Antoine "Fats" Domino Jr. was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Between 1955 and 1960, he had eleven Top 10 hits, his humility and shyness may be one reason. During his career, Domino had 35 records in the U. S. Billboard Top 40, five of his pre-1955 records sold more than a million copies, being certified gold, his musical style was based on traditional rhythm and blues, accompanied by saxophones, piano, electric guitar, drums. His 1949 release "The Fat Man" is regarded as the first million-selling Rock'n Roll record. One of his most famous songs is “Blueberry Hill”. Antoine Domino Jr, was born and raised in New Orleans, the youngest of eight children born to Antoine Caliste Domino and Marie-Donatille Gros; the Domino family was of French Creole background, Louisiana Creole was his first language. Antoine was born at home with the assistance of a midwife, his name was misspelled as Anthony on his birth certificate.
His family had arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player, he attended the Louis B. Macarty School until the fourth grade, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett; the musician was married to Rosemary Domino from 1947 until her death in 2008. After his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans. By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but because of his large appetite.
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues". Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame. Domino released a series of hit songs with Bartholomew, the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Frank Fields, the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, Fred Kemp, Domino's trusted bandleader. While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952 at Cosimo Matassa's J&M Studios in New Orleans.
Dave Bartholomew was producing Price's record, which featured familiar Domino collaborators Hardesty and Palmer as sidemen, he asked Domino to play the piano part, replacing the original session pianist. Domino crossed into the pop mainstream with "Ain't That a Shame"; this was the first of his records to appear on the Billboard pop singles chart, with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino had 37 Top 40 singles, but none made it to number 1 on the Pop chart. Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, was issued on the Imperial label in November 1955, was reissued as Rock and Rollin' with Fats Domino; the reissue reached number 17 on the Billboard Pop Albums chart. His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock, reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks.
It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, Led Zeppelin; some 32 years the song would enter the Grammy Hall of Fame. Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home", "I'm Walkin'", "Valley of Tears", "It's You I Love", "Whole Lotta Lovin'", "I Want to Walk You Home", "Be My Guest". Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featur
I Love My Lady
I Love My Lady is an album by American pop singer Johnny Mathis, completed in 1981 but not released in its entirety until December 8, 2017, when it was included in the box set The Voice of Romance: The Columbia Original Album Collection. It was written and produced by Chic founders Bernard Edwards and Nile Rodgers and represented an attempt at shifting away from the easy listening style of music that Mathis had been recording for 25 years to the more contemporary sound of the team behind "Le Freak" and "We Are Family"; as part of Record Store Day on April 21, 2018, Legacy Recordings gave I Love My Lady its standalone debut with a pressing on clear smoke vinyl. Mathis experienced a career resurgence in the spring of 1978 with the release of a duet he recorded with Deniece Williams titled "Too Much, Too Little, Too Late"; the single was his first to achieve Gold certification from the Recording Industry Association of America, which at the time was awarded for sales of one million units in the US.
The duet gave Mathis a resurgence in album sales with its inclusion on You Light Up My Life, his first top 10 entry on the magazine's LP chart since 1966 and his first non-holiday studio album to receive Platinum certification since 1959's Heavenly. Mathis was able to sustain some of the momentum in album sales by re-teaming with Williams for an entire album of duets: That's What Friends Are For went Gold and had a respectable peak at number 19 on the album chart but managed only the number 47 "You're All I Need to Get By" as far as pop chart entries, his first album release in 1979, The Best Days of My Life, only got as high as number 122 with two songs just making the Adult Contemporary chart, his second, Mathis Magic, missed the Billboard album chart altogether and had no charting singles. Although he had been leaning more on original material since the success with Williams, he had worked with the same producer, Jack Gold, on eight of the albums that he recorded between 1975 and 1980 and was willing to explore other options.
