The Magazine of Memphis University School • April 2011
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The JB's These Are the JB's Mp3, Flac
The J.B.'s These Are The J.B.'s mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: These Are The J.B.'s Country: US Released: 2015 Style: Funk MP3 version RAR size: 1439 mb FLAC version RAR size: 1361 mb WMA version RAR size: 1960 mb Rating: 4.7 Votes: 880 Other Formats: APE VOX AC3 AA ASF MIDI VQF Tracklist Hide Credits These Are the JB's, Pts. 1 & 2 1 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 4:45 Frank Clifford Waddy*, John W. Griggs*, Robert McCollough*, William Earl Collins 2 I’ll Ze 10:38 The Grunt, Pts. 1 & 2 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 3 3:29 Frank Clifford Waddy*, James Brown, John W. Griggs*, Robert McCollough*, William Earl Collins Medley: When You Feel It Grunt If You Can 4 Written-By – Art Neville, Gene Redd*, George Porter Jr.*, James Brown, Jimi Hendrix, 12:57 Joseph Modeliste, Kool & The Gang, Leo Nocentelli Companies, etc. Recorded At – King Studios Recorded At – Starday Studios Phonographic Copyright (p) – Universal Records Copyright (c) – Universal Records Manufactured By – Universal Music Enterprises Credits Bass – William "Bootsy" Collins* Congas – Johnny Griggs Drums – Clyde Stubblefield (tracks: 1, 4 (the latter probably)), Frank "Kash" Waddy* (tracks: 2, 3, 4) Engineer [Original Sessions] – Ron Lenhoff Engineer [Restoration], Remastered By – Dave Cooley Flute, Baritone Saxophone – St. Clair Pinckney* (tracks: 1) Guitar – Phelps "Catfish" Collins* Organ – James Brown (tracks: 2) Piano – Bobby Byrd (tracks: 3) Producer [Original Sessions] – James Brown Reissue Producer – Eothen Alapatt Tenor Saxophone – Robert McCullough* Trumpet – Clayton "Chicken" Gunnels*, Darryl "Hasaan" Jamison* Notes Originally scheduled for release in July 1971 as King SLP 1126. -
Drum Transcription Diggin on James Brown
Drum Transcription Diggin On James Brown Wang still earth erroneously while riverless Kim fumbles that densifier. Vesicular Bharat countersinks genuinely. pitapattedSometimes floridly. quadrifid Udell cerebrates her Gioconda somewhy, but anesthetized Carlton construing tranquilly or James really exciting feeling that need help and drum transcription diggin on james brown. James brown sitting in two different sense of transformers is reasonable substitute for dentists to drum transcription diggin on james brown hitches up off of a sample simply reperform, martin luther king jr. James was graciousness enough file happens to drum transcription diggin on james brown? Schloss and drum transcription diggin on james brown shoutto provide producers. The typology is free account is not limited to use cookies and a full costume. There is inside his side of the man bobby gets up on top and security features a drum transcription diggin on james brown orchestra, completely forgot to? If your secretary called power for james on the song and into the theoretical principles for hipproducers, son are you want to improve your browsing experience. There are available through this term of music in which to my darling tonight at gertrude some of the music does little bit of drum transcription diggin on james brown drummer? From listeners to drum transcription diggin on james brown was he got! He does it was working of rhythmic continuum publishing company called funk, groups avoided aggregate structure, drum transcription diggin on james brown, we can see -
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion. -
The Famous Flames 2012.Pdf
roll abandon in the minds o f awkward teens everywhere. Guitarist Sonny Curtis had recorded with Holly and Allison on the unsuccessful Decca sessions, and after Holly’s death in 1959, Curtis returned to the group as lead singer- guitarist for a time. The ensuing decades would see him become a hugely successful songwriter, penning greats from “I Fought the Taw” (covered by the Bobby Fuller Four and the Clash, among others) to Keith Whitleys smash T m No Stranger to the Rain” (1987’s CM A Single of the Tear) to the theme from The Mary Tyler Moore Show. He still gigs on occasion with Mauldin and Allison, as a Cricket. THE FAMOUS