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A Message from the People
produced by Ray Charles, 1930-2004; performed by Ray Charles, 1930-2004 (Concord, 2009), 39 mins, 10 page(s)
Sample
produced by Ray Charles, 1930-2004; performed by Ray Charles, 1930-2004 (Concord, 2009), 39 mins, 10 page(s)
Date Written / Recorded
1972
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Ray Charles, 1930-2004
Contributor
Ray Charles, 1930-2004
Author / Creator
Ray Charles, 1930-2004
Date Published / Released
2009
Publisher
Concord
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Can't Get Enough of Your Love
performed by Leigh Jones, Bryant P. Siono, Norman Jackson, fl. 2014, Mano Hanes, Danny Rodriguez, 1967-1990, Kerry Gordy, 1959-, Lorenzo Pryor, fl. 1992, Bobby Rodriguez, fl. 1999, Jimmy de Julio, Raymond Crossley, fl. 1994-1996 and Chazzy Green; in Leigh Jones: Music in My Soul (Peak, 2008), 4 mins
Leigh Jones has been quoted as saying that along the way, she encountered various producers who didn't see her the way she saw herself. One producer, according to Jones, envisioned her as an alternative rock singer; others wanted her to emulate Britney Spears. But listening to her promising debut album, Music in M...
Sample
performed by Leigh Jones, Bryant P. Siono, Norman Jackson, fl. 2014, Mano Hanes, Danny Rodriguez, 1967-1990, Kerry Gordy, 1959-, Lorenzo Pryor, fl. 1992, Bobby Rodriguez, fl. 1999, Jimmy de Julio, Raymond Crossley, fl. 1994-1996 and Chazzy Green; in Leigh Jones: Music in My Soul (Peak, 2008), 4 mins
Description
Leigh Jones has been quoted as saying that along the way, she encountered various producers who didn't see her the way she saw herself. One producer, according to Jones, envisioned her as an alternative rock singer; others wanted her to emulate Britney Spears. But listening to her promising debut album, Music in My Soul, it isn't hard to figure out what really makes Jones tick: she is a jazzy neo-soul singer along the lines of Jill Scott and Eryk...
Leigh Jones has been quoted as saying that along the way, she encountered various producers who didn't see her the way she saw herself. One producer, according to Jones, envisioned her as an alternative rock singer; others wanted her to emulate Britney Spears. But listening to her promising debut album, Music in My Soul, it isn't hard to figure out what really makes Jones tick: she is a jazzy neo-soul singer along the lines of Jill Scott and Erykah Badu (with hints of Teena Marie at times). R&B is the main ingredient on this 2008 release, but jazz is definitely an influence on memorable tracks such as "Sick of Fools," "Same Game," "Cold in L.A.," and "Music." And even though Music in My Soul isn't jazz per se, Jones clearly has a healthy appreciation of jazz and has the vocal chops to record a straight-ahead jazz album should she ever decide to do so. But then, one hopes the expressive Jones will always have a strong R&B connection because R&B works pleasingly well for her; it's a good thing she didn't let anyone turn her into a knee-jerk Britney Spears clone. Most of the songs on this 49-minute CD were co-produced by Kerry Gordy, son of Motown Records founder Berry Gordy; an exception is Jones' cover of DeBarge's 1980s hit "All My Love," which is the album's least memorable track and sounds like it was recorded with smooth jazz/NAC radio stations in mind. Unlike the rest of the disc, Jones' "All My Love" cover comes across as somewhat mechanical. But most of Jones' performances on Music in My Soul sound genuinely heartfelt, and 90 percent of the time, this is an excellent debut from the Los Angeles-based neo-soul singer. ~ Alex Henderson, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Leigh Jones, Bryant P. Siono, Norman Jackson, fl. 2014, Mano Hanes, Danny Rodriguez, 1967-1990, Kerry Gordy, 1959-, Lorenzo Pryor, fl. 1992, Bobby Rodriguez, fl. 1999, Jimmy de Julio, Raymond Crossley, fl. 1994-1996, Chazzy Green
Author / Creator
Leigh Jones, Bryant P. Siono, Norman Jackson, fl. 2014, Mano Hanes, Danny Rodriguez, 1967-1990, Kerry Gordy, 1959-, Lorenzo Pryor, fl. 1992, Bobby Rodriguez, fl. 1999, Jimmy de Julio, Raymond Crossley, fl. 1994-1996, Chazzy Green
Date Published / Released
2008
Publisher
Peak
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Chante Moore: Love the Woman
performed by Chante Moore, Baby Dubb, 1975-, Robert Ozuna, Jr., fl. 2000, Shelea Frazier, fl. 2006, Curt Bisquera, George Duke, 1946-2013, Ray Fuller, John Jubu Smith, Brian Bromberg, Vinnie Colaiuta, 1956-, Jamey Jaz, fl. 1990, Joey de Leon, Jr. and Jan Fairchild, fl. 1996 (Peak, 2008), 46 mins, 12 page(s)
Following two Top Ten R&B albums with husband Kenny Lattimore, Chanté Moore goes alone for the first time since 2000's Exposed. Her fifth solo album, Love the Woman, won't catch anyone off guard, especially those who heard the Moore/Lattimore albums. It sounds like a natural extension of Exposed, in fact, even th...
Sample
performed by Chante Moore, Baby Dubb, 1975-, Robert Ozuna, Jr., fl. 2000, Shelea Frazier, fl. 2006, Curt Bisquera, George Duke, 1946-2013, Ray Fuller, John Jubu Smith, Brian Bromberg, Vinnie Colaiuta, 1956-, Jamey Jaz, fl. 1990, Joey de Leon, Jr. and Jan Fairchild, fl. 1996 (Peak, 2008), 46 mins, 12 page(s)
Description
Following two Top Ten R&B albums with husband Kenny Lattimore, Chanté Moore goes alone for the first time since 2000's Exposed. Her fifth solo album, Love the Woman, won't catch anyone off guard, especially those who heard the Moore/Lattimore albums. It sounds like a natural extension of Exposed, in fact, even though it clearly had a lower production budget (she's now on an independent) and is not aiming at the pop chart; while Tim & Bob, "Trick...
Following two Top Ten R&B albums with husband Kenny Lattimore, Chanté Moore goes alone for the first time since 2000's Exposed. Her fifth solo album, Love the Woman, won't catch anyone off guard, especially those who heard the Moore/Lattimore albums. It sounds like a natural extension of Exposed, in fact, even though it clearly had a lower production budget (she's now on an independent) and is not aiming at the pop chart; while Tim & Bob, "Tricky" Stewart, Bryan-Michael Cox, and Jermaine Dupri collaborated on Exposed, the names here -- like George Duke and Raphael Saadiq -- aren't quite as mainstream-oriented. Moore switches between directly addressing issues within mature relationships and reflective material that is often closer to life coaching than soul searching. There's enough space left for some seduction, too, but since many of the slow-pulse productions run together, with little to distinguish themselves from one another, it can take a couple listens to grasp which is which. It doesn't help that the only truly uptempo track, "Can't Do It," does not fit into this smooth and polished set in any way, with its vinyl crackle, overbearing horn blurts, touches of unnecessary vocal effects, and lyrics Moore does not seem to be feeling all that much. ~ Andy Kellman, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Chante Moore, Baby Dubb, 1975-, Robert Ozuna, Jr., fl. 2000, Shelea Frazier, fl. 2006, Curt Bisquera, George Duke, 1946-2013, Ray Fuller, John Jubu Smith, Brian Bromberg, Vinnie Colaiuta, 1956-, Jamey Jaz, fl. 1990, Joey de Leon, Jr., Jan Fairchild, fl. 1996
Author / Creator
Chante Moore, Baby Dubb, 1975-, Robert Ozuna, Jr., fl. 2000, Shelea Frazier, fl. 2006, Curt Bisquera, George Duke, 1946-2013, Ray Fuller, John Jubu Smith, Brian Bromberg, Vinnie Colaiuta, 1956-, Jamey Jaz, fl. 1990, Joey de Leon, Jr., Jan Fairchild, fl. 1996
Date Published / Released
2008
Publisher
Peak
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Stax Profiles: Johnnie Taylor
produced by Huey Lewis, 1950-; performed by Johnnie Taylor, 1934-2000 (Stax Records, 2006), 53 mins
Sample
produced by Huey Lewis, 1950-; performed by Johnnie Taylor, 1934-2000 (Stax Records, 2006), 53 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Johnnie Taylor, 1934-2000
Contributor
Joe Tarantino, fl. 1961, Huey Lewis, 1950-
Author / Creator
Johnnie Taylor, 1934-2000
Date Published / Released
2006
Publisher
Stax Records
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State of My Heart
LaToya London had a real good girl image while she was a finalist during the third season of {#American Idol}. She was always perceived as strong, matronly, poised, and collected. At the time, she was married and had two stepchildren. Shortly after her fourth place finish on the show, she separated from her husban...
Sample
Description
LaToya London had a real good girl image while she was a finalist during the third season of {#American Idol}. She was always perceived as strong, matronly, poised, and collected. At the time, she was married and had two stepchildren. Shortly after her fourth place finish on the show, she separated from her husband and her good girl image, as evidence on her debut album Love and Life on Peak Records. As expected, London still sounds amazing. Her...
