Tag: music

behindthegrooves:

On this day in music history: November 13, 2000 – “Lovers Rock”, the fifth album by Sade is released. Produced by Sade and Mike Pela, it is recorded at Deliverance Studios, Sarm Hook End Studios in London and El Cortijo Studios in San Pedro de Alcántara, Spain from September 1999 – August 2000. Despite scoring yet another multi-Platinum selling album with “Love Deluxe” in 1992, it is one of only two times that Sade are heard from during the 90’s. After releasing their first greatest hits package in 1994, the band begin their longest hiatus from the public eye yet. After a turbulent marriage to Spanish director Carlos Pliego which ends in divorce in 1995, Sade Adu begins another relationship with music producer Bob Morgan, giving birth to a daughter named Mickailia (aka “IIa”) in 1996. Taking time off to raise her child, the band do not begin work on a new album until the Fall of 1999. Refreshed from their extended time apart, band members Stuart Matthewman, Paul Spencer Denman and Andrew Hale have been active in the interim, recording an album under the moniker Sweetback, and Matthewman co-producing R&B singer Maxwell’s first two albums. Once back together in the studio, the band decide to try a different creative approach from their signature sound. Sade move away from the full band arrangements of their previous albums, toward more spare and acoustic guitar driven tracks. Having spent much of the 90’s living in Jamaica to escape the European tabloid press, Adu is inspired and influenced by the sounds of the Caribbean. The title “Lovers Rock” comes from the sub genre of reggae music that is notable for its romantic and sensual vibe, that Sade listened to growing up. Her ups and downs relationship wise also figure significantly in the overall mood and feeling of the album, most notably on the first single “By Your Side” (#75 Pop, #18 AC), the follow up “King Of Sorrow” (#101 R&B) and “Somebody Already Broke My Heart”.  Like their previous work, “Lovers Rock” receives a rapturous reception from fans when it is released in the Fall of the new millennium. In the US, the album is also issued with a bonus CD through big box chain store Target, featuring four previously unreleased live versions of “The Sweetest Taboo”, “Smooth Operator”, “Nothing Can Come Between Us” and “No Ordinary Love”, recorded during the Love Deluxe Tour. Sade also follow it with a world tour in 2001, which is then followed by a live concert video and album both titled “Lovers Live” released in 2002. “Lover’s Live” peaks at number three on the Billboard Top 200 and R&B album chart, and is certified 3x Platinum in the US by the RIAA.

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behindthegrooves:

On this day in music history: November 13, 1968 – “Love Child”, the fifteenth studio album by Diana Ross & The Supremes is released. Produced by Berry Gordy, Jr., Frank Wilson, R. Dean Taylor, Deke Richards, Henry Cosby, Smokey Robinson, Nickolas Ashford & Valerie Simpson, Marv Johnson, George Gordy, Harvey Fuqua and Johnny Bristol, it is recorded at Motown Studio A & B in Detroit, MI from February 17 – October 2, 1968. It is the first Supremes album not written or produced by Holland/Dozier/Holland, who depart from Motown over a year before over a royalty dispute with Motown, resulting in the Supremes not having a major hit for over a year. The album contains the chart topping title track, as well as songs written by Ashford & Simpson, Deke Richards, R. Dean Taylor and Johnny Bristol. Out of print since the early 90’s, the album is remastered and reissued on CD by Universal Japan in 2013, also having been reissued in a limited edition by specialty label Culture Factory the same year. “Love Child” peaks at number three on the Billboard R&B album chart, and number fourteen on the Top 200

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behindthegrooves:

