Todd Harry Rundgren is an American multi-instrumentalist, singer and record producer who has performed a diverse range of styles as a solo artist and as a member of the band Utopia. He is known for his sophisticated and often-unorthodox music, flamboyant stage outfits, his experiments with interactive entertainment, he produced innovative music videos, pioneered forms of multimedia, was an early adopter and promoter of various computer technologies, such as using the Internet as a means of music distribution in the late 1990s. A native of Philadelphia, Rundgren began his professional career in the mid 1960s, forming the psychedelic band Nazz in 1967. Two years he left Nazz to pursue a solo career and scored his first US top 40 hit with "We Gotta Get You a Woman", his best-known songs include "Hello It's Me" and "I Saw the Light" from Something/Anything?, which get frequent air time on classic rock radio stations, the 1983 single "Bang the Drum All Day", featured in many sports arenas and movie trailers.
Although lesser known, "Couldn't I Just Tell You" was influential to many artists in the power pop genre. His 1973 album A Wizard, a True Star remains an influence on generations of "bedroom" musicians. Rundgren organized the first interactive television concert in 1978, designed the first color graphics tablet in 1980, created the first interactive album, No World Order, in 1994, he was one of the first artists to become a prominent producer as well. His notable production credits include Badfinger's Straight Up, Grand Funk Railroad's We're an American Band, the New York Dolls' New York Dolls, Meat Loaf's Bat Out of Hell and XTC's Skylarking. Todd Harry Rundgren was born in Philadelphia on June 22, 1948, the son of Ruth and Harry W. Rundgren, he grew up in the bordering town of Upper Darby and taught himself how to play guitar. As a child, Rundgren was fascinated by his parents small record collection, which consisted of show tunes and symphonic pieces, by the operettas of Gilbert and Sullivan.
He grew infatuated with the music of the Beatles, the Rolling Stones, the Ventures, the Yardbirds, as well as the Philadelphia soul of Gamble & Huff, the Delfonics, the O'Jays. At the age of 17, he formed his first band, called "Money", with then-best friend and roommate Randy Reed and Reed's younger brother. After graduating from Upper Darby High School in 1966, Rundgren moved to Philadelphia and began his career in Woody's Truck Stop, a blues rock group in the style of Paul Butterfield Blues Band. Rundgren stayed with the band for eight months, in the process, they became the most popular group in Philadelphia, he and bassist Carson Van Osten left before they released the eponymous first album to form the rock band Nazz in 1967. By Rundgren had lost interest in the blues and wanted to pursue a recording career with original songs in the style of newer records by the Beatles and the Who; as a member of Nazz, he learned his craft as a songwriter and vocal arranger and was determined to equal the artistry of the Beatles.
In 1968, after recording four demo discs, Nazz was signed by Atlantic Records subsidiary Screen Gems Columbia to produce its first album at ID Sound studio. Rundgren had no prior production experience and remembered that the producer, Bill Traut, "just whipped through the mixes in a day or two.... So I got it into my head,'Well, he's gone now, so why don't we just mix it again, more like the way we want it?' Our engineer didn't mind if we went and just started diddling around on the board... It was pretty much trial and error." He took an experimental approach to the recordings, employing techniques such as varispeed and flanging, despite having no formal training, scored music charts for string and horn arrangements. Engineer James Lowe, who Rundgren recruited for his involvement with arranger Van Dyke Parks, believed that Rundgren had become the de facto leader of Nazz and that Rundgren was wrongfully withheld a producer's credit. Nazz gained minor recognition with their debut record, July 1968's "Open My Eyes" backed with "Hello It's Me", both songs penned by Rundgren.
The group subsequently released three albums: Nazz, Nazz Nazz, Nazz III. In March 1968, New York singer-songwriter Laura Nyro released her second album and the Thirteenth Confession; when Rundgren heard the record, he was struck by "all the major seventh chords and variations on augmented and suspended chords", it had an immediate impact on his songwriting as he began to compose more on piano. He has elaborated: I know for a fact that her influences were the more sophisticated side of R&B, like Jerry Ragovoy and Mann & Weil and Carole King.... and she had her own original and jazz-influenced way of seeing things. It was that extra layer. A lot of those chords she got from other people, but beyond the elements of her composition, I always thought it was the way she played her own material that sold it.... I met her right after the Thirteenth Confession. I had arranged a meeting, just because I was so infatuated with her and I wanted to meet the person who had produced all this music.... After I met her the first time, she asked me.
