Category Archives: entertainment

Blue Magic – Sideshow


Blue Magic is an American R&B/soul music group, and one of the most popular Philadelphia soul groups of the 1970s. Founded in 1972, the group’s original members included lead singer Ted Mills with Vernon Sawyer, Wendell Sawyer, Keith Beaton, and Richard Pratt. Their most notable songs included smooth soul ballads such as “Sideshow”, “Spell”, “What’s Come Over Me”, “Three Ring Circus” and “Stop to Start.”


Blue Magic was formed in Philadelphia, Pennsylvania in 1972 when former member of The Delfonics Randy Cain brought in singer-songwriter Ted Mills to do some writing with the Philly-based WMOT production company to create a new band. A short time later the group Shades of Love, featuring Keith Beaton, Richard Pratt, Vernon Sawyer and his brother Wendell, came in to audition. (According to Marc Taylor in his book ‘A Touch of Classic Soul of the Early 1970s’,[1] “although the group performed admirably, they lacked a standout lead singer”.) The execs decided to replace the Toppicks, the act Mills recorded with. They inserted Shades of Love (which they owned contractually) with Ted Mills and retitled the group Blue Magic. They were signed with Atco Records through WMOT in the same year.


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“Louie Louie – The Kingsmen (HQ)”

“Louie Louie – The Kingsmen (HQ)”

In 1962, while playing a gig at the Pypo Club in Seaside, Oregon, then managed by Al Dardis, the band noticed Rockin’ Robin Roberts’s version of

“Louie Louie”

being played on the jukebox for hours on end. The entire club would get up and dance.Ely convinced the Kingsmen to learn the song, which they played at dances to a great crowd response. Unknown to him, he changed the beat because he misheard it on a jukebox. Ken Chase, host of radio station KISN, formed his own club to capitalize on these dance crazes. Dubbed the “Chase”, the Kingsmen became the club’s house band and Ken Chase became the band’s manager. On April 5, 1963, Chase booked the band an hour-long session at the local Northwestern Inc. studio for the following day. The band had just played a 90-minute

“Louie Louie”


Despite the band’s annoyance at having so little time to prepare, on April 6 at 10 am the Kingsmen walked into the three-microphone recording studio. In order to sound like a live performance, Ely was forced to lean back and sing to a microphone suspended from the ceiling. “It was more yelling than singing,” Ely said, “’cause I was trying to be heard over all the instruments.” In addition, he was wearing braces at the time of the performance, further compounding his infamously slurred words. Ely sang the beginning of the third verse several bars too early, but realized his mistake and waited for the rest of the band to catch up. In what was thought to be a warm-up, the song was recorded in its first and only take. The Kingsmen were not proud of the version, but their manager liked the rawness of their cover. The B-side was “Haunted Castle”, composed by Ely and Don Gallucci, the new keyboardist. However, Lynn Easton was credited on both the Jerden and Wand releases. The entire session cost $50, and the band split the cost.

“Louie Louie” was kept from the top spot on the charts in late 1963 and early 1964 by the Singing Nun and Bobby Vinton, who monopolized the No.1 slot for four weeks apiece. The Kingsmen single reached No. 1 on the Cashbox chart and No. 2 on the Billboard Hot 100 chart. Additionally in the UK it reached No. 26 on the Record Retailer chart. It sold over one million copies, and was awarded a gold disc.

The band attracted nationwide attention when “Louie Louie” was banned by the governor of Indiana, Matthew E. Welsh, also attracting the attention of the FBI because of alleged indecent lyrics in their version of the song. The lyrics were, in fact, innocent, but Ely’s baffling enunciation permitted teenage fans and concerned parents alike to imagine the most scandalous obscenities. All of this attention only made the song more popular. In April 1966 “Louie Louie” was reissued and once again hit the music charts, reaching No. 65 on the Cashbox chart and No. 97 on the Billboard Hot 100 chart.


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Brown Sugar – The Rolling Stones


The Rolling Stones are an English rock band formed in London in 1962. The first settled line-up consisted of Brian Jones (guitar, harmonica), Ian Stewart (piano), Mick Jagger (lead vocals, harmonica), Keith Richards (guitar), Bill Wyman (bass) and Charlie Watts (drums). Stewart was removed from the official line-up in 1963 but continued as occasional pianist until his death in 1985. Jones departed the band less than a month prior to his death in 1969, having already been replaced by Mick Taylor, who remained until 1975. Subsequently, Ronnie Wood has been on guitar in tandem with Richards. Following Wyman’s departure in 1993, Darryl Jones has been the main bassist. Other notable keyboardists for the band have included Nicky Hopkins, active from 1967 to 1982; Billy Preston through the mid 1970s (most prominent on Black and Blue) and Chuck Leavell, active since 1982. The band was first led by Jones but after teaming as the band’s songwriters, Jagger and Richards assumed de facto leadership.