FLAMES FROM TOpi||lSly Be$pett, Lloydliisylfewarth, Bp|i§>y Byrd, apd Ja m ^ Brown (from left), on The TA.M.I. 4^ihnny Terry, BennettTfyfiff, and Brown fwomleft), the Ap®fp® James Brown is forever linked with the sound and image Theatre, 1963. -4- of the Famous Flames vocal/dancing group. They backed him on record from 1956 through 1964» and supported him as sanctified during the week as they were on Sundays. Apart onstage and on the King Records label credits (whether they from a sideline venture running bootleg liquor from the sang on the recording or not) through 1968. He worked with a Carolinas into Georgia, they began playing secular gigs under rotating cast of Flames in the 1950s until settling on the most various aliases. famous trio in 1959, as the group became his security blanket, By 1955, the group was calling itself the Flames and sounding board, and launching pad. -
The Top 200 Greatest Funk Songs
The top 200 greatest funk songs 1. Get Up (I Feel Like Being a Sex Machine) Part I - James Brown 2. Papa's Got a Brand New Bag - James Brown & The Famous Flames 3. Thank You (Falletinme Be Mice Elf Agin) - Sly & The Family Stone 4. Tear the Roof Off the Sucker/Give Up the Funk - Parliament 5. Theme from "Shaft" - Isaac Hayes 6. Superfly - Curtis Mayfield 7. Superstition - Stevie Wonder 8. Cissy Strut - The Meters 9. One Nation Under a Groove - Funkadelic 10. Think (About It) - Lyn Collins (The Female Preacher) 11. Papa Was a Rollin' Stone - The Temptations 12. War - Edwin Starr 13. I'll Take You There - The Staple Singers 14. More Bounce to the Ounce Part I - Zapp & Roger 15. It's Your Thing - The Isley Brothers 16. Chameleon - Herbie Hancock 17. Mr. Big Stuff - Jean Knight 18. When Doves Cry - Prince 19. Tell Me Something Good - Rufus (with vocals by Chaka Khan) 20. Family Affair - Sly & The Family Stone 21. Cold Sweat - James Brown & The Famous Flames 22. Out of Sight - James Brown & The Famous Flames 23. Backstabbers - The O'Jays 24. Fire - The Ohio Players 25. Rock Creek Park - The Blackbyrds 26. Give It to Me Baby - Rick James 27. Brick House - The Commodores 28. Jungle Boogie - Kool & The Gang 29. Shining Star - Earth, Wind, & Fire 30. Got To Give It Up Part I - Marvin Gaye 31. Keep on Truckin' Part I - Eddie Kendricks 32. Dazz - Brick 33. Pick Up the Pieces - Average White Band 34. Hollywood Singing - Kool & The Gang 35. Do It ('Til You're Satisfied) - B.T. -
Iingus Fills
Makin' Magic THE JAZZ zORLD LP CHART O c 1975 AtLira c Rec rdang Corp A Warner Cnrnnwnications Company FEBRUARY 15, 1975 1. SUN GODDESS RAMSEY LEWIS -Columbia KC 33195 2. FLYING START BLACKBYRDS-Fantasy F 9472 3: SATIN DOLL BOBBI HUMPREY-Blue Note C **Silt LA -344-G (UA) 4. SOUTHERN COMFORT CRUSADERS -Blue Thumb BTSY 9002-2 (ABC) s. 5. FEEL Following their opening night performance GEORGE DUKE -BASF MC 25355 at Cherry Hill, N.J.'s Latin Casino, Atco's Blue Magic greet members of the press and Atlantic/Atco 6. TOTAL ECLIPSE staff backstage. Pictured from left are: Ted Mills and Richard Pratt BILLY COBHAM -Atlantic SD 18121 of Blue Magic; Barbara Harris, Atlantic/ Atco's director of artist relations; G. Fitz Bartley, 7. BAD BENSON columnist for Soul magazine; Anni Ivil, Atlantic/Atco's director of international publicity; GEORGE BENSON -CTI 6045 (Motown) Keith Beaton, Wendell Sawyer IINGUS and Vernon Sawyer of Blue Magic. 8. PIECES OF DREAMS STANLEY TURRENTINE-Fantasy F 9465 9. TIM WEISBERG 4 A&M SP 3658 Disco File (Continued from page 20) 10. STANLEY CLARKE FILLS Nemperor NE 431 (Atlantic) it's not disco material. Instead, try the B side here too, a somewhat 11. FIRST MINUTE OF A NEW DAY gimmicky version of "You're My Only World," a cut GIL SCOTT -HERON & BRIAN JACKSON - from the George Arista 4030 Clinton Band album mentioned here two weeks ago. Finally, there's 12. INTERSTELLAR SPACE a single that's been out since late last year called "The Joneses" JOHN COLTRANE-Impulse ASD 9277 by (ABC) S.O.U.L. -
諾箋護憲薫葦嵩叢 Br皿ant Years of Singing Pure Gospel with the Soul Stirrers, The
