DOCSLIB.ORG

Larry Hatcher

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Larry Hatcher LARRY HATCHER EARLY LIFE Mr. Hatcher has been in the entertainment industry since the tender age of 9, performing in local bands. He was in the ÄYZ[YLJVYKIYLHRPUNTHYJOPUNIHUK[OH[ZL[WYLJLKLUJL[OL4HYJOPUN>PSKJH[ZVM*LU[YHS/PNO:JOVVSMYVT 4VIPSL(SHIHTH[OH[WLYMVYTLKPU[OLOHSM[PTLZOV^K\YPUN[OL:LUPVY)V^SHUH[PVUHSS`[LSL]PZLKMVV[IHSSNHTL^OLYL senior college players are recruited for the National Football League. He attended Tuskegee Institute where he studied business law and played music. MUSIC CAREER 4Y/H[JOLY»ZTHU`[HSLU[ZPUJS\KL=VJHSZ3LHKHUK)HJRNYV\UK"/VYUZ2L`IVHYKZ7LYJ\ZZPVU:JVYPUNHUK>YP[PUN /LPZHSZVH4\ZPJHS+PYLJ[VYHUK7YVK\JLY4Y/H[JOLYHTLTILYVMParliament Funkadelic, toured with groups such as Parliament Funkadelic, Earth, Wind & Fire, Bootsy Collins, Mtume with Lionel Richie & the Commodores, Chicago, Tower of Power and James Brown to name a few. Mr. Hatcher was the Musical Director for the Manhattans, BB King, and Ron Banks and the Dramatics. /LOHZ^VYRLK^P[OSLNLUKHY`YLJVYKL_LJ\[P]LZ[OH[HYLHWHY[VMOPZMotown family, such as Berry Gordy, Owner and Founder of Motown Records and Jobete Publishing; Lee Young,7YLZPKLU[VMMotown, and currently Mr. Hatcher’s ,U[LY[HPUTLU[([[VYUL`"Jheryl Busby,7YLZPKLU[VMMCAHUK7YLZPKLU[HUK*,6VMMotown, and Head of Urban Music at Dreamworks; Clarence Avant,*OHPYTHUVMMotown, Founder of Venture Records, Sussex Records, Tabu Records, and Avant Garde Broadcasting,^OPJO^HZ[OLÄYZ[(MYPJHU(TLYPJHU-49HKPV:[H[PVUPU0UNSL^VVK *HSPMVYUPHHUKOL^HZHSZVRUV^UHZ[OLGodfather of Black Music & Radio; 0Y]PUN(aVɈ of MCA-Universal, Giant Records,*,6VMLive Nation, and presently partners with Madison Square Garden (MSG); Mo Ostin,7YLZPKLU[VM 9LWYPZLHUKWarner Bros.; Louil Silas, Jr., of MCA Records, Solar Records and Founder of Silas Records, Miller London,=7.4VM<YIHU4\ZPJ+P]PZPVUH[A&M Records,=7VMRCA,HUK:=7.4VMMotown; Benny Medina, /LHKVM( 9H[Motown and Warner Bros.; Michael ‘Carlos & Charlie’ Mitchell,=7VM:[YH[LNPJ4HYRL[PUNH[ Motown; Jonathan Clark,,_LJ\[P]LVMMotown; George Jackson,7YLZPKLU[VMMotown; Steve McKeever, :=7VM ( 9H[Motown Records; Debbie Sandridge, 4\ZPJ+PYLJ[VYVM( 9H[Motown Records; Darrell Jones, ,_LJ\[P]L at Motown Records,( 9VMAtlantic Records, Columbia Records and Arista Records; John McClain of A&M Records, Janet Jackson’s4HUHNLYHUK*V-V\UKLYVMInterscope