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KC had started hanging out at the new T.K. studios–a combination record ware- house and attic recording facility owned by R & B music legend Henry Stone. It was here, in the fullness of time, that he would rendezvous with his destiny–and his new musical collaborator, Rick Finch. “My biggest break was finding this little record company, this little recording studio,” he recalls. “I mean, there was Criteria in Miami, but you had to have money to get into Criteria to record a record. “T.K. was not like Criteria. Criteria was a recording studio where everybody from the Who’s Who list paid big money to record there. T.K. was this private thing. They were making their own records and distributing them.” Steve Alaimo, T.K. Productions’ vice president and head of A&R, years ago reflected on the origins of the south Florida recording industry in a newspaper interview. “Around 1970, Henry Stone and I decided we were going to start a record company in Florida,” Alaimo said. “And we just worked real hard and it worked. For one thing, the weather’s so good down here. L.A., New York... it’s more comfortable here. We built a little studio. We just added on and got bigger.” AT LEAST YOU’RE DOING WHAT YOU LOVE 39 The original name of the group, in fact, was KC And The Sunshine Junkanoo Band, which suggests that the band’s original charter, beyond its affiliations with R & B, tended toward a raucous, Caribbean sensibility. “In a way it was Early Disco, if you want to call it that,” says KC. -
T.K. Productions – Billboard 1974
General News Miami Moves Up As Soul Center Executive Turntable J Henry Stone's T.K. Productions The Major Thrust r By ART RAPPER MIAMI- George McCrae, KC Dig, Dash, Drive, Suncu6 Now many markets, our distribution situ- and the Sunshine Band, Little Bea- Sound, Gold Plate and Shane. ation is weak, so we bolster it by sell - ver, Latimore, Betty Wright, Clar- Soul charts records are Benny ing to one -imps and major retail ac- ence Reid ... they're all hot and Latimore's "Let's Straighten It Out," counts direct. We know where to go they're all from Miami, the city Little Beaver's "Party Down," with the merchandise." that's challenging Philly as the soul George McCme's new one (follow- T.K:s sound is the undulating center of the 70s. ing his chart busting "Rock Your push of George McCrae; the mw Baby "), "I Can't Leave You Alone," ILBERMAN ROTH EICHNER FRANKS Henry Stone, Miami's "soul mer- Betty Wright's "Shoorah! Shoo- girl -in-a woman's body soul of Betty chant," who arrived here from Cali- Wright, the acknowledged Queen of Mel Oberman named to the new post of division president, RCA Records rah!," Timmy Thomas' "I'd Like to fornia in 1946 to open Tone Distrib- Miami, whose advice to the ladies commercial operations, with general counsel Myron Roth succeeding him as See You Tonight," and Miami's T.K. Productions, utors, heads "Party Freaks." and warnings to the men has been division vice president, business and talent affairs. With marketing, business which releases these artists. -
1957 and 1961, Both My Life and Career
1957 and 1961, both my life and career began to take shape under the tutelage of legendary Billboard music editor Paul Ackerman and then-chart editor Tom Noonan, who first opened the magazine’s doors to a fifteen-year-old kid. At that time, Billboard was certainly the com munications center of the music industry, and what I learned and saw and heard there has indeed served me well over the years. Far and away the monumental event - and one of the most important moments in my life - was meeting Syd Nathan at a Billboard record-review session one drizzly Wednesday night in March or April 1958. A lthough i had a french test coming up, Paul urged me to stay by saying, “This guy is one of the great indie record men a real character. He can’t see very well and wears these thick, will be around. We’ll listen to those next week. Syd, let’s have Coca-Cola-bottle glasses, has a big ring on his finger and talks your records.” Syd got up and threw his records - fortunately, with a deep, raspy voice due to previous illnesses, but you just unbreakable 45s - on the floor and said, “Y)u don’t step on a man must meet him. He’ll be overwhelmed by your knowledge of when he’s down. Listen to Jerry Blaine’s records, and you can save C&W and R&B, and you will understand and love him and see mine for next week.” Needless to say, a ll the records were what he is all about.” Paul was right: That meeting changed my reviewed, including ones by Little Willie John on Syd’s label King life and destiny and is probably the reason I am able to write a and the Cadillacs on Josie. -