The Rolling Stones were in the vanguard of the British Invasion of bands that became popular in the US in 1964–65. At first noted for their longish hair as much as their music, the band are identified with the youthful and rebellious counterculture of the 1960s. Critic Sean Egan states that within a year of the release of their 1964 debut album, they “were being perceived by the youth of Britain and then the world as representatives of opposition to an old, cruel order—the antidote to a class-bound, authoritarian culture.”[1] They were instrumental in making blues a major part of rock and roll and of changing the international focus of blues culture to the less sophisticated blues typified by Chess Records artists such as Muddy Waters — writer of “Rollin’ Stone”, after which the band is named. After a short period of musical experimentation that culminated with the poorly received and largely psychedelic album Their Satanic Majesties Request (1967), the group returned to its bluesy roots with Beggars Banquet (1968) which—along with its follow-ups, Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main St (1972)—is generally considered to be the band’s best work and are considered the Rolling Stones’ “Golden Age”. It was during this period the band were first introduced on stage as “The World’s Greatest Rock and Roll Band”.[2][3] Musicologist Robert Palmer attributed the “remarkable endurance” of the Rolling Stones to being “rooted in traditional verities, in rhythm-and-blues and soul music”, while “more ephemeral pop fashions have come and gone”.[4]

The band continued to release commercially successful records in the 1970s and sold many albums, with Some Girls (1978) and Tattoo You (1981) being their two most sold albums worldwide. In the 1980s, a feud between Jagger and Richards about the band’s musical direction almost caused the band to split but they managed to patch their relationship up and had a big comeback with Steel Wheels (1989), which was followed by a big stadium and arena tour. Since the 1990s, new recorded material from the group has been increasingly less well-received and less frequent. Despite this, the Rolling Stones have continued to be a huge attraction on the live circuit, with big stadium tours in the 1990s and 2000s. By 2007, the band had made what were then four of the top five highest-grossing concert tours of all time (Voodoo Lounge Tour (1994–95), Bridges to Babylon Tour (1997–99), Licks Tour (2002–03) and A Bigger Bang Tour (2005–07).[5]


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James Brown- This is A Man’ s World


“It’s a Man’s Man’s Man’s World” is a song by James Brown and Betty Jean Newsome. Brown recorded it on February 16, 1966 in a New York studio and released it as a single later that year. It reached No. 1 on the Billboard R&B chart and No. 8 on the Billboard Hot 100.[2][3] Its title is a word play on the 1963 comedy film It’s a Mad, Mad, Mad, Mad World.

The song’s lyrics, which Rolling Stone characterized as “biblically chauvinistic”,[4] attribute all the works of modern civilization (the car, the train, the boat, and the electric light) to the efforts of men, but claim that it all would “mean nothing without a woman or a girl”.[1] The song also states that man made toys for the baby boys and girls, and makes a comment about the fact that “Man makes Money”, from other men. Before the song’s fade, Brown states that man is lost in his bitterness and in his emptiness. Brown’s co-writer and onetime girlfriend, Betty Jean Newsome, wrote the lyrics based on her own observations of the relations between the sexes. In later years, Newsome would claim that Brown didn’t write any part of the song and argued in court that Brown sometimes forgot to pay her royalties.[5]

The composition of “It’s a Man’s Man’s Man’s World” developed over a period of several years. Tammy Montgomery, better known as Tammi Terrell, recorded “I Cried”, a Brown-penned song based on the same chord changes, in 1963. Brown himself recorded a demo version of the song, provisionally entitled “It’s a Man’s World”, in 1964. This version later appeared on the CD compilations The CD of JB and Star Time.

The released version of “It’s a Man’s Man’s Man’s World” was recorded quickly, in only two takes, with a studio ensemble that included members of Brown’s touring band and a string section arranged and conducted by Sammy Lowe. A female chorus was involved in the recording sessions, but their parts were edited out of the song’s final master.[6]

“It’s a Man’s Man’s Man’s World” became a staple of Brown’s live shows for the rest of his career. Its slow, simmering groove and declamatory vocal line made it suitable for long, open-ended performances incorporating spoken ruminations on love and loss and sometimes interpolations from other songs. It appears on almost all of Brown’s live albums starting with 1967’s Live at the Garden. Brown also recorded a big band jazz arrangement of the song with the Louie Bellson Orchestra for his 1970 album Soul on Top.

