey Composition: Arthur Kent/Ed Warren Brook Benton 1963 Composition: Earl Shuman/Leon Carr Composition: Margaret Singleton/Ray Stevens Brook Benton 1964 Composition: Earl Shuman/Leon Carr Composition: Rudy Clark Composition: Charles Arrington From the LP 'On the Countryside': Composition: Johnny Cash Don't Rob Another Man's Castle Composition: Jenny Lou Carson Composition: Jenny Lou Carson Composition: Bob Wills/John Wills Composition: Jenny Lou Carson Composition: Jenny Lou Carson Composition: Johnny Cash Composition: Jenny Lou Carson Composition: Jenny Lou Carson Brook Benton 1970 Composition: Tony Joe White Brook Benton 1982 Live performance Composition: Clyde Otis/Brook Benton Live performance Composition: Tony Joe White
|
Brook Benton Source: Jazz Wax |
|
|
Solomon Burke Source: Pipic |
Born in 1940 in Philadelphia,
PA,
Solomon Burke
[1,
2,
3,
4,
5,
6,
7]
began his life in the public eye as a preacher at age seven at Solomon's Temple.
At age twelve, now a pastor, he took his sermons to radio, first WDAS, then
WHAT. On Sundays he preached in a "blankie" made for him by his grandmother,
worn as a cape. In high school Burke formed a grouped called the Gospel Cavaliers.
Briefly after disbanding in 1955 Burke performed at a gospel talent contest
which first prize was a recording contract. He did so well that several labels
wished to sign him, at which point he hired a manager, Bess Berman, who directed
him to Apollo in NYC. His first plate, 'Christmas Presents'/'When I'm All
Alone' (Apollo 485), was released on Christmas
Eve of 1955 [sessions/issues].
Come 'Why Do Me That Way'/'I'm in Love' (Apollo 487) and 'To Thee'/'I'm
All Alone' (Apollo 491). In 1960 Burke signed up with Atlantic Records.
His intention was gospel; Atlantic's was rhythm and blues. But due to
Burke's position in his church he had quibbles about being associated with
rhythm and blues. As the story goes, Burke consulted a DJ about how he
should be marketed. The DJ replied, "You're singing from your soul and you
don't want to be an R&B singer, so what kind of singer are you going to
be?" To which Burke answered. "I want to be a soul singer." Consulting
with members of his church, they consented to his singing of "soul music"
rather than gospel or R&B. Some sources have Burke coining the term, but
Soul Music Sanctuary
(SMS) has that occurring back in 1947 per Jerry
Wexler, a Billboard charts editor. SMS has Billboard using the term in
charts as early as 1949. Burke released a couple plates in 1961 as Little Vincent:
'You Don't Send Me Anymore'/'Always Together' (Apollo 747) and 'Honk,
Honk, Honk 1'/'Honk, Honk, Honk 2' (Apollo 748). His
first charting title, 'Just Out of Reach', rose to
#6 on the AC, #7 on the R&B, in Sep of 1961. 'Cry to Me' reached #5 on the R&B in January
of 1962. By 1963 Burke was being called the "King of Soul", and encouraged to perform
with a crown, scepter, robe, fifteen-foot cape, dancing girls, and colored
lights, all of which Burke considered "a new avenue, a new dimension to spread
the gospel" in its secular trappings. He placed nine titles in the Top Ten
to 'Tonight's the Night' in May of 1962. 'Got to Get You Off My Mind' had
ascended to #1 March. He continued placing titles in the Top Twenty to as
late as 'You and Your Baby Blues' in January of 1975. Burke had composed
or collaborated on the bulk of his titles from 'I'm In Love' with 'Why Do
Me That Way' in 1956 through 'Stupidity' issued in 1963 to 'The Generation
of Revelations' with 'I'm Gonna Stay Right Here' in 1969. Production and songwriting
credits for Burke's titles at
1,
2,
3,
4,
5,
6.
Other discos:
1,
2,
3.
Lyrics at AZ.
Beyond music, among Burke's business ventures were
running concession stands for crews and performers at concerts (said to be
an expensive cheapskate) and a string of funeral parlors. (Burke had found
time during his earlier career to acquire a doctorate in mortuary science.)
Burke released his last album, 'Hold On Tight', in 2010, a collaboration with
the band, De Dijk. He died that year on October 10, weighing more than 350 pounds.
Burke in visual media. Solomon Burke 1955 Composition: Burke/Williams Composition: Burke/Williams Solomon Burke 1956 Composition: Mari Horton/Howard Biggs/Charlie Merenstein Composition: Charlie LaVerne/Howard Biggs Composition: Howard Biggs/Kae Williams/Burke You Can Run But You Can't Hide Composition: Joe Louis/Mari Horton Solomon Burke 1957 Composition: Kae Williams/Harry Bagby/Burke Composition: Mari Horton/Charlie Merenstein Solomon Burke 1958 Composition: Burke Solomon Burke 1959 Composition: Dan Penn/Carson Whitsett/Hoy Lindsey Solomon Burke 1960 Composition: Van Morrison Solomon Burke 1961 Composition: Burke Composition: Clint Ballard/Fred Tobias Solomon Burke 1962 Composition: Bert Berns/Burke Composition: Ivory Joe Hunter I'm Hanging Up My Heart For You Composition: Don Covay/John Berry Solomon Burke 1963 Composition: Bert Russell/Burke Composition: Otis Blackwell/Winfield Scott Composition: Wilson Pickett Composition: Don Covay/Horace Ott Solomon Burke 1964 Composition: Burke Solomon Burke 1965 Composition: Burke Solomon Burke 1969 Composition: John Fogerty Solomon Burke 1986 Composition: Sam Cooke Solomon Burke 2002 Composition: Dan Penn/Carson Whitsett/Hoy Lindsey Composition: Barry Mann/Cynthia Weil/Brenda Russell Solomon Burke 2006 Live in Montreux 2006 Composition: Bert Russell (Bert Berns) Solomon Burke 2007 Concert
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|
| Born in Birmingham, Alabama,
in 1937, falsetto singer, Jimmy
Jones [1,
2,
3,
4], was at first a tap dancer. In 1954 he joined a doo wop
group called the Berliners, later changing its name to the Sparks of Rhythm
[1,
2,
3].
His first recordings were singing lead with that group on July 25, 1955,
to result in 'Don't Love You Anymore/Woman, Woman, Woman' (Apollo 479) and
'Hurry Home/Stars in the Sky' (Apollo 481)
[*]. Come Feb 2 of 1956 he led a
session for Savoy with his group by the same name that came to 'You/Say
You're Mine' (Savoy 1188)
[*]. The Savoys became the Pretenders
[*] to record
'Possessive Love'/'I've Got to Have You Baby' (Rama 198) on May 2 of '56.
Jones ramrodded the Pretenders until 1959, releasing his first solo titles
on Epic 9339 in Sep that year: 'Whenever You Need Me/You For Me to Love'.
'Handy Man' rose to the #2 spot on the Hot 100, #3 on the R&B, #3 in the
UK, in December of '59. Jones issued only one other Top Ten track per
'Good Timin'' in April of 1960. Jone's first of several
albums, 'Good Timin'',
was issued the same year. Jones applied himself to composition as well. He
wrote such as 'Say You're Mine' for release by the Savoys in '56, followed
the same year by compositions for the Pretenders like 'Blue and Lonely'
and 'Daddy Needs Baby'. He collaborated with Otis Blackwell and Charles
Merenstein on Handy Man' in '59. Songwriting credits for some or his
titles at 45Cat. Jones died
on August 2, 2012, in Aberdeen, North Carolina. Jones in visual media. Jimmy Jones 1955 With the Sparks of Rhythm Composition: Jones/Floyd Edmonds/J. Smith With the Sparks of Rhythm Composition: Andrew Barksdale/Floyd Edmunds Jimmy Jones 1956 With the Pretenders Composition: Sunny Gale/Horace Linsley With the Savoys Composition: Danny Taylor/Fred Mendelsohn Jimmy Jones 1957 With the Pretenders Composition: Jones With the Pretenders Composition: Melvin/Duncan Jimmy Jones 1959 Composition: Jimmy Williams/Waldense Hall Jimmy Jones 1960 Composition: Jones/Otis Blackwell Jimmy Jones 1962 Composition: Russell/Passman Jimmy Jones 1965 Composition: Robert Spencer/Johnny Northern Jimmy Jones 1976 Ain't Nothin Wrong with Making Love Composition: C. C. Ryder/Jones
|
Jimmy Jones Photo: Popperfoto/Getty Images Source: The Telegraph
|
|
|
Joe Tex Source: Soul Walking |
Born in Rogers, Texas, in
1935,
Joe Tex [1,
2,
3,
4]
liked a mix of country and soul. When Tex was eighteen he entered a contest which
prize was $300 and a trip to New York. While there he won four more contests
at the Apollo Theater, which gained him his first record proposal. He had,
however, to postpone signing up with King Records for another year (1955),
as his mother insisted he graduate from high school first. Thus in '55 he
issued 'Come in This House'/'Davy, You Upset My Home' (King 4840). Several
King issues ensued before shifting over to Ace Records in 1958 [*].
Highlighting the early sixties was a lively occasion in 1963 when
James Brown went hunting for Tex with a shotgun (believed speculative by some)
[1,
2,
3]. Rivalry
between
Brown and Tex is said to have arisen from a recording
Brown had made with Tex' prior wife, Bea Ford, in 1960: 'You’ve Got the
Power' (US Federal 12370/UK Parlophone R 4667).
Brown then sent a
correspondence to Tex telling him that he could have his wife back. Tex
responded with the
diss song, 'You Keep Her'. A later performance by Tex mocking
Brown with a cape full of holes
is given as the ultimate cause that triggered
Brown to go shooting. Tex' first several
years in the music business were a spin looking for traction until the release
of 'Hold On to What You've Got' in 1964, that topping Billboard's R&B
chart in December. Top Ten, Twenty and Thirty tracks followed almost
consistently to as late as 'Ain't Gonna Bump No More' at #7 in April 1977.
Three of those had been more #1 titles: 'I Want to (Do Everything for
You)' (8/65), 'A Sweet Woman Like You' (12/65) and 'I Gotcha' (1/72).
Discogs and Rateyourmusic have Tex issuing his first LP, 'Hold On! It's
Joe Tex', on Checker in '64, that followed by 'Hold What You've Got' on
Atlantic in '65. Most other sources list 'Hold What You've Got' as Tex'
debut LP:
45Worlds has the Atlantic LP issued in Jan '65 followed by the
Checker LP in March. Pete Nickols at
Sir Shamblings appears to
confirm 'Hold What You've Got' to be Tex' first LP released prior to 'Hold
On'. Tex changed his name to Yusuf Hazziez in 1966 upon becoming a Muslim. 1972
saw the issue of the LP, 'From the Roots Came the Rapper', in early
reference to the street poet preceding the rise of hip hop putting rap
(beat) to rap (poetry)
[1.
2,
3].
Tex retired to his ranch in Navasota, Texas, in 1981, there to die on
August 13 of 1982 of heart attack, only 49 years old. Tex had written or co-written
the majority of the titles he recorded, sometimes credited by his birth
name, Joseph Arrington, sometimes as Joseph Harrington. He composed all
titles below except as noted. Songwriting credits at
1,
2,
3.
Discos at
1,
2,
3,
4
Tex in visual media. Joe Tex 1955 Joe Tex 1956 Composition: Eddie Cooley/John Davenport (Otis Blackwell) Joe Tex 1958 Composition: Chuck Willis Joe Tex 1959 Joe Tex 1960 Joe Tex 1962 Joe Tex 1963 Joe Tex 1964 Joe Tex 1965 Album I Want To (Do Everything For You) Joe Tex 1966 Live on Hullabaloo Joe Tex 1968 Filmed live in Spain Album Joe Tex 1970 Joe Tex 1971 Joe Tex 1972 Live on 'Soul Train' Extended version of Dial 4098 in 1970 Composition: Burt Bacharach/Hal David LP: 'From the Roots Came the Rapper' 1972 Joe Tex 1976 Composition: Bennie Lee McGinty/Buddy Killen Joe Tex 1977 Live on 'Soul Train' Composition: Bennie Lee McGinty/Buddy Killen
|
|
|
Vocalist,
Patti Austin
[1,
2,
3,
4,
5]
was born in 1950 in Harlem. She had no time for the nonsense of having to grow up before
starting a career, she performing at the Apollo Theater at age four and
releasing a record for RCA in 1956: 'Super-Cala-Faga-Listic'/'I Get a
Message'. She released her next 45s at age fifteen in 1965: 'He's Good
Enough for Me' b/w 'Earl' and 'I Wanna Be Loved' b/w 'A Most Unusual Boy'.
She began working as a sessions singer circa 1966, backing such as
James Brown. She also began
singing jingles in the latter sixties. She would be advertising large
companies such as Burger King as well as the US Army. Austin's first LP
was 'End of a Rainbow' in 1976, followed by 'Havana Candy' the next year.
Most of Austin's highest charting songs were in
Billboard's Dance
category. In 1981 she topped it with 'Do You Love Me'. Three years later
'It's Gonna Be Special' reached #5 in August. Austin's first music video
appeared for 1984's 'Rhythm of the Street'. 'Any Other Fool' came to #6 on
Billboard's AC (Adult Contemporary) in 1989, followed by 'The Test of
Time' in April of 1990. Her last to chart in the Dance category was
'Reach' in 1994. Austin has also appeared in film. Having issued well
above twenty LPs, most performing well as jazz albums, highlighting the
new millennium was her 2002 tribute to
Ella Fitzgerald, 'For Ella'. Her latest
album per this writing was 'Sound Advice' in 2011. 'Mighty Musical Fairy
Tales' ('16) had been recorded in 1992. Having also put her hand to
composition, Austin wrote such as 'Say You Love Me' ('76), 'What's at the
End of the Rainbow' ('76) and 'In My Life' ('77). Songwriting credits for
her titles at 1,
2. Discos:
1,
2. Residing
in Kansas City, Austin yet tours internationally and in the States.
As of this writing she is preparing a second tribute album to
Fitzgerald.
Austin in visual media. Patti Austin 1956 Composition: Robert & Richard Sherman Patti Austin 1965 Composition: Bob Halley Composition: Bob Goodman Composition: Chip Taylor Composition: Johnny Green/Billy Rose/Edward Heyman Patti Austin 1966 Composition: Les Reed/Robin Conrad Composition: Artie Schroeck/Jet Loring Patti Austin 1968 Composition: Fred Tanner/Stuart Ponte Patti Austin 1971 Composition: LaVerne Ware/Pam Sawyer Patti Austin 1976 Album Patti Austin 1984 Composition: Clif Magness/Glen Ballard Patti Austin 1990 Composition: Patti Austin Patti Austin 1992 Music: Dave Grusin Lyrics: Alan & Marilyn Bergman Patti Austin 2012 Internationale Jazzwoche Burghausen Filmed concert
|
 Patti Austin Source: All Music |
|
|
Among the major huge-name musicians contributing to the development of soul music emerging from R&B was singer Aretha Franklin. The "Queen of Soul" began her recording career in 1956. Born in 1942 in Memphis, Tennessee, Franklin's mother died when she was nine. She began singing the next year for her father who was a successful itinerant preacher. At age fourteen Franklin's father began managing her career, obtaining her first recording contract in 1956 with JVB Records and releasing the album, 'Songs of Faith', that year. Franklin's first song to reach Billboard's Top Ten in R&B was 'Today I Sing the Blues' at #10 in 1960. That was followed by 'Operation Heartbreak at #6 in 1961. Franklin's first to reach the Hot 100 was 'Won't Be Long' in 1961 at #76 (#7 in R&B). Her first to reach the Top 40 was later that year with 'Rock-a-Bye Your Baby with a Dixie Melody' at #37. She maintained a notable presence for several years until she went supernova in 1967 with four #1 songs: 'I Never Loved a Man', 'Respect', 'Baby I Love You' and 'Chain of Fools'. From that point onward Franklin's nonstop career became among the most illustrious in the music industry. Between R&B and Dance, Franklin placed 21 more titles at Billboard's #1 spot alone, her most recent in 2014 with 'Rolling in the Deep'. Her first platinum album, 'Who's Zoomin' Who?', was released in 1985. She was the first female elected into the Rock and Roll Hall of Fame in 1987. She was inducted into the UK Music Hall of Fame in 2005 and the GMA Gospel Music Hall of Fame in 2012. In 2013 'Rolling Stone' magazine named her the No. 1 Greatest Singer of All Time and 9th Greatest Artist of All Time. Among other awards she accepted an honorary doctorate from Harvard University in 2014. She issued her last of about fifty albums in 2014, 'Sings the Great Diva Classics' rising to the #3 tier on the Billboard Hot 200 in R&B. Also composing numerous titles, Franklin authored such as 'Spirit in the Dark' ('70), 'All the King's Horses' ('72) and 'Daydreaming' ('72). References encyclopedic: 1, 2, 3, 4, 5; musical: 1, 2, 3 4, 5, 6. Songwriting credits for Franklin's titles at 1, 2, 3, 4, 5. Lyrics at AZ. Issues catalogs: 1, 2, 3, 4. Franklin toured for an audience that experienced no diminishment until her death of pancreatic cancer in Detroit on August 16, 2018. She was honored w a Pulitzer Special Award the next year. Franklin in visual media. Further reading: *. More Aretha Franklin in Blues 4. Aretha Franklin 1956 Composition: Don Robey Aretha Franklin 1961 Rock-A-Bye Your Baby With A Dixie Melody Music: Jean Schwartz Lyrics: Sam Lewis/Joe Young Composition: Jean Burns Won't Be Long/Love Is The Only Thing Compositions: John Leslie McFarland Aretha Franklin 1964 Composition: Joshie Armstead/Nickolas Ashford/Valerie Simpson Aretha Franklin 1967 Composition: Don Covay Composition: Otis Redding Aretha Franklin 1968 Composition: Aretha Franklin/Ted White Aretha Franklin 1971 Live Composition: Otis Redding Aretha Franklin 1995 Composition: Leonard Bernstein Aretha Franklin 1997 Composition: Lauryn Hill
|
Aretha Franklin Source: Altin Madalyon |
|
|
Harold & the Blue Notes See
Doo Wop:
Harold & the Blue Notes. |
||
|
Isley Brothers See
Doo Wop:
Isley Brothers. |
||
|
Billy Stewart Source: Soul Walking |
Born in Washington D.C. in
1937, soul pianist, Billy
Stewart (aka Fat Man) [
*] began singing with his brothers, Johnny, James and
Frank, in his mother's group, the Stewart Gospel Singers at age eight
[1,
2]
if not age twelve
[1,
2], first singing professionally about that time as
the Four Stewart Brothers for WUST AM in D.C. Several years later he began
singing with the secular group, the Rainbows, led by Don Conway. He was
hired as a pianist by
Bo Diddley in 1956, that leading to his first issue
that year per Parts 1 and 2 of 'Billy's Blues' (Chess 1625). Kirby (Way
Back Attack) has co-writer, Jody Williams, featured on guitar on Part 1.
Unclear whether it's
Diddley or Williams on Part 2, Kirby has
Diddley
backing Stewart on his next issue, 'Billy's Heartache', by his birth name, Ellas McDaniel (1957 Okeh 7095 w 'Baby, You're My Only Love' flip aide).
The Marquees offered supporting vocals with
Marvin Gaye one of its members,
he
attending his first recording sessions that day. Soulful Kinda Music has
Stewart backing
Diddley on a couple of Checker issues in '58: 'Dearest
Darling'/'Hush Your Mouth' (896) and 'Bo Meets the Monster'/'Willie and
Lillie' (907). Returning to Chess in the early sixties for the remainder
of his career, Stewart commenced that period with the releases of 'Reap
What You Sow'/'Fat Boy' (1820) and 'True Fine Lovin''/'Wedding Bells'
(1835) in 1962. 'Reap What You Sow' was Stewart's first title to
chart at
#18 on the R&B in July. He placed three in the Top Ten during the
remainder of his career: 'I Do Love You' (#6 3/65), 'Sitting in the Park'
(#4 6/65) and 'Summertime' (#7 7/66). 'Secret Love' rose to #11 in October
of '66. Stewart's first album had been 'I Do Love You' released
in 1965 (Chess 1496). Come 'Unbelievable' the same year per Chess 1499.
Stewart appeared on American Bandstand's Halloween Show in Oct of '66. He
issued his third and last LP while living in 1967: 'Billy Stewart Teaches
Old Standards New Tricks' (Chess 1513)
[*]. Stewart died on January 17, 1970, age only 32, when the Ford Thunderbird he was driving
left the highway and plunged into a river, killing three passengers as well.
Numerous compilations have since been released, such as 'Remembered' in
1970 and 'Cross My Heart' in 1974. Composition elemental to Stewart's vocation,
he had authored numerous titles like 'I Do
Love You' ('65) and 'Sitting in the Park' ('65). See 45Cat for
songwriting credits. Billy Stewart 1956 Composition: Stewart/Jody Williams Billy Stewart 1957 Music: Ellas McDaniel (Bo Diddley) Lyrics: Stewart/Larsen Billy Stewart 1962 Composition: Stewart Billy Stewart 1965 Composition: Stewart Composition: Stewart Music: Harold Arlen Lyrics: Yip Harburg Billy Stewart 1966 Music: Richard Rodgers Lyrics: Lorenz Hart Music: George Gershwin Lyrics: DuBose Heyward/Ira Gershwin Billy Stewart 1967 Composition: Dave Henderson/Sidney Pinchback/Warren Hagood Billy Stewart 1969 Composition: Herman Kelly/Dorian Burton
|
|
| Born Justine Washington
in 1940 in Bamberg, South Carolina
[1,
2],
Baby Washington (also Jeanette Washington,
not to be confused with the member of the group, Parliament) got an early
start in her music career upon joining the Hearts
[*], with which group she made
her debut recordings: 'Going Home To Stay' and 'Disappointed Bride', Baton
label. In 1956 Washington recorded 'I Wonted To Be Free' and 'Where Are You
Tonight' with the Jay Netts for the J&S label. Both the Hearts and the Jay
Netts were produced by composer, Zelma (Zell) Sanders
[1,
2,
3,
4,
5,
6
7,
8,
9,
10,
11].
Washington made her first name recording
in 1957, 'Everyday', which 45 disc she shared with the Shytone Five
('Smitty's Rock') flip side. Washington recorded with the Hearts again
later that year: 'You Say You Love Me'/'So Long Baby' and 'Dancing In A Dream
World'/'You Needn't Tell Me, I Know'. Washington rounded out the year ('57)
with her second and third name recordings: 'There Must Be a Reason' b/w 'Congratulations
Honey'. She positioned two titles in the
R&B Top Ten: 'That's How
Heartaches Are Made' at #10 in '63 and 'Only Those in Love' at #10 in '65.