On this day in music history: November 12, 1976 – “Hejira”, the eighth studio album by Joni Mitchell is released. Produced by Joni Mitchell, it is recorded at A&M Studios in Hollywood, CA from May – September 1976. Following the release of her previous album “The Hissing Of Summer Lawns”, Joni Mitchell hits the road as part of Bob Dylan’s legendary “Rolling Thunder Revue” tour in late 1975. Shortly after, she embarks on her own tour in support of the “Lawns” album in early 1976, but is aborted only after six weeks when she and drummer John Guerin break up. Having had an on and off again relationship nearly three years, Mitchell breaks off her relationship with Guerin when she discovers that he is cheating on her. Seeking a diversion from the split and looking to stoke her creative energy, Joni drives across the United States from Maine to California with two traveling companions. Writing new songs all along the way, Mitchell’s vivid lyrical imagery as well as her unique and distinctive musical sensibilities permeate the new compositions. Once back in Los Angeles, she begins recording the songs with her long time engineer Henry Lewy. Having experimented with jazz textures since the recording of “Court And Spark”, the sessions feature Larry Carlton (guitar), Victor Feldman (vibraphone), Tom Scott (saxophone) and Bobbye Hall (percussion). Having grown tired of conventional bass guitar patterns in pop music, which Joni refers to as “putting a dark fence through my music”, she looks to find a bassist is freer in their playing and doesn’t always rely on “playing the root of a chord”. Around this time she is introduced to bassist Jaco Pastorius. Having just become a member of the innovative jazz-fusion band Weather Report, Joni and Jaco form an instant musical bond, and he is invited to play on four songs during the sessions. Jaco’s fluid and melodic playing, played on a war weary fretless 60’s Fender Jazz Bass, nicknamed “The Bass Of Doom” provides the perfect counterpoint and compliment to Mitchell’s songs. The title “Hejira” is taken from the Arabic word “hijra” which means “journey”, also making reference to the prophet Muhummad’s sojourn from Mecca to Medina in 622, as well as Mitchell’s cross country trip while writing the songs. The resulting album though not as successful as the previous two, yields some of Joni Mitchell’s best known and loved songs including “Amelia”, “Black Crow”, “Furry Sings The Blues”, “Coyote” and “Song For Sharon”. In time, it is viewed as one of the best albums of her career. The cover and inner sleeve photos are taken by frequent collaborator photographer Norman Seeff. First released on CD in the late 80’s, it is remastered and reissued in 1997 with HDCD encoding, also restoring the original cover artwork. It is also reissued as a 180 gram vinyl LP by Rhino Records in 2014. “Hejira” peaks at number thirteen on the Billboard Top 200, and is certified Gold in the US by the RIAA.

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behindthegrooves:

On this day in music history: November 11, 1978 – “I’m Every Woman” by Chaka Khan hits #1 on the Billboard R&B singles chart for 3 weeks, also peaking at #21 on the Hot 100 on December 23, 1978. Written by Nick Ashford & Valerie Simpson, it is the first solo chart topper for the lead singer of the R&B band Rufus. After recording five albums with Rufus, Chaka Khan begins work on her first solo album with producer Arif Mardin (Aretha Franklin, Average White Band, the Bee Gees) in early 1978. While searching for material to record, Mardin finds the song “I’m Every Woman”, written by Ashford & Simpson, who Khan had recently collaborated with on Quincy Jones’ R&B chart topper “Stuff Like That”. The husband and wife duo play the demo for Mardin off of an acetate disc they had recorded some years before. The producer writes out the chord changes and lyrics, before coming up with a new arrangement. Recorded at Atlantic Studios in New York City, the track features musicians such as AWB members Steve Ferrone (drums), Hamish Stuart and Onnie McIntyre (guitars and background vocals), bassist Anthony Jackson, guitarist Phil Upchurch and keyboard player Richard Tee. An instant R&B radio and club classic upon its release in September of 1978, it also crosses over into the pop Top 30 before the end of the year. Whitney Houston covers “Woman” (#4 Pop and R&B) for “The Bodyguard” soundtrack in 1992, and Khan makes a cameo appearance in the music video. “I’m Every Woman” is the first of three solo number one singles for Chaka Khan, with that single propelling the accompanying album “Chaka” to Gold status in the US.

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behindthegrooves:

On this day in music history: November 10, 1973 – “Ship Ahoy”, the eighth album by The O’Jays is released. Produced by Kenny Gamble and Leon Huff, it is recorded at Sigma Sound Studios in Philadelphia, PA from August – September 1973. Following the success of “Back Stabbers”, Gamble and Huff continue their prolific creative streak, with The O’Jays becoming their chief messengers. “Ship Ahoy” continues the theme of combining socially conscious songs, with ones that explore relationships and romantic love. The title track “Ship Ahoy” had originally been earmarked for the film “Shaft In Africa”, but the producers end up keeping it. It is initially intended to be part of a theme album about slavery in its various forms, and its affect on Africans brought to the new world. The epic track paints a visceral aural picture, complete with the sounds of crashing ocean waves and cracking bull whips. This imagery also extends to the cover artwork, illustrated by artist James Barkley. The inner gatefold features a now iconic photo of group, taken by CBS staff photographer Don Hunstein. The album is led by the up tempo first single “Put Your Hands Together” (#2 R&B, #10 Pop) whose message of coming together in the spirit of cooperation and brotherhood, starts the set off with an optimistic tone. However, it is the follow up “For The Love Of Money” (#3 R&B, #9 Pop), that has the longest lasting impact. Written as commentary on the negative affects of materialism and greed, its point is driven home with unerring precision by Walter Williams and Eddie Levert’s twin lead vocals. The instrumental track featuring members of Philly International’s house band MFSB, provides an ultra funky and arresting back drop. Recording engineer Joe Tarsia adds memorable touches to the mix, by adding phasing effects to drummer Earl Young’s cymbals, and echo to Anthony Jackson’s bass during the songs’ intro. Another key track is “Now That We Found Love”, which is later covered by the reggae band Third World, turning the ballad into a simmering dance floor classic. Other stand outs include “You Got Your Hooks In Me” and “Don’t Call Me Brother”. “Ship Ahoy” is another major success, and like its predecessor is regarded as a classic album. It is also remixed and released as a quadraphonic stereo album in 1974. Reissued on CD numerous times, it is released as a hybrid SACD in 2001. It features the original stereo mix, and a new 5.1 surround remix by Al Quagileri. Out of print on vinyl for many years, it is reissued by Sony Music in 2006, and is remastered and reissued again by Music On Vinyl in 2015 as a 180 gram LP. A third LP reissue is released by Sony Legacy in 2018, on standard weight vinyl, and coming with an mp3 download card of the full album. “Ship Ahoy” spends three weeks at number one (non-consecutive) on the Billboard R&B album chart, peaking at number eleven on the Top 200, and is certified Platinum in the US by the RIAA.

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behindthegrooves:

On this day in music history: November 10, 1967 – “Baby Now That I’ve Found You” by The Foundations is released. Written by John MacLeod and Tony Macaulay, it is the debut single for the R&B/Pop band from London, UK. By the late 60’s, the influence of American Soul music, particularly Motown has spread far and wide. One place where that impact is felt strongly is England. Formed in 1966, The Foundations stand apart immediately from other British bands of the era. This is not only due having nine members (initially), but for their multi-racial make up and differences in age. Beside the United Kingdom, the band members are also from the West Indies and Sri Lanka. Originally a member of jazz saxophonist Ronnie Scott’s band, Jamaican born saxophonist Mike Elliott is 37 years old at the time the band comes together. On the other end of the spectrum, British born drummer Tim Harris is barely eighteen by the time the band play their first gig in January of 1967. The rest of The Foundations include Clem Curtis, Raymond Morrison (lead vocals), Peter Macbeth (bass), Alan Warner (guitar), Tony Gomez (keyboards), Pat Burke (saxophone) and  Eric Allandale (trombone). The band play The Butterfly Club early on, barely making enough money to support and feed themselves, when they’re discovered by managers Ron Fairway and Barry Class. Another person who sees them early on and spots their potential is songwriter Tony Macaulay. They end up losing singer Raymond Morrison who winds up going to jail for six months, is briefly replaced by future shock rocker Arthur Brown before he too drops out. The Foundations receive a major break when they are seen by Beatles manager Brian Epstein, who sign them to his management company NEMS. The band are also signed to Pye Records and record their first single “Baby Now That I Found You”, penned by Tony Maculay and John MacLeod. Only two days after its released in the UK on August 25, 1967, Epstein dies unexpectedly of an accidental overdose which abruptly ends The Foundations’ association with NEMS. The record initially fails to generate any attention, when it is discovered by the newly established BBC Radio 1. Eager to break new records not already being played by pirate stations like Radio Caroline, they begin playing “Baby Now That I Found You”. The infectious single finally takes off, spending two weeks at #1 on the UK singles chart beginning on November 8, 1967. The record is licensed to MCA distributed Uni Records the same month, peaking at #11 on the Billboard Hot 100 on February 17, 1968 and #33 on the R&B chart on February 24, 1968. “Baby” is later covered by numerous artists including Alton Ellis, Vicki Sue Robinson, Donny & Marie Osmond, and by Alison Krauss & Union Station whose version earns Krauss and her band a Grammy Award in 1996. The Foundations original version continues to enjoy popularity on radio and was featured in the comedy “Shallow Hal” in 2001.

