“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville

Total Page:16

File Type:pdf, Size:1020Kb

“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. I transcribed co-writing sessions and interviews and coded all data for emergent themes. Trustworthiness procedures included triangulation through multiple data sources, “member checking” of transcripts by participants, and review of coded documents by two colleagues in the music education research community. Songwriters located their learning in classrooms and workshops, in the co-writing room, in individual learning pursuits, and in the broader context of the Nashville songwriting community. Songwriters’ learning combined both formal and informal modes. Some of their informal practices aligned with those described in previous research on popular musicians’ learning, though the “listening and copying” identified by Green (2002) did not “translate” directly, given that “copying” is not as valued when generating original material is the goal. Co-writer selection was an important factor in songwriters’ learning. The learning that occurred in co-writing spaces seemed to reflect Green’s (2002) concepts of both “peer-directed learning” and “group learning,” but also a form of “peer coaching” through “checks and balances” that seemed distinct from the learning modes that Green described. Pressure was an important factor for some participants: on one hand, the company of co-writers reduces pressure surrounding creative activity; on the other, accountability to one’s collaborators increases the pressure to be engaged and thoughtful in the co-writing process. Songwriters also valued a safe and open co-writing environment that supported both creativity and learning. Participants identified several “important actors” in their Nashville songwriting lives. Professional organizations played an important role, as did certain individuals—managers, veteran writers, open mic and writers’ night hosts, and publishers. Some of these actors played important mentor/sponsor roles, whereas others acted as gatekeepers in the environment. Findings from this study prompt teachers of songwriting and music educators in general to consider how formal and informal practices can be combined in formal situations. These findings also reveal the potential power of co-writing as a learning tool in songwriting classes, though it should be balanced with other activities. Recommendations for future research in the teaching and learning of songwriting are offered as well. Copyright by STUART CHAPMAN HILL 2016 For my music teachers. Every single one of them. v ACKNOWLEDGEMENTS Dr. Sandra Snow, when I watched you conduct the North Carolina Middle School Honors Chorus in 2012, I knew I needed to learn from you, but I never could have imagined how wonderful or deep that learning would be. Thank you for guiding my hands, my mind, and my heart; thank you for listening deeply and caringly; thank you for giving me permission to be who I am and helping me find the tools to do it. You will always be a tremendous inspiration to me. Dr. Cynthia Crump Taggart, you have a rare and extraordinary gift for all the dimensions of teaching and mentoring—loving, guiding, prodding, redirecting—and I cannot get over how lucky I am to have been one of your students. Dr. Mitchell Robinson, I would not be the writer or thinker I am without being coached and challenged by you, and I thank you for and admire your tireless devotion to what matters most for students and teachers. Dr. Michael Largey, your teaching and mentorship have changed my academic life and helped me settle on a trajectory, and I feel so fortunate to carry your wisdom with me on my journey. I am surrounded by a beautiful community of friends and colleagues—in Michigan, in Missouri, in North Carolina, in Tennessee, and elsewhere—and, friends, I could never say enough about how much your support and love has meant and continues to mean. Mom, Dad, Patrick, and Anna, the best part of “Dr. Hill” is the “Hill” part—you are my heart and soul. I am a “words guy,” but my love for you far exceeds my facility with language. The songwriters whose words you read herein are incredible life-observers, melody- shapers, lyric-crafters, and storytellers. Without their insight, this project would be nothing, and I am so very grateful for the privilege of learning from them. Thank you again and again. vi TABLE OF CONTENTS CHAPTER 1: INTRODUCTION .................................................................................................... 1 Music Education in the 21st Century .................................................................................. 3 Popular/Vernacular Music ................................................................................................... 5 Informal Learning ................................................................................................................ 8 Studies of Popular Musicians’ Informal Learning Practices ................................. 10 Informal Learning Practices in Formal Scholastic Settings .................................. 12 Composition ...................................................................................................................... 16 Songwriting ....................................................................................................................... 22 Need for the Study ............................................................................................................. 24 Purpose and Problems ....................................................................................................... 24 CHAPTER 2: REVIEW OF RELATED RESEARCH ................................................................. 26 Compositional Process Research ....................................................................................... 26 Professional Composers ........................................................................................ 26 Expert/Novice Comparisons .................................................................................. 28 Individual Student Composers .............................................................................. 31 Composing in Groups ............................................................................................ 36 Composition in Vernacular Ensembles ................................................................. 39 Summary of Compositional Process Research ...................................................... 41 Research on Songwriting ................................................................................................... 43 Songwriting in Music Therapy .............................................................................. 44 Songwriting in Educational Settings ..................................................................... 47 Studies of Professional Songwriters ...................................................................... 49 Summary of Research Related to Songwriting ..................................................... 52 CHAPTER 3: METHODOLOGY ................................................................................................. 54 Theoretical Lens ................................................................................................................ 55 Design ................................................................................................................................ 56 Participant Selection .......................................................................................................... 57 Data Collection .................................................................................................................. 59 Observation of Co-Writing Sessions ..................................................................... 59 Observation of Open Mic and Writers’ Nights ....................................................