From Ray Charles to KC and the Sunshine Band Proof John Capouya
FLORIDAsoul From Ray Charles to KC and the Sunshine Band proof John Capouya University Press of Florida Gainesville · Tallahassee · Tampa · Boca Raton Pensacola · Orlando · Miami · Jacksonville · Ft. Myers · Sarasota proof Copyright 2017 by John Capouya All rights reserved Printed in the United States of America on acid-free paper This book may be available in an electronic edition. 22 21 20 19 18 17 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data The University Press of Florida is the scholarly publishing agency for the State University System of Florida, comprising Florida A&M University, Florida Atlantic University, Florida Gulf Coast University, Florida International University, Florida State University, New College of Florida, University of Central Florida, University of Florida, University of North Florida, University of South Florida, and University of West Florida. University Press of Florida 15 Northwest 15th Street Gainesville, FL 32611-2079 http://upress.ufl.edu Introduction The Soul State of Florida It’s a winter night in America, and “Monday Night Football” is about to air on ESPN. First, though, comes the lead-in show, “Monday Night Countdown.” The inherent challenge here, it seems to an outsider, is to make more than two hours of older men sitting down, talking, and not playing football remotely compelling to watch. To keep the energy level high, the network uses brash-talking commentators, action-packed game highlights, fancy graphics,proof and, very selectively, music. As the show goes to its last commercial, the camera pulls back from the broadcasters and an up-tempo song blares briefly. -
Mental Effort from an Lpcomin Disco Sound on This Energetic T, "MY
3, 1979 $2.25 SINGLES SLEEPERS THE WHO, "LONG LIVE ROCK" (prod. not LOUISIANA'S LE ROU listed) (writer: Peter Townshend) by L. S. Me MCA (Towser Tunes, BMI) (3:58).Ini- Pollard) RECORDStially released on their "Odds & Lemed, Sods" Ip, this comes roaring out chapter #00001"Ist "The Kids Are Alright 'sound- rock is vg trackandaptlycapturesthe one isfire theme behind one of rock's leg- blues - rock ends. MCA 41053 tempo shades.. HOT CHOCOLATE, "GOING THROUGH PHILLY CREAM, "MO THE MOTIONS" (prod by M. (prod by Barry- ri Most) (writer: E. Brown) (Finch - Barry -Ingram)(P ry serv.. ley, ASCAP) (3:54). Vocal, string BMI)(3:59).Greatead v re-mixa:] and synthesizer intensity build to trades and brilliant horns to .ontami 4a dramatic climax on this monu- disco sound on thisenergetic ostfamilsir mental effort from an Lpcomin disc. Splendid arrangement/pro- a staid -out and 1p A multi -format smash. Infinity duction give this widespread ap- the rri should 50,016. I. Fantasy/WMOT 862 110 12. THE Cane PATTI SMITH GROUP, "FREDERICK" T, "MY LOVE is" (prod by TH AR V-0. ou p CANDY -11 (prod by T. Rundigren) (writer: P t)(writers: rWright-McCray) was on andful reak Smith)(Ninja,' tASCAFT) (3:01 Iyn.BMI /DErnbet,BMI) (5:48). through t"f, dominan Smith's urgent Vocals, encas it'sfinestefforttodate summer an by ringing guitars, plead the m dikes the most of her grandiose duced by Roy Thomas sage while keyboard lines iz vocaltalentPrecision back-up tinues their esoteric roc of zle. Rundgren produces w chorals, prominent piano Imes & view. -
JAMES BROWN Tennessee (1928) Or Georgia (1933) ¡©Si
r ; k Jf ||p ji „ > ■ Ip > V - » I ■ JAMES BROWN Tennessee (1928) or Georgia (1933) ¡©Si- James Brown once said of Elvis Presley, “He recorded at Harlem’s Apollo Theater on September taught white America to get down.” Brown himself 24th, 1962, sold a million copies and remained on did Elvis one better in that regard: he encouraged ev the Billboard charts for more than a year, an unprec eryone to do it. Brown, an indefatigable performer edented achievement for a hard-core R&B album. In who still maintains a grading touring schedule for has 1965, with the success of “Papa’s Got a Brand New fine-tuned funk revue, has earned many tides over the Bag” and “I Got You (I Feel Good),” Brown proceed years. ed to break his sound down to a groove as basic and He’s been called “the Hardest-Working Man in bad as you could get. That same year, rock and roll Show Business.” As an impoverished child of the De fans were willingly hoodwinked by the slickly re pression, Brown picked cotton, shined shoes and hearsed drama of Brown’s fainting-and-reviving ritual danced for spare change on the streets. He also during “Please Please Please” in The TAJUJ. Show. served time in a reform atory and tried his hand at He’s been called “Soul Brother Number One” for boxing and baseball. When a leg injury put an end to his willingness to “say it loud, I’m black and I’m his big-league pitching aspirations, Brown turned to proud.” In 1968, when he was addressing black so music. -
