Luther Ronzoni Vandross Jr. was an American singer and record producer. Throughout his career, Vandross was an in-demand background vocalist for several different artists including Todd Rundgren, Judy Collins, Chaka Khan, Bette Midler, Diana Ross, David Bowie, Barbra Streisand, Ben E. King, Donna Summer, he became a lead singer of the group Change, which released its gold-certified debut album, The Glow of Love, in 1980 on Warner Bros. Records. After Vandross left the group, he was signed to Epic Records as a solo artist and released his debut solo album, Never Too Much, in 1981, his hit songs include "Never Too Much", "Here and Now", "Any Love", "Power of Love/Love Power", "I Can Make It Better" and "For You to Love". Many of his songs were covers of original music by other artists such as "If This World Were Mine", "Since I Lost My Baby", "Superstar" and "Always and Forever". Duets such as "The Closer I Get to You" with Beyoncé, "Endless Love" with Mariah Carey and "The Best Things in Life Are Free" with Janet Jackson were all hit songs in his career.
During his career, Vandross sold over 35 million records worldwide, received eight Grammy Awards including Best Male R&B Vocal Performance four different times. He won a total of four Grammy Awards in 2004 including the Grammy Award for Song of the Year for a song recorded not long before his death, "Dance with My Father". Luther Ronzoni Vandross, Jr. was born on April 20, 1951, at Bellevue Hospital, in the Kips Bay neighborhood of Manhattan, New York City. He was the fourth child and second son of Sr.. His father was an upholsterer and singer, his mother was a nurse. Vandross was raised in Manhattan's Lower East Side in the NYCHA Alfred E. Smith Houses public housing development. At the age of three, having his own phonograph, Vandross taught himself to play the piano by ear. Vandross's father died of diabetes. In 2003, Vandross dedicated it to him, his family moved to the Bronx. His sisters, Patricia "Pat" and Ann began taking Vandross to the Apollo Theater and to a theater in Brooklyn to see Dionne Warwick and Aretha Franklin.
Patricia sang with the vocal group The Crests and was featured on the songs "My Juanita" and "Sweetest One". Vandross graduated from William Howard Taft High School in the Bronx in 1969, attended Western Michigan University for a year before dropping out to continue pursuing a career in music. While in high school, Vandross founded the first Patti LaBelle fan club, he performed in a group, Shades of Jade, that once played at the Apollo Theater. During his early years in show business he appeared several times at the Apollo's famous amateur night. While a member of a theater workshop, Listen My Brother, he was involved in the singles "Only Love Can Make a Better World" and "Listen My Brother", he appeared with the group in several episodes of the first season of Sesame Street during 1969–1970. Vandross added backing vocals to Roberta Flack & Donny Hathaway in 1972, worked on Delores Hall's Hall-Mark album, he sang with her on the song "Who's Gonna Make It Easier for Me", which he wrote, he contributed another song, "In This Lonely Hour".
Having co-written "Fascination" for David Bowie's Young Americans, he went on to tour with him as a back-up vocalist in September 1974. Vandross wrote "Everybody Rejoice" for the 1975 Broadway musical The Wiz. Vandross sang backing vocals for artists including Roberta Flack, Chaka Khan, Ben E. King, Bette Midler, Diana Ross, Carly Simon, Barbra Streisand, Donna Summer, for the bands Chic and Todd Rundgren's Utopia. Before his solo breakthrough, Vandross was part of a singing quintet in the late 1970s named Luther, consisting of former Shades of Jade members Anthony Hinton and Diane Sumler, as well as Theresa V. Reed, Christine Wiltshire, signed to Cotillion Records. Although the singles "It's Good for the Soul", "Funky Music", "The Second Time Around" were successful, their two albums, the self-titled Luther and This Close to You, which Vandross produced, did not sell enough to make the charts. Vandross bought back the rights to those albums after Cotillion dropped the group, preventing them from being re-released.
