Three Dog Night
Three Dog Night is an American rock band. They formed in 1967 with a line-up consisting of vocalists Danny Hutton, Cory Wells, Chuck Negron; this lineup was soon augmented by Jimmy Greenspoon, Joe Schermie, Michael Allsup, Floyd Sneed. The band registered 21 Billboard Top 40 hits between 1969 and 1975; because Three Dog Night recorded many songs written by outside songwriters, they helped introduce mainstream audiences to writers such as Paul Williams and Hoyt Axton. The official commentary included in the CD set Celebrate: The Three Dog Night Story, 1964–1975 states that vocalist Danny Hutton's girlfriend, actress June Fairchild suggested the name after reading a magazine article about indigenous Australians, in which it was explained that on cold nights they would customarily sleep in a hole in the ground while embracing a dingo, a native species of feral dog. On colder nights they would sleep with two dogs and, if the night were freezing, it was a "three dog night"; the three vocalists, Danny Hutton, Chuck Negron and Cory Wells first came together in 1967 and made some recordings with Brian Wilson while the Beach Boys were working on the album Wild Honey, went by the name of Redwood.
Shortly after abandoning the Redwood moniker in 1968, the vocalists hired a group of backing musicians – Ron Morgan on guitar, Floyd Sneed on drums, Joe Schermie from the Cory Wells Blues Band on bass, Jimmy Greenspoon on keyboards – and soon took the name Three Dog Night, becoming one of the most successful bands in the United States during the late 1960s and early 1970s. Ron Morgan left the band early on and subsequently went on to join the Electric Prunes. Michael Allsup was recruited to replace him on guitar. Three Dog Night earned 12 gold albums and recorded 21 consecutive Billboard Top 40 hits, seven of which went gold, their first gold record was "One", written and recorded by Harry Nilsson. The group had three US #1 songs, each of which featured a different lead singer: "Mama Told Me Not to Come", their only Top 10 hit in the UK. Dunhill Records claimed; as its members wrote just a handful of songs on the albums, most songs Three Dog Night recorded were written by outside songwriters.
Notable hits by outside writers include Harry Nilsson's "One", the Gerome Ragni-James Rado-Galt MacDermot composition "Easy to Be Hard" from the musical Hair, Laura Nyro's "Eli's Comin'", Randy Newman's "Mama Told Me Not to Come", Paul Williams' "Out in the Country", "The Family Of Man", "An Old Fashioned Love Song", Hoyt Axton's "Joy to the World" and "Never Been to Spain", Arkin & Robinson's "Black and White", Argent's Russ Ballard's "Liar", Elton John and Bernie Taupin's "Lady Samantha" and "Your Song", Daniel Moore's "Shambala", Leo Sayer's "The Show Must Go On", John Hiatt's "Sure As I'm Sittin' Here", Bush's "I Can Hear You Calling", Allen Toussaint's "Play Something Sweet". Three Dog Night made its official debut in 1968 at the Whiskey a Go Go, at a 5 p.m. press party hosted by Dunhill Records. They were still in the process of making their first album Three Dog Night when they heard the favorable reactions from the hypercritical audience; the album Three Dog Night was a success with its hit songs "One", "Try A Little Tenderness", "Nobody" and helped the band gain recognition and become one of the top drawing concert acts of their time.
In December, 1972, Three Dog Night hosted Dick Clark's first New Year's Eve special, entitled Three Dog Night's New Year's Rockin' Eve. In 1973, Three Dog Night filed a $6 million lawsuit against their former booking agent, American Talent International for continuing to advertise in the media that the band was still with their agency when in fact they signed with William Morris Agency in October 1972. Other damages were sought due to ATI taking deposits for booking Three Dog Night, whom they no longer represented. Joe Schermie left in late 1972 due to "problems arising that were unresolvable", he was replaced by Jack Ryland in 1973, the band became an eight-piece with the inclusion of another keyboard player, Skip Konte, in late 1973. In late 1974, Allsup and Sneed left to form a new band, SS Fools, with Schermie and Bobby Kimball of Toto. New guitarist James "Smitty" Smith and drummer Mickey McMeel were recruited, but by 1975, Smith was replaced by Al Ciner from Rufus and the American Breed, Ryland by Rufus bassist Dennis Belfield.
