Showing posts with label Black Music Month. Show all posts
Showing posts with label Black Music Month. Show all posts

Black Music Month | Bobby Womack

One of the most enigmatic and talented Soul men of all time, Bobby Womack has been a sort of Soul music version of Forrest Gump, serving as a link from 50s Gospel to 60s Soul to 70s Rock and to some of the greatest musicians in each genre. Born in an extremely devout religious family, he was singing Gospel with his brothers Cecil, Friendly, Harry and Curtis as the Womack Brothers while he was still a child. The talented group was discovered by Gospel/Soul legend Sam Cooke, who redubbed them the Valentinos and transformed them into a teenage secular vocal group. By the early 60s ,they were touring with James Brown and scoring on the R&B charts with their first hit, "Lookin' For A Love." Cooke's death in 1964 sent the group on a spiral from which it would never recover.
Also, Womack encountered some public fallout when married Cooke's widow less than a year later (even more ironic was that brother Cecil ultimately married Cooke's daughter, Linda, who became his partner in the popular writing/singing group Womack & Womack).
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Black Music Month | Maze Featuring Frankie Beverly


This band can more or less be considered as the project of former The Butlers, and later Raw Soul, member Frankie Beverly; being songwriter, record producer, arranger, singer, keyboardist and guitarist.

Frankie Beverly’s smooth, distinct voice is instantly recognized, and Maze’s laid-back, bass driven musical arrangements differ a lot from other soul acts. Their signature sound is especially vivid on the classic "Live in New Orleans."

Maze signed a contract with Capitol Records in 1976, and released their debut album LP, Maze featuring Frankie Beverly, in 1977. They had success with the début and the following albums Golden Time of Day (1978), Inspiration (1979) and Joy and Pain (1980).

Their most acclaimed recording is Live in New Orleans (three quarters of which was recorded at the Saenger Theatre, on November 14-15, 1980). By that time, the band had a reputation as one of the best live acts in American soul music, also enjoying a following in the United Kingdom with considerable promotional support from British DJ Robbie Vincent. In 1989, they released the hit album Silky Soul, plus Back to Basics in 1993, and the live recording at London's Hammersmith Odeon in 1994.
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Black Music Month | the Rance Allen Group

When you hear Contemporary Gospel music today you are venturing a boulevard paved by the “Fathers of Contemporary Gospel” , the Rance Allen group . Gospel singer Rance Allen founded the Rance Allen group in Detroit in the 1960's and has fronted the band with his soulful, soaring vocals ever since. This Detroit-based traditionally trained black gospel group was the first traditional gospel group to incorporate rock, jazz, and soul into their music. They were harbingers for the contemporary Christian music movement popularized in the late '70s by Andrae Crouch, Amy Grant and the Winans.

The Rance Allen group scored a Top 30 R&B hit in 1979 with "I Belong To You," one of two Stax singles that year to make the charts. The recordings for Gospel Truth, Capitol, and Stax proved quite popular among gospel audiences, and had some success attracting soul fans as well.
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Black Music Month | Gil Scott-Heron


From Wikipedia, the free encyclopedia

Gil Scott-Heron (born April 1, 1949) is an American poet and musician known primarily for his late 1960s and early 1970s work as a spoken word performer. He is associated with African American militant activism, and is best known for his poem and song "The Revolution Will Not Be Televised"; and for writing "Home is Where The Hatred Is" an eerie account of drug use that was a hit by the grammy-award winning R&B singer Esther Phillips in 1972, the song also featured in the videogame Grand Theft Auto IV. Scott-Heron's father, Giles "Gil" Heron (nicknamed "The Black Arrow") was a Jamaican football player who, in the 1950s, was the first ever black player to play for Glasgow's Celtic Football Club.
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Black Music Month | Earth Wind & Fire



Earth, Wind & Fire, the soul band led by Maurice White, achieved worldwide success in the 1970s. The group was formed in Chicago, Illinois, in 1969. They have had many hits such as "Shining Star", "That's the Way of the World", "Fantasy", "September", "Let's Groove", and "Boogie Wonderland".
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Black Music Month | Willie Hutch

