Johnnie Harrison Taylor was a three-time Grammy-nominated American recording artist and songwriter who performed a wide variety of genres, from blues and blues, gospel to pop, doo-wop, disco. Johnnie Taylor was born in Arkansas, he grew up in West Memphis, performing in gospel groups as a youngster. As an adult, he had one release, "Somewhere to Lay My Head", on Chicago's Chance Records label in the 1950s, as part of the gospel group Highway QCs, founded by a young Sam Cooke. Taylor's singing was strikingly close to that of Cooke, he was hired to take Cooke's place in the latter's gospel group, the Soul Stirrers, in 1957. A few years after Cooke had established his independent SAR Records, Taylor signed on as one of the label's first acts and recorded "Rome Wasn't Built In A Day" in 1962. However, SAR Records became defunct after Cooke's death in 1964. In 1966, Taylor moved to Stax Records in Memphis, where he was dubbed "The Philosopher of Soul", he recorded with the label's house band, which included Booker T. & the M.
G.'s. His hits included "I Had a Dream", "I've Got to Love Somebody's Baby" and most notably "Who's Making Love", which reached No. 5 on the Billboard Hot 100 chart and No. 1 on the R&B chart in 1968. "Who's Making Love" sold over one million copies, was awarded a gold disc. In 1970, Taylor married Gerlean Rocket and they remained married until his death in 2000. During his tenure at Stax, he became an R&B star, with over a dozen chart successes, such as "Jody's Got Your Girl and Gone", which reached No. 23 on the Hot 100 chart, "Cheaper to Keep Her" and record producer Don Davis's penned "I Believe in You", which reached No. 11 on the Hot 100 chart. "I Believe in You" sold in excess of one million copies, was awarded gold disc status by the R. I. A. A. in October 1973. Taylor, along with Isaac Hayes and The Staple Singers, was one of the label's flagship artists, who were credited for keeping the company afloat in the late 1960s and early 1970s after the death of its biggest star, Otis Redding, in an aviation accident.
He appeared in the documentary film, released in 1973. After Stax folded in 1975, Taylor switched to Columbia Records, where he recorded his biggest success with Don Davis still in charge of production, "Disco Lady", in 1976, it spent four weeks at number one on the Billboard Hot 100 and six weeks at the top of the R&B chart. It peaked at No. 25 in the UK Singles Chart in May 1976. "Disco Lady" was the first certified platinum single by the RIAA. Taylor recorded several more successful albums and R&B single hits with Davis on Columbia, before Brad Shapiro took over production duties, but sales fell away. After a short stay at a small independent label in Los Angeles, Beverly Glen Records, Taylor signed with Malaco Records after the company's founder Tommy Couch and producing partner Wolf Stephenson heard him sing at blues singer Z. Z. Hill's funeral in spring 1984. Backed by members of the Muscle Shoals Rhythm Section, as well as in-house veterans such as former Stax keyboardist Carson Whitsett and guitarist/bandleader Bernard Jenkins, Malaco gave Taylor the type of recording freedom that Stax had given him in the late 1960s and early 1970s, enabling him to record ten albums for the label in his 16-year stint.
In 1996, Taylor's eighth album for Malaco, Good Love!, reached number one on the Billboard Top Blues Albums chart, was the biggest record in Malaco's history. With this success, Malaco recorded a live video of Taylor at the Longhorn Ballroom in Dallas, Texas, in the summer of 1997; the club portion of the Good Love video was recorded at 1001 Nightclub in Mississippi. Taylor's final song was "Soul Heaven", in which he dreamed of being at a concert featuring deceased African-American music icons from Louis Armstrong to Otis Redding to Z. Z. Hill to The Notorious B. I. G. among others. In the 1980s, Johnnie Taylor was a DJ on KKDA, a radio station in the Dallas area, where he had made his home; the station's format was R&B and Soul oldies and their on-the-air personalities were local R&B, Soul and jazz musicians. Taylor was billed as "The Wailer, Johnnie Taylor". Taylor died of a heart attack at Charlton Methodist Hospital in Dallas, Texas, on May 31, 2000, aged 66. Stax billed Johnnie Taylor as "The Philosopher of Soul".
