Soulful Tapestry is the third studio album by girl group the Honey Cone. It was released by Hot Wax/Invictus Records in 1971; the name of the album was based on and inspired by Carole King's Pop/Rock break-through 1971 album Tapestry. The album contained the group's three highest charting singles including. Lyrically, the material was instrumental in developing the message of female empowerment through song. With the aggressive funk music fronted by lead singer, Edna Wright's gospel growl, lyrics centered on love abandoned and love found, female commentary on modern relationships was becoming less out-of-place. Other notable moments on the album include "One Monkey Don't Stop No Show" - an instrumental to the first part, the gospel-inspired "Who's It Gonna Be?," the gritty ballad "All The King's Men," and the funky bass-driven ballad "The Day I Found Myself." Though out of print, like the group's other releases, all of the tracks on this album are featured on Honey Cone's Soulful Sugar: The Complete Hot Wax Recordings.
This album was issued on CD by the Japanese label P-Vine. Producer: Angelo Bond, Ronald Dunbar, Lamont Dozier, Brian Holland, Edward Holland, Jr. General Norman Johnson, Greg Perry, Edith Wayne. Arranger: Angelo Bond, General Norman Johnson, Greg Perry. Engineer: Barney Perkins Soulful Tapestry at Discogs
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Love, Peace & Soul
Love, Peace & Soul is the fourth and final studio album by American R&B/Soul/Funk Girl group the Honey Cone. It was released by Hot Wax/Invictus Records in 1972. At the time of this album's release, Hot Wax was experiencing troubles in their operation; this time period marked a downward spiral that would put the freshly developed record label out of business permanently the following year. A few sources report that the reason for this pending expiration was that the independent distributors weren't paying up when it came to royalties from radio play and record sales; the album proved to be the group's biggest failure both commercially. Despite the dismissal of both the group and their final album at the time, the legacy of Honey Cone was reaffirmed when Kanye West sampled the distinctive lead vocals of Edna Wright from the track "Innocent'Til Proven Guilty" for Common's 2005 single "Testify" from his commercial breakthrough album Be. Edna Wright made a cameo appearance in the video; this album contains cover versions of The Miracles' staples "Ooo Baby Baby", "Who's Lovin' You", the 1965 R&B hit "Stay in My Corner" by The Dells.
The group disbanded shortly after the release of this album. Love, Peace & Soul at Discogs
Robbery is the crime of taking or attempting to take anything of value by force, threat of force, or by putting the victim in fear. According to common law, robbery is defined as taking the property of another, with the intent to permanently deprive the person of that property, by means of force or fear. Precise definitions of the offence may vary between jurisdictions. Robbery is differentiated from other forms of theft by its inherently violent nature. Under English law, most forms of theft are triable either way, whereas robbery is triable only on indictment; the word "rob" came via French from Late Latin words of Germanic origin, from Common Germanic raub -- "theft". Among the types of robbery are armed robbery, which involves the use of a weapon, aggravated robbery, when someone brings with them a deadly weapon or something that appears to be a deadly weapon. Highway robbery or mugging takes place outside or in a public place such as a sidewalk, street, or parking lot. Carjacking is the act of stealing a car from a victim by force.
Extortion is the threat to do something illegal, or the offer to not do something illegal, in the event that goods are not given using words instead of actions. Criminal slang for robbery includes "blagging" or "stick-up", "steaming". In Canada, the Criminal Code makes robbery an indictable offence, subject to a maximum penalty of life imprisonment. If the accused uses a restricted or prohibited firearm to commit robbery, there is a mandatory minimum sentence of five years for the first offence, seven years for subsequent offences. Robbery is a statutory offence in the Republic of Ireland, it is created by section 14 of the Criminal Justice Act, 2001, which provides: A person is guilty of robbery if he or she steals, before or at the time of doing so, in order to do so, uses force on any person or puts or seeks to put any person in fear of being and there subjected to force. Robbery is a statutory offence in Wales, it is created by section 8 of the Theft Act 1968 which reads: A person is guilty of robbery if he steals, before or at the time of doing so, in order to do so, he uses force on any person or puts or seeks to put any person in fear of being and there subjected to force.
Aggravated theft Robbery is the only offence of aggravated theft. Aggravated robbery There are no offences of aggravated robbery; this requires evidence to show a theft as set out in section 1 of the Theft Act 1968. In R v Robinson the defendant threatened the victim with a knife in order to recover money which he was owed, his conviction for robbery was quashed on the basis that Robinson had an honest, although unreasonable, belief in his legal right to the money. See R v Skivington 1 QB 166, 2 WLR 655, 131 JP 265, 111 SJ 72, 1 All ER 483, 51 Cr App R 167, CA. In R v Hale the application of force and the stealing took place in different locations, it was not possible to establish the timing, it was argued that the theft should be regarded as complete by this time, R v Gomez, should apply. The threat or use of force must take place before or at the time of the theft. Force used after the theft is complete will not turn the theft into a robbery; the words "or after" that appeared in section 23 of the Larceny Act 1916 were deliberately omitted from section 8.
The book "Archbold" said that the facts in R v Harman, which did not amount to robbery in 1620, would not amount to robbery now. It was held in R v Dawson and James that "force" is an ordinary English word and its meaning should be left to the jury; this approach was confirmed in Corcoran v Anderton, both handbag-snatching cases. Stealing may involve a young child, not aware that taking other persons' property is not in order; the victim must be placed in apprehension or fear that force would be used before or at the time of the taking of the property. A threat is not immediate. Robbery occurs if an aggressor forcibly snatched a mobile phone or if they used a knife to make an implied threat of violence to the holder and took the phone; the person being threatened does not need to be the owner of the property. It is not necessary that the victim was frightened, but the defendant must have put or sought to put the victim or some other person in fear of immediate force; the force or threat may be directed against a third party, for example a customer in a jeweller's shop.