In 2004, “It’s a Man’s Man’s Man’s World” was ranked number 123 on Rolling Stone magazine’s list of the 500 greatest songs of all time.


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“(1977) CHIC – Dance Dance Dance HQ”

“(1977) CHIC – Dance Dance Dance HQ”



Chic at Guilfest 2012

Nile Rodgers and Bernard Edwards met during 1970, as fellow session musicians working in the New York City area. They formed a rock band named ‘The Boys’ and later ‘The Big Apple Band,’ playing numerous gigs around New York City.[3] Despite interest in their demos, they never got a record contract. They were in the band New York City which had a hit record in 1973 with ‘”I’m Doing Fine Now” which charted in the UK. The original demo tapes were made by DJ/studio engineer Robert Drake, who first played lacquer records while DJing at a New York after hours club, Night Owl. The title of the first song recorded as Chic was “Everybody Dance,” which was on their first album.

During 1977, Edwards and Rodgers recruited drummer Tony Thompson, formerly with LaBelle and Ecstasy, Passion, & Pain, to join the band; they performed as a trio doing cover versions at various gigs.[3] Thompson recommended keyboardist Raymond Jones, 19, to join the band, as he had worked with him in the hit group Ecstasy, Passion & Pain. Needing a singer to become a full band, they engaged Norma Jean Wright by an agreement permitting her to have a solo career in addition to her work for the band.[3] Using a young recording engineer Bob Clearmountain, they created the track “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)”. As a result, Chicbecame a support act.

Under contract with Atlantic Records company, during 1977 they released the self-titled debut album Chic, which was an extension of the demonstration tape. But Edwards and Rodgers were convinced that to produce the band’s recording studio sound when performing live with sound and visuals, they needed to add another female singer. Wright suggested her friend Luci Martin, who became a member during late winter/early spring of 1978.[3]

Soon after the sessions ended for the debut album, the band members began to work on Wright’s self-titled debut solo album Norma Jean, released during 1978. This album included the successful nightclub song “Saturday.” To facilitate Wright’s solo career, the band had agreed to contract her with a separate record company.

The legal details of this contract eventually forced Wright to end her relationship with the band during mid-1978, but she participated in the sessions for Chic-produced Sister Sledge album, We Are Family.[3] She was replaced as a singer by Alfa Anderson, who had done back-up vocals on the band’s debut album. For the Sister Sledge project, Edwards and Rodgers wrote and produced “He’s the Greatest Dancer” (originally intended to be a Chic song), in exchange for “I Want Your Love” (intended originally to be performed by Sister Sledge).


Posted by on March 20, 2018 in classic music, entertainment, music


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“ELTON JOHN – Sad Songs (Say So Much)”


“Sad Songs (Say So Much)” is a song by Elton John and is the closing track on the 1984 album Breaking Hearts. It reached the No 5 on the U.S. chart. The lyrics describe how it sometimes helps for someone who is feeling sad, or who has lost a partner, to listen to old radio blues classics. In the years since its issue, radio airplay has been modest compared with some of John’s other 80s singles.

The music video, directed by Russell Mulcahy and shot on a street in Rushcutters Bay, Sydney, featured John without his familiar trademark glasses in some scenes. The single sleeve likewise featured John with no glasses.

John performed the song on One Night Only: The Greatest Hits Live at Madison Square Garden with Canadian rock star Bryan Adams. In 2013, John was joined by Rod Stewart in a special performance of the song at the London Palladium after being presented with first Brits Icon award in recognition of his “lasting impact” on UK culture.[1]

The song and the music video were both utilized in an early 1980s TV advertisement for Sasson Designer Jeans, altering the lyrics of the song to “Sasson says so much.”[2]



“Chicago – Does Anybody Really Know What Time It Is?”

“Chicago – Does Anybody Really Know What Time It Is?”


Chicago is an American rock band formed in 1967 in Chicago, Illinois. The self-described “rock and roll band with horns” began as a politically charged, sometimes experimental, rock band and later moved to a predominantly softer sound, generating several hit ballads. The group had a steady stream of hits throughout the 1970s and 1980s. Second only to The Beach Boys in Billboard singles and albums chart success among American bands, Chicago is one of the longest-running and most successful rock groups, and one of the world’s best-selling groups of all time, having sold more than 100 million records.[1][2]

According to Billboard, Chicago was the leading US singles charting group during the 1970s. They have sold over 40 million units in the US, with 23 gold, 18 platinum, and 8 multi-platinum albums.[3][4] Over the course of their career they have had five number-one albums and 21 top-ten singles.

