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2008-04-17 15:10:22 Description: The Nolans, previously billed as The Nolan Sisters are siblings from Ireland, who reached the peak of their success as a vocal act in the late 1970s and early 1980s.+++++++++++++++++++Career The (More) The Nolans, previously billed as The Nolan Sisters are siblings from Ireland, who reached the peak of their success as a vocal act in the late 1970s and early 1980s.+++++++++++++++++++Career The Nolan family consisted of Irish parents Tommy and Maureen (both singers), six daughters and two sons. The family moved from Dublin to Blackpool in 1962 and three years later their youngest daughter was born. "The Singing Nolans" toured the Northern club circuit for several years as a full family unit, before the five eldest girls broke away to form The Nolan Sisters in the early 1970s. The original line up of The Nolan Sisters consisted of: Anne (born 12 November 1950) Denise (born 9 April 1952) Maureen (born 14 June 1954) Linda (born 23 February 1959) Bernie (born Bernadette Therese 17 October 1960) The sisters became popular on variety programs on British television during the 1970s and released several records featuring their versions of various popular songs. In 1978 they released an LP on Target Records containing their own versions of twenty well-known songs entitled 20 Giant Hits, which reached the Top 3 on the U.K. album chart. They also supported Engelbert Humperdinck on a successful tour around the United States, and came fourth in the "A Song For Europe" competition with the Hawaiian-flavoured "Harry my Honolulu Lover." The group was subsequently signed to Epic Records (a division of CBS). It was around this time that Denise left the group to pursue a solo career. She was replaced with the youngest member of the family, Coleen (born 12 March 1965).The "Epic" years The period during which the group were signed to Epic (1979-1984) was their most commercially successful. Their first Top 40 single ("Spirit, Body and Soul") was issued in 1979 and was taken from their self-titled album (called in Japan「恋のハッピーデート(koino-happy-date)」). These would mark their last releases under the name "The Nolan Sisters." At the end of 1979, the group released the disco-flavoured single "I'm In The Mood For Dancing;(called in Japan「ダンシング･シスター(dancing-sister)」" which became their signature tune, as well as a huge hit for the quintet. It shot to the U.K. Top 3 and became a success all over the world, particularly in Japan (where the group would remain popular for many years). The single was taken from their Nolan Sisters album (although "I'm In The Mood For Dancing" marked their first release under which they were simply billed "The Nolans"). Shortly after this time Anne Nolan left the group to have a baby, making The Nolans a four-piece. Success continued into 1980 with the singles "Don't Make Waves" (#12) and "Gotta Pull Myself Together" (#9). These tracks were later found on the album Making Waves, released towards the end of the year. This album spent more weeks on the U.K. chart (33 in total) than any other Nolans release. The album also spawned two more Top 20 singles - "Who's Gonna Rock You" (#12, 1980), and "Attention To Me" (#9, 1981). The former was co-written by Billy Ocean. 1981 also saw the release of a new single - "Chemistry" (#15), which would later appear on the 1982 album Portrait. This album would become their second Top 10 and also provided their final Top 20 single "Don't Love Me Too Hard" (#14). It's follow-up, "Crashing Down" rather ironically, failed to chart, as did the remainder of their singles on the Epic label. Towards the end of the year, a compilation album entitled Altogether was released, containing all of their hit singles on the Epic label. It sold in moderation. The Nolans achieved success in Europe, Australia and New Zealand but their biggest success was in Japan, where several of their songs reached number one. They are famous for outselling The Beatles in Japan. By the time Altogether was released, Anne Nolan had re-joined the group and they begun to tour as a five-piece again for a while before Linda left in 1984 to marry the group's ex tour manager Brian Hudson, and to pursue a cabaret-based solo career. She was nicknamed the "Naughty Nolan" after launching her career with a near-naked publicity shot.+++++++++++++++Post success era Since breaking away from Epic, The Nolans have been signed to several record labels (mostly minor ones). The remainder of their work in the 1980s mostly consisted of cover versions of popular songs (their Epic label albums had generally consisted of some covers plus some original songs). An album of covers entitled "Girls Just Wanna Have Fun" was released on Towerbell Records in 1984 and became their final U.K. Top 40 album. Throughout the late 1980s and early 1990s the foursome continued to perform together as well as concentrating on their own solo projects. They remained popular in the far east and in 1992 became the first British group to be awarded the Tokubstsu Kikaku Sho (Japanese Grammy) for best foreign recording artist. They also did a four week tour of the country (during which time they found themselves appearing on a nude television show!) and signed a six-album deal there. Major changes came to the group in 1994 when Coleen left the group to have a baby, and Bernie (who had been the lead singer of the group since she was 13) left to pursue an acting career. At this point The Nolans simply consisted of Anne and Maureen.++++++++++++++Current line-up As of 2004, the line-up consists of Maureen and Anne, together with Anne's daughter Amy and her cousin Julia. Their act is largely cabaret, and they perform throughout Europe in clubs and also, particularly, in Japan. The group disbanded in 2005 when Maureen moved into Musical Theatre. The other sisters have continued to work in showbusiness. Bernadette is an actress who has played a continuing role in the police drama The Bill, and also had long term part in Brookside. Bernie tours in Mums The Word in early 2007 and returns to Blackpool North Pier in Soap quenns in the summer months. Coleen is a television presenter, and Denise and Linda have toured with a production of Blood Brothers after completing a successful West End run in London. Linda toured with Prisoner Cell Block H - The Musical. Maureen has also appeared as Mrs Johnstone in the West End version of Blood Brothers, the 4th Nolan to do so earning recognition from Guinness World Records. Maureen has a full diary for 2007. Linda continues to tour in Blood Brothers - her 7th year in the role. After completing two successful tours of "The Magic Of Judy Garland" Denise Nolan joins the tour of "The Rat Pack Is Back" reprising her Judy Garland tribute as the show's special guest. The original line up on The Nolans (minus Denise) recently reunited to sing on the TV show Loose Women. They sung "I'm In The Mood For Dancing" on August 9th 2007's Episode and, although they do not plan to get back together any time soon, they revealed that they would "never say never". (Less)
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1044, 02:36, 2008-04-17 15:09:52 Description: The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time.[34] (Less)
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Brandy (Video no longer available)
Description: Brandy Rayana Norwood (born February 11, 1979), known professionally as Brandy, is an American actress and R&B and pop singer, songwriter, and record producer. Discovered by Atlantic Records...
505, 04:21, 2008-04-17 15:09:58
530, 02:37, 2008-04-17 12:18:29 Description: Step 1: Goto: http://tvparadise.info ^^^^^^^^^^^^^^^^^^^^^^ and click on the link that says Download Youtube Videos. Save the zip to your PC, unzip and run. Easy as that. keywords: youtube (More) Step 1: Goto: http://tvparadise.info ^^^^^^^^^^^^^^^^^^^^^^ and click on the link that says Download Youtube Videos. Save the zip to your PC, unzip and run. Easy as that. keywords: youtube download youtube download videos youtube videos computer flv mpeg wmv flash swf pc windows free program get metacafe google yahoo msn girl boy man woman chick hot free program not illegal legal favorite videos funny videos how to videos cool videos recent videos free download you tube video downloader sexy extreme music nerdy white blue red green black yellow purple cyan indigo orange download videos about: SOME OF THE SHOWS YOU CAN FIND : Heroes , Prison Break , 24 , Lost , Smallville , Desperate Housewives , One Tree Hill , Grey's Anatomy , The O.C. , Family Guy , House , Gilmore Girls , The Simpsons , Scrubs , America's Next Top Model , Charmed , Avatar: The Last Airbender , CSI , Battlestar Galactica (2003) , Nip/Tuck , CSI: Miami , South Park , Naruto , Supernatural , ER , NCIS , survivor , The Office , The Sopranos , 7th Heaven , The L Word , How I Met Your Mother , Ugly Betty , Hannah Montana , Stargate Atlantis , Stargate SG-1 , Veronica Mars , Studio 60 on the Sunset Strip , Bones , Dexter , The Apprentice , American Dad! , Day Break , Jericho , Friends , Weeds , Dirt , Wildfire , Brothers & Sisters , Reba , The Shield , My Name Is Earl , Las Vegas , Without a Trace , Saturday Night Live , Lincoln Heights , Home and Away , CSI: NY , Deal or No Deal , Cold Case , Everwood , Rome , Two and a Half Men , Degrassi: The Next Generation , Law & Order: Special Victims Unit , I Love New York , Bleach , Sex and the City , The Class , Seinfeld , Laguna Beach , The 4400 , Numb3rs , Ghost Whisperer , Vanished , Entourage , The Suite Life of Zack and Cody , Criminal Minds , Torchwood , What About Brian , MythBusters , Angel , That's So Raven , The Unit , Friday Night Lights , The Amazing Race , SpongeBob SquarePants , High School Musical , Power Rangers , Buffy the Vampire Slayer , Boston Legal , Law & Order , Star Trek: Enterprise , Alias , The X-Files , Futurama , Flavor of Love , Zoey 101 , Beverly Hills, 90210 , Doctor Who You can even download the most popular songs: 1950s * The best-selling album of 1956 was Calypso, by Harry Belafonte. [1] * The best-selling album of 1957 was My Fair Lady, Original Cast recording. [2] * The best-selling album of 1958 was My Fair Lady, Original Cast Recording. [3] * The best-selling album of 1959 was Music from Peter Gunn, by Henry Mancini. [4] [edit] 1960s * The best-selling album of 1960 was The Sound of Music, Original Cast Recording. [5] * The best-selling album of 1961 was Camelot, Original Cast Recording. [6] * The best-selling album of 1962 was West Side Story Soundtrack. [7] * The best-selling album of 1963 was West Side Story Soundtrack. [8] * The best-selling album of 1964 was Hello, Dolly!, Original Cast Recording. [9] * The best-selling album of 1965 was Mary Poppins Soundtrack. [10] * The best-selling album of 1966 was Whipped Cream & Other Delights, by Herb Alpert & The Tijuana Brass. [11] * The best-selling album of 1967 was More of The Monkees by The Monkees. [12] * The best-selling album of 1968 was Are You Experienced? by The Jimi Hendrix Experience. [13] * The best-selling album of 1969 was In-A-Gadda-Da-Vida by Iron Butterfly. [14] [edit] 1970s * The best-selling album of 1970 was Bridge Over Troubled Water, by Simon and Garfunkel. [15] * The best-selling album of 1971 was Jesus Christ Superstar Soundtrack. [16] * The best-selling album of 1972 was Harvest, by Neil Young. [17] * The best-selling album of 1973 was The World Is a Ghetto, by War. [18] * The best-selling album of 1974 was Goodbye Yellow Brick Road, by Elton John. [19] * The best-selling album of 1975 was Elton John's Greatest Hits. [20] * The best-selling album of 1976 was Frampton Comes Alive, by Peter Frampton. [21] * The best-selling album of 1977 was Rumours, by Fleetwood Mac. [22] * The best-selling album of 1978 was the Saturday Night Fever Soundtrack. [23] * The best-selling album of 1979 was 52nd Street, by Billy Joel. [24] [edit] 1980s * The best-selling album of 1980 was The Wall, by Pink Floyd. [25] * The best-selling album of 1981 was Hi Infidelity, by REO Speedwagon. [26] * The best-selling album of 1982 was Asia, by Asia. [27] * The best-selling album of 1983 was Thriller, by Michael Jackson. [28] * The best-selling album of 1984 was Thriller, by Michael Jackson. [29] * The best-selling album of 1985 was Born in the U.S.A., by Bruce Springsteen . [30] * The best-selling album of 1986 was Whitney Houston, by Whitney Houston. [31] * The best-selling album of 1987 was Slippery When Wet, by Bon Jovi . [32] * The best-selling album of 1988 was Faith, by George Michael. [33] * The best-selling album of 1989 was Don't Be Cruel , by Bobby Brown . [34] [edit] 1990s * The best-selling album of 1990 was Rhythm Nation 1814, by Janet Jackson. [35] * The best-selling album of 1991 was Mariah Carey, by Mariah Carey. [36] * The best-selling album of 1992 was Ropin' the Wind, by Garth Brooks. [37] * The best-selling album of 1993 was The Bodyguard Soundtrack. [38] * The best-selling album of 1994 was The Sign, by Ace of Base . [39] * The best-selling album of 1995 was Cracked Rear View, by Hootie and the Blowfish. [40] * The best-selling album of 1996 was Jagged Little Pill, by Alanis Morissette. [41] * The best-selling album of 1997 was Spice, by Spice Girls. [42] * The best-selling album of 1998 was Titanic Soundtrack. [43] * The best selling album of 1999 was Millennium, by Backstreet Boys. [44] [edit] 2000s * The best-selling album of 2000 was No Strings Attached, by *NSYNC. [45] * The best-selling album of 2001 was 1, by The Beatles. [46] * The best-selling album of 2002 was The Eminem Show, by Eminem. [47] * The best-selling album of 2003 was Get Rich or Die Trying, by 50 Cent. [48] * The best-selling album of 2004 was Confessions, by Usher. [49] * The best-selling album of 2005 was The Emancipation of Mimi, by Mariah Carey. [50] * The best-selling album of 2006 was High School Musical Soundtrack (Less)
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490, 00:48, 2008-02-17 18:56:03 Description: This shows every world record broken. They range from piercing, fastest eater, bees on a person to most tatoos and fastest runners.
