Be Still My Beating Heart
"Be Still My Beating Heart" is a song by Sting, from his second studio album... Nothing Like the Sun. In 1989 the song was nominated for Song of Best Male Pop Vocal Performance. Former Police band mate Andy Summers played guitar on the track; the song appeared in the 2000 film Dolphins. The track has since appeared on The Best of Sting: Fields of Gold 1984-1994 compilation album among others; the song was released as a single, reached #15 on the U. S. Billboard Hot 100, #37 Hot Adult Contemporary Tracks and #2 on the Hot Mainstream Rock Tracks charts, respectively, it was only released as a single in Japan, South Africa, Canada & United States. There are two single edit-length versions of the track and; the music video for the song was directed by her husband Michael Patterson. The video appeared on The Best of Sting: Fields of Gold 1984-1994 compilation VHS home video. "Be Still My Beating Heart" video on YouTube
Fantastic, Vol. 2
Fantastic, Vol. 2 is the second album by American hip hop group Slum Village, released on June 13, 2000. During the time of its release the group was still composed of its earliest members T3, Baatin and J Dilla; the album was completed in 1998 for A&M Records shortly before the label became obsolete, leaving Slum Village in limbo for over a year. During this period, the group's producer Jay Dilla increased his profile through work with artists such as Common, Busta Rhymes, Erykah Badu and A Tribe Called Quest. At the same time tremendous acclaim from notables such as Questlove of The Roots and Q-Tip built up anticipation for the long-delayed LP. Slum Village found an outlet with Goodvibe Recordings & Barak Records, released Fantastic, Vol. 2 in summer 2000. Although sales were slow the group had a huge impact on the underground circuit and were proclaimed torch-bearers for the departing A Tribe Called Quest. In particular Jay Dee's much lauded production work, full of subtle grooves and soul claps, was a blueprint for the direction that neo soul would take in the coming years.
The album was re-released minus the original version of "Fall-N-Love", replaced by the remix due to sample clearance issues, as well as their collaboration with Common, "Thelonius". The album's cover was designed by Waajeed; the album received positive reviews and acclaim upon its release. The Phoenix New Times, for example, commented that " production style has been subtly influencing better-recognized producers for years" and went as far as to claim that "Slum Village is going to single-handedly save rap music"; the group themselves have since acknowledged the impact this record had, while they benefited from it, it has overshadowed their though more commercially successful work. The twelfth track "Get Dis Money" was featured on the soundtrack to the 1999 Mike Judge cult film Office Space; the second track "Conant Gardens" was featured in the 2002 Frankie Muniz film Big Fat Liar as well as the 2003 Steve Martin film Cheaper by the Dozen. The album was re-issued as Fantastic Vol 2 10 in 2010.
All tracks are produced by Jay Dee, except for "Tell Me", produced by D'Angelo and co-produced by Jay Dee, "Once Upon A Time", produced by Pete Rock and Jay Dee. On subsequent pressings, the album includes the Jay Dee-produced songs "Thelonius" and "Who We Are" as bonus tracks. Questlove produced the preceding interlude to "Thelonius" but as the entire track is lifted from Common's Like Water For Chocolate, he is not credited. All songs written by James Yancey, Titus Glover and R. L. Altman, except as noted"Intro" – 1:25 "Conant Gardens" – 3:04 "I Don't Know" – 2:25 "Jealousy" – 4:05 "Climax" – 3:31 "Hold Tight" – 3:12 "Tell Me" – 4:37 "What It's All About" – 3:36 "Forth and Back" – 4:26 "Untitled/Fantastic" – 3:54 "Fall in Love" - 3:47 "Get Dis Money" – 3:31 "Raise It Up" – 4:27 "CB4" – 3:45 "Once Upon a Time" – 5:54 "Players" – 2:26 "Eyes Up" – 4:22 "2U 4U" – 3:08 "Go Ladies" – 4:43 "Thelonius" - 4:29 "Who Are We" - 3:44 On February 2, 2010, the album was re-released as the two-disc Fantastic Vol. 2.10, commemorating the 10th anniversary of the original album.
This Barak Records release features additional tracks, alternative versions of a few songs, a different intro from the original release. The songs changed or replaced are "Hold Tight", "Fourth & Back", "Once Upon a Time" and "2U 4U"; this version of "Once Upon a Time" is produced by Pete Rock only. "Climax", while the same version of the song, now features a different ending followed by a skit. "Fall-N-Love" is listed as the'original version' but is the same version to be found on the original release, this is because of some earlier presses replaced it with the 12" remixes because a sample problem. It is notable for including many small skits that appear between songs that never appeared on earlier presses. Disc 1: "Intro" "Conant Gardens" "I Don't Know" "Skit #1" "Jealousy" "Climax" "Hold Tight" "Tell Me" "Skit #2" "Fourth & Back" "Untitled" "Fall-N-Love" "Get Dis Money" "CB4" "Once Upon a Time" "Players" "Eyes Up" "2U 4U " "Hustle" "Go Ladies" "Skit #3" "We Be Dem #1" "We Be Dem #2" "Get It Together"Disc 2: "Conant Gardens" "I Don't Know" "Climax" "Hold Tight " "Tell Me" "Untitled" "Fall-N-Love" "Get Dis Money" "CB4" "Players" "Eyes Ups" "2U 4U" "Hustle" "Go Ladies" Raise It Up uses a sample from the song "Extra Dry" by Thomas Bangalter of Daft Punk.
It was used without permission, as producer J Dilla obtained a copy of the song from a bootleg recording, assumed that the artist was an obscure producer, unlikely to notice. Bangalter and Guy-Manuel de Homem-Christo however happened to be fans of Slum Village, a
Rhythm and blues
Rhythm and blues abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, drums, one or more saxophones, sometimes background vocalists. R&B lyrical themes encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships and aspirations; the term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.
In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B", it combines elements of rhythm and blues, soul, hip hop, electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Usher, Bruno Mars, Chris Brown, Justin Timberlake, The Weeknd, Frank Ocean and Khalid. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in Billboard as early as 1943.
It replaced the term "race music", which came from within the black community, but was deemed offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles". Before the "Rhythm and Blues" name was instated, various record companies had begun replacing the term "race music" with "sepia series". Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music, made by and for black Americans", he has used the term "R&B" as a synonym for jump blues. However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.
Well into the 21st century, the term R&B continues in use to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, bass and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow and hypnotic textures while calling attention to no individual sound. While singers are engaged with the lyrics intensely so, they remain cool, in control; the bands dressed in suits, uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics seemed fatalistic, the music followed predictable patterns of chords and structure; the migration of African Americans to the urban industrial centers of Chicago, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz and related genres of music.
These genres of music were performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, T-Bone Walker. There was increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five, consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, jazz-based music with a heavy, insistent beat".
Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, Wynonie Harris, is now referred to as jump blues. Paul Gayten, Roy Brown, others had had hits in the style now referred to as rhythm and blu
Here, My Dear
Here, My Dear is the fifteenth studio album by music artist Marvin Gaye, released December 15, 1978, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place between 1977 and 1978 at Gaye's personal studios, Marvin Gaye Studios in Los Angeles, California; the album was notable for its subject matter's being dedicated to the fallout of Gaye's marriage to his first wife, Anna Gordy Gaye. A commercial and critical failure upon its release, it was hailed by music critics as one of Gaye's best albums in the years following Gaye's passing. "It's taken me a while," Anna admitted in years, "but I've come to appreciate every form of Marvin's music." Marvin Gaye was going through a personal crisis in the summer of 1976. In November 1975, Gaye's estranged first wife, Anna Gordy Gaye, sued Gaye for divorce, claiming irreconcilable differences, sought child support for their adopted son, Marvin Gaye III. Gaye argued his spending habits were causing him to fall behind on payments.
In September 1976, a warrant was issued for Gaye's arrest. Several weeks Gaye accepted an offer to do a tour of Europe. Between October and December 1976, Gaye performed in the United Kingdom, the Netherlands and Germany. Following his return, he recorded "Got to Give It Up" and released it on his album, Live at the London Palladium; the song became an international hit, reaching number one on the Billboard Hot 100. After months of delays, in March 1977, the singer's attorney, Curtis Shaw, wanted to end divorce proceedings and convinced Marvin to give up half of the percentage of album royalties he would earn from his next Motown album to Anna; the Gayes' divorce was finalized in June. When Gaye was set to start production on the record, he said he figured he would just do a "quickie record - nothing heavy, nothing good", stating, "Why should I break my neck when Anna was going to wind up with the money anyway?" But as Gaye lived with the notion of doing an album for his soon-to-be his ex-wife, the more it fascinated him, stating he felt he "owed the public my best effort."
