Rhythm of Love (Anita Baker album)
Rhythm of Love is the fifth album by American R&B/soul singer Anita Baker, released in 1994. The album peaked at #3 on the US Billboard 200 and #1 on the Billboard Top R&B/Hip Hop chart and was certified double platinum, giving Baker her fourth platinum selling album; this is the first album since 1983's The Songstress by Baker not to be produced by longtime collaborator Michael J. Powell, who had agreed to split the arrangement after the release of Baker's 1990 album, Compositions; the album's first single, "Body and Soul", gave Baker her first top 40 hit since 1989. "You Belong to Me" is a cover of the Carly Simon classic, not to be confused with the song of the same title that Baker recorded for her 1988 album Giving You the Best That I Got. Baker received a Grammy Award in 1995 for Best Female R&B Vocal Performance for "I Apologize". "Body and Soul" was nominated for 1995 Grammy Awards for Best Female R&B Vocal Performance and Best R&B Song, Rhythm of Love was nominated for Best R&B Album.
Rhythm of Love is Baker's last album for Elektra Records. Because of dissatisfaction with the album's promotion, Baker filed a lawsuit against Elektra, requesting a transfer to another label within Warner Music Group, she signed with Atlantic Records in September 1996. "Rhythm of Love" - 5:50 "The Look of Love" - 4:47 "Body and Soul" - 5:42 "Baby" - 4:25 "I Apologize" - 5:09 "Plenty of Room" - 4:57 "It's Been You" - 4:59 "You Belong to Me" - 4:41 "Wrong Man" - 5:51 "Only for a While" - 5:16 "Sometimes I Wonder Why" - 4:37 "My Funny Valentine" - 5:06 Anita Baker – lead vocal, background vocals, piano intro and synthesized percussion Michael Thompson – rhythm guitar Dean Parks – guitars Paul Peterson – additional guitars on track 2 and rhythm guitar on track 10 Ira Siegel – guitars, guitar solo on track 7 Georg Wadenius – guitars on track 7 Bucky Pizzarelli – guitars John McCurry – guitars Andy Snitzer – saxophone Barry J. Eastmond – keyboards, synthesizers, synth strings, synth bass, Rhodes piano, drum programming George Duke – electric drums, synth strings, Synclavier programming, synthesized Rhodes Joe Sample, Greg Phillinganes, Eddie Howard – piano Luis Resto – acoustic and Rhodes piano, synth bass, synthesizer pads Michael Bradford – intro piano and synth programming on track 1 Nathan East, James Genus, Anthony Jackson, Charnett Moffett – bass Joe Mardin – drums, percussion and woodwinds Bernard Davies, Steve Ferrone – drums, percussion Singles List of number-one R&B albums of 1994
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
Boys in the Trees (film)
Boys in the Trees is a 2016 Australian fantasy drama film directed by Nicholas Verso. It was screened in the Discovery section at the 2016 Toronto International Film Festival. Reviews were mixed but favourable, getting 80% on Rotten Tomatoes from 15 reviews. AV Club included it in its "The best films of 2017 that we didn't review" feature, noting its themes were not original but saying it "grapples with the universal teenage themes of fitting in and growing apart more imaginatively—and sensitively—than most"; the Guardian gave it 2/5, finding some moments were "memorably surreal" but saying it suffered from its low budget and lack of script editing. Toby Wallace as Corey Gulliver McGrath as Jonah Mitzi Ruhlmann as Romany Justin Holborow as Jango Boys in the Trees on IMDb
Atlantic Studios was the recording studio of Atlantic Records. Although this recording studio was located at 1841 Broadway, in New York City, Atlantic Recording Studios was located at 234 West 56th Street from November 1947 until mid-1956; when the Shorty Rogers and His Giants disc of 33.33 rpm called Martians Come Back! was issued in August 1956, the address of Atlantic Recording Studios had relocated to 157 W 57th Street. The studio was the first to record in stereo due to the efforts of Tom Dowd. Tom Dowd in the early days of Atlantic Records would do recording at the offices. At night the desks would be pushed against the walls and singing groups would gather around one or two microphones in the inner office and he would be in the outer office recording singing groups with a small mixer and a tape recorder. In 1958 Tom Dowd convinced Ampex to sell the second Ampex eight track tape recorder manufactured to Atlantic Studios putting Atlantic ahead of other studios for many years. In 1959 Atlantic Records and Atlantic Studios moved to 1841 Broadway.