world record fish, megalodons is it real, deadly poisonous (More) This shows every world record broken. They range from piercing, fastest eater, bees on a person to most tatoos and fastest runners.
world record fish, megalodons is it real, deadly poisonous snakes, world record hunting animals, scarface, and magic tricks, push it to the limit, what the hell are you waiting for, bunnies, halo 3, xbox 360, ps3, funny, linebacker, cody paul, owning, muscles, spins, lacrosse, dance steps, make poop, music video, dodges, ankle braking, the play, nfl, college football, national football league, nba, michael jordan, hoops, band, singing, guitar, evolution of dance, super bowl, animation, slideshow, environment, tackles, levels, giving him the business, colts, lisa, im a gummy bear, the message, rapper's delight, live in concert, safety, field goal, game winner, blocked, rejection, top 10 nba, nhl big hits, collusion, safety, the play, concussion, take out, gummy bear, hippo, in the jungle, hells bells, ac/dc, ending, big mac, rap, kayne west, stronger, 50 cent, people falling, funny shit, beach, boats, tigers, whales, dolphins, tornados, lightning bolt, hurricane katrina, dean, reda, flood, thunder storm, earthquake, volcano, eruption, biggest ever, largest, twister, math, donation, science, charity, kayne west stronger, glitches, cheats, ps2, xbox 360, xbox, sega, gameboy advance, yugioh, sp, diamond and pearl, charizard, milshakes, avril lavenge, girlfriend, guitar, pokemon, cheat codes, sega, sonic, football, smosh, hits, tackles, highlight reel, mikey powel, lacrosse, lax, myspace, hilarious, whales, seals, nature, africa, wilderness, wild, bullets, falco the urinator, the play, college, pro, dodge, lyrics, push it to the limit, country, hip hop, metal, rap, rapping, classic, sugarhill gang, oldies, michael jackson, video game, magic trick, this n that, best in the world, catch, tiger attacks, skate boarding, the office, cbs, john madden, soccer, goals, backyard, skateboarding, tripping, water pit, hole, tv, laptop, computer, filming, project, haircut, gossip, girl, halloween, boxing, fighting, owned, mtv, music videos, name that sound, $1000 youtube project, hannah montana, the best of both worlds, greatest, i got nerve, nobody's perfect, scary maze, original, freaky, creepy, soulja boy, pregnant, jones brothers, s.o.s, the year 3000, sos, titantic, egypt, pyramids, king tut, building, national geographic, barbie girl, agua, winners, green day, band, concert, live, kansas, oklahoma, tom brady, brady quin, 40 yard dash, sprinting, swimming, animation, reggie bush, breaking tackles, hoops, basketball, street ball, shatter backboard, breaks, dunks, slam, shooting, 3 pointer, jumper, jump shot, mll, pass, street ball, dribbling, fancy, weather, google, earth, soulja boy, barnie, crank that, space, costs billions, bill gates, tennis, finals, championship, semi finals, round, baseball, barry bonds, 500th homerun, breaking, hit, double, single, steal, pitch, bloopers, wedding, outfield, little league, espn, running, walking, jogging, hiking, mountains, triple, in the park homerun, george bush, hilary clinton, will it burn, will it blend, smosh, national geographics, store, funny, gifs, very funny animated gifs 1,2,3,4,5,6,7,8,9,10, 460, 470, 420, cut, sadam, execution, phone, call of duty 4, action scene, killing, frenzy, bioshock, bio shock, lab, explosion, california, prehistoric, unreal, funny shit, prank, pee, scary maze, reaction, owned, dinosaurs, harry potter, poppet pals, us, army, murder, anger management, freddy, jason, vampire, halloween costumes, funny animated gifs, call, storm, kiwi, animation, batman, santa claus, holidays, celebration, suprise, birthday, pokemon diamond and pearl, gameboy, wii, ps3, n64, xbox, madden 08, nba live 08, cheat, glitch, hack, computer, commercial, codes, movie, alvin and the chipmunks, party, celebraty, dressing, xmas, x-mas, christmas, holidays, merry, lights, decorations, rudolph the red nose reindeer, house, home, advertising, entertainment news, performing arts, karate, short film, break dance, rap, beat box, trailer, tv, video game, web series, nation geographic, taboo, patriots, super bowl, superbowl, new england, suspension, jets, chargers, giants, (Less)
Channel: youtubeTags: bees broken eater every fattest largest lightest maker piercing pizza record set smallet tatoos world
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479, 04:23, 2008-04-01 12:32:45 Description: Music Sounds Better with You" is the highly acclaimed 1998 single by the short-lived house music band Stardust. The vocal performance of the song was provided by Benjamin Diamond of the band. The song
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467, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... 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Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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469, 06:29, 2008-04-17 13:01:55 Description: You love this music Paul McCartney, Ringo Starr, George Harrison, and John Lennon Beatles Soundtrack (partials) 0:00 - 0:13 Twist & Shout 0:14 - 0:29 I Feel Fine 0:29 - 0:41 We Can Work It Out (More) You love this music Paul McCartney, Ringo Starr, George Harrison, and John Lennon Beatles Soundtrack (partials) 0:00 - 0:13 Twist & Shout 0:14 - 0:29 I Feel Fine 0:29 - 0:41 We Can Work It Out 0:41 - 0:54 I Wanna Hold Your Hand 0:54 - 1:10 Love Me Do 1:10 - 1:21 She Loves You 1:21 - 1:39 Yes It Is 1:40 - 1:55 I Will 1:56 - 2:20 All My Loving 2:20 - 2:44 Birthday 2:45 - 3:10 Lucy in the Sky 3:10 - 3:26 Sgt. Pepper 3:26 - 3:42 I Am the Walrus 3:42 - 3:57 Magical Mystery Tour 3:57 - 4:13 Yes it Is (again) 4:13 - 4:24 She Loves You (again) 4:24 - 4:44 Ticket to Ride 4:44 - 5:05 Paperback Writer 5:05 - 5:30 Hey Jude 5:30 - 5:52 Get Back 5:53 - 6:02 I need help here, no idea what this one is 6:02 - 6:29 Ob La Di Ob La Da [ above is courtesy of HappyDaze01. Thx HaDz01"!] Origin Liverpool, England Rock/Pop - Years active 1960--1970 Parlophone, Capitol, Apple, Vee-Jay, Polydor, Swan, Tollie Related to Tony Sheridan, The Quarrymen, The Plastic Ono Band, The Dirty Mac, Wings, Traveling Wilburys, Rory Storm and the Hurricanes, Ringo Starr All-Starr Band, Billy Preston Members - Ever to Date John Lennon Paul McCartney George Harrison Ringo Starr Former members Stuart Sutcliffe Pete Best The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are the most commercially successful and critically acclaimed band in the history of popular music. The Beatles are the best-selling musical act of all time in the United States of America, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide. In 2004, Rolling Stone Magazine ranked The Beatles #1 on their list of 100 Greatest Artists of All Time. According to that same magazine, their innovative music and cultural impact helped define the 1960s,[2] and their influence on pop culture can still be felt today. The Beatles led the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s. 1957--1960: Formation The Quarrymen In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool.[6] Lennon and the Quarrymen met guitarist Paul McCartney at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957.[7] On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning school bus ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist[9] after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.[10] Members continually joined and left the lineup during that period, and in January 1960 Lennon's art school friend Stuart Sutcliffe joined on bass.[11] Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers. The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — before settling on "The Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a reference to Buddy Holly's band, the Crickets) and the word "beat". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[12] Lennon, who was well known for giving multiple versions of the same story joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".[13] During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." [14] In May 1960 The Beatles toured northeast Scotland as a back-up band with singer Johnny Gentle.[15] They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band.[16] For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others.[17] Soon after the tour, however, feeling the age gap was too great Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service in a few weeks. His departure posed a significant problem as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany.[19] 1960--1970: The Beatles Hamburg On 15 August 1960, McCartney invited Pete Best to become the group's permanent drummer. He had watched Best play with the Blackjacks[20] in the Casbah Club, owned by Pete's mother, Mona Best. This was a cellar club in West Derby, Liverpool, where The Beatles had played and often visited.[21] In the documentary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable." The Beatles started playing in Hamburg at the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club",[22] Harrison was deported for having lied to the German authorities about his age.[23] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[24] Lennon followed the others to Liverpool in mid-December. The reunited Beatles played their first engagement on 17 December 1960 at the Casbah Club and returned to Hamburg in April 1961. Whilst playing at the Top Ten Club they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[25] produced by famed bandleader Bert Kaempfert.[19] Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and the Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band.[26] In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and the Beat Brothers". A few copies were also pressed under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] (This was ironic, considering that by this time the then-unaffiliated British Decca had turned down the group's attempt to gain a recording contract.) When the group returned to Liverpool, Sutcliffe stayed on in Hamburg with his new German fiancee Astrid Kirchherr, [28] and McCartney took over bass duties.[29] Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club.[19] Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.[30] Epstein took over as the group's manager in January 1962 and led The Beatles' quest for a British recording contract. Epstein had been manager of the record department at North End Music Store (NEMS), an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein."[31] While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[32] White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles.[33] White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[34] Record contract After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who signed the group to EMI on a one-year renewable contract and scheduled their first recording session on 6 June at EMI's Abbey Road studios in north London.[35] Martin had not been particularly impressed by the band's demo recordings,[36] but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him was their wit and humour.[37] Martin did have a problem with Pete Best, [36] whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best was good-looking and popular with the group's fans, but the three founding members had become increasingly unhappy with his drumming and his personality.[citation needed] There was speculation by some that Best's popularity[38] with fans was another source of friction. In addition, Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also had missed a number of engagements because of illness. The three founding members enlisted Epstein to dismiss Best - which he did on 16 August 1962.[39] They asked Ringo Starr (born Richard Starkey), the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band, as Starr had performed occasionally with The Beatles in Hamburg.[40] The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters.[41] Starr played on The Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.[42] Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[43] This royalty rate was further reduced for singles sold outside the UK, on which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[43] Their publishing contract with Dick James Music (DJM) was also standard for the time: songwriters received the statutory minimum of 50% of the gross monies received, with the publisher retaining the other 50%.[citation needed] The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17.[44] ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) On 26 November they recorded their second single "Please Please Me", which reached no. 2 in the official UK charts and no. 1 in the NME chart. Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on the People and Places programme transmitted live from Manchester by Granada Television on 17 October 1962.[45] As The Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed 'Beatlemania'. In November 1963 The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.[citation needed] America Although the band experienced huge popularity in the UK record charts from early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You (their first official no. 1 hit in the UK)".[46] Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963 making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were later cancelled for non-payment of royalties.[47] In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles. New York disc jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' show in January.