“Dennis Brown (Reggae Artist) – Here I Come” 

Wolves and Leopards is a 1977 reggae album by Dennis Brown Recorded between 1976 and 1977 and released on Brown’s own DEB label in the UK and on the Weed Beat label in Jamaica, the album comprises ten tracks originally released on singles that concentrate on cultural themes and mark the transformation of Brown from child star to full-fledged Rastaman.[1][2]Several of the tracks were produced by Winston “Niney” Holness, with two of the key tracks, “Wolf and Leopards” and “Here I Come”, co-produced by Lee “Scratch” Perry at his Black Ark studio, along with another track “In Zion”, which was omitted from the album. The rhythms for these had been recorded at Randy’s studio, and they were voiced and mixed at the Black Ark.[3] “Wolf and Leopards”, which criticizes criminals who posed as Rastafari as cover for their activities, was co-written by Brown, Holness and Perry (mostly by Perry according to Holness, and it was credited to Perry on its Observer Records single release),[3] “Here I Come” was, according to Holness, written by him when he was in his twenties, and Holness also sang harmony vocals on it.[3] The tracks on this album were among the last that Brown recorded with Holness before moving on to work with Joe Gibbs. The track was mixed byErrol Thompson. The remainder of the tracks were self-produced by Brown or by his DEB Music associate Castro Brown.[1] The album was described in Steve Barrow and Peter Dalton’s The Rough Guide to Reggae as “a benchmark album for the roots era”.[2]


Posted by on March 20, 2017 in music, other



“Stealers Wheel-Stuck In The Middle With You”


Stuck In The Middle With You“[2][3][4] (sometimes known as “Stuck in the Middle”[5]) is a song written by Gerry Rafferty and Joe Egan and originally performed by their band Stealers Wheel. The song was inspired by a real occasion when the record company and producers were conducting business across Rafferty and Egan at a restaurant table.


Stuck in the Middle” was released on Stealers Wheel’s 1972 self-titled debut album.[6] Gerry Rafferty provided the lead vocals, with Joe Egan singing harmony. The song was conceived initially by the band members as a parody of Bob Dylan’s distinctive lyrical style and paranoia. The band was surprised by the single’s chart success.[7] The single sold over one million copies, eventually peaking in 1973 at #6 in the U.S. Billboard Hot 100 chart and #8 in the UK Singles Chart. It was produced by Jerry Leiber and Mike Stoller.[8]

Music video

The video portrays the band performing in a corner of large, empty building. Their performance is intercut with shots of Joe Egan (who is miming to the by then-departed Gerry Rafferty’s vocal track) at a banquet table with a number of garishly dressed and made-up supper guests, including an actual clown, who continually squeeze him out whenever he tries to take food from the table. Eventually the other band members appear, driving off the strange characters so that Egan can sit down at last.


Posted by on March 20, 2017 in male vocal group


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“Mix – Dr John – Basin Street Blues” 

Basin Street Blues” is a song often performed by Dixieland jazz bands, written by Spencer Williams in 1928 and recorded that year by Louis Armstrong.[1] The famous verse with the lyric “Won’t you come along with me/To the Mississippi…” was later added byGlenn Miller and Jack Teagarden.

The Basin Street of the title refers to the main street of Storyville, the notoriousred-light district of the early 20th-centuryNew Orleans, just north of the French Quarter. It became a red light district in 1897.[2]

Other recordingsEdit

Bob Wills and his Texas Playboys also recorded a version during the group’s heyday with Tommy DuncanLouis Prima also recorded the song on his 1957 album The Wildest! as did Dr. Johnon his 1992 album Goin’ Back to New Orleans. Bob Wills’ official[clarification needed] version contains slightly different lyrics than those heard on Bob Wills’ Anthology. Instead of Basin Street being the place where the “dark and light folks” meet, as sung on the recording, the printed lyrics state that Basin Street is the place where the “young and old folks” meet.

Connee Boswell recorded the song theatrically with Bing Crosby in 1937.

A rendition of this song by Ella Fitzgerald with the Sy Oliver Orchestra can be found on the Decca releaseLullabies of Birdland.

Jo Stafford recorded a duet version withFrankie Laine.

Julie London (About The Blues Liberty Records LST 7012 US 1957)

Margie Rayburn released a version of the song as the B-side to her 1956 single “Can I Tell Them That You’re Mine?”[3]

Ace Cannon recorded an instrumental version for his debut 1962 album Tuff Sax.

An instrumental version of this song was recorded by Miles Davis and was released as the opening track of his 1963 album Seven Steps to Heaven.

Judith Durham recorded a version for her album Judith Durham and The Hottest Band in Town Volume 2 (1974)

Liza Minnelli performed the number at her 2008-9 concert Liza’s at The Palace…!.

It was on the soundtrack for The Curious Case of Benjamin Button

In 2008, saxophonist David Sanborncovered the song from his album Here & Gone.[4]

The song has also been re-imagined by Canadian turntablist Kid Koala, by manipulating the vinyl live.

Sam Cooke recorded a version in 1963, although with different lyrics. He performed the song live on The Tonight Show and The Mike Douglas Show.