Willie Hutch grew up in Dallas where he sang with The Ambassadors. He was a graduate of Booker T. Washington High School in Dallas. He first came to the attention of the music business in 1964 when his debut single 'Love Has Put Me Down' was released by the Soul City Records label. His songs attracted the attention of The Fifth Dimension who recorded a number of them. Willie himself recorded with Venture prior to two albums in the early 70's with RCA (including 'Let's Try It Over'). In 1970, he received a phone call from producer Hal Davis who urgently needed a song written to a backing track he had entitled 'I'll Be There'. By 8 am the next morning, the Jackson 5 were in the studio recording it. Willie later co-arranged vocals on 'Got To Be There' and 'Never Can Say Goodbye' for the group, impressing Berry Gordy who employed him @ Motown on a more permanent basis. Willie produced the first Smokey Robinson album without The Miracles and when Sisters Love had a cameo role in 'The Mack', the group's manager suggested Willie record the soundtrack. The result was 'The Mack', including 'Brother's Gonna Work It Out' and 'Slick', Willie's first album for Motown in 1973. (Willie also worked with Sisters Love on 'Mr Fix-it Man'.) His other albums at the label included 'The Mark Of The Beast' (1975); 'Concert In Blues' (1976), including 'Party Down'; 'Color Her Sunshine' (1976), including 'I Like Everything About You', 'Havin' A House Party' and 'Fully Exposed' before he joined the Whitfield label for two albums, 'In Tune (1978), including 'Easy Does It', and 'Midnight Dancer'. In 1982, he wrote 'Keep The Fire Burning' for Gwen McCrae and returned to Motown for three collaborations. The first was a duet for Aretha Franklin and The Four Tops 'What Have We Got To Lose' (1983), the second a song / production for Sammy Davis Jr., 'Hello Detroit' (1984), and the third a soundtrack album for Berry's film 'The Last Dragon' (1985).
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Black Music Month | Al Green

Didn't know there was a video for this song so I am posting this again. One of my all time favorites of his. Didn't know he could play the guitar either. Well, barring that one note he hit around 1:15.
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Black Music Month | Funkadelic

Mama said PFunk was too wild so I never went to a George Clinton concert when I was a child. Grew up listening to the albums though. My cousin was stationed in Germany and he sent home footlockers packed with nothing but albums. He had just about every Funkadelic and Parliament album that I could remember . Wonder if they are still over his mom's. They came to Memphis a few years back for Memphis In May but I missed it. Heard it was 3 hours long. Plenty of everything going on backstage, on stage and in the crowd.

This has got to be my favorite early Funkadelic song. Maggot Brain by Funkadelic appeared as the lead track on their 1971 album of the same name. The original recording of the song is over ten minutes long and features little more than a spoken introduction and a guitar solo by Eddie Hazel.

Wiki says radio disc jockey Bill "B.L.F. Bash" Freeman played the original full version of "Maggot Brain" on WMMS/Cleveland every Sunday morning at 1:30 AM from 1976 through 1994. Presently 98.5 FM WNCX/Cleveland plays "Maggot Brain" at approximately midnight every Saturday night. In March 2005, Father Nature Magazine placed Eddie Hazel's performance on "Maggot Brain" at number 1 in its list of the 100 Greatest Guitar Solos.

Who knows the difference between Parliament and Funkadelic ?
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Black Music Month | Bill Withers

Songwriter/singer/guitarist Bill Withers is best remembered for the classic "Lean on Me" and his other million-selling singles "Ain't No Sunshine" and "Use Me," but he has a sizable cache of great songs to his credit. Al Jarreau recorded an entire CD of Withers' songs on Tribute to Bill Withers (Culture Press 1998). His popular radio-aired LP track from Still Bill, "Who Is He? (And What Is He to You?)," was a 1974 R&B hit for Creative Source.

Born July 4, 1938, in Slab Folk, WV, Withers was the youngest of six children. His father died when he was a child and he was raised by his mother and grandmother. After a nine-year stint in the Navy, Withers moved to Los Angeles to pursue a music career in 1967. He recorded demos at night while working at the Boeing aircraft company where he made toilet seats. His recording career began after being introduced to Clarence Avant, president of Sussex Records.

Stax Records stalwart Booker T. Jones produced his debut album, Just As I Am (with some co-production by Al Jackson, Jr.), which included his first charting single, "Ain't No Sunshine" that went gold and made it to number six R&B and number three pop in summer 1971 and won a Grammy as Best R&B Song. Its follow-up, "Grandma Hands," peaked at number 18 R&B in fall 1971. The song was later covered by the Staple Singers and received airplay as a track from their 1973 Stax LP Be What You Are. "Just As I Am" featured lead guitar by Stephen Stills and hit number five R&B in summer 1971.

Withers wrote "Lean on Me" based on his experiences growing up in a West Virginia coal mining town. Times were hard and when a neighbor needed something beyond their means, the rest of the community would chip in and help. He came up with the chord progression while noodling around on his new Wurlitzer electric piano. The sound of the chords reminded Withers of the hymns that he heard at church while he was growing up. On the session for "Lean on Me," members of the Watts 103rd Street Rhythm Band ("Express Yourself," "Loveland") were used: drummer James Gadson, keyboardist Ray Jackson, guitarist Benorce Blackman (co-wrote with Withers "The Best You Can" from Making Music), and bassist Melvin Dunlop. His second gold single, "Lean on Me," landed at number one R&B and number one pop for three weeks on Billboard's charts in summer 1972. It was included on his Still Bill album which went gold, holding the number one R&B spot for six weeks and hitting number four pop in spring 1972. "Lean on Me" has became a standard with hit covers by U.K. rock band Mud and Club Nouveau. "Lean on Me" was also the title theme of a 1989 movie starring Morgan Freeman. Still Bill also included "Use Me" (gold, number two R&B for two weeks and number two pop for two weeks in fall 1972) .