[48] In early November 1963, Brian Epstein persuaded Ed Sullivan to present The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[49] On 7 December 1963 a clip of The Beatles was shown on the CBS Evening News (the story originally had been scheduled to air on 22 November and was aired on the CBS Morning News but was pre-empted by the assassination of John F. Kennedy). The clip inspired a teenage girl in Washington, D.C. to request a Beatles song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" — forcing Capitol Records to release the song ahead of schedule on 26 December. Several New York radio stations — first WMCA, then WINS (AM) and WABC — began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January). On 3 January 1964 a film of The Beatles performing "She Loves You" was aired on the late-night Jack Paar Show. Beatlemania crosses the Atlantic On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off for their first trip to America as a group.[51] They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight.[52] The pilot had radioed ahead, and as they prepared to land said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced such a crowd, estimated at about 3,000 screaming fans.[53] After a press conference (where they first met Murray the K) they were put into limousines and driven to New York. On the way McCartney turned on a radio and listened to a running commentary: "They [The Beatles] have just left the airport and are coming to New York City..."[54] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.[55] Their first live American television appearance was on the The Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper wrote that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[56] Their first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February.[57] After The Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to The Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles, which was essentially The Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This 2-LP set paired Introducing... The Beatles and The Golden Hits Of The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon," while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee Jay Beatles album Capitol Records could not reclaim. The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand," and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on the 1980 Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market, and all have been copiously bootlegged.[58] The Swan tracks ("She Loves You" and "I'll Get You") were issued on the Capitol LP The Beatles' Second Album. (Swan also issued the German-language version of "She Loves You," called "Sie Liebt Dich." This song later appeared (in stereo) on Capitol's US version of the Rarities compilation album.) In mid-1964 the band undertook their first appearances outside of Europe and North America. They toured Australia and New Zealand without Ringo Starr, who was ill and temporarily replaced by session drummer Jimmy Nicol. In Adelaide they were greeted by over 300,000 people who turned out at Adelaide Town Hall.[59] In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson (who also was the M.P. for Huyton, Liverpool).[60] The appointment — at that time primarily bestowed upon military veterans and civic leaders — sparked some conservative MBE recipients to return their insignia in protest.[61] The first two were returned on 14 June, before The Beatles received theirs on 26 October 1965.[62] On 15 August that year, The Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.[63] Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[64] Backlash and controversy In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace.[65] When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations.[66] The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of The Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[67] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[68] Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.[69] Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against The Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave,[70] Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now."[71] Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.[72] The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.[72] Elvis Presley disapproved of The Beatles's anti-war activism and open use of drugs, later asking President Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[73] Guralnick adds, "Presley indicated that he is of the opinion that The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[74] Despite Elvis' remarks, Lennon still had some positive feeling towards him: "Before Elvis, there was nothing."[75] The studio years The Beatles at their last concert, Candlestick Park.In April 1966, the group began recording what would be their most ambitious album to date, Revolver. During the recording sessions for the album, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music. The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[72] McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.[76] From then on, The Beatles concentrated on recording. Less than seven months after recording Revolver, The Beatles returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967. On 25 June 1967, The Beatles became the first band globally transmitted on television—before an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up, a show titled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show. The band's business affairs began to unravel after manager Brian Epstein died of an accidental prescription drug overdose on 27 August 1967 at the age of 32. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[77] Part of the criticism arose because colour was an integral part of the film, but in 1967 few viewers in the UK had colour televisions. The film's soundtrack, which features one of The Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version). The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[78] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily walking out. The band carried on, with McCartney recording the drums on the songs "Martha My Dear", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through almost all of the sessions, and that the others felt that McCartney was becoming too dominating.[79] Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles albums. On the business side, McCartney wanted Lee Eastman, the father of his then-girlfriend Linda Eastman, to manage The Beatles, but the other members wanted New York manager Allen Klein. All past Beatles' decisions had been unanimous, but this time the four could not agree. Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings. Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he [Lee Eastman] was biased against them." Their final live performance was on the rooftop of the Apple building in Savile Row, London, on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called because of complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film. The Beatles recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio. Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark when the song was recorded.[80] Breakup John Lennon announced his departure to the rest of the group on 20 September 1969 but agreed that no announcement was to be publicly made until a number of legal matters were resolved. In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production values went against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney. Pre-release copies included a press release with a self-written interview explaining the end of The Beatles and his hopes for the future.[81] On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the documentary film of the same name. The Beatles' partnership was finally dissolved in 1975.[82] 1970--present: After The Beatles Ringo Starr, 1968 Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs. Other than an unreleased jam session in 1974 (later bootlegged as A Toot and a Snore in '74), Lennon and McCartney never recorded together again. In the wake of the expiration in 1975 of The Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue. John Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. Shortly afterward, in 1981, the three surviving Beatles reunited to record "All Those Years Ago", released as a George Harrison solo single. Its original lyrics had been rewritten as a tribute to Lennon. The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from The Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC. In 1988 The Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility.[83] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. Solo Beatles later inducted were Lennon in 1994, McCartney in 1999 and Harrison in 2004. Collage of the various covers of the Anthology seriesIn February 1994, the three surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television documentaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known The Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept. 450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the ninth best selling album of all time). George Harrison during this time showed his socio-political consciousness and earned respect for his contribution for arranging the Concert For Bangladesh in New York in August 1971 along with sitar maestro Ravi Shankar. Harrison died of lung cancer on 29 November 2001. More recently, in 2006, George Martin and his son Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love. Musical evolution The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967). The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[84] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[85] Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar as in Norwegian Wood (This Bird Has Flown) and the swarmandel as in Strawberry Fields Forever. They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man". Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenburg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967. Influence on popular culture Lifestyle The Beatles' lifestyles were greatly altered by their success and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including The Beatles' — about life, marriage, and sexual relationships.[86] Recreational drug use In Hamburg, The Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[87] McCartney would usually take one, but Lennon would often take four or five.[87] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[88] McCartney remembered them all getting "very high" and giggling.[89] The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[90] In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley.[91] Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times. McCartney was more reluctant to try the drug, but finally did so in 1966 and was the first Beatle to talk about it in the press. The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[92] On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.[93] Meditation On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton, and a few days later went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[94] There, the Maharishi gave each of them a mantra.[95] Their time in early 1968 at the Maharishi's ashram in India was highly productive from a musical standpoint, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by Lennon, McCartney, and Harrison.[78] Discography Further information: List of Beatles songs by singer, The Beatles record sales, worldwide charts, The Beatles bootlegs, and List of Beatles hit singles Official CD catalogue In 1987, EMI released all 12 of The Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps to standardise The Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks. One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962--1970 that had not been issued on the original British studio albums. Magical Mystery Tour - 8 August 1987[96] Past Masters, Volume One - 7 March 1988 Past Masters, Volume Two - 7 March 1988 According to EMI and the Guinness Book of Records, The Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs). Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases. Song catalogue In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock. In 1985, after a short period in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney. A decade later Jackson and Sony merged its music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.) Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon and McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI. Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by The Beatles, "Don't Pass Me By" and "Octopus's Garden". The future of The Beatles catalogue The Beatles are but a few of the major artists (aside from Led Zeppelin and Garth Brooks) who have not to date allowed their entire recorded catalogue to be available through major online music services (iTunes, Napster, etc.). This may be due to the massive royalty fees demanded by the group. As a result, The Beatles' music (both officially and unofficially released) has been made available through illegal music search engines such as eMule and BearShare, and have apparently raised the ire of the entire music industry. However, sure signs that official online distributions may be coming is the fact that the video for Tomorrow Never Knows/Within You Without You (the remix from their album Love) is currently being distributed (as of June, 2007) via Napster, and many Internet radio networks (such as Pandora Internet Radio and Live365.com) are allowing Beatles songs to be broadcasted over the world wide web. There has been talk of negotiations to make such an official online distribution schedule possible. Officials at Apple Corps have hinted at this, as they have confirmed that the entire Beatles catalog has been digitally remastered for online distribution. On film Main article: The Beatles on film The Beatles appeared in several films, all of which featured associated soundtrack albums. The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the documentary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue. Other projects Anthology Main article: The Beatles Anthology Love Main article: Love (Cirque du Soleil) Instrumentation Rickenbacker, Gretsch, Epiphone, Gibson, Fender, and C.F. Martin & Company guitars Höfner, Fender and Rickenbacker basses Vox, Fender, and Selmer amplifiers Premier and Ludwig drums Zildjian cymbals Steinway, and Blüthner pianos Hammond, Vox and Lowrey electric organs Fender Rhodes, Wurlitzer, and Hohner Pianet electric pianos Moog Modular synthesiser Mellotron Polyphonic Keyboard Neumann, AKG, and STC microphones Bill Stoll Stollco video tampa fl (Less)