Vandross wrote and sang commercial jingles from 1977 until the early 1980s, for companies including NBC, Mountain Dew, Kentucky Fried Chicken, Burger King, Juicy Fruit. He continued his successful career as a popular session singer during the late 1970s, he played Jamison in the 1993 film The Meteor Man. In 1978, Vandross sang lead vocals for Greg Diamond's disco band, Bionic Boogie, on the song titled "Hot Butterfly". In 1978, he appeared on Quincy Jones's Sounds...and Stuff Like That!!, most notably on the song "I'm Gonna Miss You in the Morning" along with Patti Austin. Vandross sang with the band Soirée and was the lead vocalist on the track "You Are the Sunshine of My Life". Additionally, he sang the lead vocals on the group Mascara's LP title song "See You in L. A." released in 1979. Vandross appeared on the group Charme's 1979 album Let It In. Vandross made his career breakthrough as a featured singer with the vaunted pop-dance act Change, a studio concept created by French-Italian businessman Jacques Fred Petrus.
Their 1980 hits, "The Glow of Love" and "Searching", featured Vandross as the lead singer. In a 200
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Live at the Budokan (Chic album)
Live at the Budokan is a live album by American band Chic, released on Nile Rodgers' label Sumthing Else in 1999. The album contains the concert at Tokyo's Budokan on April 17, 1996, to be the last performance by fellow Chic member Bernard Edwards who died the following day; the concert was a celebration of the Chic legacy and featured an all-star line-up with guest appearances by Sister Sledge, Slash from Guns N' Roses and Steve Winwood and was released three years after its recording, in unedited form including the spoken introductions by both Edwards and Rodgers. The concert was released on DVD in 2006 and the Budokan album has been re-issued as Chic In Japan and Live In Japan. Bernard Introduction - 1:09 Band Introduction - 0:33 "Le Freak" - 5:14 Performed by Chic & Slash "Dance Dance Dance" - 0:31 "Dance, Dance" - 7:04 "I Want Your Love" - 6:17 Sister Sledge -0:12 "He's the Greatest Dancer" - 4:37 Performed by: Chic & Sister Sledge We Are Family - 0:22 "We Are Family" - 10:06 Performed by: Chic & Sister Sledge "Do That Dance" - 3:24 Good Times - 0:15 "Good Times"/"Rapper's Delight" - 7:12 Stone Free -0:21 "Stone Free" - 4:22 Performed by Chic, Steve Winwood & Slash "Chic Cheer" - 14:20 Backstage - 0:23 Bernard #2 - 0:31 Bernard Edwards - bass guitar, vocals Omar Hakim - drums Slash - guitar Nile Rodgers - guitar, vocals Gerardo Velez - percussion Philippe Saisse - piano Richard Hilton - piano Bill Holloman - saxophone Mac Gollehon - trumpet Christopher Max - vocals Jill Jones - vocals Sister Sledge - vocals Sylver Logan Sharp - vocals Steve Winwood - vocals, organ Producer - Nile Rodgers Recorded By, Mixed By - Gary Tole Recorded live at the Budokan and mixed at Wonder Station Studios, Japan.
Mastered at Sterling Sound, New York. Mastered By - George Marino
KooKoo is the debut solo album by American rock singer and actress Debbie Harry, released in 1981 on Chrysalis Records. KooKoo was recorded while boyfriend Chris Stein were taking a break from the band Blondie; the album was produced by Nile Rodgers and Bernard Edwards of the R&B band Chic, who had just had major success working with Diana Ross on her 1980 album Diana. Harry and Stein first met the pair at the Power Station recording studio in New York while Blondie were recording their 1979 album Eat To The Beat, they remained good friends in the intervening years. KooKoo was one of three albums to be written and produced by Rodgers and Edwards in 1981, the other two being Chic's fifth album Take It Off and Johnny Mathis' I Love My Lady, which remained unreleased until 2018. KooKoo showcased the early fusion of funk and dance music that would become the trademark of Rodgers and Edwards, this style would be evident on albums such as David Bowie's Let's Dance, Duran Duran's Notorious, The Power Station's self-titled debut album, Robert Palmer's Riptide.
Backing vocals were provided by Mark Mothersbaugh and Gerald Casale of Devo, credited as Spud and Pud Devo. KooKoo reached #6 in the UK and stayed in the charts for seven weeks, being certified "Silver" by the BPI for sales in excess of 60,000 copies; the album reached #25 in the US and was certified "Gold" by the RIAA for shipments in excess of 500,000 copies. Only available on vinyl album and cassette, KooKoo was digitally remastered and re-issued on compact disc with two bonus tracks by EMI in the UK in 1994, by Razor & Tie in the US in 1999, this time with just one bonus track; the album was reissued again in the US by Gold Legion.com in 2011. This reissue includes three bonus tracks as well as extensive liner notes; the cover art for the album was created by Swiss artist H. R. Giger, best known for his design work on the 1979 sci-fi/horror film Alien. Based on a photograph of Harry taken by the renowned photographer Brian Aris, Giger created several variations of the cover in what Harry described as a combination of punk and sci-fi.