Gaye stated he did the record "out of deep passion", noting he "sang and sang until I drained myself of everything I'd lived through."Shortly after the deal was made, Gaye entered his recording studio on March 24, 1977 to record the album with only engineer Art Stewart by his side. Gaye, who didn't write his lyrics, composed on the spot, mumbling over prerecorded tracks or to his own accompaniment; the mumblings were "embryonic melodies", which evolved into lyrics after three or four takes. Gaye ended up playing all the keyboard parts of the album, saying "I didn't plan it that way, it just turned out to be a hands-on project." According to PopMatters journalist Mike Joseph, Here, My Dear's music was "largely midtempo funk, with elements of traditional soul and doo-wop mixed together with a slight hint of disco". The title track opens the album, in the album's liner notes David Ritz describes Gaye's tone in the song as "self-serving, self-justifying self-pitying". "I Met a Little Girl" includes doo-wop drenched harmonies with its lyrics and music producing a "thick mixture" of sincerity and sarcasm.
Considered the central melodic motif of the album, "When Did You Stop Loving Me, When Did I Stop Loving You" abandoned traditional song structure with a discursive mode, without a chorus, with its lyrics expressing "different feelings - tenderness, anger, regret". Described as "straight ahead and beguiling" compared to all the other songs on the album, "Anger" is considered as "part sermon and part self-retribution", describing his movement from catharsis to escape. "Is That Enough?" was recorded shortly after Gaye returned from a day in divorce court, humming the song's melody and some lyrics. Much like some other songs, it's told in a storyteller's point of view. "Everybody Needs Love" is described as an "attempt to empathy". "Time to Get It Together" includes a confessional, influenced by Stevie Wonder's song, "As". "Anna's Song" is described as "the heart" of the album. "A Funky Space Reincarnation" alluded to Star Wars as well as the music of George Clinton's Parliament-Funkadelic. "You Can Leave, But It's Going to Cost You" is produced under an assertive tone describing an argument between Marvin and his wife over his girlfriend, Janis.
The final track, "Falling in Love Again", is dedicated to Janis, in which Gaye concluded on a "regenerative note". An Allmusic reviewer wrote of the music:...the sound of divorce on record—exposed in all of its tender-nerve glory for the world to consume... Gaye viciously cuts with every lyric deeper into an explanation of why the relationship died the way it did... Musically the album retains the high standards Gaye set in the early'70s, but you can hear the agonizing strain of recent events in his voice, to the point where several vocal overdubs can't save his delivery; the front cover featured a painting of Gaye dressed in a toga in a neo-Roman setting, created by artist Michael Bryan, who stated Gaye described how he wanted to be depicted on the cover. The back cover features a temple with the word "matrimony" collapsing around a mock-Rodin sculpture of a romantic couple; the fold-out illustration inside the original double album shows a man's hand reaching across to the hand of a woman's, about to give her a record.
The hands are extended on a Monopoly board—with the legend JUDGMENT written on it. On the man's side are tape recorders and a grand piano; the scales of justice sit above the game. David Ritz described the ju
I Heard It Through the Grapevine
"I Heard It Through the Grapevine" is a song written by Norman Whitfield and Barrett Strong for Motown Records in 1966. The first recording of the song to be released was produced by Whitfield for Gladys Knight & the Pips and released as a single in September 1967; the Miracles recorded the song first and included their version on their 1968 album, Special Occasion. The Marvin Gaye version was placed on his 1968 album In the Groove, where it gained the attention of radio disc jockeys, Motown founder Berry Gordy agreed to its release as a single in October 1968, when it went to the top of the Billboard Pop Singles chart for seven weeks from December 1968 to January 1969 and became for a time the biggest hit single on the Motown label; the Gaye recording has since become an acclaimed soul classic, in 2004, it was placed 81 on the Rolling Stone list of The 500 Greatest Songs of All Time. On the commemorative fortieth anniversary of the Billboard Hot 100 issue of Billboard magazine in June 2008, Marvin Gaye's "Grapevine" was ranked sixty-fifth.
