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Music
African diaspora music by popular and influential musicians and music genres that have origins from Africa and the transatlantic and Indian ocean slave trades.
By 1957, the group was being billed as “Frankie Lymon and the Teenagers”. This caused in-fighting, and by September, Goldner had pulled Lymon out of the group to record solo. Lymon had little success as a solo artist. He became a heroin addict at the age of 15 and his sales dropped quickly in the early 1960s. In 1966, he stopped using heroin after being forced to go to the army, but on February 27, 1968, he decided to celebrate his good fortune by taking heroin (he was planning to launch a comeback) and died of a heroin overdose at the age of 25 on the floor of his grandmother’s bathroom. He had been clean since entering the army two years earlier. The Teenagers continued recording, bringing in a new lead. Billy Lobrano, as the group’s first white member, made them more racially mixed, now with two black, one white, and two Hispanic members. The group had little success with Lobrano, and he left. Sherman Garnes died of a heart attack in 1977, while Joe Negroni died a year later due to a cerebral hemorrhage. Their replacements were Bobby Jay and Frankie’s brother Lewis Lymon, respectively.
Legacy
The group, which made its most popular recordings with young Frankie Lymon as lead singer, is also noted for being rock’s first all-teenaged act. They were inducted into the Rock and Roll Hall of Fame in 1993.
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Roberts was born in Arima, Trinidad and Tobago, the son of a blacksmith, Stephen, and housewife, Albertha. He was educated at the Arima Boys Government School until he was 14, when his father died, leaving him orphaned. His father had encouraged him to sing and taught him to play the guitar, and he became a full-time musician.
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Belafonte is best known for his recordings of “The Banana Boat Song”, with its signature “Day-O” lyric, “Jump in the Line”, and “Jamaica Farewell”. He has recorded and performed in many genres, including blues, folk, gospel, show tunes, and American standards. He has also starred in several films, including Carmen Jones (1954), Island in the Sun (1957), and Odds Against Tomorrow (1959).
Belafonte considered the actor, singer and activist Paul Robeson a mentor, and he was a close confidant of Martin Luther King Jr. during the Civil Rights Movement of the 1950s and 1960s. As he later recalled, “Paul Robeson had been my first great formative influence; you might say he gave me my backbone. Martin King was the second; he nourished my soul.” Throughout his career, Belafonte has been an advocate for political and humanitarian causes, such as the Anti-Apartheid Movement and USA for Africa. Since 1987, he has been a UNICEF Goodwill Ambassador. He was a vocal critic of the policies of the George W. Bush presidential administrations. Belafonte acts as the American Civil Liberties Union celebrity ambassador for juvenile justice issues.
Belafonte has won three Grammy Awards (including a Grammy Lifetime Achievement Award), an Emmy Award, and a Tony Award. In 1989, he received the Kennedy Center Honors. He was awarded the National Medal of Arts in 1994. In 2014, he received the Jean Hersholt Humanitarian Award at the Academy’s 6th Annual Governors Awards and in 2022 was inducted into the Rock and Roll Hall of Fame in the Early Influence category and is the oldest living person to have received the honor.
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Despite being blind since the age of seven, Rodríguez quickly managed to become one of Cuba’s foremost treseros. Nonetheless, his first hit, “Bruca maniguá” by Orquesta Casino de la Playa, came as a songwriter in 1937. For the following two years, Rodríguez worked as composer and guest guitarist for the Casino de la Playa, before forming his conjunto in 1940, one of the first of its kind. After recording over a hundred songs for RCA Victor over the course of twelve years, Rodríguez moved to New York in 1952, where he remained active, releasing several albums. In 1970, Rodríguez moved to Los Angeles, where he died of pneumonia shortly before the end of the year.
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Having lived in Mangueira since the age of 12, Nelson became known as one of the most important samba musicians of Estação Primeira de Mangueira, of which he was a member and president of the school’s composers’ wing, as well as its honorary president.
His artistic nickname “Sargento” alluded to the rank he attained for having served in the Brazilian Army in the second half of the 1940s. He gained notability as a singer at the famed Zicartola lounge and, shortly thereafter, as a member of the ensembles A Voz do Morro and Os Cinco Crioulos in the 1960s. But it was only in 1979, at the age of 55, that the composer recorded his first solo album. Throughout his life, the sambista composed more than 400 compositions.
In addition to his musical career, Nelson was a painter and poet, having published the books “Prisioneiro do Mundo” and “Um certo Geraldo Pereira.” He also made appearances in the films “O Primeiro Dia” and “Orfeu”, and was the subject of the documentary “Nelson Sargento da Mangueira.
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Vandross was born in New York City on April 20, 1951, and grew up in the Alfred E. Smith housing projects in lower Manhattan. Both of his parents, Luther Vandross, Sr., an upholsterer, and Mary Ida Vandross, a nurse, sang, and they encouraged their children to pursue music as a career. Vandross, Sr.’s older sister Patricia Van Dross was an early member of the Crests in the mid-’50s (appearing on their early singles, but leaving before they achieved success with “Sixteen Candles”), and Vandross himself began playing the piano at the age of three and took lessons at five, although he remained a largely self-taught musician. After the death of his father in 1959 when he was eight years old, he was raised by his mother, who moved the family to the Bronx. While attending William Howard Taft High School, he formed a vocal group, Shades of Jade, with friends Carlos Alomar, Robin Clark, Anthony Hinton, Diane Sumler, and Fonzi Thornton. All five, along with 11 other teenage performers, were also part of a musical theater workshop, Listen, My Brother, organized by the Apollo Theater in Harlem that recorded a single, “Listen, My Brother”/”Only Love Can Make a Better World,” and appeared on the initial episodes of the children’s television series Sesame Street in 1969. After graduating from high school that year, Vandross attended Western Michigan University, but dropped out after a year and returned home. He spent the next few years working at odd jobs while trying to break into the music business.
In 1973, Vandross got two of his compositions, “In This Lovely Hour” and “Who’s Gonna Make It Easier for Me,” recorded by Delores Hall on her album Hall-Mark, singing the latter song with her as a duet. In 1974, though uncredited, he sang background vocals on Maggie Bell’s Queen of the Night, and in August of the same year Carlos Alomar, who had become David Bowie’s guitarist, invited him to attend a Bowie recording session at Sigma Sound Studios in Philadelphia. He quickly became more than an observer, singing background vocals, serving as a vocal arranger, and co-writing the song “Fascination” with Bowie. The session resulted in the album Young Americans, and Vandross went on tour with Bowie as both backup singer and opening act. Meanwhile, Vandross’ composition “Everybody Rejoice (A Brand New Day)” was featured in the Broadway musical The Wiz.
Through Bowie, Vandross met Bette Midler, who hired him to arrange vocals for her Broadway revue Bette Midler’s Clams on the Half Shell. Midler also introduced him to her record producer, Arif Mardin, at Atlantic Records, and Vandross began to get steady work as a background singer and vocal arranger. In 1976, he appeared on albums by Midler, the Brecker Brothers Band, and Judy Collins. He also put together a vocal quintet called Luther, which signed to Atlantic’s Cotillion Records subsidiary. Their self-titled debut album was released in June 1976. The tracks “It’s Good for the Soul,” “Funky Music (Is a Part of Me),” and “The Second Time Around” reached the R&B Top 40. The title song off the second Luther album, This Close to You (April 1977), reached the R&B chart, but that wasn’t enough to keep Cotillion from dropping the group, which then broke up. (Vandross acquired the rights to the Luther recordings and saw to it that they remained out of print.)
Meanwhile, Vandross continued doing sessions. In 1977, he appeared on albums by Nils Lofgren, J. Geils Band, the Average White Band and Ben E. King, and Chic, among others. He also entered the lucrative world of writing and singing commercial jingles, and before long was the musical voice of everything from telephones, fast food, and beverages to various branches of the U.S. military on radio and television. In 1978, he appeared on well over a dozen albums, including releases by Carly Simon, Quincy Jones, Roberta Flack, Chic, and Cat Stevens.
Vandross gained greater attention in 1979. During the year, he appeared on albums by the likes of Sister Sledge, the Average White Band, Chic, and Evelyn “Champagne” King. Especially on jazz and disco recordings, he was just as likely to be a featured vocalist as a background singer. And he got a prominent credit when he arranged the background vocals for Barbra Streisand and Donna Summer’s duet “No More Tears (Enough Is Enough),” which became a number one pop hit in November 1979. He gained even more recognition in 1980, a year in which he appeared on studio albums by Chaka Khan, Melba Moore, and Mtume. But the most important credit for him that year was his work as lead vocalist of the studio group Change. He sang on the band’s tracks “Searching,” a Top 40 R&B hit, and “The Glow of Love,” which also reached the R&B chart. This increased his profile even more, and he began circulating a demo tape to recording companies, seeking a solo deal that would allow him to write and produce his own records. On April 21, 1981, he signed with Epic.
