David William Sanborn is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings blend jazz with instrumental pop and R&B, he released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school. One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn is described by critic Scott Yannow as "the most influential saxophonist on pop, R&B, crossover players of the past 20 years." He is identified with radio-friendly smooth jazz, but he has expressed a disinclination for the genre and his association with it. Sanborn was born in Tampa and grew up in Kirkwood, Missouri, he suffered from polio for eight years in his youth. He began playing saxophone on a physician's advice to strengthen his weakened chest muscles and improve his breathing. Alto saxophonist Hank Crawford, at the time a member of Ray Charles's band, was an early and lasting influence on Sanborn. Sanborn studied music.
But he transferred to the University of Iowa where he played and studied with saxophonist J. R. Monterose. Sanborn performed with blues musicians Albert King and Little Milton at the age of 14, he continued playing blues when he joined Paul Butterfield's band in 1967. Sanborn recorded on four Butterfield albums as a horn section member and soloist from 1967 to 1971. In the mid-70s and playing bebop Sanborn became prominent in the newly popular jazz/funk scene by joining the Brecker Brothers band where he became influenced by Michael Brecker, it was with the brothers that he recorded his first solo album,'Taking Off', nowadays regarded as something of a jazz/funk classic. Although Sanborn is most associated with smooth jazz, he studied free jazz in his youth with saxophonists Roscoe Mitchell and Julius Hemphill. In 1993, he revisited this genre when he appeared on Tim Berne's Diminutive Mysteries, dedicated to Hemphill. Sanborn's album Another Hand featured avant-garde musicians. In 1985 Sanborn and Al Jarreau played two sold-out concerts at Chastain Park in Atlanta.
He has been a regarded session player since the late 1960s, playing with an array of well-known artists, such as James Brown, Bryan Ferry, Michael Stanley, Eric Clapton, Bobby Charles, Cat Stevens, Roger Daltrey, Stevie Wonder, Paul Simon, Jaco Pastorius, the Brecker Brothers, Michael Franks, Kenny Loggins, Players Association, David Bowie, Todd Rundgren, Bruce Springsteen, Little Feat, Tommy Bolin, Bob James, James Taylor, Al Jarreau, Pure Prairie League, Kenny G, Loudon Wainwright III, George Benson, Joe Beck, Donny Hathaway, Elton John, Gil Evans, Carly Simon, Linda Ronstadt, Billy Joel, Kenny Garrett, Roger Waters, Steely Dan, the Eagles, The Grateful Dead, Utada Hikaru, The Rolling Stones, Ian Hunter, Toto. His solo recordings have featured the bassist/multi-instrumentalist and producer Marcus Miller, he has done some film scoring for films such as Lethal Weapon and Scrooged. In 1991 Sanborn recorded Another Hand, which the All Music Guide to Jazz described as a "return by Sanborn to his real, true love: unadorned jazz" that "balanced the scales" against his smooth jazz material.
The album, produced by Hal Willner, featured musicians from outside the smooth jazz scene, such as Charlie Haden, Jack DeJohnette, Bill Frisell, Marc Ribot. In 1994 Sanborn appeared in A Celebration: The Music of Pete Townshend and The Who known as Daltrey Sings Townshend; this was a two-night concert at Carnegie Hall produced by Roger Daltrey of English rock band The Who in celebration of his fiftieth birthday. In 1994 a CD and a VHS video were issued, in 1998 a DVD was released. In 1995 he performed in The Wizard of Oz in Concert: Dreams Come True a musical performance of the popular story at Lincoln Center to benefit the Children's Defense Fund; the performance was broadcast on Turner Network Television and issued on CD and video in 1996. In 2006, he was featured in Gordon Goodwin's Big Phat Band's album The Phat Pack on the track "Play That Funky Music", a remake of the Wild Cherry hit in a big band style. Sanborn performs at Japan's Blue Note venues in Nagoya and Tokyo, he plays on the song "Your Party" on Ween's 2007 release La Cucaracha.
On April 8, 2007, Sanborn sat in with the Allman Brothers Band during their annual run at the Beacon Theatre in New York City. In 2010, Sanborn toured with a trio featuring jazz organist Joey DeFrancesco and Steve Gadd where they played the combination of blues and jazz from his album Only Everything. In 2011, Sanborn toured with keyboardist George Duke and bassist Marcus Miller as the group DMS. Sanborn has performed on both television broadcasts. From the late 1980s he was a regular guest member of Paul Shaffer's band on Late Night with David Letterman, he appeared a few times on the Late Show with David Letterman in the 90s. From 1988–89, he co-hosted Night Music, a late-night music show on NBC television with Jools Holland. Following producer Hal Willner's eclectic approach, the show positioned Sanborn with many famed musicians, such as Miles Davis, Dizzy Gillespie, Pharoah Sanders, Eric Clapton, Robert Cray, Lou Reed, Elliott Sharp, Jean-Luc Ponty, Todd Rundgren, Youssou N'dour, Pere Ubu, Loudon Wainwright III, Mary Margaret O'Hara, Screamin' Jay Hawkins, Leonard Cohen, John Zorn, Curtis Mayfield.