It was inducted to the Grammy Hall of Fame for "historical and significant" value. In addition to being released several times by Motown artists, the song has been recorded by a range of musicians including Creedence Clearwater Revival, who made an eleven-minute interpretation for their 1970 album, Cosmo's Factory; the lyrics tell the story in the first person of the singer's feelings of betrayal and disbelief when he hears of his girlfriend's infidelity only indirectly "through the'grapevine'". By 1966, Barrett Strong, the singer on Motown Records' breakthrough hit, "Money", had the basics of a song he had started to write in Chicago, where the idea had come to him while walking down Michigan Avenue that people were always saying "I heard it through the grapevine"; the phrase is associated with black slaves during the Civil War, who had their form of telegraph: the human grapevine. Producer Norman Whitfield worked with Strong on the song, adding lyrics to Strong's basic Ray Charles influenced gospel tune and the single chorus line of "I heard it through the grapevine".
This was to be the first of a number of successful collaborations between Strong and Whitfield. Producer Norman Whitfield recorded "I Heard It Through the Grapevine" with various Motown artists; the first known recording is with the Miracles on August 6, 1966, though there may have been a recording with the Isley Brothers, or at least Whitfield intended to record it with them. The Miracles' version was not released as a single due to Berry Gordy's veto during Motown's weekly quality control meetings; the Miracles version appeared on their 1968 Special Occasion album, a different take from the same session but unreleased, appeared on the 1998 compilation album, Motown Sings Motown Treasures. Marvin Gaye's version was recorded in spring 1967, is the second known recording, though it was rejected by Gordy as a single, would later go onto an album, In the Groove; the third recording was in 1967 with the Pips in a new, faster arrangement. Gordy accepted the new arrangement and the Gladys Knight version was released as a single in September 1967, reaching number 2 in the charts.
When Gaye's album with his version of Grapevine was released in August 1968, radio disc jockeys were playing the song, so Gordy had it released as a single in October, it went to number one in December. In 1968, Bobby Taylor & the Vancouvers recorded a version for their debut album based on Gladys' recent hit. In 1969, Whitfield produced a version for the Temptations "psychedelic soul" album, Cloud Nine, in which he "brought compelling percussion to the fore, relegated the piano well into the wings". In 1971, the Undisputed Truth recorded the song in a Marvin-styled version as did Bettye Lavette on her 1982 Motown album, Tell Me a Lie. Whitfield recorded the song with Marvin Gaye over five sessions, the first on February 3, 1967, the last on April 10, 1967. Recordings of this version took more than a month due to Whitfield overdubbing Gaye's vocals with that of the Andantes' background vocals, mixing in several tracks featuring the Funk Brothers on the rhythm track, adding the string section from the Detroit Symphony Orchestra with an arrangement by Paul Riser.
The session featuring Gaye led to an argument between the singer. Whitfield wanted Gaye to perform the song in a higher key than his normal range, a move that had worked on David Ruffin during the recording of the Temptations' hit, "Ain't Too Proud to Beg"; the mixture of Gaye's raspy vocals and the Andantes' sweeter harmonies made Whitfield confident that he had a hit. Gladys Knight & the Pips recorded "Grapevine" on June 17, 1967 in Motown's Studio A, with Norman Whitfield as producer. After hearing Aretha Franklin's version of "Respect", Whitfield rearranged "Grapevine" to include some of the funk elements of the Muscle Shoals Rhythm Section. According to David Ritz, Whitfield set to record a song. After Whitfield presented the demo tapes
Erica Abi Wright, known professionally as Erykah Badu, is an American singer and songwriter. Badu's career began after opening a show for D'Angelo in 1994 in Fort Worth, her first album, was released in February 1997. It spawned three singles: "On & On", "Next Lifetime" and "Otherside of the Game"; the album was certified triple Platinum by the Recording Industry Association of America. Her first live album, was released in November 1997 and was certified double Platinum by the RIAA, her second studio album, Mama's Gun, was released in 2000. It spawned three singles: "Bag Lady", which became her first top 10 single on the Billboard Hot 100 peaking at #6, "Didn't Cha Know?" and "Cleva". The album was certified Platinum by the RIAA. Badu's third album, Worldwide Underground, was released in 2003, it generated three singles: "Love of My Life", "Danger" and "Back in the Day" with'Love' becoming her second song to reach the top 10 of the Billboard Hot 100, peaking at #9. The album was certified Gold by the RIAA.