But the Nazz had just signed a record contract and I couldn't skip out on the band though it was tempting. The rest of the band struggled to accommodate his changing tastes. Nazz's second LP, intended to be a double album called Fungo Bat, was reduced to a single disc by Atlantic with approval from Rundgren's bandmates, he left the band in
Borboletta is the sixth studio album by the American Latin rock band Santana. It is one of their jazz-funk-fusion oriented albums, along with Caravanserai, Welcome. Non-band albums by Carlos Santana in this style include Love Devotion Surrender with John McLaughlin and Illuminations with Alice Coltrane, Jack DeJohnette and Jules Broussard; the guitarist leaves a lot of room to percussion and keyboards to set moods, as well as lengthy solos by himself and vocals. The record was released in a metallic blue sleeve displaying a butterfly, an allusion to the album Butterfly Dreams by Brazilian musician Flora Purim and her husband Airto Moreira, whose contributions influenced the sound of Borboletta. In Portuguese, borboleta means "butterfly". Original bassist David Brown returned to replace Doug Rauch and vocalist/keyboardist Leon Patillo joined. After the album's completion, drummer Michael Shrieve left, to be replaced by Leon "Ndugu" Chancler, who had guested on parts of the album. Leon Patillo – vocals, electric piano, organ Flora Purim – vocals Jules Broussard – soprano and tenor saxophones Carlos Santana – guitar percussion, gong, producer Tom Coster – piano, Hammond organ, electric piano Fender Rhodes, Moog synthesizer, producer Stanley Clarke – bass guitar David Brown – bass guitar Michael Shrieve – drums, producer Leon "Ndugu" Chancler – drums Airto Moreira – drums, sound effects, vocals Armando Peraza – percussion, bongos, soprano saxophone José Areas – timbales, congas Michael Carpenter – echoplex Airto Moreira and Flora Purim appear courtesy of CTI Records
Soul Sacrifice (song)
"Soul Sacrifice" is an instrumental composed and recorded by the American rock group Santana. Identified as one of the highlights of the 1969 Woodstock festival and documentary film, "Soul Sacrifice" features extended guitar passages by Carlos Santana and a percussion section with a solo by drummer Michael Shrieve, it is included as the final track on their 1969 debut album, on several live and compilation albums. The studio and Woodstock versions as well as an alternate take are included on the 2004 25th anniversary of Santana. "Soul Sacrifice" was one of Santana's earliest compositions. Carlos Santana recalled, it has been described as "a perfect example of the amalgam of old-world guaguanco rhythms and American licks" and includes "interplay between Santana and Rolie... hammered home by Carabello's and Areas' congas and the sinuous drums and bass of Shrieve and Brown". Before its release on their album, Santana a unknown band, performed "Soul Sacrifice" as their closing number at Woodstock.
"They were the only act to play without a record. Santana went from Woodstock to being in global demand overnight". In several interviews, Santana recalled experiencing the effects of psychedelics during the performance, but got it together for the finale. "By the time we got to'Soul Sacrifice', I had come back from a pretty intense journey. I felt we had plugged in to a whole lot of hearts at Woodstock"; the Woodstock soundtrack album reached number one in the Billboard Top LPs album chart.
Lotus (Santana album)
Lotus is a 1974 live album by the Latin rock band Santana, recorded at the Osaka Kosei Nenkin Hall, Japan in 1973. It was released in 1974 as a triple vinyl LP in Japan only; this version of the album was released internationally. In 2017 a limited edition version was released as "Lotus: Complete Edition"; this release is a 3 disc set hybrid Super Audio CD with seven unreleased bonus tracks. This was a Japan only release; the 1973 live recordings were mixed in 4-channel quadraphonic sound and released in the CBS Stereo Quadraphonic matrix system. The SQ encoding makes it possible to format all 4 channels into a 2 channel stereo version, compatible with conventional stereo playback equipment; some releases of this mix have been marked as "Quadraphonic" or "SQ" and some are not. However, all known releases of Lotus prior to 2017 use; the 4 channels can still be heard on modern equipment provided that the listener has a proper SQ decoder and 4 channel playback system. After the initial 1974 Japan release, the complete 3-LP set was released in Europe in 1975.
The first U. S. release was in 1991 as a 2 cassette tape set. It re-issued again on CD in Japan in 2006 as a 3-CD set, it was re-issued as a 3-LP set in the US in 2013. In 2016 this version was released in the United States by Audio Fidelity on a 2 disc set on Super Audio CD. In 2017 "Lotus: Complete Edition" was released in Japan as a 3 disc set hybrid Super Audio CD. Seven bonus tracks were added. In addition to 4.0 surround sound audio there are stereo SACD tracks as well as a stereo CD layer which can be played on conventional CD players. The same track listing as the original vinyl release, except "Mr. Udo" in place of "Savor". Carlos Santana – guitar, Latin percussion, Echoplex Leon Thomas – maracas, vocals Tom Coster – Hammond organ, electric piano, Yamaha organ Richard Kermode – Hammond organ, electric piano Doug Rauch – bass Armando Peraza – congas, Latin percussion José "Chepito" Areas – timbales, Latin percussion Michael Shrieve – drums, Latin percussion
Woodstock was a music festival held on a dairy farm in the Catskill Mountains, northwest of New York City, between August 15–18, 1969, which attracted an audience of more than 400,000. Billed as "An Aquarian Exposition: 3 Days of Peace & Music", it was held at Max Yasgur's 600-acre dairy farm near White Lake in Bethel, New York, 43 miles southwest of Woodstock. Over the sometimes rainy weekend, 32 acts performed outdoors, it is regarded as a pivotal moment in popular music history, as well as the definitive nexus for the larger counterculture generation. Rolling Stone listed it as number 19 of the 50 Moments That Changed the History of Roll; the event was captured in the Academy Award-winning 1970 documentary movie Woodstock, an accompanying soundtrack album, Joni Mitchell's song "Woodstock", which commemorated the event and became a major hit for both Crosby, Nash & Young and Matthews Southern Comfort. Joni Mitchell said, "Woodstock was a spark of beauty" where half-a-million kids "saw that they were part of a greater organism".
In 2017, the festival site was listed on the National Register of Historic Places. Woodstock was initiated through the efforts of Michael Lang, Artie Kornfeld, Joel Rosenman, John P. Roberts. Roberts and Rosenman financed the project. Lang had some experience as a promoter, having co-organized a festival on the East Coast the prior year, the Miami Pop Festival, where an estimated 25,000 people attended the two-day event. Early in 1969, Roberts and Rosenman were New York City entrepreneurs, in the process of building Media Sound, a large audio recording studio complex in Manhattan. Lang and Kornfeld's lawyer, Miles Lourie, who had done legal work on the Media Sound project, suggested that they contact Roberts and Rosenman about financing a similar, but much smaller, studio Kornfeld and Lang hoped to build in Woodstock, New York. Unpersuaded by this Studio-in-the-Woods proposal and Rosenman counter-proposed a concert featuring the kind of artists known to frequent the Woodstock area. Kornfeld and Lang agreed to the new plan, Woodstock Ventures was formed in January 1969.
The company offices were located in an oddly decorated floor of 47 West 57th Street in Manhattan. Burt Cohen, his design group, Curtain Call Productions, oversaw the psychedelic transformation of the office. From the start, there were differences in approach among the four: Roberts was disciplined and knew what was needed for the venture to succeed, while the laid-back Lang saw Woodstock as a new, "relaxed" way of bringing entrepreneurs together; when Lang was unable to find a site for the concert and Rosenman, growing concerned, took to the road and came up with a venue. Similar differences about financial discipline made Roberts and Rosenman wonder whether to pull the plug or to continue pumping money into the project. In April 1969, Creedence Clearwater Revival became the first act to sign a contract for the event, agreeing to play for $10,000; the promoters had experienced difficulty landing big-name groups prior to Creedence committing to play. Creedence drummer Doug Clifford commented, "Once Creedence signed, everyone else jumped in line and all the other big acts came on."