In late December 1980 and January 1981 Mathis recorded the album I Love My Lady with Bernard Edwards and Nile Rodgers at the helm. All tracks for the album were written by the duo, whose songwriting credits included hits by their own band, Chic, as well as Sister Sledge and Diana Ross. Mathis was quoted as having enjoyed the project: "'What a joy to work and sing with Bernard and Nile... A unique experience that introduced me to new and exciting singing, as though using musical notes and phrases as brush strokes. A true departure for me as a vocalist and a milestone in my career.'" After the completion of the album, "nobody said anything over at Columbia, a best-of album came out instead."In 2004 a spokeswoman for Mathis explained the efforts, made to get the album released. "We have forwarded to Sony, by way of our attorney, inquiries, etc. from fans who were hoping to hear this album. This seems to have had no impact." When asked in a 2011 radio interview as to why the album had never been released, Mathis gave a brief chuckle as he replied, "Probably because the record company is almighty when you're making music to sell.
They have their likes and dislikes.... I guess because they didn't think it would sell." At the EMP Pop Conference on April 19, 2009, music historian Andy Zax gave the presentation "Lost in Lost Music: Rediscovering Johnny Mathis' I Love My Lady" in which he describes his interest in producing a CD box set that would cover the music that Edwards and Rodgers produced for Chic and other artists. He discovered the unreleased Mathis album in August 2007 while looking through the vault of tapes that would've held much of the material he was wanting for the project. Music journalist Ned Raggett included his notes in his report on the presentation that described the album as "less funk and more jazz, like Weather Report but with bright melodic hooks. Sounds like Al Jarreau’s This Time and Steely Dan’s Gaucho."Four of the eight tracks from the album have made their way onto compilations by Rodgers. The 2010 release Nile Rodgers presents The Chic Organization Boxset Vol 1 / "Savoir Faire" included the tracks "I Want to Fall in Love", "It's Alright to Love Me", "Something to Sing About".
The title track from the album, along with "Something to Sing About", was released on Mathis' UK-only Ultimate Collection in 2011. "I Love My Lady" appeared in 2013 on two two-disc compilations: Nile Rodgers presents The Chic Organization — Up All Night and Nile Rodgers presents The Chic Organization — Up All Night Disco Edition. The Shapeshifters' 2006 single "Sensitivity" features samples from an out-take version of "Love and Be Loved" supplied to them by Nile Rodgers. Chic are given a featured artist credit on the track. All tracks written by Bernard Edwards & Nile Rodgers "Fall in Love" – 6:00 "It's Alright to Love Me" – 4:20 "Something to Sing About" – 4:13 "I Love My Lady" – 5:26 "Take Me" – 6:50 "Judy" – 3:11 "Stay with Me" – 3:38 "Love and Be Loved" – 4:54 From the liner notes for The Voice of Romance: The Columbia Original Album Collection: December 23, 1980 – "Love and Be Loved", "Something to Sing About" January 6, 1981 – "Fall in Love", "I Love My Lady" January 8, 1981 – "It's Alright to Love Me", "Stay with Me", "Take Me" January 21, 1981 – "Judy" From the liner notes for The Voice of Romance: The Columbia Original Album Collection: Johnny Mathis –
The United States of America known as the United States or America, is a country composed of 50 states, a federal district, five major self-governing territories, various possessions. At 3.8 million square miles, the United States is the world's third or fourth largest country by total area and is smaller than the entire continent of Europe's 3.9 million square miles. With a population of over 327 million people, the U. S. is the third most populous country. The capital is Washington, D. C. and the largest city by population is New York City. Forty-eight states and the capital's federal district are contiguous in North America between Canada and Mexico; the State of Alaska is in the northwest corner of North America, bordered by Canada to the east and across the Bering Strait from Russia to the west. The State of Hawaii is an archipelago in the mid-Pacific Ocean; the U. S. territories are scattered about the Pacific Ocean and the Caribbean Sea, stretching across nine official time zones. The diverse geography and wildlife of the United States make it one of the world's 17 megadiverse countries.