LPs by the same titles were released the same years. Those had been
preceded by an album shared with Wilbert Harrison, 'Battle of the Giants',
released in the UK in 1962 (Joy Records 191). The LP, 'With You in Mind',
was issued in 1968. Come 'The One and Only' in '71, 'Lay a Little Lovin'
on Me' with Don Gardner in '73
and 'I Wanna Dance' in '78. Baby Washington was sometimes credited as
either Justine or Jeannette as well. She wrote numerous of her own
compositions from such as 'The Time' and 'You Never Could Be Mine' in 1958
to 'Your Fool' in '65 and 'Care Free' in '74. See
1,
2,
3 for songwriting
credits to her titles. Discographies at
1,
2. As of this writing Washington yet performs on cruise ships
and the eastern coast. Baby Washington 1956 Going Home to Stay/Disappointed Bride With the Hearts Compositions: Zell Sanders With the Jay Netts Composition: Zell Sanders/Washington With the Jay Netts Composition: Zell Sanders Baby Washington 1957 Composition: Zell Sanders Composition: Zell Sanders With the Hearts Composition: Zell Sanders Baby Washington 1958 Composition: Zell Sanders Composition: Washington Baby Washington 1961 Nobody Cares (About Me)/Money's Funny Compositions: Washington Baby Washington 1962 Composition: Washington Composition: Washington Baby Washington 1963 I Can't Wait Until I See My Baby Composition: Jerry Ragovoy/Chip Taylor Baby Washington 1964 Composition: Sam Bobrick/Norm Blagman Arrangement: Bert Keyes That's How Heartaches Are Made Composition: Bob Halley/Ben Raleigh Baby Washington 1965 Composition: Charlie Singleton/Bert Kaempfert Baby Washington 1969 Composition: Donnie Fritts/Eddie Hinton
|
Baby Washington Source: Soul Walking |
|
| Born Barry Eugene Carter in
1944 in Galveston, Texas,
Barry White
[1,
2,
3,
4,
5]
early recorded with Jesse Belvin, playing piano on, 'Goodnight My Love'
released in 1956, he not yet an adolescent. He then began to explore the
gang life, his brother killed in a clash with rivals. His brain naturally
informed him that stealing $30,000 worth of Cadillac tires at age
seventeen could never occur again when he was jailed. Upon release from
incarceration he struck independent, leaving gang life behind him. From
1960 to 1962 he released recordings with the Upfronts. In 1963 he released
titles with the Atlantics and the Majestics. 1965 saw the issue of 'Feel
Alright Part 1 & 2' with the Bel Cantos. White began having some success
as a songwriter in the latter sixties, also beginning to work in A&R for
Del-Fi Records. In 1966 he released 'Man Ain't Nothin''/'I Don't Need It'
as Lee Barry. His initial solo efforts as Barry White were 'All In The Run
Of a Day'/'Don't Take Your Love From Me'. He then issued 'In The
Ghetto'/'Little Girl' as Gene West in 1970. White made a name for himself
as a producer in 1972 when he took on the group, Love Unlimited. He began
issuing records en force as Barry White in 1973, including the album 'I've
Got So Much to Give'. His first title to chart toward superstar status was
'I'm Gonna Love You Just a Little More Baby' topping
Billboard's R&B in
April of 1973. Scoring well on the charts for the next couple decades,
White placed five more tracks in the #1 slot: 'Can't Get Enough of Your
Love' ('74), 'You're the First, the Last, My Everything' ('74), 'What Am I
Gonna Do with You' ('75), 'It's Ecstasy When You Lay Down Next to Me'
('77) and 'Practice What You Preach' ('94). White also topped the
charts
with his Love Unlimited Orchestra
[*] formed in 1973, that backed by the
female vocal group, Love Unlimited
[1,
2,
3],
led by White's wife ('74), Glodean White [*]. Both apt examples of
disco, 'Love's Theme' saw #1 in Dec of 1973, 'My Sweet Summer Suite' in
Sep of 1976. Composition elemental to
White's vocation, he authored such as 'You're My Baby' ('73), 'Love's
Theme' (for his Love Unlimited Orchestra '73), 'Baby We Better Try to Get It Together'
('75), 'Let the Music Play' ('75) and 'I'm Qualified to Satisfy You'
('76). Songwriting credits for his titles at
1,
2,
3,
4.
Discos of releases at
1,
2,
3.
Songwriting credits for the Love Unlimited Orchestra at
1,
2,
3. See also
Discogs.
White maintained his audience until his death on Independence Day of 2003
in Los Angeles after a stroke. He was waiting for a kidney transplant
necessitated by diabetes. White in visual media Barry White 1956 Piano with Jessie Belvin Composition: George Motola/John Marascalco Barry White 1960 Bass vocalist with the Upfronts Composition: B. Sexton/D. Johnson/M. SextonToo Far to Turn Around/Married Jive Bass vocalist with the Upfronts Barry White 1963 With the Atlantics State song of Kansas Music: Daniel E. Kelley Lyrics: Dr. Brewster M. Higley With the Atlantics Composition: Chick Carlton Barry White 1965 With the Bel Cantos Composition: Rex DeLong/Johnny KirklandLee Barry 1966 Composition: Barry White Composition: Barry White Barry White 1973 Composition: Barry White Album: 'I've Got So Much to Give' Album Barry White 1975 Let Me Live My Life Lovin' You Composition: Barry White Filmed live Barry White 1977 It's Ecstasy When You Lay Down Next to Me Composition: Ekundayo Paris/Nelson PigfordBarry White 1994 Music video Composition: Barry White
|
 Barry White Source: Caobo Internacional |
|
|
Marvin Gaye [1,
2,
3,
4,
4,
5,
6]
was a major figure in the development of rock's sibling, soul music. Born
Marvin Gay Jr. in 1939 in Washington D.C., Gaye had
joined the Air Force at age 17 with the notion of becoming a pilot. But he
wasn't going to become a pilot without a college degree and, disappointed
with other aspects of the military, pretended
mental disability and was discharged. After which which Gaye and friend, Reese
Palmer, formed a doo wop quartet, the Marquees
[*].
Performing in the Washington D.C. area, the Marquees released 'Hey Little
School Girl' with 'Wyatt Earp' in 1957, after which it was hired by
Harvey Fuqua, its name changed to the
New Moonglows [*], and taken to Chicago. (See the Moonglows in
Doo Wop.) Both
Fuqua and Gaye left the New Moonglows
in 1960 to pursue solo careers, Gaye releasing his first solo recordings,
'Let Your Conscience Be Your Guide' b/w 'Never Let You Go' in 1961, the
year he released his debut LP, 'The Soulful Moods of Marvin Gaye'. Gaye's
first step to superstardom per
Billboard was 'Stubborn Kind of Fellow'
rising to #8 on the R&B in Oct of 1962. Eleven of his titles topped the
chart at #1: I'll Be Doggone 3/65 Ain't That Peculiar 10/65 I Heard It Through the Grapevine 11/68 Too Busy Thinking About My Baby 4/69 What's Going On 2/71 Mercy Mercy Me 7/71 Inner City Blues 10/71 Let's Get It On 7/73 I Want You 4/76 Got to Give It Up 4/77 Sexual Healing 10/82 Numerous of Gaye's tracks scored in the Top Ten and Twenty, including his posthumous 'Sanctified Lady' riding to #2 on the R&B in May of 1985. Gaye had issued albums with Mary Wells in '64 ('Together') and Kim Weston in 1965 ('Take Two'). Highlighting the seventies was Gaye's album of duets with Diana Ross, 'Diana & Marvin', released in Oct of 1973. Among Gaye's numerous contributions to composition was 'If This World Were Mine' which he recorded with Tammi Terrell in 1967 (releasing four albums with her). He also authored such as 'Don't Mess with Mister T' ('72) and 'You Sure Love to Ball' ('73). Songwriting credits for his titles at 1, 2, 3, 4. Discos: 1, 2, 3. Gaye released seventeen studio and three live solo albums to 'Midnight Love' in 1982. He died at the relatively young age of 44 on April 1, 1984 [1, 2, 3], having been shot by his father upon a violent beating by Gaye in a household unhappy altogether. The .38 by which Gaye had been killed had been Gaye's Christmas present to his father who died four years later of pneumonia, yet on five years probation to a six-year suspended sentence. Gaye in visual media. Per 1957 below, Ellas McDaniel = Bo Diddley, he also producing those tracks. Per 1961 below, Berry Gordy was founder of Tamla Records in Detroit in Jan of 1959. He formed the Motown Record Corporation in April of 1960 (Detroit known as Motor City or Motor Town due to auto manufacturing). With Gaye among Gordy's earliest clients, Motown Records would soon become the seat of soul music arising in the sixties [1, 2]. Marvin Gaye 1957 With the Marquees Composition: Ellas McDaniel/M. Ames/Reese Palmer With the Marquees Composition: Ellas McDaniel/Reese Palmer Marvin Gaye 1959 With Harvey & the New Moonglows Backing Chick Berry Composition: Chuck Berry With Harvey & the New Moonglows Backing Chick Berry Composition: Chuck Berry With Harvey & the New Moonglows Composition: Harvey Fuqua/Gaye With Harvey & the New Moonglows Composition: Harvey Fuqua Marvin Gaye 1961 Let Your Conscience Be Your Guide Composition: Berry Gordy Jr. Composition: Berry Gordy Jr. Marvin Gaye 1962 Television performance Composition: Gaye/William Mickey Stevenson/Clarence Paul Composition: Pat Ballard Composition: William Mickey Stevenson George Gordy/Andre Williams Composition: Gaye/William Mickey Stevenson/George Gordy Marvin Gaye 1965 Composition: Pete Moore/Bobby Rogers William Smokey Robinson/Marv Tarplin Marvin Gaye 1971 Album Marvin Gaye 1976 Composition: Arthur T-Boy Ross/Leon Ware Marvin Gaye 1977 Live on 'Midnight Special' Composition: Gaye/Al Cleveland Renaldo Obie Benson Marvin Gaye 1980 Live in Montreux First release: 1973 Composition: Gaye/Ed Townsend Marvin Gaye 1983 Lyrics: Francis Scott Key 1814 Poem: 'Defense of Fort McHenry'
|
Marvin Gaye Source: Cancion Musica |
|
| Born in 1937 in Latta, South
Carolina,
Chuck (Charles) Jackson
[1,
2,
3,
4]
first emerged on vinyl in 1957 with the
Del Vikings
[1,
2,
3]. He sang lead on 'Willette'
that year on a 45 issued for Dot with Kripp Johnson (also with the
Del Vikings) with 'Woke Up This Morning' A side. Leaving the
Vikings in '59,
Jackson's first singles that year were 'Willette' bw 'A Little Man Cried'
and 'Come On and Love Me' bw 'Ooh Baby'. He breached
Billboard's R&B Top
Ten in 1961 with 'I Don't Want to Cry' placing at #5. The album, 'I Don't
Want to Cry', followed the next year. 1962 saw 'Any Day Now' rise to
Billboard's
#2 tier, the LP of the same title issued that year as well. 'Beg Me' in
'64 saw #5 again, 'Something You Got' #10 the next year. Jackson issued
around 24 albums during his career. His latest original issue was 'I'll
Never Get Over You' in 1998. Discos w various credits at
1,
2. See also
1,
2,
3. Jackson
website. Chuck Jackson 1957 With Kipp Johnson Composition: Jackson/Phillips With Kipp Johnson Composition: B.B. King Chuck Jackson 1959 Composition: Davey Jones/Henry Stone Chuck Jackson 1961 Composition: Luther Dixon/Jackson (It Never Happens) In Real Life Composition: Luther Dixon/Ollie Jones Composition: Burt Bacharach/Hal David Chuck Jackson 1962 Composition: Gil Garfield/Jerry Leiber/Mike Stoller LP: 'Any Day Now' Composition: Luther Dixon/Rose Marie McCoy LP: 'Any Day Now' Composition: Brenda & Tony Bruno/Sanford Bellini Direction: Tony Bruno Arrangement/Conductor: Steven Garrick Chuck Jackson 1964 Composition: Robert Mosely Composition: Barry Richards/Jean & Don Thomas Chuck Jackson 1965 Telecast Composition: Burt Bacharach/Bob Hillard Telecast Composition: Luther Dixon/Jackson Chuck Jackson 1973 Composition: Dee Ervin Chuck Jackson 1985 Filmed at Apollo Theatre NYC Composition: Burt Bacharach/Bob Hillard Chuck Jackson 1993 Telecast Composition: Burt Bacharach/Bob Hillard Chuck Jackson 1998 Telecast
|
 Chuck Jackson Source: N&R Greensboro |
|
 Billy Preston Source: Sopitas |
Born in 1946 in Houston
[1,
2], organ
player
Billy Preston
was first recorded on the 'Nat King Cole Show' in 1957, rendering a duet
of 'Blueberry Hill' with
Cole. His first record releases are thought to
have been in 1961 with Contract Records: 'My Kind Of Music' b/w 'There's A
Brand New Picture' and 'Volcano' b/w 'Young Heartaches'. In 1962 he played
organ on 'This Sunday In Person!', an album released by gospel singer,
James Cleveland. Preston also toured Europe with
Little Richard in 1962,
meeting the
Beatles for the first time in Hamburg. 1963 saw his release of
'Greazee' with Derby Records and the issue of his debut album, '16 Yr. Old
Soul'. In 1964 Preston participated in the issue of
'It's A Blessing' b/w 'Since I Found Him' by the Cogic (Church of God In
Christ) Singers. Preston issued three 45s in 1965 on Vee-Jay, as well as
six singles on Oldies 45 with flip sides shared by other artists. He also
released his second and third albums in 1965, 'The Most Exciting Organ
Ever' followed by 'Early Hits of 1965'. Come 'Wildest Organ In Town!' in
1966. Nineteen more studio albums would follow to as late as 'You and I'
in 1997 in addition to his 'Live European Tour' recorded in 1973 and six
gospel albums from 1965 ('Hymns Speak From the Organ') to 2001 ('Music
From My Heart'). Preston signed on with Apple Records owned by the Beatles
on 31 January 1969 after being asked to join the Beatles' 'Let It Be'
album sessions in latter January, commonly referred to as the 'Get Back'
sessions. This album required 30 days to record, during which differences
between Lennon and McCartney were making it difficult to get forward with
getting back. George Harrison reasoned that Preston's presence might quell
uneasy waters and asked him to join them in the studio on electric piano
on 22 January of 1969. Of the fifteen jams recorded that day Preston
appeared on fourteen of them (both he and Lennon out on 'Carol') [see "22"
at Beatles Bible].
The 'Get Back' sessions are so-called prior to eventually naming the
album, 'Let It Be'. Preston spent a week recording with the Beatles, then
accompanied them at their last public performance on January 30 1969 atop
the roof of Apple headquarters in London. Preston also participated in the
Beatles' album, 'Abbey Road' (1969). 'Let It Be' was recorded before
'Abbey Road' though its release came afterward. As to Preston's earlier
presence on the Beatles' 'White Album' released in 1968, there has been
considerable discussion amidst what appears a greater consensus that such
is so unlikely as to ignore the possibility altogether. His relationship with the
Rolling Stones began briefly
afterward, contributing to 'Can't You Hear Me Knocking' and 'I Got the
Blues' on the 'Sticky Fingers' album ('71), and 'Shine a Light' on 'Exile
On Main Street' ('72). Preston was the
Stones' principal keyboardist until
1977 while he pursued his own career with A&M Records (as of '71), and
would record on various later
Stones issues (such as 'Tattoo You'
in '81 and 'Bridges to Babylon' in '97). Preston moved to Motown Records
in 1979, releasing his first duet with
Syreeta Wright that year: 'Go For
It' b/w 'With You I'm Born Again'. Last issuing with Motown in 1986,
Preston spent the rest of the eighties doing session work. In 1990 he
toured with both
Eric Clapton and
Ringo Starr before joining The
Band,
which relationship ended with double whammy trouble in 1991, first for
insurance fraud, setting fire to his home in Los Angeles, then for sexual
assault with a 16-year old male Mexican day laborer. He was sentenced to
nine months drug rehabilitation (cocaine) and three months of house
arrest. Preston released the albums 'Billy's Back' in 1995 and 'You and I'
in 1997 (with the Italian band, Novecento). Preston's last years into the
new millennium were as active as possible while afflicted with kidney
disease. He is thought to have last recorded with
Eric Clapton and
JJ Cale
for the 2006 release of the album, 'Escondido'. His last live performance
arrived the same year at a Los Angeles concert with Dhani Harrison (son of
George) and
Ringo Starr. Preston died of kidney failure
on June 6 that year
in Scottsdale, Arizona, not yet sixty years of age [*]. Among Preston's
numerous compositions were such as 'Little Girl' ('70), 'Slaughter' ('72)
and 'We're Gonna Make It' ('72). Major discos w various credits at
1,
2.
Other discos: 1,
2.
Songwriting credits at
1,
2,
3.
Lyrics at AZ.
Tribute sites: 1,
2. Further reading:
1,
2. Listing examples of
only Preston's early career as a gospel and soul musician below, his
career after 1968 is resumed at Sixties Rock. All tracks for 1965
below are from Preston's album 'The Most Exciting Organ Ever'. He composed
all titles but as noted. Billy Preston 1957 'Nat King Cole Show' with Nat King Cole Music: Vincent Rose Lyrics: Larry Stock/Al Lewis Billy Preston 1961 Composition: Dave Franklin Billy Preston 1962 With James Cleveland With James Cleveland Billy Preston 1963 Composition: J.W. Alexander/Fred Smith/Preston Album: '16 Yr. Old Soul' Composition: J.W. Alexander/Lowell Jordan/Irene Redmond Album: '16 Yr. Old Soul' Billy Preston 1964 With the Cogic Singers Issued on 'It's a Blessing' 1966 Composition: Andrae Crouch Billy Preston 1965 Don't Let The Sun Catch You Crying Composition: Joe Greene Composition: Henry Glover Composition: Lee Hays/Pete Seeger Composition: Allie Wrubel/Herbert Magidson Composition: Richard Penniman (Little Richard) Billy Preston 1968 Filmed live with Ray Charles Composition: James (Jimmy) Oden
|
|
| Born in 1939 in Sunflower,
Mississippi,
baritone,
Jerry Butler
[1,
2,
3,
4,
5], formed
The Impressions with composer and guitarist,
Curtis Mayfield, out
of a doo wop group called the Roosters
[1,
2,
3,
4]. The
Impressions' first vinyl
releases were in 1958: 'For Your Precious Love" b/w 'Sweet Was The Wine',
'Come Back My Love' b/w 'Love Me' and 'The Gift Of Love' b/w 'At The
County Fair'. Butler was with the Impressions when 'For Your Precious
Love' reached #3 on
Billboard's R&B. Discos of
Impressions releases at
1,
2,
3,
4. Songwriting
credits at 1,
2. Butler's first solo release was 'Lost' in 1959,
that reaching #17 on
Billboard's R&B. He
departed the
Impressions in 1960 to pursue a solo career, leaving
Mayfield as the
Impressions' lead singer.
Butler topped the chart at #1 with 'He will Break Your Heart' in Oct of
1960. Butler enjoyed a stellar career through the
sixties, culminating with the releases of the albums, 'The Ice Man
Cometh' in 1968 and 'Ice on Ice' in 1969, the successes of which largely
bore him through the seventies. 'The Ice Man Cometh' contained both #1
titles, 'Hey Western Union Man' and 'Only the Strong Survive'. Butler's
final Top Ten was 'I Wanna Do It to You' at #7 in Feb of 1977. Butler's career began to wane in the early
eighties, after which he was voted Commissioner for Cook County, Illinois,
in 1985. He
was inducted into the Rock and Roll Hall of Fame in 1991 for his work with
the
Impressions. As of this writing Butler yet retains his position as
Commissioner, performing on occasion. Discographies at
1,
2,
3. Songwriting credits for titles at
1,
2,
3.
Butler in visual media. Per below, all 1958 tracks are
Butler as lead with the
Impressions. Jerry Butler 1958 Composition: Clyde Otis/Roy Hamilton Composition: Arthur Brooks/Richard Brooks/Butler Composition: Curtis Mafield/Butler/Richard Brooks Composition: Butler Jerry Butler 1959 Composition: Butler/Kenneth Gamble/Leon Huff Arrangement: Joe Renzetti Jerry Butler 1960 Composition: Butler/Curtis Mayfield/Calvin Carter Jerry Butler 1961 Composition: Arthur Harris/Fred Jay Jerry Butler 1964 Composition: Billy Butler/Butler Jerry Butler 1968 Album Jerry Butler 1970 Composition: Kenneth Gamble/Leon Huff/Butler Jerry Butler 1971 Composition: Homer Talbert/Herscholt Polk Jerry Butler 1982 Composition: Calvin Carter/Len Ron Hanks/Zane Grey
|
 Jerry Butler Source: Time Goes By |
|
|
Gladys Knight Source: Milwaukee Quando Donde |
Born in 1944 in Atlanta,
Gladys Knight
[1,
2,
3,
4]
managed to win Ted Mack's 'Original Amateur Hour' television competition at
the age of 7 in 1952
[*]. The next year she formed a group with her brother, sister
and a couple cousins called the Pips
[1,
2,
3],
named after another cousin. It would be five years and a little personnel
change, however, before they released their first recordings in 1958 for Brunswick:
'Whistle My Love' b/w 'Ching Ching'. The Pips didn't release another recording
until 1961, the year the group began releasing records steadily. The most
familiar configuration of the Pips consisted of Merald Bubba Knight
(brother), William Guest
and Edward Patten. Langston George was with the group upon its issue of
'Every Beat of My Heart', that topping
Billboard's R&B at #1 in May of
1961. A few strong titles followed to Oct of 1967 when the Pips scored
another #1 spot with 'I Heard It Through the Grapevine'. 'If I Were Your
Woman' reached #1 in Nov of 1970, 'Neither One of Us' in Jan of 1973.
Gladys collaborated on the composition, 'Save the Overtime', finding R&B's
#1 spot in May of 1983. The Pips beached their final #1 track in Jan of
1988 with 'Love Overboard'. Also an actress, Knight debuted in her first film, 'Pipe
Dreams', in 1976. Among her more significant collaborators in the eighties
was Johnny Mathis, with whom she
recorded a couple albums of duets. Knight's solo releases weren't so
successful as those with the Pips, though 'License to Kill' (James Bond soundtrack)
reached #18 on the AC in June of '89, rising to #6 in the UK. 'Men' came
to R&B's #2 tier in 1991. "Next Time' found #6 on Billboard's Dance chart
in 1995. [See
*.] Her duet with
Kenny Rogers, 'If I Knew Then What I Know Now', had
claimed the #10 position on the AC in 1990. Knight was inducted into the Rock and Roll
Hall of Fame in 1996. She became a Mormon in 1997. The 100 Greatest Women
of Rock listed by 'VH1' places her at No. 18. Songwriting credits for
titles by Knight and the Pips or Knight at
1,
2,
3,
4.
Lyrics at AZ. Discos:
1,
2,
3.
Knight in visual media.
The Pips in visual media. Also very popular in the United
Kingdom, Knight yet records and tours as of this writing while maintaining
websites at 1,
2,
3,
4. Gladys Knight & the Pips 1958 Composition: Richard Hunter/Maurice King/Pips Composition: Maurice King Gladys Knight & the Pips 1961 Composition: Johnny Otis Composition: Johnny Otis Composition: Don Covay Composition: Gladys Knight Composition: William Guest/Merald Bubba Knight Gladys Knight & the Pips 1962 Composition: Donald Dunn/Bobby Robinson Composition: Bob Elgin/Ray Jones/Kay Rogers Gladys Knight & the Pips 1970 Composition: Johnny Otis Gladys Knight & the Pips 1972 Composition: Merald Bubba Knight/Gladys Knight/Johnny Bristol Gladys Knight & the Pips 1973 Live performance Composition: Jim Weatherly Filmed live Composition: Jim Weatherly Gladys Knight & the Pips 1974 Composition: Harvey Schmidt/Tom Jones You Are the Best Thing That Ever Happened to Me Live performance Composition: Jim Weatherly Gladys Knight & the Pips 1980 Composition: Nickolas Ashford/Valerie Simpson Gladys Knight 1989 Composition: Narada Michael Walden/Jeffrey Cohen/Walter Afanasieff Gladys Knight 2011 Daytime Emmy Awards Composition: Burt Bacharach/Carole Bayer Sager Gladys Knight 2012 Live performance Composition: Mark Sanders/Tia Sillers Gladys Knight 2013 NAACP Awards Composition: Marvin Hamlisch
|
Gladys Knight & the Pips Source: Tim's Cover Story |
 Curtis Mayfield Source: Soul Walking |
Born in 1942 in Chicago,
guitarist and falsetto vocalist
Curtis Mayfield
[1,
2,
3,
4]
formed the Alphatones at age fourteen. in 1957 he joined the Roosters
which became
The Impressions the next year,
fronted by Jerry Butler [1,
2,
3,
4].
Mayfield's first vinyl releases were with
The Impressions in 1958: 'For
Your Precious Love" b/w 'Sweet Was The Wine', 'Come Back My Love' b/w
'Love Me' and 'The Gift Of Love' b/w 'At The County Fair'. He was with the
group when 'For Your Precious Love' reached #3 on
Billboard's R&B. Accounts vary
as to exactly when Butler left
The Impressions but Mayfield had assumed lead by the time of 'Gypsy Woman'
released in 1961. Mayfield
founded Curtom Records to issue titles by
The Impressions in 1968. Discos of
Impressions releases at
1,
2,
3,
4. Songwriting
credits at 1,
2. It was
1970 when he went solo to pursue funk soul, releasing the album, 'Curtis', on his own label.
Among his more
popular titles were 'If There's a Hell Below We're All
Going to Go' ('70) and 'Freddie's Dead' ('72).