Given their 3 a.m. start time and omission from the Woodstock film, Creedence members have expressed bitterness over their experiences regarding the festival. Woodstock was designed as a profit-making venture, it famously became a "free concert" only after the event drew hundreds of thousands more people than the organizers had prepared for. Tickets for the three-day event cost $18 in $24 at the gate. Ticket sales were limited to record stores in the greater New York City area, or by mail via a post office box at the Radio City Station Post Office located in Midtown Manhattan. Around 186,000 advance tickets were sold, the organizers anticipated 200,000 festival-goers would turn up; the original venue plan was for the festival to take place in Wallkill, New York near the proposed recording studio site owned by Alexander Tapooz. After local residents shot down that idea and Kornfeld thought they had found another possible location in Saugerties, New York, but they had misunderstood, as the landowner's attorney made clear, in a brief meeting with Roberts and Rosenman.
Growing alarmed at the lack of progress and Rosenman took over the search for a venue, discovered the 300-acre Mills Industrial Park in the town of Wallkill, New York, which Woodstock Ventures leased for $10,000 in the Spring of 1969. Town officials were assured. Town residents opposed the project. In early July, the Town Board passed a law requiring a permit for any gathering over 5,000 people. On July 15, 1969, the Wallkill Zoning Board of Appeals banned the concert on the basis that the planned portable toilets would not meet town code. Reports of the ban, turned out to be a publicity bonanza for the festival. In his 2007 book Taking Woodstock, Elliot Tiber relates that he offered to host the event on his 15-acre motel grounds, had a permit for such an event, he claims to have introduced the promoters to dairy farmer Max Yasgur. Lang, disputes Tiber's account and says that Tiber introduced him to a realtor, who drove him to Yasgur's farm without Tiber. Sam Yasgur, Max's son, agrees with Lang's account.
Yasgur's land formed a natural bowl sloping down to Filippini Pond on the land's north side. The stage would be set up at the bottom of the
Nile Gregory Rodgers Jr. is an American record producer, musician, composer and guitarist. The co-founder of Chic, he has written and performed on records that have cumulatively sold more than 500 million albums and 75 million singles worldwide, he is a Rock and Roll Hall of Fame inductee, a three-time Grammy Award-winner, the chairman of the Songwriters Hall of Fame. Known for his "chucking" guitar style, Rolling Stone wrote in 2014 that "the full scope of Nile Rodgers' career is still hard to fathom."Formed as the Big Apple Band in 1970 with bassist Bernard Edwards, Chic released their self-titled debut album in 1977. It included the hit singles "Dance, Dance" and "Everybody Dance"; the 1978 album C'est Chic produced the hits "I Want Your Love" and "Le Freak", with the latter selling more than 7 million singles worldwide. The song "Good Times" from the 1979 album Risque was a number one single on the pop and soul charts, became one of the most-sampled songs of all time, "ushering in" hip-hop via The Sugarhill Gang's "Rapper's Delight", inspiring Queen's "Another One Bites the Dust", anchoring the Daft Punk hit "Around the World".