During the 1980s and 1990s, Sanborn hosted a syndicated radio program, The Jazz Show with David Sanborn. Sanborn has recorded many shows' theme songs as well as several other songs for The Late Late Show with Tom Snyder, he has won six Grammy Awards and has had eight gold
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
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. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
Zydeco is a music genre that evolved in southwest Louisiana by French Creole speakers which blends blues and blues, music indigenous to the Louisiana Creoles and the Native people of Louisiana. Though distinct in origin from the Cajun music of Louisiana, the two forms influenced each other, forming a complex of genres native to Louisiana; the origin of the word "zydeco" is uncertain. One theory is that it derives from the French phrase Les haricots ne sont pas salés, when spoken in the Louisiana Creole French, sounds as; this translates as "the snap beans aren't salty" but idiomatically as "times are hard" signifying the speaker's fatigue or lack of energy. The earliest recorded use of the term may have been the country and western musical group called Zydeco Skillet Lickers who recorded the song "It Ain't Gonna Rain No Mo" in 1929. Several different spellings of the word existed, including "zarico" and "zodico". In 1960, musicologist Robert "Mack" McCormick wrote liner notes for a compilation album, A Treasury of Field Recordings, used the spelling "zydeco".
The word was used in reviews, McCormick began publicizing it around Houston as a standard spelling. Its use was accepted by musician Clifton Chenier – who had recorded "Zodico Stomp" in 1955 – in his recording "Zydeco Sont Pas Salés", after which Chenier himself claimed credit for devising the word. In an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s; the Atakapa word for "dance" is "shi" and their word for "the youths" is "ishol". In 1528 Spanish people, the first Europeans to contact the Atakapa, translated "shi ishol" as "zy ikol". Four hundred years the mixed-blood descendants of Atakapas and Africans would still sway in synchrony to their raucous music, but with a evolved name: zydeco. Another possible root word for zydeco is as a West African term for "musicking". Recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins.
The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes "za," "re," and "go" are associated with dancing and/or playing music". Fast tempo and dominated by the button or piano accordion and a form of a washboard known as a "rub-board," "scrub-board," "wash-board," or frottoir, zydeco music was created at house dances, where families and friends gathered for socializing; as a result, the music integrated waltz, two-steps, blues and roll, other dance music forms of the era. Today, zydeco integrates genres such as R&B, brass band, hip hop, rock, Afro-Caribbean and other styles, in addition to the traditional forms; the original French settlers came to Louisiana in the late 1600s, sent by the Regent of France, Philippe d'Orléans, Duke of Orléans, to help settle the Louisiana Territory. Arriving in New Orleans on seven ships, the settlers moved into the bayous and swamps.
There the French culture permeated those of the Irish, Native Indian and German peoples populating the area. For 150 years, Louisiana Creoles enjoyed an insular lifestyle, educating themselves without the government and building their invisible communities under the Code Noir; the French created the Code Noir in 1724 to establish rules for treatment of slaves, as well as restrictions and rights for gens de couleur libres, a growing class of free people of color. They had the right to own land, something few blacks in the American South had at that time; the disruption of the Louisiana Creole community began when the United States made the Louisiana Purchase and Americans started settling in the state. The new settlers recognized only the system of race that prevailed where they came from; when the Civil War ended and the black slaves were freed, Louisiana Creoles assumed positions of leadership. However, segregationist Democrats in Louisiana classified Creoles with freedmen and by the end of the 19th century had disfranchised most blacks and many poor whites under rules designed to suppress black voting.
Creoles continued to press for advancement while negotiating the new society. Zydeco's rural beginnings and the prevailing economic conditions at its inception are reflected in the song titles and bluesy vocals; the music arose as a synthesis of traditional Creole music, some Cajun music influences, African-American traditions, including R&B, blues and gospel. It was often just called French music or le musique Creole known as "la-la." Amédé Ardoin made the first recordings of Creole music in 1928. This Creole music served as a foundation for what became known as zydeco. Sometimes the music was performed in the Catholic Church community centers, as Creoles were Catholic, it moved to rural dance halls and nightclubs. During World War II with the Great Migration, many French-speaking and Louisiana Creole speaking Créoles from the area around Marksville and Opelousas, Louisiana left a poor and prejudiced state for better economic opportunities in Texas. More southern blacks migrated to California, where buildup of defense industries provided good jobs without the restrictions of the segregated South.