In his live recording made at the Monterey Jazz festival in 1963, Jack Teagarden claims that the words we usually associate with the song were written by Teagarden and his fellow trombonist Glenn Miller when they were asked to arrange the song for an earlyBen Pollack recording. Neither name appears on the song credits.

When he was with Dick Stabile and his orchestra, Dean Martin recorded a version of this classic Jazz standard, although Martin himself would later go on to record more New Orleans-themed songs.


Posted by on March 20, 2017 in blues



“Ub40 Red Red Wine”

UB40 is a British reggae/pop band formed in December 1978 in Birmingham, England. The band has had more than 50 singles in the UK Singles Chart, and has also achieved considerable international success. They have been nominated for the Grammy Award for Best Reggae Album four times, and in 1984 were nominated for the Brit Award for Best British Group.[1] One of the world’s best-selling music artists, UB40 have sold over 70 million records.[2] The ethnic makeup of the band’s original line-up was diverse, with musicians of English, Scottish, Irish, Yemeni and Jamaican parentage.
Their hit singles include their debut “Food for Thought” and two US Billboard Hot 100 number ones with “Red Red Wine” and “Can’t Help Falling in Love”. Both of these also topped the UK Singles Chart, as did the band’s version of “I Got You Babe”.

The band’s lineup was stable for nearly 29 years, from March 1979 until January 2008, when frontman Ali Campbell left the band; followed shortly thereafter by keyboardist Mickey Virtue. Another member, Astro, remained with the band until November 2013; when he departed the original band to team up with Campbell and Virtue in a new version of UB40. In 2014, legal advice was sought by the original band (now consisting of remaining co-founding members drummer Jimmy Brown, guitarist Robin Campbell, bassist Earl Falconer, percussionist Norman Hassan, and saxophonist Brian Travers, along with new vocalist Duncan Campbell) against the group containing Campbell, Virtue, and Astro over usage of the band name, due to it being used by both parties.[3]


Posted by on March 20, 2017 in male vocal group, music


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“Kokomo” is a song written by John Phillips, Scott McKenzie, Mike Love, and Terry Melcher and recorded by American rock band the Beach Boys.
Its lyrics describe two lovers taking a trip to a relaxing place on an island off the Florida Keys called Kokomo. It was released as a single on July 18, 1988 by Elektra Records and became a No. 1 Hit in the United States, Japan, and Australia (where it topped for about two months). The single was released to coincide with the release of Roger Donaldson’s film Cocktail, and its subsequent soundtrack.

It was nominated for the Grammy Award for Best Song Written Specifically for a Motion Picture or Television in 1988, but lost to Phil Collins’ “Two Hearts” (from the film Buster).[1] “Two Hearts” and Carly Simon’s “Let the River Run” from Working Girl jointly beat it for the Golden Globe Award for Best Original Song.

Composition and recording

The song was written by John Phillips and Scott McKenzie in Virginia Beach in 1986 and recorded and produced shortly after by Phillips, as a duet between McKenzie and Denny Doherty of the Mamas and the Papas. That version remained unreleased until 2010, when it appeared on a posthumous album of John Phillips’ songs called Many Mamas, Many Papas, most of which were originally-recorded in the 1980s for a reconstituted touring version of the Mamas and the Papas, featuring himself, Doherty, daughter Mackenzie Phillips and Spanky McFarlane of Spanky and Our Gang.

When the Beach Boys were commissioned to produce a theme song for Cocktail, producer Terry Melcher contacted his old friend, Phillips, and asked if he had any songs that might be suitable. “Kokomo” was one of the songs Phillips sent Melcher. Another was “Somewhere Near Japan” (aka “Fairytale Girl”), which would also be recorded by the Beach Boys for their Still Cruisin’ album.

Although Phillips had holidayed in the Caribbean several times on the island of Mustique, which was owned by his friend Colin Tennant, “Kokomo” itself is fictional. There are though several places in the world named Kokomo, including Kokomo, Indiana, Kokomo, Arkansas and Kokomo, Hawaii. The song describes Kokomo as a place “off the Florida Keys.”[2] The name was later used by resorts in Sandals Cay, Jamaica, and Grassy Key, Florida. The song also mentions many island locales: in order of their appearance in the song, Aruba, Jamaica, Bermuda, Bahama(s), Key Largo, Montego Bay, Martinique, Montserrat, and Port-au-Prince. Bermuda is the only place mentioned that is not located in or near the Caribbean Sea.

In addition to the Beach Boys’ signature layered-singing style, the song’s instrumentation makes heavy use of steel drums. According to “Kokomo” track sheet information supplied by engineer Keith Wechsler, the steel drums were played by musicians named Vince, Milton, and Mike (but not Mike Love). Wechsler also says that there is a percussionist by the name of Chili who played percussion in the introduction of the song. Van Dyke Parks, who had worked on some of the group’s earlier albums, played accordion, while session veteran Jim Keltner played drums.[3] Other players are Jeff Foskett (acoustic guitar), Rod Clark (bass), Joel Peskin (alto saxophone) and Ry Cooder (electric slide guitar).

