Read Ebook {PDF EPUB} Sweet Inspiration by Penny Watson VA - Sweet Inspiration - The Songs Of & Spooner Oldham (2011) Artist : Various Artists Title : Sweet Inspiration - The Songs Of Dan Penn & Spooner Oldham Year Of Release : 2011 Label : Ace Records [CDCHD 1284] Genre : Soul, Funk, Rhythm & Blues Quality : 320 kbps / FLAC (tracks+cue) / WAV (tracks) Total Time : 66:48 Total Size : 152 mb / 307 mb / 674 mb WebSite : Album Preview. We have received many requests to add Dan Penn and Spooner Oldham to our songwriter series. It’s never really been about if we would, so much as when. With 2011 being something of a “Year Of Southern Soul” for Ace and Kent, what better way to kick it off than with a genius gathering of 24 of the best songs ever to bear their names below the title. “Sweet Inspiration” does a bang-up job of assembling the key songs Dan and Spooner wrote together during the 1960s and early 1970s. A quick look at the track listing will show prospective buyers that my co-compiler Bob Dunham and I have tried hard to make sure that there’s a version of every major Penn and Oldham composition included. We haven’t always chosen the obvious versions, so there will be some nice surprises here for even the most avid collectors. It was difficult to bring what started out as a massive wish list down to just 24 selections, but we think our choices do justice to the performers of the songs and, most importantly, the writers. Everyone will have their own highlights. Mine would include Arthur Conley’s Fame recording of ‘In The Same Old Way’ (which was originally written as a straight ahead country song) and country thrush Jeanne Newman’s riveting, previously unissued Goldwax recording of ‘It Tears Me Up’, one of the earliest songs Penn and Oldham wrote together. I’m also very partial to the Southern sincerity of ’ ‘Everything I Am’ (a UK Top 3 hit for in late 1967) and Tommy Roe’s little-known 1966 take on ‘Wish You Didn’t Have To Go’, a number made more famous a year later by James and Bobby Purify. But greatness abounds from beginning to end of this set, and it’s unlikely that any prospective purchaser will not be totally impressed by everything it contains. A companion volume – which will also include songs co-written by Dan and/or Spooner with collaborators such as , , Marlin Greene and – will hopefully see the light of day next year. In the meantime, here’s over an hour of the sweetly inspired songwriting of Wallace Daniel Pennington and Lindon Dewey Oldham. Oh, what a power! :: TRACKLIST :: 1. – Out Of Left Field (03:27) 2. Dionne Warwick – I'm Your Puppet (03:01) 3. The Sweet Inspirations – Sweet Inspiration (02:52) 4. Charlie Rich – A Woman Left Lonely (03:14) 5. Etta James – I Worship The Ground You Walk On (02:24) 6. The Ovations – I'm Living Good (02:31) 7. Solomon Burke – Take Me (Just As I Am) (02:59) 8. – (02:18) 9. Jeanne Newman – It Tears Me Up (03:08) 10. Art Freeman – Slippin' Around (02:56) 11. Tony Borders – I Met Her In Church (02:26) 12. Sandy Posey – Are You Never Coming Home (02:58) 13. James Carr – Let It Happen (02:36) 14. The Box Tops – Everything I Am (02:16) 15. Ted Taylor – Feed The Flame (02:32) 16. – Watching The Trains Go By (03:02) 17. Arthur Conley – In The Same Old Way (02:45) 18. Ronnie Milsap – Denver (03:21) 19. Patti LaBelle And The Bluebells – Dreamer (02:21) 20. Irma Thomas – Good Things Don't Come Easy (02:56) 21. The Wallace Brothers – I Need Someone (02:29) 22. Barbara Lynn – He Ain't Gonna Do Right (02:53) 23. Tommy Roe – Wish You Didn't Have To Go (02:15) 24. Joe Simon – Let's Do It Over (02:21) Sweet Inspiration: The Songs Of Dan Penn And Spooner Oldham Various Artists (Songwriter Series) We have received many requests to add Dan Penn and Spooner Oldham to our songwriter series. It’s never really been about if we would, so much as when. With 2011 being something of a “Year Of Southern Soul” for Ace and Kent, what better way to kick it off than with a genius gathering of 24 of the best songs ever to bear their names below the title. “Sweet Inspiration” does a bang-up job of assembling the key songs Dan and Spooner wrote together during the 1960s and early 1970s. A quick look at the track listing will show prospective buyers that my co-compiler Bob Dunham and I have tried hard to make sure that there’s a version of every major Penn and Oldham composition included. We haven’t always chosen the obvious versions, so there will be some nice surprises here for even the most avid collectors. It