The Consolers of South Miami, Florida” –
“The Consolers of South Miami, Florida” – by Opal Louis Nations Some people equate the Consolers with Blind Mamie & A.C. Forehand of Memphis. The Forehands were a porch and street-singing husband and wife team taken to rendering hymns and old spirituals in the plaintive, down-home country way. The Forehands accompanied themselves with guitar and finger bells and performed in a sweet yet spiritual style, more akin to the folk-blues idiom than to church music. The Consolers’ approach was gut-bucket, primitive and as honest and down-to-earth as was the African American communities native of the Gulf Coast Hurricane Belt. Other people equate the Consolers with the Sacred Steel guitar tradition akin to the Keith and Jewell Denomination of the Holiness-Pentecostal church (or Church of The Living God.) It is true that the Pentecostal Church, which had spread rapidly throughout all of Florida by the time the Consolers began their career, would have influenced them, both with their music and ways of worship. It is also true that Sullivan Pugh played an electrified instrument slung around his chest, face up, as would a steel player, but this was only because he had learned to play on a tabletop and had found comfort in this position. The duo’s principal inspirations were the soulful-sounding Soul Stirrers Quartet and the not so widely known National Gospel Twins of Delray Beach (north of Fort Lauderdale.) The National Gospel Twins, a.k.a. The Quinsette Singers (brother and sister Quince), had a history dating back to the Post-war era. -
For Alirotherfor Being Colon9 I'11alwaysjoy You
"I don't think I'm going to build this thing to sell it. I would like to build this thing to have, like an A&M Records, or a Motown - all self-contained. "This is my feeling and those are my goals. "I mean, I have to work." Thus Henry Stone, head of T.K. Productions and manufacturer of what is being called the Miami sound, the sound of Betty Wright, KC and the Sunshine Band. George and Gwen McCrae, Little Beaver, Latimore, Clarence Reid and others. Henry Stone, who was a distributor ("I was a good distributor. Nobody transshipped any records into Florida. I didn't give them a chance, man.") turned manufacturer and owner of a complex record business organization with his own labels, studios, distributed - label, publishing, publicity arm, and international operation. And the man who sits in his Miami office and says: "This business has become such that the money is un- believable. There's no comparison: you can make more in one day as a manufacturer than you can in ten years as a distributor." Strong words perhaps, but Henry Stone considers that he can back it all up. He is an independent, much experienced in many facets of the music/record business since the early 1940s and right now his T.K. Productions is on a hot streak that is worldwide. T.K. is able to boast of two #1 LPs and a platinum award for KC and the Sunshine Band inside four months. (Stone thinks the short time taken is particular- ly impressive.) T.K. -
The Miami Sound with I
. ~g 1or a broken doll the year us from developing into real artists, their hand on the exit , "while I had went on sta ge (1909). "Did you instead of being performing ob to go on dragging the play around ." y break your doll?" Mary jects." So now she would like - just ts to know. "It wasn't my doll speaking theoretically - something all," says the common-sense SHE HAS played Queen Victoria, litt le, but choice. : Hayes. "It was the photogra Helen Hayes Harriet Beecher Stowe, Amanda in "If some really superb Juliet 's. Every little girl had to pose ... no star p art s "The Glass Menagerie," Mrs. An came along I'd like to do the Nurse. I it." trobus in "The Skin of Our Teeth," l started out reading her role once 1e is a realist. When she talks Viola in "Twelfth Night". but, in a tour with Maurice Evans, but "authentic" an actress as she might oh, the parts she never got to play, 1t her long career it's largely have wished, not in the 1920s, he made me switch to Jul iet, which 1t the things that didn't satisfy because of the long-run system. was a bad mistake. Const ance in when she was playing deb parts, "I was in Denmark once, and that kept her from being as but in the 1930s and 1940s, when 'King John' is a great role. Queen t h e y wanted nle to meet Katherine in 'Henry VIII.;' the irging on N ational Charts • • 1am1 uts ut a u ""-'oun Cont inued from IH distinct keyboard rhythms to Miami ' timore and the smoky mainstay of ehind TK since he decided to in 1970, and to TK in 1972. -