Group history

Chicago Transit Authority and early success

The original band membership consisted of saxophonist Walter Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane, and keyboardist/singer Robert Lamm. Parazaider, Kath, Seraphine, Pankow and Loughnane met in 1967 while students at DePaul University. Lamm was recruited from Roosevelt University. The group of six called themselves “The Big Thing”, and continued playing top 40 hits. Realizing the need for a tenor to complement baritone Lamm and Kath, they added local tenor and bassist Peter Cetera.[5]

Jimi Hendrix once told Parazaider, “Jeez, your horn players are like one set of lungs and your guitar player is better than me.”[6]

While gaining some success as a cover band, the group began working on original songs. In June 1968, they moved to Los Angeles, California under the leadership of their manager James William Guercio, and signed with Columbia Records. After signing with Guercio, The Big Thing changed their name to “Chicago Transit Authority”.[1]

Their first record (April 1969), the eponymous Chicago Transit Authority, is a double album, which is rare for a band’s first release. It sold over one million copies by 1970, and was awarded a platinum disc.[7] The album included a number of pop-rock songs – “Does Anybody Really Know What Time It Is?”, “Beginnings”, “Questions 67 and 68”, and “I’m a Man” – which were later released as singles.

When the actual Chicago Transit Authority threatened legal action soon after the album’s release, the band’s name was shortened to Chicago.[8][9]

The 1970s: Chicago

The band released a second album, titled Chicago (retroactively known as Chicago II), which is another double-LP. The album’s centerpiece track is a seven-part, 13-minute suite composed by Pankow called “Ballet for a Girl in Buchannon”. The suite yielded two top ten hits: “Make Me Smile” (No. 9 U.S.) and “Colour My World”, both sung by Kath. Among the other tracks on the album: Lamm’s dynamic but cryptic “25 or 6 to 4” (Chicago’s first Top 5 hit), which is a reference to a songwriter trying to write at 25 or 26 minutes before 4 o’clock in the morning, and was sung by Cetera with Terry Kath on guitar, the lengthy war-protest song “It Better End Soon”; and, at the end, Cetera’s 1969 moon landing-inspired “Where Do We Go from Here?”. The double-LP album’s inner cover includes the playlist, the entire lyrics to “It Better End Soon”, and two declarations: “This endeavor should be experienced sequentially”, and, “With this album, we dedicate ourselves, our futures and our energies to the people of the revolution. And the revolution in all of its forms.”

Chicago III would contain two hit singles. “Free” from Lamm’s “Travel Suite” would become the album’s biggest hit. The band would release LPs at a rate of at least one album per year from their third album in 1971 on through the 1970s. During this period, the group’s album titles invariably consisted of the band’s name followed by a Roman numeral, indicating the album’s sequence in their canon. The exceptions to this scheme were the band’s fourth album, a live boxed set entitled Chicago at Carnegie Hall, their twelfth album Hot Streets, and the Arabic-numbered Chicago 13. While the live album itself did not bear a number, each of the four discs within the set was numbered Volumes I through IV.

In 1971, the band released Chicago at Carnegie Hall Volumes I, II, III, and IV, consisting of live performances, mostly of music from their first three albums, from a week-long run at the famous venue. The packaging of the album also contained some rather strident political messaging about how “We [youth] can change The System”, including massive wall posters and voter registration information. Nevertheless, Chicago at Carnegie Hall went on to become the best-selling box set by a rock act, and held that record for 15 years. The fact that none of the first four titles were issued on single LPs was due to the productive creativity of this period and the length of the jazz-rock pieces.[10]

In 1972 the band released its first single-disc release, Chicago V, which reached number one on both the Billboard pop and jazz album charts. It features “Saturday in the Park”, which mixes everyday life and political yearning in a more subtle way. It peaked at No. 3 on the Billboard Hot 100 in early 1972. Chicago would long open their concerts with the hit song. Another Lamm-composed hit song therein was “Dialogue (Part I & II)”, which featured a musical “debate” between a political activist (sung by Kath) and a blasé college student (sung by Cetera).

In 1973, Guercio produced and directed Electra Glide in Blue, a film about an Arizona motorcycle policeman. The film stars Robert Blake and features Cetera, Kath, Loughnane, and Parazaider in supporting roles. The group also appears prominently on the film’s soundtrack.