In California blacks from Louisiana began to participate in political life. Today, there are many Cajun and zydeco festivals throughout the US. Zydeco music p
1980s in music
For music from a year in the 1980s, go to 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89. This article includes an overview of the major trends in popular music in the 1980s; the 1980s saw the emergence of new wave. As disco fell out of fashion in the decade's early years, genres such as post-disco, Italo disco, Euro disco and dance-pop became more popular. Rock music continued to enjoy a wide audience. Soft rock, glam metal, thrash metal, shred guitar characterized by heavy distortion, pinch harmonics and whammy bar abuse became popular. Adult contemporary, quiet storm, smooth jazz gained popularity. In the late 1980s, glam metal became the largest, most commercially successful brand of music in the United States and worldwide; the 1980s are remembered for an increase in the use of digital recording, associated with the usage of synthesizers, with synth-pop music and other electronic genres featuring non-traditional instruments increasing in popularity. During this decade, several major electronic genres were developed, including electro, house and Eurodance, rising in prominence during the 1990s and beyond.
Throughout the decade, R&B, hip hop and urban genres were becoming commonplace in the inner-city areas of large, metropolitan cities. These urban genres—particularly rap and hip hop—would continue their rise in popularity through the 1990s and 2000s. A 2010 survey conducted by the digital broadcaster Music Choice, which polled over 11,000 European participants, revealed that the 1980s is the most favored tune decade of the last 50 years. Reflecting on changes in the music industry during the 1980s, Robert Christgau wrote in Christgau's Record Guide: The'80s: The'80s were above all a time of international corporatization, as one major after another gave it up to media moguls in Europe and Japan. By 1990, only two of the six dominant American record companies were headquartered in the U. S. Bizzers acted locally while thinking globally in re artists/suppliers. After a feisty start, independent labels accepted farm-team status that could lead to killings with the bigs. Cross-promotional hoohah became the rule—the soundtrack album, the sponsored tour, the golden-oldie commercial, the T-shirt franchise, the video as song ad and pay-for-play programming and commodity fetish.
Record executives became less impresarios than arbitragers, speculating in abstract bundles of rights whose physical characteristics meant little or nothing to them. Rock was mere music no longer, it was reconceived as a form of capital itself. Commercial stardom, as measured by music recording sales certifications, replaced artistry as an indication of a musician's significance, according to Christgau. "When art is intellectual property and aura subsume aesthetic substance, whatever that is", he explained. "When art is capital, sales interface with aesthetic quality—Thriller's numbers are part of its experience." The 1980s saw the reinvention of Michael Jackson, the superstardom of Prince, the emergence of Madonna and Whitney Houston, who were all among the most successful musicians during this time. Michael Jackson, along with Prince, was the first African American artist to have his music videos placed in heavy rotation on MTV, with his videos for the songs “Beat It,” and “Billie Jean”. Jackson's Thriller album from 1982 is the best-selling album of all time, selling 25 million copies during the decade.
His other album, 1987’s Bad, has the honour of being the first album in history to have 5 number-one singles on the Billboard Hot 100. Its accompanying world tour made history by being the highest-grossing tour by a solo artist in the 1980s, as well as the highest-grossing tour at the time. In addition to being the biggest selling artist of the decade, Jackson had nine number-one singles, more that any other act during the decade, spent the longest time at number one, throughout the 1980s, he won numerous awards, in retrospect such as “Artist of the Decade” and “Artist of the Century.” He was arguably the biggest star of the 1980s. Madonna was the most successful female artist of the decade, her third studio album, True Blue, became the best-selling female album of the 1980s. Other Madonna albums from the decade include Like a Virgin, which became one of the best selling albums of all-time, Like a Prayer, called "as close to art as pop music gets" by Rolling Stone. Madonna was among the first to make them an art form.