was difficult to bring what started out as a massive wish list down to just 24 selections, but we think our choices do justice to the performers of the songs and, most importantly, the writers. Everyone will have their own highlights. Mine would include Arthur Conley’s Fame recording of ‘In The Same Old Way’ (which was originally written as a straight ahead country song) and country thrush Jeanne Newman’s riveting, previously unissued Goldwax recording of ‘It Tears Me Up’, one of the earliest songs Penn and Oldham wrote together. I’m also very partial to the Southern sincerity of the Box Tops’ ‘Everything I Am’ (a UK Top 3 hit for Plastic Penny in late 1967) and Tommy Roe’s little-known 1966 take on ‘Wish You Didn’t Have To Go’, a number made more famous a year later by James and Bobby Purify. But greatness abounds from beginning to end of this set, and it’s unlikely that any prospective purchaser will not be totally impressed by everything it contains. A companion volume – which will also include songs co-written by Dan and/or Spooner with collaborators such as Donnie Fritts, Rick Hall, Marlin Greene and Chips Moman – will hopefully see the light of day next year. In the meantime, here’s over an hour of the sweetly inspired songwriting of Wallace Daniel Pennington and Lindon Dewey Oldham. Oh, what a power! Elvis Week 2018 Line-Up Announced. MEMPHIS, Tenn.--( BUSINESS WIRE )--Graceland® in Memphis, Tennessee has announced that Elvis Week™ 2018 will feature more events and performances than ever. Newly announced guests and events include marking the 50th Anniversary of the “’68 Comeback Special” with director and producer of the special, Steve Binder. The recently announced gospel album from RCA/Legacy Recordings, Elvis Presley - Where No One Stands Alone , will be heard for the first time at Graceland during a special listening party hosted by Lisa Marie Presley on August 11, and an unprecedented ten concerts will feature music from guests Darlene Love, members of The Imperials, members of The Stamps, Rockabilly and Outlaw Country artist Dale Watson and Elvis' friend and country star TG Sheppard and his wife, Kelly Lang. A new wedding chapel called The Chapel in the Woods will be opened on August 13 and available August 14 for couples to get married or renew their vows, and two new exhibits will be unveiled at Elvis Presley’s Memphis ™ . The new Lisa Marie: Growing Up Presley exhibit will open on August 10 when Lisa will cut the ribbon. It will include personal items from her childhood including her record player, roller skates and clothing, as well as items from her musical career. The exhibit explores Lisa the daughter, the mother, her charity work, her career, as well as how she continues to carry on her dad’s legacy at Graceland. As part of “Elvis: The Entertainer Career Museum,” Where No One Stands Alone: The Gospel Music of Elvis Presley is an expansion which includes his three GRAMMYs, sheet music, original acetates, and much more, all related to Elvis’ love of gospel music. Also new to Elvis Presley’s Memphis is the just-opened Hillbilly Rock exhibit featuring country music and early rock ‘n’ roll artifacts from The Marty Stuart Collection. On August 13, Darlene Love, one of Rolling Stone’s “100 Greatest Singers of All Time,” Rock & Roll Hall of Fame inductee and lead singer for The Blossoms, who sang with Elvis in the "’68 Comeback Special," will rock the Graceland Soundstage in her first-ever appearance at Elvis Week. Darlene and her band will perform the hits that made rock ‘n’ roll history, such as “He’s a Rebel,” “The Boy I’m Going to Marry” and “Da Doo Ron Ron,” plus a special tribute to Elvis. Elvis’ Imperials will join former members of The Stamps Quartet on August 14 for The Gospel Music of Elvis Presley Celebration Concert . Imperials Terry Blackwood, Darrell Toney and Lynn Royce Taylor and former Stamps Ed Hill, Donnie Sumner, Bill Baize and Larry Strickland will be on stage for a special night of gospel music. Elvis co-stars Millie Perkins and Ginny Tiu will join Darlene Love and Michael Dante at Conversations on Elvis: Co-Stars on August 14. Perkins co-starred with Elvis in the 1961 film “Wild in the Country,” and later played Gladys Presley in the 1990 “Elvis” TV series. Tiu co-starred with Elvis in the 1962 film “Girls!Girls!Girls!” On August 15, Conversations on Elvis: Gospel features those who spent many hours performing gospel music alongside Elvis, both on and off stage. Confirmed guests