The Sociology of American Popular Music (Soap) Unit 5

Total Page:16

File Type:pdf, Size:1020Kb

The Sociology of American Popular Music (Soap) Unit 5 September 12, 2013 THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) UNIT 5 NOTES Soul, Motown, & Funk September 12, 2013 SOUL, MOTOWN, AND FUNK Soul Music was created by and for African Americans through the merging of black Gospel with rhythm 'n' blues that began in the late 1950s - most of the artists that performed soul music were Gospel singers and instrumentalists who combined some of the traditions of the black church (emotional singing, call-and-response, the stress on the backbeat, and rhythmic complexity) with the secular traditions of popular music (primarily the subject matter of the lyrics and the performance venues) - soul music represented an authentic "blackness" that supported and reinforced the Black Power and Civil Rights movement - soul singers sang for social justice, black militancy, and racial pride - the music also preached a message of nonviolence and love - it celebrated the growing Black Consciousness Movement, a time of struggle as well as unprecedented gains - soul music was tangible evidence that the psyche and attitudes in the black community were changing - the civil rights movement was empowering black people, and the new soul music celebrated rights finally won and expressed hope for the future Early Soul Music - Ray Charles - pianist/singer who was blinded by glaucoma when he was six years old - learned to read and write music notation in Braille - became an orphan at 15 and began to make his living by playing music - fused elements of Gospel and R&B - 1st recording identified as "soul" was his 1959 hit "What'd I Say" - it contained call-and-response patterns and used an electric piano that simulated the church organ sound - his practice of taking songs that were sung in the church and turning them into worldly secular pop hits was resented by many religious people September 12, 2013 Sam Cooke - started as a Gospel singer in group the Soul Stirrers - started a solo, secular career with his 1957 hit "You Send Me" - went on to score 19 "Top Forty" hits in the late 1950s/early 1960s ("Chain Gang," "Another Saturday Night," "Shake") Jackie Wilson - began his career in 1953 when he became the lead singer for The Dominoes - was a Gospel singer who had easily crossed over into pop - performed in an energetic style that garnered him a large fan following - had numerous hit records, many of which had an influence on the sound of Motown James Brown - known as the "Godfather of Soul," "Godfather of Funk," "The Hardest Working Man in Show Business," "Soul Brother Number One" - started singing Gospel at his church in Augusta, Georgia, later joining the Gospel group The Swanees - eventually made the move into secular music - known for his shouting, squealing, howling vocal style - also known for his physically dynamic stage presence (rhythmic dance steps, leg splits, and knee drops) - part of his performance was to collapse on stage from the emotional fervor of his singing, something he had seen African American preachers do during particularly intense worship services - used a very prominent horn section, call-and-response performance texture, and charismatic showmanship - became a star in the black community, as well as Europe and England in the mid-1960s - shifted to a style called "funk" in the mid-1960s that celebrated black heritage even more emphatically (hits included "Black Is Beautiful," "Say It Loud (I'm Black and I'm Proud," "I Don't Want Nobody Givin' Me Nothin'") - in keeping with the black community helping itself in the 1960s, he helped raise millions of dollars for charity and owned five radio stations September 12, 2013 The Three Geographic Centers for Soul Music: 1) Chicago - Curtis Mayfield and the Impressions - Mayfield began as a Gospel singer - his soft, high-pitched tenor voice was easily recognizable, and as lead singer of the Impressions, he created a style that was distinctive and inspirational - - he developed a reputation as a thoughtful lyricist who was able to articulate the problems of race in particular and the nation in general - songs such as "Keep On Pushing," "This Is My Country," "Choice of Colors," and "We're a Winner" were both motivational and overtly political 2) Detroit - Aretha Franklin - the "Queen of Soul" - Gospel singer Mahalia Jackson was a major influence in her life - when Aretha's mother died when Aretha was ten, Jackson became her surrogate mother - going against the advice and wishes of Jackson, Aretha joined a soul circuit at age 18, touring with successful soul singers who had all come from a Gospel music background: Sam Cooke, Mavis Staples, and Lou Rawls - her hit song "Respect" (written by Otis Redding) was so popular during the riots of 1967 that the time became known as the summer of "'Retha, rap, and revolt" - in 1985, she became the 1st woman inducted into the Rock 'n' Roll Hall of Fame 3) Memphis - The Stax/Volt Recording Label - Stax was founded in the 1960s by Jim Stewart (a white banker) and his sister Estelle Axton - the musicians, staff, and production crew were racially integrated, not a common phenomenon in the tumultuous period of the early sixties in the South - many Memphis soul artists began their careers recording for either Stax or Volt (a companion label) - by 1967, about 100 acts were signed to Stax/Volt September 12, 2013 Booker T. and the MGs - name of Memphis soul group led by organist/arranger Booker T. Jones ("MGs" stood for "Memphis Group") - in addition to their organ, guitar, bass, and drums, their recordings frequently used horns (one of their