Records; Jay King of Jay Records; Sylvia Rhone,7YLZPKLU[VMUniversal-Motown, Clive Davis,7YLZPKLU[VMColumbia Records,*OHPYTHUHUK*,6VMArista, J Records, the RCA Music Group, and BMG North America,J\YYLU[S`[OLJOPLMJYLH[P]LVɉJLYVMSony Music Entertainment; Ernest Singleton of MCA Records,7YLZPKLU[VMUrban Music, Ruthless Records, and Warner Bros. Records; LA Reid,*V-V\UKLYVMLaFace Records,*OHPYTHU *,6VM0ZSHUK+LɈ1HT4\ZPJ.YV\W7YLZPKLU[HUK *,6VMHitco Music Publishing,HUKJ\YYLU[S`*OHPYTHU *,6VMEpic Records, part of the Sony Music Group, and Forest ‘Chief’ Hamilton. ;OLYLJVYKSHILSZOLOHZ^VYRLK^P[OPUJS\KLMotown Records under Berry Gordy; MCA Records and Motown Records under Jheryl Busby, in association with Boston Ventures; Dreamworks under Jheryl Busby and Darrell Jones, with ,KKPL.YPɉU" Motown Records under Lee Young, formerly of ABC and MCA Records; MCA Records and Silas Records under Louil Silas Jr.; Universal Records; MCA Records; Warner Bros. Records; Underworld Records/Capitol Records under the Hughes Brothers, Allen and Albert, & Darryl Woods; Universal Records & Giant Records under 0Y]PUN(aVɈ".LɈLU9LJVYKZ under +H]PK.LɈLU" Zomba/Jive Records under Clive Calder and Ralph Simon; Arista Records / J Records under Clive Davis; LaFace Records under Babyface & LA Reid; Arista Records/ Epic Records under LA Reid; Warner Bros. and Dreamworks under Mo Ostin; Motown Records & Warner Bros. Records under Benny Medina, presently J Lo’s,THUHNLY"Vassal Benford of Vaz/ Arista Records, Sony Music, EMI Records, Giant Records & BMG RecordsHTVUNV[OLYZ"Quincy Jones of Qwest Records with artist Keith Washington; Ernest Singleton of MCA Records and Warner Bros. Records; and Randy Jackson of the Sony Music Group, Epic Records, MCA and Columbia Records. 4Y/H[JOLY^HZ=7VM( 9HUK7YVK\J[PVUH[Motown. Mr. Hatcher produced legendary artists including Smokey Robinson of the Miracles with Iris Gordy (manager of Smokey Robinson); the Temptations led by Otis Williams" Johnny Gill; Johnny Gill, Bobby Brown with New Edition; Jermaine Jackson, Rebbie Jackson; the Pointer Sisters; Chico and El DeBarge; the Whispers; the Mac Band; Giorge Pettus; Sugarfoot; Roger Troutman; Bobby Glover; Human Body; Pretty In Pink; the Good Girls; Jesse Campbell; Carol Gist,[OLÄYZ[ISHJR4PZZ<:(HUKSherry Payne, formerly one of the Supremes, with Maxine Powell, Motown’s Chief of Style. Mr. Hatcher along with Larry Campbell WYVK\JLKT\ZPJMVY[OLÄST‘Kazaam’. 