By 1973, Danny Hutton was becoming sick on a regular basis and had developed Jaundice from incessant and uncontrolled drug abuse. The band was forced to hire a registered nurse to administer Vitamin B12 shots to Danny and take care of him so the band could continue touring. For the upcoming albums Cyan, Hard Labor, Coming Down Your Way, Danny began to not show up for the recording sessions and would sometimes be present only to record just one song disappear; this explains why, on all of the aforementioned albums, Danny only sings sole lead vocals on just one track off of each. Cory Wells became fed up with his frequent absence and Danny was fired from the band in late 1975, he was replaced by Jay Gruska. Hours before the first concert of their 1975 tour, Chuck Negron was arrested for the possession
Kristoffer Kristofferson is an American actor and singer-songwriter. Among his songwriting credits are the songs "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", "Help Me Make It Through the Night", all of which were hits for other artists. Kristofferson composed his own songs and collaborated with Nashville songwriters such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup The Highwaymen, formed a key creative force in the Outlaw country music movement that eschewed the Nashville music machine in favor of independent songwriting and producing. In 2004, Kristofferson was inducted into the Country Music Hall of Fame, he is known for his starring roles in Alice Doesn't Live Here Anymore, Heaven's Gate, Blade and A Star Is Born, the latter of which earned him a Golden Globe Award for Best Actor. Kristoffer Kristofferson was born in Brownsville, Texas, to Mary Ann and Lars Henry Kristofferson, a U.
S. Army Air Corps officer, his paternal grandparents emigrated from Sweden, while his mother had English, Scots-Irish, Swiss-German, Dutch ancestry. Kristofferson's paternal grandfather was an officer in the Swedish Army; when Kristofferson was a child, his father pushed him towards a military career. At the age of 17, Kristofferson took a summer job with a dredging contractor on Wake Island, he called it "the hardest job I had." Like most "military brats", Kristofferson moved around as a youth settling down in San Mateo, where he graduated from San Mateo High School in 1954. An aspiring writer, Kristofferson enrolled in Pomona College that same year, he experienced his first dose of fame when he appeared in Sports Illustrated's "Faces in the Crowd" for his achievements in collegiate rugby union, American football, track and field. He and his classmates revived the Claremont Colleges Rugby Club in 1958, which has remained a southern California rugby institution. Kristofferson graduated in 1958 with a Bachelor of summa cum laude, in literature.
He was elected to Phi Beta Kappa his junior year. In a 2004 interview with Pomona College Magazine, Kristofferson mentioned philosophy professor Frederick Sontag as an important influence in his life. Kristofferson earned a Rhodes Scholarship to Oxford University. While at Oxford, he was awarded his Blue for boxing, played rugby for his college, began writing songs. At Oxford, he was acquainted with fellow Rhodes scholar, art critic, poet Michael Fried. With the help of his manager, Larry Parnes, Kristofferson recorded for Top Rank Records under the name Kris Carson. Parnes was working to sell Kristofferson as "a Yank at Oxford" to the British public; this early phase of his music career was unsuccessful. In 1960, Kristofferson graduated with a B. Phil. degree in English literature. The following year he married Frances Mavia Beer. Kristofferson, under pressure from his family joined the U. S. Army, was attained the rank of captain, he became a helicopter pilot after receiving flight training at Alabama.
He completed Ranger School. During the early 1960s, he was stationed in West Germany as a member of the 8th Infantry Division. During this time, he formed a band. In 1965, when his tour of duty ended, Kristofferson was given an assignment to teach English literature at West Point. Instead, he decided to pursue songwriting, his family disowned him because of his career decision, sources are unclear on whether or not they reconciled. They saw it as a rejection of everything they stood for, in spite of the fact that Kristofferson has said he is proud of his time in the military, received the Veteran of the Year Award at the 2003 American Veterans Awards ceremony. After leaving the army in 1965, Kristofferson moved to Nashville, he worked at a variety of odd jobs while struggling for success in music, burdened with medical expenses resulting from his son's defective esophagus. He and his wife soon divorced, he got a job sweeping floors at Columbia Recording Studios in Nashville. He asked her to give Johnny Cash a tape of his.
