Stand by Me (Ben E. King song)
"Stand by Me" is a song performed by American singer-songwriter Ben E. King and written by King, Jerry Leiber, Mike Stoller. According to King, the title is derived from, was inspired by, a spiritual written by Sam Cooke and J. W. Alexander called "Stand by Me Father," recorded by the Soul Stirrers with Johnnie Taylor singing lead; the third line of the second verse of the former work derives from Psalm 46:2c/3c. There have been over 400 recorded versions of the song, performed by many artists, it was featured on the soundtrack of the 1986 film Stand by Me, a corresponding music video was released to promote the film. In 2012 it was estimated that the song's royalties had topped $US 22.8 million, making it the sixth highest-earning song as of that time. 50% of the royalties were paid to King. In 2015 King's original version was inducted into the National Recording Registry by the Library of Congress, as "culturally or aesthetically significant", just under five weeks before his death. In the year, the 2015 line up of the Drifters recorded it, in tribute to him.
In 1960, Ben E. King was inspired to update the early 20th century gospel hymn by Charles Albert Tindley, based around the psalm, "will not we fear, though the Earth be removed, though the mountains be carried into the midst of the sea."According to the documentary History of Rock'n' Roll, King had no intention of recording the song himself. King had written it for the Drifters. After the "Spanish Harlem" recording session in 1960, King had some studio time left over; the session's producers, Jerry Leiber and Mike Stoller, asked. King played it on the piano for them, they called the studio musicians back in to record it. Stoller recalls it differently: I remember arriving at our office as Jerry and Ben were working on lyrics for a new song. King had the beginnings of a melody. I went to the piano and worked up the harmonies, developing a bass pattern that became the signature of the song. Ben and Jerry finished the lyrics.... In another interview, Stoller said: Ben E. had the beginnings of a song—both words and music.
He worked on the lyrics together with Jerry, I added elements to the music the bass line. To some degree, it's based on a gospel song called "Lord Stand By Me". I have a feeling that Ben E. were inspired by it. Ben, of course, had a strong background in church music. He's a 50% writer on the song, Jerry and I are 25% each.... When I walked in, Jerry and Ben E. were working on the lyrics to a song. They were at an old oak desk. Jerry was sitting behind it, Benny was sitting on the top, they said they were writing a song. I said, "Let me hear it."... Ben began to sing the song a cappella. I went over to the upright piano and found the chord changes behind the melody he was singing, it was in the key of A. I created a bass line. Jerry said, "Man that's it!" We used my bass pattern for a starting point and we used it as the basis for the string arrangement created by Stanley Applebaum. The personnel on the song included Romeo Penque on sax, Ernie Hayes on piano, Al Caiola and Charles McCracken on guitars, Lloyd Trotman on double bass, Phil Kraus on percussion, Gary Chester on drums, plus a wordless mixed chorus and strings.
Songwriting credits on the single were shown as King and Elmo Glick—a pseudonym used by Leiber and Stoller. King's record went to No. 1 on the R&B charts and was a Top Ten hit on the US charts twice—in its original release, entering the Billboard chart on May 13, 1961 and peaking at No. 4 on June 16, 1961, a 1986 re-release coinciding with its use as the theme song for the movie of the same name following its appearance in the film, when it peaked at No. 9 on 20 December 1986 - 3 January 1987, in an advertisement for Levi Jeans. It reached No. 1 on the UK Singles Chart in 1987 after its re-release because of the jeans spot reaching No. 27 on its first release. The song was not released on an album; the song appeared on King's Don't Play That Song! album. The song was ranked 122nd on Rolling Stone's list of the 500 Greatest Songs of All Time. In 1999, BMI named it as the fourth most-performed song of the 20th century, with about seven million performances. On March 27, 2012, the Songwriters Hall of Fame announced that the song would receive its 2012 Towering Song Award and that King would be honored with the 2012 Towering Performance Award for his recording of it.