His 1972 soundtrack, 'Superfly' is generally regarded to be his most
important work. He would ever since be identified as a voice of black
civil rights which his glowing career for nigh the next score of years
would well serve. Unfortunately Mayfield was paralyzed from neck down in
1990 when lighting equipment fell on him at an outdoor concert in
Brooklyn. He couldn't use a guitar anymore, but he continued to compose and
sing, albeit recording was a painstaking process. Composition was
elemental to Mayfield's vocation, he composing the majority of his
releases including those by
The Impressions such as 'Keep on
Pushing' ('64), 'You Must Believe Me' ('64) and 'You've Been Cheatin''
('65). His later solo career included compositions like 'Back to the
World' ('73), 'You Are, You Are' ('78) and 'It Was Love That We Needed'
('96). Writing for other artists as well, such included 'The Monkey Time'
('63) and 'Sometimes I Wonder' ('64) for Major Lance, 'Need to Belong'
('63) and 'I've Been Trying' ('64) for Jerry Butler, and 'Ain't No Love
Lost' ('72) and 'Make Me Believe in You' ('73) for Patti Jo. Songwriting
credits at 1,
2,
3,
4.
Lyrics at AZ. Mayfield released his last album, 'New World Order', in 1997.
Discos:
1,
2,
3,
4. Mayfield
died of diabetes on December 26 of 1999 in Roswell, Georgia. Mayfield in
visual media. In 2017 the
Curtis Mayfield Foundation joined the BMI Foundation in the launch of the
Curtis Mayfield Scholarship
[1,
2,
3]. Per below,
tracks with
The Impressions begin only upon
Mayfield's assumption of lead in '60-'61. His earlier recordings with
The Impressions were with Jerry Butler at lead.
Mayfield composed all titles below. Curtis Mayfield 1961 With the Impressions Curtis Mayfield 1965 With the Impressions With the Impressions Curtis Mayfield 1970 Album Curtis Mayfield 1972 Album Curtis Mayfield 1973 Album Curtis Mayfield 1974 Album: 'Got to Find a Way' Album: 'Got to Find a Way' Curtis Mayfield 1976 Album Curtis Mayfield 1982 Album: 'Honesty' Curtis Mayfield 1987 Filmed concert Curtis Mayfield 1997 Music video
|
|
| Born in Henderson, North Carolina,
in 1938 [1,
2,
3,
4,
5],
soul vocalist Ben E. King (Benjamin Earl Nelson) joined the doo wop group, the Five Crowns, in 1958.
Drifters manager, George Treadwell,
replaced the original Drifters with
the members of the Five Crowns later that year with King singing lead.
'There Goes My Baby' topped the
R&B chart in June of 1959. He was at lead
for the Drifters' 'Save the Last Dance for Me' reaching #1 in June of
1960. King
left the Drifters in 1960 to pursue
a solo path. He sang his way to the No. 1 spot on the
US R&B twice more
per
'Stand By Me' in May of 1961 and much later in Feb of 1975 with 'Supernatural Thing'.
Notable in 1977 was King's collaboration with the Scottish funk band, the
Average White Band, on the album, 'Benny and Us'. King's 'Stand By Me' soundtrack rose to #1 in the UK in Oct of '86.
King himself had composed titles like 'Love Me, Love Me' ('61) and 'Seven
Letters' ('64). Composers of his titles at
1,
2. King
performed to as late as 2014, and was president and CEO of the Stand By Me Foundation
until his death on April 30, 2015, in Hackensack, NJ. Discos at
1,
2,
3.
See AZ for lyrics.
King in visual media Ben E King 1959 With the Drifters Elmo Glick (Stoller & Leiber)/Lewis Lebish Ben E King 1960 With the Drifters Composition: Benjamin Nelson (King) Lover Patterson/George Treadwell With the Drifters Composition: Doc Pomus/Mort Shuman Composition: Jerry Leiber/Phil Spector Ben E King 1962 Album Ben E King 1963 Composition: Carlo Donida/Mogol/Leiber & Stoller Ben E King 1964 Composition: Bert Russell/Mike Leander Ben E King 1965 Composition: Gerry Goffin/Carole King Composition: Ben E. King Ben E King 1969 Composition: Doc Pomus/Mort Shuman Ben E King 1972 Composition: Van Morrison Ben E King 1975 Composition: Patrick Grant (Haras Fyre)/Gwen Guthrie Album: 'Supernatural' Ben E King 1987 Live performance Composition: Ben E. King/Jerry Leiber/Mike Stoller Ben E King 1988 Composition: Doc Pomus/Mort Shuman Whatever This Is It Ain't True Love Composition: Brian Potter/Frank Wildhorn
|
Ben E. King Source: Cult 22 |
|
 Maxine Brown Source: Canal B |
Soul singer (not to be confused with the country vocalist),
Maxine Brown, was born in 1939 in
Kingstree, South Carolina
[1,
2]. She released her first record at the age of 21
in 1960: 'All in My Mind/Harry Let's Marry'. 'All in My Mind' climbed to
Billboard's R&B
at #2 in December that year. She followed that four months
later at #3 with 'Funny'. Brown issued her debut LP, 'The Fabulous Sound
Of', on Wand 656 in 1963. She placed another title in the Top Ten in October of
'64 with 'Oh No, Not My Baby' at #2. Releasing 'Spotlight on Maxine Brown'
(Wand 663) in 1965, also notable that year were duets with
Chuck Jackson issued on the
LP, 'Saying Something' (Wand 669). They released 'Hold On, We're Coming'
(Wand 678) together the next year, that containing the track, 'Let's Go
Get Stoned'. Brown and
Jackson recorded that before,
though released it after,
Ray Charles' more famous version. Brown issued the LP, 'Out of Sight' (BN 26395), in 1968,
followed by 'We'll Cry Together' (Commonwealth United 6001) in '69. She
released records to 1972, her final thought to have been for Avco,
SoulfulKindaMusic tracing her to 'Picked Up, Packed and Put Away'/'Bella
Mia' on Avco Embassy 4612. Brown then dropped away from the national
spotlight,
occasional reissues pressed such as 'Let's Go Get Get Stoned' with
Jackson
in '73. Setlist has her performing at the Bottom Line in NYC in 1978.
The album,
'Like Never Before' ('85) contained 12 previously unissued tracks. After a
few decades of disappearing act Brown got some bugs in her pants that made
her record 'From the Heart' for issue in 2005. Setlist has her performing
in Spain in 2011 and at the Ponderosa Stomp of 2013 at the Rock n Bowl in
New Orleans. Production and songwriting credits for Brown's titles at
1,
2. See also
*.
Maxine Brown 1960 Composition: Freddy Johnson/Leroy Kirkland/Maxine Brown Maxine Brown 1961 Composition: Maxine Brown/Sam Taylor Maxine Brown 1962 Composition: Bob Crewe/Sid Bass Maxine Brown 1964 Composition: Gerry Goffin/Carole King Maxine Brown 1965 Composition: Bobby Lance/Fran Robbins Maxine Brown 1966 LP: 'Hold On, We're Coming' Scepter/Wand Forever 21020 is a 1973 reissue Composition: Jo Armstead/Nickolas Ashford/Valerie Simpson Composition: Valerie Simpson/Jo Armstead/Nickolas Ashford Maxine Brown 1969 Composition: Nickolas Ashford/Valerie Simpson Album: 'We'll Cry Together'
|
|
|
R&B singer
Aaron Neville [1,
2,
3]
was born in 1941 in New Orleans. His
first discs were issued in 1960 for the Minit label in New
Orleans: 'Over You' bw 'Every Day' and 'Show Me the Way' bw 'Get Out of My
Life'. 'Over You reached the R&B Top Forty at #21. Neville would record
Top Forty material into the new millennium. His highly popular 'Tell It
like It Is' arrived at Billboard's #1 slot in R&B in December of 1966.
His debut LP by the same name followed in '67. In 1976 Aaron formed the Neville Brothers
with brothers Art, Charles and Cyril
[1,
2], they first recording in support of
the Wild Tchoupitoulas
[*], a group of Indian Mardi Gras performers
issuing an album by the same name (Island Records ILPS9360). The Neville
Brothers released about fifteen albums
[1,
2] from 'The Neville Brothers' in '78 to 'Walkin'
in the Shadow of Life' in 2004. Songwriting credits for their
titles at
1,
2. As for Aaron, he released a number of popular songs
in the nineties, especially 'Everybody Plays the Fool' topping the AC
chart in '91, 'Somewhere, Somebody' at #6 in '92 and 'Don't Take
Away My Heaven' at #4 in '93. With around twenty original albums to his name,
among Neville's latest in the 21st century were 'I Know I've Been Changed' ('10), 'My True Story' ('13)
and 'Apache' (1'6). Songwriting credits for some of his titles:
*.
Discos w composition and production credits at
1.
Lyrics at AZ.
Neville in visual media. As of this writing Neville yet
tours the United
States. Said to be Catholic, two of Neville's sons,
Ivan and Jason, are also musicians. Ivan had issued 'Not Just Another Girl' in
1988. Aaron Neville 1960 Composition: Aaron Neville Composition: Naomi Neville (Allen Toussaint) Composition: Allen Orange/Allen Toussaint Composition: Al TNT Braggs/Peggy Lack Aaron Neville 1966 Composition: George Davis/Lee Diamond Aaron Neville 1973 Composition: Allen Toussaint Aaron Neville 1987 Album Aaron Neville 1988 Filmed live Composition: George Davis/Lee Diamond Aaron Neville 1990 Music video Composition: J.R. Bailey/Ken Williams/Rudy Clark LP: 'Warm Your Heart' Filmed with Linda Ronstadt Composition: Barry Mann/Cynthia Weil/Tom Snow Aaron Neville 1991 Filmed live Composition: Aaron & Charles Neville Filmed live Composition: Aaron Neville Filmed live Composition: Neville Brothers/B. Stoltz Aaron Neville 1993 Music video LP: 'The Grand Tour' Music video Composition: Aaron Neville LP: 'The Grand Tour' Aaron Neville 1995 Music video Composition: Kris Kristofferson LP: 'The Tattooed Heart' Aaron Neville 2007 Filmed live Composition: Carmol Taylor/George Richey/Norris Wilson
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 Aaron Neville Source: Famous People |
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The O'Jays See
Doo Wop:
The O'Jays. |
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|
Soul singer, Otis Redding [1, 2, 3, 4, 5], was born in 1941 in Dawson, Georgia. He is thought to have first recorded in 1960 for the Trans World label with his group called the Shooters: 'She's Alright'/'Tuff Enuff' (Trans World 6908/Finer Arts Records 2016) [*]. 'Tuff Enough' featured vocalist, Jackie McEachin. Also gone down in 1960 were 'Gettin' Hip'/'Gamma Lama' (Alshire 5082/Gerland 1001). 1961 saw Redding's release of 'Shout Bamalama'/'Fat Girl' (Confederate 135/Orbit 135). Things started to swing for Redding upon his Dec 1962 issue of 'These Arm's of Mine'/'Hey Hey Baby' on Volt 103, the former claiming the #20 spot on Billboard's R&B in May of 1963. He would place more than thirty titles in the Top Forty to 'Free Me' posthumously in August of 1969 at #30. Most of those came to Top Ten and Twenty rank, his sole chart topper being 'Dock of the Bay' at #1 in Jan of 1968, also posthumously, on both the Hot 100 and R&B, #3 in the UK, in August of 1968. Redding's debut album, 'Pain In My Heart', had been backed by Stax sessions group, Booker T and the MGs, and issued in Jan of 1964. Keyboards on that were handled by Booker T Jones and Steve Cropper. Cropper also contributed guitar along with Johnny Jenkins. Highlighting 1967, the year of Redding's death, were occasions on which Booker T & the MGs were his support band, such as the January recording of 'King & Queen' with Carla Thomas, backed on keyboards by Isaac Hayes. In March that year Redding recorded 'Live in Europe' in Paris with Jones at keyboards and Cropper at guitar. Come the Monterey Pop Festival on June 17 [1, 2]. Like not a few rock musicians, Redding's career was abbreviated by a plane crash, on December 10 of 1967 [1, 2] three days after a second recording of 'Dock of the Bay', quickly released posthumously the next year in January (above). Composition had been elemental to Redding's vocation. He wrote numerous of his titles from such as 'Chained and Bound' and 'Your One and Only Man' released in 1964 to 'Open the Door' and 'Nobody's Fault but Mine' issued posthumously in '68. Discos with production and songwriting credits at 1, 2, 3. Lyrics at AZ. Redding in visual media. Music Box 5 star review. Further reading: *. Otis Redding 1960 Composition: Redding/Jackie McEachin Featuring Jackie McEachin Composition: Jackie McEachin Otis Redding 1961 Composition: Redding Composition: Redding Otis Redding 1962 Composition: Redding Composition: Redding Otis Redding 1964 Composition: Naomi Neville (Allen Toussaint) Otis Redding 1966 Composition: Jerry Butler/Eddie Thomas/Jay Walker LP: 'The Soul Album' Composition: Jimmy Campbell/Reg Connelly/Harry Woods Otis Redding 1968 Composition: Redding/Steve Cropper
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Otis Redding Source: Multimedia English |
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Carla Thomas Source: PTS Roadhouse |
Born in 1942 in
Memphis, Tennessee, soul vocalist
Carla Thomas
[1,
2/Disco],
was the daughter of Rufus Thomas.
She began singing at age ten or eleven with a Memphis high
school group called the Teen Town Singers (Teen Towners per
Ponderosa Stomp). Thomas was yet in high school when
she first recorded duets with her father in 1960 for Satellite (founded 1957
by Jim Stewart to become
Stax in '61): 'Cause I Love You'
b/w 'Deep Down Inside'. Her brother, Marvell, performed on keys. That plate broke no records,
being locally released, but
Carla's
next recordings, her first solo venture, would upon the October 1960
release of 'Gee Whiz (Look At His Eyes)' b/w 'For You', once
Thomas could get signed up with Atlantic Records for national distribution
with intentions to make a star of her. Composed by herself, 'Gee Whiz'
made it to the #5 tier on
Billboard's R&B in January of 1961. She appeared on
'American Bandstand' on January 27 of 1961 in preparation for the release of her first
album, 'Gee Whiz', the same year. Her composition, 'A Love of My Own',
reached #20 in May of 1961. Her next Top Ten arrived in Oct of 1962 for
'I'll Bring It Home to You' at #9. 'B-A-B-Y' rose to #3 in August of 1966,
'I'll Always Have Faith in You' to #11 in June of 1967, 'I Like What
You're Doing to Me' to #9 in Feb of 1969. Thomas had recorded the LP,
'King and Queen', with
Otis Redding in 1967. She
released six albums to her last, 'Love Means...', in 1971. Thomas' career fell into demise upon Stax'
bankruptcy in 1975. During the eighties she exchanged recording and performing
for work with the Artists in the Schools program in
Memphis, where she presently resides as of this writing. She has since
performed on occasion into the new millennium, slated to appear as
recently as July of 2018 at the Naeba Ski Resort in Niigata, Japan. Songwriting
and production credits for Thomas' titles at
1,
2,
3.
Other discos: 1,
2. Thomas in
visual media.
Further reading: *. Carla Thomas 1960 With Rufus Thomas Composition: Rufus Thomas Composition: Carla Thomas Carla Thomas 1961 Composition: Carla Thomas Composition: Fred Burch/Carla Thomas/Bill Everette Composition: Lincoln Moman Composition: Carla Thomas Carla Thomas 1962 Composition: Sam Cooke Carla Thomas 1964 Composition: Deanie Parker/Steve Cropper With Rufus Thomas Composition: Roosevelt Sykes/Leroy Carr 1937 Composition: Carla Thomas/Steve Cropper Carla Thomas 1966 Composition: Isaac Hayes/David Porter Carla Thomas 1967 Composition: Preston Foster With Otis Redding Composition: Lowell Fulson/Jimmy McCracklin Carla Thomas 1971 Love Means You Never Have to Say You're Sorry Composition: Deanie Parker/Marvell & Carla Thomas Carla Thomas 1988 Filmed Live Composition: Carla Thomas Carla Thomas 1989 'Saturday Night Live' Composition: Carla Thomas
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Mary Wells Source: Retro Kimmer's Blog |
Born in Detroit (Motown) in
1943,
Mary Wells [1,
2,
3,
4,
5,
6,
7] was performing
in nightclubs in Detroit at age ten. She was seventeen when she took
a song she'd written for
Jackie Wilson to Tamla Records
[*] founded
by Berry Gordy
[*] in 1959
[*]. Gordy would incorporate Tamla into Motown Records
('59) on April 14 of 1960 to become the singular
force behind the "Motown sound" of soul music in the sixties. Instead of
forwarding 'Bye Bye Baby' to
Wilson, Gordy had Well's
record it herself for release in 1960
[1,
2]. (Betty Everett would also
issue a version of 'Bye Bye Baby' in 1967.) Wells' rise to notability was
sudden (age 17) upon 'Bye Bye Baby' reaching
Billboard's #8 spot in R&B on January
of 1961. 'I Don't Want to Take a Chance' rose to #9 in July.
Those were included on Wells' debut LP issued in November 1961: 'Bye Bye
Baby I Don't Want to Take a Chance'.
Smokey Robinson composed 'The
One Who Really Loves You', finding Billboard's #2 tier in March of 1963.
'You Beat Me to the Punch' (Robinson/White) topped the chart in August of
'62.
Robinson's 'Two Lovers' did the same in December. Robinson's
'Laughing Boy' saw the #6 spot in Feb of 1963. Wells took his 'Your Old
Standby' to #8 in May. 'You Lost the Sweetest Boy' (Brian
Holland/Dozier/Holland Jr.) stepped up to #10 in September. It was
Robinson again for 'What's So Easy for Two Is So Hard for One', Wells
taking that to the #8 spot in October.
Robinson composed 'My Guy' to top
the chart in April of '64. Wells released two more Top Ten titles in the
sixties: 'Ain't It the Truth' (#6 in Oct '64 by Lou Courtney as Louis
Pegues) and 'Dear Lover' (#6 in Feb '66 by Gerald Sims/Carl Davis). Wells'
'Gigolo' (Fonce & Larry Mizell) rose to Billboard's #13 in Dance
(disco) as late
as 1981. Highlighting the sixties had been Wells' issue of the LP, 'Together',
with Marvin Gaye in 1964. She
married Cecil Womack in latter 1966, they remaining together until latter
1977. Wells' career falling into decline in the eighties, she was forced
to cease performing in 1990 upon laryngeal cancer. She was also forced to
sell her home. Having no health insurance to cover medical expenses, she
was assisted in that by numerous friends in the music industry including
Diana Ross,
Mary Wilson,
Martha Reeves,
Dionne Warwick,
Rod Stewart, Bruce
Springsteen,
Aretha Franklin,
Bonnie Raitt, Anita Baker and Berry Gordy
[1,
2]. In 1991
she sued Motown Records over royalties and settled for $100,000 divided with
her attorney
[*]. All
such endeavors to keep her going ultimately failed upon Wells' death of laryngeal cancer
on July 26,
1992 [1,
2], she only 49 years of age.
Discos w production and songwriting
credits at
1,
2,
3.
Lyrics
at AZ. Wells in visual media.
Further reading: 1,
2.
Mary Wells 1960 Composition: Mary Wells Composition: Berry Gordy Jr. Mary Wells 1962 Composition: William (Smokey) Robinson Composition: Ronald White/Smokey Robinson Composition: William (Smokey) Robinson Mary Wells 1963 Composition: William (Smokey) Robinson What's Easy for Two Is So Hard for One Composition: William (Smokey) Robinson Composition: Smokey Robinson/Janie Bradford Mary Wells 1964 Composition: William (Smokey) Robinson Oh Little Boy (What Did You Do to Me) Composition: Eddie Holland/William Mickey Stevenson Composition: Barrett Strong/Chuck Barksdale/Richard Parker
|
 Detroit - Motor City - Motown Source: IDcide |
|
Fontella Bass
[1,
2,
3]
was born in 1940 in St. Louis, Missouri, daughter of gospel singer,
Martha Bass, elder sister to
soul singer, David Preston. She began singing at contests and fairs as a
teenager, graduating from high school in 1958. She started singing
professionally at the Showboat Club near Chain of Rocks, Missouri. Her
first recordings per Lord's disco were circa early 1960 in St. Louis with
trumpeter,
Lester Bowie, in a band
unspecified for Bobbin Records (#134): 'It Don't Hurt Anymore' and 'Brand
New Love' [1,
2]. Those weren't issued until April of 1962. During the same
period she sang 'Honey Bee' and 'Bad Boy' with the Oliver Sain Orchestra,
including
Bowie, for Bobbin (#140). Those
weren't issued until September of 1962. In 1960 Bass had been about to stray off as a pianist with a carnival show until her mother physically
drug her off the train. (Howsoever, it would seem Bass had been paid extremely well for
the two weeks that show was in town, some $350.) Bass was then hired per
above by bandleader, Oliver Sain (piano), as
a pianist. Sain already had a vocalist,
Little Milton, with whom he
had founded the Bobbin label. Bass had begun singing
with Sain's orchestra when
Milton was late to a gig one
evening. In 1961 she backed
Milton on such as 'So Mean to Me'
issued in October (Checker 994, a Chess imprint). In 1963
Ike Turner
produced 'My Good Loving/I Love the Man' on his Prann label founded in Los
Angeles, before
Tina Turner appeared with
Bass on 'Poor Little Fool/This Would Make Me Happy'. She also performed as
"Sabrina" about that period. 1964, yet with Sain, found her in Chicago
singing duets with Bobby McLure: 'Don't Mess Up a Good Thing' and 'Baby,
What Do You What Me to Do?'. More would follow in 1965 before her release
the same year of 'Rescue Me'/'Soul of the Man'. 'Rescue Me' basked at #1
on the R&B (#4 US) in September that year, to go gold with over a million
copies sold. Bass recorded only one more single that would chart to speak
of, 'Recovery' resting at #13 on the R&B in latter '65. In 1969 she and
Bowie married and traded
America for Paris. She there recorded a couple LPs with the Art Ensemble
of Chicago in 1970, but was back in the States to record 'Free' for its
release in 1972. That album went silent so Bass turned to family (four
children with
Bowie), largely retiring from the music business. Music
remained, however, her environment. She would turn up on a couple
significant albums by
Bowie in the early eighties. New Year's Day
of 1990 brought
a pleasant surprise upon hearing 'Rescue Me' used without permission on an American Express
television commercial, her lawsuit in 1993 reaping $50,000 plus punitive.
That charged her battery toward the issue of 'No Ways Tired' and 'Now That
I Found a Good Thing'. Bass received a star on the St. Louis Walk of Fame
the year before issuing 'Travelin' in 2001. She later performed on
releases by the Cinematic Orchestra. Bass toured Europe with her younger
brother, David Preston, until poor health put her career to an end.
Lord's disco has her recording as late as September 2005 with drummer, Chico Hamilton,
on 'Love Me Long', 'Baby Won't You Please Come Home' and 'Believe in Him'. Having suffered breast cancer, strokes since 2005 and an amputated leg, she died in St. Louis on December 26 of 2012 of heart attack
[*]. Discographies with
production and songwriting credits at
1,
2.
Bass in visual media. Fontella Bass 1962 Little Milton (Milton Campbell)/Oliver Sain Composition: Little Milton/Oliver Sain Composition: Little Milton/Oliver Sain Composition: Don Robertson/Jack RollinsWith Little Milton Composition: Little Milton/Oliver Sain Fontella Bass 1963 Composition: Oliver Sain Composition: Oliver Sain With Tina Turner Composition: Oliver Sain With Tina Turner Composition: Oliver Sain Fontella Bass 1965 With Bobby McLure Composition: Oliver Sain Composition: Raynard Miner/Carl SmithComposition: Oliver Sain You'll Miss Me (When I'm Gone) With Bobby McLure Composition: Don Robertson/Jack Rollins Fontella Bass 1966 Composition: Buddy Johnson Album: 'The New Look' Fontella Bass 1972 Composition: Fontella BassAlbum: 'Free' Fontella Bass 2007 Composition: Phil France Cinematic Orchestra album: 'Ma Fleur'
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 Fontella Bass Source: Discogs |
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| The
Contours [1,
2,
3,
4,
5,
6] were an early manifestation of what would
come to be called the Motown sound, a subgenre of R&B in the sixties and
disco in the seventies that such as the
Supremes and the
Temptations would put on the R&B map.
The Motown sound came to be due largely to record producer, Berry Gordy Jr.