He was known as "the Blues Wailer". He was buried beside Ida Mae Taylor, at Forrest Hill Cemetery in Kansas City, Missouri, his complex personal life was revealed after his death. Having six accepted children and three others with confirmed paternity born to three different mothers, the difficulties associated with executing his will were presented in the TV programme, The Will: Family Secrets Revealed: The Estate of Johnnie Taylor.. Taylor was given a Pioneer Award by the Rhythm and Blues Foundation in 1999. Taylor was a three-time Grammy Award nominee. Taylor has been nominated for three career Grammy Awards without a win. In 2004, the UK's Shapeshifters sampled Taylor's 1982 "What About My Love?", for their No. 1 hit single, "Lola's Theme". Wanted: One Soul Singer - Stax 715 Who's Making Love... - Stax 2005 Raw Blues - Stax 2008 Rare Stamps - Stax 2012 The Johnnie Taylor Philosophy Continues - Stax 2023 One Step Beyond - Stax 2030 Taylored in Silk - Stax 3014 Super Taylor - Stax 5509 Eargasm - Columbia 33951 Rated Extraordinaire - Columbia 34401 Reflections - RCA APL1-2527 Disco 9000 - Columbia 35004 Ever Ready - Columbia 35340 Sh
John Benson Sebastian is an American singer/songwriter, guitarist and autoharpist, best known as a founder of The Lovin' Spoonful, a band inducted into the Rock and Roll Hall of Fame in 2000. Sebastian grew up in Greenwich Village, his father, John Sebastian, was a noted classical harmonica player and his mother, was a radio script writer. His godmother was Vivian Vance, a close friend of his mother, his godfather and first babysitter was children's book illustrator Garth Williams, a friend of his father. Sebastian grew up surrounded by music and musicians, including Burl Ives and Woody Guthrie, hearing such players as Lead Belly and Mississippi John Hurt in his own neighborhood, he graduated from Blair Academy, a private boarding school in Blairstown, New Jersey, in 1962. He next attended New York University for just over a year, but dropped out as he became more interested in musical pursuits. In the early 1960s, Sebastian developed an interest in blues music and in playing harmonica in a blues style, rather than the classical style used by his father.
Through his father's connections, he met and was influenced by blues musicians Sonny Terry and Lightnin' Hopkins. Sebastian became part of the folk and blues scene, developing in Greenwich Village and gave rise to folk rock. In addition to harmonica, Sebastian played guitar and autoharp. One of Sebastian's first recording gigs was playing guitar and harmonica for Billy Faier's 1964 album The Beast of Billy Faier, he played on Fred Neil's album Bleecker & MacDougal and Tom Rush's self-titled album in 1965. He played in the Even Dozen Jug Band and in The Mugwumps, which split to form the Lovin' Spoonful and the Mamas & the Papas. Bob Dylan invited him to play bass on his Bringing It All Back Home sessions and to join Dylan's new electric touring band, but Sebastian declined in order to concentrate on his own project, The Lovin' Spoonful. Sebastian was joined by Zal Yanovsky, Steve Boone, Joe Butler in the Spoonful, named after "The Coffee Blues," a Mississippi John Hurt song; the Lovin' Spoonful, which blended folk-rock and pop with elements of blues and jug band music, became part of the American response to the British Invasion, was noted for such hits as "Do You Believe in Magic", "Summer in the City", "Daydream", "Did You Ever Have to Make Up Your Mind?", "You Didn't Have to Be So Nice", "Darling Be Home Soon", "Jug Band Music", "Rain on the Roof", "Nashville Cats", "Six O'Clock".
The band, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he revealed the name of his dealer to police, which caused a fan backlash and added to the internal tension created by the band members' diverging interests. Neither Sebastian nor Butler was involved in the matter, both being away from San Francisco at the time. Yanovsky subsequently left the band and was replaced by Jerry Yester, after which the band's musical style veered away from its previous eclectic blend and became more pop-oriented. Sebastian left the Lovin' Spoonful in 1968 and did not play with any versions of the band, except for a brief reunion with the other three original members to appear in Paul Simon's 1980 film One-Trick Pony, again for a single performance at their Rock and Roll Hall of Fame induction ceremony in 2000. One of Sebastian's first projects after leaving the Spoonful was composing the music and lyrics for a play with music, Jimmy Shine, written by Murray Schisgal.
