Finding Aid to the Historymakers ® Video Oral History with Ruby Wilson
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Star Band & Guests
All Star Band & guests Quest’anno il Porretta Soul Festival va a ritrovare le radici della musica soul a Denise LaSalle MUSCLE SHOALS Muscle Shoals, Alabama quasi al confine con il Tennessee. Ancora una volta una Denise LaSalle Guitar Shorty esclusiva europea ma con un valore aggiunto: è appena uscito in America incontra ma in questi giorni anche in Italia il film che celebra questo stile musicale e nella Icona del “southern soul”, sin dal suo Fenomenale chitarrista, mentore e quattro giorni del festival (17-20 Luglio) il film verrà presentato anche a Porretta primo hit “Trapped By A Thing Called cognato di Jimi Hendrix (nel 1960 aveva Love” (1971) proprio adesso ripreso da PORRETTA con la presenza di alcuni musicisti che hanno preso parte al film/documentario sposato Marsha Hendrix, sorellastra Jim Jarmush nel suo ultimo film “Solo di Jimi. Dice …riconosco I miei licks ovvero la Muscle Shoals All Star Band, i leggendari musicisti che hanno creato Gli Amanti Sopravvivono”, Denise ha in “Purple Haze” e “Hey Joe.” Jimi il sound dei grandi successi di Aretha Franklin, Wilson Pickett, Etta James, Bob ancora un enorme seguito nell’ambiente iniziò a dar fuoco alla chitarra perchè Dylan, Elton John, Rod Stewart, Paul Simon, Traffic, Rolling Stones, Lynyrd “black”. Ha inciso agli studi di Willie non riusciva a fare quello che facevo Muscle Shoals All Star Band Skynyrd, Drive-By Truckers e tanti altri. A Porretta saranno presenti ben 15 Mitchell, poi lunghi anni alla Malaco, io ! Originario del Texas, notato da musicisti che includono gli originali Swampers: David Hood e Jimmy Johnson, è entrata nel 2011 nella Blues Hall of Willie Dixon che lo fece incidere con (feat. -
Rob Bowman Interviewer
Date: 2012-01-23 Interviewee: Rob Bowman Interviewer: *Lavonne* Williams and Deanie Parker Location: Stax Museum of American Soul Music, Memphis, TN Collection: Stax Museum Oral Histories Notes: [0:00] Bowman: I'm Rob Bowman, I'm being interviewed by *Lavonne* Williams and Ms. Deanie Parker, that deserves a drumroll. [drumroll noises] And it is January 23rd, 2012 in the year of our Lord. And we're at the Stax Museum of American Soul Music, a place I have a particular interest in, as does Ms. Parker and as does Mr. Williams. *Lavonne* Williams: Alright, Mr. Bowman, I want to start a little bit at the beginning of your story If you could tell me a little bit about, being that you're Canadian, you're from Toronto, Ontario, tell me a little bit about how you first came into contact with American music in general. Bowman: Well, it was real simple. I mean, Canada, I'm an hour and a half from Buffalo, you know. American media's all over Canada. It feeds in across the border, so even before I cared or thought constantly about music, I'd be hearing American music on Top 40 radio, also a black station out of Buffalo that we'd be, okay, I can hear all the time. So, that [1:00] stuff was part of the background, if you will, the soundscape of my life. But for me, I was seven years old and I first heard the Beatles, and it's not like life was bad before that, but suddenly life was infinitely brighter. -
Artists in Transition
Updates New On The Charts This Month Artists In Transition This is a listing of ARTISTS that previously recorded for a major company, and that are now looking for a new situation. This ‘new situation’ may be more than just another record deal, making other interested parties (ad agencies, film& TV music supervisors, mobile distributors, etc.) aware of their availability. Spike Dappa Lorrie Morgan Formerly: Reprise- Lead singer of 4 PM(Pale Males) just signed solo deal w/Attack Formerly: RCA- With numerous gold and platinum records, including the #1 hit single “What Records for Canada- Has placed 2 songs in “Dawson Creek” &one in film “Pool Hall Part Of No” - Recently releasing on CBuj Ent. she is open to other label situations Hustlers”amongst others- Looking for new deal for U.S. or overseas Contact: Burt Stein- Gold Mountain 2 Music Circle South #212 Nashville TN 37203 Contact: Jay B. Ross- c/o Jay B. Ross & Assoc’s. P.C. 840 West Grand Ave. Chicago IL (615)255-9000FAX:(615)255-9001 e-mail: [email protected] 60622 (312)633-9000FAX:(312)633-9090 e-mail: [email protected] Jennifer Paige Ned Doheny Formerly: Hollywood- Originally produced by Andy Goldmark for Edel Records in Germany, Formerly: Arista then Columbia- Hit songwriter for Dave Mason,Mama Cass,AWB,& Chaka then released on Hollywood in the U.S. in 1998 w/the hit single “Crush” - Her second LP Kahn,his 70’s LP"Hard Candy"was produced by Steve Cropper,featuring Tower Of was then released in 2001 - Now open to a new situation Power,Tom Scott,Glenn Frey,Don Henley,Linda Ronstadt,etc. -
Isaac Hayes - Ultimate Isaac Hayes Can You Dig It