biggest hits is "Green Onions") - they performed on hundreds of recordings by artists such as Wilson Pickett and Otis Redding - they were one of the first racially integrated rock/soul groups Wilson Pickett - soul singer with Gospel roots - 1965 - recorded the hit "In The Midnight Hour" (co-written by Pickett and Steve Cropper, guitarist for Booker T. and the MGs) - song had overt Gospel music characteristics Otis Redding - main artist and biggest-selling singer on the Stax label - born in Macon, Georgia (birthplace of Little Richard and James Brown) - his recordings of "Try a Little Tenderness" and "Dock of the Bay" sold millions, and he was one of the 1st soul music artists to have real commercial success with white audiences Motown - the "Motown sound" was conceived/developed by Berry Gordy, Jr. - created a business operation called "Hitsville, U.S.A." in Detroit - idea was to take young, unknown artists that would become polished performers and stars by the time they came off the "assembly line" ("Motown" was a play on words honoring Detroit's role as "motor city") - Gordy's 1st record label was called Tamla, and in 1960 he started his 2nd label, Motown - eventually, the artists on this label would include an amazing lineup of stars who flourished in a consistent series of major pop hits: The Supremes, The Temptations, The Miracles, Marvin Gaye, The Marvellettes, The Four Tops, Martha and the Vandellas, Stevie Wonder, The Jackson Five, Junior Walker and the All Stars, The Commodores, and Lionel Richie September 12, 2013 Berry Gordy Jr.'s Commitment to Crossover and Community - through the period of riots and racial unrest in the 1960s, Gordy had his artists sing of love and the human concerns to which people of all races could relate - the company slogan was "the sound of young America" - in order to ensure crossover hits to the mainstream white audience, Gordy minimized the African-American characteristics in the music and performance style of his singers, aiming to produce clean-cut, fast-selling, crossover pop hits - when other R&B artists were performing in simple dresses or pants, Gordy's performers wore elegant evening gowns and tuxedos - he established a "finishing school" called "International Talent Management Incorporated" to train his performers to drop African- American modes of walking, speaking, and dancing so that they would be able to move smoothly in upper-class white society - in 1962, a year after the violent attacks on the Freedom Riders, Gordy the Motown Revue, a group of his artists who would tour the South (The Temptations, The Supremes, Marvin Gaye, and Stevie Wonder were just a few of the acts) - Gordy hoped and believed that his Motown singers were helping in the fight against racism, and made generous donations to established civil rights groups - the performers faced racism throughout the tour (many restaurants refused to let them eat inside or let them use the toilets, they performed to racially segregated audiences, and encountered gunfire at the tour bus) - in 1963, in an effort to assist in the struggle for civil rights, Motown released two albums of Martin Luther King Jr.'s speeches - 1970 - Motown formed a new label, Black Forum, which released spoken word recordings by black poets such as Margaret Danner and Langston Hughes, and speeches by political activists such as Stokely Carmichael September 12, 2013 - 1971 - Motown released the album What's Going On by Marvin Gaye - featured introspective lyrics and socially conscious themes of drug abuse, poverty, and the Vietnam War - three songs on the album became number one hits: "Inner City Blues," Mercy Mercy Me" and "What's Going On?" - ranked number 6 on Rolling Stone magazine's list of the 500 greatest albums of all time - Gordy sold Motown in 1988 to MCA Records - Motown continues to record and promote contemporary artists such as Brian McKnight, Erykah Badu, Kem, and India.Arie Funk - begun by James Brown in the mid-1960s - characterized by polyrhythm, in which each instrument or instrument
Recommended publications
  • Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
    Ali 1 Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with distinction in Comparative Studies in the undergraduate colleges of The Ohio State University By Raghe Ali April 2013 The Ohio State University Project Advisors Professor Barry Shank, Department of Comparative Studies Professor Theresa Delgadillo, Department of Comparative Studies Ali 2 In 2003 a German reggae artist named Gentleman was scheduled to perform at the Jamworld Entertainment Center in the south eastern parish of St Catherine, Jamaica. The performance was held at the Sting Festival an annual reggae event that dates back some twenty years. Considered the world’s largest one day reggae festival, the event annually boasts an electric atmosphere full of star studded lineups and throngs of hardcore fans. The concert is also notorious for the aggressive DJ clashes1 and violent incidents that occur. The event was Gentleman’s debut performance before a Jamaican audience. Considered a relatively new artist, Gentleman was not the headlining act and was slotted to perform after a number of familiar artists who had already “hyped” the audience with popular dancehall2 reggae hits. When his turn came he performed a classical roots 3reggae song “Dem Gone” from his 2002 Journey to Jah album. Unhappy with his performance the crowd booed and jeered at him. He did not respond to the heckling and continued performing despite the audience vocal objections. Empty beer bottles and trash were thrown onstage. Finally, unable to withstand the wrath and hostility of the audience he left the stage.