She did. He worked as a commercial helicopter pilot for a south Louisiana firm called Petroleum Helicopters International, based in Lafayette, Louisiana. Kristofferson recalled of his days as a pilot, "That was about the last three years before I started performing, before people started cutting my songs. I would work a week down here for PHI, flying helicopters. I'd go back to Nashville at the end of the week and spend a week up there trying to pitch the songs come back down and write songs for another week. I can remember. I wrote "Bobby McGee" down here, a lot of them."Weeks after giving June his tapes, Kristofferson landed a helicopter in Cash's front yard, gaining his full attention. Cash decided to record "Sunday Mornin' Comin' Down" and that year Kristofferson won Songwriter of the Year at the Country Music Awards. In 1966, Dave Dudle
Harold Lloyd Jenkins, better known by his stage name Conway Twitty, was an American country music singer. He had success in the rock and roll, rock, R&B, pop genres. From 1971 to 1976, Twitty received a string of Country Music Association awards for duets with Loretta Lynn. Although never a member of the Grand Ole Opry, he was inducted into the Country Music Hall of Fame and the Rockabilly Hall of Fame. Twitty was born Harold Lloyd Jenkins on September 1, 1933, in Friars Point, in Coahoma County, in northwestern Mississippi; the Jenkins family were of Welsh descent. He was named after his favorite silent movie actor, Harold Lloyd; the Jenkins family moved to Helena, when Jenkins was 10 years old. In Helena, Jenkins formed the Phillips County Ramblers. Two years Jenkins had his own local radio show every Saturday morning, he played baseball, his second passion. He received an offer to play with the Philadelphia Phillies after high school, but he was drafted into the United States Army, he served in the Far East and organized a group called the Cimmerons to entertain his fellow soldiers.
Wayne Hause, a neighbor, suggested. Soon after hearing Elvis Presley's song "Mystery Train", Jenkins began writing rock and roll material, he went to the Sun Studios in Memphis and worked with Sam Phillips, the owner and founder, to get the "right" sound. In 1957, Jenkins decided that his real name was not memorable enough and sought a better show business name. In The Billboard Book of Number One Hits Fred Bronson states that the singer was looking at a road map when he spotted Conway and Twitty, chose the name Conway Twitty. In 1958 using his new stage name, Twitty's fortunes improved while he was with MGM Records, an Ohio radio station had an inspiration, refraining from playing "I'll Try", instead playing the B-side, "It's Only Make Believe", a song written between sets by Twitty and drummer Jack Nance when they were in Hamilton, playing at the Flamingo Lounge; the record took nearly one year to reach and stay at the top spot on the Billboard pop music charts in the United States and number 1 in 21 other countries, becoming the first of nine top-40 hits for Twitty.
It sold over four million copies and was awarded a gold disc by the RIAA. That same year, country singer Tabby West of ABC-TV's Ozark Jubilee heard Twitty and booked him to appear on the show; when "It's Only Make Believe" was first released, because of vocal similarities, many listeners assumed that the song was recorded by Elvis Presley, using "Conway Twitty" as a pseudonym. Twitty would go on to enjoy rock-and-roll success with songs including "Danny Boy" and "Lonely Blue Boy". "Lonely Blue Boy" titled "Danny", was recorded by Presley for the film King Creole but was not used in the soundtrack. This song led to him naming his band the Lonely Blue Boys, they subsequently became the Twitty Birds. Twitty always wanted to record country music, beginning in 1965, he did just that. Disc jockeys on some country-music radio stations refused to play his first few country albums, because he was known as a rock-and-roll singer. However, he had his first top five country hit, "The Image of Me", in July 1968, followed by his first number one country song, "Next in Line", in November 1968.
Few of his singles beginning in 1968 ranked below the top five. In 1970, Twitty recorded and released his biggest country hit, "Hello Darlin'", which spent four weeks at the top of the country chart and is one of Twitty's most recognized songs. In 1971 he released his first hit duet with Loretta Lynn, "After the Fire Is Gone", it was a success, many more followed, including "Lead Me On", "Louisiana Woman, Mississippi Man", "As Soon As I Hang Up the Phone", "Feelins'", "I Still Believe in Waltzes", "I Can't Love You Enough", many others. Together and Loretta, won four consecutive Country Music Association awards for vocal duo and a host of other duo and duet awards from other organizations throughout the 1970s. In 1973, Twitty released "You've Never Been This Far Before", number 1 in country for three weeks that September and reached number 22 on the pop charts; some more conservative disc jockeys refused to play the song, believing that some of the lyrics were too sexually suggestive. In 1978, Twitty issued the single "The Grandest Lady of Them All" honoring the Grand Ole Opry, but for the first time since 1967, a single of his failed to reach the top ten, as some radio stations refused to play a song honoring the property of a competitor.
The single reached the top 20, peaking at number 16, but it was well below expectations, this set in motion the changes that were to take place in his career, including a new hairstyle, changing from the slicked-back pompadour style to the curlier style he would keep the rest of his life. However, Twitty's popularity and momentum were unaffected by the song, as his next 23 consecutive singles all made it into the top 10, with 13 peaking at number 1, including "Don't Take It Away", "I May Never Get to Heaven", "Happy Birthday Darlin'" and remakes of major pop hits such as "The Rose" and "Slow Hand". In 1985, going by all weekly music trade charts, the song "Don't Call Him a Cowboy" became the 50th single of his career to achieve a number-1 ranking, he would have five more through 1990, giving him a total of 55 number 1 hits. George Strait matched the feat of 50 number-1 hits in 2002 with his single "She'll Leave You With a Smile" and rea
Mormon Tabernacle Choir
The Tabernacle Choir at Temple Square known as the Mormon Tabernacle Choir, colloquially referred to as Tab Choir or MoTab, is a 360-member choir. The choir is part of The Church of Jesus Christ of Latter-day Saints, it has performed in the Salt Lake Tabernacle for over a hundred years. The Tabernacle houses an organ, consisting of 11,623 pipes, which accompanies the choir; the choir was founded in August 1847, one month after the Mormon pioneers entered the Salt Lake Valley. Prospective singers must be LDS Church members who are eligible for a temple recommend, between 25 and 55 years of age at the start of choir service, live within 100 miles of Temple Square; the Tabernacle was completed in 1867 and the choir held its first concert there on July 4, 1873. The choir started out small and rather undisciplined. In 1869, George Careless was appointed as the choir's conductor and the Tabernacle Choir began to musically improve. Under Careless, the first large choir was assembled by adding smaller choral groups to the main Salt Lake Choir.
This larger choir, just over 300, sang at the church's October 1873 general conference. It was at this point. On September 1, 1910, the choir sang the song, "Let the Mountains shout for Joy", as their first recording. Three hundred of the 600 members showed up for the recording. Since July 15, 1929, the choir has performed a weekly radio broadcast called Music & the Spoken Word, one of the longest-running continuous radio network broadcasts in the world. Directors brought more solid vocal training and worked to raise the standards of the choir; the choir began improving as an ensemble and increased its repertoire from around one hundred songs to nearly a thousand. In July 1929, the choir performed its first radio broadcast of the Spoken Word. By 1950, the Tabernacle Choir at Temple Square performed numerous concerts each year and had released its first long-playing recording. During the 1950s, the choir made its first tour of Europe and earned a Grammy Award for its recording of the "Battle Hymn of the Republic".