Isaac Hayes - Ultimate Isaac Hayes Can You Dig It Written by Robert ID1990 Friday, 14 October 2005 06:09 - Over the course of its 15-year history, Stax Records was home to a plethora of stars such as Otis Redding, Sam and Dave, Booker T. & the MGs, the Staple Singers, Johnnie Taylor, and the Dramatics. As talented and great as the aforementioned artists were, none of them ultimately had the impact on black popular music that Isaac Hayes did from 1969 through 1975. Hayes’s story is one of epic proportions. In the mid- to late 1960s Isaac, and his songwriting and producing partner David Porter, played a seminal role in creating the nascent sound of soul music, writing and producing such genre-defining records as Sam and Dave’s “Soul Man,” “Hold On I’m Comin’,” “When Something Is Wrong With My Baby,” “Wrap It Up,” and “I Thank You.” In their spare time, the dynamic songwriting duo also penned hits for Carla Thomas, Johnnie Taylor, Ruby Johnson, the Soul Children, and Mable John. As a session man, Isaac played on dozens of additional hits. His songwriting, production, and session work alone would make Hayes worthy of any music hall of fame that one could possibly name. Yet, as monumental as his contributions were in this first part of his career, they are dwarfed by the impact of his solo albums such as Hot Buttered Soul, Shaft, and Black Moses. With these records Hayes would become the biggest artist Stax ever produced and one of the most important artists in the history of rhythm and blues. -
Boxscore Best
60 Survey for Week Ending 5/19/84 Talent In Action f uovidc* STAX FAMILY REUNION medley with the same vigor they brought to The Fleshtones put on an hour -long set, '84 their current Mercury single, "Freakshow On brightened by rich three -way harmony on "Out The Dance Floor." But by then the concert had Of The Blue" and "So Tired," which managed Mid -South Coliseum boiled down into a one -act bill, and the audi- to interpret the Stax horn sound on guitar. Bill Memphis. Tenn. ence was too tired to dance. Watching from the Milhizer's drumming was ever chunky (one Tickets: $1250 sidelines, a philosophical Wayne Jackson put it suspects he listens to a great deal of Ginger Boxscore best. Said the former Mar -Keys trumpeter: Baker at home), neatly propelling songs like For more than a decade Stax Records was "Stax is dead." LEO SACKS "Hexbreaker," the title tune of the group's re- the blood and guts of Memphis soul. The la- cent album. The following are among the top concert grosses nationwide reported through the survey week. Included are bel's headquarters at 926 E. McLemore Ave. act(s), gross, attendance, capacity of facility, ticket prices, promoter, facility, city, number of shows, number of For a finale, the ever- adventurous Zaremba was a local institution, a source of civic pride sellouts and dates(s). rushed around playing guitar amid the audi- whose heart and roots lay in the church and the WANG CHUNG ence. Someone should tell him that stunt LIBERACE, THE ROCKETTES, DANCING WATERS-$1,655,331, civil rights movement. -
The Stax Sound: a Musicological Analysis Author(S): Rob Bowman Source: Popular Music, Vol
The Stax Sound: A Musicological Analysis Author(s): Rob Bowman Source: Popular Music, Vol. 14, No. 3 (Oct., 1995), pp. 285-320 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/853127 Accessed: 15/05/2009 07:15 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular Music. http://www.jstor.org Popular Music (1995) Volume 14/3. Copyright © 1995 Cambridge University Press The Slax sound: a musicological analysis ROB BOWMAN In recent times there has been an encouraging increase in the musicological study of Western popular music by members of the academy. -
Ultimate Isaac Hayes Can You Dig It
Ultimate Isaac Hayes Can You Dig It Written by Robert ID1991 Friday, 14 October 2005 07:17 - Over the course of its 15-year history, Stax Records was home to a plethora of stars such as Otis Redding, Sam and Dave, Booker T. & the MGs, the Staple Singers, Johnnie Taylor, and the Dramatics. As talented and great as the aforementioned artists were, none of them ultimately had the impact on black popular music that Isaac Hayes did from 1969 through 1975. Hayes’s story is one of epic proportions. In the mid- to late 1960s Isaac, and his songwriting and producing partner David Porter, played a seminal role in creating the nascent sound of soul music, writing and producing such genre-defining records as Sam and Dave’s “Soul Man,” “Hold On I’m Comin’,” “When Something Is Wrong With My Baby,” “Wrap It Up,” and “I Thank You.” In their spare time, the dynamic songwriting duo also penned hits for Carla Thomas, Johnnie Taylor, Ruby Johnson, the Soul Children, and Mable John. As a session man, Isaac played on dozens of additional hits. His songwriting, production, and session work alone would make Hayes worthy of any music hall of fame that one could possibly name. Yet, as monumental as his contributions were in this first part of his career, they are dwarfed by the impact of his solo albums such as Hot Buttered Soul, Shaft, and Black Moses. With these records Hayes would become the biggest artist Stax ever produced and one of the most important artists in the history of rhythm and blues.