4Y/H[JOLY^VYRLKWSH`LKHUKVYYLJVYKLK^P[OZ\JOHY[PZ[ZHZJames Brown; Bootsy Collins; Bootsy’s Rubber Band; Fred Thomas; the Horny Horns with Fred Wesley, Maceo Parker, and 2\ZO.YPɉU"Reggie Calloway of the Midnight Star; George Clinton; Parliament Funkadelic; Sweatband; Michael and Randy Brecker of the Brecker Brothers"9LNNPL.YPɉU,KKPL.YPɉU";PT*\UUPUNOHT"Brides of Funkenstein; Parlet; the East Coast Horns & the Jackson 5; Aretha Franklin with Larry Campbell & Mike Powell; Roberta Flack; Luther Vandross; Peabo Bryson; Marques Houston and Omarion^P[O7YVK\JLYChris Stokes and his sister, Smooth; the Dramatics; Gerald Alston; the Manhattans; Cameo & Charlie Singleton;91»Z3H[LZ[(YYP]HS"Chris Jones and the Dayton Band; Slave with Mark Adams, Danny Webster and Cedel Carter; Dr. Dre; Nate Dogg; Tupac Shakur; Carl ‘Butch’ Small; SOS Band; Babyface; Babyface & LA Reid; Boyz II Men; the Boys; Sinbad; Rosie Perez; Sugarfoot & Billy Beck, the Ohio Players; Roger Troutman & the Zapp Band; New Horizons; Human Body; Shirley Murdoch; Charlie Wilson & the Gap Band; the MAC Band (Men After Christ); Phillippe Wynne of the Spinners; Sly Stone; Prince; Chaka Khan; Pretty In Pink; John Pagano; Jesse Campbell of Underworld/Capitol Records and the Voice; :V\UK Engineers Barney Perkins; Manny Marroquin and Dave Pensado of Larrabee Studios; & Rick Camp/J Lo, the Commodores; Mike Brown; Lenny Guice/Lionel Richie, Madonna, Earth, Wind, and Fire, Chicago, Li’l Wayne, and the Commodores; Jim Vitti and John Jaszcz. FILM & TELEVISION 4Y/H[JOLY»ZÄSTJYLKP[ZPUJS\KLHouse Party; Dead Presidents; Paul Michael Glaser’s Kazaam starring Shaquille O’Neal; Mark Burg’s and Nick Cassavetes’ John Q, starring Denzel Washington, James Woods, Ray Liotta, Robert +\]HS,KKPL.YPɈUand Dr. Oz; Friday starring Ice Cube and Chris Tucker, music by Ice Cube, Bootsy Collins and 3HYY`/H[JOLY"HUKFoolish with ,KKPL.YPɉU and Master P/PZ[LSL]PZPVUJYLKP[ZPUJS\KLMalcolm-Jamal Warner & ,KKPL.YPɉU»Z Malcolm & Eddie;=:OV^HUKOLHSZVWYVK\JLKH[LSL]PZPVUZOV^JHSSLKFashionista USA. OTHER ACCOMPLISHMENTS Mr. Hatcher also founded the Fashion Nation Network, concentrating on the artistry of fashion and design, always H[[LUKPUN4LYJLKLZ)LUa3(-HZOPVU>LLR 3(-HZOPVU>LLRLUK"[OL4HNPJ-HZOPVU*VU]LU[PVUH[[OL3HZ=LNHZ *VU]LU[PVU*LU[LY4HUKHSH`)H`/V[LS7YVQLJ[7VVS;YHKL:OV^ :V\YJPUN"5L^@VYR-HZOPVU>LLRHUK4PHTP -HZOPVU>LLR/LH[[LUKLK0U[LYUH[PVUHS-HZOPVU:OV^ZPU7HYPZHUK4PSHU/LHSZVV^UZHIYVHKJHZ[PUNYLU[HSZLY]PJL 4Y/H[JOLY[H\NO[>LZ[LYUZ[`SLT\ZPJPU1HWHUMVY`LHYZH[HWHYVJOPHSZJOVVSV^ULKI`6WLYH:[HY@VRV LARRY HATCHER’S DISCOGRAPHY – ALBUMS PRODUCED, WRITTEN, OR PERFORMED .VSK¶7HYSPHTLU[ :P_+LNYLLZVM7-\UR¶;OL)LZ[VM.LVYNL*SPU[VU /PZ-\UR`-HTPS`¶.LVYNL*SPU[VU -\URLK<W¶;OL=LY`)LZ[VM7HYSPHTLU[¶7HYSPHTLU[ >L*HU4HRL@V\+HUJL!;OLAHWW 9VNLY(U[OVSVN`¶AHWW 9VNLY .SVY`)KH-\UR»ZVU4L!;OL)VV[Z`*VSSPUZ(U[OVSVN`¶)VV[Z`*VSSPUZ ;OL=LY`)LZ[VM:OPYSL`4\YKVJO¶:OPYSL`4\YKVJO [O*LU[\Y`4HZ[LYZ¶;OL4PSSLUP\T*VSSLJ[PVU!;OL)LZ[VM7HYSPHTLU[¶7HYSPHTLU[ *VTWSL[L9LJVYKPUNZ ¶-\URHKLSPJ 2LLWPU»KH-\UR¶)VV[Z`*VSSPUZ *VTWPSH[PVU!.YLH[LZ[/P[Z=VS 4VYL¶AHWW 9VNLY 9PNO[;\YU6US`¶;PT*\UUPUNOHT /`KYH\SPJ-\UR¶7-\UR(SS:[HYZ ;OL)LZ[VM7HYSPHTLU[!.P]L<W[OL-\UR¶7HYSPHTLU[ .YLH[LZ[/P[Z ¶7HYSPHTLU[ ;OL)LZ[VM7HYSL[¶7HYSL[ (SS;OL.YLH[LZ[/P[Z¶AHWW 9VNLY ;OPZ0Z@V\Y5PNO[¶.PVYNL7L[[\Z 3V]L<[OL3PTP[¶4HJ)HUK :WLJPHS¶;OL;LTW[H[PVUZ :OPYSL`4\YKVJR¶:OPYSL`4\YKVJR *VZTPJ9V\UK<W¶/\THU)VK` :\NHY2PZZ¶3LYV`º:\NHYMVV[»)VUULY ;OL:HNH*VU[PU\LZ¯¶9VNLY -LLS[OL4\ZPJ¶+H`[VU <YIHU+HUJL-SVVY.\LYPSSHZ¶7-\UR(SS:[HYZ @V\:OV\SKU»[5\M)P[-PZO¶.LVYNL*SPU[VU AHWW000¶AHWW ;OL6UL.P]L[O;OL*V\U[;HRL[O(^H`¶)VV[Z`*VSSPUZ ;OL,SLJ[YPJ:WHURPUNVM>HY)HIPLZ¶-\URHKLSPJ :^LH[IHUK¶;OL:^LH[)HUK ;YVTIPW\SH[PVU¶7HYSPHTLU[ <S[YH^H]L¶)VV[Z`*VSSPUZ .SVY`OHSSHZ[VVWPK¶7HYSPHTLU[ 0[»Z;OL:HTL6SK3V]LHUKTVYL¶:TVRL`9VIPUZVU 3V]L:TVRL`9VIPUZVU¶:TVRL`9VIPUZVU )HK)VII`.SV]LY¶)VII`.SV]LY 7SH`4LVY;YHKL4L¶7HYSL[ /LYL¶.VKTVTH ;LHY[OL9VVM6Ɉ¶7HYSPHTLU[ :VTLVUL;V3V]L¶4HJ)HUK 4HRL@V\:OHRL0[¶/\THU)VK` /\THU)VK`¶/\THU)VK` Sweatband - Sweat Band The Saga Continues - Roger Zapp III - Zapp & Roger Shirley Murdock Feel The Music – Dayton Cosmic Round Up – Human Body Love U 2 the Limit – Mac Band Bad Bobby Glover – Bobby Glover Gloryhallastoopid – Parliament Ultrawave – Bootsy Collins Play Me or Trade Me – Parlet Here – Godmoma Computer Games – George Clinton The One Giveth. The Count Taketh Away – Bootsy Collins You Shouldn’t Nuf Guerillas Bit Fish – George Clinton Urban Dance – P-Funk All Stars ;LHY[OL9VVM6Ɉ¶7HYSPHTLU[ Keeping Da Funk Alive – Bootsys New Rubber Band Trombipulation – Parliament The Electric Spanking War Babies – Funkadelic The Best of Parliament – Parliament The Best of Parlet – Parlet This is Your Night – Giorge Pettus Someone To Love – Mac Band.