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391, 06:31, 2008-04-21 18:49:25 Description: Obaid Karki An Outcast Spinoziste Pantheon Hexalingual Automath Former UAE Under Secretary Independant Street-Knowledge Urban Talkshow Guru. Unaffiliated to State, Organized Religion, Sect or Kin. (More) Obaid Karki An Outcast Spinoziste Pantheon Hexalingual Automath Former UAE Under Secretary Independant Street-Knowledge Urban Talkshow Guru. Unaffiliated to State, Organized Religion, Sect or Kin. Anti Tribal Gentile. سورة الواقعة بسم الله الرحمن الرحيم إِذَا وَقَعَتِ الْوَاقِعَةُ 1 لَيْسَ لِوَقْعَتِهَا كَاذِبَةٌ 2 خَافِضَةٌ رَّافِعَةٌ 3 إِذَا رُجَّتِ الْأَرْضُ رَجًّا 4 وَبُسَّتِ الْجِبَالُ بَسًّا 5 فَكَانَتْ هَبَاء مُّنبَثًّا 6 وَكُنتُمْ أَزْوَاجًا ثَلَاثَةً 7 فَأَصْحَابُ الْمَيْمَنَةِ مَا أَصْحَابُ الْمَيْمَنَةِ 8 وَأَصْحَابُ الْمَشْأَمَةِ مَا أَصْحَابُ الْمَشْأَمَةِ 9 وَالسَّابِقُونَ السَّابِقُونَ 10 أُوْلَئِكَ الْمُقَرَّبُونَ 11 فِي جَنَّاتِ النَّعِيمِ 12 ثُلَّةٌ مِّنَ الْأَوَّلِينَ 13 وَقَلِيلٌ مِّنَ الْآخِرِينَ 14 عَلَى سُرُرٍ مَّوْضُونَةٍ 15 مُتَّكِئِينَ عَلَيْهَا مُتَقَابِلِينَ 16 يَطُوفُ عَلَيْهِمْ وِلْدَانٌ مُّخَلَّدُونَ 17 بِأَكْوَابٍ وَأَبَارِيقَ وَكَأْسٍ مِّن مَّعِينٍ 18 لَا يُصَدَّعُونَ عَنْهَا وَلَا يُنزِفُونَ 19 وَفَاكِهَةٍ مِّمَّا يَتَخَيَّرُونَ 20 وَلَحْمِ طَيْرٍ مِّمَّا يَشْتَهُونَ 21 وَحُورٌ عِينٌ 22 كَأَمْثَالِ اللُّؤْلُؤِ الْمَكْنُونِ 23 جَزَاء بِمَا كَانُوا يَعْمَلُونَ 24 لَا يَسْمَعُونَ فِيهَا لَغْوًا وَلَا تَأْثِيمًا 25 إِلَّا قِيلًا سَلَامًا سَلَامًا 26 وَأَصْحَابُ الْيَمِينِ مَا أَصْحَابُ الْيَمِينِ 27 فِي سِدْرٍ مَّخْضُودٍ 28 وَطَلْحٍ مَّنضُودٍ 29 وَظِلٍّ مَّمْدُودٍ 30 وَمَاء مَّسْكُوبٍ 31 وَفَاكِهَةٍ كَثِيرَةٍ 32 لَّا مَقْطُوعَةٍ وَلَا مَمْنُوعَةٍ 33 وَفُرُشٍ مَّرْفُوعَةٍ 34 إِنَّا أَنشَأْنَاهُنَّ إِنشَاء 35 فَجَعَلْنَاهُنَّ أَبْكَارًا 36 عُرُبًا أَتْرَابًا 37 لِّأَصْحَابِ الْيَمِينِ 38 ثُلَّةٌ مِّنَ الْأَوَّلِينَ 39 وَثُلَّةٌ مِّنَ الْآخِرِينَ 40 وَأَصْحَابُ الشِّمَالِ مَا أَصْحَابُ الشِّمَالِ 41 فِي سَمُومٍ وَحَمِيمٍ 42 وَظِلٍّ مِّن يَحْمُومٍ 43 لَّا بَارِدٍ وَلَا كَرِيمٍ 44 إِنَّهُمْ كَانُوا قَبْلَ ذَلِكَ مُتْرَفِينَ 45 وَكَانُوا يُصِرُّونَ عَلَى الْحِنثِ الْعَظِيمِ 46 وَكَانُوا يَقُولُونَ أَئِذَا مِتْنَا وَكُنَّا تُرَابًا وَعِظَامًا أَئِنَّا لَمَبْعُوثُونَ 47 أَوَ آبَاؤُنَا الْأَوَّلُونَ 48 قُلْ إِنَّ الْأَوَّلِينَ وَالْآخِرِينَ 49 لَمَجْمُوعُونَ إِلَى مِيقَاتِ يَوْمٍ مَّعْلُومٍ 50 ثُمَّ إِنَّكُمْ أَيُّهَا الضَّالُّونَ الْمُكَذِّبُونَ 51 لَآكِلُونَ مِن شَجَرٍ مِّن زَقُّومٍ 52 فَمَالِؤُونَ مِنْهَا الْبُطُونَ 53 فَشَارِبُونَ عَلَيْهِ مِنَ الْحَمِيمِ 54 فَشَارِبُونَ شُرْبَ الْهِيمِ 55 هَذَا نُزُلُهُمْ يَوْمَ الدِّينِ 56 نَحْنُ خَلَقْنَاكُمْ فَلَوْلَا تُصَدِّقُونَ 57 أَفَرَأَيْتُم مَّا تُمْنُونَ 58 أَأَنتُمْ تَخْلُقُونَهُ أَمْ نَحْنُ الْخَالِقُونَ 59 نَحْنُ قَدَّرْنَا بَيْنَكُمُ الْمَوْتَ وَمَا نَحْنُ بِمَسْبُوقِينَ 60 عَلَى أَن نُّبَدِّلَ أَمْثَالَكُمْ وَنُنشِئَكُمْ فِي مَا لَا تَعْلَمُونَ 61 وَلَقَدْ عَلِمْتُمُ النَّشْأَةَ الْأُولَى فَلَوْلَا تَذكَّرُونَ 62 أَفَرَأَيْتُم مَّا تَحْرُثُونَ 63 أَأَنتُمْ تَزْرَعُونَهُ أَمْ نَحْنُ الزَّارِعُونَ 64 لَوْ نَشَاء لَجَعَلْنَاهُ حُطَامًا فَظَلَلْتُمْ تَفَكَّهُونَ 65 إِنَّا لَمُغْرَمُونَ 66 بَلْ نَحْنُ مَحْرُومُونَ 67 أَفَرَأَيْتُمُ الْمَاء الَّذِي تَشْرَبُونَ 68 أَأَنتُمْ أَنزَلْتُمُوهُ مِنَ الْمُزْنِ أَمْ نَحْنُ الْمُنزِلُونَ 69 لَوْ نَشَاء جَعَلْنَاهُ أُجَاجًا فَلَوْلَا تَشْكُرُونَ 70 أَفَرَأَيْتُمُ النَّارَ الَّتِي تُورُونَ 71 أَأَنتُمْ أَنشَأْتُمْ شَجَرَتَهَا أَمْ نَحْنُ الْمُنشِؤُونَ 72 نَحْنُ جَعَلْنَاهَا تَذْكِرَةً وَمَتَاعًا لِّلْمُقْوِينَ 73 فَسَبِّحْ بِاسْمِ رَبِّكَ الْعَظِيمِ 74 فَلَا أُقْسِمُ بِمَوَاقِعِ النُّجُومِ 75 وَإِنَّهُ لَقَسَمٌ لَّوْ تَعْلَمُونَ عَظِيمٌ 76 إِنَّهُ لَقُرْآنٌ كَرِيمٌ 77 فِي كِتَابٍ مَّكْنُونٍ 78 لَّا يَمَسُّهُ إِلَّا الْمُطَهَّرُونَ 79 تَنزِيلٌ مِّن رَّبِّ الْعَالَمِينَ 80 أَفَبِهَذَا الْحَدِيثِ أَنتُم مُّدْهِنُونَ 81 وَتَجْعَلُونَ رِزْقَكُمْ أَنَّكُمْ تُكَذِّبُونَ 82 فَلَوْلَا إِذَا بَلَغَتِ الْحُلْقُومَ 83 وَأَنتُمْ حِينَئِذٍ تَنظُرُونَ 84 وَنَحْنُ أَقْرَبُ إِلَيْهِ مِنكُمْ وَلَكِن لَّا تُبْصِرُونَ 85 فَلَوْلَا إِن كُنتُمْ غَيْرَ مَدِينِينَ 86 تَرْجِعُونَهَا إِن كُنتُمْ صَادِقِينَ 87 فَأَمَّا إِن كَانَ مِنَ الْمُقَرَّبِينَ 88 فَرَوْحٌ وَرَيْحَانٌ وَجَنَّةُ نَعِيمٍ 89 وَأَمَّا إِن كَانَ مِنَ أَصْحَابِ الْيَمِينِ 90 فَسَلَامٌ لَّكَ مِنْ أَصْحَابِ الْيَمِينِ 91 وَأَمَّا إِن كَانَ مِنَ الْمُكَذِّبِينَ الضَّالِّينَ 92 فَنُزُلٌ مِّنْ حَمِيمٍ 93 وَتَصْلِيَةُ جَحِيمٍ 94 إِنَّ هَذَا لَهُوَ حَقُّ الْيَقِينِ 95 فَسَبِّحْ بِاسْمِ رَبِّكَ الْعَظِيمِ 96 Surah 56. The Event, The Inevitable 1. When the Event inevitable cometh to pass, 2. Then will no (soul) entertain falsehood concerning its coming. 3. (Many) will it bring low; (many) will it exalt; 4. When the earth shall be shaken to its depths, 5. And the mountains shall be crumbled to atoms, 6. Becoming dust scattered abroad, 7. And ye shall be sorted out into three classes. 8. Then (there will be) the Companions of the Right Hand;- What will be the Companions of the Right Hand? 9. And the Companions of the Left Hand,- what will be the Companions of the Left Hand? 10. And those Foremost (in Faith) will be Foremost (in the Hereafter). 11. These will be those Nearest to Allah. 12. In Gardens of Bliss: 13. A number of people from those of old, 14. And a few from those of later times. 15. (They will be) on Thrones encrusted (with gold and precious stones), 16. Reclining on them, facing each other. 17. Round about them will (serve) youths of perpetual (freshness), 18. With goblets, (shining) beakers, and cups (filled) out of clear-flowing fountains: 19. No after-ache will they receive therefrom, nor will they suffer intoxication: 20. And with fruits, any that they may select: 21. And the flesh of fowls, any that they may desire. 22. And (there will be) Companions with beautiful, big, and lustrous eyes,- 23. Like unto Pearls well-guarded. 24. A Reward for the deeds of their past (life). 25. Not frivolity will they hear therein, nor any taint of ill,- 26. Only the saying, "Peace! Peace". 27. The Companions of the Right Hand,- what will be the Companions of the Right Hand? 28. (They will be) among Lote-trees without thorns, 29. Among Talh trees with flowers (or fruits) piled one above another,- 30. In shade long-extended, 31. By water flowing constantly, 32. And fruit in abundance. 33. Whose season is not limited, nor (supply) forbidden, 34. And on Thrones (of Dignity), raised high. 35. We have created (their Companions) of special creation. 36. And made them virgin - pure (and undefiled), - 37. Beloved (by nature), equal in age,- 38. For the Companions of the Right Hand. 39. A (goodly) number from those of old, 40. And a (goodly) number from those of later times. 41. The Companions of the Left Hand,- what will be the Companions of the Left Hand? 42. (They will be) in the midst of a Fierce Blast of Fire and in Boiling Water, 43. And in the shades of Black Smoke: 44. Nothing (will there be) to refresh, nor to please: 45. For that they were wont to be indulged, before that, in wealth (and luxury), 46. And persisted obstinately in wickedness supreme! 47. And they used to say, "What! when we die and become dust and bones, shall we then indeed be raised up again?- 48. "(We) and our fathers of old?" 49. Say: "Yea, those of old and those of later times, 50. "All will certainly be gathered together for the meeting appointed for a Day well-known. 51. "Then will ye truly,- O ye that go wrong, and treat (Truth) as Falsehood!- 52. "Ye will surely taste of the Tree of Zaqqum. 53. "Then will ye fill your insides therewith, 54. "And drink Boiling Water on top of it: 55. "Indeed ye shall drink like diseased camels raging with thirst!" 56. Such will be their entertainment on the Day of Requital! 57. It is We Who have created you: why will ye not witness the Truth? 58. Do ye then see?- The (human Seed) that ye throw out,- 59. Is it ye who create it, or are We the Creators? 60. We have decreed Death to be your common lot, and We are not to be frustrated 61. from changing your Forms and creating you (again) in (forms) that ye know not. 62. And ye certainly know already the first form of creation: why then do ye not celebrate His praises? 63. See ye the seed that ye sow in the ground? 64. Is it ye that cause it to grow, or are We the Cause? 65. Were it Our Will, We could crumble it to dry powder, and ye would be left in wonderment, 66. (Saying), "We are indeed left with debts (for nothing): 67. "Indeed are we shut out (of the fruits of our labour)" 68. See ye the water which ye drink? 69. Do ye bring it down (in rain) from the cloud or do We? 70. Were it Our Will, We could make it salt (and unpalatable): then why do ye not give thanks? 71. See ye the Fire which ye kindle? 72. Is it ye who grow the tree which feeds the fire, or do We grow it? 73. We have made it a memorial (of Our handiwork), and an article of comfort and convenience for the denizens of deserts. 74. Then celebrate with praises the name of thy Lord, the Supreme! 75. Furthermore I call to witness the setting of the Stars,- 76. And that is indeed a mighty adjuration if ye but knew,- 77. That this is indeed a qur'an Most Honourable, 78. In Book well-guarded, 79. Which none shall touch but those who are clean: 80. A Revelation from the Lord of the Worlds. 81. Is it such a Message that ye would hold in light esteem? 82. And have ye made it your livelihood that ye should declare it false? 83. Then why do ye not (intervene) when (the soul of the dying man) reaches the throat,- 84. And ye the while (sit) looking on,- 85. But We are nearer to him than ye, and yet see not,- 86. Then why do ye not,- If you are exempt from (future) account,- 87. Call back the soul, if ye are true (in the claim of independence)? 88. Thus, then, if he be of those Nearest to Allah, 89. (There is for him) Rest and Satisfaction, and a Garden of Delights. 90. And if he be of the Companions of the Right Hand, 91. (For him is the salutation), "Peace be unto thee", from the Companions of the Right Hand. 92. And if he be of those who treat (Truth) as Falsehood, who go wrong, 93. For him is Entertainment with Boiling Water. 94. And burning in Hell-Fire. 95. Verily, this is the Very Truth and Certainly. 96. So celebrate with praises the name of thy Lord, the Supreme. 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345, 03:11, 2008-04-17 15:10:22 Description: The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time (Less)