Badu's fourth album, New Amerykah Part One, was released in 2008. It spawned two singles: "Honey" and "Soldier". New Amerykah Part Two was fared well both critically and commercially, it contained the album's lead single "Window Seat". Influenced by R&B, 1970s soul, 1980s hip hop, Badu became associated with the neo soul subgenre in the 1990s along with artists like D'Angelo. Badu has been called the queen of neo soul, her voice has been compared to jazz singer Billie Holiday. Early in her career, Badu was recognizable for her eccentric style, which included wearing large and colorful headwraps, she was a core member of the Soulquarians. As an actress, she has played a number of supporting roles in movies including Blues Brothers 2000, The Cider House Rules and House of D, she has appeared in the documentaries Before the Music Dies and The Black Power Mixtapes. Erykah Badu was born Erica Abi Wright in Texas, her mother raised her, her brother Eevin, her sister Nayrok alone after separating from their father, William Wright Jr.
To provide for her family, the children's maternal and paternal grandmothers helped look after them. Badu had her first taste of show business at the age of four and dancing at the Dallas Theater Center and The Black Academy of Arts and Letters under the guidance of her godmother, Gwen Hargrove, uncle TBAAL founder Curtis King. By the age of 14, Badu was freestyling for a local radio station alongside such talent as Roy Hargrove. In her youth, she had decided to change the spelling of her first name from Erica to Erykah, as she believed her original name was a "slave name"; the term "kah" signifies the inner self. She adopted the surname "Badu". Upon graduating from Booker T. Washington High School for the Performing and Visual Arts, Badu went on to study theater at Grambling State University, a black university. To concentrate on music full-time, she left the university in 1993 before graduating, took several minimum-wage jobs to support herself, she taught dance to children at the South Dallas Cultural Center.
Working and touring with her cousin, Robert "Free" Bradford, she recorded a 19-song demo, Country Cousins, which attracted the attention of Kedar Massenburg. He set Badu up to record a duet with D'Angelo, "Your Precious Love", signed her to a record deal with Universal Records. Baduizm, Badu's debut album, was released in early 1997; the album met with critical and commercial success, debuting at number two on the Billboard charts and number one on the US Billboard Top R&B/Hip-Hop Albums. Baduizm's commercial and critical success helped establish Badu as one of the emerging neo soul genre's leading artists, her particular style of singing drew many comparisons to Billie Holiday. Baduizm was certified three times platinum by the Recording Industry Association of America, Gold by the British Phonographic Industry and the Canadian Recording Industry Association; the album produced four singles. The album and lead single gave Badu her first nomination and win at the Grammy Awards, where "On & On" won Best Female R&B Vocal Performance and the album won Best R&B Album.
Badu recorded her first live album, while pregnant with Seven, the release of the recording coincided with his birth. The album was released on November 18, 1997 and reached number four on the US Billboard 200 and number one on the US Billboard Top R&B/Hip-Hop Albums; the album was certified two times platinum by RIAA for shipments of over two million copies. The album's lead single, "Tyrone", became another R&B hit single. "Tyrone", lyrically, is a song chiding a selfish and inattentive boyfriend. Badu collaborated with the Roots on their breakthrough 1999 release Things Fall Apart, she was featured by The Roots and American female rapper Eve. Co-written by Jill Scott, the song peaked at 39 in the US and 31 in the UK; the song went on to win The Roots and Badu a Grammy Award for Best Rap Performance by a Duo or Group in 1999. After taking some time off to raise her child, Badu returned in 2000 with Mama's Gun; the album was characterized as more organic in sound than her previ
Ahmir Khalib Thompson, known professionally as Questlove, is an American musician and music journalist. He is the drummer and joint frontman for the Grammy Award-winning band The Roots; the Roots have been serving as the in-house band for The Tonight Show Starring Jimmy Fallon since February 17, 2014. Questlove is one of the producers of the Broadway musical Hamilton, he is the cofounder of OkayAfrica. Additionally, he is an adjunct instructor at the Clive Davis Institute of Recorded Music at New York University. Questlove has produced recordings for artists including Elvis Costello, Common, D'Angelo, Jill Scott, Erykah Badu, Jay-Z, Nikka Costa, more Al Green, Amy Winehouse, John Legend, he is a member of the production teams the Soulquarians, The Randy Watson Experience, The Soultronics, The Beat Biters, The Grand Negaz, The Grand Wizzards. Ahmir Khalib Thompson was born into a musical family in Philadelphia on January 20, 1971, his father was Arthur Lee Andrews Thompson, from Goldsboro, North Carolina, went north in the Great Migration.