Load more

Recommended publications
  • By Anders Griffen Trumpeter Randy Brecker Is Well Known for Working in Montana
    INTERVIEw of so many great musicians. TNYCJR: Then you moved to New York and there was so much work it seems like a fairy tale. RB: I came to New York in the late ‘60s and caught the RANDY tail-end of the classic studio days. So I was really in the right place at the right time. Marvin Stamm, Joe Shepley and Burt Collins used me as a sub for some studio dates and I got involved in the classic studio when everybody was there at the same time, wearing suits and ties, you know? Eventually rock and R&B started to kind of encroach into the studio system so T (CONTINUED ON PAGE 42) T O BRECKER B B A N H O J by anders griffen Trumpeter Randy Brecker is well known for working in Montana. Behind the scenes, they were on all these pop various genres and with such artists as Stevie Wonder, and R&B records that came out on Cameo-Parkway, Parliament-Funkadelic, Frank Zappa, Lou Reed, Bruce like Chubby Checker. You know George Young, who Springsteen, Dire Straits, Blue Öyster Cult, Blood, Sweat I got to know really well on the New York studio scene. & Tears, Horace Silver, Art Blakey, Billy Cobham, Larry He was popular on the scene as a virtuoso saxophonist. Coryell, Jaco Pastorius and Charles Mingus. He worked a lot He actually appeared on Ed Sullivan, you can see it on with his brother, tenor saxophonist Michael Brecker, and his website. So, all these things became an early formed The Brecker Brothers band.
    [Show full text]
  • Nils Landgren
    Nils Landgren Redhorn Collection ACT 6013 -2 CD 1: The Funk Unit / CD 2: The Ballads German Release Date: October 10, 2014 Two hours musical enjoyment with Mr. Redhorn and "Siggi Loch gave me the power to surpass myself, Maceo Parker, Brecker Brothers, Joe Sample, Roy and that is bearing a lot of fruits now," Landgren Hargrove, Fred Wesley, Ray Parker Jr., Bernard summarises their joint success story, but he isn't only active Purdie, Till Brönner, Rigmor Gustafsson, Ida Sand, for ACT as a musician, he is also a producer and scout. Esbjörn Svensson, Lars Danielsson, Per Ruskträsk Through Funk Unit, Loch's attention was called to Esbjörn Johansson, Magnum Coltrane Price, Magnus Svensson, and the singers Viktoria Tolstoy, Rigmor Lindgren, Wolfgang Haffner, Michael Wollny, NDR Gustafsson and Ida Sand also came to ACT from Bigband amongst others. Landgren's sphere of activity. Today, ACT is the biggest exporter of jazz from Sweden; thanks in no small degree to Nils Landgren is a name that has become Landgren. synonymous with versatility, curiosity and vigour. Whether with his Funk Unit, his jazz ballad projects, big Mr. Redhorn is one of the most active live artists in bands or his countless other contributions as sideman, contemporary jazz, in part also thanks to his concert soloist and bandleader – the likable Swede with the bright management partner Karsten Jahnke Konzertdirektion. He red trombone has constantly been on the move for more averages 200 days a year on the road around the music than 30 years. He is one of the most successful European world, and is one of a small number of jazz artists who jazz musicians, born Värmland in 1956, Landgren has made reach an audience that by far transcends the jazz "scene", around 550 records and received a plethora of jazz awards without making personal or artistic compromises.