    [Show full text]
  • Sam Cooke.Pptx
    Sam Cooke Group 5: Michael Muradian, Vinh Dang, Yazan Alkhatib http://assets.rollingstone.com/assets/images/artists/304x304/sam-cooke.jpg Sam Cooke Overview • Commonly referred as the "King of Soul" • Famous black gospel, soul, R&B, and pop singer and songwriter o Considered a pioneer/founder of soul music • Created 29, top 40 hits during his musical career (1957-1964) o most famous songs include: "You Send Me," "Chain Gang," and "A Change is Gonna Come" • Among first black performers to develop business side of musical career o founded a record label, and publishing company Sam Cooke Overview • Active in African-American Civil Rights Movement • Cooke's life was abruptly ended at the young age of 33 (December 11, 1964) o Cooke was fatally shot while drunk by a hotel manager in Los Angeles o Controversial • Inducted into the Rock and Roll Hall of Fame in 1986 Early Life • Born on January 22nd, 1931 in Clarksdale, Mississippi • One of eight children born to Charles Cook Sr., and Annie May Cook o Father was a traveling minister of Baptist faith • Born with the name Samuel Cook, but later developed stage name of Sam Cooke • Attended Wendell Phillips Academy High School in Chicago Development of Musical Career • Began career at nine years old in the group, "The Singing Children" o sang with siblings • Sang for the "Highway QC's" at age 15 • Became lead singer in "The Soul Stirrers" o introduced revolutionary two- lead singing o gospel group attracted younger crowds due to good looks o signed with Specialty Records o songs include "Jesus Gave Me Water," "Peace in the Valley," "Jesus Paid the Debt" Sam Cooke's Musical Style • Considered to have been unique.
    [Show full text]
  • Southern Black Gospel Music: Qualitative Look at Quartet Sound
    LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music.
    [Show full text]
  • People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
    People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years.
    [Show full text]
  • “People Get Ready”
    “People Get Ready” Excerpt from Lyrics By Curtis Mayfield People get ready, there's a train a comin' You don't need no baggage, you just get on board All you need is faith to hear the diesels hummin' Don't need no ticket, you just thank the Lord Excerpt from the Chapter Essay by Craig Werner No song captures the feel of the early Movement better than Curtis Mayfield’s gospel-inflected “People Get Ready,” which culminates in an invitation to “get on board.” The center of a vibrant Chicago soul scene, which in terms of pure talent rivaled Detroit and Memphis, Mayfield embodied the relationship between Civil Rights, gospel and soul. Known as "the gentle genius," Mayfield grew up attending the Traveling Souls Spiritualist Church, a storefront church pastured by his Grandmother on Chicago’s poverty-stricken West Side. The experienced shaped both his politics and his approach to music. “Gospel was your foundation,” Mayfield said when asked about the inspiration for his songwriting. “All you had to do was just change some few lyrics. ‘Keep on Pushing’ was intended, written as a gospel song. All I needed to do to lock it in with The Impressions was say ‘I’ve got my strength’ instead of “God gave me strength and it don’t make sense.’ Nothing else needed to be changed.” WWW.TEACHROCK.ORG That quiet determination was part of what made Mayfield’s music more than just background for the Movement. When Martin Luther King, Jr., launched an ultimately unsuccessful campaign targeting housing discrimination in Chicago, organizers tapped into The Impressions' local popularity even more directly.
    [Show full text]
  • The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
    The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con­ vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug­ gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at­ wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu­ read) was dominated by Butler’s reso­ berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca­ To Go” and “Move On Up,” placing reer, and the Impressions floundered.
    [Show full text]
  • The Funky Diaspora
    The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music.