With Edwards, Rodgers wrote and produced music for other artists, including the songs "He's the Greatest Dancer" and "We Are Family" for Sister Sledge and "I'm Coming Out" for Diana Ross. After Chic's 1983 breakup Rodgers produced "a string of the post-disco era's biggest albums and singles", including David Bowie's Let's Dance, "Original Sin" by INXS, Duran Duran's "The Reflex" and "Notorious", Madonna's Like a Virgin, he worked with artists including The B-52s, Jeff Beck, Mick Jagger, The Vaughan Brothers, Bryan Ferry, Christina Aguilera, Lady Gaga, Daft Punk, winning three Grammy Awards in 2014 for his work on their album Random Access Memories. Rodgers was born in New York City, on September 19, 1952, to Beverly Goodman, she became pregnant the first time she had sex, gave birth to Rodgers when she was 14. His biological father, Nile Rodgers Sr. – a traveling percussionist who specialized in Afro-Cuban beats – was present as Rodgers grew up. In 1959, Goodman married Bobby Glanzrock, who Rodgers described in his 2011 autobiography as a "beatnik PhD, whose observations had angles that would make Miles Davis contemplate his cool."
Richard Pryor, Thelonious Monk, Lenny Bruce visited their home in Greenwich Village. Glanzrock and Goodman were addicted to heroin, Rodgers began using drugs at 13. Before learning to play the guitar at 16, Rodgers played the clarinet; as a teenager, he played guitar with African, Latin and Boogaloo bands. He became a subsection leader of the Lower Manhattan branch of the New York Black Panther Party as a teenager. Rodgers met bassist Bernard Edwards in 1970 while working as a touring musician for the Sesame Street stage show. Together they formed The Big Apple Band, worked as back-up musicians for the vocal group New York City. New York City's one hit allowed them to tour extensively opening for The Jackson 5 on the American leg of their first world tour in 1973; the band dissolved after their second album failed to yield a hit, but Nile and Bernard joined forces with drummer Tony Thompson, worked and recorded as a funk rock band called The Boys, which played numerous gigs up and down the East Coast.
Although there was label interest, record companies passed on the band after discovering its members were black, believing that black rock artists would be too hard to promote. As the Big Apple Band and Edwards worked with Ashford & Simpson, Luther Vandross, many others. Since another New York artist, Walter Murphy, had a band called The Big Apple Band and Edwards were forced to change their band's name to avoid confusion. Thus, in 1977 the band was renamed as Chic. Inspired by Roxy Music, Chic developed a sound, a fusion of jazz and funk grooves with melodies and lyrics with a European influence. Between gigs, they recorded the song "Dance, Dance", with then-boss Luther Vandross on vocals. Released by Buddah Records, it was an instant hit when it was re-released by Atlantic in the summer of 1977. Atlantic picked up an album option with Rodgers and Edwards, who wrote more songs, Chic's self-titled debut was released in November; the band scored numerous top ten hits and helped propel disco to new levels of popularity, with "Le Freak", "I Want Your Love", "Everybody Dance", "Dance, Dance", "My Forbidden Lover", "Good Times" becoming club/pop/R&B standards.
"Le Freak" was Atlantic Records' only triple platinum selling single at the time, "Good Times" shot to No. 1 in August 1979 in spite of that year's "Disco Sucks" movement protesting that style of music. The success of Chic's first singles led Atlantic to offer Rodgers and Edwards the opportunity to produce any act on its roster, they chose Sister Sledge, whose 1979 album, We Are Family, peaked at No. 3 and remained on the charts well into 1980. The first two singles, "He's the Greatest Dancer" and the title cut "We Are Family" both reached No. 1 on the R&B chart, No. 6 and No. 2 on the Pop chart. In April 2018, "We Are Family"; the 1979 disco backlash derailed Chic, Edwards retreated from work, while Rodgers' drug use accelerated. Rodgers and Edwards delivered their final Atlantic album under contract, Believer, in 1982, they completed one of their last projects together in 1980, writing and producing the album Diana for Diana Ross, which yielded the hits "Upside Down" and "
Riley B. King, known professionally as B. B. King, was an American blues singer, electric guitarist and record producer. King introduced a sophisticated style of soloing based on fluid string bending and shimmering vibrato that influenced many electric blues guitarists. King was inducted into the Rock and Roll Hall of Fame in 1987, is considered one of the most influential blues musicians of all time, earning the nickname "The King of the Blues", is considered one of the "Three Kings of the Blues Guitar". King was known for performing tirelessly throughout his musical career, appearing on average at more than 200 concerts per year into his 70s. In 1956 alone, he appeared at 342 shows. King was born on a cotton plantation in Itta Bena and worked at a cotton gin in Indianola, Mississippi, he was attracted to music and the guitar in church, began his career in juke joints and local radio. He lived in Memphis and Chicago, toured the world extensively. King died at the age of 89 in Las Vegas, Nevada, on May 14, 2015.