Vandross immediately began work on his debut album, although during 1981 he appeared on albums by Bob James, Bernard Wright, Change, Stephanie Mills, and several others. In June 1981 his composition “You Stopped Loving Me” was sung by Roberta Flack, with him arranging and singing background vocals, and it became a Top 40 R&B hit for her. Vandross’ own version was included on his debut solo album, Never Too Much, released in August. The LP was a tour de force for him; he produced it and wrote six of its seven songs, the exception being a cover of Burt Bacharach and Hal David’s Dionne Warwick hit “A House Is Not a Home.” Vandross expressed his musical vision on Never Too Much, and that vision was of a smooth neo-soul style that recalled the pop/R&B of his youth, particularly the music of such predecessors as Warwick, Aretha Franklin, the softer Motown artists, like Smokey Robinson, and some of the girl groups of the early ’60s, such as the Shirelles. The title song, “Never Too Much,” topped the R&B chart; second single “Don’t You Know That?” reached the R&B Top Ten; and third single “Sugar and Spice (I Found Me a Girl)” also charted R&B. The album hit number one R&B in November and was certified gold in December. (It went platinum five years later and double platinum in 1997.) But Vandross encountered more resistance in the pop realm, where the album reached only the Top 20 and the single “Never Too Much” only made the Top 40. Artistically and commercially, these results set a pattern for Vandross’ career. Appearing regularly, his albums showed great consistency in style and content, even to the point of featuring a cover of a classic pop/R&B song on each disc. And while they also sold consistently to the R&B audience, they rarely received equal support from pop fans.
Vandross still enjoyed working as a background singer. In 1982, for example, he appeared on albums by Michael Franks, Kleeer, and Linda Clifford. At the same time, Vandross’ demonstrated abilities as songwriter, producer, and vocal arranger opened up to him the opportunity to work with some of the artists he had grown up idolizing, as well as his contemporaries. He first turned his attention to Cheryl Lynn, producing her R&B Top Ten album Instant Love (June 1982); writing the title song, which became a Top 20 R&B hit, and singing a duet with her on a revival of the 1968 Marvin Gaye and Tammi Terrell hit “If This World Were Mine,” which reached the R&B Top Five.
Next, he turned to Aretha Franklin, producing her July 1982 LP Jump to It, and writing or co-writing four of its eight songs, including the title track, an R&B number one. It was her first gold album in six years. Somehow, he found time to make his second solo album, Forever, For Always, For Love, released in September, again serving as his own producer and writing or co-writing all the tracks except for covers of Smokey Robinson’s 1965 hit for the Temptations “Since I Lost My Baby” and, in a medley with his own “Bad Boy,” Sam Cooke’s “Having a Party.” Vandross’ co-writers on some of the songs were bassist Marcus Miller and keyboard player Nat Adderley, Jr., musical associates who would work with him throughout his career. Forever, For Always, For Love was another R&B chart-topper for Vandross, throwing off three singles, the Top Five “Bad Boy/Having a Party,” the Top 20 “Since I Lost My Baby,” and the chart entry “Promise Me.” The LP was certified gold in two months and platinum in six.
Vandross’ multiple career tracks continued apace in 1983. He produced Aretha Franklin’s next album, Get It Right, composing the title song, which hit number one R&B, with Marcus Miller, and its follow-up, “Every Girl (Wants My Guy),” a Top Ten R&B hit. Then, he turned to another idol of his youth, Dionne Warwick, producing her album How Many Times Can We Say Goodbye. He and Warwick sang the title song as a duet which became her first R&B Top Ten hit in eight years; it also made the pop Top 40. And, although it took until December, Vandross managed to come up with his third solo album, the aptly titled Busy Body. “I’ll Let You Slide” and “Superstar/Until You Come Back to Me (That’s What I’m Gonna Do)” made the R&B Top Ten, and “Make Me a Believer” was a chart entry; as usual, the album hit number one R&B, but only the Top 40 of the pop chart; and as usual, sales certifications poured in, the album going gold in two months and platinum in January 1985.
Vandross finally eased off on his recording schedule during 1984, if only because he was now a major concert attraction and toured in both North America and Europe. His only credit for the year was his composing (with Marcus Miller), arranging, producing, and singing background vocals on the song “You’re My Choice Tonight (Choose Me)” for Teddy Pendergrass, a Top 20 R&B hit. Vandross was thus able to lavish more time on his fourth album, The Night I Fell in Love, released in March 1985. The album spent seven weeks atop Billboard’s R&B LP list, going gold and platinum simultaneously as soon as it was eligible for certification in May and double platinum in 1990. It also reached number 14 on the pop chart, Vandross’ best showing yet. With his own album out of the way, he made some selected appearances on other albums in 1985.
Vandross spent much of 1986 working on his own material. The results of his efforts were first heard in June when “Give Me the Reason” was included on the soundtrack to the film Ruthless People and released as a single that went Top Five R&B and reached the pop chart. Vandross’ fifth album, also titled Give Me the Reason, followed in September. His fifth consecutive R&B chart-topper, it included additional singles “Stop to Love” (number one R&B and his first Top 20 pop hit); the duet with Gregory Hines “There’s Nothing Better Than Love” (also number one R&B and a pop chart entry); “I Really Didn’t Mean It” (Top Ten R&B); and “So Amazing.” Simultaneous gold and platinum certifications in December were followed by a double-platinum award in 1990.
Apart from a handful of outside collaborations, Vandross spent the two-year interval between his fifth and sixth albums doing shows and working on that sixth album, Any Love, which appeared in October 1988. It topped the R&B chart and gave Vandross his first Top Ten pop album, with the usual simultaneous gold and platinum certifications two months after release. The title song topped the R&B list and penetrated the pop chart. Vandross had by now become an international success, and a record-breaking ten-night stand at London’s Wembley Arena in March 1989 was commemorated with a home video, Live at Wembley. At the close of an enormously successful decade, Vandross and Epic determined to sum things up, and in October 1989 issued the two-LP greatest-hits compilation The Best of Luther Vandross: The Best of Love, which included two new tracks, “Here and Now” and “Treat You Right.” With those additions, the collection didn’t just summarize Vandross’ career, it finally gave him his long-sought major crossover hit, as “Here and Now” not only topped the R&B chart but also hit the pop Top Ten. It also won Vandross his first Grammy Award for Best R&B Vocal Performance, Male.
Between the release of the hits album and his next regular studio album, Power of Love, which appeared in April 1991, Vandross as usual lent his talents to other artists’ recordings, including Quincy Jones’ Back on the Block. He wrote and produced the song “Who Do You Love” for Whitney Houston’s album I’m Your Baby Tonight. Vandross’ seventh album, Power of Love, suggested that the pop breakthrough he had achieved with “Here and Now” would be sustained. The advance single, “Power of Love/Love Power,” not only topped the R&B chart, but also went Top Five pop, and the LP, Vandross’ seventh R&B number one, was his second to penetrate the pop Top Ten. A million seller by June 1991, it went double platinum two years later in the wake of the further singles. “Power of Love/Love Power” was named Best R&B Song at the 1991 Grammys, and the Power of Love album won Vandross another trophy for Best R&B Vocal Performance, Male.
One might have supposed that all was well in the world of Luther Vandross, but he filed suit against Sony Music Entertainment (which had acquired CBS Records), citing California Labor Code Section 2855, which limits personal service contracts to seven years. By then, he had been with CBS/Sony for nearly 11 years, fulfilling a ten-album contract that still had three albums to go. Whether he really wanted to void his contract, believing that Epic still hadn’t done enough to sell his records to the pop audience, or simply intended to use the suit to induce the record company to renegotiate his deal on more favorable terms, is unclear. The record company in question settled quietly. The terms of the settlement were not reported, but thereafter, Vandross had a vanity label, his records going out under the Epic/LV imprint.
As usual, following the release of Power of Love, Vandross found the time to work with other artists. He appeared on 1991 albums by BeBe & CeCe Winans, Patti LaBelle, and Richard Marx. In 1992, he kept his name before the public with special appearances, starting with the soundtrack to the film Mo’ Money, released in June, which featured “The Best Things in Life Are Free,” which he performed with Janet Jackson, Bell Biv DeVoe, and Ralph Tresvant. It hit number one on the R&B chart and went Top Ten pop.