Paleo-Indians migrated from Siberia to the North American mainland at least 12,000 years ago. European colonization began in the 16th century; the United States emerged from the thirteen British colonies established along the East Coast. Numerous disputes between Great Britain and the colonies following the French and Indian War led to the American Revolution, which began in 1775, the subsequent Declaration of Independence in 1776; the war ended in 1783 with the United States becoming the first country to gain independence from a European power. The current constitution was adopted in 1788, with the first ten amendments, collectively named the Bill of Rights, being ratified in 1791 to guarantee many fundamental civil liberties; the United States embarked on a vigorous expansion across North America throughout the 19th century, acquiring new territories, displacing Native American tribes, admitting new states until it spanned the continent by 1848. During the second half of the 19th century, the Civil War led to the abolition of slavery.
By the end of the century, the United States had extended into the Pacific Ocean, its economy, driven in large part by the Industrial Revolution, began to soar. The Spanish–American War and World War I confirmed the country's status as a global military power; the United States emerged from World War II as a global superpower, the first country to develop nuclear weapons, the only country to use them in warfare, a permanent member of the United Nations Security Council. Sweeping civil rights legislation, notably the Civil Rights Act of 1964, the Voting Rights Act of 1965 and the Fair Housing Act of 1968, outlawed discrimination based on race or color. During the Cold War, the United States and the Soviet Union competed in the Space Race, culminating with the 1969 U. S. Moon landing; the end of the Cold War and the collapse of the Soviet Union in 1991 left the United States as the world's sole superpower. The United States is the world's oldest surviving federation, it is a representative democracy.
The United States is a founding member of the United Nations, World Bank, International Monetary Fund, Organization of American States, other international organizations. The United States is a developed country, with the world's largest economy by nominal GDP and second-largest economy by PPP, accounting for a quarter of global GDP; the U. S. economy is post-industrial, characterized by the dominance of services and knowledge-based activities, although the manufacturing sector remains the second-largest in the world. The United States is the world's largest importer and the second largest exporter of goods, by value. Although its population is only 4.3% of the world total, the U. S. holds 31% of the total wealth in the world, the largest share of global wealth concentrated in a single country. Despite wide income and wealth disparities, the United States continues to rank high in measures of socioeconomic performance, including average wage, human development, per capita GDP, worker productivity.
The United States is the foremost military power in the world, making up a third of global military spending, is a leading political and scientific force internationally. In 1507, the German cartographer Martin Waldseemüller produced a world map on which he named the lands of the Western Hemisphere America in honor of the Italian explorer and cartographer Amerigo Vespucci; the first documentary evidence of the phrase "United States of America" is from a letter dated January 2, 1776, written by Stephen Moylan, Esq. to George Washington's aide-de-camp and Muster-Master General of the Continental Army, Lt. Col. Joseph Reed. Moylan expressed his wish to go "with full and ample powers from the United States of America to Spain" to seek assistance in the revolutionary war effort; the first known publication of the phrase "United States of America" was in an anonymous essay in The Virginia Gazette newspaper in Williamsburg, Virginia, on April 6, 1776. The second draft of the Articles of Confederation, prepared by John Dickinson and completed by June 17, 1776, at the latest, declared "The name of this Confederation shall be the'United States of America'".
The final version of the Articles sent to the states for ratification in late 1777 contains the sentence "The Stile of this Confederacy shall be'The United States of America'". In June 1776, Thomas Jefferson wrote the phrase "UNITED STATES OF AMERICA" in all capitalized letters in the headline of his "original Rough draught" of the Declaration of Independence; this draft of the document did not surface unti
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Charles Wright & the Watts 103rd Street Rhythm Band
Charles Wright & the Watts 103rd Street Rhythm Band is an American soul and funk band. Formed in the early 1960s, they had the most visibility from 1967 to 1973 when the band had 9 singles reach Billboard's pop and/or rhythm and blues charts, such as "Do Your Thing", "Till You Get Enough", "Love Land", they are best known for their biggest hit on Warner Bros. Records, 1970's "Express Yourself", a song, sampled by rap group N. W. A and others. Charles Wright was born on April 1940 in Clarksdale, Mississippi, he moved to Los Angeles in the early 1950s, playing guitar and singing in several doo-wop groups including the Turks, the Twilighters, the Shields and the Gallahads. He briefly worked in A&R for Del-Fi Records and was responsible for the 1961 hit record "Those Oldies but Goodies" by Little Caesar & the Romans. In 1962, he formed his own band Charles Wright & the Wright Sounds which included future Watts Band member John Raynford, along with Daryl Dragon known as the "Captain" of Captain & Tennille.