Riley B. King was born on September 16, 1925, on the Berclair cotton plantation near the town of Itta Bena, the son of sharecroppers Albert and Nora Ella King, he considered the nearby city of Mississippi to be his home. When King was four years old, his mother left his father for another man, so he was raised by his maternal grandmother, Elnora Farr, in Kilmichael, Mississippi. While young, King sang in the gospel choir at Elkhorn Baptist Church in Kilmichael. King was attracted to the Pentecostal Church of God in Christ because of its music; the local minister performed with a Sears Roebuck Silvertone guitar during services. The minister taught King his first three chords, it seems that at the age of 12 he purchased his first guitar for $15.00, although another source indicates he was given his first guitar by Bukka White, his mother's first cousin. In November 1941, "King Biscuit Time" first aired, broadcasting on KFFA in Arkansas, it was a radio show featuring the Mississippi Delta blues. King listened to it while on break at a plantation.
A self-taught guitarist, he wanted to become a radio musician. In 1943, King left Kilmichael to work as a tractor driver and play guitar with the Famous St. John's Gospel Singers of Inverness, performing at area churches and on WGRM in Greenwood, Mississippi. In 1946, King followed Bukka White to Tennessee. White took him in for the next ten months. However, King returned to Mississippi shortly afterward, where he decided to prepare himself better for the next visit, returned to West Memphis, two years in 1948, he performed on Sonny Boy Williamson's radio program on KWEM in West Memphis, where he began to develop an audience. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis, to a ten-minute spot on the Memphis radio station WDIA; the radio spot became so popular that it became the Sepia Swing Club. He worked at WDIA as a singer and disc jockey, where he was given the nickname "Beale Street Blues Boy" shortened to "Blues Boy", to B. B, it was there. King said, "Once I'd heard him for the first time, I knew I'd have to have myself.'Had' to have one, short of stealing!"
In 1949, King began recording songs under contract with Los Angeles-based RPM Records. Many of King's early recordings were produced by Sam Phillips, who founded Sun Records. Before his RPM contract, King had debuted on Bullet Records by issuing the single, "Miss Martha King", which did not chart well. "My first recordings were for a company out of Nashville called Bullet, the Bullet Record Transcription company," King recalled. "I had horns that first session. I had Phineas Newborn on piano. I had Tuff Green on bass, Ben Branch on tenor sax, his brother, Thomas, on trumpet, a lady trombone player; the Newborn family were the house band at the famous Plantation Inn in West Memphis."King assembled his own band. B. King Review, under the leadership of Millard Lee; the band consisted of Calvin Owens and Kenneth Sands, Lawrence Burdin, George Coleman, Floyd Newman, Millard Lee, George Joyner and Earl Forest and Ted Curry. Onzie Horne was a trained musician elicited as an arranger to assist King with his compositions.
By his own admission, King could not play chords always relied on improvisation. King's recording contract was followed by tours across the United States, with performances in major theaters in cities such as Washington, D. C. Chicago, Los Angeles, St. Louis, as well as numerous gigs in small clubs and juke joints of the southern United States. During one show in Twist, Arkansas, a brawl caused a fire, he went back to retrieve his guitar. He said he found out that the two men were fighting over a woman named Lucille, he named the guitar Lucille, as a reminder not to fight over women or run into any more burning buildings. Following his first Billboard Rhythm and Blues charted number one, "3 O'Clock Blues", B. B. King became one of the most important names in R&B music in the 1950s, amassing an impressive list of hits including "You Know I Love You", "Woke Up This Morning", "Please Love Me", "When My Heart Beats like a Hammer", "Whole Lotta Love", "You Upset Me Baby", "Every Day I Have the Blues", "Sneakin' Around", "Ten Lo