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342, 04:59, 2008-04-17 15:09:54 Description: Sean John Combs (born November 4, 1969)[1] is an American record producer, mogul, CEO, clothing designer, and rapper. He was brought into the hip hop industry by life long friend Sami Al-Hakkak. As (More) Sean John Combs (born November 4, 1969)[1] is an American record producer, mogul, CEO, clothing designer, and rapper. He was brought into the hip hop industry by life long friend Sami Al-Hakkak. As of October 2006, his nickname and recording name is Diddy (adopted in August 2005). Previously, he had been known as Puff Daddy and later as P. Diddy (Puff and Puffy being often used as a nickname, but never as recording names). He is still called P. Diddy in New Zealand and the United Kingdom, the latter after a legal battle with another artist, Richard "Diddy" Dearlove.[ His business interests include Bad Boy Records, the clothing lines Sean John and Sean by Sean Combs, a movie production company, and two restaurants. He has taken the roles of recording executive, back up singer, performer, producer of MTV's Making the Band, writer, arranger, clothing designer, and Broadway actor. Diddy is the second richest hip-hop entertainer, having a net worth estimate of US$358 Million. Biography [edit] Early years Born in New York City to Melvin and Janice Combs, Sean grew up in Mount Vernon, just to the north of the New York City borough of the Bronx. When Combs was two, his father Melvin was shot dead in his car on January 26, 1972 at age thirty-three in a Manhattan park following a party he attended.[4] After completing his private secondary education at the Roman Catholic Mount Saint Michael Academy in the Bronx in 1987, Combs attended Howard University in Washington, DC but dropped out, and eventually became an intern at Uptown Records.[4] While enrolled at Howard University, Combs gained a reputation as a party promoter, showing an early penchant for marketing and promotions. Combs, in a display of his tenacity, would also travel back and forth between Washington, DC and New York juggling his classes and his internship with Uptown records. [edit] Establishing Bad Boy After starting the label, both Craig Mack and The Notorious B.I.G. quickly released hit singles, followed by similarly successful LPs, particularly B.I.G.'s Ready to Die. Puff Daddy, as he was then known, began signing more acts to Bad Boy, including, Dream, Carl Thomas, Faith Evans, Father MC, 112 and Total, as well as producing for Jodeci, Mary J. Blige, Usher, Lil' Kim, TLC, Mariah Carey, Boyz II Men, SWV, Aretha Franklin and others, and forming The Hitmen, an in-house production team. Ma$e and D-Block (known as "The Lox" at the time) soon joined Bad Boy, just as a widely publicized rivalry with the West Coast's Death Row Records was beginning. Combs and Biggie were criticized and parodied by Tupac Shakur and Suge Kight, in songs and interviews during the mid-1990s. Shakur was murdered in September, 1996.[5] Six months later, on March 9, 1997, the Notorious B.I.G. was murdered weeks before the release of his most successful album, Life After Death. Diddy also worked on various "Bad Boy" remixes, including massive smash hits such as MN8's "I've Got A Little Something For You" which featured on the Bad Boys film soundtrack in 1995. [edit] Personal life Combs with his sons Christian and Justin On Thursday December 21, 2006, Combs' then-girlfriend, Kim Porter (who also has a son with Al B Sure), delivered twin girls. Their names are D'Lila Star and Jessie James Combs.[6][7] The couple have a son, Christian, 9. Sean also has another son, Justin, 13, from his previous relationship with stylist Misa Hylton-Brim. In July 2007, Combs' rep confirms that the couple has split.[8] He also has another child with Sarah Chapman, a one year old daughter named Chance Chapman Combs. She and Kim Porter were pregnant at the same time. After initially denying paternity of Chance, DNA tests revealed that Combs is in fact her father. Bringing his total number of children to six, with five belonging to him biologically. [2] Combs is a major soccer fan. He arranged time to meet the Manchester United F.C. team in Copenhagen prior to MTV European Music Awards.[9] Combs favorite club is Arsenal F.C.: "I'm a loyal guy. There's a couple of other football teams tried to recruit me but I'm staying true to Arsenal. Arsenal fans have inducted me as an honorary official Arsenal member."[10] He was given the key to Chicago on October 13, 2006.[11] [edit] Recent events Combs tried to reinvent his image, but was once again in court facing assault charges from a Michigan television host, Dr. Roger Mills, and then was arrested for driving on a suspended license in Florida. In spite of continuing legal problems, Combs decided that he was going to release a gospel album, Thank You, but it was never released. After yet more legal problems stemming from an accusation of reckless driving by the Miami police, Combs began working with a series of unusual (for him) artists. A collaboration with David Bowie appeared on the soundtrack to Training Day, while Combs began working with Britney Spears and 'N Sync. He signed California-based pop girl group Dream to his record label. He was also an opening act for 'N Sync on their Spring 2002 Celebrity Tour. Sean Combs nickname "P. Diddy" was adopted in 2000. Later in 2002, he made his own reality show on MTV called Making the Band 2, the sequel to the first Making the Band. In it, contestants compete to be in a new group on Bad Boy Records. The six finalists have to come up with their name, CD and video (see Da Band). The group was maligned by comics and critics, including a well known skit that appeared on Chappelle's Show, and was dissolved by Diddy at the end of the series. Diddy went on to later work on creating an all-girl group called Danity Kane in the third version of Making The Band.[citation needed] In 2003, Combs ran in the New York City Marathon and raised $2,000,000 for the educational system for the children of New York. On March 10, 2004, he appeared in an episode of The Oprah Winfrey Show to discuss the marathon. He finished the marathon in four hours and eighteen minutes. In 2004, Combs headed the campaign "Vote or Die" for the 2004 Presidential Election. The "Vote or Die" slogan was mocked by both The Daily Show and South Park as being too simplistic and encouraging young people to vote without knowing the issues. In a South Park episode entitled "Douche and Turd", P. Diddy and his associates chased one of the main characters around with weapons, literally threatening to kill him if he wouldn't vote in his school election.[12] At the time there were also rumors that Combs didn't even vote in the election, and that like Paris Hilton, another supporter of the campaign, wasn't even registered. In a 2005 interview with AndPOP, Combs explained that he was developing a new line of men's suits. On August 16, 2005, Combs appeared on the Today Show and announced that he was altering his stage name yet again, dropping the "P." and referring to himself simply as "Diddy," saying that "the P was getting between me and my fans." However this name change to Diddy upset Richard "Diddy" Dearlove, a London based musical artist & DJ.[13] Richard Dearlove lodged paperwork on Wednesday 16 November 2005 at 10:30 am in the Royal Court of Justice, London to start injunctive proceedings, a case which he won when an out of court settlement of 110,000 was agreed. As a result, Combs will no longer be able to use the name Diddy in the UK.[2][14] As of 2005, Combs sold his record company to the Warner Music Group. Tensions still existed between Diddy and former Warners CEOs Lyor Cohen and Kevin Liles (both formerly of Def Jam), but they arranged for his imprint to be a part of the company. He still remains CEO of Bad Boy Records.[15] He later hosted the 2005 MTV Video Music Awards, and was named one of the 100 Most Influential People of 2005 by Time magazine.[16] He even earned a mention in the world of country music. The subject of Play Something Country by Brooks & Dunn and Sean Okundaye says he "didn't come to hear P Diddy" which he rhymes with "something bumpin' from the city." Diddy released the album Press Play on October 17, 2006, his first album in 4 years. The album included a variety of popular and contemporary guest appearances including Christina Aguilera, Keyshia Cole, Mario Winans (signed to his label 'Bad Boy Records'), Nas, Will.i.am (Black Eyed Peas), Mary J. Blige, Nicole Scherzinger (of the Pussycat Dolls), Jamie Foxx, Big Boi (Outkast), Ciara, and Brandy. The album reached number one on its first week in the charts. In the February 2007 issue of Blender magazine, Diddy dishes about his wardrobe. He describes his style in three words. "Swagger. Timeless. Diverse."[17] Combs was also recently featured in a Burger King commercial with Cassie. On Sunday, July 1, 2007, Combs performed I'll Be Missing You at the Concert for Diana at Wembley Stadium. On Tuesday, September 18, 2007, Diddy teamed up with 50 Cent and Jay-Z for the "Forbes I Get Money Billion Dollar Remix."[18] [edit] Performing career Diddy has recently finished recording his latest LP, entitled Press Play, featuring collaborations with, among others, Christina Aguilera, Nas, Big Boi, Twista, Just Blaze, Pharrell, Brandy, Mary J. Blige and Keyshia Cole which was released on October 17th, 2006. It was reported that Diddy would be singing on all the tracks of this album, but that was proven false as, on the album's first single, "Come To Me" (featuring Nicole Scherzinger of the Pussycat Dolls), he did not sing at all, but rather did his traditional rapping. He does sing on the third single, "Last Night" (featuring Keyshia Cole). "Tell Me" (featuring Christina Aguilera) was released as the second single. An interesting fact about this song is that it was a demo song for his Making the Band 3 girl group, Danity Kane, as seen in the second season of the MTV show. He was asking fans on his MySpace page to help him choose the fourth single. "Through the Pain (She Told Me)" (featuring Mario Winans) was chosen as the fourth single. [edit] Ventures Combs has opened his own clothing range named 'Sean John'. Combs is one of the wealthiest people in the American entertainment industry. In 2002, he was featured on Fortune magazine's "40 Richest People Under 40" list and was placed number one in the list of the top ten richest people in hip-hop. He has donated undisclosed amounts to the Patricia Kirby Foundation, an organization that battles teenage bulimia and other eating disorders. In addition to his work as a performer and producer, Combs entered the fashion industry. His clothing line, Sean John, has been nominated for the Council of Fashion Designers of America (CFDA) Award for Menswear Designer of the Year every year since 2000. Sean John received criticism, however, for using fur in his designs. Controversy also followed when it was discovered that factories producing the clothing in Honduras were violating Honduran labor law.[19] Charles Kernaghan of the National Labor Committee, who first exposed the factory, is quoted in the New York Times as saying, "Sean Combs obviously has a lot of clout, he can literally do a lot overnight to help these workers."[19] He did and conditions at the factory improved dramatically. The case is often cited as an example of how concerned celebrities can contribute to ending sweatshop abuses. In 2006, mayor Richard M. Daley awarded Combs with a pair of cufflinks to commemorate the inauguration of an annual October 13 "Diddy Day" in the city of Chicago.[20] Combs received the honor as reward for certain "charitable work" at the Chicago City Hall. This has been seen by some to be an election-month stunt by the mayor. Combs also owns two upscale restaurants called "Justin's" (named after his son) with locations in New York and in Atlanta. He is the designer of the green Dallas Mavericks alternate jersey. He appeared as a drug dealer in the film Made, and he played the role of Walter Lee Younger in the critically acclaimed 2004 Broadway revival of A Raisin in the Sun. Combs says he loved appearing in the show and being given the opportunity to perform at the theater. He attracted huge crowds for his performance in the New York production, received mixed reviews, and admits he is desperate to pursue an acting career. He also starred with Halle Berry and Billy Bob Thornton in the film Monster's Ball. He also starred in Carlito's Way: Rise to Power. Diddy has mentioned that he would be interested in playing the black-version of James Bond. [edit] Controversy He has been criticized for watering down and overly commercializing hip-hop for a mainstream market and as overusing guest appearances by other artists as well as samples and interpolations of past hits for the majority of his own hit songs.[21] [22] The Onion parodied this phenomenon in an article titled "New rap song samples Billie Jean in its entirety, adds nothing."[23] Nevertheless, he has been enormously successful, with a current estimated worth of US $346 million and growing, making him one of the richest person in the hip hop entertainment business.[24] In 1991, Combs promoted a concert headlined by Heavy D. The concert was held at a City College of New York gymnasium following an AIDS charity basketball game. The event was massively overcrowded; it was oversold to almost twice the capacity of the gymnasium. In addition, thousands without tickets were outside. In order to keep them from sneaking in, Combs' people shut the only door to a stairwell and put a table behind it, despite the crowd jammed inside pounding on the door and pleading for help. At some point people in the crowd outside broke several glass doors in an attempt to get in; this caused a stampede inside the gymnasium in which nine people died.[5] In a 1999 ruling, a Court of Claims judge found Combs and Heavy D. 50 percent responsible for the incident, City College bore the rest of the responsibility in part for abandoning security responsibility to Combs, even though they knew the event was oversold. In 1992, Combs entered into an agreement with Hartford, Connecticut, disc jockey JC Big Balla Sledge to start a label in Hartford for the citys untapped talent, named Hip Hart Beat Records. The pair had creative differences over the usage of talent and eventually split. In a statement to Rolling Stone Magazine, JC said, Sean and I remain friends, just not as close as we once were. Our split where it relates to business was because we saw two totally different avenues. I wanted to drive left and go the way of Def Jam and its mainstay of artists and Puffy [Combs] wanted to drive right, business as usual. We all knew what that meant. I dont have to spell it outjust look at Bad Boys roster and its history. The split was amicable; litigation was an option, but why. Hip Hart Beat Records will one day become a reality. We are close now. In December 1999, Combs was accused of assaulting Steve Stoute of Interscope Records. Stoute was the manager for Nas, whose video for "Hate Me Now" featured Nas being crucified. Though Combs had willingly filmed the video scene earlier that year, he demanded that the images be removed. Stoute's refusal led to an argument and Combs' arrest for aggravated assault. This was followed by a yet more negative publicity as The Lox left Bad Boy Records, and a recording session with Lil' Kim and Lil' Cease, both of Biggie's Junior M.A.F.I.A. posse, was interrupted by gunfire. In December 1999, Combs and his then-girlfriend, Jennifer Lopez, were at Club New York, a midtown Manhattan nightclub, when gunfire broke out. After a police investigation, Combs and fellow rapper Shyne were arrested for weapons violations and other charges. Combs was indicted after his driver claimed that Combs had tried to bribe him into taking the weapon after the shooting. With bribery charges added to the bill, Combs was being attacked in the tabloids on a near-daily basis. Before the trial was over, Combs found himself in court on numerous civil charges. With a gag order in place, the highly-publicized trial began. His attorney was Johnnie L. Cochran Jr.. After the trial was over, Combs was acquitted, but his artist Shyne was convicted on the same charges and sentenced to ten years in prison. A talent agency then sued Combs for unfair competition, as did a woman who rented an apartment owned by Combs; she claimed he refused to rid the house of vermin. Combs then launched his own lawsuit against a writer who did not follow through on an alleged agreement to help write Combs' biography. Combs was soon acquitted of all charges relating to the shooting incident, followed almost immediately by a break-up with Lopez. With the media circus over, Combs changed his stage name from "Puff Daddy" to "P. Diddy".