Recommended publications
  • Schedule Quickprint TKRN-FM
    Schedule QuickPrint TKRN-FM 5/1/2021 4AM through 5/1/2021 8AM s: AirTime s: Runtime Schedule: Description 04:00:00a 00:00 Saturday, May 01, 2021 4AM 04:00:00a 04:08 WHO LOVES YOU / FOUR SEASONS 04:04:08a 02:52 VEHICLE / IDES OF MARCH 04:07:00a 03:20 CARRY ON WAYWARD SON / KANSAS 04:10:20a 05:17 LEVON / ELTON JOHN 04:15:37a 03:07 COULDN'T GET IT RIGHT / CLIMAX BLUES BAND 04:18:44a 03:50 MY SWEET LORD / GEORGE HARRISON 04:22:34a 04:37 JUST THE WAY YOU ARE (ALBUM) / BILLY JOEL 04:27:11a 03:08 O-O-H CHILD / FIVE STAIRSTEPS 04:30:23a 03:30 STOP-SET 04:37:09a 02:51 IF I CAN'T HAVE YOU / YVONNE ELLIMAN 04:40:00a 03:15 DOES ANYBODY REALLY KNOW WHAT TIME IT IS? / CHICAGO 04:43:15a 04:08 EVIL WOMAN (ALBUM) / ELECTRIC LIGHT ORCHESTRA 04:47:23a 02:36 I CAN SEE CLEARLY NOW / JOHNNY NASH 04:49:59a 02:46 TEQUILA SUNRISE / EAGLES 04:52:45a 03:30 STOP-SET 05:00:00a 00:00 Saturday, May 01, 2021 5AM 05:00:00a 03:19 MOVIN' OUT (ANTHONY'S SONG) / BILLY JOEL 05:03:19a 03:55 YOUR SONG / ELTON JOHN 05:07:14a 02:49 SHINING STAR / EARTH, WIND & FIRE 05:10:03a 03:31 THE JOKER / STEVE MILLER BAND 05:13:34a 03:22 NIGHT FEVER / BEE GEES 05:16:56a 03:55 SIGNS / FIVE MAN ELECTRICAL BAND 05:20:51a 04:02 GIVE A LITTLE BIT / SUPERTRAMP 05:24:53a 02:51 LOTTA LOVE / NICOLETTE LARSON 05:27:48a 03:30 STOP-SET 05:34:34a 04:06 ALREADY GONE / EAGLES 05:38:40a 03:05 HI HI HI / PAUL MC CARTNEY & WINGS 05:41:45a 03:24 DECEMBER 1963 (OH WHAT A NIGHT) / FOUR SEASONS 05:45:09a 03:34 WILL IT GO ROUND IN CIRCLES / BILLY PRESTON 05:48:43a 04:02 WHEEL IN THE SKY / JOURNEY 05:52:45a 03:30
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Sabotage! and Other Stories
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2010 Sabotage! And Other Stories Gregory Elliott Luther The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Luther, Gregory Elliott, "Sabotage! And Other Stories" (2010). Graduate Student Theses, Dissertations, & Professional Papers. 853. https://scholarworks.umt.edu/etd/853 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SABOTAGE! AND OTHER STORIES By GREGORY ELLIOTT LUTHER Bachelor's of University Studies, University of New Mexico, Albuquerque, NM, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Fiction The University of Montana Missoula, MT December 2010 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Chair Deirdre Mcnamer English Kevin Canty English Maria Bustos-Fernandez Modern and Classical Languages and Literatures Luther, Gregory, M.F.A, Fall 2010 Creative Writing Fiction Sabotage! And Other Stories Chairperson: Deirdre McNamer Co-Chairperson: Kevin Canty This is a collection of short fiction written between 2008-2010. ii Schooling Somehow I was the last to get the news. Eric Sullivan knew a guy in Modesto that was friends with the son of the teacher, the actual dude, Mr.