include host Andy Childs; Dr. Emily "Cissy" Houston, who was a member of The Sweet Inspirations; former members of The Stamps Quartet, Ed Hill, Donnie Sumner, Bill Baize and Larry Strickland; and Terry Blackwood, Jimmy Murray and Armond Morales, who performed with Elvis as part of The Imperials. The concert the afternoon before the Candlelight Vigil will celebrate the iconic music of blues, soul and rock ‘n’ roll. Guests will perform their own hits and a variety of Elvis’ music. Performers include Rockabilly and Outlaw Country artist Dale Watson and others to be announced. The Elvis Week cornerstone event, the Candlelight Vigil , will begin on August 15, at 8:30 p.m. Central Time at Graceland’s front gate. Elvis music sets the tone of the evening as fans walk up the driveway to the Meditation Garden. This event lasts throughout the night as thousands of participants gather on Elvis Presley Boulevard listening to music, remembering Elvis and enjoying the memorials that are created by fans along the street. On August 16, fans and friends are invited to an open house at the new Chapel in the Woods between 11:00 a.m. and 4:00 p.m. and to enjoy wedding cake to celebrate the opening. The new chapel is located just south of The Guest House at Graceland ™ . For the last 18 years the original Chapel in the Woods was host to almost 2,000 weddings, dedications, and vow renewals. The all-new chapel features modern design and architecture and is officially open for reservations as soon as August 14, 2018. Marking the 50th Anniversary of Elvis’ “’68 Comeback Special” on August 16, the day will start with Conversations on Elvis: ’68 Special . Special guests will include the “’68 Comeback Special” director/producer Steve Binder; musical director Billy Goldenberg; writer Allan Blye; guitarist Mike Deasy; and Tanya Lemani George, the belly dancer who performed during “Little Egypt." Also on August 16, at The Guest House Theater at 3:00 p.m. – Niko Live in Concert . Italian singing star Niko will make his first appearance at Graceland. Niko has opened for Celine Dion, toured with Chicago and the Doobie Bros. and performed to a sold-out, standing ovation audience at Carnegie Hall in New York City. This is a not-to-be-missed concert event, featuring a live stage introduction by ’68 Special director/producer Steve Binder. That evening, Elvis’ groundbreaking NBC television special will be celebrated at the ’68 Special 50th Anniversary Celebration . The event will feature an enhanced screening of the show with live music and special guest appearances. A staple at Elvis Week also includes the Ultimate Elvis Tribute Artist Contest events including the Ultimate Elvis Tribute Artist Contest Showcase August 9, the 2018 Ultimate ETA Contest Semifinals on August 10, a special show featuring past winners in ELVIS: The Greatest Hits Ultimate Tribute Artist Show on August 11 and the 2018 Ultimate Elvis Tribute Artist Contest Finals on August 12. Backing band for the shows will be the EAS Band. Also returning this year on August 12 at The Guest House at Graceland Theater is The Auction at Graceland which will include artifacts from across the spectrum of collecting, including items owned by Elvis, gifted by Elvis, written by Elvis, used by Elvis and created to promote the king and his career. Every lot in this auction has been thoroughly researched and certified by Graceland Authenticated, the authority in Elvis and pop culture authentication. For more about The Auction at Graceland, visit GracelandAuctions.com. On August 17, Conversations on Elvis: Elvis Connections will be held at the Graceland Soundstage and will feature those whose connections to Elvis varies from personal to professional. Special guests this year include: Ann Moses, who was editor at “Tiger Beat Magazine” from 1965 – 1972 and sat on the stage for Elvis’ “’68 Comeback Special,” toured Elvis’ and Colonel Parker’s offices, observed filming for “Change of Habit” and attended Elvis’ opening show in July 1969 in Vegas; Billy Blackwood, James Blackwood’s younger son, who toured with Voice, the opening act for the Elvis Presley in the 1970s; Donna Rhodes Morris, who sang harmony on the original Elvis recordings of Elvis’ “In The Ghetto,” “Kentucky Rain” and “Suspicious Minds”; Elvis' friend and country star TG Sheppard; and Mark Kogan, who worked with Concerts West to promote Elvis' concert tours. The week will end on August 18 with a special afternoon performance by TG Sheppard and Kelly Lang in