[1,
2,
3,
4], who
founded Tamla and Motown Records in 1959. Gordy handled numerous groups
besides the Contours at Motown: the Four
Tops, Smokey Robinson & the Miracles, the Supremes, the
Temptations,
Martha & the Vandellas, to
name but several. In 1959 Joe Billingslea
and Billy Gordon formed a group in Detroit briefly called the Blenders. Upon
becoming the Contours other members were Billy Hoggs,
Leroy Fair and Hubert Johnson. The Contours released their first vinyl on
Motown: 'Whole Lotta Woman' b/w 'Come On and Be Mine', in January 1961,
after which the group began going through so many
personnel changes
over the years that even Deep Blue replied "No way" upon being dared to
attempt to track them all, leaving that to RateYourMusic. Suffice it to say that at the time of the group's
greatest success ('Do You Love Me'
*) the group consisted of Joe Billingslea,
Billy Gordon (lead), Billy Hoggs, Sylvester Potts and Hubert Johnson. 'Do You Love
Me' was the Contours' first to chart on
Billboard, reaching No. 1 on the R&B
in August of 1962. The Contours released several more records, not to see
the Top Ten again, until their last release in 1967, 'It's So Hard Being a Loser' peaking
at #35. After the Contours dropped off the charts Billingslea kept one form
or another of the group locally performing at clubs in Motown (Detroit) in
the seventies and eighties. Keeping the group going worked out real well
when 'Do You Love Me' was used in the 1988 film, 'Dirty Dancing', to a
resurgence of popularity, the remix rising to #11 on the US chart that year.
Billingslea then took his Contours on a 'Dirty Dancing' concert tour, then
released the album, 'Flashback', in 1990. That big fuss, however, was brief,
the Contours soon joining the oldies circuit again. Both Billingslea and
Potts had left the Contours in 1964, Potts to return the next year. Each yet perform as of this writing with two different formations of the
Contours. Latter members we'll not pursue, but as for the Contours' other
original members, Leroy Fair was replaced by Benny Reeves (brother to
Martha Reeves) in 1961. Hoggs left the group
in 1964 to become a minister. He's currently retired in Mount Pleasant,
Michigan. Billy Gordon, who kept the group going when all its members
dropped out in '64, was replaced in 1965 by Joe Stubbs (brother of the Four
Tops' Levi Stubbs). He died on Feb 5 of 1998. Hubert Johnson, leaving
the group in 1964, had committed suicide
on July 11 of 1981 in Detroit, age forty. The Contours
were inducted into the Doo Wop Hall of Fame in 2010. Discos of Contours
issues at 1,
2,
3.
The Contours 1961
Composition:
Billy Hoggs/Billy Gordon/Smokey
Robinson
The Contours 1962
Composition: Berry
Gordy Jr.
The Contours 1965
Composition:
James Dean/William Weatherspoon
The Contours 1966
Composition: (William Jr.) Smokey
Robinson
Just a Little Misunderstanding
Composition: Clarence Paul/William
Stevenson
Composition:
Stephen Bowden/Ivy Jo Hunter/Roger
Penzabene
The Contours 1988
Composition: Cole Porter
1937 |
The Contours Source: WOW |
|
| The
Crystals, a
vocal harmony group
from Brooklyn [1,
2,
3,
4,
5,
6],
consisted of Barbara Alston, Delores (Dee Dee) Kenniebrew, Mary Thomas,
Patricia Wright and Delores Brooks (replaced in 1962 by Myrna Gerrard) at
the time they grooved their first vinyl in 1961: 'There's No Other (Like
My Baby)'/'Oh Yeah, Maybe Baby'. 'There's No Other' soared to the #5 tier on
Billboard's R&B
that November (#20 on the US). The Crystals never did claim the top of a
national chart, but it issued multiple titles into the Top Ten: 'He's a
Rebel' (#2 R&B #1 US September 1962), 'Da Doo Ron Ron' (#5 R&B #3 US April
1963) and 'Then He Kissed Me' (#8 R&B #6 US August 1963). The group's last
to climb to the Top Forty in the United States was 'All Grown Up' at #27 on
Billboard's R&B in July of 1964. Of note to remark is that neither 'He's a
Rebel' nor 'He's Sure the Boy I Love' (#18 R&B #11 US) in 1962 were recorded
by Crystals. Those were performed by Darlene Love & the Blossoms,
nevertheless credited to the Crystals by
Phil Spector (a case of ghost
singing alike ghost writing). The
Ronettes also recorded several songs
that Spector credited to the Crystals on their 1963 album, 'The Crystals
Sing the Greatest Hits, Volume 1': 'The Twist', 'The Wah Watusi', 'Mashed
Potato Time' and 'Hot Pastrami'. The Crystals pulverized in 1965, resurrecting in the early seventies
to do
the oldies circuit. Other formations have since then variously occurred, the
latest a trio with original member, Dee Dee Kenniebrew,
yet performing as of this writing.
Barbara Alston died on Feb 16, 2018, in Charlotte NC
[*].
Crystals discos w various credits at
1,
2.
The Crystals in visual media. The Crystals 1961 Composition: Hank Hunter/Phil Spector Composition: Leroy Bates/Phil Spector The Crystals 1962 He Hit Me (And It Felt Like a Kiss) Composition: Gerry Goffin/Carole King The Crystals 1963 Music video Composition: Phil Spector/Jeff Barry/Ellie Greenwich Studio Version Composition: Phil Spector/Jeff Barry/Ellie Greenwich
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The Crystals Source: MP3 XL
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The Marvelettes Source: El Caobo Internacional |
A Motown vocal harmony group alike the
Supremes, the
Marvelettes [1,
2,
3,
4,
5,
6] also rivaled the
Supremes. The group came together, first as a quintet, in high school in 1960.
Members were Gladys Horton, Katherine Anderson, Georgeanna Tillman, Juanita
Cowart, and Georgia Dobbins. Wanda Young would replace Dobbins before the
release of 'Please Mr. Postman' in 1961 and assume lead in 1965. Cowart would abandon the group in
'63, leaving it a quartet. As a Detroit group, what else but that Berry
Gordy [1,
2,
3,
4,
5,
6] at Tamla Records should produce them. (Gordy founded Motown Records
briefly after Tamla the same year. Motown would handle the biggest Motor
City groups: the
Four Tops,
Smokey Robinson & the Miracles,
the
Contours, the
Supremes, the
Temptations, and
Martha & the Vandellas,
to name but several that made Gordy a happy man in addition to the singular
most important force behind the Motown sound that in itself became a
subgenre of R&B in the sixties and of disco in the seventies.) The Marvelettes released their first
song in 1961: 'Please Mr. Postman' b/w 'So Long Baby'. Released in August,
'Mr. Postman' topped both the R&B and Hot 100
charts the next month. The group
never produced another title at No. 1, but their songs in the Top Ten alone
are a pain in the brain to list: 1961 'Please Mr. Postman' September #1 R&B #1 US 1962 'Playboy' May #4 R&B #7 US 'Someday, Someway' July #8 R&B 'Beechwood' August #7 R&B #17 US 'Strange I Know' December #10 R&B #49 US 1963 'As Long As I Know He's Mine' November #3 R&B #47 US 1964 'Too Many Fish In the Sea' November #5 R&B #25 US 1966 'Don't Mess With Bill' January #3 R&B #7 US 1967 'The Hunter Gets Captured' January #1 R&B #13 US 'When You're Young and In Love' April #9 R&B #23 US 'My Baby Must Be a Magician' December #8 R&B #17 US Which doesn't account for seven more that the Marvelette's placed in the Top Twenty, three more in the Top Thirty. Their last song to reach the Top Forty was 'Destination: Anywhere' in 1968 at #28 on the R&B. The Marvelettes issued their premiere album in 1961: 'Please Mr. Postman'. The group began splintering in 1969 upon Horton's departure prior to the recording of 'My Baby Must be a Magician'. The Marvelettes' last album together was released in 1969: 'Full Bloom'. The LP, 'The Return of The Marvelettes', in 1970 was produced by Smokey Robinson and featured only Wanda Young backed by the Andantes. By that time the Marvelettes were through. Original member, Georgeanna Tillman, died of lupus in January 1980. Gladys Horton died of stroke in a California nursing home in January of 2011 [1, 2]. Katherine Anderson currently resides in Inkster, Michigan, and mentors vocal groups. Wanda Young (Wanda Rogers) presently lives in Westland, Michigan. Dobbins (who arranged 'Please Mr. Postman', though didn't participate in its recording) and Cowart yet reside in Inkster as of this writing. Marvelettes discographies with various credits at 45Cat and Discogs. See AZ for lyrics. The Marvelettes in visual media. The Marvelettes 1961 Composition: Georgia Dobbins/William Garrett Freddie Gorman/Brian Holland/Robert Bateman The Marvelettes 1962 Composition: Billy Swan Composition: Brian Holland/Freddie Gorman/Lamont Dozier Composition: Brian Holland/Freddie Gorman/Lamont Dozier Composition: Sam Cooke The Marvelettes 1965 Composition: William Stevenson Composition: William "Mickey" Stevenson/Ivy Jo Hunter The Marvelettes 1966 Composition: William Stevenson The Marvelettes 1967 The Hunter Gets Captured by the Game Composition: Smokey Robinson Composition: Burt Bacharach/Hal David Composition: Albert Hammond/Carole Bayer Sager The Marvelettes 1968 Composition: Nickolas Ashford/Valerie Simpson Composition: Dolly Parton Composition: Barry Mann/Cynthia Weil The Marvelettes 1969 Composition: Henry Cosby/Wade Washington Composition: James Dean/Stephen Bowden/William Weatherspoon Composition: Janie Bradford/Raynard Miner Composition: Janie Bradford/Raynard Miner The Marvelettes 1970 Composition: Robert Rogers/Warren Moore/Smokey Robinson
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|
Sam & Dave
[1,
2,
3,
4]
was a highly successful team consisting of Samuel David Moore
[1,
2,
3] and Dave
Prater [1,
2,
3].
Sam had been with the Majestics in 1954 when that group recorded 'Nitey
Nite'/'Cave Man Rock'. He'd also sang with the Gales and the Melionaires.
Dave had been with the Sensational Hummingbirds. Their first issue as Sam
& Dave is thought to have been for Alston Records in 1961: 'Never Never'/'Lotta
Lovin'' [1,
2,
3]. It was 1966 when Sam & Dave began delivering a stream of
Billboard Top Ten singles: 1966 'You Don't Know Like I Know' January #7 R&B #90 US 'Hold On! I'm Comin' April #1 R&B #21 US 'Said I Wasn't Gonna Tell Nobody' September #8 R&B #64 US 'You Got Me Hummin' June #7 R&B #77 US 1967 'When Something Is Wrong' February #2 R&B #42 US 'Soul Man' September #1 R&B #2 US 1968 'I Thank You' January #4 R&B #9 US Sam & Dave released 'The Best of Sam & Dave' in January of '69, after which the duo's popularity waned, they then beginning to tour internationally. In 1979 the Blues Brothers (Dan Aykroyd, John Belushi) did a highly successful cover of 'Soul Man', a couple Sam & Dave tunes used in the film 'The Blues Brothers' as well. By that time Sam & Dave had long since come to Sam vs Dave, their relationship disagreeable. What attention was acquired via the Blues Brothers lacked conditions for the pair to continue, they last performing "together" on New Year's Eve of 1981 at the Old Waldorf in San Francisco. Sam and Dave had often used intermediaries to communicate to each other, their association less than conversant. They are said to have never spoken to each other after their Waldorf engagement. Sam pursued a solo career and Dave continued onward as Sam & Dave or The New Sam & Dave Revue minus Sam Moore, replaced by Sam Daniels. Dave died in an auto accident on April 12, 1988, his last performance on April 3 that year at the Atlanta Civic Center in Georgia. 1992 witnessed Sam & Dave elected into the Rock n Roll Hall of Fame. Sam didn't release a solo album until 2006, 'Overnight Sensational', the same year he requested Presidential candidate, Barack Obama, cease using the Sam & Dave song, 'Hold On! I'm Comin'', in his campaign for the Oval Office. Sam is yet active as of this writing. Discographies w songwriting and production credits at 1, 2. Sam & Dave in visual media. The Majestics 1954 Lead vocal: Sam Moore Composition: Oshins/Henry Stone/John McArthur Lead vocal: Sam Moore Composition: Henry Stone/John McArthurSam & Dave 1961 Sam & Dave 1965 Composition: Isaac Hayes/David Porter Sam & Dave 1966 Filmed live Sam & Dave 1967 Filmed live Composition: Isaac Hayes/David Porter Studio version Composition: Isaac Hayes/David Porter Sam & Dave 1968 Composition: David Porter/Isaac Hayes LP: 'I Thank You' Composition: David Porter/Isaac Hayes LP: 'I Thank You' Sam & Dave 1969 Television performance Composition: David Porter/Isaac Hayes Sam & Dave 1972 Television performance Composition: Isaac Hayes/David Porter Sam & Dave 1974 Filmed live Composition: Isaac Hayes/David Porter
|
 Sam & Dave Source: DJ Honkytron |
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The Spinners Source: VVN Music |
The Spinners
[1,
2,
3,
4]
were a major vocal soul group which at the time of their first recordings
consisted of Bobby Smith, Billy Henderson, Henry Fambrough, Pervis Jackson
and George Dixon. Their first issue was 'That's What Girls Are Made For'/'Heebie
Jeebies' (Tri-Phi 1001) in 1961
[1,
2] with Smith at lead. Tri-Phi Records was a
venture begun in 1961 by
Harvey Fuqua and wife, Gwen Gordy. It was bought
by Gwen's brother, Berry Gordy, founder of Tamla and Motown Records, in
1963. 'That's What Girls Are Made For', composed by
Harvey and Gwen, was heading for #1 on
Billboard's R&B
when it lost thrust over gravity at #5 in June of '61. The Spinners were a
super group that placed 18 titles in the Top Ten to as late as the medley,
'Cupid - I've Loved You for a Long Time', finding the #3 spot on the AC
(adult contemporary) in May of 1980. Six of those topped the R&B charts at
#1 in the United States: 1972 'I'll Be Around' 'Could It Be I'm Falling in Love' 1973 'One of a Kind (Love Affair) 1974 'Mighty Love' 1975 'They Just Can't Stop It (Games People Play)' 1976 'The Rubberband Man' They topped the chart in the UK in December of 1979 via 'Working My Way Back to You', that arriving to #2 in pop in the US, #5 on the AC, #8 in Dance (disco) and #6 on the R&B. The Spinners released nearly twenty albums from 'The Original Spinners' in 1967 to 'Down to Business' in 1989. Experiencing numerous personnel changes over the decades, as of this writing the Spinners are still going strong with Henry Fambrough its only original member yet performing with them. Composers of titles by the Spinners at Australian Charts. Discos with production and songwriting credits at 1, 2, 3. Lyrcs at AZ. The Spinners in visual media. Several edits below are live on stage. The Spinners 1961 Composition: Bobbie Smith/Harvey Fuqua That's What Girls Are Made For Composition: Harvey & Gwen Fuqua The Spinners 1965 Composition: William Mickey Stevenson/Ivy Jo Hunter Composition: John Frederick Coots/Sam Lewis The Spinners 1972 Composition: Thom Bell/Phil Hurtt The Spinners 1973 Could It Be I'm Falling In Love Composition: Mystro & Lyric (Melvin & Mervin Steals) Composition: Thom Bell/Phil Hurtt The Spinners 1975 Composition: Charles Simmons/Joseph Jefferson/Bruce Hawes The Spinners 1976 Composition: Yvette Davis Composition: Joseph Jefferson Composition: Thom Bell/Linda Creed Composition: Sherman Marshall/Philip Pugh
|
|
| The original
Supremes [1,
2,
3,
4,
5,
6/not the male groups
1,
2,
3] were one of the most popular female vocal groups in the
history of music. Formed as the Primettes
[1,
2], a doo wop
group, in 1959 in Detroit (Motor City: Motown),
they consisted of Diana Ross
[1,
2,
3,
4,
5], Mary Wilson
[1,
2,
3,
4,
5.
6],
Florence Ballard [1,
2,
3,
4] and Betty McGlown
[*]. They recorded their first and only record
as the Primettes, in 1960: 'Tears of Sorrow'/'Pretty Baby' (Lupine LR 120), after which McGlown left the group to concentrate on
being a bride. The Supremes' first plates as the Supremes, now a trio, occurred in 1961 for Berry Gordy's [1,
2] Tamla Records: 'I Want a Guy'
b/w 'Never Again' and
'Buttered Popcorn' b/w 'Who's Loving You'. Their first to chart on
Billboard's R&B was in 1962 with 'Let Me Go the Right Way'. The Supremes
first acquired position in the Top Ten in 1963 with 'When the Lovelight
Starts Shining Through His Eyes' peaking at #2. Upon that the Supremes spent
the next nine years consistently charting in the R&B Top Ten, their last in
1972 at #5 with 'Floy Joy'. Titles placing at #1 on Billboard's R&B and US
pop charts: 1964 'Where Did Our Love Go' July #1 R&B #1 US 'Baby of Love' October #1 R&B #1 US 'Come See About Me' November #2 R&B #1 US 1965 'Stop! In the Name of Love' February #2 R&B #1 US 'Back In My Arms Again' May #1 R&B #1 US 'I Hear a Symphony' October #2 R&B #1 US 1966 'You Can't Hurry Love' August #1 R&B #1 US 'You Keep Me Hangin' On' October #1 R&B #1 US 1967 'Love Is Here and Now You're Gone' January #1 R&B #1 US 'The Happening' April #12 R&B #1 US 1968 'Love Child' October #2 R&B #1 US 1969 'Someday We'll Be Together' October #1 R&B #1 US 1970 'Stoned Love' November #1 R&B #7 US Barbara Martin [*] replaced McGlown from 1960 to 1962. When McGlown departed Ross, Ballard and Wilson carried on as a trio. In 1967 Cindy Birdsong [*] came aboard, replacing Ballard. Ballard briefly attempted a solo career but it didn't go. She'd received nigh $140,000 in earnings and royalties upon severance from the Supremes, yet is said to have died in poverty in 1976 of coronary thrombosis, only age 32. The Supremes released several records with the Temptations in 1968 and '69, their first for Motown: 'I'm Gonna Make You Love Me'/'A Place In The Sun'. Ross left the Supremes in latter 1969. Her last television appearance as a Supreme was on 'The Ed Sullivan Show' in December of that year. She was replaced by Jean Terrell [1, 2] in time for the 1970 album: 'Right On'. Ross' first solo release in 1969 was 'Someday We'll Be Together'. Though neither Birdsong nor Wilson participated it got billed as Diana Ross & the Supremes. The group without Ross went on to issue a couple records with the Four Tops in 1970 and '71: River Deep-Mountain High'/'Together We Can Make Such Sweet Music" and 'You Gotta Have Love In Your Heart'/'I'm Glad About It'. Lynda Laurence [1, 2] replaced Birdsong, becoming a mother, in 1972. Terrell was replaced by Scherrie Payne [1, 2, 3] in 1973 in time for the disco single, 'He's My Man'. Birdsong returned that year as well to replace Laurence. The group yet consisted of Birdsong, Payne and mainstay through it all, Mary Wilson, upon issuing the album, 'The Supremes', in 1975. Birdsong was replaced again, this time due conflict with management, in 1976 by Susaye Greene [1, 2, 3]. Greene participated in the last two Supremes albums, 'High Energy' and 'Mary, Scherrie & Susaye'. The Supremes gave their final concert at Drury Lane Theater in London in June of '77. Supremes discos w various credits at 1, 2, 3. Lyrics at AZ. Diana Ross at 1, 2, 3. Florence Ballard at 1, 2. Mary Wilson at 1, 2. Barbara Martin at 1, 2. Cindy Birdsong at 1, 2. Jean Terrell at 1, 2. Lynda Laurence at *. Sherrie Payne at 1, 2. Susaye Greene at 1, 2. The Supremes in visual media. The Primettes 1960 Lead: Mary Wilson Composition: Rich Morrison Lead: Diana Ross Composition: Rich Morrison The Supremes 1961 Composition: Berry Gordy Jr./Barney Ales Composition: Berry Gordy Jr./Brian Holland/Freddie Gorman Composition: Berry Gordy Jr. Composition: William "Smokey" Robinson The Supremes 1965 Composition: Sam Cooke Composition: Sam Cooke 'Ready, Steady Go' Composition: Brian & Eddie Holland/Lamont Dozier Composition: Herb Alpert/Sam Cooke/Lou Adler Composition: Sam Cooke The Supremes 1966 'Hollywood Palace' Music: Leonard Bernstein Lyrics: Stephen Sondheim For the film 'West Side Story' 1961 At Lincoln Center Composition: Brian & Eddie Holland/Lamont Dozier 'Hollywood Palace' Composition: Brian & Eddie Holland/Lamont Dozier The Supremes 1967 Composition: Nickolas Ashford/Valerie Simpson Composition: James Dean/Eddie Holland 'Tennessee Ernie Ford Show' Composition: Brian & Eddie Holland/Lamont Dozier The Supremes 1970 'This Is Tom Jones!' 'This Is Tom Jones!' with Tom Jones Composition: Phil Spector/Jeff Barry/Ellie Greenwich The Supremes 1978 Composition: Nickolas Ashford/Valerie Simpson
|
The Supremes Source: Girls Play Music |
|
| Motown group, the
Temptations
[1,
2,
3,
4,
5,
6,
7/not
1,
2], were to
become among the most successful of male vocal harmony combinations, their
career much coinciding with that of the
Supremes, their closest female counterpart in what was called the Motown
sound, with the exception that the Temptations didn't retire in 1977, but
have continued well into the new millennium to the present day. The roots of
the Temptations can be traced clear back to 1955 when teenagers, Paul
Williams and Eddie Kendricks, were with a group called the Cavaliers that
became the Primes. The course is a little labored to get from there to when
the Temptations released their first vinyl. Suffice it to note that
Otis
Williams [*],
who released his first record with the Charms [*] in July 1953 ('Heaven Only
Knows'/Loving Baby' on Rockin' 156 [Disco-File]), issued 'Pecos Kid'/'All of My Life'
with the Siberians in 1958. Elbridge Bryant was a
member of that group. Upon some shifting of personnel a group was configured
titled the Distants. (They were also known as the Elgins at a club they
worked about that time.) Enter Melvin Franklin to join what was now gathered
as the original Temptations in the Distants
[*]. Two other members of that group
wouldn't be joining the Temptations. One, Richard Strick, carried on with
Distants. James Crawford, who had had a recording career before the Distants,
then disappeared from the music industry. That group released a few singles
in 1960: 'Come On', 'Always' and 'Open Your Heart'. At the time of the
Temptations' initial recordings it consisted of Otis Williams, Elbridge
Bryant, Melvin Franklin, Eddie Kendricks and Paul Williams. The Temptations
released their first record in 1961: 'Oh, Mother Of Mine'/'Romance Without
Finance' and 'Check Yourself'/'Your Wonderful Love'. One of the ways in
which the Temptations were similar to the
Supremes was their enormous popularity. The Temptations first visited
Billboard's national R&B in 1962 with 'Dream Come True' rising to #22. As
with the Supremes, it is a
fearsome descent into a pitch-black abyss to list their #1 titles on Billboard's
R&B or Hot 100 (US): 1964 'The Way You Do the Things You Do' February #1 R&B #11 US 1965 'My Girl' January #1 R&B #1 US 1966 'Get Redy' February #1 R&B #29 US 'Ain't Too Proud to Beg' May #1 R&B #13 US 'Beauty Is Only Skin Deep' August #1 R&B #23 US 'I'm Losing You' November #1 R&B #8 US 1968 'I Wish It Would Rain' January #1 R&B #8 US 'I Could Never Love Another' March #1 R&B #3 US 1969 'Runaway Child, Running Wild' February #1 R&B #1 US 'I Can't Get Next to You' August #1 R&B #1 US 1971 'Just My Imagination' February #1 R&B #1 US 1972 'Papa Was a Rollin' Stone' October #5 R&B #1 US 1973 'Masterpiece' February #1 R&B #7 US 'Let Your Hair Down' December #1 R&B #27 US 1974 'Happy People' December #1 R&B #40 US 1975 'Shakey Ground' March #1 R&B #26 US It took until 1989 for the Temptations to place their last on the Top Ten of the R&B: 'Special' at #10. That was in the States. Their last to rise to the Top Ten in the UK wasn't until 1992 with 'My Girl' at #2. The Temptations placed in the Top Forty as late as 2000 with 'I'm Here' at #40. Naturally, personnel has undergone changes with a group that has been around so long. As for mainstay, Otis Williams, he yet tours the States as of this writing with the latest formation of the Temptations: Ron Tyson, Terry Weeks, Joe Herndon, Bruce Williamson. Backed by as many instrumentalists, they maintain a page at Facebook. Original member, Elbridge Bryant, had been fired in 1963, getting the shoo fly shoo for bashing Paul Williams in the head with a beer bottle. He continued performing in the music business locally until his death in 1975 in Florida of liver cirrhosis, only age 36. He was replaced by David Ruffin in time for the Temptations' first album, 'Meet the Temptations', in early 1964. Ruffin's first lead was 'My Girl' in latter '64. Dennis Edwards replaced him in time for the December 1968 album, 'Live at the Copa'. The Temptations' Motown sound got blended with what was billed as "psychedelic soul" in the latter sixties and early seventies ('Psychedelic Shack' '70). Eddie Kendricks and Paul Williams recorded lead on 'Just My Imagination', released January 1971, before Kendricks left the group. Paul Williams followed him the next May. Kendricks died of lung cancer in Birmingham in 1992. Franklin died upon a brain seizure in February of 1995. Temptations discos with various credits at 1, 2, 3. Lyrics at AZ. The Temptations in visual media. Discographies (incomplete) of Otis Williams & his earlier Charms, et al: 1, 2, 3, 4. The Distants 1960 Lead: Richard Strick Composition: James Bennett/Otis Williams Johnnie Mae Matthews The Temptations 1961 Composition: Elbridge Bryant/David Englishs Berry Gordy Jr./Otis Williams Composition: William "Mickey" Stevenson/Otis Williams The Temptations 1964 Girl (Why You Wanna Make Me Blue) Composition: Norman Whitfield/Edward Holland Jr. The Temptations 1965 Television performance Composition: Smokey Robinson/Ronald White The Way You Do the Things You Do Television performance Composition: Smokey Robinson/Robert Rogers The Temptations 1966 Composition: Norman Whitfield/Eddie Kendricks Edward Holland Jr. The Temptations 1969 Composition: Barrett Strong/Norman Whitfield LP: 'Cloud Nine' With the Supremes Composition: Kenny Gamble/Jerry Ross Composition: Barrett Strong/Norman Whitfield LP: 'Cloud Nine' Composition: Bobby Darin/Deadric Malone Barrett Strong/Norman Whitfield The Temptations 1972 Composition: Norman Whitfield/Barrett Strong The Temptations 1989 Television performance Composition: Egor (Eddie Gordon)/Paul Witts The Temptations 1991 Live at BBC Composition: Norman Whitfield/Barrett Strong/Rodger Penzabene The Temptations 1998 Composition: Arthur Marbury Album: 'Phoenix Rising' Composition: Rex Rideout/Tony Kurtis Darcy Aldridge/Ronnie Garrett Album: 'Phoenix Rising' Composition: Darin McKinney/Narada Michael Walden Robin Taylor Brooks/Rodney Alejandro Album: 'Phoenix Rising'
|
The Temptations Source: Lyrical Therapy |
|
| Soul singer Tammi Terrell
[1,
2,
3,
4,
5,
6]
was born Thomasina Montgomery in Philadelphia in 1945. Terrell signed her first recording
contract at age fifteen, resulting in the release of 'If You See Bill'
b/w 'It's Mine' as Tammy Montgomery in 1961 on Scepter 1224
[1,
2]. It was 'Voice of Experience' b/w 'I Wantcha
to Be Sure' in 1962 on Wand 123. She issued 'I Cried' b/w 'If You Don't
Think' in April 1963 as both Tammy and Tana Montgomery for the Try Me label owned by
James Brown, both of those his
compositions. Music VF has 'I Cried' barely reaching Billboard's
Hot 100 at #99 in August. t was Tammy
Montgomery for 'If I Would Marry You' b/w 'This Time
Tomorrow' in 1964 on Checker 1072. In 1965 the name "Tammy Montgomery" was
deemed too short on sex appeal and
too long for record labels, she thus christened "Tammi Terrell" by Motown
Records CEO, Berry Gordy.