Tone Distributors in Billboard Magazine, 1969
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Pick Show Tune Tied to GARLAND PKG. $ Pop Kornheiser CUT BY DECCA Mart: NEW YORK-Decca Rec- has the price of its "The NEW YORK Songs from longer make up seven or eight ords cut - Best package Broadway musicals must be "straight demos" of songs from of Judy Garland" -rec- taken out of the context of the the shows to submit to record to $5.98. The de luxe, two set had previously been shows for pop disk coverage. companies. "To get a pop play ord That's the opinion of Sidney these days," Kornheiser said, merchandised at the suggested Kornheiser, consultant for Music "a publisher must try to fit the list price of $9.98. 28, firm which publishes the show's songs into the pop mar- "The Best of Judy Garland" Sherman Edwards score for the ket's current needs as well as includes selected performances hit Broadway musical "1776." to come up with left -field cast- of songs originally performed Kornheiser, who has been ing ideas." by Miss Garland in such motion working on Broadway show As examples, Kornheiser cites pictures as "Meet Me in St. scores for more than 20 years, the recent GWP Records re- Louis," "The Harvey Girls" and said that a publisher can no lease of Debbie Taylor's "Mama left, Records with the "Good Morning "The Wizard of Oz." Look Sharp," and the upcoming OLIVER, singer on Jubilee Starshine" click, forms a new company to be known as Starshine James Earl Jones release on the Corp., with Lawrence Philips, center, business manager -attorney, and IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIp Interstate United Columbia label of "Molasses William Casg, Oliver's personal manager. -
From Piano Man to Dancing Queen
Faculteit Letteren & Wijsbegeerte Sofie Busschop From Piano Man to Dancing Queen A Comparative Stylistic Study of Singer-Songwriter, Grunge and Disco Music Masterproef voorgelegd tot het behalen van de graad van Master in de taal- en letterkunde twee talen: Engels - Spaans 2016 Promotor Prof. dr. Stef Slembrouck Vakgroep Taalkunde i Acknowledgements I would like to thank the people who supported me in the process of writing this thesis. Firstly, I would like to thank my supervisor, prof. dr. Stef Slembrouck, for the many hours he has invested in this investigation. His guidance and valuable insights have been an incredible help in the creation of this work. I would also like to thank Prof. Ludovic De Cuypere for his much appreciated assistance in the statistical analysis of the corpus. I would also like to thank my friends and family, and especially Aurelie and Hanne, for the emotional support that they have given me throughout the process of writing this thesis. I would like to dedicate this work to my mother, who would have been very happy to know that I am close to completing my Masters Degree. ii List of Abbreviations D – Disco ABB ABBA – Dancing Queen BeG Bee Gees – Stayin’ Alive BoM Boney M. – Daddy Cool Chi Chic – Le Freak DiR Diana Ross – Upside Down DoS Donna Summer – Hot Stuff EWF Earth, Wind and Fire - September KSB KC and the Sunshine Band – Get Down Tonight SiS Sister Sledge – We Are Family Tra The Trammps – Disco Inferno G- Grunge AIC Alice in Chains – Would? Bus Bush - Glycerine Hol Hole – Celebrity Skin Mud Mudhoney – -
Popular Music Genres: the Past 70 Years to Now
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2020 Popular Music Genres: The Past 70 Years to Now Natasha Lugo California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Lugo, Natasha, "Popular Music Genres: The Past 70 Years to Now" (2020). Capstone Projects and Master's Theses. 967. https://digitalcommons.csumb.edu/caps_thes_all/967 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Lugo 1 Natasha Lugo MPA 475 Capstone Lanier Sammons 18 December, 2020 Popular Music Genres: The Past 70 Years to Now Each decade is connected to specific music genres that are remembered years later. Artists who imprint in listeners’ minds, album collections or playlists stand out within certain decades from when they were the most successful. Awards, charts, album sales and performances are some of the accomplishments that help the growth of their careers through the public. With pop and rap being the favored genres, proven in the charts from the last twenty years, what is today’s music genre? Using a few artists as reference along with collecting data, starting from the 1950s and ending with the 2010s, this paper will show the core of what was the most desired genre.