    [Show full text]
  • In the Middle of 1970, Curtis Mayfield Quit the Impressions and Began One of the Most Groundbreaking and Successful Solo Careers in History
    In the middle of 1970, Curtis Mayfield quit the Impressions and began one of the most groundbreaking and successful solo careers in history. Nothing happened to force his hand—no dramatic falling out or heated argument. In his customary seat-of-the-pants way, he simply picked up the phone one evening, called fellow Impression Fred Cash, and said, “Fred, I’m going to try to go on my own and see what I can do. You and Sam [Gooden] can do the same thing. Y’all go on your own and see what you can do.” Fred called Sam and told him the news, and that was it. My father left the group. Fred, Sam, and the Impressions, three of the most important forces in my father’s life for more than a decade, no longer occupied his mind. The boyhood dreams, the endless miles traveled on tour, the lonely nights trying to steal sleep in motel beds, the harmonizing and fraternizing all came to an end. Dad struggled with the decision. For years, the three Impressions were so close that if you saw one of them, you usually saw the other two. They spent more time with each other than they did with their own wives. Yet, my father had the ability to turn off his emotions and make cold, calculated business decisions when he felt it necessary. Recalling this side of him, my brother Tracy says, “You saw a good and evil. The evil part came out when it was about business. I always separated the parent from the businessperson.
    [Show full text]
  • Soul: a Historical Reconstruction of Continuity and Change in Black Popular Music Author(S): Robert W
    Professor J. Southern (Managing Editor-Publisher) Soul: A Historical Reconstruction of Continuity and Change in Black Popular Music Author(s): Robert W. Stephens Source: The Black Perspective in Music, Vol. 12, No. 1 (Spring, 1984), pp. 21-43 Published by: Professor J. Southern (Managing Editor-Publisher) Stable URL: http://www.jstor.org/stable/1214967 Accessed: 02-01-2018 00:35 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Professor J. Southern (Managing Editor-Publisher) is collaborating with JSTOR to digitize, preserve and extend access to The Black Perspective in Music This content downloaded from 199.79.168.81 on Tue, 02 Jan 2018 00:35:51 UTC All use subject to http://about.jstor.org/terms Soul: A Historical Reconstruction of Continuity and Change in Black Popular Music BY ROBERT W. STEPHENS rT r aHE SOUL TRADITION is a prime cultural force in American popular music; of that, there can be little doubt, although this musical phenomenon is sometimes vaguely defined. Born of the Civil Rights and Black Power movements of the 1960s, soul has provided a musical and cultural foundation for virtually every facet of contemporary popular music. More important than its commercial successes, however, are the messages and philosophies it has communicated and the musical influences which underlie its development.
    [Show full text]
  • The Impressions We're a Winner Mp3, Flac, Wma
    The Impressions We're A Winner mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: We're A Winner Country: US Style: Soul, Funk MP3 version RAR size: 1789 mb FLAC version RAR size: 1860 mb WMA version RAR size: 1141 mb Rating: 4.9 Votes: 759 Other Formats: DMF MPC AAC ASF FLAC MP4 VOX Tracklist A1 We're A Winner 2:22 A2 Moonlight Shadows 3:08 A3 Let Me Tell The World 3:10 A4 I'm Getting Ready 2:30 A5 Nothing Can Stop Me 2:40 B1 No One To Love Me 2:30 B2 Little Brown Boy 2:35 B3 I Loved And I Lost 3:10 B4 Romancing To The Folk Song 2:35 B5 Up Up And Away 2:55 Companies, etc. Record Company – ABC Records, Inc. Credits Producer – Johnny Pate Notes Second US pressing, or Stereo repress of : The Impressions - We're A Winner by same cat. #, but without any " A product of..." in the rim text, on labels. Note: Label variations: 1st pressings have "A Product Of ABC Records, Inc." plus address printed in rim text on labels 2nd pressing has "ABC Records, Inc." + address only in rim text. 3rd pressing has "ABC Records, Inc. + year (Roman numerals) in rim text. Other versions Category Artist Title (Format) Label Category Country Year We're A Winner (LP, ABCS-635 The Impressions ABC Records ABCS-635 US 1968 Album, Mon) We're A Winner (LP, ABCS-635 The Impressions ABC Records ABCS-635 US 1968 Album) We're A Winner (CD, Geffen UICY-93198 The Impressions Album, RE, RM, UICY-93198 Japan 2007 Records S/Edition, Pap) We're A Winner (LP, SSL 10239 The Impressions Stateside SSL 10239 UK 1968 Album) We're A Winner (CD, MVCM-22035 The Impressions MCA Records MVCM-22035 Japan 1994 Album, RE, RM) Related Music albums to We're A Winner by The Impressions Noisettes - Winner Suzanne & Kingsley Swan - Be A Winner Century - Gone With The Winner The Impressions - Impressions Coolio - The Winner Tompall And The Glaser Brothers - Winner Take All Curtis Mayfield Featuring The Impressions - Curtis Mayfield Featuring The Impressions Status Quo - The Winner (Podium Mix) The Impressions Featuring Jerry Butler And Curtis Mayfield - The Vintage Years BioBoy - Winner.