Never Let Me Go, Vandross’ eighth album, was released in June 1993. Maybe the promotional staff at Epic was demoralized by the recent lawsuit, or perhaps the rise of hip-hop, was affecting matters, but the commercial response to Vandross’ new music was slightly disappointing. The single reached the R&B Top Ten but was only a minor pop chart entry, and Never Let Me Go, despite marking a new pop chart peak for Vandross at number six, was his first new album not to reach number one. For the first time, the singer’s momentum was slowing. An idea came from Sony president Tommy Mottola and his then-wife, superstar Mariah Carey. Vandross had put at least one oldie on every one of his albums: why not do an all-covers album? The result was the modestly titled Songs, released in September 1994. The album was prefaced by a cover of the 1981 Lionel Richie/Diana Ross hit “Endless Love,” on which Vandross sang a duet with Carey. The single peaked at number two on the pop chart, a new high for Vandross. The album went to number two R&B and number five pop, another crossover high for the singer. It was an immediate million-seller and went double platinum within 18 months.
His commercial status restored, Vandross undertook his usual pursuits, singing background vocals on the occasional album and touring. For his next album, he tried another favorite record company concept, the holiday collection. This Is Christmas, released in October 1995, became a perennial seller. Vandross spent most of the year working on Your Secret Love, the album that would complete his Epic Records contract. It was released in October 1996, following the title song, which went on to win Vandross another Grammy for Best R&B Vocal Performance, Male. Simultaneous gold and platinum certifications arrived in December.
The following September, Epic/LV released his valedictory collection, One Night with You: The Best of Love, Vol. 2, which began with four new recordings, none of them written or produced by him, but instead contributed by such usually reliable hitmakers as Diane Warren, R. Kelly, and the team of Jimmy Jam & Terry Lewis. Understandably, Epic didn’t do much of a promotional job on this contractual obligation release, which nevertheless reached the R&B Top 40 and the pop Top 50.
While weighing offers from different record companies, Vandross made more guest appearances. He performed at a Burt Bacharach tribute concert at the Hammerstein Ballroom in New York, singing “Windows of the World” and “What the World Needs Now.” The show was filmed for television and taped, resulting in a soundtrack album, One Amazing Night. Vandross also paid tribute to Patti LaBelle at the same venue for a PBS special. Deciding on Virgin, he presented a new album, I Know, in August 1998. It was a commercial disappointment, only going gold and generating just one Top 40 R&B hit in “Nights in Harlem.” As a result, he left Virgin after only this one release.
In 1999 and 2000, Vandross kept his hand in with soundtrack and session work. He eventually ended his search for a new record company affiliation, becoming the first act signed to veteran record executive Clive Davis’ new label, J Records. He made his label debut with the track “If I Was the One,” included on the soundtrack of Dr. Doolittle 2. The song also appeared on Luther Vandross, which was released two weeks later. Vandross and Davis served as co-album producers, with individual tracks produced by others, and new songwriters were brought in to give Vandross a new, current sound. The makeover was largely successful, as the album made the pop Top Ten and just missed topping the R&B chart, reaching platinum status by November.
His career revitalized once again, Vandross toured in early 2002, then began work on a second album for J. He co-wrote the title song for his new album, “Dance with My Father,” with Richard Marx, and they combined for a heartfelt tribute to Vandross’ father. The album was finished by the spring of 2003, and Vandross was preparing for a round of publicity work when he collapsed in his New York apartment, the victim of a serious stroke. Despite his illness, J released “Dance with My Father,” which became an R&B and pop Top 40 hit and a gold record, introducing the album, which hit number one on both charts, a first for him. The album sold over two million copies. Vandross was a sentimental favorite at the 2003 Grammy Awards, and his career total of trophies doubled from four to eight as he won Song of the Year and Best R&B Vocal Performance, Male, for “Dance with My Father,” Best R&B Album, and Best R&B Performance by a Duo or Group with Vocals for “The Closer I Get to You.” He made an appearance via videotape to accept his awards and promised to return to action soon. Meanwhile, J Records had kept his name before the public by releasing the concert collection Live Radio City Music Hall 2003, in October 2003. By all reports, Vandross continued his recovery in 2004 and into 2005; he even appeared on Oprah Winfrey’s television show. But on July 1, 2005, it was announced that he had died, having “never really recovered” from his stroke.
It is notable that, in the precarious world of popular music, Vandross sold records in the millions consistently for over two decades. It is even more notable that, although he certainly molded his music to a certain extent to meet the marketplace, he also imposed his own direction on R&B. Vandross, coming along in the wake of disco and while rap/hip-hop was in its infancy, insisted on reverence for the soul music of the then-recent past and deliberately reformulated it in an “old-school” approach. Even as rap dominated the charts in the early years of the 21st century, he maintained his passion for romantic and melodic music, and he drew listeners along with him. His early death at the age of 54 robbed American popular music of one of its more consistent and compelling voices, and it is only a partial comfort that he left behind a substantial body of work. ~ William Ruhlmann, Rovi
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Wonder was born Stevland Hardaway Judkins in Saginaw, Michigan, on May 13, 1950 (his name was later altered to Stevland Morris when his mother married). A premature infant, he was put on oxygen treatment in an incubator; it was likely an excess of oxygen that exacerbated a visual condition known as retinopathy of prematurity, causing his blindness. In 1954, his family moved to Detroit, where the already musically inclined Wonder began singing in his church’s choir; from there he blossomed into a genuine prodigy, learning piano, drums, and harmonica all by the age of nine. While performing for some of his friends in 1961, he was discovered by Ronnie White of the Miracles, who helped arrange an audition with Berry Gordy at Motown. Gordy signed the youngster immediately and teamed him with producer/songwriter Clarence Paul under the new name Little Stevie Wonder. Wonder released his first two albums in 1962: A Tribute to Uncle Ray, which featured covers of Wonder’s hero Ray Charles, and The Jazz Soul of Little Stevie, an orchestral jazz album spotlighting his instrumental skills on piano, harmonica, and assorted percussion. Neither sold very well, but that all changed in 1963 with the live album The 12 Year Old Genius, which featured a new, extended version of the harmonica instrumental “Fingertips.” Edited for release as a single, “Fingertips, Pt. 2” rocketed to the top of both the pop and R&B charts, thanks to Wonder’s irresistible, youthful exuberance; meanwhile, The 12 Year Old Genius became Motown’s first chart-topping LP.
Wonder charted a few more singles over the next year, but none on the level of “Fingertips, Pt. 2.” As his voice changed, his recording career was temporarily put on hold, and he studied classical piano at the Michigan School for the Blind in the meantime. He dropped the “Little” portion of his stage name in 1964, and re-emerged the following year with the infectious, typically Motown-sounding dance tune “Uptight (Everything’s Alright),” a number one R&B/Top Five pop smash. Not only did he co-write the song for his first original hit, but it also reinvented him as a more mature vocalist in the public’s mind, making the similar follow-up “Nothing’s Too Good for My Baby” another success. The first signs of Wonder’s social activism appeared in 1966 via his hit cover of Bob Dylan’s “Blowin’ in the Wind” and its follow-up, “A Place in the Sun,” but as Motown still had the final say on Wonder’s choice of material, this new direction would not yet become a major facet of his work.
By this time, Wonder was, however, beginning to take more of a hand in his own career. He co-wrote his next several hits, all of which made the R&B Top Ten — “Hey Love,” “I Was Made to Love Her” (an R&B number one that went to number two pop in 1967), and “For Once in My Life” (another smash that reached number two pop and R&B). Wonder’s 1968 album For Once in My Life signaled his budding ambition; he co-wrote about half of the material and, for the first time, co-produced several tracks. The record also contained three more singles in the R&B chart-toppers “Shoo-Be-Doo-Be-Doo-Da-Day,” “You Met Your Match,” and “I Don’t Know Why.” Wonder scored again in 1969 with the pop and R&B Top Five hit “My Cherie Amour” (which he’d actually recorded three years prior) and the Top Ten “Yester-Me, Yester-You, Yesterday.” In 1970, Wonder received his first-ever co-production credit for the album Signed, Sealed & Delivered; he co-wrote the R&B chart-topping title track with singer Syreeta Wright, whom he married later that year, and also scored hits with “Heaven Help Us All” and a rearrangement of the Beatles’ “We Can Work It Out.” In addition, two other Motown artists had major success with Wonder co-writes: the Spinners’ “It’s a Shame” and the Miracles’ only pop number one, “Tears of a Clown.”