Directors of the choir continued to hone and refine the choir's sound. At the end of the choir's 4,165th live broadcast on July 12, 2009, the show's host, Lloyd D. Newell, announced another milestone that the show had hit: the completion of its 80th year in existence; the show has been televised since the early 1960s and is now broadcast worldwide through 1,500 radio and television stations. On October 5, 2018, the choir retired the name "The Mormon Tabernacle Choir" and adopted the name "The Tabernacle Choir at Temple Square" in order to align with the direction of LDS Church leadership regarding the use of terms "Mormon" and "LDS" in referencing church members; the new name retains the reference to the historic Salt Lake Tabernacle, the choir's home for over 150 years, its location on Temple Square in Salt Lake City, Utah. Since its establishment, The Tabernacle Choir at Temple Square has performed and recorded extensively, not only in the United States but around the world; the following are some of its milestones: Visited 28 countries outside the United States.
Performed at 13 World’s Fairs and Expositions. Released more than 130 musical compilations and several films and videotapes. Reached more than 100 million YouTube views on its channel; the Tabernacle Choir at Temple Square has performed for ten presidents of the United States beginning with William Howard Taft. The choir has performed at the inaugurations of United States presidents Lyndon B. Johnson, Richard M. Nixon, Ronald Reagan, George Bush, George W. Bush, Donald Trump. Other notable events the choir has performed at include the following: Performed over 20 times at the 2002 Winter Olympics in Salt Lake City, including at the Opening Ceremony, where they sang the national anthem and the Olympic Hymn under the direction of John Williams; the American Bicentennial in Washington, D. C; the Constitution's bicentennial celebration at Independence Hall in Philadelphia, Pennsylvania It has participated in several significant events, including: National broadcasts honoring the passing of U. S. Presidents: Franklin D. Roosevelt John F. Kennedy From its first national tour in 1893, under the direction of Evan Stephens, to the Chicago World's Fair, the choir has performed in locations around the world, including: Los Angeles Hollywood Bowl.
Chicago Century of Progress Exposition. San Diego California Pacific International Exposition. Western Europe Glasgow, Cardiff, Prince Albert Hall in London, Scheveningen, West Berlin, Bern, Palais de Chaillot in Paris. Sang at the dedication of the Bern Switzerland Temple on 11 September 1955 on this tour. Central America Western Europe Western Europe Bergen International Festival in Bergen, Stockholm, Copenhagen, Rotterdam, Royal Albert Hall in London. Central Europe and the former Soviet Union Frankfurt, Strasbourg, Zürich, Budapest, Dresden, Warsaw, Leningrad. Israel Haifa, Tel Aviv. Japan/Korea Festival Hall in Osaka, Kaikan Hall in Kyoto, Fumon-kan Hall in Tokyo, Seoul National Theater in Seoul. Japan/Korea Brazil "Week of Music of the Americas" and Ibirapuera Auditorium in São Paulo. South Pacific Laie, Auckland, Christch
Christgau's Record Guide: Rock Albums of the Seventies
Christgau's Record Guide: Rock Albums of the Seventies is a music reference book by American music journalist and essayist Robert Christgau. It was first published in October 1981 by Fields; the book compiles 3,000 of Christgau's capsule album reviews, most of which were written for his "Consumer Guide" column in The Village Voice throughout the 1970s. The entries feature annotated details about each record's release and cover a variety of genres related to rock music. Many of the older reviews were rewritten for the guide to reflect his changed perspective and matured stylistic approach, informed by an interest in the aesthetic and political dimensions of popular music and a desire to communicate his ideas to readers in an entertaining, provocative way; the guide was critically well received, earning praise for its extensive discography, Christgau's judgment and colorful writing. Reviewers noted his opinionated tastes, analytical commentary, pithy language, critical quips; the book appeared on several expert lists of popular music literature.
A staple of rock-era reference works, Christgau's Record Guide became popular in libraries as a source for popular music studies and as an authoritative guide for fellow critics, record collectors, music shops. Christgau's Record Guide has been reprinted several times in book form and on Christgau's website in its entirety. Two more "Consumer Guide" collections have been published, compiling his capsule reviews from the 1980s and the 1990s, respectively. In 1969, Robert Christgau began reviewing contemporary album releases in his "Consumer Guide" column, published more-or-less monthly in The Village Voice, for brief periods in Newsday and Creem magazine during the 1970s, his method was to select about 20 albums to review in capsule format, averaging 50 words each, to assign each album a letter grade rating on a scale from A-plus to E-minus. The column was a product of The Village Voice's deal with Christgau—allotting him one 2,500-word piece per month—and his desire to provide prospective buyers with ratings of albums, including those that did not receive significant radio airplay.