    [Show full text]
  • Impressions Concert Set Popular Recording Group to Appear May 7
    APRIL 29. 19f»7 THK nFCRFF. Page 3 Impressions Concert Set Popular Recording Group to Appear May 7 The Impressions, a popular Chicago could offer them a numerous local TV appear­ recording and concert group, better opportunity to firmly es­ ances. will appear in concert Sunday tablish a show business career. Sam and Fred hadn’t been They keep turning out hit May 7, from 2 to 5 p. m. after hit: “ For Your Precious in the gymnasium. Tickets for in Chicago long when they met Curtis and Jerry, who were Love,” “ Gypsy Woman,” “ It’s the concert, which is being All Right,” “ Talking About also song veterans, having per­ presented by the Social Com­ My Baby,” “I’m So Proud” mission, will be on sale in formed in their local church. In 1958 the group was intro­ right down to their latest “Keep the book store and at the gym­ on Pushing” and “ Amen.” They duced to Eddie Thomas, a vet­ nasium box office and will cost also make sure to include in $1.50 for students and $2.00 eran of the music world, who immediately signed them to a every album a song that will for all others. please the older listener. While Accompanying the Impres­ management contract and changed their name from “The they do them in their own inim­ sions will be the Shifters Combo itable style, hits such as from Greensboro. Roosters” to “ The Impres­ sions.” “ Lemon Tree” and “Septem­ “ The Impressions” are a ber Song” are always included. leader in the field of singing Thomas arranged for a They do it because they are record session and “ The Im­ groups.
    [Show full text]
  • Soulution Repertoire Gemapflichtige Titel
    Soulution Repertoire Gemapflichtige Titel Stand 01/2017 Titel Spieldauer Interpret Komponist 1 Hold On, I'm Coming 00:03:38 Sam & Dave Hayes/Porter 2 I Feel Good 00:04:38 James Brown Brown 3 I Wish 00:05:39 Stevie Wonder Wonder 4 In The Midnight Hour 00:03:29 Wilson Picket Cropper/Pickett 5 Knock On Wood 00:04:57 Eddy Floyd Cropper/Floyd 6 Mustang Sally 00:03:57 Wilson Picket Rice 7 She Caught The Katy 00:04:23 Blues Brothers Mahal/Rachel 8 Soul Man 00:03:13 The Blues Brothers Hayes/Porter 9 Sweet Home Chicago 00:05:02 The Blues Brothers Payne 10 Sweet Soul Music 00:03:30 Sam & Dave Conley/Cooke/Redding 11 You Can Leave Your Hat On 00:04:44 Joe Cocker Newman 12 Son of a Preacher Man 00:02:26 Dusty Springfield Hurley/Wilkins 13 Baby Love 00:02:36 The Surpremes Holland/Dozier/Holland 17 You Can´t hurry Love 00:02:41 The Surpremes Holland/Dozier/Holland 18 Sitting on the Dock of the Bay 00:02:42 Otis Redding Redding/Cropper 19 Where did our Love Go 00:02:31 The Surpremes Holland/Dozier/Holland 20 Horse to the Water 00:05:01 George Harrison Harrison 21 Baby I Love You 00:02:43 Aretha Franklin Ronnie Shannon 22 People get ready 00:02:38 The Impressions Curtis Mayfield 23 Treat her right 00:02:04 The Commitments Roy Head/Gene Kurtz 24 Dancing in the Street 00:02:24 Martha & the Vandellas Gaye/Stevenson/Hunter 25 I Try 00:03:59 Macy Gray Gray/Ruzumna/Lim/Wilder 26 Back Door Santa 00:02:09 Clarence Carter Carter/Daniel 27 Natural Woman 00:02:45 Aretha Franklin King/Goffin 28 Rescue me 00:02:52 Fontella Bass Miner/Smith 29 Diggin´ on James Brown 00:04:38 Tower of Power Castillo/Kupka/Kessie 30 Respect 00:02:27 Aretha Franklin Otis Redding 31 Signed, Sealed, Delivered (I´m Yours) 00:02:40 Stevie Wonder Wonder/Hardaway/Wright/ 32 Get here 00:04:32 Oleta Adams Brenda Russell 33 Green Onions 00:02:56 Bocker T & The MG´s James/Cropper/Jackson 34 So I got to Groove 00:05:39 Tower of Power Castillo/Kupka/Matthews.
    [Show full text]