Theft accompanied by a threat to damage property will not constitute robbery, but it may disclose an offence of blackmail. Dishonestly dealing with property stolen during a robbery will constitute an offence of handling. Robbery is an indictable-only offence. Under current sentencing guidelines, the punishment for robbery is affected by a variety of aggravating and mitigating factors. Important is how much harm was caused to t
"Want Ads" is a song, a million-selling Number 1 pop and R&B hit recorded by female group, Honey Cone for their third album Sweet Replies and appears on their fourth album Soulful Tapestry. The song on the Detroit-based Hot Wax label was written by Greg Perry, General Norman Johnson and Barney Perkins, it was produced by staff producer, Greg Perry, features a young Ray Parker, Jr. on rhythm guitar. "Want Ads" was released as the first single from Soulful Tapestry in the United States in the spring of 1971. It reached the top of the Billboard Hot 100 for one week and topped the R&B singles chart for three weeks in the United States, becoming the group's most successful single and their only number one placement on the pop charts. Perry and Johnson had written a song for a female singer called "Stick-Up", but the two decided that the song was not substantial enough so they re-wrote it with a change in chord progressions and new lyrics. With the catchy opening line of "Wanted, young man and free," "Want Ads" was born.
The idea for the song started when studio engineer Barney Perkins, while looking through the classified section of a newspaper, suggested that someone write a song about want ads. Perry, as producer and songwriter for the project, felt; the duo brought in Johnson, leader of Chairmen of the Board, to contribute to the writing, after co-writing "Somebody's Been Sleeping" with Perry for the Hot Wax group, 100 Proof. The song was first recorded by another Hot Wax/Invictus act, Glass House led by Freda Payne's younger sister, Scherrie Payne. Payne did not like the song and with Perry being unsatisfied with that version and Freda recorded the song themselves. Still unsatisfied, Payne suggested that Honey Cone lead singer Edna Wright record it after she had passed through the studio; the initial version of the song, titled "Stick Up," would be recorded and released as the group's follow up to "Want Ads." It would peak at # 11 on # 1 on the R&B charts in September. This song was covered by Ullanda McCullough and made into a disco song for her 1979 album "Love Zone" and by Taylor Dayne in 1988 for her hugely successful debut album Tell It to My Heart.
The song was used as a sample in "Heaven," Mary Mary's 2005 lead-off single from their self-titled third studio album. The single made history breaking and setting records when it remained at number one for nine consecutive weeks on the Billboard Gospel Radio chart back in 2005. Edna Wright makes a brief cameo appearance at the end of the music video singing along to the chorus and lip-synching to her own sampled vocals; the song is featured in the 2007 film Because I Said So. 2016 saw Want Ads sampled on The Avalanches' track. "Want Ads" debuted on the Billboard Hot 100 at number 79 on April 10, 1971. Within nine weeks on the chart, "Want Ads" was at the number one position for the week starting June 12; the song remained number one on the R&B singles chart for three non-consecutive weeks for the week starting May 29, 1971 and after being bumped for one week by Aretha Franklin's rendition of Simon and Garfunkel's "Bridge over Troubled Water", the song re-positioned at number one for two more weeks starting June 12 through June 19.
Billboard ranked it as the No. 13 song for 1971. The song went on to receive gold certification selling more than one million units in the U. S; the song's popularity had DJs playing the long version, available on the Soulful Tapestry album. This was rare at the time; the song is said to have been a major contributor to the structure and grit of the pre-disco movement that would rock the popular music world. Lead vocals: Edna Wright Background vocals: Shellie Clark, Carolyn Willis Engineer: Barney Perkins Sound clip on EdnaWright-HoneyCone.com Lyrics of this song at MetroLyrics
Sweet Replies is the second studio album by American R&B/Soul/Funk Girl group the Honey Cone. It was released by Hot Wax/Invictus Records in 1971. Although the album was no major commercial success, it contained two songs that would become hits within a year after the release of Sweet Replies; the number one smash "Want Ads" makes its first appearance on this album (it appears on the follow-up to Sweet Replies, Soulful Tapestry along with "The Day I Found Myself". When this album was released, it was a moderate success, but with the release and eventual success of "Want Ads," as with many releases during this time, a new album was released featuring an extended mix of the track along with a longer version of "The Day I Found Myself." Soulful Tapestry would outsell Sweet Replies with the clever use of such strategic marketing. Highlights on the album include; the song tells the story of a woman. "Are You Man Enough, Are You Strong Enough" makes its second appearance on this album as it was included in the previous year's release Take Me with You.
All of the songs from Sweet Replies can be found on Honey Cone's Soulful Sugar: The Complete Hot Wax Recordings. Reviews for Sweet Replies have been positive. Village Voice critic Robert Christgau said "most of this is pure Vandellas." He stated that the producer "uses every H-D-H trick and comes up with a few electronic effects of his own". In a retrospective review, Andrew Hamilton of Allmusic stated that ""Want Ads" propels this twelve-song assortment", he called "The Day I Found Myself" a "beautiful piano-driven declaration". Honey Cone: Lead and Background Vocals Robbie Dunbar: Piano Gary "Gazza" Johnson: Bass, Guitar Reynard Miner Eddie Wayne Producer: Ronald Dunbar, George Perry and William Weatherspoon. Engineer: Barney Perkins Sweet Replies at Discogs
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E