Some of Christgau's early columns were reprinted in his first book, Any Old Way You Choose It, a 1973 anthology of essays published in the Voice and Newsday. Among the most revered and influential of the earliest rock critics, Christgau wrote the "Consumer Guide" with confidence in his tastes, conviction that popular music could be consumed intelligently, interest in finding new understandings of the aesthetic and political dimensions in popular culture's intersection with the avant-garde; as a journalist, he wanted to convey his findings in a way that would provoke readers. In the late 1970s, Christgau conceived of a book that would collect reviews from his columns through that decade, he began to pitch Christgau's Record Guide to publishers in early 1979 and received a publishing deal shortly thereafter. He soon realized that the proposed book would not adequately represent the decade unless he revised and expanded his existing columns, he believed his existing body of reviews overlooked important musical artists and would comprise less than two-thirds of the needed material for the book.
In July of that year, he took a vacation from The Village Voice and left New York City for Maine with his wife, fellow writer Carola Dibbell, to work on the book. They brought with them a stereo system and numerous LP records; as Christgau recalled in his memoir Going Into the City, "I had hundreds of records to find out about, hundreds to find, hundreds to re-review, hundreds to touch up." Christgau continued working on the book after his return to New York. He was aided by access to the record library of his neighbor, fellow journalist Vince Aletti, who owned all of James Brown's scarcely catalogued Polydor LPs from the 1970s. Beginning with Brown, Christgau re-examined the discographies of major artists in a chronological manner to curtail a sense of hindsight in the writing. "When possible", he said, "I piled on the changer artists I felt like hearing that day in a ploy intended to scare up the excited little feeling in the pit of my stomach without which I am loath to give any album an A."
The work intensified in 1980. Recounting in his memoir, he said he worked 14 hours daily while "in book mode", which "was so grueling that for most of 1980 I was aware of the music of the moment, the only such hiatus in what is now fifty years."Christgau's intense immersion into preparing the book put a strain on his marriage to Dibbell, as did their efforts to overcome infertility. In his words, the guide ruined his personal life: "We postponed further parenthood strategization. We hardly went out; the apartment sank to new depths of disarray as paper migrated into the dining room. And since I was home every minute with the stereo on, my life partner could never be alone, with herself or with her work." Dibbell's admission of an affair at the time led to a brief separation before she and Christgau reunited with a stronger commitment to each other, reflected in the book's dedication: "TO CAROLA – NEVER AGAIN." As they mended their relationship, Christgau slowed down his work pace in August 1980 while allowing Dibbell to "provide the tough edits I needed".
In his memoir, he paid tribute to her influence on his work: "Her aesthetic responsiveness was unending... no one affected my writing like Carola". Christgau finished the guide in mid-September, submitting the manuscript a few weeks late of his publisher's deadline. Christgau's Record Guide collects 3,000 "Consumer Guide
The Fania All-Stars is a musical group formed in 1968 as a showcase for the musicians on Fania Records, the leading salsa music record label of the time. In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Latin melodies, Johnny Pacheco, a composer and bandleader born in the Dominican Republic. Masucci bought out his partner Pacheco from Fania Entertainment Group Ltd. and was the sole owner until his death in December 1997. Throughout the early years, Fania used to distribute its records around New York. Success from Pacheco's Cañonazo recording would lead the label to develop its roster. Masucci and Pacheco, now executive negotiator and musical director began acquiring musicians such as Bobby Valentín, Larry Harlow, Ray Barretto. In 1968, Fania Records created a continuously revolving line-up of entertainers known as the Fania All-Stars, they were considered some of the best Latin Music performers in the world at that time. The original lineup consisted.