On the Beach Boys demo of “Kokomo”, lead vocals were performed by Mike Love and Terry Melcher. The demo harmonies include Terry Melcher, Bruce Johnston, Mike Love, and Jeff Foskett. At Disney Films’ request, the “Kokomo” demo was “upgraded” to a master recording, thus requiring members of the Beach Boys to re-record the demo vocals, except for Mike Love’s lead.

The final recorded and released “Kokomo” background vocals are sung by Carl Wilson, Mike Love, Bruce Johnston, and Al Jardine. Terry Melcher’s and Jeff Foskett’s background vocals (on the demo) were erased and replaced by Carl Wilson’s and Al Jardine’s background vocals. The final released “Kokomo” lead vocals are sung by Mike Love and Carl Wilson. The only active Beach Boys member not involved with the recording was Brian Wilson, who was given short notice of the recording session and unable to attend.[citation needed] He was subsequently included in concert recordings of the song, including a live concert filmed for the television show Full House (episode 028).

Mike Love and Terry Melcher’s major contribution to the song was a re-write of Phillips and McKenzie’s existing chorus and the addition of the “Aruba, Jamaica…” lines. The Beach Boys version of the song also retained the melody of the Phillips and Mackenzie original. All four shared a co-write on the song.

There were previous songs referencing a Kokomo, including “Kokomo Blues” (1928) by Kokomo Arnold and “Kokomo me Baby” (1959) by Mississippi Fred McDowell, but these are believed to be in reference to Kokomo, Indiana.


Posted by on March 20, 2017 in male vocal group, music



“Caramel Macchiato Frappe” 


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Posted by on March 20, 2017 in music


 “Heavy D & The Boyz – We Got Our Own Thang” 

Dwight Errington Myers[1][2] (May 24, 1967 – November 8, 2011),[3] better known as Heavy D, was a Jamaican-born American rapper, record producer, singer, actor, and the former leader of Heavy D & the Boyz, a hip hop group which included dancers/background vocalists G-Whiz (Glen Parrish),“Trouble” T. Roy (Troy Dixon), and Eddie F (born Edward Ferrell). The group maintained a sizable audience in the United States through most of the 1990s. The five albums the group released were produced by Teddy Riley,Marley MarlDJ Premier, his cousin Pete Rock, and Eddie F.[4]


Myers was born in Mandeville, Middlesex, Jamaica, the son of nurse Eulahlee Lee and machine technician Clifford Vincent Myers.[5] In the early 1970s, his family moved to Mount Vernon, New York,[6] where he was raised. In an interview, his mother stated that he spent most of his childhood hanging out with his brother Floyd and his childhood friend Mo.[7]

Heavy D & the Boyz were the first group signed to Uptown Records, with Heavy D as the frontman and only rapper. Eddie Fwas his business partner in the group, DJ, and one of the producers. The other two members, T-Roy and G-Wiz were the dancers. Their debut, Living Large, was released in 1987. The album was a commercial success; Big Tyme was a breakthrough that included four hits. “Trouble T. Roy” died at age 22 in a fall on July 15, 1990, in Indianapolis. Dixon’s death led to a tribute on the follow-up platinum album, Peaceful JourneyPete Rock & CL Smooth created a tribute to Trouble T. Roy called “They Reminisce Over You (T.R.O.Y.)” which is regarded as a hip hop classic.[4]

In 1989 Heavy D performed a guest rapon Janet Jackson‘s hit single “Alright“. It and Blondie‘s “Rapture“, recorded in 1980, were notably the first pop singles to feature a rapper, setting the trend for future hip-hop and pop collaborations.[8]It was also the highest peaking song which he had performed on in theBillboard Hot 100.[9] In 1992 he appeared on Michael Jackson‘s single “Jam“. He gained even more fame by singing the theme song for thetelevision program In Living Color and also MADtv. Heavy D then began focusing on his acting, appearing in various television shows before returning to the music charts with Nuttin’ But Love. After appearing in the off-Broadway play Riff Raff at Circle Repertory Company, Heavy D returned to recording with the hit Waterbed Hev.[4] In 1997, Heavy D collaborated with B.B. King on his duets album Deuces Wild, rapping in the song “Keep It Coming”. Heavy D was referred to in the song “Juicy” by the Notorious B.I.G., and appeared in his music video for “One More Chance“.

While still an artist at Uptown Records, Myers was instrumental in convincingAndre Harrell to originally hire Sean “Diddy” Combs for his first music business gig as an intern. In the early 90s, he is also credited for convincingAndre Harell to sign Jodeci. Then, also to his credit, in the mid-1990s, Myers became the first rapper to head a major music label when he became the president of Uptown Records. During this time, Myers also developed the boy band Soul for Real, and was the executive producer and principal writer of several songs on the group’s breakout album, Candy Rain.[10] He later became senior vice president atUniversal Music.[11]

He fathered a daughter in 2000 during a relationship with chef Antonia Lofaso, a contestant on the fourth season of Top Chef.[12]

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Posted by on March 20, 2017 in music, other



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