Her first issue as such was 'I Can't Believe You Love
Me' on Motown 1086, finding #27 on the R&B. Terrell's solo career was a
faint one, she charting only a couple more times: 'Come and See Me' at #25
in May of 1966 and 'This Old Heart of Mine' in Jan of 1969
[*]. It was her
duets with
Marvin Gaye by which Terrell made
her name. Their initial title to chart was 'Ain't No Mountain High Enough'
at #3 on Billboard's R&B in May of 1967
[*]. Both 'Your Precious Love' and
'If I Could Build My Whole World Around You' found #2 later that year. 'Ain't
Nothing Like the Real Thing' and 'You're All I Need to Get By' rose to #1
in 1968. Their last Top Ten title followed in November 1969 via 'What You
Gave Me' at #6. Gaye and Terrell
issued three albums on Berry Gordy's Tamla/Motown labels: 'United' in
'67, 'You're All I Need' in '68 and 'Easy' in '69. Terrell herself issued
two platters during her career: 'The Early Show' in '67 shared with
Chuck Jackson flip side, and
'Irresistible' in '69 ['68 per Discogs]. Terrell was on tour with
Gaye in Virginia in October of
'69 when she buckled during a performance in Virginia due to a brain
tumor,
Gaye having to assist her off
stage. She endured a series of operations as she continued recording, though could no longer perform live. Her death
on March 16 of 1970
in Philadelphia had been less than kind as brain cancer and the fight against it wasted
her away. 'The Onion Song' b/w 'California Soul', duets with
Gaye, were issued
posthumously in 1970. Discographies of Terrell's
releases at Discogs
1,
2. Discos
of issues with Gaye at
1,
2,
3.
Songwriting credits.
Terrell in visual media. Tammy Montgomery 1961 Composition: Luther Dixon Tammy Montgomery 1962 Composition: Kay Rogers/John PattonTammy Montgomery 1963 Composition: James Brown Tammy Montgomery 1964 Composition: Bert Russell/Tammy MontgomeryTammi Terrell 1965 Composition: Harvey Fuqua/Johnny Bristol Tammi Terrell 1966 Music: Stevie Wonder Lyrics: Stevie Wonder/Clarence Paul/Morris Broadnax Composition: Harvey Fuqua/Johnny Bristol Tammi Terrell 1967 Music video with Marvin Gaye Composition: Nickolas Ashford/Valerie SimpsonTammi Terrell 1969 Duet with Marvin Gaye Composition: Spooner Oldham/Dan Penn
|
Tammi Terrell Source: Getty Images |
|
| Originally formed in 1960 by
Martha Reeves
and Shirley Walker, the Fascinations
[1,
2,
3]
were also comprised of Fern Bledsoe and sisters, Joanne and Bernadine
Boswell.
Reeves left the group for the
Del-Phis before the Fascinations, managed by
Curtis Mayfield, made their first recording. That record was
issued December 4, 1962: 'Mama Didn't Lie'/'Someone Like You
(Paramount 10387). The group's name was spelled as the Fasinations on the
initial run of that [Disco-File]. The Fascinations released several records into 1967,
only one them charting to speak of: 'Girls Are Out to Get You' peaking at
#13 on Billboard's R&B, #92 on the pop chart. Fascinations discographies w
credits at
1,
2. The Fascinations 1962 Composition: Curtis Mayfield The Fascinations 1966 Composition: Curtis Mayfield The Fascinations 1967 Composition: Guy Draper Composition: Curtis Mayfield
|
The Fascinations 1967 Photo: Calla Records Source: Soul Source
|
|
|
Isaac Hayes Jr.
was born in Covington, Tennessee, in 1942
[1,
2,
3,
4]. It's said that it was needful
for him to turn down college scholarships in order to work at a meat
packing plant in Memphis to support family. He played nightclubs by night.
A multi-instrumentalist, playing keyboards, flute and saxophone, Hayes
auditioned as a sessions player at Stax records in 1962, his
debut session
toward
'The Great Otis Redding Sings Soul Ballads' issued on Volt 411 in 1965
(Volt a subsidiary of Stax). Hayes would also work at Stax as a
songwriter and producer. Sources vary, but we hazard Hayes' first vinyl
issue
to have been in 1962 as well, that 'Laura, We're On Our Last
Go-Round'/'C.C. Rider' on Youngstown
[1,
2,
3,
4] 1005 per 45Cat and Hung Medien. See also
1,
2,
3 and as
concerns the 2017 issue of 'The Spirit of Memphis 1962 - 1976':
1,
2,
3.
Howsoever, multiple
sources have that plate issued later in '64 or '65 as well, so a '62 date could be
the flip of a coin. Hayes was featured on keyboards on saxophonist,
Floyd Newman's, 'Frog Stomp'/'Sassy' sometime in 1963 for release
on Stax 143. There existing various issue dates, my best guess is midway
in Dec
1963. Hayes played piano in the Baracudas for 'Yank Me (Doodle)'/'Free for
All' issued in '64 on Volt 123. Come 'The Sidewalk Surf'/'Surf Jerk' on
Stax 160 later in '64, Hayes with the Mad Lads on that.
Soulful Kinda Music
(SKM) lists Hayes' next, if not first, solo name release in 1964 per
'Sweet Temptation'/'Laura' on Brunswick 55258, there also general
consensus on that. 'Laura' on Brunswick seems to have been a reissue of
Youngstown if that was first released in 1962 (which SKM has issued in
1965). Others with whom Hayes worked during that early period in the mid
sixties period included such as the studio band, Booker T and the MGs.
Hayes released his
first album, 'Presenting Isaac Hayes', in 1967 [Discogs/Wikipedia '68]. That
didn't create a lot of splash, but in 1969 he issued 'Hot Buttered Soul' and
everybody got wet as it topped the R&B albums chart with assistance from
'Walk on By' reaching #13 on the singles chart. Hayes also composed film scores, such as 'Shaft'
which rose to #1 in 1971. Hayes
appeared in numerous roles as a film and television actor, such as 'Escape
From New York' in 1981. His career as an actor increased as his popularity
as a vocalist declined. Hayes became a Scientologist in 1993. Wikipedia
has his last of twenty or so studio albums per 'Branded' in 1995. From
1999 to March of 2006 Hayes was the voice of Chef
on the animated television series, 'South Park'. 'At WattStax' issued in
2003 had been recorded on August 20 of 1972 in Los Angeles Memorial
Coliseum [Discogs]. On August 10, 2008, Hayes died at his home in Memphis while
using a treadmill, likely of a second stroke. Composition had been
elemental to his vocation. Among numerous of his own titles were such as
'Bumpy's Blues' and 'Walk from Regio's' in 1971. He earlier made his name
as a songwriter at Stax in collaboration with David Porter
[1,
2,
3].
That partnership had produced titles like 'B-A-B-Y' for
Carla
Thomas in
'66, 'I Ain't Particular' for Johnnie Taylor in '68 and 'Wrap It Up' for
Sam & Dave in '68. Discographies with
various credits at
1,
2,
3. See
also *
Lyrcs
at AZ. Hayes in visual media.
Per 1964 below, the Brunswick release of 'Laura' would be a reissue of
'Laura' possibly released in 1962 on Youngstown. Isaac Hayes 1963 Sax: Floyd Newman Keyboards: Isaac Hayes Composition: Newman Sax: Floyd Newman Keyboards: Isaac Hayes Composition: Newman Isaac Hayes 1964 Reissue of possible '62 release on Youngstown Composition: Patti FergusonWith the Mad Lads Composition: Patti Ferguson Ricki-Lee Coulter/Carl Cunningham/Rufus Thomas Isaac Hayes 1965 Album: 'The Great Otis Redding Sings Soul Ballads' With Otis Redding Composition: Otis Redding Isaac Hayes 1969 Album: 'Hot Buttered Soul' Composition: Jimmy Webb 'Music Scene' television program Music: Burt Bacharach Lyrics: Hal David Isaac Hayes 1971 Soundtrack Composition: Isaac Hayes Isaac Hayes 1973 Album Filmed live with Jesse Jackson Composition: Isaac Hayes Isaac Hayes 1974 Soundtrack: 'Tough Guys' Composition: Isaac Hayes Isaac Hayes 1979 Composition: Isaac Hayes Isaac Hayes 2005 Filmed live Music: Burt Bacharach Lyrics: Hal David
|
 Isaac Hayes Source: Showbiz 411 |
|
| Born Eva Narcissus Boyd in 1943
in Bethaven, North Carolina,
Little Eva [1,
2,
3] moved to Long Island, New
York, in 1960, there to become a maid and babysitter for
Carole King and lyricist Gerry Goffin.
They apparently liked the way she danced, inspiring their composition, 'Loco-Motion'. Though intended for Dee Dee Sharpe, the demo they had Eva record
proved too good to hand off to someone else and she was soon back in the
studio to record a version for release in 1962 on Dimension 1000 w 'He Is
the Boy' flip side
[1,
2]. That topped both the
Hot 100 and R&B charts in June,
finding #2 in the UK. Those were released that year on her LP,
'Llllloco-Motion'. She scored another Top Ten in November with 'Keep Your
Hands Off My Baby' at #6 on the R&B. Her last title to make a fuss in the
States was 'Let's Turkey Trot' in early 1963. A couple months later she
issued the duet with Big Dee Irwin, 'Swinging on a Star' (Dimension 1010),
that not such a big hurrah at #38. Eva wasn't long to remain in the
national spotlight. She toured and issued several plates into the early
seventies, but for an audience considerably dwindled, such that she withdrew from
the music industry in 1971 to North Carolina, to do so with next to nothing in her purse,
hers the tragedy of not owning the rights to her recordings. Some bugs in
her britches made her record her second and last album in 1988, 'Back on
Track', issued the next year by Malibu Records
[*].
Though a dim star compared to 'Llllloco-Motion' in 1962, that attended her
coming out of retirement to tour international oldies venues. She died of cervical
cancer on April 10, 2003, in Kinston, North Carolina. Discos
with songwriting and production credits at
1,
2.
Credits also at Australian Charts.
Little Eva in visual media. Little Eva 1962 Composition: Dee Ervin (Big Dee Irwin)/Gerry Goffin Composition: Gerry Goffin/Carole King Composition: Gerry Goffin/Carole King Little Eva 1963 Composition: Carole King/Gerry Goffin Composition: Gerry Goffin/Carole King Little Eva 1965 Composition: Gerry Goffin/Jack Keller Miscredited to King Composition: Ben E. King/Elmo Glick (Mike Stoller & Jerry Leiber)
|
Little Eva Photo: Nevins-Kirshner Assoc. Source: Torben Bille |
|
| Born in 1942 in Detroit,
Michigan,
Freda Payne
[1,
2,
3,
4],
attended the Detroit Institute of Musical Arts and recorded commercial
jingles locally as a teenager. She released her initial solo recordings in 1962: '(Desafinado)
Slightly Out of Tune'
b/w 'He Who Laughs Last' (ABC-Paramount 10366)
[1,
2]. 1963 saw the
release of 'Pretty Boy' b/w 'Grin
and
Bear It (ABC-Paramount 10437)'. In 1963 Payne moved to NYC where she
worked with the
Pearl Bailey Revue and recorded her debut album
for Impulse on September 17-19: 'After the Lights Go Down and
Much More'. Payne toured Europe for the first time in 1965, recording
'Freda Payne in Stockholm' (USA 111) in Sweden for issue in 1971. 'How Do
You Say I Don't Love You Anymore', saw release in 1966. In 1967 Payne
worked as an understudy for Leslie Uggams
in the Broadway production of 'Hallelujah Baby' [IBDB]. Payne's first gold record arrived in 1970 with 'Band of
Gold'. That title has been estimated to have sold a couple million copies
internationally. Consequentially, Payne's album, 'Band of Gold', sold well also.
'Bring the Boys Home' reached #3 in R&B in 1971, that issued on the LP,
'Contact'. Payne romped through the seventies among the royalty of disco.
She also starred in the 1973 film, 'Book of Numbers'. She accepted a lead
role in the Broadway production of 'Sammy' in 1974 with
Sammy Davis Jr. and Nicholas Brothers [IBDB].
Acting would become a second
career, Payne appearing in such as the television series, 'Police Story', in
1976 through 'Kinky' in 2017
[*].
Payne hosted the television talk show, 'Today's Black Woman', for three seasons
beginning in Feb of 1981
[*].
'TV Guide' lists 25 episodes without dates
[*].
Highlighting the nineties were duets with Cuba Gooding Sr., Mel Carter, O.
C. Smith and younger sister, Scherrie Payne (Supremes),
on the 1996 release of 'Christmas with Freda and Friends'. Highlighting
the new millennium was Payne's participation in 'We Are the World 25 for
Haiti' in 2010 [1,
2]. Payne interpreted
Ella Fitzgerald as recently
as April-May of 2018 in the Delaware Theatre production of the musical,
'Ella: First Lady of Song'. Payne released her latest of fifteen studio
and live albums as of this writing in 2014: 'Come Back to Me Love'. She
was inducted into the Rhythm and Blues Music Hall of Fame in 2017. Discos
of issues with songwriting credits at
1,
2. See also
*.
Payne in visual media. In addition to other websites Payne maintains
pages at
Twitter and
YouTube. Freda Payne 1962 (Desafinado) Slightly Out of Tune Composition: Antonio Carlos Jobim Jessie Cavanaugh/Jon Hendricks/Newton Mendonça Freda Payne 1963 Composition: Phil Belmonte/Leroy Lovett/Allen White Freda Payne 1970 Composition: Edythe Wayne/Ron Dunbar Filmed live Composition: Edythe Wayne/Ron Dunbar Filmed live Composition: Edythe Wayne/Ron Dunbar LP: 'Band of Gold' Composition: Norma Toney/Ron Dunbar/Edythe Wayne LP: 'Band of Gold' Freda Payne 1971 Composition: Angelo Bond/General Johnson/Greg Perry Freda Payne 1974 Filmed live on 'Soul Train' Composition: Carrie Jacobs-Bond [1, 2] Freda Payne 2010 Filmed live at the Montreux Jazz Festival Music: Fats Waller 1929 Lyrics: Andy Razaf Freda Payne 2011 Duet with Cliff Richard Filmed live on 'Loose Women' Composition: Joshua Chasez/Beau Dozier
|
 Freda Payne 2008 Source: Zimbio |
|
| Born in 1941 in Prattville,
Alabama,
soul singer,
Wilson Pickett
[1,
2,
3,
4,
5,
6,
7] began his career in 1955 with a gospel group in Detroit called the Violinaires
[*], with
which he toured churches for the next four years. He first recorded in 1959
with the Primettes (to become the
Supremes in 1967). But that tune, 'Let
Me Be Your Boy', wouldn't be released until 1963 as the B side to 'My Heart
Belongs to You'. In 1960 Pickett joined the doo wop group, the Falcons
[1,
2.
3] (not
to be confused with Jackie Wilson's
Falcons). Soon after recording 'I Found Love' with the Falcons
[*] Pickett
began doing solo work, his first issues in 1962 per 45Cat and Discogs: 'Let Me Be Your
Boy'/'My Heart Belongs to You' (Correc-Tone C 501/Cub K9113)
[see also *].
Soulful Kinda Music has Pickett singing lead with the Spiritual Five
in 1963 on 'Christ's Blood'/'Call Him Up' (Peacock 3001). Solo plates in
'63 were released on Double-L: 'If You Need Me'/'Baby Call on Me' (713),
'It's Too Late'/'I'm Gonna Love You' (717) and 'I'm Down to My Last
Heartbreak'/'I Can't Stop' (724). Three of those charted on
Billboard's R&B: 'If You Need Me' at #30, 'It's Too Late' at #7 and 'I'm Down to My
Last Heart Break' at #27. Pickett began his journey as soul superstar when
'In the Midnight Hour' topped the R&B chart in July of 1965. Pickett
loaded Billboard with high-ranking tracks into the early seventies, four
more of them rising to #1: '634-5789 (Soulsville, U.S.A.)' in '66, 'Land
of 1,000 Dances' in '66, 'Funky Broadway' in '67 and 'Don't Knock My Love'
in '71. As Pickett's stellar career began to dim he sometimes had trouble behaving
[*]. Aside from later alcohol and drug offenses, he fired a couple shots
from a .38 Derringer through the locked door of a hotel room occupied by
the
Isley Brothers and their entourage in December of 1974
[1,
2], was fined
$1000 for carrying a loaded shotgun in his vehicle in 1987, was arrested for driving his
car over Mayor Donald Aronson's front lawn (Englewood, New Jersey) in 1991,
was charged with assaulting
a girlfriend in 1992 and drunk driving resulting in the death of an
elderly pedestrian in 1993, the latter for which he was incarcerated for a year
[*].
Pickett had been elected into the Rock n Roll Hall of Fame in 1991. He
gave concerts until 2004 when his health no longer permitted such. Pickett died of heart attack
on January 19 of
2006 in Reston, Virginia
[1,
2].
Among Wilson's compositions was 'My Heart Belongs to You' in 1962. He had
collaborated with Steve Cropper on such as 'Don't Fight It' and 'In the
Midnight Hour' in 1965. In 1968 he coauthored such as 'I'm a Midnight
Mover' and 'We Got to Have Love' with
Bobby Womack.
Songwriting credits
for his titles at Australian Charts. Discos with composing and production
credits at 1,
2.
Lyrics at AZ.
Pickett in visual media. Tracks below are alphabetical by year. Wilson Pickett 1962 Composition: Robert Bateman/Pickett With the Falcons Composition: Robert West/Willie Schofield/Pickett Composition: Robert Bateman/Pickett Recorded 1959 With the Primettes Composition: Wilbur Harbert Composition: Pickett Composition: Pickett Composition: Steve Cropper/Pickett Wilson Pickett 1963 Composition: Bobby Womack Composition: Pickett Wilson Pickett 1964 I'm Down to My Last Heartbreak Composition: Big Dee Irwin/James Willingham Wilson Pickett 1965 Composition: Steve Cropper/Pickett Wilson Pickett 1966 Composition: Pickett Composition: Chris Kenner Album: 'The Exciting Wilson Pickett' Ninety Nine and a Half Won't Do Composition: Eddie Floyd/Pickett Wilson Pickett 1967 With the Falcons Recorded in 1960 Composition: Saxton Kari Album Wilson Pickett 1968 Composition: Paul McCartney Wilson Pickett 1970 Don't Let the Green Grass Fool You Composition: Jerry Akines/Johnny Bellmon Reginald Turner/Victor Drayton Arrangement: Lenny Pakula Get Me Back on Time (Engine Number 9) Composition: Kenny Gamble/Leon Huff Arrangement: Bobby Martin Wilson Pickett 1973 Composition: Bobby Eli/Carl Fisher
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Wilson Pickett Source: MTV |
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The Vandellas Source: Klissete Fingers |
It was November 1960 when the
Del-Phis
[*]
first appeared on vinyl, backing Mike Hanks on 'When True Love Comes to Be'
and 'The Hawk' on MAH's 000.3. Disco-File has the Del-Phis (Del-Fis) consisting of Gloria Williams, Rosalind
Ashford, Annette Sterling and
Martha Reeves
[1,
2,
3]
on those. In 1961 the Del-Phis released 'I'll
Let You Know' with 'It Takes Two' with Checkmate, now in the group. They tried again as the Vels in 1962 with 'There He Is (At My Door)' and
'You'll Never Cherish a Love So True'. About the same time Martha Reeves was with Saundra Mallett &
the Vandellas. That group released 'Camel Walk'/'It's Gonna Be Hard Times'
and 'Stubborn Kind Of Fellow'/'It Hurts Me Too' (the latter backing
Marvin Gaye) with Tamla in 1962.
It was upon Vels singer,
Mary Wells, taking ill that Reeves replaced her.