1971 proved a turning point in Wonder’s career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I’m Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright), and the first time his keyboard and synthesizer work dominated his arrangements. Gordy was reportedly not fond of the work, and it wasn’t a major commercial success, producing only the Top Ten hit “If You Really Love Me” (plus a classic B-side in “Never Dreamed You’d Leave in Summer”). Nonetheless, it was clearly an ambitious attempt at making a unified album-length artistic statement, and served notice that Wonder was no longer content to release albums composed of hit singles and assorted filler. Accordingly, Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What’s Going On.
Freed from the dictates of Motown’s hit-factory mindset, Wonder had already begun following a more personal and idiosyncratic muse. One of his negotiating chips had been a full album completed at his new studio; Wonder had produced, played nearly all the instruments, and written all the material (with Wright contributing to several tracks). Released under Wonder’s new deal in early 1972, Music of My Mind heralded his arrival as a major, self-contained talent with an original vision that pushed the boundaries of R&B. The album produced a hit single in the spacy, synth-driven ballad “Superwoman (Where Were You When I Needed You),” but like contemporary work by Hayes and Gaye, Music of My Mind worked as a smoothly flowing song suite unto itself. Around the same time it was released, Wonder’s marriage to Wright broke up; the two remained friends, however, and Wonder produced and wrote several songs for her debut album. The same year, Wonder toured with the Rolling Stones, taking his music to a larger white audience.
For the follow-up to Music of My Mind, Wonder refined his approach, tightening up his songcraft while addressing his romance with Wright. The result, Talking Book, was released in late 1972 and made him a superstar. Song for song one of the strongest R&B albums ever made, Talking Book also perfected Wonder’s spacy, futuristic experiments with electronics, and was hailed as a magnificently realized masterpiece. Wonder topped the charts with the gutsy, driving funk classic “Superstition” and the mellow, jazzy ballad “You Are the Sunshine of My Life,” which went on to become a pop standard; those two songs went on to win three Grammys between them. Amazingly, Wonder only upped the ante with his next album, 1973’s Innervisions, a concept album about the state of contemporary society that ranks with Gaye’s What’s Going On as a pinnacle of socially conscious R&B. The ghetto chronicle “Living for the City” and the intense spiritual self-examination “Higher Ground” both went to number one on the R&B charts and the pop Top Ten, and Innervisions took home a Grammy for Album of the Year. Wonder was lucky to be alive to enjoy the success; while being driven to a concert in North Carolina, a large piece of timber fell on Wonder’s car. He sustained serious head injuries and fell into a coma, but fortunately made a full recovery.
Wonder’s next record, 1974’s Fulfillingness’ First Finale, was slightly more insular and less accessible than its immediate predecessors, and unsurprisingly, imbued with a sense of mortality. The hits, however, were the upbeat “Boogie On, Reggae Woman” (a number one R&B and Top Five pop hit) and the venomous Richard Nixon critique “You Haven’t Done Nothin’” (number one on both sides). It won him a second straight Album of the Year Grammy, by which time he’d been heavily involved as a producer and writer on Syreeta’s second album, Stevie Wonder Presents Syreeta. Wonder subsequently retired to his studio and spent two years crafting a large-scale project that would stand as his magnum opus. Finally released in 1976, Songs in the Key of Life was a sprawling two-LP-plus-one-EP set that found Wonder at his most ambitious and expansive. Some critics called it brilliant but prone to excess and indulgence, while others hailed it as his greatest masterpiece and the culmination of his career; in the end, they were probably both right. “Sir Duke,” an ebullient tribute to music in general and Duke Ellington in particular, and the funky “I Wish” both went to number one pop and R&B. The hit “Isn’t She Lovely,” a paean to Wonder’s daughter, became something of a standard. Not surprisingly, Songs in the Key of Life won a Grammy for Album of the Year; in hindsight, though, it marked the end of a remarkable explosion of creativity and of Wonder’s artistic prime.
Having poured a tremendous amount of energy into Songs in the Key of Life, Wonder released nothing for the next three years. When he finally returned in 1979, it was with the mostly instrumental Journey Through the Secret Life of Plants, ostensibly the soundtrack to a never-released documentary. Although it contained a few pop songs, including the hit “Send One Your Love,” its symphonic flirtations befuddled most listeners and critics. It still made the Top Ten on the LP chart on Wonder’s momentum alone — one of the stranger releases to do so. To counteract possible speculation that he’d gone off the deep end, Wonder rushed out the straightforward pop album Hotter Than July in 1980. The reggae-flavored “Master Blaster (Jammin’)” returned him to the top of the R&B charts and the pop Top Five, and “Happy Birthday” was part of the ultimately successful campaign to make Martin Luther King’s birthday a national holiday (Wonder was one of the cause’s most active champions). Artistically speaking, Hotter Than July was a cut below his classic ’70s output, but it was still a solid outing; fans were so grateful to have the old Wonder back that they made it his first platinum-selling LP.
In 1981, Wonder began work on a follow-up album that was plagued by delays, suggesting that he might not be able to return to the visionary heights of old. He kept busy in the meantime, though; in 1982, his racial-harmony duet with Paul McCartney, “Ebony and Ivory,” hit number one, and he released a greatest-hits set covering 1972-1982 called Original Musiquarium I. It featured four new songs, of which “That Girl” (number one R&B, Top Five pop) and the lengthy, jazzy “Do I Do” (featuring Dizzy Gillespie; number two R&B) were significant hits. In 1984, still not having completed the official follow-up to Hotter Than July, he recorded the soundtrack to the Gene Wilder comedy The Woman in Red, which wasn’t quite a full-fledged Stevie Wonder album but did feature a number of new songs, including “I Just Called to Say I Love You.” Adored by the public (it was his biggest-selling single ever) and loathed by critics (who derided it as sappy and simple-minded), “I Just Called to Say I Love You” was an across-the-board number one smash, and won an Oscar for Best Song.
Wonder finally completed the official album he’d been working on for nearly five years, and released In Square Circle in 1985. Paced by the number one hit “Part Time Lover” — his last solo pop chart-topper — and several other strong songs, In Square Circle went platinum, even if Wonder’s synthesizer arrangements now sounded standard rather than groundbreaking. He performed on the number one charity singles “We Are the World” by USA for Africa and “That’s What Friends Are For” by Dionne Warwick & Friends, and returned quickly with a new album, Characters, in 1987. While Characters found Wonder’s commercial clout on the pop charts slipping away, it was a hit on the R&B side, topping the album charts and producing a number one hit in “Skeletons.” It would be his final release of the ’80s, a decade capped by his induction into the Rock & Roll Hall of Fame.
New studio material from Wonder didn’t arrive until 1991, when he provided the soundtrack to the Spike Lee film Jungle Fever. His next full album of new material, 1995’s Conversation Peace, was a commercial disappointment, thought it did win two Grammys for the single “For Your Love.” That same year, Coolio revived “Pastime Paradise” in his own brooding rap smash “Gangsta’s Paradise,” which became the year’s biggest hit. Wonder capitalized on the renewed attention by cutting a hit duet with Babyface, “How Come, How Long,” in 1996. During the early 2000s, Motown remastered and reissued Wonder’s exceptional 1972-1980 run of solo albums (Journey Through the Secret Life of Plants excepted) and also released The Definitive Collection, a representative single-disc primer.