[25] In February 2004, Combs settled a $3 million lawsuit filed by his former driver, Fenderson, who said he suffered emotional damage after the club shooting four years earlier. Lawyers for both sides, having agreed to keep the settlement terms secret, refused to say what it took to resolve the case. They would say only that the matter was resolved to the satisfaction of all parties. In June 2005, it was revealed by Ganglandnews.com[26] that Combs is allegedly a close friend of reputed Gambino Mafia family enforcer, Andrew Campos. In October 2007, he was sued by hip-hop promoter James Waldon for allegedly unleashing three violent bodyguards on him in a New York nightclub.[27] (Less)
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335, 02:40, 2008-04-17 12:22:36 Description: http://tvparadise.info Step 1: Goto: http://tvparadise.info ^^^^^^^^^^^^^^^^^^^^^^ and click on the link that says Download Youtube Videos. Save the zip to your PC, unzip and run. Easy as that. (More) http://tvparadise.info Step 1: Goto: http://tvparadise.info ^^^^^^^^^^^^^^^^^^^^^^ and click on the link that says Download Youtube Videos. Save the zip to your PC, unzip and run. Easy as that. keywords: youtube download youtube download videos youtube videos computer flv mpeg wmv flash swf pc windows free program get metacafe google yahoo msn girl boy man woman chick hot free program not illegal legal favorite videos funny videos how to videos cool videos recent videos free download you tube video downloader sexy extreme music nerdy white blue red green black yellow purple cyan indigo orange download videos about: SOME OF THE SHOWS YOU CAN FIND : Heroes , Prison Break , 24 , Lost , Smallville , Desperate Housewives , One Tree Hill , Grey's Anatomy , The O.C. , Family Guy , House , Gilmore Girls , The Simpsons , Scrubs , America's Next Top Model , Charmed , Avatar: The Last Airbender , CSI , Battlestar Galactica (2003) , Nip/Tuck , CSI: Miami , South Park , Naruto , Supernatural , ER , NCIS , survivor , The Office , The Sopranos , 7th Heaven , The L Word , How I Met Your Mother , Ugly Betty , Hannah Montana , Stargate Atlantis , Stargate SG-1 , Veronica Mars , Studio 60 on the Sunset Strip , Bones , Dexter , The Apprentice , American Dad! , Day Break , Jericho , Friends , Weeds , Dirt , Wildfire , Brothers & Sisters , Reba , The Shield , My Name Is Earl , Las Vegas , Without a Trace , Saturday Night Live , Lincoln Heights , Home and Away , CSI: NY , Deal or No Deal , Cold Case , Everwood , Rome , Two and a Half Men , Degrassi: The Next Generation , Law & Order: Special Victims Unit , I Love New York , Bleach , Sex and the City , The Class , Seinfeld , Laguna Beach , The 4400 , Numb3rs , Ghost Whisperer , Vanished , Entourage , The Suite Life of Zack and Cody , Criminal Minds , Torchwood , What About Brian , MythBusters , Angel , That's So Raven , The Unit , Friday Night Lights , The Amazing Race , SpongeBob SquarePants , High School Musical , Power Rangers , Buffy the Vampire Slayer , Boston Legal , Law & Order , Star Trek: Enterprise , Alias , The X-Files , Futurama , Flavor of Love , Zoey 101 , Beverly Hills, 90210 , Doctor Who You can even download the most popular songs: 1950s * The best-selling album of 1956 was Calypso, by Harry Belafonte. [1] * The best-selling album of 1957 was My Fair Lady, Original Cast recording. [2] * The best-selling album of 1958 was My Fair Lady, Original Cast Recording. [3] * The best-selling album of 1959 was Music from Peter Gunn, by Henry Mancini. [4] [edit] 1960s * The best-selling album of 1960 was The Sound of Music, Original Cast Recording. [5] * The best-selling album of 1961 was Camelot, Original Cast Recording. [6] * The best-selling album of 1962 was West Side Story Soundtrack. [7] * The best-selling album of 1963 was West Side Story Soundtrack. [8] * The best-selling album of 1964 was Hello, Dolly!, Original Cast Recording. [9] * The best-selling album of 1965 was Mary Poppins Soundtrack. [10] * The best-selling album of 1966 was Whipped Cream & Other Delights, by Herb Alpert & The Tijuana Brass. [11] * The best-selling album of 1967 was More of The Monkees by The Monkees. [12] * The best-selling album of 1968 was Are You Experienced? by The Jimi Hendrix Experience. [13] * The best-selling album of 1969 was In-A-Gadda-Da-Vida by Iron Butterfly. [14] [edit] 1970s * The best-selling album of 1970 was Bridge Over Troubled Water, by Simon and Garfunkel. [15] * The best-selling album of 1971 was Jesus Christ Superstar Soundtrack. [16] * The best-selling album of 1972 was Harvest, by Neil Young. [17] * The best-selling album of 1973 was The World Is a Ghetto, by War. [18] * The best-selling album of 1974 was Goodbye Yellow Brick Road, by Elton John. [19] * The best-selling album of 1975 was Elton John's Greatest Hits. [20] * The best-selling album of 1976 was Frampton Comes Alive, by Peter Frampton. [21] * The best-selling album of 1977 was Rumours, by Fleetwood Mac. [22] * The best-selling album of 1978 was the Saturday Night Fever Soundtrack. [23] * The best-selling album of 1979 was 52nd Street, by Billy Joel. [24] [edit] 1980s * The best-selling album of 1980 was The Wall, by Pink Floyd. [25] * The best-selling album of 1981 was Hi Infidelity, by REO Speedwagon. [26] * The best-selling album of 1982 was Asia, by Asia. [27] * The best-selling album of 1983 was Thriller, by Michael Jackson. [28] * The best-selling album of 1984 was Thriller, by Michael Jackson. [29] * The best-selling album of 1985 was Born in the U.S.A., by Bruce Springsteen . [30] * The best-selling album of 1986 was Whitney Houston, by Whitney Houston. [31] * The best-selling album of 1987 was Slippery When Wet, by Bon Jovi . [32] * The best-selling album of 1988 was Faith, by George Michael. [33] * The best-selling album of 1989 was Don't Be Cruel , by Bobby Brown . [34] [edit] 1990s * The best-selling album of 1990 was Rhythm Nation 1814, by Janet Jackson. [35] * The best-selling album of 1991 was Mariah Carey, by Mariah Carey. [36] * The best-selling album of 1992 was Ropin' the Wind, by Garth Brooks. [37] * The best-selling album of 1993 was The Bodyguard Soundtrack. [38] * The best-selling album of 1994 was The Sign, by Ace of Base . [39] * The best-selling album of 1995 was Cracked Rear View, by Hootie and the Blowfish. [40] * The best-selling album of 1996 was Jagged Little Pill, by Alanis Morissette. [41] * The best-selling album of 1997 was Spice, by Spice Girls. [42] * The best-selling album of 1998 was Titanic Soundtrack. [43] * The best selling album of 1999 was Millennium, by Backstreet Boys. [44] [edit] 2000s * The best-selling album of 2000 was No Strings Attached, by *NSYNC. [45] * The best-selling album of 2001 was 1, by The Beatles. [46] * The best-selling album of 2002 was The Eminem Show, by Eminem. [47] * The best-selling album of 2003 was Get Rich or Die Trying, by 50 Cent. [48] * The best-selling album of 2004 was Confessions, by Usher. [49] * The best-selling album of 2005 was The Emancipation of Mimi, by Mariah Carey. [50] * The best-selling album of 2006 was High School Musical Soundtrack. (Less)
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305, 02:58, 2008-04-17 15:09:44 Description: Early years Born in Teaneck, New Jersey to a Swedish-American family, he was the younger son of Ozzie Nelson, the leader of a big band, and Harriet Hilliard Nelson, the band's singer. Along with (More) Early years Born in Teaneck, New Jersey to a Swedish-American family, he was the younger son of Ozzie Nelson, the leader of a big band, and Harriet Hilliard Nelson, the band's singer. Along with brother David Nelson, the family starred in the long-running radio and television series The Adventures of Ozzie & Harriet from 1944 to 1954 on the radio, and 1952 to 1966 on television. However, David and Ricky Nelson did not join the cast until 1949; for the first five years of the radio show, the sons were played by professional actors. [edit] Career Ricky Nelson began a rock and roll music career in 1957. He recorded his debut single, the Fats Domino song "I'm Walkin'", seeking to impress a date who was an Elvis Presley fan Nelson's first song was a hit, reaching #4 on the charts. Soon, each episode of the Ozzie & Harriet television show ended with a musical performance by "Ricky". It was during the sitcom's run that Ozzie Nelson, either as a move to keep his son's fans tuned in each week, or as an affirmation of his reputed behind-the-scenes persona as a control freak, kept Ricky from appearing on other TV shows that arguably would have enhanced his public profile, American Bandstand and The Ed Sullivan Show in particular. Ironically, Rick finally did appear on the Sullivan show in 1967, but his career was at that time in limbo. Rick also appeared on other TV shows (usually in acting roles); in 1977, he guest-hosted on Saturday Night Live where he proved to be a good sport in spoofing his TV sitcom image, by appearing in a Twilight Zone send-up, where, trying to go "home", he'd find himself among the characters from other 1950s/early 60s-era sitcoms, Leave It To Beaver, Father Knows Best, and Make Room For Daddy. Despite the promotional aspects of his career, it is clear that Nelson knew and loved music, and was a credible performer before he became a teen idol, largely due to his parents' musical background. In addition to guitar, he also played drums (as it happened, the same episode where he made his singing debut, also showcased his drum skills); along with the clarinet (his father's main instrument was saxophone, but Ozzie also played banjo and tenor guitar; he sat in with that instrument during Rick's recording of "Hello, Mary Lou"). Unlike many teen idols of the time, Nelson showed his personal taste in working with strong musicians, including James Burton, Joe Maphis, The Jordanaires, and Johnny and Dorsey Burnette. While Elvis may have served as the catalyst for Rick's musical career, his real inspiration came from none other than Carl Perkins. One of Ricky Nelson's biggest hits Hello Mary Lou / Travelin' Man From 1957 to 1962, Nelson had 30 top 40 hits, more than any other artist at the time, except Elvis Presley (who had 53) and Pat Boone (who had 38). Many of Nelson's early records were double hits with both the A side and the B side hitting the Billboard charts. When Billboard introduced the Hot 100 chart on August 4, 1958, Nelson's single "Poor Little Fool" became the first song ever in the #1 position on that chart. While Nelson preferred rockabilly and uptempo rock songs like "Hello Mary Lou", "It's Late", "Stood Up", and "Be-Bop Baby", his smooth, calm voice made him a natural to sing ballads. He had major success with "Travelin' Man", "Poor Little Fool", "Young World", "Lonesome Town", and "Teenage Idol", which clearly could have been about Nelson himself at the time. (It was Life magazine that reputedly coined the phrase "teen idol" in an article it did about the young musical star in 1959). In addition to his recording career, Nelson also appeared in movies, including Rio Bravo with John Wayne and Dean Martin (1959) The Wackiest Ship In the Army (1960) and Love and Kisses (1965). On May 8, 1961 (his 21st birthday), Nelson officially changed his recording name from "Ricky Nelson" to "Rick Nelson". However, not too long before his untimely death, Rick realized a dream of his, when he met his idol, Carl Perkins, who while musing that they were the last of the "rockabilly breed," Mr. Perkins called Nelson "Ricky." As the story goes, Nelson, figuring that Perkins calling him by the name he stopped using at age 21, made for some sense of validation. He then contacted his manager, who was then instructed to add the "y" to his name[citation needed]. In 1963, Nelson signed a 20-year contract with Decca Records, but he had no further major hits after 1964's "For You". In the mid-1960s, he began to move towards country music, and has been considered a pioneer in the country-rock genre, and as a result, one of the early influences of the so-called "California Sound" (which would include singers like Jackson Browne, Linda Ronstadt, and other bands like The Eagles) yet did not reach the Top 40 again until 1970, when he recorded Bob Dylan's "She Belongs To Me" with the Stone Canyon Band. This most likely included drummer Kevin Edwards, who still lives to tell his story today. In 1972, Nelson reached the top 40 one last time with "Garden Party", a song he wrote in disgust after a Madison Square Garden audience booed him when he tried playing new songs instead of just his old hits from the 1950s and 1960s. "Garden Party" reached #6 on the Billboard Hot 100 and #1 on the Billboard Adult Contemporary chart, and was certified as a gold single. (Coincidentally, "Garden Party" was a hit at the same time Elvis Presley was having his last top 10 single, "Burning Love", as was Chuck Berry with "My Ding-a-Ling"; Berry is among the musicians alluded to in the lyrics of "Garden Party".) However, Nelson never regained his career's momentum. By the late-1970s, Nelson's life was in shambles. He was heavily in debt. After a highly tumultuous marriage (which was the antithesis of what the public had seen on "O&H" and in the movie, Love and Kisses his wife filed for divorce and took their four children. He wasn't making records and when he played live at all, it was in very small, insignificant venues. Nelson began using drugs, especially marijuana, and eventually, cocaine. [edit] Marriage and Family In April 1963, he married Kristin Harmon in what Life Magazine referred to as "The Wedding of the Year." Kristin Harmon is the daughter of Football All-American University of Michigan football legend and Heisman Trophy winner Tom Harmon and actress Elyse Knox, and is the older sister of movie and television star Mark Harmon, perhaps known best for the hit series "NCIS." They had one daughter,Tracy (born October 25, 1963), twin sons Gunnar and Matthew (born September 20, 1967), and a third son, Sam Nelson (born August 29, 1974). [edit] (Less)