Withers' Sussex catalog also included Bill Withers Live at Carnegie Hall, 'Justments, and The Best of Bill Withers. Withers contributed "Better Days" to the soundtrack of the Bill Cosby 1971 western Man And Boy, released on Sussex. There was a duet single with Bobby Womack on United Artists, "It's All Over Now," from summer 1975.

After a legal battle with Sussex, Withers signed with Columbia Records. Columbia later bought his Sussex masters when the label went out of business. Withers was briefly married actress Denise Nicholas (ABC-TV's Room 222 and the 1972 horror film Blacula) in the early '70s. His releases on Columbia were Making Music ("Make Love to Your Mind," number ten R&B), which hit number seven R&B in late 1975; Naked and Warm; Menagerie ("Lovely Day," a number six R&B hit), which went gold in 1977; and 'Bout Love from spring 1979.

Teaming with Elektra Records artist Grover Washington, Jr., Withers sang the crystalline ballad "Just the Two of Us," written by Withers, Ralph MacDonald, and William Salter. It went to number three R&B and held the number two pop spot for three weeks in early 1981. "Just the Two of Us" was redone with hilarious effect in the Mike Myers movie Austin Powers: The Spy Who Shagged Me, released in summer 1999. Withers teamed with MacDonald for MacDonald's Polydor single "In the Name of Love" in summer 1984.

Withers' last charting LP was Watching You, Watching Me in spring 1985. He occasionally did dates with Grover Washington, Jr. during the '90s. His songs and recordings have been used as both the source of numerous covers (Aaron Neville's "Use Me") and sampled by a multitude of hip-hop/rap groups. ~ Ed Hogan, All Music Guide
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Black Music Month | Simply Beautiful

Al Green was the first great soul singer of the '70s and arguably the last great Southern soul singer. With his seductive singles for Hi Records in the early '70s, Green bridged the gap between deep soul and smooth Philadelphia soul. He incorporated elements of gospel, interjecting his performances with wild moans and wails, but his records were stylish, boasting immaculate productions that rolled along with a tight beat, sexy backing vocals, and lush strings. The distinctive Hi Records sound that the vocalist and producer Willie Mitchell developed made Al Green the most popular and influential soul singer of the early '70s, influencing not only his contemporaries, but also veterans like Marvin Gaye. Green was at the peak of his popularity when he suddenly decided to join the ministry in the mid-'70s. At first, he continued to record secular material, but by the '80s, he was concentrating solely on gospel. During the late '80s and '90s, he occasionally returned to R&B, but he remained primarily a religious performer for the rest of his career. Nevertheless, Green's classic early- '70s recordings retained their power and influence throughout the decades, setting the standard for smooth soul. ~ Stephen Thomas Erlewine, All Music Guide
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June 2008 = Black Music Month

copied from www.whitehouse.gov

Black Music Month, 2008
A Proclamation by the President of the United States of America


America's diverse musical heritage exemplifies the creativity and optimism of our Nation. During Black Music Month, we celebrate the extraordinary talents and creativity of African-American singers, musicians, and composers whose achievements have enriched our culture and enhanced our lives.

For generations, African-American artists have created music that communicates across racial boundaries and expresses both joy and sorrow. When facing the cruelty of slavery and injustice, African Americans lifted spirituals to the heavens, bringing comfort to troubled souls. These timeless declarations of hope and faith evolved into the more modern genres of gospel, blues, ragtime, and jazz, and they are given voice in the musical genius of Scott Joplin, Marian Anderson, Eubie Blake, and Mahalia Jackson. During the Civil Rights era, African-American musicians such as Duke Ellington, Muddy Waters, and Ruth Brown conveyed the struggles of their communities while bringing people of all backgrounds together. Today, this music continues to inspire America's citizens and advance its creative spirit.

Throughout the course of American history, black musicians have used their great talents to share the richness of the African-American experience and to develop a uniquely American style of music enjoyed throughout the world. This month, we honor the pioneers of African-American music and today's contemporary artists who have enriched the lives of people everywhere.

NOW, THEREFORE, I, GEORGE W. BUSH, President of the United States of America, by virtue of the authority vested in me by the Constitution and laws of the United States, do hereby proclaim June 2008 as Black Music Month. I encourage all Americans to learn more about the history of black music and to enjoy the great contributions of African-American singers, musicians, and composers.

IN WITNESS WHEREOF, I have hereunto set my hand this thirtieth day of May, in the year of our Lord two thousand eight, and of the Independence of the United States of America the two hundred and thirty-second.

GEORGE W. BUSH




So in the spirit of black music month, I will post a music selection by Gil Scott-Heron.


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