    [Show full text]
  • <I>Always Coming Home</I>
    Volume 17 Number 3 Article 7 Spring 3-15-1991 The Making of Always Coming Home Ursula K. Le Guin Todd Barton Margaret Chodos-Irvine George Hersh Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; and Hersh, George (1991) "The Making of Always Coming Home," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 17 : No. 3 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol17/iss3/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Transcript of panel discussion from 1988 Mythopoeic Conference. Author, illustrator, composer, and cartographer/ researcher discuss the genesis of Always Coming Home. Additional Keywords Le Guin, Ursula K. Always Coming Home; Le Guin, Ursula K.
    [Show full text]
  • A Shaman, a Sherpa, and a Healer: a Post-Intentional
    A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM (Under the Direction of Corey W. Johnson) ABSTRACT The purpose of this study was to explore the phenomenon of songwriting. Through a series of in depth interviews, three songwriters provided rich descriptions of their lived experiences with the phenomenon. Post-intentional phenomenology was used as the primary guiding theoretical framework for this study, which negotiated the tenets of both phenomenology and poststructuralism. Songwriting was described in terms of portaling, everesting, and gravitating-levitating and was revealed as a complex phenomenon of cathartic and transcendent experiences. The findings highlight the need for unstructured, expressive, and artistic leisure, which can be transformative in times of personal or social unrest. INDEX WORDS: Songwriting, Post-intentional phenomenology, Creativity, Leisure A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM B.S., University of West Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Brian E. Kumm All Rights Reserved A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM Major Professor: Corey W. Johnson Committee: Janette R. Hill Diane M. Samdahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2011 iv DEDICATION This thesis is dedicated to the memory of Dianne Kendall Hickly (mom number 2). March 1, 1947 – July 23, 2011 v ACKNOWLEDGEMENTS I sincerely want to say thank you to everyone who contributed to the successful completion of this thesis.
    [Show full text]
  • Songs of the Vietnam War Lyrics
    The Limits of Power: The United States in Vietnam Name:______________________________________________ 2 Online Lesson Songs of the Vietnam War Lyrics Introduction: Throughout history, the strong feelings raised by the sacrifices, ideals, heartbreaks, and triumphs of war have often been expressed by poets and artists in songs. Songs that best cap- tured the strong feelings of Americans became very popular and lived on long after the details of the conflict were forgotten. Whether they expressed patriotism and national ideals such as inThe Star-Spangled Banner and The Battle Hymn of the Republic, sacrifice and heroism such as inWhen Johnny Comes Marching Home, or disappointment and loss such as All Quiet Along the Potomac Tonight, these songs have become part of the history. The Vietnam War was no exception. Below is a small selection of the many songs written by Americans, Vietnamese, and French about the Vietnam War. Lyndon Johnson Told the Nation By Tom Paxton (1965, folk) < http://youtu.be/JQqapCkf4Uc> I got a letter from L.B.J., it said, “This is your lucky day. It’s time to put your khaki trousers on. Though it may seem very queer, we’ve got no jobs to give you here, so we are sending you to Viet Nam” chorus And Lyndon Johnson told the nation, “Have no fear of escalation, I am trying ev’ryone to please. Though it isn’t really war, we’re sending fifty thousand more to help save Viet Nam from Viet Namese.” I jumped off the old troop ship, I sank in mud up to my hips, And cussed until the captain called me down, “never mind how hard it’s raining, Think of all the ground we’re gaining, just don’t take one step outside of town.” Every night the local gentry slip out past the sleeping sentry They go out to join the old V.C.
    [Show full text]
  • Bedrock Valleys of the New England Coast As Related to Fluctuations of Sea Level
    Bedrock Valleys of the New England Coast as Related to Fluctuations of Sea Level By JOSEPH E. UPSON and CHARLES W. SPENCER SHORTER CONTRIBUTIONS TO GENERAL GEOLOGY GEOLOGICAL SURVEY PROFESSIONAL PAPER 454-M Depths to bedrock in coastal valleys of New England, and nature of sedimentary Jill resulting from sea-level fluctuations in Pleistocene and Recent time UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON : 1964 UNITED STATES DEPARTMENT OF THE INTERIOR STEWART L. UDALL, Secretary GEOLOGICAL SURVEY Thomas B. Nolan, Director The U.S. Geological Survey Library has cataloged this publication, as follows: Upson, Joseph Edwin, 1910- Bedrock valleys of the New England coast as related to fluctuations of sea level, by Joseph E. Upson and Charles W. Spencer. Washington, U.S. Govt. Print. Off., 1964. iv, 42 p. illus., maps, diagrs., tables. 29 cm. (U.S. Geological Survey. Professional paper 454-M) Shorter contributions to general geology. Bibliography: p. 39-41. (Continued on next card) Upson, Joseph Edwin, 1910- Bedrock valleys of the New England coast as related to fluctuations of sea level. 1964. (Card 2) l.Geology, Stratigraphic Pleistocene. 2.Geology, Stratigraphic Recent. S.Geology New England. I.Spencer, Charles Winthrop, 1930-joint author. ILTitle. (Series) For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 CONTENTS Page Configuration and depth of bedrock valleys, etc. Con. Page Abstract.__________________________________________ Ml Buried valleys of the Boston area. _ _______________
    [Show full text]
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
    [Show full text]
  • Exposure and Vulnerability
    Determinants of Risk: 2 Exposure and Vulnerability Coordinating Lead Authors: Omar-Dario Cardona (Colombia), Maarten K. van Aalst (Netherlands) Lead Authors: Jörn Birkmann (Germany), Maureen Fordham (UK), Glenn McGregor (New Zealand), Rosa Perez (Philippines), Roger S. Pulwarty (USA), E. Lisa F. Schipper (Sweden), Bach Tan Sinh (Vietnam) Review Editors: Henri Décamps (France), Mark Keim (USA) Contributing Authors: Ian Davis (UK), Kristie L. Ebi (USA), Allan Lavell (Costa Rica), Reinhard Mechler (Germany), Virginia Murray (UK), Mark Pelling (UK), Jürgen Pohl (Germany), Anthony-Oliver Smith (USA), Frank Thomalla (Australia) This chapter should be cited as: Cardona, O.D., M.K. van Aalst, J. Birkmann, M. Fordham, G. McGregor, R. Perez, R.S. Pulwarty, E.L.F. Schipper, and B.T. Sinh, 2012: Determinants of risk: exposure and vulnerability. In: Managing the Risks of Extreme Events and Disasters to Advance Climate Change Adaptation [Field, C.B., V. Barros, T.F. Stocker, D. Qin, D.J. Dokken, K.L. Ebi, M.D. Mastrandrea, K.J. Mach, G.-K. Plattner, S.K. Allen, M. Tignor, and P.M. Midgley (eds.)]. A Special Report of Working Groups I and II of the Intergovernmental Panel on Climate Change (IPCC). Cambridge University Press, Cambridge, UK, and New York, NY, USA, pp. 65-108. 65 Determinants of Risk: Exposure and Vulnerability Chapter 2 Table of Contents Executive Summary ...................................................................................................................................67 2.1. Introduction and Scope..............................................................................................................69
    [Show full text]
  • Ohio Players Everybody up Mp3, Flac, Wma
    Ohio Players Everybody Up mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Everybody Up Country: France Released: 1979 Style: Funk, Disco MP3 version RAR size: 1897 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1499 mb Rating: 4.3 Votes: 365 Other Formats: XM DXD MP4 AAC VOC AA MP3 Tracklist A1 Everybody Up 9:32 A2 Don't Say Goodbye 5:45 A3 Make Me Feel 6:45 B1 Say It 7:01 B2 Take De Funk Off, Fly 6:04 B3 Something Special 4:45 Companies, etc. Manufactured By – Arista Records, Inc. Phonographic Copyright (p) – Arista Records, Inc. Copyright (c) – Arista Records, Inc. Recorded At – Fifth Floor Recording Studios Recorded At – Ohio Players Studio Recorded At – Paragon Studios Mastered At – Sterling Sound Pressed By – Hub-Servall Record Mfg. Corp. Credits Art Direction – Donn Davenport Backing Vocals – Clarence Willis*, Clarence Satchell, James Williams* Bass – Marshall Jones Drums – James Williams* Engineer [Fifth Floor Studios] – Gary Platt, Jim Krause Engineer [Ohio Players Studio] – Gary Platt Engineer [Paragon Studios] – Steve Kusiciel Guitar – Clarence Willis*, Leroy Bonner* Keyboards, Synthesizer – Willie Beck* Lead Vocals – Willie Beck*, Leroy Bonner* Mixed By [Paragon Studios] – The Ohio Players* Other [Hair] – Danny Wintrode, Webster McKnight Other [Makeup] – Bruce Clyde Keller Other [Styling] – Hui Wang, Nora Lee Percussion – Azzedin Weston, Reubens Bassini* Photography By – Tony Barboza* Photography By [Portrait] – Mario Astorga Producer, Written-By – The Ohio Players* Remix, Engineer [Additional] – William Wittman (tracks: A1, A2, B1) Remix, Engineer [Additional] [Assistant] – Tim Bomba (tracks: A1, A2, B1) Saxophone – Clarence Satchell Trumpet – Marvin Pierce*, Ralph Middlebrooks* Notes Recorded at: Fifth Floor Studios, Cincinnati, Ohio Ohio Players Studio, Dayton, Ohio Paragon Studios, Chicago, Illinois Additional Engineering and Remixing at: Sound-mixers, N.Y.C.