LaToya London had a real good girl image while she was a finalist during the third season of {#American Idol}. She was always perceived as strong, matronly, poised, and collected. At the time, she was married and had two stepchildren. Shortly after her fourth place finish on the show, she separated from her husband and her good girl image, as evidence on her debut album Love and Life on Peak Records. As expected, London still sounds amazing. Her vocals were consistently the strongest during her run on the show, and the album's vocals are no exceptions. Every power note is delivered with conviction, and every smooth, soft sound is crooned flawlessly. The only concern with the album is more the content itself. It borders on X-rated at points. Lines in "Waiting for You" and "Practice Makes Perfect" contain lyrics that are too inappropriate to even publish. In addition, the central focus of this album is sex. For a woman who made her fame on a family show, this style choice seems really risky. However, the impressive team of producers that London has chosen to work with have made a really smooth album that falls somewhere between an Ashanti release and a Jill Scott piece. London has a strong collection of hits that would appeal to different branches of the R&B/soul market. The lead single, "Appreciate" is a power single, complete with terrifically catchy beats, and a well placed rap by Black Thought from the Roots. The ballad portion of the album, especially considering London's decision to sing ballads continuously during the show, is rather paltry. What's really unfortunate is that the ballads are strong and impressive. "State of My Heart" is a poignant piece where London has never sounded better, even more so than on the show. Unfortunately, she has simply made some mistakes as an artist. By taking a sexually charged approach to R&B, she has lost many of the fans who supported her along the way, and her songwriting skills are not strong. London has co-written four tracks on the album, but they are four of the weaker tracks here. The highlight of the album comes right at the end, with "All by Myself," the Celine Dion ballad that first garnered attention for London. Perhaps this should send a message to London, that trying something different isn't always the way to go. In the very least, she sounds nice singing the inappropriate material. ~ Matthew Chisling, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
LaToya London
Author / Creator
LaToya London
Date Published / Released
2005
Publisher
Peak
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Big Mama Thornton with the Muddy Waters Blues Band - 1966
produced by Chris Strachwitz, 1931-; performed by Big Mama Thornton, 1926-1984, Muddy Waters' Blues Band (Arhoolie Records, 2004), 1 hour 4 mins
Sample
produced by Chris Strachwitz, 1931-; performed by Big Mama Thornton, 1926-1984, Muddy Waters' Blues Band (Arhoolie Records, 2004), 1 hour 4 mins
Date Written / Recorded
1966-04-25
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Muddy Waters' Blues Band, Big Mama Thornton, 1926-1984
Contributor
Chris Strachwitz, 1931-
Author / Creator
Muddy Waters' Blues Band, Big Mama Thornton, 1926-1984
Date Published / Released
2004
Publisher
Arhoolie Records
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Cannonball Shuffle
performed by Robben Ford, 1951-, Steve Potts, Jimmy Earl, 1957- and Bob Malach, 1954-; in Robben Ford: Keep on Running (Concord, 2003), 5 mins
On his second album for the Concord Jazz label, guitarist Robben Ford stays pretty much to the formula of Blue Moon from 2001. He concentrates on playing, singing, and covering great songs (and even writes a few) with interesting arrangements, inspired solos, and crisp, clean production that lets the song shine th...
Sample
performed by Robben Ford, 1951-, Steve Potts, Jimmy Earl, 1957- and Bob Malach, 1954-; in Robben Ford: Keep on Running (Concord, 2003), 5 mins
Description
On his second album for the Concord Jazz label, guitarist Robben Ford stays pretty much to the formula of Blue Moon from 2001. He concentrates on playing, singing, and covering great songs (and even writes a few) with interesting arrangements, inspired solos, and crisp, clean production that lets the song shine through the players. Much has been made of Ford's eclecticism and that is reflected in his choice of material here, though he never stray...
On his second album for the Concord Jazz label, guitarist Robben Ford stays pretty much to the formula of Blue Moon from 2001. He concentrates on playing, singing, and covering great songs (and even writes a few) with interesting arrangements, inspired solos, and crisp, clean production that lets the song shine through the players. Much has been made of Ford's eclecticism and that is reflected in his choice of material here, though he never strays from the blues or R&B into jazz or fusion. Ford's selection of session players reflects his divergent interests as well: Edgar Winter appears on saxophone, while John Mayall and Ivan Neville guest along with horn bosses Bob Malach and Dan Fornero and Ford's road band. Opening the set with the title track, written by soul man Jackie Edwards, Ford lays out his formula immediately: a tight horn chart for tenor and baritone saxes, as well as trumpet; a crystal clear, expressive vocal delivery; and Ford's signature stinging guitar in the solo break lifts proceedings off on the up tip. The funky read of the Al Perkins/Otis Rush jam "Homework" features some blistering yet tasteful guitar work and a soulful vocal from Ford. But the two covers that proceed immediately thereafter through the entire album into the winds: first there is a beautiful and reverent version of "Badge" by Eric Clapton and Ford's former boss George Harrison as a tribute to the late guitarist, and a radical read of Nick Lowe's classic "(What's So Funny 'Bout) Peace, Love & Understanding" with Mavis Staples singing a duet vocal.