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behindthegrooves:

On this day in music history: November 8, 1985 – “All For Love”, the third album by New Edition is released. Produced by Vincent Brantley, Richard Rudolph, Michael Sembello, Rick Timas and Freddie Perren, it is recorded at George Tobin Recording in North Hollywood, CA, Hollywood Central Studios in Hollywood, CA, O’Henry Sound Studios in Burbank, CA, Bossa Nova Hotel, Mom And Pop’s Living Room in Los Angeles, CA, Omega Recording Studios in Washington, DC, and Sea-Saint Studios in New Orleans, LA from April 13 – October 25, 1985. Following the double Platinum success of their self-titled album for MCA, New Edition begin recording the follow up in the Spring of 1985. Again, they work with producers Vincent Brantley and Rick Timas, as well as veteran R&B producer and songwriter Freddie Perren (The Jackson 5, The Sylvers, Peaches & Herb), Richard Rudolph (Minnie Riperton, Teena Marie) and guitarist Michael Sembello (Stevie Wonder). The album is also the last to feature Bobby Brown (until the reunion album “Home Again” in 1996) who leaves for a solo career, unhappy in his minimal role as a lead vocalist in the group, with MCA favoring principal lead singer Ralph Tresvant. It spins off three singles including “Count Me Out” (#2 R&B, #51 Pop), “A Little Bit Of Love (Is All It Takes) (#3 R&B, #38 Pop) and “With You All The Way” (#7 R&B, #51 Pop). After the release of “All For Love”, the group goes through a major legal battle to extricate themselves from their management contract with Jump And Shoot Productions. New Edition discover that they again are bound to a production deal with their managers, rather than directly to MCA Records. Going over their contracts with attorneys, they discover that all recording costs, promotion and tour support are being paid for out of their meager share of royalties, which leave them in a major amount of debt to their managers and record label. By 1987, they are able to get out of their bad business dealings and sign directly with MCA. “All For Love” peaks at number thirteen on the Billboard R&B album chart, number thirty two on the Top 200, and is certified Platinum in the US by the RIAA.

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behindthegrooves:

On this day in music history: November 6, 1971 – “Inner City Blues (Make Me Wanna Holler)” by Marvin Gaye hits #1 on the Billboard R&B singles chart for 2 weeks, also peaking at #9 on the Hot 100 on the same date. Written by Marvin Gaye and James Nyx, it is the seventh chart topping single for the R&B music icon. Following the huge success of the single “What’s Going On” after its release in late January of 1971, Motown demands a full album to accompany it. Gaye quickly gets to work on the rest of the songs, writing both on his own and collaborating with close friends and associates around Motown including songwriter Al Cleveland, Four Tops member Renaldo “Obie” Benson, and even his wife Anna. Marvin also writes with songwriter James Nyx, who had originally had worked as a janitor and handy man at friend and former Moonglows band mate Harvey Fuqua’s Tri-Phi/Harvey record label in Detroit. Nyx eventually begin writing songs with Fuqua, then following him to Motown in 1963 when Tri-Phi and Harvey Records are absorbed by Motown. Nyx meets Marvin Gaye through Fuqua at this time and the trio begin writing together, though their material is shelved. Together, Gaye and Nyx write songs for The Originals (“Baby I’m For Real”, “The Bells”), including the single “We Can Make It Baby”. While working on songs for the “What’s Going On” album, the pair collaborate on three songs, “What’s Happening Brother?”, “God Is Love”, and “Inner City Blues (Make Me Wanna Holler)”. While the title track expresses anguish over problems affecting the world at large, most prominently the war still raging in Vietnam (at that time), the latter of those songs mediates on issues even closer to home. “Inner City Blues” puts into clear focus, the often dire and bleak conditions in major inner cities in America that many of its citizens are living under. The track is recorded in March of 1971 at Motown’s Studio A in Detroit with members of The Funk Brothers including Bob Babbitt (bass), Eddie “Bongo” Brown (congas), Robert White, Joe Messina (guitars), and Chet Forest (drums). Issued as the third and final single from “What’s Going On” in September of 1971, it follows its predecessors to the top of the R&B singles chart, and into the top ten on the pop singles chart. “Inner City Blues (Make Me Wanna Holler)” becomes one of Marvin Gaye’s most popular and often covered songs, with versions recorded by Grover Washington, Jr. (the title track of his debut album on Motown’s Kudu imprint in 1972), Gil Scott-Heron, Maceo Parker, and Sarah Vaughan. It is also sampled by numerous artists including The D.O.C., A Tribe Called Quest, MC Solaar, Spice 1, Scarface, Ice Cube, Too Poetic, K-Solo, Janet Jackson, Ralph Tresvant, and Angela Winbush.

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