Concert at The Guest House Theater at The Guest House at Graceland and the special Elvis Live in Concert - with an All-Star Band in the Graceland Soundstage. The show will celebrate the King of Rock 'n' Roll's greatest hits with Elvis live in concert and on the big screen, in the tradition of Elvis’ legendary, live concert tours. A live, rock ‘n’ roll all-star band will accompany Elvis and bring this stage production to life at Graceland with former members of The Stamps Quartet and a very special guest appearance by legendary TCB band member Ronnie Tutt. R&B Pioneer. Defined as a recording artist/group or duo in the R&B/ field – either living or deceased - who enjoyed their greatest U.S. chart success at any time between 1960-1979. Full List of Inductees. JERRY BUTLER * MILLIE JACKSON * ESTHER PHILLIPS * THE FOUR TOPS * THE IMPRESSIONS * THE SPINNERS * OTIS REDDING * THE STAPLE SINGERS * BARRY WHITE * BROOK BENTON * LINDA CLIFFORD *JACKIE MOORE * MARTHA REEVES & THE VANDELLAS * SLY & THE FAMILY STONE * LITTLE ANTHONY & THE IMPERIALS * THE SHIRELLES * THELMA HOUSTON * BARBARA MASON * BRENDA HOLLOWAY * WILLIAM BELL * FREDA PAYNE * LOVE UNLIMITED * THE SWEET INSPIRATIONS * DEE DEE WARWICK * CARLA THOMAS * ERMA FRANKLIN * LINDA JONES * EDDIE FLOYD * AARON NEVILLE * SYREETA * HANK BALLARD * JOHNNY NASH * LUTHER INGRAM * HAROLD MELVIN & THE BLUENOTES * THELMA JONES * PEACHES & HERB * BILLY STEWART * KING CURTIS * BARBARA LYNN * BARBARA LEWIS * IRMA THOMAS * JOHNNY "GUITAR" WATSON * ANN PEEBLES * BILLY PAUL * THE CHI-LITES * THE EMOTIONS * JUDY CLAY * CHAIRMEN OF THE BOARD. ’s 20 Essential Songs. The singer, songwriter and pianist’s catalog showcased the range and power of one of the greatest vocalists of all time. Soul found its apotheosis in Aretha Franklin. Ever since she was crowned “The Queen of Soul” in 1967 by DJ Pervis Spann in a mock ceremony at the Regal Theater in Chicago, no one has come close to contesting the title. Ms. Franklin — who died T hursday at 76 — sang in a voice that struck an ideal balance of strength and sensitivity, of roiling emotion and refined skill. Even when she hit a note with terrific force, her tone never lost its beauty. And each note brought with it a huge context. “American history wells up when Aretha sings,” President Obama wrote in an email to The New Yorker’s David Remnick for a 2016 profile of the star. “Nobody embodies more fully the connection between the African-American spiritual, the blues, R&B, rock ’n’ roll — the way that hardship and sorrow were transformed into something full of beauty and vitality and hope.” Ms. Franklin had the ability to make songs previously identified with other singers her own, and to write original pieces others pined to cover. While she made hundreds of indelible songs in her six-decade-long recording career, these 20 rank among her most defining. “Skylark” (1963) During her six years at Columbia Records, Ms. Franklin’s vocal talent often overshadowed the arrangements and production in her recordings. Yet an alternate take she cut of the Johnny Mercer/Hoagy Carmichael standard from 1941 not only showed a side nowhere heard in her prime Atlantic catalog, it found special strains of soul in this oft-covered song. “I Never Loved a Man (The Way I Love You)” (1967) Ms. Franklin’s first single for Atlantic Records became her breakthrough hit, cracking the Top 10 while announcing the arrival of a singer of revelatory confidence, openness and fortitude. Building on Spooner Oldham’s electric piano, her vocal escalated to a crescendo that stands as one of the greatest pop showstoppers of all time. “Do Right Woman — Do Right Man” (1967) This song’s sensitive country-gospel melody brought out one of the singer’s most nuanced performances. A proto-feminist anthem, “Woman” aimed to create gender parity not only though the lyrics, but through the deep humanity in her vocal. “Respect” (1967) Otis Redding may have written the song (and had a Top 40 hit with it), but Ms. Franklin’s No. 1 version will forever define it. The assurance, wit and erudition of her vocal embodied R-E-S-P-E-C-T to such a resounding degree, the recording went on to become one of pop’s most stirring anthems of both feminism and black pride. “” (1967) Over the tense tremolo of Joe South’s guitar, Ms. Franklin unleashed all the frustrations of a woman ignored, while at the same time turning her pain into power. The breakdown in the middle — when Aretha soars over the “whoop-whoop” refrain of her