Williams declined to continue when Berry Gordy [1,
2,
3,
4,
5] offered the group a promotion
from Tamla to Motown Records. Gordy was founder of Tamla Records in 1959, then Motown Records
the same year, then pretty much
the whole genre that would come to be called the Motown sound. Gordy figured 'I'll Have
to
Let Him Go'/'My Baby Won't Come Back' would be a good first release for
Martha & the Vandellas in 1962. It
was March of 1963 when the Vandellas first alighted on
Billboard's wire. As
for myself, it is as being pulled into an infinitely dense black hole from
which there may be no escape as I risk listing only the songs and months
that the Vandellas placed on Billboard's Top Ten. Though that's plenty
threatening, my equations tell me I've good odds of surviving so long as I
don't attempt the Top Twenty and my suit doesn't leak. I am, naturally,
going in alone, that the ship not face danger. I've been assured that it's
not because I'm expendable: 1963 'Come and Get These Memories' April #6 R&B #29 US "Heatwave' August #1 R&B #4 US 'Quicksand' November #7 R&B #8 US Sterling is replaced by Betty Kelly after this. 1964 'In My Lonely Room' April #6 R&B #44 US 'Dancing In the Street' August #8 R&B #2 US 1965 'Nowhere to Run' February #5 R&B #8 US 1966 'My Baby Loves Me' January #3 R&B #22 US 'I'm Ready For Love' October #2 R&B #9 1967 'Jimmy Mack' February #1 R&B #10 'Honey Chile' November #5 R&B #11 US Kelly was fired from the Vandellas in 1967 (after 'Honey Chile'), she and Reeves rubbing the wrong way, and was replaced by Lois Reeves (Martha's sister). The group placed on Billboard's R&B Top Forty as late as 1972 with 'Tear It On Down' peaking at #37. The Vandellas gave their farewell concert at Detroit's Cobo Hall in December of 1972. Reeves moved onward to a solo career, releasing the album, 'Martha Reeves' in 1974. She would become a Christian in 1977. Original members, Ashford and Beard, remain active in the music business as of this writing. The Vandellas were nominated into the Rock n Roll Hall of Fame by the rock group, the B-52s, in 1995. They were received into the Vocal Group Hall of Fame in 2003. 'Rolling Stone' magazine has ranked the Vandellas #96 on their list of 100 Greatest Artists of All Time. References: 1, 2, 3, 4, 5, 6, 7. Vandellas catalogs w various credits at 1, 2. Martha Reeves catalogs at 1, 2. Reeves and/or the Vandellas in visual media: 1, 2. The Del-Phis 1961 Composition: Joe Hunter/Martha Reeves The Vels 1962 Composition: Brian & Eddie Holland Lamont Dozier/Janie Bradford/Freddie Gorman You'll Never Cherish a Love So True Composition: Berry Gordy Jr. The Vandellas 1962 Composition: William "Mickey" Stevenson Composition: William "Mickey" Stevenson/Martha Reeves The Vandellas 1963 Composition: Brian & Edward Holland/Lamont Dozier The Vandellas 1964 Live Composition: Brian & Edward Holland/Lamont Dozier The Vandellas 1965 'Ed Sullivan Show' Composition: Marvin Gaye/Ivy Jo Hunter William "Mickey" Stevenson Composition: Brian & Edward Holland/Lamont Dozier Composition: Ivy Jo Hunter/Clarence Paul William "Mickey" Stevenson The Vandellas 1967 Composition: Brian & Edward Holland/Lamont Dozier
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The Ronettes Source: Representations of Women |
The
Ronettes
[1,
2,
3,
4,
5,
6/Disco] came together in 1959 in the
Washington Heights/Spanish Harlem area of New York City. The trio consisting
of sisters Veronica (Ronnie)
[1,
2,
3] and Estelle Bennett
[1,
2], and
Nedra Talley
[*], the Ronettes earlier recorded as Ronnie & the Relatives, releasing 'I Want A
Boy'/'Sweet Sixteen' in 1961 on Colpix and 'I'm Gonna Quit While I'm Ahead'/'My
Guiding Angel' in 1962 on May Records. The trio's debut release as the Ronettes was for
Colpix in 1962, 'I'm On the Wagon'/'I'm Gonna Quit While I'm Ahead',
followed by 'Silhouettes'/'You Bet I Would' the same year. The Ronettes'
heydays were in '63 and '64. The group signed up with mental case, Phil Spector's [1,
2,
3,
4,
5,
6,
7] outfit, Philles Records, in early 1963. Spector didn't release their first recording
with his label, 'Why Don't They Let Us Fall in Love'. Spector did his
specter thing upon the release of their next four recordings, crediting them
to the
Crystals on the 1963 album, 'The
Crystals Sing The Greatest Hits, Volume 1' (ghost singing, kinda like ghost
writing). Their first credited release with Spector was 'Be My Baby'. In August 1963
it peaked on
Billboard's R&B at #4 (#2
Hot 100). 'Baby, I Love You' reached #6 on the R&B (#24
Hot 100) in December the same year. 'Do I Love You?' climbed to #11 (#34 Hot
100) in
June of '64. The Ronettes made their first tour of the United Kingdom in
January of '64 before recording 'Walling in the Rain' which peaked at #3 (#23
Hot 100) that October. The Ronettes also issued their album, 'Presenting the Fabulous Ronettes
featuring Veronica', in late 1964. It reached #96 on Billboard's Pop
Album chart. By that time Spector was not only the Ronettes' producer, but
intimate with Ronnie as well. Notable in 1966 was their tour of the States
with the Beatles as the opening show. Due to conflict with Spector, Ronnie's
place on that tour had to be taken by Elaine Mayes (a cousin in continuous
close association with the group since before the Ronettes, also
performing). By 1970 the Ronettes were no more. Neither Bennett nor Talley
reentered the music industry. Ronnie, who had married Spector, left him in
'72 (divorce final '74) and reshaped the Ronettes with new members in 1974.
The Ronettes were elected into the Vocal Group Hall of Fame in 2004, the
Rock and Roll Hall of Fame in 2007. Estelle Bennett died of colon cancer in
Englewood, New Jersey, on Feb 11, 2009 [1,
2,
3]. Ronettes
discographies with various credits at 1,
2.
Ronettes in visual media. Ronnie & the Relatives 1961 Composition: Dinu Composition: Buddy Kaye/Philip Springer The Ronettes 1962 Composition: Bill Katz/Ruth Roberts Unissued Composition: Hank Ballard The Ronettes 1963 Composition: Jeff Barry/Ellie Greenwich/Phil Spector The Ronettes 1964 Composition: Barry Mann/Phil Spector/Cynthia Weil Composition: Phil Spector The Ronettes 1965 Television performance Composition: Jeff Barry/Ellie Greenwich/Phil Spector Composition: Perry Botkin/Gil Garfield Harry Nilsson/Phil Spector
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Stevie Wonder Source: Stevie Wonder |
Born in 1950 in Saginaw,
Michigan,
Stevie Wonder
[1,
2,
3,
4,
5,
6/Chronology], blind since birth, was auspiciously moved to Detroit in 1954
[*].
Detroit (Motown) was to become central to Motown soul largely via the
founding of Tamla Records ('59
[1,
2,
3,
4]) and Motown Records ('59,
incorporated '60
[1,
2,
3,
4]) by Berry Gordy Jr.
[1,
2,
3].
Gordy had been hobnobbing with Smokey Robinson & the Miracles since
1957, collaborating on the composition of 'Got a Job' (End 1016), the
Miracles
first issue in 1958 in response to the
Silhouettes' 'Get a Job' (Ember
Records 1029/Nov '57). The first dish issued by Motown was the
Miracles' 'Bad Girl'/'I Love Your Baby' in '59 (Motown G
1/G 2)
[*].
Early major names produced by Gordy included the
Supremes,
Marvin Gaye,
the
Marvelettes and
Mary Wells. Wonder was an eleven year-old
composer/pianist who also played harmonica and drums when Ronnie White of
the Miracles introduced him to Gordy
[1,
2,
3].
Wonder was placed under the tutelage of producer, Clarence Paul, among the
more significant of Motown composers
[*].
Wonder's first issue was 'I Call It
Pretty Music' (Tamla 54061) as Little Stevie Wonder in May of 1962
[1,
2,
3],
that co-authored by Gordy and Paul. Ensuing were the albums, 'The Jazz Soul of Little Stevie' (instrumental) and 'Tribute to
Uncle Ray' (being
Ray Charles), later that year.
Wonder's third album, 'Recorded Live: The 12 Year Old Genius', was
recorded on tour for issue in May of 1963. Wonder first appeared in film
in the March 1964 release of 'Muscle Beach Party' [*].
On May 3 of 1964 he performed 'Fingertips' on the 'Ed Sullivan Show'. His
second film, 'Bikini Beach', premiered in July of '64.
Wonder effectively began his rise to super stardom in December of 1965
when 'Uptight' topped the R&B
chart
at #1, that also winning him the first of 25 Grammy Awards at their ninth
annual presentation in '66
[*].
Wonder issued 22 chart-topping titles to as late as 'Skeletons' and 'You
Will Know' in 1988. His composition, 'Lately', was taken to #1 by Jodeci
in June of 1993. Of the eleven studio albums issued by Wonder in the
sixties, his ninth in 1968 was the instrumental titled per his name
spelled backwards: 'Eivets Rednow'. Wonder collaborated variously with
numerous musicians: In 1969 Michael Jackson &
The Jackson 5 issued
Wonder's composition, 'My Cherie Amor', on the LP, 'Diana Ross Presents
The Jackson 5'. Wonder composed several titles employed by
Jackson, they
also performing together on multiple occasions into the nineties
[*]. Another important
partner was
Syreeta Wright, beginning in 1970,
the year of their marriage. Wonder produced, arranged and composed most of
the titles on 'Syreeta', her debut LP issued on MoWest
[*] in 1972 [Discogs].
While in the process of divorce
[*] in 1972 Wonder produced, arranged and
co-wrote several titles with
Wright on 'Stevie Wonder
Presents Syreeta' issued on Motown in 1974 [Discogs]. Wonder later married
fashion designer, Kai Millard Morris, with
whom he remained until separated in 2009 to divorce after eleven years in 2012. Wonder
had also co-written titles with
Syreeta's sister, Yvonne Wright, for issue
in 1972, such as 'Girl Blue'. Titles co-written by Wonder with
Syreeta;
with Yvonne. Among Wonder's business concerns was Taxi Productions via which he
purchased KJLH radio in Los Angeles in 1979 for above two million dollars. One of
Wonder's best-known collaborations was with
Paul McCartney in 1982 on
'Ebony and Ivory' [1,
2].
That got issued on McCartney's 'Tug of War'.
One of Wonder's lesser known collaborations was 'Chan's Song' co-written with
Herbie Hancock
for release in 1986 on
Hancock's soundtrack, 'Round Midnight'
(Wonder absent). Second Hand Songs presents a nice list of
compositions by
Wonder. Discos w various credits at
1,
2,
3,
4.
Lyrics at AZ.
Wonder was inducted into the
Rock and Roll Hall of Fame in 1989, the same year as the
Rolling Stones. 'Rolling
Stone' magazine has ranked him the ninth greatest vocalist of all time.
Wonder has sold more than 100,000,000 records during his career, nearly
twenty percent of which were albums. He yet performs,
records and tours with apparently boundless energy while maintaining pages
at Facebook and
Twitter. Tracks and edits below are alphabetical
by year. Wonder in visual media. Stevie Wonder 1962 With the Temptations Composition: Brian Holland/Janie Bradford/Lamont Dozier Composition: Berry Gordy/Clarence Paul The Jazz Soul of Little Stevie Album Composition: Wonder Album Stevie Wonder 1965 Composition: Clarence Paul/Wonder Stevie Wonder 1972 Concert Album Stevie Wonder 1973 Composition: Wonder Stevie Wonder 1974 Stevie Wonder 1976 Album Stevie Wonder 1980 Album: 'Hotter Than July' Stevie Wonder 1995 Composition: Wonder You Are the Sunshine of My Life Composition: Wonder Stevie Wonder 2005 Live in concert Composition: Wonder I Just Called to Say I Love You Composition: Wonder Live in concert Composition: Stevland Morris Live in concert Composition: Wonder Stevie Wonder 2008 Live in concert Composition: Wonder Live in concert Composition: Wonder/Henry Cosby/Sylvia Moy Live in concert Composition: Chick Corea Stevie Wonder 2010 Live in concert
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|
| The
Astors [1,
2,
3,
4,
5] were
a vocal harmony group from Memphis, Tennessee,
formed in 1958 as the Duntinos. The Duntinos changed their name to the Chips
[*]
in honor of producer, Chips Moman, then released 'You Make Me Feel So
Good'/'As You Can See' in 1961 on Satellite 105. Their first release
as the Astors was on Stax 139 in 1963: 'Just Enough to Hurt Me'/'What Can It
Be?'. Upon their issue of 'Candy' b/w 'I Found Out' (Stax 170) in May 1965 'Candy' peaked
at #12 on Billboard's R&B in July, #63 on the Hot 100. Which is the last the
Astors saw of a national chart. At that time the group yet consisted as it
had upon becoming the Astors: Curtis Johnson, Elihue (Eddie) Stanback, Sam "Byrnes"
Jones and Richard Harris. They appeared on the television show, 'Where the
Action Is', on September 20, 1965 [IMDb], ten days prior to their issue of 'In the Twilight
Zone'/'Mystery Woman' on Stax 179 [45Cat]. The group issued it's last of four plates in 1967: 'Daddy
Didn't Tell Me'/'More Power to You' (Stax 232). Johnson would become a member of
Brothers Unlimited. As of this writing he currently maintains a page at
Flickr. In 1991 and '95 Ace Records issued a number of titles
previously unreleased by the Astors on CDs titled 'Stax Revue' ('Candy'
live), '2000 Volts of Stax' and '4000 Volts of Stax'. Discographies with various credits at
1,
2. The Chips 1961 Composition: Eliehue Stanback/Richard Griffin Composition: Curtis Johnson The Astors 1963 Composition: Ed Lee The Astors 1965 Composition: Steve Cropper/Isaac Hayes Composition: Eliehue Stanback Composition: Isaac Hayes/Lula Bailey/Steve Cropper The Astors 1967 Composition: David Porter/Isaac Hayes
|
The Astors Source: Doo-Wop Blogg |
|
|
ZZ Hill See
Blues:
ZZ Hill. |
||
 James Carr Source: Music Timeline |
Soul singer,
James Carr [1,
2,
3,
4],
was born in 1942 in Coahoma, Mississippi, to a Baptist preacher . He had sang with local gospel groups and was
working at a table factory when he recorded his first promos in October of
1964 with the Goldwax label, those songs released that year as: 'Only
Fools Run Away' b/w 'You Don't Want Me'
[1,
2]. Also released that year was
'Lover's Competition'/'I Can't Make It'. In April of 1966 Carr placed
'You've Got My Mind Messed UP' at the No. 7 tier on Billboard's R&B. 'The
Dark End of the Street' rose to No. 10 in February of the next year.
Carr's only other releases to place in the top 30 were 'Love Attack' and
'Pouring Water On A Drowning Man' in 1966, and 'Let It Happen' in 1967.
Carr's debut album, 'You Got My Mind Messed Up', was released in 1966. His
second, 'A Man Needs a Woman', saw issue in 1968. Afflicted with manic
depression, Carr was in and out of psychiatric care during much of his
career. With an adversity that made recording and touring difficult, Carr
was known to wander, forget lyrics while recording and freeze on stage. He
recorded only twice in the seventies: 'Hold On'/'I'll Put It to You'
released in 1971 for Atlantic, and 'Bring Her Back'/'Let Me Be Right' in
1977 for the River City label. During the eighties Carr was dependent on
his sister's (Rose) care, though managed to record a couple albums in the
nineties: 'Take Me to the Limit' in 1991 and 'Soul Survivor' in 1994. Carr
was also able to tour Europe and the States in the nineties, but died of
lung cancer in a Memphis nursing home on January 7, 2001
[1,
2].
Catalogues w composition and production credits
at 1,
2,
3. James Carr 1964 Composition: Roosevelt Jamison Composition: Roosevelt Jamison Composition: Charles Eldred/Helen Keep Composition: Roosevelt Jamison James Carr 1965 Pouring Water on a Drowning Man Composition: Danny McCormick/Drew Baker Composition: Obie McClinton Composition: Bill Huskey James Carr 1966 Composition: Quinton Claunch Composition: Obie McClinton James Carr 1967 Composition: Chips Moman/Dan Penn Arrangement: Chips Moman/Dan Penn James Carr 1968 Composition: Obie McClinton
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|
 Jean Knight Source: Time Goes By |
Jean Knight [1,
2]
was born Jean Caliste in 1943 in New Orleans.
Early in her career she changed her name to Knight, after Marie Knight,
as people had trouble pronouncing "Caliste" correctly
[*]. Her first sides were released in
1964 for the Tribe label: 'Lonesome Tonight'/'Love'. '(T'ain't It) The
Truth'/'I'm So Glad For Your Sake' were issued in 1965
[1,
2]. 1966 heard 'Anyone
Can Love Him'/'A Tear'. Knight also issued
eight singles on four discs for the Jetstream label during that early
period. She was still working her day job as a
baker when she signed up with Stax Records and measured some yeast into
'Mr. Big Stuff'/'Why I Keep Living These Memories' in 1971. 'Mr. Big
Stuff' rose not only platinum plump but doubly so, selling more than two
million copies. Knight wasn't able, however, to duplicate that success in
years to come. Her career was in trouble until 'You Got the Papers But I
Got the Man' put her back on track in 1981. Knight then continued touring
but recorded as sparingly as ever, releasing only five albums during her
career:
'Mr. Big Stuff' (1971), 'Keep It Comin'' (1981 w Premium), 'My Toot Toot' (1985), 'Shaki
de Boo-Tee' (1997) and 'Queen' (1999). Catalogues w composition and production credits at
1,
2,
3.
Knight in visual media. Knight yet performs as of this
writing. Jean Knight 1964 Composition: Huey Meaux Jean Knight 1965 Composition: Lena Agree Jean Knight 1966 Composition: J. Meyers Jean Knight 1971 Composition: Joseph Broussard Carrol Washington/Ralph Williams Jean Knight 1972 Composition: Albert Savoy/Wardell Quezergue Jean Knight 1977 Composition: James Canes Jean Knight 1981 You Got the Papers But I Got the Man With Premium Composition: Isaac Bolden/Jean Harris Jean Knight 1984 Filmed live Composition: Sidney Simien Jean Knight 2013 Filmed live Composition: Joseph Broussard Carrol Washington/Ralph Williams
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|
 The Manhattans 1964 Source: Soul Years |
The Manhattans
were formed in 1962 [1,
2,
3,
4,
5] with a strong doo wop
bent. Its original members were George Smitty Smith (b '39), Edward Sonny Bivins
(b '36), Winfred Blue Lovett (b 36), Kenny Kelley (b '41) and Richard Taylor (b '40). All five had
served in the armed forces, no longer teenagers at the time of
their initial Manhattans recordings. Smith, Bivens and Lovett had earlier
been in a group with Buddy Bell and Ethel Samuel called the Dulcets. They issued 'Pork Chops'/'Cool It' (Asnes 101) in
1961, mislabeled as by the Dorsets. There were multiple groups called the Manhattans circa their
period, making for tricky discography. Gerd Millard distinguishes between
not a few at Rock n Roll Schallplatten. Millard has these
Manhattans releasing their
first plate, 'I've Got Everything But You'/'For
the Very First Time', in 1964 [see also
1,
2]. The group
first charted
on Billboard's R&B in Jan of 1965 with 'I Wanna Be' at #12. The group
maintained sufficient audience to stay on the road throughout the sixties, not
arriving to the big time until 'One Life to Live' rose to #3 in October of
1972. Eleven Top Ten titles followed to as late as 'You Send Me' in March
1985 at #8 on the AC. In 1970 George Smith, the group's lead, had fallen
down a fight of stairs, necessitating his replacement by Gerald Alston.
Smith died of a brain tumor later that year in December. When Taylor left
the group in 1976 in the interest of Islam the Manhattans continued as a
quartet. Alston left the group in 1988
to pursue a solo career
[1,
2]. He was briefly replaced by Roger Harris. Alston
and Lovett reunited in 1993 with new members, Troy May and David Tyso
[*]. After
a scrambling of personnel over the years the Manhattans continue to perform as of this writing
[*], though none of
the group's
original members survive. Smith had died per above on December 16, 1970;
Taylor on December 7, 1987; Bivens on December 3, 2014; Lovett on December
9, 2014; Kelly following on February 17, 2015. Alston remains active
though long since no longer associated with the Manhattans. Discos w composition and production
credits at 45Cat
and Discogs. See also
*. The Dorsets 1961 Composition: Smith/Brooks/Browden Composition: Smith/Brooks/Browden The Manhattans 1964 Composition: Lovett The Manhattans 1969 Composition: Bivins The Manhattans 1973 Composition: Bivins The Manhattans 1976 Composition: Lovett The Manhattans 1977 Long version Composition: Bivens Short version Composition: Lovett Music video Music video The Manhattans 1978 Composition: Alvin Fields/Barbara Morr/Doug Stender The Manhattans 1981 Composition: Earl Kenneth King Jr.
|
 The Manhattans with Gerald Alston Source: Soul Walking |
 Barbara Mason Source: Black Kudos |
Barbara Mason
[1,
2,
3]
was born in Philadelphia, PA, in 1947. She was seventeen when
she issued her first recording in July of 1964, 'Trouble Child' [45Cat],
composed by herself. Response to that
was negligible, though she placed a Top Forty title later that year with
'Girls Have Feelings Too' at #31. In 1965 Mason issued 'Yes, I'm Ready' (Mason) to much ado (#2 in
R&B), her
album by the same title released the same year. Though not a major star,
Mason issued several more strong tracks: 'Give
Me Your Love' reached #9 in 1972, 'From His Woman to You' #3 in 1974 and 'Shackin'
Up' at #9 in 1975. Her last Top Twenty title was 'I Am Your Woman, She Is
Your Wife' in 1978 at #14, her last Top Forty 'She's Got the Papers (But I
Got the Man)' at #29 in 1981. In the early
eighties Mason founded the music publishing company, Marc James Music. She
has also founded the recording label, Lioness Recordings, and the music
production company, Mason Media Productions. Mason returned to performing
in the early nineties, but didn't release an album until 2007, 'Feeling
Blue', her first in 23 years and her last, of twelve, as of this writing.
Mason had written or co-written numerous titles. She composed such as
'Keep Him' for issue in 1965, 'Happy Girl' and 'You Better Stop It' in
1969 and 'On and Off' in 1981. Discos of issues with production and
songwriting credits at
1,
2.
See also *.
Mason authored uncredited titles below. As of this writing she yet
performs on the West coast. Barbara Mason 1964 Barbara Mason 1965 Barbara Mason 1972 Composition: Bobby Flax/Lanny Lambert Arrangement: Vince Montana Jr. Barbara Mason 1973 Composition: Curtis Mayfield Barbara Mason 1974 Arrangement: Richie Rome Barbara Mason 1975 'Soul Train' performance Composition: Jackie Avery
|
|
| Soul vocalist,
OV Wright [1,
2,
3,
4], was
born Overton Vertis Wright in Lenow, Tennessee, in 1939 . Wright was yet in
high school when he joined the gospel group, the
Sunset Travelers. That
group issued 'Another Day Lost'/'On Jesus' Program' on Peacock 3039 in
1964 [*]. Their
release of the album, 'On Jesus' Program' (Peacock PLP 122), was reviewed in the December
26 issue of 'Billboard' magazine
[*].
See also
*. In
the meantime Wright had became lead singer with the gospel group, the Harmony Echoes,
James Carr also a member of that ensemble. It
was yet 1964 when Wright released 'There Goes My Used to Be' b/w
'That's How Strong My Love Is' on Goldwax 106 with the Keys, both composed by Roosevelt Jamison
[1,
2,
3,
4].
Wright's first issues for the Back Beat label were 'Can't Find True
Love'/'Don't Want to Sit Down' on 544 in '65. His
initial album, 'If It's Only For Tonight', appeared in 1965. Wright
managed to place two songs in the Top Ten of Billboard's R&B during his
career: 'You're Gonna Make Me Cry' at #6 in August 1965 and 'Eight Men Four
Women' at #4 in May of 1967. Wright was incarcerated in Texas during the
seventies on drug charges, after which he issued his sixth album, 'Into
Something I Can't Shake Loose' in 1977. 'The Bottom Line' followed in
1978. Wright issued his eighth and ninth LPs in 1979: 'We're Still
Together' (VIP 6685) and 'Live' (VIP 6701), the latter gone down in Japan
in 1978. Wright died of
heart attack on Nov 16 of 1980 during a performance at the Lakeside Lounge in Grand
Bay, Alabama [*].
Among Wright's own compositions were 'On Jesus' Program' w the Sunset
Travelers in 1964, 'Don't Want to Sit Down' in 1965, and 'Four and Twenty
Elders' w the Luckett Brothers released posthumously in 1981. Composer,
Don Robey [1,
2,
3], contributed as Deadric Malone to a number of Wright's titles
on the Back Beat label such as 'Ace of Spade' [sic] in 1970 and 'When You Took Your Love From Me'
in 1971. Malone and Wright collaborated on 'Don't Let My Baby Ride' in
1972. Discographies w various credits at
1,
2. Sunset Travelers 1964 Composition: OV Wright The Keys 1964 Composition: Roosevelt Jamison Composition: Roosevelt Jamison OV Wright 1967 Composition: Deadric Malone (Don Robey) OV Wright 1968 Composition: Deadric Malone/Vernon Morrison OV Wright 1970 Composition: Deadric Malone/James Seawood OV Wright 1973 Album Composition: Earl Randle/Willie Mitchell OV Wright 1977 Composition: Earl Randle/James Shaw Composition: Dave Crawford/Jackie Moore OV Wright 1978 Composition: George Jackson/Raymond Moore OV Wright 1979 Composition: Al Green/Calvin Lewis Willie Mitchell/Earl Randle/Andrew Wright Composition: Earl Randle/James Shaw
|
 Overton Vertis Wright Source: Soul Walking |
|
 The Chi-Lites Circa 1970 Photo: Getty Images Source: MTV |
The Chi-Lites
[shy-lyts/1,
2,
3,
4] were formed out
of a group called the Hi-Lites which had formed in 1959 and released its first recordings in 1964
[*]. The members of
that group were Eugene
Record, Robert Lester, Clarence Johnson, Marshall Thompson and
Creadel Jones. Because the Hi-Lites name was already being used they
changed their identity to the Chi-Lites ("Chi" short for Chicago) later in
'64. When Clarence Johnson left their quintet in 1964 they continued as a
quartet called Marshall & the Chi-Lites, then simply the
Chi-Lites, though later issuing as Marshall and the Chi-Lites as well.
Soulful Kinda Music (SKM) has Jones with the Enchanters prior to the
Hi-Lites. He and Thompson were then part of a group called the Desideros
formed in 1959 and
issuing 'I Pledge My Love''/'Flat Foot Charlie' in 1960 on Renee 1040 1,
2,
3.
(SKM has '63, possibly referencing Rosalsky's 'Encyclopedia of Rhythm and
Blues' which date would seem to be a typo referencing Bob Pruter's 1997
'Doo Wop: The Chicago Scene (Music in American Life)'. As for Johnson and Record,
they had been members of the Chanteurs releasing
'You've Got a Great Love'/'The Grizzly Bear' on Vee-Jay 519 in 1963. The Hi-Lites released 'I'm So Jealous'/'The Mix Mix Song' on Daran
222 in 1964. That was issued as the Chi-Lites in 1965 on Blue Rock 4007
[*]. 'She's
Mine'/'Never No More' ensued on Blue Rock 4037 the same year. The
group was picked up by their first major label, Brunswick, in 1969.
National distribution enabled them to score their first
Top Ten in Feb
that year with 'Give It Away' at
#10 on the R&B. They placed 'Have You Seen Her' at the top of the
chart in 1970, 'Oh Girl' in 1971. Beginning to leak steam in the mid
seventies, the group nevertheless placed 'Bottoms Up' at #7 on the R&B in
March of 1983. The Chi-Lites' lead vocalist during their heydays in the
seventies was Record, he also the group's
major composer writing such as
'It's Time for Love' ('75), 'Here Comes the Sun' ('77) and 'Trying to Get
to You' ('78). Discographies of issues with songwriting credits at
1,
2.
See also *.
The ChiLites in visual media. The
Chi-Lites have remained in circulation in one configuration or
another to this day [*]. As of this writing Marshall Thompson remains the only original member. The Chi-Lites maintain a
Twitter page.
Per 1960 below, some sources have the Desideros issuing in 1963. The Desideros 1960 With Jones and Thompson Composition: Leo Austell/Richard Goldsby With Jones and Thompson Composition: Leo Austell/Credell The Chanteurs 1963 With Johnson and Record Composition: Clarence Johnson With Johnson and Record Composition: Eugene Record The Hi-Lites 1964 Composition: Eugene Record Composition: William Bagsby The Chi-Lites 1965 Composition: Eugene Record The Chi-Lites 1966 As Marshall & The Chi-Lites Composition: Eugene Record The Chi-Lites 1967 Composition: Eugene Record/Gerald Sims As Marshall & The Chi-Lites Composition: Eugene Record The Chi-Lites 1971 For God Sake Give More Power to the People Live on 'Soul Train' Composition: Eugene Record The Chi-Lites 1972 Album The Chi-Lites 1974 Composition: Eugene Record/Barbara Acklin The Chi-Lites 1975 Composition: Eugene Record/Barbara Acklin Arrangement: Tom Washington/Eugene Record The Chi-Lites 1984 Composition: Amir Bayyan/Huey Harris Jeff Clardy/Raymond Harris
|
|
 Gloria Gaynor Photo: Hulton Archive/Getty Images Source: K-Earth 101 |
Gloria Gaynor
[1,
2,
3,
4,
5]
was born Gloria Fowles in Newark, NJ, in 1949 to become the queen
of disco.
Sir Shambling
let's us know that
she did not release her first
tracks in 1965 as Gloria Fowler: 'Will You Be My Guy'/'Train Of Love'.
She did, however, release 'She'll Be Sorry'/'Let
Me Go Baby' in 1965 (as Gaynor)
[*].
She age sixteen at the time, some while after graduating from high school she joined a group called the Soul Satisfiers
circa 1969. Circa late 1970/early 71 that became the
Un-Silent Minority. Soon after, Gaynor worked at the Wagon Wheel in Manhattan.
Circa late 1971/early 72 Gaynor
toured the East Coast with a group called City Life
[1,
2,
3,
4].
Gaynor issued 'Honeybee' on Columbia 4-45909 with 'All It Took Boy Was
Losing You' in 1973 [45Cat/Discogs]. The 1974 issue of 'Honeybee' by MGM
(14706) with 'Come Tonight' was a remix. Latter '74 saw 'Never Can Say Goodbye'
released w 'We Just Can't Make It' (MGM 14748). Gaynor's first album,
'Never Can Say Goodbye' was released in 1975 containing such as
'Honeybee', 'Never Can Say Goodbye', 'Reach Out, I'll Be There' and 'Searchin''.
That was followed by "Experience' the same year. Preceding Gaynor's debut
LP were her
first charting titles, both Top Ten: 'Honeybee' had reached #2
in Dance (disco) in June of 1974. 'Never Can Say Goodbye' topped the Dance
chart at #1 in Oct. 'Reach Out, I'll Be There' claimed #2 in March of
1975. Gaynor topped the disco chart twice more per 'Casanova Brown' in Oct
of 1975 and 'I Will Survive' in Dec 1978. A disco locomotive throughout the
seventies, Gaynor's career
met stalemate in the early eighties upon the decline of disco, that
subgenre developed of R&B/Soul/Motown never
accepted as real or actual rock, the latter acquiring greater note in other directions
such as punk. Becoming a Christian into the decline of her audience,
Gaynor later revived her career in the nineties, such as to score a couple
more chart-topping titles in the new millennium: 'Just Keep Thinking About
You' in Jan 2001 and 'I Never Knew' in Jan 2002. Gaynor's most recent of
above twenty studio and live albums was 'We Will Survive' in 2013. She yet tours internationally
as of this writing. Discos with production and songwriting credits at
1,
2,
3.
See also *.
Gaynor in visual media. Per below,
all edits from 1975 onward were filmed live with the exception of 'Anybody Wanna Party?'.
'I Will Survive' was written by Dino Fekaris and Freddie Perren. Gloria Gaynor 1965 Composition: Bill Johnson/Gaynor/Margaret Nash/Sam Gary Composition: Dennis Lambert/Lou Courtney Gloria Gaynor 1973 Composition: Matthew Ledbetter/Melvin & Mervin Steals Arrangement: Norman Harris Gloria Gaynor 1974 Composition: Clifton Davis Gloria Gaynor 1975 Composition: Clifton Davis Composition: Lamont Dozier/Brian & Eddie Holland Gloria Gaynor 1978 Composition: Clifton Davis Gloria Gaynor 1979 Gloria Gaynor 2009
|
|
|
The Three Degrees
[1,
2,
3,
4] were
a trio similar to the
Supremes which formed in 1963 in
Philadelphia, PA,
becoming a major hub for soul music in the sixties. The group issued its
debut single, 'Gee Baby (I'm Sorry)' in 1964 [45Cat/RateYourMusic] from a
promo made in 1963 [Discogs]. The trio began experiencing
personnel changes from the begin. Main members from 1967 to 1976, the
trio's heydays, were Fayette Pinkney (only original member), Valerie
Holiday and Sheila Ferguson at lead. The Three Degrees released their
first album, 'Maybe', in 1970 to huge success, its title track rising to
#4 on the R&B in June. 1973 saw the issue of the LP, 'The Three Degrees',
containing the trio's chart-topping 'When Will I See You Again' [July '74
Music VF]. 'International' saw release in
1975. The latter two albums went gold in the UK. Lead singer, Ferguson, left the
trio in 1986, a succession of leads replacing her for the next few years.
The group steadily consisted of Helen Scott, Valerie Holiday and Cynthia
Harrison at lead from 1989 to 2011 when Freddie Pool replaced Harrison.
The Three Degrees had issued 'Undercover
2009' in '09. 2010 saw the release of the single, 'Holding Back'. They
surfaced with 'Strategy (Our Tribute to Philadelphia)' as recently as
2016. Songwriting and production credits for Three Degrees titles at
1,
2,
3.
Three Degrees in visual media. The Three Degrees maintain pages at
Facebook and
Twitter. The Three Degrees 1965 Composition: Richard Barrett The Three Degrees 1969 The Three Degrees 1970 Music video Composition: Richard Barrett/Arlene Smith/George Goldner The Three Degrees 1973 Live performance Composition: Kenny Gamble/Leon Huff The Three Degrees 1975 Composition: Kenny Gamble/Leon Huff The Three Degrees 1978 Live performance Composition: Dominic Bugatti/Frank Musker The Three Degrees 1979 Live performance Studio version on the album, '3D' Composition: Dominic Bugatti/Frank Musker Live performance Composition: Dominic Bugatti/Frank Musker
|
 The Three Degrees 1975 Source: Jay's News Feed |
|
 The Five Stairsteps Getty Images Source: Hipster Sanctuary |
Organized in 1958 in Chicago,
The Five Stairsteps
[1,
2,
3]
were a family affair run by Clarence Burke Sr., a police detective who
played bass. The band was named by its mother, Betty, who thought the
children looked like stair steps when lined along by age. Members of the
Burke group were Alohe, James, Dennis, Kenneth (Keni) and lead singer, Clarence
Jr., most being high school age, though Kenneth was 13. It was as a result
of winning a talent contest at the Regal Theater that the Five Stairsteps
won their first recording contract in 1966, their first single that year
being 'You Waited Too Long' b/w 'Don't Waste Your Time' on Windy C 601
[*].
The former
charted nicely at #16 on the R&B in May. The group's first Top
Ten was the million-seller, 'O-o-h Child' in 1970, rising to #8 on the Hot
100 and #14 on the R&B. In 1975 they signed up with Dark Horse Records
owned by
George Harrison. The group
disbanded after the release of the LP, 'Second Resurrection' in 1976. That
contained the title, 'From Us to You', visiting the #10 spot on the R&B
that year in March. Keni Burke continued onward
with a solo career, releasing the self-titled album, 'Keni Burke', in
1977
[1,
2]. Something of a reformed group was wrought in 1979 in the name of The
Invisible Man's Band
[1,
2], issuing an album by the same title in 1980
containing the track, 'All Night Thing', that reached #9 on the R&B. That
version of the Stairsteps recorded to as late as 1983, Keni Burke meanwhile continuing his solo
career. Burke's last album was released in 1998: 'Nothin' But Love'.
Discos with composition and production credits at
1,
2.
See also *. Five Stairsteps in visual media. The Five Stairsteps 1966 Composition: Curtis Mayfield Composition: Clarence Burke/Gregory Fowler The Five Stairsteps 1967 Composition: Clarence Burke/Curtis Mayfield/Gregory Fowler Composition: Clarence Burke Jr./Clarence Burke Sr. The Five Stairsteps 1968 Composition: Curtis Mayfield The Five Stairsteps 1970 Composition: Stan Vincent The Five Stairsteps 1976 Composition: James Burke Keni Burke 1977 Composition: Day Askey Burke/Keni Burke The Invisible Man's Band 1980 Composition: Clarence Burke Keni Burke 1981 Gotta Find My Way Back in Your Heart Composition: Bill Withers Composition: Keni Burke/Curtis Mayfield Keni Burke 1982 Composition: Keni Burke/Allan Felder Composition: Norma Jean Wright/Keni Burke/Allan Felder
|
|
| Born in Jackson, Mississippi, in
1946 [1,
2],
Dorothy Moore's
father was a member of the gospel group, the Five Blind Boys of
Mississippi. She was attending Jackson State University when she formed the
Poppies with Patsy McCune and Rosemary Taylor
[1,
2]. I know not what biography
mentions it, but there is considerable discussion and discographical
variance concerning whether she is the same Dorothy Moore as that with the
Dolletts, and if she didn't also record aka Dottie Cambridge. Bob Leszczak
summarily has it in 'Encyclopedia of Pop Music Aliases: 1950-2000' that,
no, this Moore and the Dolletts Moore are
not identical. Moore
herself has also somewhere denied singing with the Dolletts. She did,
however, later record as Dottie Cambridge [Leszczak]. The easiest way
to put together Moore's early discography the most correctly is at
1,
2. Moore
made little noise in the library of Jackson
State University since she quit during her freshman year to tour
with the Poppies, that group releasing the LP, 'Lullaby of Love', in 1966.
The girls traveled with the Mid-South Review, but the pay was little while
their singles went nowhere. They disbanded in 1967, Moore continuing with
the Review. She released singles for the Avon and GSF and Chimneyville labels,
including 'Making Love' and 'We Can Love' with King Floyd in 1975, but the tree
wouldn't shake until a big plum perhaps the size of a pumpkin, 'Misty Blue', fell on the #2 spot of
Billboard's R&B
in March of '76. It ranked at #5 in Great Britain. 'Funny How Time Slips
Away' reached the #7 tier in July that year. 'I Believe You' charted at #5
in August of '77. 'With Pen in Hand' reached #12 in January of 1978, after
which Moore's audience began to decline. It far from disappeared, however,
she having released some twenty albums during her career, including 'I'm
Doing Alright' [*]
issued in 2005 on Farish Street Records (FSR 1006), the
label
she had formed in 2002. 'Blues Heart'
was her latest release in 2012. The recipient of
multiple awards, Moore yet tours
internationally as of this writing and maintains a page at
Facebook.
Songwriting, production and other credits at Discogs are generally found under US
(or UK) releases:
1,
2,
3.
Discos w credits also at
Poppies,
Moore.
Moore in visual media.
The Poppies 1966 Composition: Cliff Thomas/Edward Thomas Jr.Composition: Billy Sherrill/Larry Butler Album: 'Lullaby Of Love' First single Composition: Cliff Thomas/Edward Thomas Jr. Album: 'Lullaby Of Love' Composition: Billy Sherrill/Glenn SuttonAlbum: 'Lullaby Of Love' Composition: Patsy McCluneAlbum: 'Lullaby Of Love' Composition: Cliff Thomas/Edward Thomas Jr. Dorothy Moore 1976 Composition: Willie Nelson Composition: Dick & Don AddrisiComposition: Bob MontgomeryDorothy Moore 1978 Composition: Bobby GoldsboroDorothy Moore 1986 Album Dorothy Moore 1986 Sunflower River Blues & Gospel Festival Filmed live Composition: Bob Montgomery
|
 Dorothy Moore Source: Thacker Mountain Radio Hour |
|
| Born in Leighton, Alabama, in
1940, Percy Sledge
[1,
2,
3,
4]
was an orderly at Colbert County Hospital in Sheffield, Alabama, when in 1966
he made his first record release, 'When a Man Loves a Woman'
[1,
2]. The album by
the same title was also issued. 1966 was Sledge's year of big hurrahs with
'When a Man Loves a Woman' topping both the pop and R&B
charts at #1 in
April, 'Warm and Tender' rising to #5 on the R&B in July and 'It Tears Me
Up' arriving to #7 in October. His next and last Top Ten title was 'Take
Time to Know Her' at #6 in March of 1968. Sledge's latest album issue was in 2013: 'The Gospel Of Percy Sledge'.
He died of liver cancer on April 14 of 2015 survived by his second wife
since 1980 and twelve children, three of whom became vocalists. He was
buried at Heavenly Gates Cemetery in Baton Rouge. Discographies
with composition and production credits at
1,
2,
3. Lyrics at
*.
Sledge in visual media. Percy Sledge 1966 Composition: Dan Penn/Dewey Lindon Oldham LP: 'Warm and Tender Love' Composition: Albert Lowe Jr./Dan Penn EP: 'When a Man Loves Woman' Composition: Bobby Robinson LP: 'Warm and Tender Love' Composition: Andrew Wright/Calvin Lewis LP: 'When a Man Loves a Woman' Percy Sledge 1967 Composition: Bobby Wommack Composition: Eddie Hinton/Marlin Greene Composition: Virgil Pappy Stewart Composition: Elvis Presley/Vera Matson Composition: Art Harris/Fred Jay Percy Sledge 1968 Composition: Marlin Greene/Quin Ivy Percy Sledge 1969 Composition: Joe Simon Percy Sledge 1970 Help Me Make It Through the Night Composition: Kris Kristofferson
|
Percy Sledge Source: B&S |
|
 Viola Wills Source: Soul Walking |
Born Viola Mae Wilkerson in
1939 in Los Angeles, Viola Wills
[1,
2,
3,
4]
was the married mother of six children by age 21. Barry White hired her as
a backup vocalist, got her signed up with Bronco Records, then changed her
name to Wills for her first release in 1966: ''I Got Love'/'Lost Without
the Love of My Guy'
[*]. Wills issued several recordings in the latter
sixties, none charting. She didn't arrive to sufficient popularity to
release an album until 1974: 'Soft Centers'. But producing records that
sold well wasn't nearly as easy as making babies. There was also the
severance between disco and rock in general. R&B having developed out of
blues and swing jazz, and rock from R&B, as R&B developed into soul music, which progeny was disco, there
arose
considerable opinion that such was no longer rock. One
expression of that was
Bob Seger's 'Old Time Rock and
Roll' released in 1978. Billboard had created the Adult Contemporary (AC)
category in the early sixties to better distinguish pop from rock
[*].
It's Dance Club category commenced in 1974 to distinguish disco from pop
and rock
[*].
Albeit the disco market was huge it wasn't boundless. With other forms of
rock all put together hemming disco in, competition was tight in what its
market would bear. Not until 1979 did
Wills' career finally slip into gear, beginning with her single, 'Gonna
Get Along Without You Now', rising to #8 in the UK
[*]. 'If You Could Read
My Mind' reached #2 in the Dance category in the US in 1981, 'Stormy
Weather' #4 in 1982. Wills never attained to the stardom of other disco
queens like
Gaynor,
Payne or
Summer, not to chart again but
for titles in Europe, most notably 'Both Sides Now'/'Dare to Dream'
at #35 in the UK in March 1986. Wills continued recording in relative
obscurity into the early nineties, but the rabbit was done hiding eggs
excepting 'Love Pains' reaching #27 in Belgium in 1989. Wills died in Phoenix
on May 6 of 2009
of cancer. Discos w composition and production credits at
1,
2.
See also *.
Wills in visual media. Viola Wills 1966 Composition: Barry White/Ronnie Goree Lost Without the Love of My Guy Composition: Barry White/Ronnie Goree Viola Wills 1979 Composition: Milton Kellem Viola Wills 1982 Composition: Ted Koehler/Harold Arlen Viola Wills 1989 Composition: Milton Kellem
|
|
| Born in 1947 in Philadelphia,
PA, composer,
Norman Connors
[1,
2,
3], began his career as a jazz drummer, thus the jazz orientation of his R&B. After attending both Temple University
and Juilliard Connors made his debut appearance on vinyl per
Archie Shepp's 'Magic of JuJu'
in 1967 [Lord's Disco]. We skip ahead through such as
Sam Rivers a bit to the major
figure that was
Pharoah Sanders during
Connors' early career. From
Sanders' 'Black Unity' in
November of '71 to 'Meditation' gone down at the Montreux Jazz Festival in
Switzerland in 1978 Connors contributed to five of
Sanders' LPs.
Sanders participated in
Connors' 'Romantic Journey' in '76 and 'This Is Your Life' in '77. Connors
issued his first solo endeavor in 1972: 'Dance of Magic'
[*].
He then became A&R manager for Buddha Records. Connors placed
two titles onto the Billboard R&B
Top Ten, 'Valentine Love' in '75 (#10) and
'You Are My Starship' (#4) the next year. Connors had written or
co-written a number of titles. He authored such as 'So Much Love' for
issue in '76, 'Romantic Journey' in '77, 'Give the Drummer Some' in '77
and 'Captain Connors' in 1978. Connors' last of 17 albums is thought to
have been 'Star Power' in 2009. Discos with composition and production credits at
1,
2. See
also *. Norman Connors 1967 LP by Archie Shepp Norman Connors 1972 Composition: Norman Connors LP: 'Dance of Magic' Composition: Cecil McBee LP: 'Dance of Magic' Norman Connors 1973 Composition: Stanley Clarke Arrangement: Norman Connors LP: 'Dark of Light' Composition: Onaje Allan Gumbs Arrangement: Onaje Allan Gumbs LP: 'Dark of Light' Norman Connors 1974 Composition: Richard Clay Arrangement: Onaje Allan Gumbs LP: 'Love From the Sun' Norman Connors 1975 Composition: Herbie Hancock Album: 'Saturday Night Special' Composition: Michael Henderson Piano: Hubert Eaves III Album: 'Saturday Night Special' Norman Connors 1976 Album Norman Connors 1977 Vocal: Eleanor Mills Composition: Jimmy Webb LP: 'This Is Your Life' Norman Connors 1978 Vocals: Norman Connors/Phyllis Hyman Pharoah Sanders LP: 'Love Will Find a Way' Norman Connors 1979 Composition: Paul Wilson LP: 'Invitation' Vocal: Miss Adaritha Norman Connors 1980 Vocals: Adaritha Composition: Phyllis St. James Arrangement: Paul Riser LP: 'Take It To The Limit' Norman Connors 1981 Composition: Kenny Cox/Maria Martin Pharoah Sanders LP: 'Beyond a Dream' Norman Connors 2009 Filmed with Danny Boy Composition: Michael Henderson Norman Connors 2014 Composition: Herbie Hancock Filmed live in Hollywood
|
 Norman Connors Source: All Music |
|
|
Al Green Photo: Frank Micolatta Source: No Estoy Desapareciendo |
Born Albert Greene in 1946 in
Forrest City, Arkansas, Al Green
[1,
2,
3,
4]
was a composer, vocalist and producer who
formed a group called Al Greene & The Creations in high school. Two members
of that group, Curtis Rodgers and Palmer James, founded the record label,
Hot Line Music Journal. In 1967 the Creations were renamed the Soul Mates
and recorded their first vinyl with Hot Line Music
[*], including
Green's debut LP, 'Back Up Train'
[*]. In 1969 Green was encouraged
to go solo by Willie Mitchell
[1,
2] of Hi Records, upon which Green dropped the
'e' from his name and issued his second album, 'Green Is Blues'. His third
LP arrived in 1971: 'Al Green Gets Next to You'. In the meantime he'd been
placing strong titles on
Billboard's R&B. 'Back Up Train' had reached #5
in Dec of '67. 'I Can't Get Next to You' visited the #11 spot in Nov of
'70, that issued on 'Al Green Gets Next to You' with 'Tired of Being
Alone', the latter rising to #7 in July of '71, that also his first
composition to arrive to the Top Ten
[*].
To go by Billboard, Green's initial step to super stardom was 'Let's Stay
Together' rising to #1 in December of 1971 on both the pop and R&B charts.
Green had co-authored that with Willie Mitchell & Al Jackson Jr.
Tina Turner later took it to #1 in
Nov of 1983. Green placed four more titles at the top of the R&B charts
during his career with 'I'm Still in Love with You' (7/72), 'You Ought to
Be with Me' (10/72), 'Livin' for You' (12/73) and 'L-O-V-E' (3/75).
Composition a major element in Green's vocation, he'd written such as 'It Ain't No Fun
to Me' ('72), 'What a Wonderful Thing Love Is' ('72) and 'Beware' ('73)
[*].
In 1974 Green's girlfriend committed suicide, prompting Green to change
his lifestyle, becoming a pastor at the Full Gospel Tabernacle in Memphis
in 1976. Between 1980 and 1987 Green concentrated on gospel music,
returning to secular material in 1988. He was inducted into the Rock and
Roll Hall of Fame in 1995. In 2000 Green published his autobiography,
'Take Me to the River'. Currently maintaining a page at Facebook,
Green's last studio album, 'Lay It Down', was released in 2008.
Discos with credits and the like at
1,
2,
3. See also
*.
Lyrics at AZ.
Green in visual media.
Music Box 5-star review. Al Green 1967 With the Soul Mates Composition: Palmer James/Curtis Rodgers With the Soul Mates Composition: Palmer James Al Green 1969 Album Al Green 1970 Composition: Al Green Al Green 1971 Live on 'Rollin' On the River' Composition: Green/Willie Mitchell/Al Jackson Jr. Composition: Green/Willie Mitchell/Al Jackson Jr. Al Green 1972 How Can You Mend a Broken Heart Composition: Barry & Robin Gibb Live performance Composition: Al Green Composition: Green/Willie Mitchell/Al Jackson Jr. Al Green 1974 Concert Al Green 1977 Composition: Green/Willie Mitchell/Al Jackson Jr. Album: 'The Belle Album' Al Green 2005 Live Composition: Al Green Al Green 2007 Live Composition: lyrics by John Newton 1799 See Wikipedia
|
|
|
Disco singer,
Loleatta Holloway
[1,
2,
3],
was born in 1946 in Chicago. She began her career with the black
gospel group, the
Caravans in 1967,
appearing on the Gospel 1121
release, 'Help Is on the Way' b/w 'I'm a Pilgrim'
[*]. Nearly every vocalist
with that group was featured at some time or another on lead and went
onward to a solo career, Holloway likewise, with lead tracks on the 1968
Caravans' album, 'Jesus Will Fix It' and the 1969 LP, 'Where He Leads Me'.
Holloway left the
Caravans in 1971 and wasted no time releasing disco and
soul tunes. Her first solo release was 'Rainbow '71' b/w 'For Sentimental
Reasons' for Apache in '71. 'Rainbow '71' was also issued by Galaxy with
'Bring It On Up' on the tail side. Holloway's
first album, 'Loleatta', was issued
in '73, followed by 'Cry to Me' in '75. Loleatta charted in the
Top Ten of
Billboard seven times, mostly in the Dance category, though her first, 'Cry to Me', reached
the #10 spot in '75 on the R&B. Holloway topped the Dance (disco) category twice
with 'Love Sensation' in 1980 and much later in 2000 with 'Dreamin'.
Fierce Ruling Diva's 'Rub It In' had risen to #7 in Dance in 1992, that
coauthored by Holloway, Jeff Abraxas Porter and Jeroen Flamman in 1985. She
featured with GTS in 2001 on 'What Goes Around Comes Around', that
amounting to #3 in Dance. Holloway co-wrote that with Satoshi Hidaka and
Yvonne Turner. She died of heart
failure ten years later on March 21 of 2011 in Chicago
[1,
2].
Discographies of issues with compositional credits and the like at
1,
2.
Loleatta Holloway in visual media. Per 1968 and 1969 below, Holloway sings lead
with the
Caravans. Loleatta Holloway 1967 With the Caravans Lead: Albertina Walker Composition: Traditional Loleatta Holloway 1968 Caravans album: 'Jesus Will Fix It' Loleatta Holloway 1969 Caravans album: 'Help is on the Way' The Lord Has Been So Good to Me Caravans album: 'Where He Leads Me' Caravans album: 'Where He Leads Me' Composition: George Bennard 1912 Caravans album: 'Help is on the Way' Loleatta Holloway 1971 Composition: Floyd Smith/Carl Wolfolk Composition: Curtis Mayfield Loleatta Holloway 1972 Composition: Cleveland Yelder/Sam Dees Loleatta Holloway 1975 Composition: Cleveland Yelder/Sam Dees Arrangement: Tommy Stewart Album: 'The Hotlanta Soul of Lolleatta Holloway' Composition: David Camon Album: 'Cry to Me'' Loleatta Holloway 1976 Television broadcast Composition: Allan Felder/Norman Harris/Ron Tyson Composition: Sam Dees/Sandra Drayton Arrangement: Tom Washington Producer: Floyd Smith Album: 'Loleatta' Loleatta Holloway 1979 Composition/Producer: Dan Hartman Composition/Producer: Dan Hartman Loleatta Holloway 1980 Composition/Producer: Dan Hartman Arrangement: Norman Harris Album: 'Love Sensation'
|
 Loleatta Holloway Source: The Guardian |
|
 Donna Summer Source: Sound Opinions |
Disco queen,
Donna Summer
[1,
2,
3,
4,
5],
had been born in 1948 in Boston by the name of LaDonna Adrian Gaines or,
Donna Gaines. Her father was a butcher and her mother a schoolteacher. She
quit high school just shy of graduating in 1967 to go to New York and join
a band called Crow. She would be working and recording as Donna Gaines
early in her career. An audition for the musical, 'Hair', took Gaines to
Munich to perform in the role of Sheila in the German version. Hence her
first single in 1968, singing 'Wassermann' ('Aquarius') in Deutsch
[1,
2]. That
track was also released that year on the album, 'Haare', on which she was
featured on several tracks. In 1969 Gaines released 'If You Walkin'
Alone'/'Can't Understand', she credited as Donna Gains by mistake.
Gaines took roles in other German versions of musicals in 1971,
appearing on
three albums that year with German casts on which she was featured: 'The
Me Nobody Knows' (in English), 'Ich Bin Ich' (German version of 'The Me
Nobody Knows' and 'Godspell' (in German). Gaines released 'Sally Go 'Round
the Roses'/'So Said The Man' in 1971. In 1973 Gaines married Austrian
actor, Helmuth Sommer, thereafter working as such. In 1974 she made a demo
for Oasis Records which then found a partner in Groovy Records. Somewhere
along the way another typo changed Donna's identity, her name changed from
Donna Sommer to Donna Summer. Her debut LP, 'Lady of the Night' (Groovy LGR
8301)
[*], issued in 1974 in Netherlands only.
Summer's funky 'Love to Love You Baby' reached No. 1 on Billboard's
Dance in 1975, #2 on the Hot 100, #3 in R&B and #4
in the UK. Summer released 18 No. 1 tracks on one chart or another,
mostly Dance (disco), into the new millennium.
The remainder were: Try Me, I Know We Can Make It 5/76 Four Seasons of Love 11/76 I Remember Yesterday 7/77 I Feel Love 7/77 (UK) Once Upon a Time 12/77 Last Dance 5/78 MacArthur Park 9/78 Hot Stuff 4/79 Bad Girls 5/79 She Works Hard for the Money 5/83 Melody of Love 11/94 I Will Go with You 7/99 Love Is the Healer 11/99 I'm a Fire 4/08 Stamp Your Feet 7/08 Fame (The Game) 1/09 To Paris with Love 2010 MacArthur Park 2013 2013 (remix) 'MacArthur Park 2013' had been a posthumous remix, Summer dying of lung cancer on May 17 of 2012 at her home in Naples, Florida [*]. She was posthumously elected into the Rock and Roll Hall of Fame the next year. Among numerous titles Summers had co-written was 'Love to Love You Baby' ('75) with Giorgio Moroder and Pete Bellotte [1, 2]. That combo had collaborated on nearly all of Summer's top Billboard titles to 'Rumor Has It' finding #21 in Feb of 1978. Summer later co-authored such as 'Love Is the Healer' ('99) with Nathan DiGesare, 'Fame' ('09) with Toby Gab and 'To Paris with Love' ('10) with Bruce Roberts. Issues on 45 rpm with credits at 1, 2. Albums with credits at 1, 2. See also *. Lyrics at AZ. Summer in visual media. Per below, with the exception of 'MacArthur Park' all titles are filmed live from 1976 onward. 'Could It Be Magic' was derived from Frédéric Chopin's 1839 'Prelude Op. 28 No. 20 in C Minor'. Donna Gaines 1968 Music: Dan Hartman Lyrics Deutsch: Walter Brandin Lyrics English: Gerome Ragni/James Rado Donna Gains 1969 If You Walkin' Alone/Can't Understand Compositions: Summer (Gains) & Hans Hammerschmid Donna Gaines 1971 Composition: Lona Stevens/Zelma Sanders Donna Summer 1975 Composition: Summer/Giorgio Moroder/Pete Bellotte Donna Summer 1976 Composition: Adrienne Anderson/Barry Manilow Based on Frédéric Chopin's 'Funeral March' 1839 Composition: Summer/Giorgio Moroder/Pete Bellotte Donna Summer 1977 Composition: Summer/Giorgio Moroder/Pete Bellotte Composition: Jimmy Webb Donna Summer 1980 Composition: Pete Bellotte/Harold Faltermeyer/Keith Forsey Donna Summer 2005 Filmed live in Belgium Donna Summer 2009 Nobel Peace Prize Concert Composition: Paul Jabara
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 Syreeta Source: Soul Walking |
Born in Pittsburgh, PA, in 1946,
Syreeta Wright
[1,
2] attended high school in Detroit, after which she became a
receptionist at Motown Records in 1965. Her first record release was as
Rita Wright [1,
2] in
February of 1968: 'I Can't Give Back the Love I Feel For You' bw
'Something On My Mind'. While Syreeta served as a backup singer in the
choruses of the
Supremes, the
Vandellas and
Stevie Wonder she worked
as a songwriter
[*], eventually marrying
Wonder in 1970. That marriage was
quickly annulled in '72 though Syreeta and
Wonder continued to work
together as friends throughout her career,
Wonder overlooking the
production of her first album, 'Syreeta', released in 1972
[*]. Her second
album, 'Stevie Wonder Presents: Syreeta', was issued in 1974. In 1977
Syreeta released 'Rich Love, Poor Love', an album of duets with GC
Cameron, formerly of the
Spinners. Her album, 'One to One', followed the
same year. Syreeta's first duet with
Billy Preston, 'With You I'm Born
Again', was issued in 1979. Her second eponymously titled album arrived
the next year, followed by 'Set My Love in Motion' in 1981. Two years
later she released 'The Spell'. Syreeta's last album, 'With You I'm Born
Again', was released in 1990 in Japan only. In '93 she joined the cast of
'Jesus Christ Superstar' as Mary Magdalene, then retired from the music
industry in 1995. Film themes to which Syreeta had contributed vocals were
'Fast Break' in '79 and 'The Last Dragon' in '85. Having previously been
married a brief time to bassist, Curtis Robertson Jr., her retirement to
Los Angeles brought a third marriage with conversion to Islam. Syreeta
died in 2004
of congestive heart failure, wrought of treatments for breast
and bone cancer. Discos with various credits at
1,
2.
Syreeta in visual media.
Syreeta 1968 I Can't Give Back the Love I Feel for You Issued as Rita Wright Composition: Nickolas Ashford/Valerie Simpson/Brian Holland Syreeta 1972 Composition: Stevie Wonder/Syreeta Wright To Know You Is to Love YouWith Stevie Wonder Composition: Stevie Wonder/Syreeta Wright Syreeta 197 Composition: Stevie Wonder/Syreeta Wright Universal Sound of the WorldComposition: Stevie Wonder/Syreeta Wright Syreeta 1977 Composition: Syreeta Wright/Curtis Robertson Jr. Syreeta 1979 Filmed live with Billy Preston Composition: Carol Connors/David Shire Syreeta 1980 Composition: Bill Withers/Skip ScarboroughSyreeta 1989 Filmed live Composition: Stevie Wonder/Syreeta Wright Syreeta 1992 Saxophone: Nelson Rangell Music: John Van Eps/Nelson Rangell Lyrics: Syreeta Wright
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 Roberta Flack Source: Eventfinda |
Born in either 1937 or '39 in Black Mountain, NC, Roberta Flack
[1,
2,
3]
matriculated into Howard University in Washington D.C. at age fifteen on a
classical piano scholarship. She'd begun playing piano at age nine. While
at Howard she added voice to the keys. She was teaching school and
giving piano lessons in Washington DC as she began working in nightclubs,
which is how
Les McCann discovered her, to arrange an audition with
Atlantic Records in 1968. Her first dish was 'Compared to What'/'Hey,
That's No Way to Say Goodbye', released the next year along with her debut
album, 'First Take'
[*]. That LP
would go platinum in the U.S., gold in Canada.
1970 witnessed the LP, 'Chapter Two' containing Flack's
first title to chart, 'Do What You Gotta Do', at a faint #117 in May of 1971. Flack's
third LP, 'Quiet Fire', contained 'Will You Still Love Me Tomorrow', her
first title to visit the Top Twenty at #15 on the AC. 'Killing Me Softly
with His Song' topped the Hot 100 in Jan 1973. That had originally been
issued by Lori Lieberman in reference to
Don McLean
[1,
2,
3,
4.] in 1972 on her eponymously titled debut
album [*]. Flack's 'Feel Like Makin' Love'
topped the pop, AC and R&B charts at #1 in June 1974. 'If I Ever See You
Again'. 'If I Ever See You Again' rose to #1 on the AC in May of 1978.
Flack released the album, Oasis', in latter 1988, that containing 'Uh-Uh
Ooh-Ooh Look Out (Here It Comes)' which reached #1 on the Dance chart in
Aug 1989. A remix of 'Killing Me Softy with His Song' reached #1 in Dance
in Sep 1996. Returning to the seventies, notable in 1972 was Flack's first album of duets with
Donny Hathaway: 'Roberta Flack &
Donny Hathaway'. As Flack's fourth LP and
Hathaway's third, that contained
their first #1 track, 'Where Is Love'. They would later record 'The Closer
I Get to You', that to top the R&B in Feb of 1978, appearing on their LP,
'Blue Light in the Basement'. Highlighting the eighties was Flack's
album of duets with Peabo Bryson, 'Born to Love', issued in the summer of
1983. That contained the tracks, 'Tonight, I Celebrate My Love' and
'You're Looking Like Love to Me'. The nineties saw Flack's duet with Max
Priest, 'Set the Night to Music', issued on her album by the same title in
1991 (Atlantic 7567-85940-2). She drew the nineties to a close with her
star added to the Hollywood Walk of Fame
[*] and a tour to South Africa to
perform for Nelson Mandela
[*].
Highlighting the new millennium was Flack's tribute to the
Beatles issued
in 2012, 'Let It Be Roberta'. (Flack had lived across the hall from
John and
Yoko Lennon at the Dakota apartment
building in NYC where
John was killed by shooting in Dec
1980.) Flack has won one American Music Award and four Grammy Awards. (Grammy Awards
[*]
are something of an involved process whereby nominations by record
companies and individuals get filtered to members of the National Academy
of Recording Arts and Sciences for further nomination and voting. By
comparison, the
American Music Award [*] was founded by Dick Clark
[*] and is based on public
polls.) Beyond music, Flack's projects have included work with the
American Society for the Prevention of Cruelty to Animals. She yet
performs on occasion and runs the Hyde Leadership Charter School
[*] in Bronx.
Discographies of issues by Flack with composing and production credits at
1,
2,
3.
See also *.
Lyrics at AZ.
Flack in visual media. Roberta Flack 1969 Composition: Gene McDaniels Album: 'First Take' Roberta Flack 1972 The First Time Ever I Saw Your Face Ewan MacColl Composition: Gene McDaniels Duet with Donny Hathaway Composition: Ralph MacDonald/William Salter Roberta Flack 1973 Killing Me Softly With His Song Composition: Charles Fox/Norman Gimbel Roberta Flack 1975 Live with The Edmonton Symphony Filmed concert Roberta Flack 1978 Composition: James Mtume/Reggie Lucas Duet with Donny Hathaway Roberta Flack 1979 Composition: James Mtume/Reggie Lucas Duet with Donny Hathaway Roberta Flack 1981 Composition: Eric Mercury/Roberta Flack Roberta Flack 1983 Duet w Peabo Bryson Composition: Gerry Goffin/Michael Masser
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Donny Hathaway
[1,
2,
3,
4,
5]
was born in 1945 in Chicago, but raised in St. Louis, Missouri. He
met his future partner, Roberta Flack,
at Howard University in Washington DC, she a classmate. He quit college
upon offer of employment at Custom Records, arranging, songwriting [*] and
working sessions as a piano player. Hathaway's first name issue is thought
to have been a duet with June Conquest in 1969: 'I Thank You Baby'/'What's
This I See' (Custom CR 1935)
[1.
2]. 'The
Ghetto Part 1 & 2' appeared in 1969, featured on his first LP, 'Everything
Is Everything', the next year
[*]. His second LP was titled simply 'Donny
Hathaway'. In 1971 he got together with former friend, Roberta Flack,
to record his third album with her: 'Roberta Flack & Donny Hathaway'.
Theirs was one of
soul music's more memorable partnerships, that LP containing
'Where Is the Love' to top the AC and R&B charts in June of 1972. It also
featured their songs, 'You've Got a Friend' and 'You Were Meant for Me'. Hathaway
issued another duet with Conquest in 1972 as well, 'I Thank You'/'Just
Another Reason' (Custom CR 1971). During the next
several
years of Hathaway's career he composed, recorded and worked on film
scores. His main claim to fame, however, was with
Flack, he never placing a title in the Top Ten as a solo performer,
though 'Love Love Love' reached #16 in July of '73, that resident on
Hathaway's last studio album in 1973: 'Extension of a Man'. In Feb of 1978
his duet with Flack, 'The Closer I Get to You',
rose to #1 on the R&B, that appearing on their joint album, 'Blue Lights
in the Basement'. His final recording is said per composer, Eric Mercury, to have been
'You Are My Heaven', appearing on 'Roberta Flack Featuring Donny Hathaway'
in '79. Hathaway was a paranoid
schizophrenic who experienced severe depression. It seems he took medicine
to combat the problem, but he had been hospitalized several times during
the seventies. On January 13, 1979, Hathaway leapt from his 15th story
apartment window. Earlier that day a recording session had to be cancelled
due his paranoid behavior, he claiming white people were trying to kill
him. They also had his brain connected to a machine to steal his music.
Between imagination and actuality there's reality, surely a curious
complex mix. Discos of issues with credits at
1,
2.
Lyrics at AZ.
Hathaway in visual media.
Donny Hathaway 1969 Duet with June Conquest Composition: Curtis Mayfield/Hathaway Donny Hathaway 1970 Composition: Ray Charles Composition: Weldon Irvine/Nina Simone Composition: Hathaway/Leroy Hutson Donny Hathaway 1972 Duet with June Conquest Composition: Curtis Mayfield/Hathaway Composition: Lalah Hathaway/Calvin Broadus Jr./Robert Glasper Album Donny Hathaway 1979 Duet with Roberta Flack Composition: James Mtume/Reggie Lucas Donny Hathaway 1980 Duet with Roberta Flack Composition: Eric Mercury/Stevie Wonder
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 Donny Hathaway Source: Kalamu ya Salaam |
|
 Kool & the Gang 1984 Photo: Ebet Roberts/Redferns/Getty Images Source: About Entertainment |
Kool & the Gang
[1,
2,
3,
4,
5] were among the latter
defenders of the homeland during the
British Invasion. By Kool's time the Invasion
had met too much resistance for British generals to care anymore. The
Beatles outright gave up bothering when
they broke up in 1970. The
Rolling Stones were so fed up with
trying to occupy American culture that they invaded continental Europe in
1970 instead, that to issue 'The Rolling Stones European Tour 1970'. Yet
even in their need of conquest they advised the Queen to give up her
Invasion, counseling her against further pursuit of what the last few
years had been proving couldn't be done. By that time British and American
musicians were collaborating as allies, drafting secret peace treaties
amongst themselves which they usually struggled to sign in slow-flowing
ink
atop cold and windy Gunnbjørn Fjeld in Greenland, to which stubborn Queen Elizabeth,
Commander in Chief, turned a blind eye, she yet starved to swallow America
whole in a consuming madness, not content to have dominated America for a
few years until it could muster forces to defend itself, but requiring
absolute domination "Forever!" as she once shouted in frustrated
aggression while
stabbing her map of American concert venues with a tack. Though everybody
knew the Invasion was over she continued to send bands to America
throughout the seventies, so dwindling her troops that attrition soon
compelled her to send some of her worst and most desperate trash via punk
bands like the Sex Pistols, the Clash, the Damned, et al. To this day it
isn't known just who she sends across the ocean to lend America a grudging
little prick of her stealthy needle now and again. It's rumored she yet
plays war games in an underground bunker at an undisclosed location,
unwilling to give it up after all these decades, long after Kool and his
Gang were employed throughout the seventies and beyond to keep the UK, if
not in submission, at least in bombardment too constant to ever again dare
even the notion of invading America. The island plunderers of strange
English accent from across the Atlantic 3400 something miles away had no equivalent
in guerilla warfare to match such as Kool's brass funk, specialists in
tactical hits from out of the airwaves. Kool & and his Gang first formed as
the Jazziacs in Jersey City, New Jersey, in 1964. At its core were the
Bell brothers, Robert (bass) and Ronald (sax), the former 13 years of age,
Ronald 12. (They had been born Muhammad and Khalis Bayyan.) They
eventually did instrumental gigs at a theatre before becoming the Kool
Flames in '67, then Kool & the Gang in '69 to sign up with De-Lite
Records. Issued that year were the discs: 'Kool and the Gang' bw 'Raw
Hamburgers', 'Kools Back Again' bw 'The Gangs Back Again' and 'Can't Stop
(Doing It to You)' bw 'Kool It (Here Comes the Fuzz)'. The Gang's debut
album, 'Kool and the Gang', was released the same year
[*]. The group's fourth
LP in 1973, 'Wild and Peaceful', would go gold, as did the next in '74,
'Light of Worlds'. Those preceded the Gang's heydays in the early
eighties as a dance (disco) group. From 'Ladies Night' in 1979 to 'Emergency' in '84 the Gang
issued four platinum albums. From 'Something Special' in '81 to 'Forever'
in '86 they released three gold LPs before audience began
moving onward. With more than seventy million albums sold about the globe, Kool & the Gang are yet alive and well, four of its seven original members
yet driving the band as they continue to
tour: the Bell brothers, George Brown (bass) and Dennis
Thomas (sax). The Christmas LP, 'Kool for the Holidays', was the Gang's
latest release in 2013. Issues catalogues with production and songwriting
credits at 1,
2,
3. Kool & the Gang in visual media. Kool & the Gang 1969 Composition: Gene Redd/Kool & The Gang LP: 'Kool and the Gang' Composition: Kool & The Gang LP: 'Kool and the Gang' Kool & the Gang 1971 Album Kool & the Gang 1972 LP: 'Music Is the Message' Kool & the Gang 1973 Album Kool & the Gang 1974 Composition: Kool & The Gang Kool & the Gang 1975 Album Kool & the Gang 1980 Album Filmed live Composition: Kool & The Gang/Ronald Bell Kool & the Gang 1981 Music video Composition: James Warren Taylor Kool & The Gang/Ronald Bell Kool & the Gang 1984 Music video Composition: James Warren Taylor Kool & The Gang/Ronald Bell 'Solid Gold' Composition: James Warren Taylor Kool & The Gang/Curtis Williams Kool & the Gang 1985 Telecast Composition: James Warren Taylor/Kool & The Gang Kool & the Gang 2000 Filmed n Pori, Finland Composition: Composition: Kool & The Gang/Mickens/Taylor Kool & the Gang 2001 Filmed in Chicago Kool & the Gang 2003 Filmed at the Festival de Viña Composition: James Warren Taylor/Kool & The Gang
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57 Years of 'Got My Mojo Working'Composition: Preston Foster Ann Cole 1956 Louis Jordan 1956 Muddy Waters 1956 Manfred Mann 1964 Paul Butterfield Blues Band 1965 Antti Einiö & The Islanders 1965 Sam The Sham & The Pharaohs 1965 Jimmy Smith 1965 The Zombies 1965 Art Blakey & the Jazz Messengers 1966 Carla Thomas 1967 Canned Heat 1969 Elvis Presley 1970 Rory Gallagher 1971 JJ Cale 1973 Melanie Safka 1975 BB King 1978 Junior Wells 1987 Jimmy Rogers & Kim Wilson 1990 Jimmy Dawkins 1991 Jimmy Smith 1993 Bad Bob & the Homewreckers 1994 Big Joe Maher & Jeff Sarli 1994 Billy Branch 1997 Peter Tork 2003 Etta James 2004 Joey DeFrancesco & Jimmy Smith 2005 KS Aji & Trio Labils 2011 Cas Haley 2011 Psycho Jam Band 2011 James Cotton 2012 Johnny Winter 2012 Dark Star Orchestra 2013 Slick Rhodes Band 2013
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We temporarily suspend this section of the history of early R&B with the disco group, Kool & the Gang. Groups such as Earth, Wind & Fire, first issuing in 1971, would follow into the seventies. |
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Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Romantic: Composers born 1770 to 1840
Modern: Composers born 1900 to 1950
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970
Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
Rock & Roll
Total War - Sixties American Rock
Classical - Medieval to Renaissance
Classical - Baroque to Classical
Classical - Romantic to ModernJazz Early - Ragtime - Swing Jazz
Jazz Modern - Percussion - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco
Sixties American Rock - Popular