Over the course of the next six years, Wright would add more players to his group and these were the players who would become known as the Watts 103rd Street Rhythm Band, at least by 1968. Several of those members, including drummer James Gadson, bassist Melvin Dunlap, trombonist/arranger Ray Jackson, both guitarists Al McKay and Benorce Blackmon, would play on several Dyke and the Blazers charting singles, including "We Got More Soul" and "Let a Woman Be a Woman, Let a Man Be a Man"; the Wright Sounds played in several venues across Los Angeles but their best known stint was three years at Hollywood's Haunted House nightclub. Located at Hollywood and Vine, the Haunted House was a popular club in the 1960s and appears in several popular culture artifacts, most notably the 1969 go-go dancing B-movie, Girl in Gold Boots; the name, Watts 103rd Street Rhythm Band was coined by Los Angeles producer and Keymen Records owner Fred Smith in 1967. However, between 1967 and 1968, the Watts 103rd name applied to three, arguably four different personnel configurations before settling into the final band who played on every Watts 103rd album from 1968 forward.
Smith produced a theme song for DJ Magnificent Montague. The song became so popular that Smith released it as a single in 1967 and created the name, Watts 103rd St. Rhythm Band for the studio group who had recorded it. Purportedly, the players on the single included Wright, James Carmichael, Leon Haywood, Bobby Womack. There is some confusion because, after "Spreadin' Honey" became a success, Montague re-released the single on the MoSoul label and credited to a different group altogether, the Soul Runners, it has been long assumed that the Soul Runners were an earlier line-up of the Watts Band however, according to Wright, the two groups had nothing to do with one another whatsoever. In 1966, Carmichael and Wright were both working as session players for the Nashville West recording studio, their group of studio players was discovered by Fred Smith and comedian Bill Cosby who needed a backing band for his upcoming album, Silver Throat. Smith gave them the Watts 103rd name; this group included: Arthur Wright, Pete Fox, Streamline Ewing, Herman Riley, Jackie Kelso, Melvin Jernigan, Mel Brown, Abraham Mills.
Due to their association with Cosby, the new Watts 103rd band landed a deal with Warner Bros. Records, becoming the first R&B band to sign with them, they released a debut album in 1967. Technically self-titled, the album has come to be called Hot Heat & Sweet Groove after a sub-title found on the back cover. "Spreadin' Honey" was included on this album, per Warner Bros. insistence though none of the players on the album, save for Wright, had played on the "Spreadin' Honey" single. Wright disavows this album as a true Watts 103rd project, preferring to describe the second album, Together as the "first" Watts 103rd LP; when Cosby went on tour, Wright was put in charge with creating a Watts 103rd touring band which included both the musicians he had just recorded Hot Heat with but added in the Wright Sounds as well. The Haunted House began to bill Wright and the Wright Sounds as the Watts 103rd St. Rhythm Band. Creative disagreements led to Smith selling his interest in the group to Wright. Newly freed, Wright reformed the Watts 103rd out of his Wright Sounds players and broke ties with the musicians he had recorded Hot Heat with.