backup singers, the Sweet Inspirations — showed just who in this romantic relationship would end up on top. “(You Make Me Feel Like) A Natural Woman” (1967) Written expressly for her by Carole King and Gerry Goffin, “Natural Woman” inspired in the singer a vocal that transcended the individual to address an entire gender. Above gospel piano chords from Mr. Oldham, and strings that moved from encouraging to ecstatic, Aretha unleashed a vocal infused with such certitude and spirit, it seemed to distill the essence of whatever it may mean to be a woman. “Dr. Feelgood (Love Is a Serious Business)” (1967) Ms. Franklin mined her deep gospel roots in a song she wrote with her then-husband, Ted White. Slyly, she married the churchy organ and piano to what may be her most sexually alive lyric. “Think” (1968) Ms. Franklin helped write one of her most fast and furious recordings. Its brisk piano chords and buoyant beats created a kind of trampoline for the star to bounce off refrains of Olympic skill. The secret weapon came in the middle when, lifted ably by her backup singers, she soared the word “freedom” straight to the sky. “I Say a Little Prayer” (1968) Six months after Dionne Warwick’s graceful take on the Bacharach-David song became a smash, Aretha released a very different version. The inventive arrangement laid down a kind of dare. The support singers sometimes took the lead, while the star tersely answered, smartly reversing the entire history of call-and-response vocal relationships. Naturally, Ms. Franklin was more than up to the challenge, topping her sturdy Inspirations with each vocal rejoinder. “Don’t Play That Song” (1970) The star’s distinctive piano work ignited the piece, which had been a hit eight years earlier for Ben E. King. Ms. Franklin’s take featured a vocal that expressed equal parts righteous accusation and hard need. “Spirit in the Dark” (1970) Written by Ms. Franklin, the song tapped into the rich history of spirituals, setting the scene for one of her most elaborate interplays with the Sweet Inspirations. “Bridge Over Troubled Water” (1971) You’d think Simon and Garfunkel would forever own a song they had turned into the No. 1 hit of 1970. But just one year later, Ms. Franklin brought “Bridge” back to the Top 10 in a version that plumbed the rich gospel roots the folk duo could only hint at. “Spanish Harlem” (1971) While Ben E. King’s original, Top 10 take on the song had a romantic air and a faithful Latin lilt, Ms. Franklin turned it into a rumbling, funk-rock rave-up. Her interpretation got all the way to No. 2, along the way changing King’s vocal emphasis to, instead, revel in Harlem’s blackness. “Rock Steady” (1971) The funky guitar and bass that fire the song, written by Ms. Franklin, shows just how hard her vocals could ride a rhythm, making for one of her most danceable smashes. “Day Dreaming” (1972) The melody, penned by the singer, brought out her most contemplative side. Her gliding vocal paired ideally with Hubert Laws’s fluttering flute. “Young, Gifted and Black” (1972) Written by Nina Simone for the playwright Lorraine Hansberry, the song received its most emphatic interpretation on Ms. Franklin’s album of the same name. Accompanying herself on piano, the star’s soaring vocal idealized the song’s mission to encourage all manner of black achievement. “Amazing Grace” (1972) Ms. Franklin’s debt to gospel was paid in full on her double-album masterpiece, recorded live with the Southern California Community Choir. The 10-minute-plus title track entered the realm of heaven in the first two minutes and never left. Housed on the biggest-selling gospel album of all time, the recording may be Ms. Franklin’s most profound. “Until You Come Back to Me (That’s What I’m Gonna Do)” (1973) Written by Morris Broadnax, Clarence Paul and Stevie Wonder, “Come Back” has a melody built to show Ms. Franklin’s most sensual side. With care, she caressed every part of the song’s snaking tune. “Freeway of Love” (1985) Part of her big comeback, via Arista Records, “Freeway” tapped Ms. Franklin’s Detroit roots to create one of the great American anthems of automotive freedom. It was motored not only by her vivacious vocal but by Clarence Clemons’s surging sax. “I Knew You Were Waiting (for Me)” (1987) The star’s final No. 1 song (and her only No. 1 in Britain), this duet with George Michael transcended its slickness with a tune that let both singers shine. Still, it’s not exactly a contest who, in the end, out-sung who.