    [Show full text]
  • Michael Brecker Chronology
    Michael Brecker Chronology Compiled by David Demsey • 1949/March 29 - Born, Phladelphia, PA; raised in Cheltenham, PA; brother Randy, sister Emily is pianist. Their father was an attorney who was a pianist and jazz enthusiast/fan • ca. 1958 – started studies on alto saxophone and clarinet • 1963 – switched to tenor saxophone in high school • 1966/Summer – attended Ramblerny Summer Music Camp, recorded Ramblerny 66 [First Recording], member of big band led by Phil Woods; band also contained Richie Cole, Roger Rosenberg, Rick Chamberlain, Holly Near. In a touch football game the day before the final concert, quarterback Phil Woods broke Mike’s finger with the winning touchdown pass; he played the concert with taped-up fingers. • 1966/November 11 – attended John Coltrane concert at Temple University; mentioned in numerous sources as a life-changing experience • 1967/June – graduated from Cheltenham High School • 1967-68 – at Indiana University for three semesters[?] • n.d. – First steady gigs r&b keyboard/organist Edwin Birdsong (no known recordings exist of this period) • 1968/March 8-9 – Indiana University Jazz Septet (aka “Mrs. Seamon’s Sound Band”) performs at Notre Dame Jazz Festival; is favored to win, but is disqualified from the finals for playing rock music. • 1968 – Recorded Score with Randy Brecker [1st commercial recording] • 1969 – age 20, moved to New York City • 1969 – appeared on Randy Brecker album Score, his first commercial release • 1970 – co-founder of jazz-rock band Dreams with Randy, trombonist Barry Rogers, drummer Billy Cobham, bassist Doug Lubahn. Recorded Dreams. Miles Davis attended some gigs prior to recording Jack Johnson.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • Music 18145 Songs, 119.5 Days, 75.69 GB
    Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L..
    [Show full text]
  • And Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group
    Yahoo! and Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group SANTA CLARA, NEW YORK and PARIS -- April 5, 2001 -- Today, Yahoo! Inc. (Nasdaq: YHOO), a leading global Internet communications, commerce and media company, and Duet, the online digital music subscription service created by the world's two largest music companies, Universal Music Group and Sony Music Entertainment, announced an alliance to present and market Duet's U.S. service to visitors to the Yahoo! network and Yahoo!® Music (http://music.yahoo.com). The Duet subscription service is expected to launch this summer. The on-demand Duet subscription service will offer consumers the opportunity to access a broad range of quality music online with speed, ease of use, and reliability while respecting artists' rights. The service will provide music enthusiasts with the ability to compile personalized playlists and to share them with other Duet members, among other features. The Duet service is expected to launch with streaming music and plans to add downloads shortly thereafter. The Duet subscription service will offer music from Sony Music and Universal Music on a non-exclusive basis. Duet also expects to offer music from other companies, in order to provide consumers with the best experience and access to the most compelling selection of music available. "Yahoo! is pleased to join Sony Music and Universal Music, the world's two largest music companies, to promote the Duet subscription service to U.S. music fans," said Jeff Mallett, president and chief operating officer, Yahoo! Inc.
    [Show full text]
  • Biu Withers by Rob Bowman He Was the Leading Figure in the Nascent Black Singer-Songwriter Movement of the Early 1970S
    PERFORMERS BiU Withers By Rob Bowman He was the leading figure in the nascent black singer-songwriter movement of the early 1970s. BILL WITHERS WAS SIMPLY NOT BORN TO PLAY THE record industry game. His oft-repeated descriptor for A&R men is “antagonistic and redundant.” Not surprisingly, most A&R men at Columbia Records, the label he recorded for beginning in 1975, considered him “difficult.” Yet when given the freedom to follow his muse, Withers wrote, sang, and in many cases produced some of our most enduring classics, including “Ain’t No Sunshine,” “Lean on Me,” “Use Me,” “Lovely Day,” “Grandma’s Hands,” and “Who Is He (and What Is He to You).” ^ “Not a lot of people got me,” Withers recently mused. “Here I was, this black guy playing an acoustic guitar, and I wasn’t playing the gut-bucket blues. People had a certain slot that they expected you to fit in to.” ^ Withers’ story is about as improb­ able as it could get. His first hit, “Ain’t No Sunshine,” recorded in 1971 when he was 33, broke nearly every pop music rule. Instead of writing words for a bridge, Withers audaciously repeated “I know” twenty-six times in a row. Moreover, the two-minute song had no introduction and was released as a throwaway B-side. Produced by Stax alumni Booker T. Jones for Sussex Records, the single’s struc­ ture, sound, and sentiment were completely unprecedented and pos­ sessed a melody and lyric that tapped into the Zeitgeist of the era. Like much of Withers’ work, it would ultimately prove to be timeless.