A May 18, 1968 recording of a live session at the Haunted House became the partial basis for the second Warner Bros. album, Together. That album yielded the group's first major national hit, the slow grooving "Do Your Thing." Their next album, In the Jungle Babe, is best known for both "Love Land," an uptempo, doo-wop-influenced soul ballad, as well as "Comment," where Wright discusses the state of racial affairs in America. Though the album was credited to the Watts 103rd St. Rhythm Band, the singles from this album and the group's next two albums, would be listed under "Charles Wright and the Watts 103rd Street Rhythm Band". In the band's early years, they were known for playing covers of popular R&B hits but by the late 1960s, the group began to create original songs, resulting in a sound that was, as Charles Wright put it, "the middle ground between Otis Redding and James Brown", reflecting the group's musical blend of different regional R&B and funk styles, their experiments in long, loosely structured grooves, best heard on the Express Yourself and You're So Beautif
Quincy Delight Jones Jr. is an American record producer, musician and film producer. His career spans six decades in the entertainment industry with a record 80 Grammy Award nominations, 28 Grammys, a Grammy Legend Award in 1992. Jones came to prominence in the 1950s as a jazz arranger and conductor, before moving on to work in pop music and film scores. In 1969, Jones and his songwriting partner Bob Russell became the first African-Americans to be nominated for an Academy Award for Best Original Song, for "The Eyes of Love" from the film Banning. Jones was nominated for an Academy Award for Best Original Score for his work on the 1967 film In Cold Blood, making him the first African-American to be nominated twice in the same year. In 1971, he became the first African-American to be the musical director and conductor of the Academy Awards ceremony. In 1995, he was the first African-American to receive the Academy's Jean Hersholt Humanitarian Award, he has tied with sound designer Willie D. Burton as the second most Oscar-nominated African-American, with seven nominations each.
Jones was the producer, with Michael Jackson, of Jackson's albums Off the Wall and Bad, as well as the producer and conductor of the 1985 charity song "We Are the World", which raised funds for victims of famine in Ethiopia. In 2013, Jones was inducted into the Rock & Roll Hall of Fame as the winner, alongside Lou Adler, of the Ahmet Ertegun Award, he was named one of the most influential jazz musicians of the 20th century by Time magazine. Quincy Delight Jones Jr. was born on the South Side of Chicago on March 14, 1933, the son of Sarah Frances, a bank officer and apartment complex manager, Quincy Delight Jones Sr. a semi-professional baseball player and carpenter from Kentucky. Jones' paternal grandmother was an ex-slave in Louisville, Jones would discover that his paternal grandfather was Welsh. With the help of the author Alex Haley in 1972 and Mormon researchers in Salt Lake City, Jones discovered that his mother's ancestors included James Lanier, a relative of poet Sidney Lanier. Jones said, "He had a baby with my great-grandmother, my grandmother was born there.
We traced this all the way back to the Laniers, the same family as Tennessee Williams." Learning that the Lanier immigrant ancestors were French Huguenots who had court musicians among their ancestors, Jones attributed some of his musicianship to them. For the 2006 PBS television program African American Lives, Jones had his DNA tested, genealogists researched his family history again, his DNA revealed he is African but is 34% European in ancestry, on both sides of his family. Research showed that he has English, French and Welsh ancestry through his father, his mother's side is of West and Central African descent the Tikar people of Cameroon. His mother had European ancestry, such as Lanier male ancestors who fought for the Confederacy, making him eligible for Sons of Confederate Veterans. Among his ancestors is Betty Washington Lewis, a sister of president George Washington. Jones is a direct descendant of Edward I of England, whose ancestors included French, Polish and Swiss nobility. Jones' family moved to Chicago as part of the Great Migration.
Jones had a younger brother, who became an engineer for the Seattle television station KOMO-TV and died in 1998. Jones was introduced to music by his mother, who always sang religious songs, by his next-door neighbor, Lucy Jackson; when Jones was five or six, Jackson played stride piano next door, he would listen through the walls. Lucy recalled; when Jones was young, his mother suffered from a schizophrenic breakdown and was admitted to a mental institution. His father divorced his mother and married Elvera Jones, who had three children of her own named Waymond and Katherine. Elvera and Quincy Sr. had three children together: Jeanette and future U. S. District Judge Richard. In 1943, Jones and his family moved to Bremerton, where his father got a wartime job at the Puget Sound Naval Shipyard. After the war, the family moved to Seattle. In high school, he developed his skills as a arranger, his classmates included Charles Taylor, who played saxophone and whose mother, Evelyn Bundy, was one of Seattle's first society jazz band leaders.