The studios were in the co-joined building at 11 West 60th Street. When Atlantic Records moved to 75 Rockefeller Center in the mid 1970s, Atlantic Studios expanded to occupy the entire 2nd floor of both buildings. In the early 1980s the studios expanded to the 3rd floor; the studio complex consisted of two studios, a mix room, two disk mastering rooms, two editing and tape copy rooms, two digital transfer rooms, a quality control room for Atlantic Records manufactured products, tape library and several offices and lounges. Studio A - 50' x 30' x 15', control room 20' x 15', a a Hidley redesign 24' x 24'; the control room had two generations of MCI consoles the Hidley control room had a custom NEVE. Monitors were UREIs and Hidleys. Tommy Dowd early on installed variable acoustic sound traps that affected both the low frequency absorption and the reverberation time in the studio. Studio B - 30' x 15' x 15', control room 15' x 15'. Consoles were MCI 528 and NEVE and monitoring was Altecs and UREIs.
Mix Room - 15' x 12' a new repositioned mix room and vocal booth 20 x 18'. Consoles were a built-in-house 16 channel passive summing mixer original Studio A MCI "black" console a third MCI 528 purchased from Criteria Studios and in the new mix room an SSL. Monitoring was Altecs and in the SSL room??. Mastering Rooms - Neumann and Scully Disk Cutting systems, Altec monitoring. Tape Recorders - Ampex, Scully, MCI, Sony. Microphones - Neumann, AKG, Electro-Voice, Shure, RCA. Outboard Equipment - Dolby, UREI, Lang, Spectra-Sonic, Allison Research, Audio & Design and Fairchild. Reverberation - An echo chamber was built in the basement of 1841 Broadway but it was used in years it was EMT analog and digital reverberation units; the studios closed in 1990 and Atlantic Records' in-house digital and analog production rooms and the tape library were re-located to West 54th Street. Ahmet Ertegün Nesuhi Ertegün Herb Abramson Brian Eddolls - Synclavier Programmer Chronological list, with album and recording dates: "Splish Splash" - Bobby Darin "Mr. Soul" - Buffalo Springfield Again, Buffalo Springfield "Pretty Girl Why" - Last Time Around, Buffalo Springfield "Kind Woman" - Last Time Around, Buffalo Springfield "Bring It On Home" - Led Zeppelin II, Led Zeppelin "Don't Knock My Love" - Wilson Pickett "Neighbours" - Tattoo You, Rolling Stones recorded at Pathé Marconi Studios, Paris Chronological list with artist, recording dates: Pithecanthropus Erectus - Charlie Mingus The Clown Blues & Roots - Charlie Mingus Giant Steps - John Coltrane Coltrane's Sound - John Coltrane Dream Weaver - Charles Lloyd Lady Soul - Aretha Franklin Life Between the Exit Signs - Keith Jarrett Disraeli Gears - Cream Wheels of Fire - Cream Restoration Ruin - Keith Jarrett The Allman Brothers Band - Allman Brothers Band Loaded - The Velvet Underground Standing Here Wondering Which Way to Go - Marion Williams Words - Donal Leace Donal Leace - Donal Leace El Juicio - Keith Jarrett The Mourning of a Star - Keith Jarrett Birth - Keith Jarrett The Divine Miss M - Bette Midler Shotgun Willie - Willie Nelson recorded at Quadrafonic Studios and Sam Phillips Studios, Memphis Changes One - Charlie Mingus Main Course - Bee Gees recorded at Criteria Studios, Miami FL Live From The Atlantic Studios, Bonfire - AC/DC Fear of Music - Talking Heads recorded at Hit Factory, RPM Sound, The Record Plant, New York Chaka - Chaka Khan Spy - Carly Simon The Honeydrippers: Volume One - Robert Plant Love Is for Suckers - Twisted Sister Danzig - Danzig recorded at Chung King Metal Studios, New-York Winger - Winger Alphabetical list of main artists: Led Zeppelin II - Led Zeppelin
Devoted to You (song)