In 2005, after a decade had transpired without a new studio album, Wonder released A Time to Love, which was bolstered by collaborations with Prince and Paul McCartney, as well as one with daughter and “Isn’t She Lovely” inspiration Aisha Morris. His far-reaching influence continued to be felt through samples, cover versions, and reinterpretations, highlighted by Robert Glasper Experiment and Lalah Hathaway’s Grammy-winning version of “Jesus Children of America.” Well into the late 2010s, Wonder continued to appear on albums by other artists, including Snoop Dogg, Raphael Saadiq, and Mark Ronson. All the while, Wonder regularly toured. From November 2014 through 2015, he celebrated the approaching 40th anniversary of Songs in the Key of Life with lengthy set lists that included all 21 songs of the classic album. In 2020, Wonder founded So What the Fuss Records, an offshoot of Universal Music Group. The label served as a platform for the first new singles from Wonder in over a decade, and his first solo music not released with Motown. Two new songs were shared simultaneously in October of that year, the upbeat and funky “Can’t Put It in the Hands of Fate,” featuring Busta Rhymes, Cordae, CHIKA and Rapsody, and relaxed ballad “Where Is Our Love Song,” featuring Gary Clark, Jr. ~ Steve Huey & Andy Kellman, Rovi
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Barrington Levy was born in Clarendon, Jamaica. He formed a band called the Mighty Multitude, with his cousin, Everton Dacres; the pair released “My Black Girl” in 1977. Levy established his solo career the following year with the release of “A Long Time Since We Don’t Have No Love”; though the single was a failure, the fourteen-year-old was a popular performer at Jamaican dancehalls. In an August 2014 interview with Midnight Raver, record producer Delroy Wright revealed that it was his brother Hyman Wright who first met Barrington Levy in the mid-1970s through Wade “Trinity” Brammer. According to Delroy Wright, Hyman Wright recorded a host of tracks with Barrington Levy prior to introducing him to Henry “Junjo” Lawes. These tracks would eventually appear on the album Bounty Hunter, which was released on the Jah Life record label. Both record producers recorded several singles with the Roots Radics, including “Al Yah We Deh”, “Looking My Love”, “Englishman”, “Skylarking”, “Wedding Ring Aside” and “Collie Weed”, all of which became hits and established Levy’s career. Levy’s next few singles were similarly successful, including “Shine Eye Girl”, “Wicked Intention”, “Jumpy Girl”, “Disco Music”, “Reggae Music”, “Never Tear My Love Apart”, “Jah”, “You Made Me So Happy” and “When You’re Young and in Love”. Levy then recorded several duets with Toyan, Jah Thomas and Trinity, and appeared at Reggae Sunsplash in 1980 and 1981. Although albums were not terribly important in Jamaica at the time, Levy released four albums before 1980: Shaolin Temple, Bounty Hunter, Shine Eye Gal (United Kingdom) and Englishman, a critically acclaimed record. His success led to many earlier studio and sound system performances being reissued without his consent, releases he described as “joke business”.
By the time his 1980 album Robin Hood was released, Levy was one of the biggest Jamaican stars, and saw his international fame growing as well, especially in the United Kingdom. Levy made his debut as a producer on the rare 1981 showcase album titled Run Come Ya, which was issued on the Canadian Puff Records label.
In the 1990s, Levy continued to release periodic hits in Jamaica, and more rarely in the UK, although his vocals were sampled and used in many underground and released jungle tunes. On 20 June 1991, he appeared on the BBC One music show Top of the Pops alongside Rebel MC (Congo Natty) and Tenor Fly as his track “Here I Come” was sampled by Rebel MC, with the record becoming the UK Top 40 hit “Tribal Base”.
Barrington Levy continues to tour extensively, selling out shows all over the world. He is currently working on an album which will be titled “Its About Time” and he has said it will be his last. This album will feature artist like Damion Marley, Buji Banton, Beres Hammond, Heavy D and a lot more surprises. He expresses love and appreciation to all his fans across the world and looks forward to seeing you in future events.
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In 1964, Michael and Marlon joined the Jackson Brothers—a band formed by their father which included Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine. Michael said his father told him he had a “fat nose”, and physically and emotionally abused him during rehearsals. He recalled that Joe often sat in a chair with a belt in his hand as he and his siblings rehearsed, ready to punish any mistakes. Joe acknowledged that he regularly whipped Michael. Katherine said that although whipping came to be considered abuse, it was a common way to discipline children when Michael was growing up. Jackie, Tito, Jermaine and Marlon denied that their father was abusive and said that the whippings, which were harder on Michael because he was younger, kept them disciplined and out of trouble. Michael said his youth was lonely and isolated.
Later in 1964, Michael began sharing lead vocals with Jermaine, and the group’s name was changed to the Jackson 5. In 1965, the group won a talent show; Michael performed the dance to Robert Parker’s 1965 song “Barefootin’” and sang the Temptations’ “My Girl”. From 1966 to 1968, the Jacksons 5 toured the Midwest; they frequently played at a string of black clubs known as the Chitlin’ Circuit as the opening act for artists such as Sam & Dave, the O’Jays, Gladys Knight, and Etta James. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows were featured, and at local auditoriums and high school dances. In August 1967, while touring the East Coast, they won a weekly amateur night concert at the Apollo Theater in Harlem.
The Jackson 5 recorded several songs for a Gary record label, Steeltown Records; their first single, “Big Boy”, was released in 1968. Bobby Taylor of Bobby Taylor & the Vancouvers brought the Jackson 5 to Motown after they opened for Taylor at Chicago’s Regal Theater in 1968. Taylor produced some of their early Motown recordings, including a version of “Who’s Lovin’ You”. After signing with Motown, the Jackson family relocated to Los Angeles. In 1969, Motown executives decided Diana Ross should introduce the Jackson 5 to the public—partly to bolster her career in television—sending off what was considered Motown’s last product of its “production line”.[39] The Jackson 5 made their first television appearance in 1969 in the Miss Black America pageant, performing a cover of “It’s Your Thing”. Rolling Stone later described the young Michael as “a prodigy” with “overwhelming musical gifts” who “quickly emerged as the main draw and lead singer”.
Legacy
Jackson has been referred to as the “King of Pop” for having transformed the art of music videos and paving the way for modern pop music. For much of Jackson’s career, he had an unparalleled worldwide influence over the younger generation. His influence extended beyond the music industry; he impacted dance, led fashion trends, and raised awareness for global affairs. Jackson’s music and videos fostered racial diversity in MTV’s roster and steered its focus from rock to pop music and R&B, shaping the channel into a form that proved enduring. In songs such as “Man in the Mirror”, “Black or White”, Heal the World, “Earth Song” and “They Don’t Care About Us”, Jackson’s music emphasized racial integration and environmentalism and protested injustice. He is recognized as the Most Successful Entertainer of All Time by Guinness World Records. He is considered one of the most significant cultural icons of the 20th century, and his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture for over four decades.
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He was named after his father’s best-known stage name, Prince Rogers, which his father used while performing with Prince’s mother in a jazz group called the Prince Rogers Trio. In 1991, Prince’s father told A Current Affair that he named his son Prince because he wanted Prince “to do everything I wanted to do”. Prince was not fond of his name and wanted people to instead call him Skipper, a name which stuck throughout his childhood. Prince said he was “born epileptic” and had seizures when he was young. He stated, “My mother told me one day I walked into her and said, ‘Mom, I’m not going to be sick anymore,’ and she said, ‘Why?’ and I said, ‘Because an angel told me so.’” Prince’s younger sister, Tyka, was born on May 18, 1960. Both siblings developed a keen interest in music, which was encouraged by their father.
Breakthrough and Music Career
Born and raised in Minneapolis, Minnesota, Prince signed a record deal with Warner Bros. Records at age nineteen, releasing the albums For You (1978) and Prince (1979). He went on to achieve critical success with the innovative albums Dirty Mind (1980), Controversy (1981) and 1999 (1982). His sixth album, Purple Rain (1984), was recorded with his backup band the Revolution, and was the soundtrack to his film acting debut of the same name. Purple Rain continued critical success for Prince and was a major commercial success, spending six consecutive months atop the Billboard 200. Prince won the Academy Award for Best Original Song Score. After disbanding the Revolution, Prince released Sign o’ the Times (1987), widely hailed by critics as his magnum opus. In the midst of a contractual dispute with Warner Bros. in 1993, he changed his stage name to the unpronounceable symbol (known to fans as the “Love Symbol”) and was often referred to as the Artist Formerly Known as Prince (or TAFKAP) and simply the Artist.
Legacy
Prince is widely regarded as one of the greatest musicians of his generation. Rolling Stone ranked Prince at No. 27 on its list of 100 Greatest Artists, “the most influential artists of the rock & roll era”. According to Acclaimed Music, he is the 9th most celebrated artist in popular music history. In 2010, Prince was ranked number 7 on VH1’s “100 Greatest Artists of All Time”. His music incorporated a wide variety of styles, including funk, R&B, rock, new wave, soul, synth-pop, pop, jazz, and hip hop. He often played most or all instruments on his recordings.
As a performer, he was known for his flamboyant style and showmanship. He came to be regarded as a sex symbol for his androgynous, amorphous sexuality, play with signifiers of gender, and defiance of racial stereotypes. His “audacious, idiosyncratic” fashion sense made use of “ubiquitous purple, alluring makeup and frilled garments”. His androgynous look has been compared to those of Little Richard and David Bowie. In 2016, Reynolds described it as “Prince’s ’80s evasion of conventional gender definitions speaks to us now in this trans-aware moment. But it also harks backwards in time to the origins of rock ‘n’ roll in racial mixture and sexual blurring”. Prince was known for the strong female presence in his bands and his support for women in the music industry throughout his career. Slate said he worked with an “astounding range of female stars” and “promised a world where men and women looked and acted like each other”. Prince also wore high-heeled shoes and boots both on- and off-stage.