First there is the strange intro, a direct quote from Clapton's "Wonderful Tonight," then there is the slow, shuffling reggae in the main body of the tune while retaining the melody. It is unsettling, to say the least, with only Ivan Neville's chunking chords on the electric piano keeping some of the tune dirty and immediate. But despite its different read, it is full of depth and dimension. The song almost becomes a prayer with Staples echoing each line and Ford sticking very emotionally close to the lyric. Other standouts on this set include Ford's tribute to Freddie King, "Cannonball Shuffle," the lone instrumental on the set; the Gamble & Huff redo "For the Love of Money," with a killer backing chorus of Neville, Terry Evans, and Ray Williams; and the funky, midnight broken-hearted blues of "Bonnie," written with Bonnie Hayes. Ford's been on the scene a long time, made a lot of great music, and has confused his fans and detractors alike. But this role, that of the amiable, street-savvy urban bluesman seems to suit him best judging by Blue Moon first and Keep on Running, but Keep on Running is even more convincing, being so consistently presented and wonderfully, soulfully wrought. ~ Thom Jurek, All Music Guide Show more Show less
First there is the strange intro, a direct quote from Clapton's "Wonderful Tonight," then there is the slow, shuffling reggae in the main body of the tune while retaining the melody. It is unsettling, to say the least, with only Ivan Neville's chunking chords on the electric piano keeping some of the tune dirty and immediate. But despite its different read, it is full of depth and dimension. The song almost becomes a prayer with Staples echoing each line and Ford sticking very emotionally close to the lyric. Other standouts on this set include Ford's tribute to Freddie King, "Cannonball Shuffle," the lone instrumental on the set; the Gamble & Huff redo "For the Love of Money," with a killer backing chorus of Neville, Terry Evans, and Ray Williams; and the funky, midnight broken-hearted blues of "Bonnie," written with Bonnie Hayes. Ford's been on the scene a long time, made a lot of great music, and has confused his fans and detractors alike. But this role, that of the amiable, street-savvy urban bluesman seems to suit him best judging by Blue Moon first and Keep on Running, but Keep on Running is even more convincing, being so consistently presented and wonderfully, soulfully wrought. ~ Thom Jurek, All Music Guide Show more Show less
Date Written / Recorded
2003-06
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Robben Ford, 1951-, Steve Potts, Jimmy Earl, 1957-, Bob Malach, 1954-
Author / Creator
Robben Ford, 1951-, Steve Potts, Jimmy Earl, 1957-, Bob Malach, 1954-
Date Published / Released
2003
Publisher
Concord
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Johnny Shines: Heritage of the Blues
produced by Pete Welding and Bruce Bromberg, 1941-; performed by Johnny Shines, 1915-1992 (Hightone Records, 2003), 37 mins, 12 page(s)
Sample
produced by Pete Welding and Bruce Bromberg, 1941-; performed by Johnny Shines, 1915-1992 (Hightone Records, 2003), 37 mins, 12 page(s)
Date Written / Recorded
1970-11
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Johnny Shines, 1915-1992
Contributor
Pete Welding, Bruce Bromberg, 1941-
Author / Creator
Johnny Shines, 1915-1992
Date Published / Released
2003
Publisher
Hightone Records
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Robert Cray: Heritage of the Blue
produced by Bruce Bromberg, 1941-; performed by Robert Cray, 1953- (Hightone Records, 2003), 48 mins, 12 page(s)
Sample
produced by Bruce Bromberg, 1941-; performed by Robert Cray, 1953- (Hightone Records, 2003), 48 mins, 12 page(s)
Date Written / Recorded
1983
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Robert Cray, 1953-
Contributor
Bill Dashiell, Bruce Bromberg, 1941-
Author / Creator
Robert Cray, 1953-
Date Published / Released
2003-10-28
Publisher
Hightone Records
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Specialty Records Greatest Hits
produced by Art Rupe, 1917- and Robert Alexander Blackwell, 1918-1985 (Specialty Records, 2001), 54 mins
Sample
produced by Art Rupe, 1917- and Robert Alexander Blackwell, 1918-1985 (Specialty Records, 2001), 54 mins
Field of Study
American Music
Content Type
Music recording
Contributor
Art Rupe, 1917-, Robert Alexander Blackwell, 1918-1985
Date Published / Released
2001
Publisher
Specialty Records
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