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313, 03:18, 2008-04-17 15:09:51 Description: Sam Cooke (January 22, 1931 December 11, 1964) was a popular and influential American gospel, R&B, soul, pop singer, songwriter, and entrepreneur. Musicians and critics today recognize him as one (More) Sam Cooke (January 22, 1931 December 11, 1964) was a popular and influential American gospel, R&B, soul, pop singer, songwriter, and entrepreneur. Musicians and critics today recognize him as one of the founders of soul music, and as one of the most important singers in soul music history.[1] He has been called "the king of soul" by many, and while some may dispute this title, Sam Cooke's legacy is an extensive one and his impact on soul music is undeniable. He had 29 Top 40 hits in the U.S. between 1957 and 1965. He is therefore seen by many as "the creator" of the genre. Major hits like "You Send Me", "Chain Gang", "Wonderful World" and "Bring It on Home to Me" are among some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career.[1] He founded both a record label and a publishing company as an extension of his careers as a singer and composer. He also took an active part in the Civil Rights Movement,[1] using his musical ability to bridge gaps between black and white audiences. Biography Sam Cook was born in Clarksdale, Mississippi. He added an "e" onto the end of his name because he thought it added a touch of class. He was one of seven children of Annie Mae and the Reverend Charles Cook, a Baptist minister. The family moved to Chicago in 1933. Cooke began his musical career as a member of a quartet with his siblings, The Singing Children, and, as a teenager, he was a member of the Highway QCs, a gospel group. In 1950, at the age of 19, he joined The Soul Stirrers and achieved significant success and fame within the gospel community. His first pop single, "Lovable" (1956), was released under the alias of "Dale Cooke" in order to not alienate his fan base; there was a considerable taboo against gospel singers performing secular music. However, the alias failed to hide Cooke's unique and distinctive vocals. No one was fooled. Art Rupe, head of Specialty Records, the label of the Soul Stirrers, gave his blessing for Cooke to record secular music under his real name, but he was unhappy about the type of music Cooke and producer Bumps Blackwell were making. Rupe expected Cooke's secular music to be similar to that of another Specialty Records artist, Little Richard. When Rupe walked in on a recording session and heard Cooke covering Gershwin, he was quite upset. After an argument between Rupe and Blackwell, Cooke and Blackwell left the label(Greene, 2006). In 1957, Cooke signed with Keen Records. His first release was "You Send Me", which spent six weeks at #1 on the Billboard R&B chart. The song also had massive mainstream success, spending three weeks at #1 on the Billboard pop chart. In addition to his success in writing his own songs and achieving mainstream fame a truly remarkable accomplishment for an R&B singer at that time Cooke continued to astonish the music business in the 1960s with the founding of his own label, SAR Records (Greene, 2006), which soon included The Simms Twins, The Valentinos, Bobby Womack, and Johnnie Taylor. Cooke then created a publishing imprint and management firm, then left Keen to sign with RCA Victor. One of his first RCA singles was the hit "Chain Gang." It reached #2 on the Billboard pop chart. This was followed by more hits, including "Sad Mood", "Bring it on Home to Me" (with Lou Rawls on backing vocals), "Another Saturday Night" and "Twistin' the Night Away". Like most R&B artists of his time, Cooke focused on singles; in all he had 29 top 40 hits on the pop charts, and more on the R&B charts. In spite of this, he released a critically acclaimed blues-inflected LP in 1963, Night Beat. He was known for having written many of the most popular songs of all time in the genre, and is often unaccredited for many of them by the general public[citation needed]. Cooke died at the age of 33 under mysterious circumstances on December 11, 1964 in Los Angeles, California. Though the details of the case are still in dispute, the official story was that he was shot to death by Bertha Franklin, manager of the Hacienda Motel in South Los Angeles, who claimed that he had threatened her, and that she killed him in self-defense. The verdict was justifiable homicide, though many believe that crucial details did not come out in court, or were buried afterward. Cooke was interred in the Forest Lawn Memorial Park Cemetery, Glendale, California. Some posthumous releases followed, many of which became hits, including "A Change Is Gonna Come", an early protest song which is generally regarded as his greatest composition. After Cooke's death, his widow, Barbara, married Bobby Womack. Cooke's daughter, Linda, later married Bobby's brother, Cecil. Cooke was inducted as a charter member of the Rock and Roll Hall of Fame in 1986(Greene, 2006). [edit] Death The details of the case involving Sam Cooke's death are still in dispute. The official police record[2] states that Cooke was shot to death by Bertha Franklin, the manager of the Hacienda Motel, where Cooke had checked in earlier that evening. Franklin claimed that Cooke had broken into the manager's office/apartment in a rage, wearing nothing but a shoe and an overcoat (and nothing beneath it) demanding to know the whereabouts of a woman who had accompanied him to the motel. Franklin said that the woman was not in the office and that she told Cooke this, but the enraged Cooke did not believe her and violently grabbed her demanding again to know the woman's whereabouts. According to Franklin, she grappled with Cooke, the two of them fell to the floor, and she then got up and ran to retrieve her gun. She said that she then fired at Cooke in self-defense because she feared for her life. According to Franklin, Cooke exclaimed, "Lady, you shot me," before finally falling, mortally wounded. According to Franklin and to the motel's owner, Evelyn Carr, they had been on the phone together at the time of the incident. Thus, Carr claimed to have overheard Cooke's intrusion and the ensuing conflict and gunshots. Carr called the police to request that they go to the motel, informing them that she believed a shooting had occurred. A coroner's inquest was convened to investigate the incident. The woman who had accompanied Cooke to the motel was identified as Elisa Boyer, who had also called the police that night shortly before Carr did. Boyer had called the police from a phone booth near the motel, telling them she had just escaped from being kidnapped. Boyer told the police that she had first met Cooke earlier that night and had spent the evening in his company. She claimed that after they left a local nightclub together, she had repeatedly requested that he take her home, but that he instead took her against her will to the Hacienda Motel. She claimed that once in one of the motel's rooms, Cooke physically forced her onto the bed and that she was certain he was going to rape her. According to Boyer, when Cooke stepped into the bathroom for a moment, she quickly grabbed her clothes and ran from the room. She claimed that in her haste, she had also scooped up most of Cooke's clothing by mistake. She said that she ran first to the manager's office and knocked on the door seeking help. However, she said that the manager took too long in responding, so, fearing Cooke would soon be coming after her, she fled the motel altogether before the manager ever opened the door. She claimed she then put her own clothing back on, stashed Cooke's clothing away and went to the phone booth from which she called police. Boyer's story is the only account of what happened between the two that night. However, her story has long been called into question. Due to inconsistencies between her version of events and details reported by other witnesses, as well as other circumstantial evidence (e.g. cash Cooke was reportedly carrying that was never recovered, and the fact that Boyer was soon after arrested for prostitution), many people feel it is more likely that Boyer went willingly to the motel with Cooke, and then slipped out of the room with Cooke's clothing in order to rob him, rather than in order to escape an attempted rape. Ultimately though, such questions were beyond the scope of the inquest, whose purpose was simply to establish the circumstances of Franklin's role in the shooting, not to determine exactly what had happened between Cooke and Boyer preceding that. Boyer's leaving the motel room with almost all of Cooke's clothing in tow, regardless of exactly why she did so, combined with the fact that tests showed Cooke was inebriated at the time, seemed to provide a plausible explanation for Cooke's bizarre behavior and state of dress, as reported by Franklin and Carr. This explanation together with the fact that Carr, from what she said she had overheard, corroborated Franklin's version of events, was enough to convince the coroner's jury to accept Franklin's explanation that it was a case of justifiable homicide. And with that verdict, authorities officially closed the case on Cooke's death.[3] However, some of Cooke's family and supporters have rejected not only Boyer's version of events, but also Franklin's and Carr's. They believe that there was a conspiracy from the start to murder Cooke, that this murder took place in some manner entirely different from the official account of Cooke's intrusion into Franklin's office/apartment, and that Franklin, Boyer and Carr were all lying to provide a cover story for this murder. None have been able to provide any evidence of this, however.