"Devoted to You" is a song written by Felice and Boudleaux Bryant. The best-known recording was by The Everly Brothers, released by Cadence Records as catalog number 1350; this version was issued as the flip side of "Bird Dog," but reached the charts on its own, at No. 10 on the United States pop charts, No. 25 in Australia, No. 1 in Canada. In addition, the song reached No. 7 on the United States country music chart and No. 2 on the rhythm and blues chart. The song was recorded by American singer-songwriters Carly Simon and James Taylor, appearing on Simon's 1978 album, Boys in the Trees. Following the smash success of the album's first single "You Belong to Me", Devoted to You was released as the second single, it became a Top 40 hit. Charting on both the Billboard Pop singles chart and Billboard Adult Contemporary chart, as well as the Hot Country Songs chart; the song charted in Canada, peaking at No. 50. Carly Simon - lead vocals Richard Tee - electric piano Hugh McCracken - electric guitar solo Will Lee - bass Steve Gadd - drums The Beach Boys' rendition was a part of their 1965 album Beach Boys' Party!, sung by Mike Love and Brian Wilson.
This version was included as the B-side to the Mike Love and Brian Wilson single, "Gettin' Hungry". A recording without the Party! Sound effects can be found on their CA compilation. Brian Hyland covered. Sandy Posey recorded a compelling cover on her Sweet Dreams album, in which she emulated the Everly Brothers' harmony using multi-track recording; the song was covered by The Seekers on their 1993 live album 25 Year Reunion Celebration, by Linda Ronstadt and Valerie Carter on Ronstadt's 1996 album Dedicated to the One I Love. Kathleen Robertson sang the song in an episode of Beverly Hills, 90210. David Pomeranz sings a cover of Devoted To You Lyrics of this song at MetroLyrics
Yvette Marie Stevens, better known by her stage name Chaka Khan, is an American singer and musician. Her career has spanned nearly five decades, beginning in the 1970s as the lead vocalist of the funk band Rufus. Khan received public attention for her vocals and image. Known as the Queen of Funk, Khan was the first R&B artist to have a crossover hit featuring a rapper, with "I Feel for You" in 1984. Khan has sold an estimated 70 million records worldwide. In the course of her solo career, Khan has achieved three gold singles, three gold albums and one platinum album with I Feel for You. With Rufus, she achieved four gold singles, four gold albums, two platinum albums, she has collaborated with Ry Cooder, Robert Palmer, Ray Charles, Quincy Jones, Guru and Mary J. Blige, among others. In December 2016, Billboard magazine ranked her as the 65th most successful dance artist of all time, she was ranked at number 17 in VH1's original list of the 100 Greatest Women of Roll. She has been nominated for induction into the Roll Hall of Fame twice.
Chaka Khan was born Yvette Marie Stevens on March 23, 1953 into an artistic, bohemian household in Chicago, Illinois. The eldest of five children born to Charles Stevens and Sandra Coleman, she has described her father as a beatnik and her mother as "able to do anything." She was raised in the Hyde Park area, "an island in the middle of the madness" of Chicago's rough South Side housing projects. Her sister Yvonne became a successful musician in her own right under the name Taka Boom, her only brother, who formed the funk group Aurra became a successful musician. She has Zaheva Stevens and Tammy McCrary. Khan was raised as a Catholic, she attributed her love of music to her grandmother. Khan became a fan of rhythm and blues music as a preteen and at eleven formed a girl group, the Crystalettes, which included her sister Taka. In the late 1960s, Khan attended several civil rights rallies with her father's second wife, Connie, a strong supporter of the movement and joined the Black Panther Party after befriending fellow member and Chicago native Fred Hampton in 1967.
Though many think that she was given the name Chaka while in the Panthers, she has made it clear that her name Chaka Adunne Aduffe Hodarhi Karifi was given to her at age 13 by a Yoruba Baba. In 1969, she left the Panthers and dropped out of high school, having attended Calumet High School and Kenwood High School, she began to perform in small groups around the Chicago area, first performing with Cash McCall's group Lyfe, which included her then-boyfriend Hassan Khan. She was asked to replace Baby Huey of Baby Huey & the Babysitters after Huey's death in 1970; the group disbanded a year later. While performing in local bands in 1972, Khan was spotted by two members of a new group called Rufus and soon won her position in the group, they signed with ABC Records in 1973. Prior to signing with the label, she married Khan. In 1973, Rufus released their eponymous debut album. Despite their fiery rendition of Stevie Wonder's "Maybe Your Baby" from Wonder's acclaimed Talking Book and the modest success of the Chaka-led ballad "Whoever's Thrilling You", the album failed to gain attention.
That changed when Wonder himself collaborated with the group on a song he had written for Khan. That song, "Tell Me Something Good", became the group's breakthrough hit, reaching number-three on the Billboard Hot 100 in 1974 winning the group their first Grammy Award; the single's success and the subsequent follow-up, "You Got the Love", which peaked at number eleven on the Billboard Hot 100, helped their second parent album, Rags to Rufus, go platinum, selling over a million copies. From 1974 to 1979, Rufus released six platinum-selling albums including Rufusized, Rufus Featuring Chaka Khan, Ask Rufus, Street Player and Masterjam. Hits the group scored during this time included "Once You Get Started," "Sweet Thing," "Hollywood," "At Midnight," and "Do You Love What You Feel." The band gained a reputation as a live performing act, with Khan becoming the star attraction, thanks to her powerful vocals and stage attire—which sometimes included Native American garb and showing her midriff. Most of the band's material was produced by the band itself with few exceptions.
Khan has been noted for being an instrumentalist playing drums and bass. Most of her compositions were collaborations with guitarist Tony Maiden. Relations between Khan and the group between her and Andre Fischer, became stormy. Several members left with nearly every release. While Khan remained in the group, she signed a solo contract with Warner Bros. Records in 1978. While Khan was busy at work on solo material, Rufus released three albums without her participation including 1979's Numbers, 1980's Party'Til You're Broke, 1983's Seal in Red. In 1978, Warner Bros. Records released Khan's solo debut album, which featured the crossover disco hit, "I'm Every Woman", written for her by singers-songwriters Ashford & Simpson; the success of the single helped. Khan featured on Quincy Jones's hit, "Stuff Like That" released in 1978, which featured Ashford & Simpson as co-writers, along with Jones and several others. Ashford & Simpson performed with Khan on the song. In 1979, Khan reunited with Rufus to collaborate on the Jones-produced Masterjam, which featured their hit "Do You Love What You Feel", which Khan sang with
Michael McDonald (musician)
Michael McDonald is an American singer-songwriter and record producer known for his distinctive, soulful voice and as a member of the bands The Doobie Brothers and Steely Dan. McDonald wrote and sang several hit singles with The Doobie Brothers, including “What a Fool Believes,” “Minute By Minute,” and “Takin' It to the Streets.” McDonald has performed as a prominent backing vocalist on numerous recordings by artists like Steely Dan, Christopher Cross, Kenny Loggins. He is considered an influential figure in the development of the yacht rock genre. McDonald's solo career consists of nine studio albums and a number of singles, including the 1982 hit "I Keep Forgettin'." During his career, McDonald has collaborated with a number of other artists, including James Ingram, David Cassidy, Van Halen, Patti LaBelle, Lee Ritenour, the Winans, Aretha Franklin, Grizzly Bear, Joni Mitchell, Thundercat. He has recorded for television and film soundtracks. McDonald is the recipient of five Grammy Awards. Michael McDonald was born on February 12, 1952, into an Irish American Catholic family in Ferguson, Missouri, a suburb of St. Louis.
McDonald attended McCluer High School, where he played in local bands including Mike and the Majestics, Jerry Jay and the Sheratons, the Reeb-Toors/Younger Brothers, the Guild. He was'discovered' while playing with a band called Blue, moved to Los Angeles, California, in 1970 to pursue a career in music. In 1974, McDonald became a member of Steely Dan's touring band, singing backing vocals, he became one of the many in-studio adjunct members of the band, providing backing vocals on tracks for 1975's Katy Lied. He appeared on subsequent Steely Dan recordings including 1977's Aja, he played keyboards on some Steely Dan tracks. McDonald continued to provide backing vocals for Steely Dan through Gaucho. In 2006, he joined Steely Dan on the band's summer tour, both as the opening act and as part of the band. McDonald was recruited by the rock band the Doobie Brothers in April 1975 as a temporary replacement for their lead vocalist Tom Johnston after he had become ill during a national tour, but his work with the band proved so successful that they decided to retain him as a full-time member.
As a member of the Doobie Brothers, McDonald sang the lead vocals on some of the band's best-known songs such as "Real Love", "Takin' It to the Streets", "Little Darling", "It Keeps You Runnin'", "Minute by Minute", "What a Fool Believes". At the same time, McDonald appeared as a session vocalist and keyboardist for various artists, including Christopher Cross, Stephen Bishop, Jack Jones, Bonnie Raitt, the rock band Toto, Kenny Loggins. McDonald co-wrote "You Belong to Me" with Carly Simon, which appeared on the album Livin' on the Fault Line. McDonald reunited as a guest performer with the Doobie Brothers several times since the band's initial dissolution in 1982, he reteamed with the Doobie Brothers for the track "Don't Say Goodbye" on the band's 13th studio album, World Gone Crazy. In March 2014, he reunited with the Doobie Brothers to record a new album featuring the greatest hits of the Doobies' 40-plus-year career; this project was completed in conjunction with Sony Music Nashville. On the album, McDonald shares lead vocals with Sara Evans for "What a Fool Believes", Love and Theft for "Takin' it to the Streets", Amanda Sudano-Ramirez for "You Belong to Me".
The album, titled Southbound, was released on November 4, 2014, as the Doobie Brothers' 14th studio album. On November 5, 2014, McDonald and the Doobie Brothers were featured musical guests on the 47th annual Country Music Association Awards to celebrate the release of Southbound, they were joined by Hunter Hayes, Jennifer Nettles, Hillary Scott in their performance of "Listen to the Music." At the end of the awards ceremony, they were joined by host Brad Paisley for "Takin' It to the Streets". After the Doobie Brothers' first farewell tour, McDonald released his first solo studio album, If That's What It Takes, in 1982 on the label Warner Bros; the album featured the hit singles "I Keep Forgettin'", a duet with his sisters Kathy and Maureen, "I Gotta Try", a song co-written with Kenny Loggins, who recorded in that same year for his fourth album High Adventure. He continued to collaborate with other artists during this period. McDonald co-wrote Van Halen's top-20 hit "I'll Wait", from their biggest-selling album 1984.
"Yah Mo B There", a duet with James Ingram, won the 27th Annual Grammy for Best R&B Performance by a Duo or Group with Vocals. In 1985, he released his second studio album No Lookin' Back, which for the first time, he coproduced, as well as wrote or cowrote all of the tracks and featured a minor hit with the title-track, cowritten by Kenny Loggins. By June 1986, the album had met little success, but McDonald had a huge boost with the release of the single "Sweet Freedom", which appeared on the soundtrack to the Billy Crystal and Gregory Hines film Running Scared, was McDonald's last top-10 hit on the Billboard Hot 100 chart; the No Lookin' Back album was re-released in some markets with the new hit single included, as well as a few songs remixed. The single "On My Own", a duet with Patti LaBelle, reached number one on the U. S. charts in 1986. Mid that year, he performed as a backing vocalist on Toto's album Fahrenheit, appearing on the hit single "I'll Be Over You", its accompanying video. On August 22, 1986, McDonald appeared in an episode of The Young and the Restless.
That year, he provided b