    [Show full text]
  • Ohio Players Skin Tight Mp3, Flac, Wma
    Ohio Players Skin Tight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Skin Tight Country: Canada Released: 1974 Style: Funk MP3 version RAR size: 1836 mb FLAC version RAR size: 1324 mb WMA version RAR size: 1431 mb Rating: 4.8 Votes: 802 Other Formats: AAC AC3 AIFF TTA VOX XM DXD Tracklist A1 Skin Tight 7:52 A2 Streakin' Cheek To Cheek 5:43 A3 It's Your Night/Words Of Love 7:58 B1 Jive Turkey 7:09 B2 Heaven Must Be Like This 7:18 B3 Is Anybody Gonna Be Saved? 4:56 Companies, etc. Recorded At – Paragon Studios Remixed At – Paragon Studios Mastered At – Sterling Sound Phonographic Copyright (p) – Phonogram, Inc. Copyright (c) – Phonogram, Inc. Manufactured By – Phonogram, Inc. Distributed By – Phonogram, Inc. Credits Art Direction – Jim Ladwig Baritone Saxophone, Tenor Saxophone, Flute, Percussion, Lead Vocals, Backing Vocals – Satch* Bass [Fender] – Jones* Design – Len Willis Drums, Chimes, Percussion, Lead Vocals, Backing Vocals – Diamond* Engineer [Paragon Studios] – Barry Mraz Engineer [Sterling Sound] – Lee Hulko Guitar, Percussion, Lead Vocals, Backing Vocals – Sugarfoot* Mastered By – Dave Phimister Mastered By [Lacquer Cutting] – G.K.* (tracks: A1 to A3) Other [Special Consultant] – Robin McBride Photography By – Richard Fegley Piano, Organ, Electric Piano [Fender Rhodes], Clavinet, Synthesizer [Arp], Percussion, Lead Vocals, Backing Vocals – Billy* Producer – The Ohio Players* Trumpet, Flugelhorn, Valve Trombone, Backing Vocals – Merv* Trumpet, Trombone, Backing Vocals – Pee Wee* Written-By – C. Satchell*, J. Williams*, L. Bonner*, M. Jones*, M. Pierce*, R. Middlebrooks* Notes Orange Mercury label variation: "Skin Tight / Ohio Players / Produced By Ohio Players" on three lines above center hole.
    [Show full text]
  • Current Top 40.Doc
    2000+ And Top 40 All About That Bass Meghan Trainor Little Things One Direction Am I Wrong? Nico & Vinz Love Foolosophy Jamiroquai Amnesia 5SOS Love Generation Bob Sinclar Anaconda Nicky Minaj Low Flo Rida Baby Justin Bieber Marry You Bruno Mars Bad Romance Lady Gaga Memories David Guetta Bang Bang Jessie J Moves Like Jagger Maroon 5 Beautiful People Chris Brown New Thang Redfoo Best Night Justice Crew OMG Usher ft Will.I.Am Blame Calvin Harris On The Floor Jennifer Lopez Blurred Lines Robin Thicke Only Girl In The World Rhianna Boom Clap Charlie XCX Only Love Can Hurt Like This Paloma Faith Born This Way Lady Gaga Party Rock Anthem LMFAO Budapest George Ezra Please Don't Stop The Music Rhianna California Gurls Katy Perry Prayer In C Lily Wood Call Me Maybe Carly Rae Jepsen Price Tag Jessie J ft B.O.B Candyman Christina Aguilera Problem Ariana Grande Chandelier Sia Que Sera Justice Crew Club Can't Handle Me Flo-Rida Right Round Flo Rida Cool Kids Echosmith Riptide Vance Joy Cosmic Girl Jamiroquai Rock DJ Robbie Williams Count On Me Bruno Mars Royals Lorde Best Song Ever One Direction Run The World Beyonce DJ Got Us Falling In Love Usher ft Pitbull Sex On Fire Kings Of Leon Don't Stop The Party Black Eyed Peas Sexy Back Justin Timberlake Break Free Ariana Grande Shake It Off Taylor Swift Down Jay Z ft Lil Wayne She Came To Give It To You Usher Feat. Nicki Minaj Dynamite Taio Cruz Shots LMFAO ft Lil Jon Empire State Of Mind Jay Z ft Alicia Keys Single Ladies Beyonce Fancy Iggy Azalea Sky Full Of Stars Coldplay Feel So Close Calvin Harris
    [Show full text]