Many artists have cited Prince as an influence and inspiration, including Beyoncé, Justin Timberlake, Bruno Mars, Rihanna, Alicia Keys, Usher, Janelle Monáe, The Weeknd, Lady Gaga, Lorde, Lenny Kravitz, André 3000, Mark Speer, Jamie Lidell, Frank Ocean and Beck. Bono of U2 regarded Prince as one of his “favorite composers of the twentieth century”. Beyoncé expressed her admiration for Prince in the book Prince: A Private View, calling him “my mentor” and also praising his independence: “He dared to fight for what was rightfully his: his freedom, wrapped up in words and music he created.”
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Raised in South Orange, New Jersey, Hill spent her youth listening her parents’ multi-genre, multi-generational record collection. She began singing at an early age and snagged minor roles on television (As the World Turns) and in film (Sister Act II: Back in the Habit). Her on-again/off-again membership in the Fugees began at the age of 13 but was often interrupted by both the acting gigs and her enrollment at Columbia University. After developing a following in the tri-state area, the group’s first release — the much-hyped but uneven 1994 album Blunted on Reality — bombed, and almost caused a breakup. But with the multi-platinum 1996 release The Score, the Fugees became one of the most prominent rap acts on the strength of hit singles “Killing Me Softly,” “Ready or Not,” and “No Woman, No Cry.”
Hill followed it in August 1998 with The Miseducation of Lauryn Hill, her first solo release. Apart from a cover of “Can’t Take My Eyes Off You,” popularized by Frankie Valli, each song was either written or co-written by Hill. She was also credited with the arrangement and production of the whole album, which was steeped in her old-school background, both musically (the Motown-esque singalong of “Doo Wop [That Thing]”) and lyrically (the nostalgic “Every Ghetto, Every City”). As Miseducation began a long reign on the charts through most of the fall and winter of 1998, Hill became a national media icon, as magazines ranging from Time to Esquire to Teen People vied to put her on the cover. By the end of the year, as the album topped best-of lists, she was being credited for her part in assimilating hip-hop into the mainstream. The momentum culminated at the February 1999 Grammy Awards, during which Hill took home five trophies from her 11 nominations, including Album of the Year, Best New Artist, Best Female R&B Vocal Performance, Best R&B Song, and Best R&B Album — the most ever for a woman. Shortly after, she launched a highly praised national tour with Atlanta rappers Outkast.
Hill continued shaping her solo career, though it hit some significant snags. She faced a lawsuit from musicians who claimed they were denied full credit for their work on Miseducation — a matter that was eventually settled out of court. After some film projects fell through, she retreated from the music scene as she raised her family and partially attributed her hiatus to feeling too compromised. The double-disc MTV Unplugged No. 2.0 appeared in May 2002 and documented a raw, deeply personal performance. It debuted at number three but quickly slid off the Billboard 200. During the next several years, her recordings and performances were infrequent and erratic, highlighted by a Fugees reunion for Dave Chappelle’s Block Party. In 2013, she spent almost three months in prison for tax evasion but was more active after her release. The following year, the English-language version of the Swedish documentary Concerning Violence was released with Hill as its narrator. She executive produced and recorded six songs for the 2015 release Nina Revisited: A Tribute to Nina Simone, including interpretations of “Feeling Good” and “Black Is the Color of My True Love’s Hair.” ~ Brian Raftery
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Born Erica Wright in Dallas in 1971, Badu attended a school of the arts and was working as a teacher and part-time singer when she opened for D’Angelo at a 1994 show. D’Angelo’s manager, Kedar Massenburg, was impressed with the performance and hooked her up with the singer to record a cover of the Marvin Gaye/Tammi Terrell duet “Precious Love.” He also signed Badu to his recently formed Kedar Entertainment label, and served as producer for Baduizm, which also starred bassist Ron Carter and members of hip-hop avatars the Roots on several tracks. The first single, “On & On,” became a number one R&B hit in early 1997, and Baduizm followed it to the top of the R&B album charts by March. Opening for R&B acts as well as rap’s Wu-Tang Clan, Erykah Badu stopped just short of number one on the pop album charts in April. Her Live album followed later in the year.
In 2000 she returned with her highly anticipated second studio album, Mama’s Gun, which was co-produced by Badu, James Poyser, Bilal, and Jay Dee and contained the hit single “Bag Lady.” Worldwide Underground, a loose affair billed as an EP despite being longer than many full-lengths, was released in 2003. Her next step, 2008’s New Amerykah, Pt. 1: 4th World War, was a heavy and abstract release featuring collaborations with the members of Sa-Ra and Georgia Anne Muldrow; it reached number two on the Billboard 200 and Hot R&B/Hip-Hop Albums charts. New Amerykah, Pt. 2: Return of the Ankh, looser and more playful than Pt. 1, followed in 2010. Appearances on Flying Lotus’ Until the Quiet Comes (2011), Robert Glasper’s Black Radio (2012), Tyler, The Creator’s Wolf and Bonobo’s The North Borders (both 2013), brought the artist to 2015, when she released the official mixtape But You Caint Use My Phone on the Motown label. ~ John Bush, Rovi
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His sound was emblematic of a St. Louis blues music that he helped define in over half a century practicing his trade. His contributions to the genre in that city, from the early 1950s and almost until the day of his death, included mentor, performer, and recording artist.
Due to his significant contribution to blues music in St. Louis, in October 2003 he received a proclamation from mayor Francis Slay marking October 5, 2003 as ‘Bennie Smith Day’ in that city. The board of aldermen similarly honored Smith, recognizing him as the “Dean of St. Louis Electric Guitarists”. During the 2006 Big Muddy Blues Festival in St. Louis, Mayor Slay honored Bennie once again on September 2 of that year, declaring that day also be known as ‘Bennie Smith Day’ in St. Louis.
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Childhood and Early Music Career
Chester Arthur Burnett was born on June 10, 1910, in White Station, Mississippi to Gertrude Jones and Leon “Dock” Burnett. He would later say that his father was “Ethiopian”, while Jones had Choctaw ancestry on her father’s side. He was named for Chester A. Arthur, the 21st President of the United States. His physique garnered him the nicknames “Big Foot Chester” and “Bull Cow” as a young man: he was 6 feet 3 inches tall and often weighed close to 300 pounds.
The name “Howlin’ Wolf” originated from Burnett’s maternal grandfather, who would admonish him for killing his grandmother’s chicks from reckless squeezing by warning him that wolves in the area would come and get him; the family would continue this by calling Burnett “the Wolf”. The blues historian Paul Oliver wrote that Burnett once claimed to have been given his nickname by his idol Jimmie Rodgers.
Burnett’s parents separated when he was a year old. His father, Dock, who had worked seasonally as a farm laborer in the Mississippi Delta, moved there permanently while his mother and he moved to Monroe County. Chester and his mother would sing together in the choir of the Life Boat Baptist Church near Gibson, Mississippi. He would later claim that he got his musical talent from her. His mother kicked Burnett out of the house during the winter when he was a child for unknown reasons. He then moved in with his great-uncle Will Young, who had a large household and treated him badly. While living in the Young household he worked almost all day and did not receive an education at the school house. When he was thirteen, he killed one of his uncle’s hogs in a rage after the hog had caused him to ruin his dress clothes; this enraged his uncle who then whipped him while chasing him on a mule. He then ran away and claimed to have walked 85 miles barefoot to join his father, where he finally found a happy home with his father’s large family. During this era he went by the name “John D.” to dissociate himself from his past, a name by which several of his relatives would know him for the rest of his life.
Move to Chicago, Great Migration
In 1951, Ike Turner, who was a freelance talent scout, heard Howlin’ Wolf in West Memphis. Turner brought him to record several songs for Sam Phillips at Memphis Recording Service (later renamed Sun Studio) and the Bihari brothers at Modern Records. Phillips praised his singing, saying, “God, what it would be worth on film to see the fervour in that man’s face when he sang. His eyes would light up, you’d see the veins come out on his neck and, buddy, there was nothing on his mind but that song. He sang with his damn soul.” Howlin’ Wolf quickly became a local celebrity and began working with a band that included the guitarists Willie Johnson and Pat Hare. Sun Records had not yet been formed, so Phillips licensed his recording to Chess Records. Howlin’ Wolf’s first singles were issued by two different record companies in 1951: “Moanin’ at Midnight”/”How Many More Years” released on Chess, “Riding in the Moonlight”/”Morning at Midnight,” and “Passing By Blues”/”Crying at Daybreak” released on Modern’s subsidiary RPM Records. In December 1951, Leonard Chess was able to secure Howlin’ Wolf’s contract, and at the urging of Chess, he relocated to Chicago in late 1952 during the Great Migration.