They recorded Live At Volumes 1 and 2 with this original lineup. In 1971 they recorded Fania All-Stars: Live At The Cheetah, Volumes 1 and 2, it exhibited the entire All-Star family performing before a capacity audience in New York's Cheetah Lounge. Following sell-out concerts in Puerto Rico and Panama, the All-Stars embarked on their first appearance at New York's Yankee Stadium on August 24, 1973; the Stars performed before more than 40,000 spectators in a concert that featured Ray Barretto, Willie Colón, Edwin Tito Asencio Rubén Blades, Larry Harlow, Johnny Pacheco, Roberto Roena, Pellín Rodríguez, Bobby Valentín, Jorge Santana, Celia Cruz, Héctor Lavoe, Cheo Feliciano, Ismael Miranda, Justo Betancourt, Ismael Quintana, Pete "El Conde" Rodríguez, Bobby Cruz and Santos Colón. Live at Yankee Stadium was included in the second set of 50 recordings in the U. S. National Recording Registry, solidifying the All-Stars as "culturally and aesthetically significant." In 1974, the All Stars performed in Africa, at the 80,000-seat Stade du 20 mai in Kinshasa.
This was released as Live in Africa. This Zairean appearance occurred along with James Brown and others at a music festival held in conjunction with the Muhammad Ali/George Foreman heavyweight title fight. Footage of the performance was included in the 2008 documentary Soul Power. To attain a wider market for salsa, Fania made a deal with Columbia Records in the US for a series of crossover albums by the All-Stars, beginning with Delicate & Jumpy, in which Steve Winwood united with the All-Stars' Pacheco, Valentin and Roena. During the same year, the Fania All-Stars made their sole UK appearance, at London's Lyceum Ballroom, with Winwood appearing as guest. In 1978 the All-Stars released Live, recorded in concert on July 11, 1975 at San Juan's Roberto Clemente Coliseum. In 1979, they travelled to Havana, Cuba, to participate in the Havana Jam festival that took place between 2–4 March, alongside Rita Coolidge, Kris Kristofferson, Stephen Stills, the CBS Jazz All-Stars, Trio of Doom, Billy Swan, Bonnie Bramlett, Weather Report, Billy Joel, plus Cuban artists such as Irakere, Pacho Alonso, Tata Güines, Orquesta Aragón.
Their performance is captured on Ernesto Juan Castellanos's documentary Havana Jam'79. During the same year the All-Stars released Crossover and Havana Jam on Fania, which came from a concert recorded in Havana on March 2. In May 2007 Ruben Blades was sued by Willie Colon for breach of contract; this led to a series of countersuits that lasted over five years. A book titled Decisiones detailing the inside story of this legal battle was written by Blades' former agent, Robert J. Morgalo and published in 2016 in English and Spanish website; the court documents can be read here and full transcripts of depositions and court rulings can be seen here In 2008, Cheo Feliciano celebrated his 50 years in the music industry by hosting a concert at Madison Square Garden, where Bloomberg declared July 20 "Cheo Feliciano Day" in New York. In 2009, an historical documentary, Latin Music USA, shown on PBS TV, featured an episode on the Fania All-Stars, their evolution and demise. In 2009 as well, the All-Stars returned to the stage, opening Carlos Santana's world tour in Bogotá, Colombia.
The presentation caused mixed feelings inside the salsa circle though because they were treated as seconds by the concert's organizers. In March 2011, subsequently in November 2012, a limited roster of the All-Stars performed in Lima, Peru. One thing to note about the 2012 performance is the return of Ruben Blades. Ismael Quintana was not present in the November 2012 presentation though, as well as Yomo Toro. In October 2013, a new, complete roster of the All-Stars presented in San Juan Puerto Rico, celebrating the 40th anniversary of their first presentation in San Juan; this roaster included the return of Luigi Texidor. As well as the participation of Andy Montañez, Cita Rodriguez and Willie Colón; this was Cheo Feliciano's last presentation with the All-Stars before dying in a car accident in April 2014 in San Juan, Puerto Rico. In 2014 the Fania All-Stars were chosen to receive ASCAP's honorary L
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en