A singer, he became known as Lee Andrews and was lead with Lee Andrews & the Hearts, a 50s doo-wop group. Ahmir's grandfather Beachy Thompson had sung with The Dixie Hummingbirds. Ahmir's mother, Jacquelin Thompson, together with his father, was part of the Philadelphia-based soul group Congress Alley."Congress Alley". Discogs. March 13, 2009. Retrieved December 30, 2018, his parents did not want to leave the boy with babysitters, so they took him on tour with them. He grew up in backstages of doo-wop shows. By the age of seven, Thompson began drumming on stage at shows, by 13, had become a musical director. Questlove's parents enrolled him at the Philadelphia High School for the Creative and Performing Arts. By the time he graduated, he had founded a band called The Square Roots with his friend Tariq Trotter. Questlove's classmates at the Philadelphia High School for the Creative and Performing Arts included Boyz II Men, jazz bassist Christian McBride, jazz guitarist Kurt Rosenwinkel, jazz organist Joey DeFrancesco, singer Amel Larrieux.
He attended senior prom with Larrieux. After graduating from high school, he took jazz and composition classes at the Settlement Music School. Thompson began performing on South Street in Philadelphia using drums, while Tariq rhymed over his beats and rhythms. Thompson and Jay Lonick, a childhood friend, were known for improvisational "call and response" percussion battles with plastic buckets and shopping carts; this style translated into Thompson's usual drumset arrangement, with most drums and cymbals positioned at waist level, emulating his original street setups. From the PBS television series, Finding Your Roots, hosted by professor Henry Louis Gates, Jr. Questlove learned in December 2017 that he was descended in part from Charles and Maggie Lewis, his 3xgreat-grandparents, taken captive in warfare and sold as slaves in the port of Ouidah, Dahomey to American ship captain William Foster, they were among 110 slaves smuggled illegally to Alabama, in July 1860 on the Clotilda. It was the last known slave ship.
Questlove is the only guest to have appeared on Gates's program to be descended from slaves known by name and where they came from in Africa. The Roots' lineup was soon completed, with Questlove on drums and percussion, Tariq Trotter and Malik B on vocals, Josh Abrams on bass, Scott Storch on keyboards. While the group was performing a show in Germany, they recorded an album entitled Organix, released by Relativity Records in 1993; the group continued recording, releasing two critically acclaimed records in 1995 and 1996, Do You Want More?!!!??! and Illadelph Halflife, respectively. In 1999, The Roots had mainstream success with "You Got Me"; the song helped fuel the success of their Things Fall Apart album, which has since been hailed as a classic selling platinum. Questlove served as executive producer for D'Angelo's 2000 album Voodoo, Slum Village's album Fantastic, Vol. 2, Common's albums Like Water for Chocolate and Electric Circus. Besides the aforementioned albums, he has contributed as a drummer or producer to Erykah Badu's Baduizm and Mama's Gun, Dilated Peoples' Expansion Team, Blackalicious's Blazing Arrow, Bilal's 1st Born Second, N*E*R*D's Fly or Die, Joshua Redman's Momentum, Zap Mama's Axel Norman Ancestry In Progress, Fiona Apple's Extraordinary Machine, Zack De La Rocha's unreleased solo material.
In 2001, he collaborated as the drummer for The Philadelphia Experiment, a collaborative instrumental jazz album featuring Christian McBride and Uri Caine, the DJ of the compilation Questlove Presents: Babies Making Babies, released on Urban Theory Records in 2002. He played drums on Christina Aguilera's song "Loving Me 4 Me" for her 2002 album Stripped. In 2002, he and The Roots released the critically acclaimed Phrenology. In 2003, he played drums on John Mayer's song "Clarity" from his second album Heavier Things, he arranged and drummed on Joss Stone's cover of The White Stripes' "Fell in Love with a Girl". In 2004, The Roots released The Tipping Point, which contained a more mainstream sound due to demands from Interscope Records; the album sold 400,000 copies. In 2004, Questlove appeared in Jay-Z's Fade to Black. In addition to appearing in the documentary portion of the film, Questlove was the drummer/musical dire