    [Show full text]
  • Definitive Collection of Stax Records' Singles to Be
    FOR IMMEDIATE RELEASE: DEFINITIVE COLLECTION OF STAX RECORDS’ SINGLES TO BE REISSUED Two volumes, due out December 16, 2014 and Spring 2015, cover 1968-1975. Volumes to be made available digitally for first time. LOS ANGELES, Calif. — Concord Music Group and Stax Records are proud to announce the digital release and physical reissue of two comprehensive box set titles: The Complete Stax/Volt Soul Singles, Vol. 2: 1968-1971 and The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975. Originally released in 1993 and 1994, respectively, these two compilations will be re-released back into the physical market in compact and sleek new packaging. Each set includes full-color booklets with in-depth essays by Stax historian and compilations co- producer Rob Bowman. The volumes feature stalwart Stax R&B artists including Isaac Hayes, the Staple Singers, Rufus Thomas, Johnnie Taylor, Carla Thomas, the Bar-Kays and William Bell, as well as bluesmen Little Milton, Albert King and Little Sonny, and “second generation” Stax hitmakers like Jean Knight, the Soul Children, Kim Weston, the Temprees, and Mel & Tim. Many of the tracks included in these collections will be made available digitally for the very first time. The story of the great Memphis soul label Stax/Volt can be divided into two distinct eras: the period from 1959 through the beginning of 1968, when the company was distributed by Atlantic and was developing its influential sound and image (chronicled in acclaimed 9-CD box set The Complete Stax/Volt Singles 1959-1968, released by Atlantic in 1991); and the post-Atlantic years, from May 1968 through the end of 1975, when Stax/Volt began its transition from a small, down-home enterprise to a corporate soul powerhouse.
    [Show full text]
  • Hype Funk Score Avg. Hype Funk Score Funk Score Avg Funk Score Combined Funk 1 Flashlight
    Barely Somewhat Extra Hella Response Hype Funk Avg. Hype Avg Funk Combined # answer options No Funky Funky Funky Funky Funky Da Bomb Count Score Funk Score Funk Score Score Funk 1 Flashlight - Parliament 0 0 0 2 0 5 14 21 108.00 5.14 136.00 6.48 11.62 Give Up The Funk (Tear the Roof Off the 2 Sucker) - Parliament 0 0 0 0 2 6 12 20 102.00 5.10 130.00 6.50 11.60 3 One Nation Under A Groove - Funcakelic 0 1 0 0 2 2 13 18 92.00 5.11 115.00 6.39 11.50 4 Atomic Dog - George Clinton 0 0 0 1 4 5 15 25 124.00 4.96 159.00 6.36 11.32 More Bounce To The Ounce - Zapp & 5 Roger 0 0 0 2 0 5 9 16 78.00 4.88 101.00 6.31 11.19 6 (Not Just) Knee Deep - Funkadelic 0 0 0 0 5 6 12 23 111.00 4.83 145.00 6.30 11.13 7 Mothership Connection - Parliament 0 0 0 0 3 6 8 17 81.00 4.76 107.00 6.29 11.06 8 Payback - James Brown 0 0 1 1 4 0 10 16 75.00 4.69 97.00 6.06 10.75 Get the Funk Out Ma Face - The Brothers 9 Johnson 0 0 0 1 4 4 8 17 78.00 4.59 104.00 6.12 10.71 10 Slide - Slave 0 0 0 1 1 6 5 13 59.00 4.54 80.00 6.15 10.69 11 Super Freak - Rick James 0 0 1 3 1 3 8 16 70.00 4.38 94.00 5.88 10.25 12 Pass the Peas - Fred Wesley and the JBs 0 0 1 1 2 2 5 11 47.00 4.27 64.00 5.82 10.09 13 The Jam - Graham Central Station 0 0 1 2 0 3 5 11 47.00 4.27 64.00 5.82 10.09 14 Jamaica Funk - Tom Browne 0 0 1 2 2 4 6 15 63.00 4.20 87.00 5.80 10.00 15 Fire - Ohio Players 0 0 0 2 7 3 7 19 79.00 4.16 110.00 5.79 9.95 16 Maggot Brain - Funkadelic 0 0 1 1 3 3 5 13 54.00 4.15 75.00 5.77 9.92 17 Dr.