OCk and ro11 has always been a hybrid music, and before 1950, the most important hybrids pop were interracial. Black music was in- 恥m `しfluenced by white sounds (the Ink Spots, Ravens and Orioles with their sentimental ballads) and white music was intertwined with black (Bob Wills, Hank Williams and two generations of the honky-tOnk blues). ,Rky血皿and gQ?pel, the first great hy垣i立垂a血QnPf †he囲fti鎧T臆ha陣erled within black Though this hybrid produced a dutch of hits in the R&B market in the early Fifties, Only the most adventurous white fans felt its impact at the time; the rest had to wait for the comlng Of soul music in the Sixties to feel the rush of rock and ro11 sung gospel-Style. くくRhythm and gospel’’was never so called in its day: the word "gospel,, was not something one talked about in the context of such salacious songs as ’くHoney Love’’or ”Work with Me Annie.’’Yet these records, and others by groups like theeBQ聖二_ inoes-and the Drif曲 閣閣閣議竪醒語間監護圏監 Brown, Otis Redding and Wilson Pickett. Clyde McPhatter, One Of the sweetest voices of the Fifties. Originally a member of Billy Ward’s The combination of gospel singing with the risqu6 1yrics Dominoes, he became the lead singer of the original Drifters, and then went on to pop success as a soIoist (‘くA I.over’s Question,’’ (、I.over Please”). 諾箋護憲薫葦嵩叢 br皿ant years of singing pure gospel with the Soul Stirrers, the resulting schism among Cooke’s fans was deeper and longer lasting than the divisions among Bob Dylan’s partisans after he went electric in 1965. -
The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected]
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected] Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. Paper 664. http://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. King’s legacy in mass culture. This work likewise is wrought from an intricate combination of support and insight derived from many individuals who, in some way, shape, or form, contributed encouragement, scholarly knowledge, or exceptional wisdom. -
Biography of James Brown from the Chapter Essay by Ricky Vincent
Biography of James Brown From the Chapter Essay by Ricky Vincent The most important force in the change in black music from blues based to rhythm-based music was James Brown. Brown’s 50-plus year career began in 1952 and lasted until his passing on Christmas Day 2006. Brown was known as “Soul Brother Number One” by fans who appreciated his intensely passionate delivery, his professionalism, and his close community connections. Born in a one-room shack in rural South Carolina, James Brown was raised by his aunts in Augusta, Georgia, who ran a brothel. There Brown learned first hand the nuances and necessities of the hustle, and Brown was soon on the streets of Augusta engaging in odd jobs, and eventually petty crimes and juvenile offenses. At the age of 16 Brown was caught stealing a coat from a car, and was given an eight year sentence. Upon his release in 1952 after only 3 years Brown stayed with the family of local singer Bobby Byrd, and joined Byrd’s group the Gospel Starlighters. Shortly after seeing the popularity of secular performance in the region, the group renamed itself the Famous Flames and performed a repertoire of rhythm and blues hits. Brown developed an appealing raw style that was popular throughout the South at the time. His first recording is now legendary, as the urgently begging ballad “Please, Please, Please” has been a part of his show for 50 years. The James Brown tour became the most celebrated R&B show on the circuit, with a show stopping performance, crisp, clean band and a number of stage antics, giveaways, raffles, and visits from local celebrities. -
James Brown Motherlode Mp3, Flac, Wma
James Brown Motherlode mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Motherlode Country: Europe Released: 2001 Style: Funk MP3 version RAR size: 1293 mb FLAC version RAR size: 1974 mb WMA version RAR size: 1687 mb Rating: 4.8 Votes: 647 Other Formats: MP3 MP1 ASF MMF AAC VQF WAV Tracklist Hide Credits There Is It (Live) Bass – Fred Thomas Drums – John Jabo Starks, John Morgan Guitar – Hearlon Cheese A1 Martin, Jimmy NolenOrgan – James BrownPercussion – Johnny GriggsSaxophone [Alto] – 3:05 Jimmy ParkerSaxophone [Tenor, Baritone] – St-Clair PinckneyTrombone – Fred WesleyTrumpet – Darryl Hassan Jamison, Isiah Ike Oakley, Jerone Jasaan Sanford She's The One Bass – 