[1] [2] [3] My brother was first class all the way. He would not check into a $3-a-night motel; that wasn't his style. Agnes Cooke-Hoskins, sister of Sam Cooke, attending the Rock and Roll Hall of Fame's 2005 tribute to Cooke. In her autobiography, Rage To Survive, singer Etta James claimed that she viewed Cooke's body in the funeral home and that the injuries she observed were well beyond what could be explained by the official account of Franklin alone having fought with Cooke. James described Cooke as having been so badly beaten that his head was nearly decapitated from his shoulders, his hands were broken and crushed and his nose was mangled. Nevertheless, no solid, reviewable evidence supporting a conspiracy theory has been presented to date. However, in Our Uncle Sam: The Sam Cooke Story From His Family's Perspective, the biography written by Cooke's great-nephew, he discusses little-known facts, glaring inconsistencies, and an alternate scenario to the singer's death. [edit] Legacy Cooke's influence has been immense: even people who have never heard one of his records have still heard his voice and phrasing if they have listened to Rod Stewart or Southside Johnny. Other rock artists with a notable Cooke heritage include The Animals, Simon and Garfunkel, Van Morrison, James Taylor, the Beatles (particularly John Lennon), John Mayer, Bruce Springsteen, Steve Marriott, Terry Reid, Steve Perry, and numerous others, while R&B and soul artists indebted to Cooke include Smokey Robinson, Marvin Gaye, Otis Redding, David Ruffin, Bobby Womack, Johnnie Taylor, Lou Rawls, Al Green, The Temptations, Philippe Wynne, Aretha Franklin, Mavis Staples, Ben E. King, and many more. Cooke's "A Change Is Gonna Come" was memorably featured in Spike Lee's film, Malcolm X and was most recently redone by the group Solo. Rapper 2Pac references Sam Cooke in a line of the song "Thugz Mansion," as well as rapper Nas, who references him in the song "We Major" with Kanye West. In the Roots song "Stay Cool" the lyrics say, "I got the soul of a young Sam Cooke". Other notable artists include India.Arie, Joe Budden, the Wallflowers, and John Legend. On the West Wing (television) episode "A Change Is Gonna Come", James Taylor performs Sam Cooke's song by the same name in tribute to Cooke. Cat Stevens hadn't released a song that he didn't write until 1974 when he released his Greatest Hits album with a cover of Sam Cooke's "Another Saturday Night". He also released it as a single which reached No.4 in the US. Southern radio stations can be picked up at night in Jamaica, and Cooke's recordings were a major influence on the singing style of Bob Marley. John Landis has used many of Cooke's recording for his films such as Animal House and American Werewolf in London. Cooke was an influence on punk vocalist Mia Zapata of The Gits, who honored him with a cover of "A Change Is Gonna Come" on their album Enter: The Conquering Chicken. Shortly following his passing, Motown Records released We Remember Sam Cooke, a collection of Cooke covers recorded by The Supremes. In 1966 the now cult '60s British pop show Ready Steady Goes Live, the live version of Ready, Steady, Go devoted a whole programe to a live performance of Soul singer Otis Redding, who regularly covered many of Cooke's songs. One of the highlights was a rousing version of "Shake" on which Redding was joined by British Soul legends Eric Burdon, lead singer of The Animals, and chart topper Chris Farlowe. The programme is acclaimed by many as the best episode of the whole series. After being featured prominently in the 1985 film Witness (1985 movie) [4] (starring Harrison Ford), the song "Wonderful World" gained further exposure. "Wonderful World" was featured as one of two concurrently running a Levi's Jeans commercials in 1985 and became a hit in the United Kingdom because of this, reaching #2 in re-release. Other notable movies that featured his music Animal House ("Wonderful World" and "Twistin' The Night Away") and Cadence ("Chain Gang"). In 1999, Cooke was honored with the Grammy Lifetime Achievement Award, and in 2004, Rolling Stone Magazine ranked him #16 on their list of the 100 Greatest Artists of All Time.[4]. Erik Greene's Our Uncle Sam: The Sam Cooke Story From His Family's Perspective, is an introspective look into Cooke's life, music, and controversial death. Voted "Best of 2006" by Soul-Patrol.com, Our Uncle Sam compiles the intimate memories and never-before-seen photographs of Cooke. In 2007 Irish rock-group Jetplane Landing released the album Backlash Cop featuring the song "Sam Cooke". Arctic Monkeys selected 'Cupid' for their Radio 1 Playlist. (Less)
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272, 02:17, 2008-04-17 15:09:52 Description: The Nitty Gritty Dirt Band is an American country-folk-rock band that has existed in various forms since its founding in Long Beach, California in 1966. The group's membership has had at least a (More) The Nitty Gritty Dirt Band is an American country-folk-rock band that has existed in various forms since its founding in Long Beach, California in 1966. The group's membership has had at least a dozen iterations over the years, including a period between from 1976 to 1981 when the band performed and recorded as The Dirt Band. Constant members since the early days are Singer-guitarist Jimmie Fadden and drummer Jeff Hanna. Multi-instrumentalist John McEuen was with the band from 1966 to 1986 and returned in 2001. Keyboardist Bob Carpenter joined the band in 1977. The band's hits include a cover version of Jerry Jeff Walker's "Mr. Bojangles". Albums include 1972's Will the Circle Be Unbroken, featuring such traditional country artists Mother Maybelle Carter, Earl Scruggs, Roy Acuff, Merle Travis and Jimmy Martin. A follow-up album based on the same concept, Will the Circle Be Unbroken: Volume Two was released in 1989, was certified gold and won two Grammy Awards and was named Album of the Year at the Country Music Association Awards. 1966-1969 The Nitty Gritty Dirt Band was founded around 1966 in California by singer-guitarist Jeff Hanna and washtub bass player Bruce Kunkel who performed as the New Coast Two. Trying to, in the words of the band's website, "figure out how not to have to work for a living," Hanna and Kunkel joined informal jam sessions at McCabe's Guitar Shop in Long Beach, California. There they met several multi-instrumentalists: guitarist-washboard bassist Ralph Barr, guitarist-clarinetist Les Thompson, harmonicist and jug player Jimmie Fadden and guitarist-vocalist Jackson Browne. As the Nitty Gritty Dirt Band, the six men started as a jug band and joined the burgeoning southern California folk rock, playing in local clubs, wearing pinstripe suits and cowboy boots. Browne was only in the band for a few months before he left to concentrate on a solo career as a singer-songwriter. He was replaced by John McEuen on banjo, fiddle, mandolin and steel guitar. McEuen's older brother, William, was the group's manager, and he helped the band get signed with Liberty Records, which released the group's debut album, The Nitty Gritty Dirt Band in 1967. The band's first single, "Buy for Me the Rain," was a Top 40 hit, and the band gained exposure on "The Tonight Show" with Johnny Carson, as well as concerts with such disparate artists as Jack Benny and The Doors. A second album, Ricochet was released later in the year and fared less successfully than their first. Kunkel wanted the band to "go electric", and exited the group in the dispute. He was replaced by guitarist-fiddler Chris Darrow (guitar, fiddle). By 1968, the band went electric anyway, and added drums. The first electric album, Rare Junk, was a commercial flop, as was their next, Alive!. The band continued to gain exposure, mainly as a novelty act, making a cameo appearance in the 1969 musical western film, Paint Your Wagon, performing, "Hand Me Down That Can o' Beans". The band also played Carnegie Hall as an opening act for Bill Cosby and played in a jam session with Dizzy Gillespie. 1969-1976 The group took a break in 1969, reforming in Aspen, Colorado with Jimmy Ibbotson replacing Chris Darrow. With William McEuen as producer and a renegotiated contract that gave the band more artistic freedom, the band recorded and rleased Uncle Charlie & His Dog Teddy, issued in 1970. Embracing a straight, traditional country and bluegrass sound, the album included the group's best-known single, a cover version of Jerry Jeff Walker's "Mr. Bojangles". The next album, All The Good Times, released in early 1972, was similar in feel. The Nitty Gritty Dirt Band next sought to solidify its reputation as a country band, heading for Nashville, Tennessee and recording the triple album, Will the Circle Be Unbroken with Nashville stalwarts Roy Acuff, Earl Scruggs and Jimmy Martin, country pioneer Mother Maybelle Carter, folk-blues guitarist Doc Watson and others. The title is taken from the song, "Can the Circle Be Unbroken (Bye and Bye)", as adapted by A. P. Carter, and reflects the album's theme of trying to tie together two generations of musicians: long-haired boys from California and older veterans of the middle American establishment. The track, "I Saw the Light" with Acuff singing, was a hit, and the album received two nominations for Grammy Award. Veteran fiddler Vassar Clements was introduced to a wider audience by the album. The band also toured Japan. Les Thompson left the group, making the band a foursome. The next album, Stars & Stripes Forever, was a live album that mixed old hits such as "Buy for Me the Rain" and "Mr. Bojangles" with Circle collaborations (fiddler Vassar Clements was a guest performer) and long storytelling spoken-word monologues. A studio album, Dream, was also released. In July 1974, the band was among the headline acts at the Ozark Music Festival at the Missouri State Fairgrounds in Sedalia, Missouri. Some estimates have put the crowd count at 350,000 people, which would make this one of the largest music events in history. At anothter concert, the band opened for the rock band Aerosmith. 1976-1981: The Dirt Band Jimmy Ibbotson left the band at the end of 1975, leaving Fadden, Hanna and McEuen. John Cable and Jackie Clark were brought in on guitar and bass. The band shortened its name around this time to The Dirt Band, and released its first greatest hits compilation, Dirt, Silver & Gold, in 1976. The Dirt Band was the first American group allowed by the Soviet Union to tour Russia, playing concerts and a televised appearance that is estimated to hve been watched by 145 million people. Pianist Bob Carpenter joined in 1977, and the group's sound became more pop and rock oriented. Saxophonist Al Garth, drummer Merel Bregante and bassist Richard Hathaway were also added. Jeff Hanna became the group's producer. Albums during this period included The Dirt Band and An American Dream. The single "American Dream" with Linda Ronstadt reached No. 13 on the pop charts. The band also appeared on "Saturday Night Live", and, billed The Toot Uncommons, provided backing for Steve Martin on his million-selling novelty tune, "King Tut." The albums Make a Little Magic and Jealousy were released in 1980 and 1981, with the single "Make a Little Magic" featuring Nicolette Larson reaching the Top 20 on the pop chart. 1982-1989: Nitty Gritty again The band returned to its original name and it country roots, with Jimmy Ibbotson rejoining for recording session in Nashville, Tennessee for the album Let's Go, which yielded the hit "Dance Little Jean" which was a Top 10 country hit. The next album, 1984's Plain Dirt Fashion had the band's first No. 1 hit, "Long Hard Road". There were two more No. 1's: "Modern Day Romance" (1985) and "Fishin' in the Dark" (1987). Other successful songs were "Dance Little Jean" (1983); "I Love Only You" (1984); "High Horse" (1985); "Home Again in My Heart," "Partners, Brothers and Friends" and "Stand a Little Rain" (1986); "Fire in the Sky," "Baby's Got a Hold on Me" and "Oh What a Love" (1987); "Working Man (Nowhere to Go)" and "I've Been Lookin'" (1988); and "Down That Road Tonight" and "When it's Gone" (1989). Performances included the 1984 Los Angeles Olympic Games and the inaugural Farm Aid concert in Champaign, Illinois. A 20-year anniversary concert at McNichols Sports Arena in Denver, Colorado featured such guests as Ricky Skaggs, Emmylou Harris, Doc Watson and John Prine. John McEuen left the band at the end of 1986, replaced by Bernie Leadon, formerly of the Eagles. He was with the Nitty Gritty Dirt Band in 1987 and 1988. The band's 19th album, Hold Onfeatured the No. 1 singles "Fishin' in the Dark" and "Baby's Got a Hold on Me." The band appeared on the "Today Show" and the "Tonight Show" in the same week, and toured Europe. In 1989, the Nitty Gritty Dirt Band again returned to Nashville, to record Will the Circle Be Unbroken: Volume Two. Returnees from the first Circle included Earl Scruggs, Vassar Clements and Roy Acuff. Johnny Cash and the Carter Family, Emmylou Harris and Ricky Skaggs joined the sessions, as did John Prine, Levon Helm, John Denver, John Hiatt, Bruce Hornsby and former Byrds Roger McGuinn and Chris Hillman. This two Grammy Awards and was named Album of the Year at the Country Music Association Awards. for Best Country Vocal Performance (duo or group) and the Country Music Association's Album of the Year Award in 1989. 1990-2000 As a foursome of Hanna, Fadden, Ibbotson and Carpenter, the band again the Soviet Union, as well as Canada, Europ, and Japan. A 25th anniversary concert was recorded on Live Two Five in Red Deer, Alberta, produced by T-Bone Burnett. In 1992 the band collaborated with Irish folk music's The Chieftains for the Grammy Award-winner Another Country. Other efforts included the album Acoustic, spotlights their "wooden" sound, a duet with Karla Bonoff, "You Believed in Me" for the MCA Olympic compilation, One Voice, and a cover version of Buddy Holly's "Maybe Baby" for the Decca tribute album, Not Fade Away. The Christmas Album was released in 1997, followed by Bang! Bang! Bang! in 1999. The band briefly entered the pop culture again in April of 1992, when they were the unwitting subject of one of George H. W. Bush's malapropisms, referring to the group as the "Nitty Ditty Nitty Gritty Great Bird" at a country music awards ceremony in Nashville: "I said to them there's another one that the Nitty Ditty Nitty Gritty Great Bird and it says if you want to see a rainbow you've got to stand a little rain."[1] This unusual phrasing was repeatedly used as an example of Bush's garbled syntax (notably, in Dave Barry's book Dave Barry Hits Below the Beltway), which in turn led to increased visibility for the band. Recent works John McEuen rejoined the band in 2001. In 2002, the Nitty Gritty Dirt Band celebrated the 30th anniversary of their landmark Will the Circle Be Unbroken with a remastered CD reissue of the 1972 album and a new compilation, Will the Circle Be Unbroken: Volume III. An album of all-new material, Welcome to Woody Creek, was released in 2004. Jimmy Ibbotson again left the band in 2004. In 2005 the band donated use of the song "Soldier's Joy" for the benefit album, Too Many Years to benefit Clear Path International's work with landmine survivors. Also in 2005, the band was recognized by the International Entertainment Buyers Association for 40 years of contributions to the music industry. (Less)
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