It opened on Broadway in December 1968, with Dustin Hoffman in the title role, ran until April 1969, for a total of over 150 performances. In the late 1970s and early 1980s, Sebastian himself wrote a stage musical adaptation of E. B. White's Charlotte's Web in consultation with his godfather Garth Williams, who illustrated White's original book; the proposed musical included 20 songs, some of which Sebastian performed in concert, but the musical was never produced. In August 1969, Sebastian made an unscheduled appearance at Woodstock, he traveled to the festival as a spectator, but was asked to appear when the organizers needed an acoustic performer after a rain break because they couldn't set up amps on stage for Santana until the water was swept off. Sources that have tried to reconstruct the Woodstock running order differ on the exact time and position of Sebastian's unplanned set, with some stating that he played on Saturday, August 16 after Country Joe McDonald. Sebastian's Woodstock set consisted of three songs from his recorded but not yet released John B.
Sebastian album and two Lovin' Spoonful songs. Documentary remarks by festival organizers indicated that Sebastian was under the influence of marijuana or other psychedelic drugs at the time, hence his spontaneity and casual, unplanned set. Sebastian has confirmed in interviews that he was a regular marijuana user at the time and had taken acid at Woodstock because he was not scheduled to perform. However, he has noted that "ther
The Prisoner (album)
The Prisoner is the seventh Herbie Hancock album, his final on the Blue Note label and recorded in 1969. His next record would be on Warner Bros. Records, it is dedicated to the memory of Martin Luther King. Hancock suggested in 1969 that he had been able to get closer to his real self with this album than on any other previous. Hancock praised flute player Hubert Laws on the album, suggesting that Laws was one of the finest flute players in classical or jazz music. Like his ambitious Speak Like a Child, The Prisoner purports to stand as a "social statement written in music"; the title track seeks to express "how black people have been imprisoned for a long time." The piece was first heard live in 1968, during a performance at the University of California Jazz Festival. "Firewater" represents'the social duality of the oppressor and the oppressed: the fire symbolises the heat in violence and power, whilst the feeling of water recalls Martin Luther King. "He Who Lives in Fear" alludes to King, since he "had to live in an atmosphere charged with intimidation".
Continuing the album's apparent theme, the "Promise of the Sun" symbolises "how the sun promises life and freedom to all living things, yet blacks are not yet free." All compositions by Herbie Hancock, except where noted. "I Have a Dream" – 10:58 "The Prisoner" – 7:57 "Firewater" – 7:33 "He Who Lives in Fear" – 6:51 "Promise of the Sun" – 7:52Bonus tracks on CD reissue "The Prisoner" – 5:47 "Firewater" – 8:38Recorded on April 18, April 21 and April 23, 1969. Herbie Hancock – acoustic piano, electric piano Johnny Coles – flugelhorn Garnett Brown – trombone Joe Henderson – tenor saxophone, alto flute Buster Williams – bass Tootie Heath – drums Tony Studd – bass trombone Jack Jeffers – bass trombone Hubert Laws – flute Jerome Richardson – bass clarinet, flute Romeo Penque – bass clarinet
I Have a Dream/Bellissima
"I Have a Dream/Bellissima" is a song by German-Turkish DJ and music producer DJ Quicksilver. The songs were released in November 1996 as a single from his 1997 album Quicksilver; the double single "I Have a Dream"/"Bellissima" was a massive hit all over Europe and DJ Quicksilver's biggest chart success and produced by Tommaso De Donatis and Orhan Terzi, i.e. DJ Quicksilver himself, it was certified gold both in Germany and in UK. The song "I Have a Dream" samples on the famous "I Have a Dream" speech by Martin Luther King and uses excerpts from King's voice; the music videos of "I Have a Dream" and "Bellissima" were directed by Volker Hannwacker
Sielun Veljet was a Finnish rock band of the 1980s. They were formed soon after the disbanding of Hassisen Kone by its former frontman Ismo Alanko. Sielun Veljet never achieved the fame or the record sales figures of Hassisen Kone, but they became famous for their powerful stage presence and aggressive, shamanistic post-punk musical style. Most of the band's recorded material is sung in Finnish, except for their 1989 album Softwood Music Under Slow Pillars, they have recorded English-language versions of their songs under the moniker L'amourder. In 2011, they released a new song, Nukkuva hirviö. Sielun Veljet was formed shortly after Hassisen Kone, a successful and well-known new wave band, disbanded. Singer-guitarist Alanko and guitarist Jukka Orma wanted to start making a different kind of music than what Hassisen Kone had done and what the Finnish public expected of them; the band was complete with drummer Alf Forsman. The band's live performances were loud and intensive from the beginning, people soon stopped expecting another Hassisen Kone.
The concerts were sometimes long—one gig in Nivala in the 1980s lasted for four and a half hours and ended only when security personnel forced Alanko off the stage. The band's self-titled debut album was recorded live in 1983. Shortly thereafter, with the 1983 EP Lapset and the 1984 album Hei soturit, the band started gaining popularity; the two recordings were joined together on releases. L'amourha became the critical and commercial breakthrough for Sielun Veljet, remains by far their highest selling album. "Peltirumpu" became the band's first real hit. The album and its follow-up Kuka teki huorin are considered the most accessible Sielun Veljet recordings, remain the band's only studio album gold records; the song "On Mulla Unelma" from L'Amourha album was banned by Finnish national broadcasting company, YLE, after it was performed by the band in the Härmärock television show, broadcast on independence day. The song's lyrics blaspheme Finnish national symbols. After Kuka teki huorin, Sielun Veljet started re-recording some of their material in English in order to find an audience outside Finland.
They recorded the album Shit-Hot using the alias L'amourder. The name is a direct translation of the name of their most successful album - "murha" means "murder" in Finnish. A tour in Europe followed, the band was allowed to tour in Soviet Russia, which proved to be a success. Suomi-Finland, recorded in Finnish, saw Sielun Veljet moving into a more acoustic sound than before; the album's lyrics concentrated on the issues present in late 1980s Finland, such as the growing influence of American culture. It was followed by all-acoustic Softwood Music Under Slow Pillars, written in English but not released outside Finland. After the commercial failure of Softwood Music, the band decided to quit. A greatest hits collection Myytävänä! was released the same year, followed by a three-CD box set Musta laatikko in 1991. Musta laatikko included some heard live and studio material, as well as a full live set under the alias Kullervo Kivi & Gehenna. A documentary film titled Veljet was released in 1991. In 2007, Jukka Orma mixed together some Tuomari Nurmio covers the band had recorded in 1990, some of, included on Musta laatikko.
The album was released as Otteita Tuomari Nurmion laulukirjasta, it reached #1 on the Finnish album charts, highest position for Sielun Veljet. Sielun Veljet has influenced several Finnish rock and metal bands, such as Maj Karma and Turmion Kätilöt. Turmion Kätilöt have covered the Sielun Veljet song "Volvot ulvoo kuun savuun" on their "Verta ja lihaa" single. A tribute album to them, titled Säkenöivää voimaa - tribuutti Sielun Veljille, was released in 2002 and featured among others Timo Rautiainen & Trio Niskalaukaus, Maija Vilkkumaa and Neljä Ruusua. Sielun Veljet at poko.fi Unofficial fan page Official website
Solomon Burke was an American preacher and singer who shaped the sound of rhythm and blues as one of the founding fathers of soul music in the 1960s. He has been called "a key transitional figure bridging R&B and soul", was known for his "prodigious output", he had a string of hits including "Cry to Me", "If You Need Me", "Got to Get You Off My Mind", "Down in the Valley" and "Everybody Needs Somebody to Love". Burke was referred to honorifically as "King Solomon", the "King of Rock'n' Soul", "Bishop of Soul" and the "Muhammad Ali of soul". Due to his minimal chart success in comparison to other soul music greats such as James Brown, Wilson Pickett and Otis Redding, Burke has been described as the genre's "most unfairly overlooked singer" of its golden age. Atlantic Records executive Jerry Wexler once referred to Burke as "the greatest male soul singer of all time". Burke's most famous recordings, which spanned five years in the early 1960s, bridged the gap between mainstream R&B and grittier R&B. Burke was "a singer whose smooth, powerful articulation and mingling of sacred and profane themes helped define soul music in the early 1960s."
He drew from his roots—gospel, jazz and blues—as well as developing his own style at a time when R&B, rock were both still in their infancy. Described as both "Rabelaisian" and as a "spiritual enigma," "perhaps more than any other artist, the ample figure of Solomon Burke symbolized the ways that spirituality and commerce and entertainment, sex and salvation and brotherhood, could blend in the world of 1960s soul music."During the 55 years that he performed professionally, Burke released 38 studio albums on at least 17 record labels and had 35 singles that charted in the US, including 26 singles that made the Billboard R&B charts. In 2001, Burke was inducted into the Roll Hall of Fame as a performer, his album Don't Give Up on Me won the Grammy Award for Best Contemporary Blues Album at the 45th Grammy Awards in 2003. By 2005 Burke was credited with selling 17 million albums. Rolling Stone ranked Burke as no. 89 on its 2008 list of "100 Greatest Singers of All Time". Burke was born James Solomon McDonald on March 21, 1940, in the upper floor of his grandmother Eleanor Moore's home, a row house in West Philadelphia.
Burke was the child of an absentee father. His mother Josephine was a nurse, concert performer and pastor. Burke was consecrated a bishop at birth by his grandmother in the Solomon's Temple, a congregation of the United House of Prayer for All People, which she founded at her home in Black Bottom, West Philadelphia; when Burke was nine, his mother married rabbi and butcher Vincent Burke and had his name changed to Solomon Vincent McDonald Burke. Burke's friends and family called him "Sol". Burke was the godson of Daddy Grace. Burke credited his grandmother as musical influence, he learned how to sing all forms of music from his grandmother's coaching him to listen to music on the radio. Burke began preaching at the age of 7 at the Solomon's Temple, he was described in his young preaching years as a "frantic sermonizer" and "spellbinding in his delivery". Burke became a pastor of the congregation at age 12, appeared on the radio station WDAS, hosted a gospel show on WHAT-AM, mixing songs and sermons in broadcasts from Solomon's Temple.
On weekends he traveled with a truck and tent, to Maryland and the Carolinas to carry on the spiritual crusade of his church. Influenced by Superman, "the first sign of a royal persona was evident in the cape that he wore only on Sundays, made from his "blankie" by his grandmother. Burke had six younger siblings – a sister, Laurena Burke-Corbin, five brothers: Elec Edward "Alec", Vladimir H. "Laddie", Mario "Chuck", Daniel S. "Danny", Jolester R. M. Burke. From an early age Solomon Burke worked to supplement his family's income, he recalled: "I used to deliver grocery orders in a little wagon. When I was seven, I sold newspapers out of my own newsstand on the corner of Lancaster. I had the first 99-cent car wash, located at 40th and Wallace outside Al's Barber Shop. We had it there. We could wash your car in 20 minutes. I had four or five guys, gave'em each a nickel for each car." Another held early job was as a hot dog seller at Eddie's Meat Market, where his friend Ernest Evans known as Chubby Checker worked.
Burke graduated from John Bartram High School. He first became a father at 14. During high school, Burke fronted the quartet, the Gospel Cavaliers, he received his first guitar from his grandmother writing his first song, "Christmas Presents". The Cavaliers began performing in churches, it was around this time that Burke met Kae "Loudmouth" Williams, a famed Philadelphia deejay with help from Williams' wife, who saw Burke and the Cavaliers perform at church. Before entering a gospel talent contest in which a record deal was for first prize, the group split up. Burke entered the contest, held at Cornerstone Baptist Church, as a solo artist and won the contest against eleven other competitors. Soon, several labels including Apollo, Vee-Jay Records and Peacock Records pursued the 15-year-old. Before pursuing the deal, Burke signed Kae Williams as his manager. Williams took him to Apollo Records introducing him to Bess Berman, who signed him to the label; the move was made after Williams added four years to Burke's
I Have a Dream (It Feels Like Home)
I Have a Dream was the debut studio album from Christian rock band The City Harmonic, released on October 18, 2011 by Kingsway Music, produced by The City Harmonic in association with Jared Fox. The album received commercial charting success as well as critical acclaim. Grace S. Aspinwall said that "With the first few notes, it's clear that comparisons to Coldplay ring true... but imitation is not all The City Harmonic has to offer", noted that "What sets them apart from hipster-friendly acts like Arcade Fire and Mumford and Sons is their remarkably hopeful and faith-tinged lyrics" along with "Strong vocals and lilting instrumentation". At Jesus Freak Hideout, Ryan Barbee told that "Combining worship and the fight for justice, it is not an album to be digested lightly", which "The words are honest, the music original, the doctrine thick. If you are a worship leader in search of new congregational, personal, worship songs these are for you and your church. Scott Fryberger of Jesus Freak Hideout wrote that "It may be that they've created a sound that doesn't quite sound like every other worship album, but is still accessible at the same time."At New Release Tuesday, Kelly Sheads wrote that "If Coldplay were a worship band, this is what they'd sound like.
The City Harmonic has a sound unlike any other in Christian music today. So much so, I hesitate to call them a band, but rather musicians because the quality of the music is so powerful. At times the music speaks louder than the lyrics themselves; every song on this album has an anthemic and full sound that continuously builds until coming to an abrupt end with the last note hanging in the balance." Kevin Davis of New Release Tuesday noted that album comes "with lyrics that point to the wonders of our God combined with sweeping melodies and infectious choruses that will be replayed in your mind over and over again." In addition, Davis told that "All of the songs are catchy and worshipful", so this allows The City Harmonic a "great opportunity to reach the lost for the Kingdom of God with their transparent lyrics and incredible musical talent."Keith Settles of Indie Vision Music said that "From start to finish every song is full of worshipful content that not only will get listeners to raise their hands in praise but glorify God the way that He intended.
Full of great melody and great lyrics and good music". Furthermore, Settles stated that the "vocals and how they blend well with the music", this "Musically this album reminds me of something that hymn writers would write with a modern touch." Tony Cummings of Cross Rhythms evoked that "these are songs that are designed for congregational worship yet the multi-layered production ensures that they make for repeated play on your home sound system." At Christianity Today, Joel Oliphint noted how the band "takes cues from Coldplay and other anthemic rock bands, though the City Harmonic's lyrics are a cut above some other worship bands following the same trend." Dave Wood at Louder Than the Music said that this album was "Oozing talent, brilliant musicianship, huge sounding rock songs". At Christian Music Zine, Tyler Hess told that this album has a "deep atmospheric sound that borders on being indie rock mixed with a worshipful heart", they prove "that lyrics don’t always have to leave it to the imagination to stir emotions."
Jonathan Kemp of The Christian Music Review Blog wrote that "The music is so solid and Elias' voice is so superb." I Have a Dream. At CCM Magazine, Grace S. Aspinwall stated that the album was "fabulous", noted that "Following up their acclaimed Introducing EP, they prove here that they are no one-hit wonder." Ryan Barbee at Jesus Freak Hideout proclaimed that "This album is sure to establish The City Harmonic as not just another band, but as a movement of new worship artists." In addition, Scott Fryberger of Jesus Freak Hideout felt that "The City Harmonic does a good job of bringing something fresh to the table with their debut. While it's not a stunning album, it's not bad either." At New Release Tuesday, Kelly Sheads highlighted that "This leaves the song feeling unfinished, but that’s the point. We’re not home yet and until we are, we will never feel complete." Kevin Davis of New Release Tuesday affirmed that this "completely rocks and is loaded with songs you can proudly share with your friends and family."At Indie Vision Music, Keith Settles told that the band "have put together a great album."
Joel Oliphint of Christianity Today alluded to how "The album starts off remarkably strong and meanders a bit in the middle, but it's a worthwhile addition to the ever-growing Coldplay-as-worship canon." At Louder Than the Music, Dave Wood proclaimed this "An absolute gem of an album", which meant that this is "A band to be reckoned with, it's hard to believe this is their full length debut", told that "If this band don't go on to become one of the best in Christian music there is no justice." Tyler Hess of Christian Music Zine evoked that the release "is just about as good as it gets and deserves proper attention." At Alt Rock Live, Jonathan Faulkner noted that "It’s clear that The City Harmonic didn’t fail to pull out all the stops for their first full length studio album I Have a Dream. This debut could mark the beginning of a promising career within the Christian Music Industry." Rob Snyder of Alpha Omega News felt that "The record is outstanding both lyrically and sonically." At The Christian Music Review Blog, Jonathan Kemp told that he was "absolutely wowed" by the release.
For the Billboard charting week of November 5, 2011, I Have a Dream was the No. 6