In Chicago, Howlin’ Wolf assembled a new band and recruited the Chicagoan Jody Williams from Memphis Slim’s band as his first guitarist. Within a year he had persuaded the guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin’s understated solos and surprisingly subtle phrasing perfectly complemented Burnett’s huge voice. The lineup of the Howlin’ Wolf band changed often over the years. He employed many different guitarists, both on recordings and in live performance, including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis “Big Smokey” Smothers, his brother Little Smokey Smothers, Jimmy Rogers, Freddie Robinson, and Buddy Guy, among others. Burnett was able to attract some of the best musicians available because of his policy, unusual among bandleaders, of paying his musicians well and on time, even including unemployment insurance and Social Security contributions. With the exception of a couple of brief absences in the late 1950s, Sumlin remained a member of the band for the rest of Howlin’ Wolf’s career and is the guitarist most often associated with the Chicago Howlin’ Wolf sound.
Burnett met his future wife, Lillie, when she attended one of his performances at a Chicago club. She and her family were urban and educated and were not involved in what was considered the unsavory world of blues musicians. Nevertheless, he was attracted to her as soon as he saw her in the audience. He immediately pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together, they raised two daughters Betty and Barbara, Lillie’s daughters from an earlier relationship.
After he married Lillie, who was able to manage his professional finances, Burnett was so financially successful that he was able to offer band members not only a decent salary but benefits such as health insurance; this enabled him to hire his pick of available musicians and keep his band one of the best around.
Death
Burnett’s health began declining in the late 1960s. He had several heart attacks and suffered bruised kidneys in a car accident in 1970. Concerned for his health, the bandleader Eddie Shaw limited him to performing 21 songs per concert.
In January 1976, Burnett checked into the Veterans Administration Hospital in Hines, Illinois, for kidney surgery. He died of complications from the procedure on January 10, 1976, at the age of 65. His gravestone has an image of a guitar and harmonica etched into it.
Legacy
According to the musician and critic Cub Koda, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'” Several of his songs, including “Smokestack Lightnin'”, “Killing Floor” and “Spoonful”, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time”.
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The group, named for their shared surname, hailed from the East Side of Detroit, where the siblings were born and raised; they later relocated to Grand Rapids, Michigan. Members included sister Etterlene (or “Bunny”) and brothers Mark (or “Marty”), William (or “Randy”), Eldra (or “El”), and James (younger siblings Chico, Darell, and Carol “Peaches” DeBarge are also singers though not with the group).
Early years of the group
The siblings who became DeBarge started performing in various groups together in the Detroit, Michigan area in the mid 1970s. In 1979, brothers Randy, Mark, and El were part of the SMASH band, which was a release on Source Records/MCA in the USA/Canada before it was released as Pall Mall Groove HOT ICE in Germany by Polydor. Bernd Lichters, who rented a home in Cerritos, CA, bought them instruments, and they were mentored by members of the Motown group Switch, including their elder brothers Tommy and Bobby and co-founding member and family friend Gregory Williams. Bunny DeBarge had joined her younger brothers in 1979 as well, and they formed as The DeBarges in 1980. That year, because of Bobby’s success with Switch, younger brother El was able to perform live on the piano and sing for Motown CEO and founder Berry Gordy, who was impressed by the group and agreed to sign them that year.[5] For a year the group worked alongside members of Switch, helping to add background vocals, instrumentation, arranging, and musical and lyrical composition to the band’s works, most prominently in “I Call Your Name”, “My Friend in the Sky”, and “Love Over and Over Again”.
By 1981, Bobby and Tommy had left Switch and returned the favor to their siblings working with them on their debut album, which was released that year with Bobby, Bunny, and El as main producers. The only single, the Bobby-led ballad “What’s Your Name”, failed to chart.
Success
In 1982, they added their brother James and cousin Cameron to the lineup and worked on their second album, All This Love, produced by El and Iris Gordy. The album launched them into R&B stardom with the records “I Like It” and “All This Love”. Both songs also became crossover pop hits with “All This Love” later going to number one on Billboard’s adult contemporary chart. In 1983, the group made an impression after appearing on Motown 25, where they performed alongside High Inergy. Later in 1983, the group issued their third album, In a Special Way, which spawned two further hit singles, “Time Will Reveal” and “Love Me in a Special Way”. Like All This Love before it, the album reached gold status in the United States.
Following that album’s success, DeBarge were handpicked by Luther Vandross to open for him on his “Busy Body Tour” to support his album of the same name. Also in 1984, James DeBarge made headlines when he secretly eloped with Janet Jackson of the famed Jackson family, but their marriage was quickly annulled the following year.
When the tour ended in late 1984, the group recorded the Diane Warren composition, “Rhythm of the Night”, for the soundtrack to the Motown-produced film, Berry Gordy’s The Last Dragon from 1985. The song was released in early 1985 and became a hit single, eventually reaching the top five in several countries, mainly in the US and UK, becoming the band’s biggest-selling and their best-known hit.
DeBarge released six studio albums, four of them with Motown subsidiary Gordy Records. These albums included The DeBarges (1981), All This Love (1982), In a Special Way (1983), and Rhythm of the Night (1985). The latter became the group’s best-selling album and contained the single “Rhythm of the Night”, which hit No. 3 on the US Billboard Hot 100, making it their highest charting single in America. In the mid-1980s, El and Bunny each went solo and DeBarge was subsequently released from its contract.
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Monica followed in her mother’s footsteps with regular performances at the Jones Hill Chapel United Methodist Church in Marilyn’s hometown Newnan, Georgia. While growing up in the modest circumstances of a single-parent home after her parents’ 1984 separation and 1987 divorce, Monica continued training herself in singing and became a frequent talent-show contestant, winning over 20 local singing competitions throughout her early teenage years. When she was 10 years old, she became the youngest member of “Charles Thompson and the Majestics”, a traveling 12-person gospel choir. She attended North Clayton High School with rapper 2 Chainz. She graduated from high school in 1997 at age 16, having skipped ahead scholastically by studying year-round with a private tutor.
In 1991, at the age of eleven, Monica was discovered by music producer Dallas Austin at the Center Stage auditorium in Atlanta, performing Whitney Houston 1986’s “Greatest Love of All”. Amazed by her voice, Dallas offered her a record deal with his label Rowdy Records and consulted rapper Queen Latifah to work as Monica’s first manager. Shortly afterwards Dallas and then staff producers Tim & Bob entered the studio with Monica to start writing and producing her debut Miss Thang, which was released in July 1995.
Legacy
Monica possesses an alto vocal range, which Billboard’s Erika Ramirez described as “impeccable”. Elysa Gardner of the Los Angeles Times likened her “husky, dramatic alto” to that of singer Toni Braxton. Writing that the singer arguably possesses “the best alto of her generation”.
Her career started in the wake of the new jack swing era with the multi-platinum Miss Thang (1995). Among a class of teen-aged pop-R&B newcomers with the likes of Usher, Brandy, and Aaliyah, she stood out with distinctly Southern grit and boldness, as well as unmatched maturity and versatility that belied her age.
She has sold more than five million albums in the United States. In 2010, Billboard listed Monica at number 24 on its list of the Top 50 R&B and Hip Hop Artists of the past 25 years. A four-time nominee, she won Best R&B Performance by a Duo or Group with Vocals for “The Boy Is Mine” at the 41st Annual Grammy Awards. Her other accolades include a Billboard Music Video Award, a BET Award, and a Soul Train Music Award.
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Keys’s father left when she was two years old and was not in her life; She was subsequently raised by her mother during her formative years at Manhattan Plaza in Hell’s Kitchen. Her mother often worked three jobs to provide for Keys, who “learned how to survive” from her mother’s example of tenacity and self-reliance.
From a young age, Keys struggled with self-esteem issues, hiding little by little when her differences made her vulnerable to judgment, and later uninvited sexual attention. Living in the rough neighborhood of Hell’s Kitchen, from an early age, she was regularly exposed to street violence, drugs, prostitution, and subjected to sexual propositions in the sex trade- and crime-riddled area.