Harry stated that the album title came to her after she saw Giger's completed work, although she had misgivings about the conceptual ideas behind the artwork, she was suitably impressed to use it anyway. For the promotion of KooKoo, Chrysalis Records planned to display large posters of the album cover in various stations of the London Underground. However, officials deemed the image of Harry with metal skewers going through her face and neck to be too disturbing. A TV ad campaign went however. Promo videos were made for the tracks "Backfired" and "Now I Know You Know", both directed by Giger and filmed at his studio in Switzerland. "Backfired" featured a dark-haired Harry dancing superimposed over a backdrop of Giger's distinctive artwork, with Giger himself appearing in a semi-translucent face mask. "Now I Know You Know" featured Harry in a long black wig and a form-fitting bodysuit painted with Giger's unusual artwork, dancing around in a small set furnished with Giger's "bio-mechanical" design work.
Two singles were released from the album: "Backfired", which peaked at #24 in Australia, #32 in the UK and #43 in the US in August 1981, "The Jam Was Moving" which reached #82 in the US but failed to chart in the UK or Australia. A third single, "Chrome", was only released in some parts of Europe and failed to chart. Another track, "Jump Jump", was only released as a single in Peru. Chrome was the flip/B-side of "The Jam was Moving " only being issued in Germany as a single and in the USA as a 12" promotional single only. Side A: "Jump Jump" - 4:04 "The Jam Was Moving" - 2:59 "Chrome" - 4:17 "Surrender" - 3:37 "Inner City Spillover" - 5:04Side B: "Backfired" - 4:54 "Now I Know You Know" - 5:39 "Under Arrest" - 3:03 "Military Rap" - 3:51 "Oasis" - 4:59Bonus Tracks CD Re-Issue UK 1994 "Backfired" 12" Mix - 6:23 "The Jam Was Moving" 12" Mix - 5:03Bonus Track CD Re-Issue US 1999 "Backfired" 12" Mix - 6:23Bonus Tracks CD Re-Issue 2011 "Backfired" 12" Mix - 6:23 "The Jam Was Moving" 12" Mix - 5:03 "Inner City Spillover" 12" Mix - 5:58 Debbie Harry - vocals Nile Rodgers - guitar, vocals on "Backfired" Bernard Edwards - bass guitar Tony Thompson - drums Robert Sabino - keyboards Raymond Jones - keyboards Nathaniel S. Hardy, Jr. - keyboards Chris Stein - guitar Vinnie Della Rocca - horns Ray Maldonado - horns Sammy Figueroa - percussion Manuel Badrena - percussion Roger Squitero - percussion Spud Devo - backing vocals Pud Devo - backing vocals Gordon Grody - backing vocals Fonzi Thornton - backing vocals Chuck Martin - dog bark Nile Rodgers - producer for Chic Organization Ltd.
Bernard Edwards - producer for Chic Organization Ltd. Bill Scheniman - sound engineer Jason Corsaro - second engineer H. R. Giger - cover concept and painting Brian Aris - photography Peter Wagg - art direction Dennis King - mastering at Atlantic Studios Recorded and mixed at The Power Station, NYC Cathay Che: Deborah Harry: Platinum Blonde André Deutsch Publications 1999, ISBN 0-233-99957-4. Debbie Harry, Victor Bockris & Chris Stein: Making Tracks: The Rise Of Blondie Horizon Book P
Diana is the tenth studio solo album by American singer Diana Ross, released on May 22, 1980 by Motown Records. The album is the biggest-selling studio album of Ross's career, selling nine million copies worldwide and spawning three international hit singles, including the US and International number 1 hit "Upside Down". Following the US success of her 1979 album The Boss, Ross wanted more modern sound. Having heard Nile Rodgers of Chic's work in the famous Manhattan disco club, Studio 54, Ross approached him about creating a new album of material for her that stated where she felt she was in her life and career at the period. On an episode of TV One's Unsung, Nile Rodgers said that the majority of the songs were crafted after direct conversations with Ross, she had said to Rodgers and Bernard Edwards that she wanted to turn her career “upside down” and wanted to “have fun again.” As a result and Edwards wrote the songs "Upside Down" and "Have Fun". After running into several drag queens in a club dressed as Ross, Rodgers wrote "I'm Coming Out".