Many of her songs topped the Charts around the world, such as: "Like a Virgin", "Papa Don't Preach", "La Isla Bonita" and "Like a Prayer". After her Like a Prayer album release in 1989, Madonna was named artist of the decade by a number of magazines and awards. Whitney Houston was one of the best selling female artists of the decade in the US, behind Madonna and Barbra Streisand, her eponymous debut studio album became the best-selling debut album by a female artist at the time, her sophomore album, became the first by a female debut at No. 1 in the history of the Billboard 200. She became the first and only artist to chart seven consecutive number-one songs on the Billboard Hot 100. Paula Abdul hit it big in 1988, with her debut album Forever Your Girl, she was the first female to have four number one singles
Patty Loveless is an American country music singer. Since her emergence on the country music scene in late 1986 with her first album, Loveless has been one of the most popular female singers of neotraditional country, she has recorded albums in the country pop and bluegrass genres. Loveless was born in Pikeville and raised in Elkhorn City and Louisville, Kentucky, she rose to stardom thanks to her blend of honky tonk and country-rock and a plaintive, emotional ballad style. Throughout her career, Loveless has sold 15 million albums worldwide. Loveless has charted more than 40 cuts on the Billboard Hot Country Songs charts, including five in the No. 1 position: "Timber, I'm Falling in Love", "Chains", "Blame It on Your Heart", "You Can Feel Bad", "Lonely Too Long". She has recorded 14 studio albums, she has been a member of the Grand Ole Opry since 1988. Loveless was married to Terry Lovelace, from whom she derived her professional name, from 1976 to 1986, she has been married to Emory Gordy Jr., her record producer, since 1989.
Patty Loveless was born January 1957 in Pikeville, Kentucky. She was the sixth of seven children born to John Ramey of Elkhorn City, Kentucky. Like many men in the area, Mr. Ramey worked as a coal miner. Loveless' interest in music started. In 1969, when she was twelve, the Ramey family moved to Kentucky; the move was necessitated from her father's struggles with Coalworker's pneumoconiosis, or black lung disease. This was caused by years of breathing in the coal dust. Loveless graduated from Fairdale High School in 1975, her older sister, Dottie Ramey, an aspiring country singer performed at small clubs in eastern Kentucky with her brother Roger, billed as the Swinging Rameys. Traveling with Dottie and Roger to Fort Knox in 1969 and hearing her sister perform on stage, Patty Ramey decided that she would like to become a performer as well; when Dottie married in 1969 and quit performing, Roger persuaded Patty to perform onstage for the first time at a country jamboree in Hodgenville, Kentucky. The forum consisted of foldout chairs in a small auditorium and was called the "Lincoln Jamboree".
She with her brother performed several songs. Patty Ramey joined her brother Roger and started singing together at several clubs in Louisville, under the name "Singin' Swingin' Rameys". Loveless and her brother would perform in various clubs in the Louisville area. A local radio announcer, Danny King with a country radio station in Louisville was a supporter of the Ramey kids. Whenever there was an opportunity for them to appear on stage, he would call up the Rameys and try to get them a booking, it was her brother Roger who took Patty Ramey to Nashville, Tennessee, in 1971. Having grown up listening to the music of the Grand Ole Opry both in Pikeville, in Louisville, Roger had moved to Nashville in 1970 and became a producer with The Porter Wagoner Show; when they arrived in Nashville, Roger went to Porter Wagoner's office without an appointment and managed to introduce his sister to Wagoner. Roger was able to convince Wagoner to listen to his sister sing, she performed a song she wrote for their father, called "Sounds of Loneliness".
To both Roger and Patty's surprise, Wagoner thumped his hand on his desk and said he was going to help her out. Wagoner introduced them to his singing partner at the time, Dolly Parton, encouraged her to go back home and finish school, although he did invite her to travel with him and Dolly Parton on weekends during the summer. In 1973 Bill Anderson, Connie Smith, the Wilburn Brothers, Jean Shepard were scheduled to appear in a touring Grand Ole Opry show in Louisville Gardens. However, Jean Shepard was caught in a flood, she wasn't able to make it in. Danny King, sensing an opportunity, gave the Rameys a call. Loveless and her brother Roger appeared in the show for about 15 minutes on stage; the Wilburn Brothers listened to Patty Ramey and after her performance asked her if she had sung professionally. She explained that she had worked with Porter Wagoner some and had traveled with him and Dolly Parton on weekends and during the summers. Doyle Wilburn asked if she wanted to come to Nashville and work with their band to replace their female singer, to which Patty Ramey agreed.
Between 1973 and 1975 Patty Ramey traveled with the Wilburns on weekends and during the summers when school was out. Loveless's parents insisted. Doyle Wilburn was grooming Ramey as his lead female singer, he held a music publishing contract on her with Sure-Fire music, his songwriting agency, as Wilburn realized that she was a talented songwriter. In addition, during the summer when the group wasn't on the road, Doyle Wilburn had Patty Ramey work at his various enterprises in Nashville, having her wait on tables in one of his restaurants and clerking at his Music Mart USA record store. After graduation from Fairdale High School in Louisville, Kentucky, in 1975 Patty Ramey became a full-time member of the Wilburn Brother's band as their lead female singer. About this time she met Terry Lovelace. Lovelace came from a small town in western North Carolina, Kings Mountain, shared many things in common with Loveless. At first Patty kept her friendship and her growing relationship with Lov
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007