Keys recalled feeling fearful early on of the “animal instinct” she witnessed, and eventually feeling “high” due to recurrent harassment. She became very wary, emotionally guarded, and she began wearing gender-neutral clothing and what would become her trademark cornrows. Keys explained that she is grateful for growing up where she did as it prepared her for the parallels in the music industry, particularly as she was a teenager starting out; she could maintain a particular focus and not derail herself. She credits her “tough” mother for anchoring her on a right path as opposed to many people she knew who ended up on the wrong path and in jail. Keys attributed her unusual maturity as a young girl to her mother, who depended on her to be responsible while she worked to provide for them and gave Keys as many opportunities as possible.
Keys’s mother had encouraged her to participate in different extracurricular activities, including music, dance, theater, and gymnastics, so she could “find her muse”. Her extracurricular activities gave her focus and drive, and helped keep her out of trouble. Keys would continue studying classical music until the age of 18. Keys regards her education in classical piano and dedication to classical music as vital for her stability in her youth and her development as a musician and songwriter. Keys later said of her classical background:
Keys spent more time in Harlem during her teenage years. She connected with the cultural and racial diversity in the neighborhood, where she expanded upon her musical exploration, and her character was also solidified. “Harlem raised me in a lot of ways,” Keys remarked. “[It] taught me how to think fast, how to play the game … taught me leadership, how to get out of bad situations when you need to, how to hold my own.”
Career
A classically trained pianist, Keys began composing songs when she was the age of 12 and was signed by Columbia Records at the age of 15. After disputes with the label, she signed with J Records to release her debut studio album, Songs in A Minor (2001). Met with critical acclaim and commercial success, the album sold over 12 million copies worldwide and won five awards at the 44th Annual Grammy Awards. It contained the Billboard Hot 100-number one single “Fallin’.” Her second album, The Diary of Alicia Keys (2003) was met with continued success, selling eight million units worldwide and spawning the singles “You Don’t Know My Name”, “If I Ain’t Got You”, and “Diary” (featuring Tony! Toni! Toné!). Its release earned an additional four Grammy Awards.
Legacy
Keys has sold over 90 million records worldwide, making her one of the world’s best-selling music artists. She was named by Billboard as the Top Artist of the 2000s in the R&B/Hip-Hop category, and placed tenth on their list of Top 50 R&B/Hip-Hop Artists of the Past 25 Years. She has received numerous accolades in her career, including 16 Grammy Awards, 17 NAACP Image Awards, 12 ASCAP Awards, and an award from the Songwriters Hall of Fame and National Music Publishers Association. VH1 included her on their 100 Greatest Artists of All Time and 100 Greatest Women in Music lists, while Time has named her in their 100 list of most influential people in 2005 and 2017. Keys is also acclaimed for her humanitarian work, philanthropy, and activism. She co-founded the nonprofit HIV/AIDS-fighting organization Keep a Child Alive in 2003, for which she serves as Global Ambassador.
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Shakur was born in New York City to parents who were both political activists and Black Panther Party members. Raised by his mother, he relocated to Baltimore in 1984 and to the San Francisco Bay Area in 1988. With the release of his debut album 2Pacalypse Now in 1991, he became a central figure in West Coast hip hop for his conscious rap lyrics. Shakur achieved further critical and commercial success with his follow-up albums Strictly 4 My N.I.G.G.A.Z… (1993) and Me Against the World (1995). His Diamond certified album All Eyez on Me (1996), the first double-length album in hip-hop history, abandoned his introspective lyrics for volatile gangsta rap. In addition to his music career, Shakur also found considerable success as an actor, with his starring roles in Juice (1992), Poetic Justice (1993), Above the Rim (1994), Bullet (1996), Gridlock’d (1997), and Gang Related (1997).
During the latter part of his career, Shakur was shot five times in the lobby of a New York recording studio and experienced legal troubles, including incarceration. In 1995, Shakur served eight months in prison on sexual abuse charges but was released pending an appeal of his conviction. Following his release, he signed to Marion “Suge” Knight’s label Death Row Records and became heavily involved in the growing East Coast–West Coast hip hop rivalry. On September 7, 1996, Shakur was shot four times by an unidentified assailant in a drive-by shooting in Las Vegas; he died six days later. Following his murder, Shakur’s friend-turned-rival, the Notorious B.I.G., was at first considered a suspect due to their public feud, but was also murdered in another drive-by shooting six months later in March 1997 while visiting Los Angeles.
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Common was born on March 13, 1972, at the Chicago Osteopathic Hospital in Chicago’s Hyde Park neighborhood. He is the son of educator and former principal of John Hope College Preparatory High School, Mahalia Ann Hines, and former ABA basketball player turned youth counselor Lonnie Lynn. He was raised in the Calumet Heights neighborhood. Lynn’s parents divorced when he was six years old, resulting in his father moving to Denver, Colorado. This left Lynn to be raised by his mother; however, his father remained active in his life, and was able to get him a job with the Chicago Bulls as a teenager. Lynn attended Florida A&M University for two years under a scholarship and majored in business administration.
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Signed to EMI, Cube lengthened his solo discography in June 2006 with Laugh Now, Cry Later. In the Movies, a compilation of soundtrack cuts, was put together by Priority for a 2007 release. The following August, Cube returned with Raw Footage, his seventh consecutive solo studio album to enter the Billboard 200 and R&B/hip-hop charts within the Top Ten. Yet another catalog title from Priority, The Essentials, appeared in 2008. Cube’s September 2010 effort I Am the West was a family affair, with sons Darrell Jackson (aka Doughboy, named after Cube’s Boyz N the Hood character) and O’Shea Jackson, Jr. (aka OMG) among the guests, who also included longtime associate WC. By the end of 2011, Cube had also acted in and/or produced a multitude of projects for the large and small screens, including Are We There Yet?, Beauty Shop, Friday: The Animated Series, and The Longshots.
In 2012, Cube announced the imminence of a tenth solo album, Everythangs Corrupt. Despite several singles issued across 2013 and 2014, its release was delayed as Cube focused on film and television pursuits, as well as the legacy of N.W.A. Along with Dr. Dre, Cube worked on a biopic about the origin and rise of the trailblazing group, with son O’Shea Jackson, Jr. cast to portray him. Named after their breakthrough album, Straight Outta Compton was released in 2015 to critical acclaim. The film made over $200 million worldwide, and was nominated for an Academy Award in the category of Best Original Screenplay. The film inspired Dr. Dre’s solo album Compton, which included Cube on the track “Issues.” A Rock and Roll Hall of Fame induction followed for N.W.A in 2016. A 25th anniversary reissue of Death Certificate was released the next year by Interscope, Cube’s new home. The week of the 2018 midterm elections, Cube issued the single “Arrest the President,” a prelude to the characteristically scathing, humorous, and funky Everythangs Corrupt, which finally arrived the next month. ~ Andy Kellman & Stephen Thomas Erlewine, Rovi
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Lawrence Parker was born in the New York City borough of Brooklyn in 1965 to an American mother. His biological father, who was not involved in his upbringing, was from the Caribbean island of Barbados. He had a troubled childhood, suffering severe beatings from his American stepfather John Parker when the family lived in Harlem, New York. When his mother left the marriage both he and his younger brother Kenny moved with her to the Bronx, before again moving a year later to Brooklyn. Home life continued to be difficult, including further physical abuse at the hands of his mother’s new Jamaican partner, and he ran away from home several times. At age 16 he left home permanently, and spent a time living homeless in New York, before eventually signing himself into a Group Home in the Bronx.
Growing up, Parker had developed a deep love of the emerging hip hop culture in New York, and by that time he was honing his craft as an MC, as well as being an active graffiti writer. Some time after leaving the group home he moved into a homeless shelter in the South Bronx where he was dubbed “Krishna” by the residents due to his curiosity about the Hare Krishna spirituality of some of the anti-poverty workers. During his stay at the community shelter he encountered youth counsellor Scott Sterling a.k.a. DJ Scott La Rock and there began a DJ-MC relationship. He also engaged in the street art activity graffiti under the alias KRS-One (Knowledge Reigns Supreme Over Nearly Everyone). Together he and Sterling created Boogie Down Productions, releasing their debut album, Criminal Minded, in 1987.
Legacy
Boogie Down Productions received numerous awards and critical acclaim in their early years. Following the release of the group’s debut album, Criminal Minded, fellow artist Scott La Rock was shot and killed, but KRS-One continued the group, effectively as a solo project. He began releasing records under his own name in 1993. He is politically active, having started the Stop the Violence Movement after La Rock’s death. He is also a vegan activist, expressed in songs such as “Beef”. He is widely considered an influence on many hip-hop artists.
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