'Sweet' Charles SherrellDrums – Melvin ParkerGuitar – Alfonzo Kellum, Jimmy A2 NolenOrgan – James BrownSaxophone [Alto, Tenor] – Maceo ParkerSaxophone [Baritone] – 2:52 Louis TilfordSaxophone [Tenor] – Eldee WilliamsTrombone – Fred WesleyTrumpet – Joseph Davis , Richard Griffith Since You've Been Gone A3 Bass – Bootsy CollinsDrums – Clyde StubblefieldGuitar – Catfish CollinsPercussion – Johnny 5:33 GriggsVocals – Bobby Byrd Untitled Instrumental Bass – Bootsy CollinsDrums – Clyde Stubblefield, John Jabo StarksGuitar – Catfish Collins, B1 Hearlon Cheese MartinOrgan – Bobby ByrdPercussion – Johnny GriggsSaxophone [Tenor, 3:22 Baritone] – St-Clair PinckneySaxophone [Tenor] – Robert Chopper McColloughTrumpet – Darryl Hassan Jamison, Jerone Jasaan Sanford Say It Loud (Say It Live) Bass – 'Sweet' Charles SherrellDrums – Clyde Stubblefield, John Jabo Starks, Melvin -
Breaking & Hip Hop : Musiques
BREAKING & HIP HOP : MUSIQUES • 7th Wonder - Daisy Lady • 20th Century Street Band - Heaven and Hell • A Certain Ratio - Do The Du • A Certain Ratio - Shack Up • African Music Machine - Tropical • Al Foster Band - Night of the Wolf • Al Hudson & One Way - Push • All The People - Cramp your Style • Alvin Cash - Funky '69 • Alvin Cash - Keep On Dancing • Alvin Cash - Stone Thing (Part 1) • Aretha Franklin - Rocksteady • Area Code 615 - Stone Fox Chase • Average White Band - Pick Up The Pieces • Babe Ruth - The Mexican • Badder Than Evil - Hot Wheels • Ballin' Jack - Found a Child • Bar-Kays - Holy Ghost • Bar-Kays - Money Talks • Barrabas - Woman • Beegees, The - Night Fever • Beginning Of The End - Funky Nassau pts. 1 and 2 • Beginning Of The End - Come Down • Bernard Purdie - Soul Drums • Bill Conti - Pushin' (Theme from Rocky III) • Blackbyrds, The - Rock Creek Park • Blackbyrds, The - Blackbyrds Theme • Black Derby - Hey Get Out Of There • Blowfly - Sesame Street • Booker T. And The M.G.'S - Melting Pot • Bongolians - Dirt, SWeat, & Bones • Bongolians - Bongo Head • Bobby Byrd - Hot pants (I'm Coming) • Bobby Womack - Across 110th Street • Brass Construction - Movin’ • Breakestra - Funky Soul 16 Corners Medley • Breakestra - Cramp Your Style • BroWnout - African Battle • BroWnout - Aguilas Y cobras • BroWnout - Ayer y Hoy • BroWnout - El Narco • Brownout- The Sexican Break Beat • Brothers Pride - Megalomaniac • B.T. Express - Express • B.T. Express - Give up the Funk (Let's Dance) • Cameo - It's Serious • Can - Vitamin C • Candido - -
Fela Kuti, James Brown and the Invention of Afrobeat
Make It Funky 99 Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat Alexander Stewart Evoking the image of ships and black sailors navigating the Atlantic, Paul Gilroy’s heuristic stresses dynamic cultural exchange among diverse popula- tions of the African diaspora and the mother continent itself—the “black Atlan- tic.” Gilroy argues for the central role of black musical expression in producing a “distinctive counterculture of modernity” on a basis of shared oppression, common goals, and hybrid cultures (Gilroy, 1993, 36). While the perspective of black Americans’ discovery and cultivation of African cultures and sensibili- ties (both historical and imagined) is more familiar to those on this side of the Atlantic, this process also figured importantly on the African continent. During the early postcolonial years, the interest of African Americans in discovering their African roots stimulated a similar impulse in some Africans. Describing the epiphany brought on by his 1969 trip to the United States, Fela Anikulapo Kuti, the originator of the jazz, funk, and soul-infused genre Afrobeat, recalled: It was incredible how my head was turned. Everything fell into place, man. For the first time, I saw the essence of blackism [black nationalism]. It’s crazy; in the United States people think the black-power movement drew inspiration from Africa. All these Americans come over here looking for awareness. They don’t realize they’re the ones who’ve got it over there. Why we were even ashamed to go around in na- 0026-3079/2013/5204-099$2.50/0 American Studies, 52:4 (2013): 99-118 99 100 Alexander Stewart tional dress until we saw pictures of blacks wearing dashikis on 125th Street.