Jones and Taylor began playing music together, at the age of 14 they played with a National Reserve band. Jones has said he got much more experience with music growing up in a smaller city because he otherwise would have faced too much competition. At age 14, Jones introduced himself to 16-year-old Ray Charles after watching him play at the Black Elks Club. Jones cites Charles as an early inspiration for his own music career, noting that Charles overcame a disability to achieve his musical goals, he has credited his father's sturdy work ethic with giving him the means to proceed and his loving strength with holding the family together. Jones has said his father had a rhyming motto: "Once a task is just begun, never leave until it's done. Be the labor great or small, do it well or not at all." In 1951, Jones earned a scholarship to Seattle University, where a young Clint Eastwood—also a music major—watched him play in the college band. After one semester, Jones transferred to what is now the Berklee College of Music in Boston on another scholarship.
While studying at Berklee, he played at Izzy Ort's Bar & Grille with Bunny Campbell and Preston Sandiford, whom he cited as important musical influences. He left his studies after receiving an offer to tour as a trumpeter, p
Marquee Moon is the debut album by American rock band Television. It was released on February 1977, by Elektra Records. In the years leading up to the album, Television had become a prominent act on the New York music scene and generated interest from a number of record labels signing a record deal with Elektra; the group rehearsed extensively in preparation for Marquee Moon before recording it at A & R Recording in September 1976. It was produced by sound engineer Andy Johns. For Marquee Moon and fellow guitarist Richard Lloyd abandoned contemporary punk rock's power chords in favor of rock and jazz-inspired interplay, melodic lines, counter-melodies. Verlaine's lyrics combined urban and pastoral imagery, references to Lower Manhattan, themes of adolescence, influences from French poetry, he used puns and double entendres to give his songs an impressionistic quality in describing his perception of an experience. Marquee Moon was met with widespread acclaim and was hailed by critics as an original musical development in rock music.
The critical recognition helped the album achieve unexpected commercial success in the United Kingdom, but it sold poorly in the United States. The record has since been viewed by critics as one of the greatest albums of all time and a foundational record of alternative rock. Television's innovative post-punk instrumentation on Marquee Moon influenced the new wave and indie rock movements of the 1980s. By the mid-1970s, Television had become a leading act in the New York music scene, they first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal, they turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us cold and brittle, no resonance.
We're oriented towards strong guitar music... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler; that same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first, he was persuaded by Smith's boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself though he had little recording experience.
In August 1976, Television signed a recording deal with Elektra Records, who promised Verlaine he could produce the band's first album with the condition that he would be assisted by a well-known recording engineer. Verlaine, who did not want to be guided in the studio by a famous producer, enlisted engineer Andy Johns based on his work for the Rolling Stones' 1973 album Goats Head Soup. Lloyd was impressed by Johns, who he said had produced "some of the great guitar sounds in rock". Johns was credited as the co-producer on Marquee Moon. Elektra did not query Television's studio budget for the recording. Television recorded Marquee Moon in September 1976 at R Recording in New York City. In preparation for the album's recording, Television had rehearsed for four to six hours a day and six to seven days a week. Lloyd said they were "both roughshod musicians on one hand and desperadoes on the other, with the will to become good". During preparations, the band rejected most of the material they had written over the course of three years.
Once they were in the studio, they recorded two new songs for the album—"Guiding Light" and "Torn Curtain"—and older songs such as "Friction", "Venus", the title track, which had become a standard at their live shows. Verlaine said that, because he had predetermined the structure of the album, only those eight songs and a few others were attempted during the recording sessions. For most of Marquee Moon, Johns recorded Television. A few songs were recorded in one take, including the title track, which Ficca assumed was a rehearsal. Johns suggested the group record another take of the song, but Verlaine told him to "forget it". Verlaine and Lloyd's guitars were recorded and multi-tracked to left and right channels, the final recordings were left uncompressed and unadorned with studio effects. According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A. V. Club described it. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk.
Its intensity wasn't manic. Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles; the title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine told Select. "You know, I always thought Marquee Moon was a bunch of cool single