Other albums and singles followed in each of the succeeding years. 1973’s Chicago VI was the first of several albums to include Brazilian jazz percussionist Laudir de Oliveira and saw Cetera emerge as the main lead singer. Chicago VII, the band’s double-disc 1974 release, their 1975 release, Chicago VIII, featured the political allegory “Harry Truman” (#13) and the nostalgic Pankow-composed “Old Days” (#5). That summer also saw a joint tour across America with the Beach Boys, with both acts performing separately, then coming together for a finale.

1976’s Chicago X features Cetera’s ballad “If You Leave Me Now”, which held the top spot in the US charts (for two weeks) and the UK charts (for three weeks.) The song also won Chicago their only Grammy award, for Best Pop Performance by a Duo or Group in 1977. The tune almost did not make the cut for the album. “If You Leave Me Now” was recorded at the very last minute. The success of the song foreshadowed a later reliance on ballads.

The group’s 1977 release, Chicago XI, includes Cetera’s ballad “Baby, What a Big Surprise”, a No. 4 U.S. hit which became the group’s last top 10 hit of the decade.

Death of Terry Kath and transition Edit
1978 began with a split with Guercio. On January 23 of that same year, Kath died of an accidental, self-inflicted gunshot wound.[11]

After auditioning over 30 potential replacements for Kath, Chicago decided upon guitarist/singer/songwriter Donnie Dacus. While filming for the musical Hair, he joined the band in April 1978 just in time for the Hot Streets album. Its energetic lead-off single, “Alive Again”, brought Chicago back to the Top 15; Pankow wrote it “originally as a love song but ultimately as recognition of Kath’s guiding spirit shining down from above.”[12]

The 1978 album Hot Streets had producer Phil Ramone at the helm. It was Chicago’s first album with a title rather than a number; and was the band’s first LP to have a picture of the band (shot by photographer Norman Seeff) featured prominently on the cover (with the ubiquitous logo downsized). These two moves were seen by many as indications that the band had changed following Kath’s death. To a degree, the band returned to the old naming scheme on its subsequent releases, although most titles would now bear Arabic numerals rather than Roman numerals. Hot Streets, the band’s 12th album, peaked at No. 12 on the Billboard charts; it was Chicago’s first release since their debut to fail to make the Top 10. The release also marked a move somewhat away from the jazz-rock direction favored by Kath and towards more pop songs and ballads. Dacus stayed with the band through the 1979 album Chicago 13, and is also featured in a promotional video on the DVD included in the Rhino Records Chicago box set from 2003. Again produced by Ramone, it was the group’s first studio album not to contain a Top 40 hit. Dacus departed from the band shortly after the album’s release.

The 1980s: changing sound, and the ballads

Chicago XIV (1980), produced by Tom Dowd, relegated the horn section to the background on a number of tracks, and the album’s two singles failed to make the Top 40. Chris Pinnick joined the band to handle the guitar duties and would remain through 1985, and the band were also augmented by saxophone player Marty Grebb on the subsequent tour. Believing the band to no longer be commercially viable, Columbia Records dropped them from its roster in 1981 and released a second “Greatest Hits” volume (also known as Chicago XV) later that year to fulfill its contractual obligation.

In late 1981, the band had a new producer (David Foster), a new label (Warner Brothers), and the addition of keyboardist, guitarist, and singer Bill Champlin (Sons of Champlin). Percussionist Laudir de Oliveira and Marty Grebb departed from the band. During Foster’s stewardship, less of an emphasis was placed on the band’s horn-based sound, being replaced by lush power ballads, which became Chicago’s style during the 1980s. The new sound brought more singles success to the band than they had ever had prior to that point, but it reportedly caused internal friction within the band members, which in turn reportedly led to Cetera’s departure in 1985.[citation needed]

For the 1982 album Chicago 16, Foster brought in studio musicians for some tracks (including the core members of Toto), and used new technology (such as synthesizers) to “update” and streamline the sound, further pushing back the horn section, and in some cases not even using them at all. The band did return to the charts with the Cetera-sung ballad “Hard to Say I’m Sorry/Get Away”, which is featured in the soundtrack of the Daryl Hannah film Summer Lovers.

1984’s Chicago 17 became the biggest selling album of the band’s history, producing two more Top Ten (both No. 3) singles, “You’re the Inspiration” and “Hard Habit to Break”. The album included two other singles: “Stay the Night” (No. 16) and “Along Comes a Woman” (No. 14). Peter’s brother, Kenny Cetera, was brought into the group for the 17 tour to add percussion and high harmony vocals.


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