    [Show full text]
  • Gaslit Nation Transcript 27 July 2021 Art Matters: the Nelson George Interview
    Gaslit Nation Transcript 27 July 2021 Art Matters: The Nelson George Interview https://www.patreon.com/posts/art-matters-53743958 Andrea Chalupa: Welcome to Gaslit Nation. I am your host, Andrea Chalupa. We talk a lot on this show about making art and the power of art. This special discussion is about artists. It's for people who want to be artists. It's for artists at all stages of their careers. It's for people who love and consume art. It's a discussion about the value of mentorship as well and why that's important to the whole process of creating art. Andrea Chalupa: The way to get to the heart of being an artist, why that's important, what that means, the practical ins and outs of how to do it, we're going to talk to an artist who believed in me very early on, and that alone helped me learn how to take myself seriously as an artist and bring that out to the world. Here's artist mentorship one-on-one with Gaslit Nation and our very special guest, my longtime friend and mentor, Nelson George. Nelson George: Thank you for having me. Andrea Chalupa: Nelson George is the author of several histories of African-American music, including Where Did Our Love Go, The Rise and Fall of the Motown Sound, The Death Of Rhythm and Blues, and the classic, Hip Hop America. He has published two collections of music journalism; Buppies, B-Boys, Baps & Bohos: Notes on Post-Soul Black America, and the recent, the Nelson George Mixtape, which is available through Pacific Books.
    [Show full text]
  • Funk Is Its Own Reward": an Analysis of Selected Lyrics In
    ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.
    [Show full text]
  • THE PEOPL'e's VOICE a Time to Prepare
    THE PEOPL’E’S VOICE VolumeV Number 2 Universityof California,San Diego March 1982 IIII I I I Budget Cuts put the Squeeze On A Time To Prepare by Robyn Broughton These reports have prompted an are filed and if the necessary the federal government will investigation by the UCSD informationis completed.This garnisheetax returnsto obtain FACT: Studentswho cannotafford RegistrationFee Committeeinto the necessitatesthat we getour financial paymentfor theseloans. We mustbe basicnecessities (i.e., rent, food, management of SFS. This aid information in as soon as carefulin acceptingloans so as to clothing),cannot afford to be possibleto insurereceiving some preventfalling into a spiralof debts students. investigationis presently underway. formof aid.Applicants should have oncewe graduate. FACT:By 1984,students dependent The People’s Voice talked with theirfiles completed no laterthan on governmentmonies alone will not Thomas Rutter, the director of The numberof studentsapplying StudentFinancial Services, to get April I, even though the final be ableto affordbasic necessities. forfinancial aid is increasingalong some clarityon the financialaid deadlineis notuntil July l. withthe highercosts of education. FACT: It is estimatedthat more pictureat UCSD. Thetype of awardsgiven will be of The Reagan Administration, than70% of the Blackstudents here While there are still some a lowerquality but of equalquantity, however,is benton cuttingstudents at UCSD are receivingsome form of unanswered questions over the meaningstudents will probablybe downto size. financialaid moniesto providefor managementof SFS,there are plans offeredmore loans, and there will be theirbasic living expenses. Targetedfor fundingelimination loomingin Congresswhich threaten increasesdistributed among the in Reagans1983 proposal are mostof Tlaedevasting impact of recent to sweepstudents under the budget expected parental and student the forms of financialaid that changesand proposedchanges in cuttingcarpet.
    [Show full text]