Only "My Old Piano" came from their normal songwriting processes. Ross was not pleased with the album's results. Following a preview of the record to be released in the aftermath of the anti-disco backlash, Frankie Crocker, an influential New York City disc jockey warned Ross that releasing the album in its original state would lead to the end of her career. Ross remixed the entire album, assisted by Motown engineer Russ Terrana, removing extended instrumental passages and speeding up the tracks' tempos. Ross's lead vocals were re-recorded and remixed so that they were front and center and not overshadowed by the music; the remixing of the master tapes was performed without the knowledge or approval of Rodgers and Edwards. When they were presented with the "official" version of diana, the producers publicly objected and, at one point considered removing their names from the album's list of credits. Motown and Ross persisted and the version released was Terrana's more commercial mix of the album.
Rodgers and Edwards were contracted by Motown to produce a follow-up album, but, as Ross left the label, it was never created. Rodgers and Edwards sued Motown, unsuccessfully claiming that they were owed monies for creating and recording the original version of the album. In 1989, Rodgers and Ross collaborated on Workin' Overtime, released upon Ross's return to Motown. Edwards produced the 1984 single, "Telephone", from Ross's Swept Away album, released on the RCA label. Rodgers played guitar from the same album; the iconic cover art was photographed by famed photographer Francesco Scavullo. Due to the controversy between Ross and Nile Rodgers/Bernard Edwards, Motown released the album without a lead single; this was unheard of for a label like Motown. By its 4th week leading into summer, the album was nearing the top 10. "Upside Down" was chosen by the label and radio programmers. "Upside Down" made a rare vaulted move in its third week from number 49 to number 10. By the middle of summer 1980, Ross chalked up her fifth number one single.
The album spent 17 weeks at the top of Billboard's R&B/Dance chart. Reaching number two on the Billboard 200 chart and number one on the Billboard Soul Albums Chart for 8 consecutive weeks, as well as yielding two top 10 singles on the Billboard Hot 100, including the number-one single "Upside Down", the album would sell over one million copies in the United States and be certified Platinum by the Recording Industry Association of America. In the UK it spun off three successful singles. A fourth single, "Tenderness", was released in certain territories, reaching the top 40 in the Netherlands, was included on several greatest hits compilations. Despite its massive dance and dance radio success, none of the singles from Diana were remixed for promotional and/or commercial use while the album was current. "I'm Coming Out" has since become an anthem for the LGBT movement. Some thirty years after its release, Diana remains Ross's best-selling studio album to date having sold a total of over 10 million copies worldwide.
Diana was one of four albums written and produced by Edwards and Rodgers in 1980, the other three being Sister Sledge's Love Somebody Today, Sheila and B. Devotion's King of the World including European hit single "Spacer", Chic's fourth studio album Real People. Following the release of two more singles, the duet "Endless Love" with Lionel Richie and "It's My Turn", both worldwide hits, Ross left Motown and signed a then-record breaking $20 million recording deal with RCA Records; the first album for the label was 1981's self-produced Why Do Fools Fall in Love, which went platinum and spawned two Top 10 hits in the US. Diana was remastered and released as a double CD in 2003 containing the original Chic Mixes and the Motown final mixes, unremixed versions, together with a selection of other Motown dance tracks from the same period. All songs written by Nile Rodgers. Side A "Upside Down" – 4:05 Listen "Tenderness" – 3:52 "Friend to Friend" – 3:19 "I'm Coming Out" – 5:24 Listen Side B "Have Fun" – 5:57 "My Old Piano" – 3:55 Listen "Now That You're Gone" – 3:59 "Give Up" – 3:45Note: The Canadian release on Quality Records places the tracks from side B on side A, the tracks from side A on side B.
Disc one 9. "Upside Down" – 4:17 10. "Tenderness" – 5:10 11. "Friend to Friend" – 3:20 12. "I'm Coming Out" – 6:01 13. "Have Fun" – 7:09 14. "My Old Piano" – 4:52 15. "Now Th