The song uses a version of the common chord progression now called the 50s progression, called the "'Stand by Me' changes" after the song. Adriano Celentano's 1962 Italian version, "Pregherò" reached no. 1 on the Italian charts. Muhammad Ali released a version on his 1963 spoken-word/comedy album I Am the Greatest. Clay's recording was released as the B-side of the eponymous single in 1964, charting on the Billboard "Bubbling Under Hot 100 Singles", it was included on the CD Beat Of The Pops Vol 34. Spyder Turner's 1967 version climbed to No. 3 on the US Billboard Black Singles chart and No. 12 on the Billboard Hot 100 chart. John Lennon recorded his version of the song for his 1975 album Roll. Lennon's remake was his last hit prior to his five-year retirement from the music industry. Lennon filmed a performance of the song for The Old Grey Whistle Test in 1975. On May 3, 1975 this version was in its second of two weeks at the peak position #20 on the US Hot 100, right in front of King's comeback hit "Supernatural Thing - Part I" at #21.
Mickey Gilley released his version of the song in 1980, it was included in the movie Urban
Supernatural (Ben E. King album)
Supernatural is the eighth studio album and ninth album overall by American soul and R&B singer Ben E. King. Released in 1975, it marked King's transition to the main Atlantic Records label after time on subsidiary labels; the single "Supernatural Thing" brought him a return to chart success, reaching No. 1 on the Billboard Hot Soul Singles chart, his first time in 14 years, peaking at No. 5 on the Billboard Hot 100. The title track and other tracks on the album featured King singing in a higher key as second tenor, rather than his usual baritone. "Supernatural Thing Part 1" "Supernatural Thing Part 2" "You're Lovin' Ain't Good Enough" "Drop My Heart Off" "Extra Extra" "Do It In the Name of Love" "Happiness Is Where You Find It" "Do You Wanna Do a Thing" "Imagination" "What Do You Want Me To Do" Ben E. King - vocals Carlos Alomar, Jeff Mironov, Jerry Friedman - guitar Bob Babbitt, Jerry Jemmott - bass Derek Smith, Ricky Williams, Bert De Coteaux - keyboards Jimmy Young - drums Carlos Martin - congas George Devens, Jack Jennings, Phil Kraus, Ted Sommers - percussion Brenda White, Gwen Guthrie, Lani Groves, Yvonne Guthrie - background vocals Bob Clearmountain, Ron St. Germain, Tony "No. 1" Bongiovi - engineer
Spanish Harlem (album)
Spanish Harlem is the debut album by Ben E. King; the album was released by Atlantic Records as an LP in 1961. The title track and "Amor" were released as singles; the latter was released as "Amor Amor" on London. Stan Applebaum was the arranger. "Amor" - "Sway" - "Come Closer to Me" - "Perfidia" - "Granada" - "Sweet and Gentle" - "Perhaps, Perhaps" - "Frenesí" - "Souvenir of Mexico" - "Bésame Mucho" - "Love Me, Love Me" - "Spanish Harlem" - Allmusic link
Let Me Live in Your Life
Let Me Live in Your Life was Ben E. King's 12th album and 11th studio album, his fourth record with Atlantic Records; the album was released in 1978. Some tracks from Rhapsody appear on this album. "Tippin'", "I See The Light", "Dark Storm on the Horizon", "Spoiled" are new tracks. "Let Me Live In Your Life", "Fifty Years" and "Sweet Rhapsody" were recorded by Motown group The Originals for their 1975 Lamont Dozier-produced album California Sunset. All tracks composed by Lamont Dozier.
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
Young Boy Blues
Young Boy Blues is the fourth studio album by Ben E. King, the first of his albums released by Clarion Records, a subsidiary budget label of Atlantic Records, it was released in 1964. "Young Boy Blues" "I" "Ecstasy" "Here Comes the Night" "My Heart Cries for You" "Yes" "Gloria Gloria" "Brace Yourself" "I'm Standing By" "Show Me the Way"
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular