User:Design/sandbox
J.J. Cale albums
- 1979 5
- 1981 Shades
- 1982 Grasshopper
- 1983 #8
- 1990 Travel-Log
- 1992 Number 10
- 1994 Closer to You
- 1996 Guitar Man
- 2004 To Tulsa and Back
- 2006 The Road to Escondido - J.J. Cale and Eric Clapton
- 2007 Rewind: The Unreleased Recordings
- 2009 Roll On
- 2014 The Breeze: An Appreciation of JJ Cale - Eric Clapton and Friends
Les Élémens (Rebel)[edit]
Les Élémens, simphonie nouvelle is a ballet composed for instrumental ensemble in 1737 and 1738 by Jean-Féry Rebel.
Composition[edit]
The theme of the ballet was most likely inspired by the ballet-opera Les élémens, which Rebel conducted in 1721.
The work consists of ten movements.
"Le cahos" or chaos. This 127-bar prologue is an undanced instrumental piece. "Le cahos" is divided into seven parts referring to the seven days of Creation (Bible). The first chaos, marked "très lent", begins with a dissonant tone cluster which includes all the notes of the D harmonic minor scale (D, E, F, G, A, B♭, C♯), which is held for two measures by the strings, the bassoon and the harpsichord, in dynamics indicated "fort" and "strong" (also known as a decrescendo), followed by a silence. This chord is held in the following bars with rhythmic acceleration of Quarter note, Eighth note, and Sixteenth note, with a high A held by the Piccolo at the end of the 3rd measure. Four themes are presented in the second chaos: "l’eau" (water) in the flutes, represented by a descending melodic movement, which then ascends gradually in regular joint values; "l'air" (air) in the piccolos, represented by a high B♭ Trill (music). This occurs at the same time as "le feu" (fire) in the violins, represented by high jerks. The last theme of the second chaos is "la terre", in the bass instruments, represented in the following measure by long notes. These themes are developed in the following chaoses. The shorter seventh chaos is generally more peaceful, without the harmonic and rhythmic irregularities of previous chaos; it ends with a long Cadence music in D major.[1]
The rest of the symphony comprises dances and pieces of varied instrumentation, from 2 to 5 parts, including horns and oboes, in which the elements are evoked without the harmonic audacity of the introduction.
Instrumentation[edit]
The engraved edition is presented as a reduction comprising two parts for violins, two for flutes and a bass, but includes indications allowing richer instrumentation. A score and handwritten separate parts that were probably used in the performance indicate the participation of Bassoon, Hunting horn, Oboe, and a Double bass. Certain passages are played by piccolos. Parts of trumpets and horns are given for the finale (caprice) of the symphony.
This first edition is preceded by an introduction, Warning, in which the composer describes his approach.
"The elements painted in dance and in music seemed to me susceptible of a pleasant variety, as much in relation to the different genres of music as in relation to the dancers. The introduction to this symphony was natural, It was Le cahos even, this confusion which reigned between the Elements before the moment when subjected to invariable laws they took the place which is prescribed to them in the order of nature. To designate, in this confusion, each element in particular I used the most popular conventions. The bass expresses the earth through notes linked together and which are played by jerks. The Flutes, by lines of song, which go up and down, imitate the course and the murmur of the water. The air is painted by outfits followed by cadences that form the small flutes. Finally, the violins, in lively and brilliant lines, represent the activity of fire. These distinctive characters are recognized, separated or confused, in whole or in part, in the various occasions, which I call by the name of Cahos and which mark the efforts which the Elemen make to get rid of each other. In the 7th cahos, these efforts decrease in proportion as the entire resourcefulness approaches. This first idea took me further. I dared to undertake to join to the idea of the confusion of the elements of Harmony. I hazarded to hear first all the sounds mixed together or rather all the notes of the Octave united in a single sound. These notes then develop while going up in Unison in the progression which is natural for them, and, after a Dissonance, one hears the perfect chord. I finally believed that this would make the Cahos of harmony even better, if by walking through the different Cahos on different strings, I could without shocking the ear, make the final tone indecisive, until he returned determined at the time of the final examination."}}[2]
Performances[edit]
The work was performed with dancers on September 27, 1737, without "Le cahos".
"Le chaos" was performed by the oyal Academy of Music, alone and not danced, on the 17th and 22nd March 1738, following sung pieces by other composers. According to the brief report of the Mercure de France of March 1739, the harmonic daring of the composition does not seem to have repelled the audience: "The Royal Academy of Music gave two performances of the Cadmus Opera [...] and the Cahos of Sr Rebel, the father, who passes from the admission of the most Connoisseurs, to one of the most beautiful pieces of Symphony there is of its kind".[3]
"Le chaos" and excerpts from Les Élémens were again played in a concert in July 1740.[4]
After two centuries of obscurity, the ballet was performed in 1950 on a choreography by Serge Lifar by an orchestra conducted by Roger Désormière[5]. Since then, the symphony has been periodically performed in instrumental versions by baroque ensembles and symphony orchestras.
References[edit]
- ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. pp. 114–118.
- ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 107.
- ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 105.
- ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 137.
- ^ https://data.bnf.fr/fr/44292246/les_elements_spectacle_1950/
MPL[edit]
In 1976 MPL bought the rights to Buddy Holly's compositions[1][2], and in 2003 the rights to Carl Perkins' works.[3] The Holly acquisition was followed by McCartney's launch of 'Buddy Holly Day' with a concert presented annually from 1976 to 1999. Additionally, MPL has acquired rights to some other cover songs recorded by the Beatles, and solo recordings by John Lennon, Paul McCartney, Ringo Starr, and Denny Laine as follows:
- Buddy Holly's "Words of Love" (Beatles for Sale, 1964), "Crying, Waiting, Hoping" (Live at the BBC, 1994), "That'll Be the Day" (Anthology 1, 1995), "Peggy Sue" (Lennon's Rock 'n' Roll, 1975), and Denny Laine's Holly Days (1976).[4][5]
- Carl Perkins' "Everybody's Trying to Be My Baby" and "Honey Don't" (Beatles for Sale, 1964)", Matchbox" (Long Tall Sally EP, 1964, and Past Masters, 1988), "Sure to Fall" (Live at the BBC, 1994, and Ringo's Stop and Smell the Roses, 1981), Blue Suede Shoes" (Anthology 3 1996, and Lennon's Live Peace in Toronto, 1969).
- Other titles:
- "Twist and Shout" (Please Please Me, 1963),
- "Till There Was You" (With the Beatles, 1963),
- "Ain't She Sweet" (Anthology 1, 1995, Anthology 3, 1996, and the John Lennon Anthology, 1998)
- "Sentimental Journey" (Ringo's Sentimental Journey, 1970)
- "Blue, Turning Grey Over You" (Ringo's Sentimental Journey, 1970)
- "Blue Christmas" (Ringo's I Wanna Be Santa Claus, 1999)
- ^ "PAUL MCCARTNEY PICTURED CRICKETS DURING BUDDY Editorial Stock Photo - Stock Image".
- ^ Sanjek, t. l. R. (1988). American Popular Music and Its Business: The First Four Hundred Years, Volume III: From 1900-1984. United States: Oxford University Press. p.539
- ^ "McCartney buys rights to Carl Perkins' catalogue". ABC News. 4 April 2003.
- ^ "Holly Days - Denny Laine | Songs, Reviews, Credits | AllMusic". AllMusic.
- ^ Madinger, C., Easter, M. (2000). Eight Arms to Hold You: The Solo Beatles Compendium. United States: 44.1 Productions.
Sources[edit]
MPL Communications music search
Test Thomas Kilpatrick[1]
Calvin "Fuzzy" Samuel[edit]
Calvin Samuel,[2] known as Calvin "Fuzzy" Samuel, is an Antiguan-born musician best known for his bass playing in the 1970s with Stephen Stills, Manassas, Crosby, Stills, Nash and Young, and others. He has often been credited as "Samuels", with an "s" added to his surname.
Design/sandbox | |
|---|---|
 Calvin Samuel in 1972 | |
| Background information | |
| Born | September 24, 1947[3] Antigua |
| Occupation(s) | musician |
| Instrument(s) | bass |
| Years active | 1970s - present |
| Website | calvinfuzzsamuel |
Biography[edit]
Born in Antigua, in the West Indies, in 1947, Samuel relocated to London, U.K. as a child. Self-taught on bass, through the 1960s Samuel toured and recorded with a series of groups which included other West Indian musicians. In 1965 he played in Blue-Ace-Unit with Junior Marvin.[4] In 1966 he joined Joe E. Young & The Toniks (with drummer Conrad Isidore and vocalist Colin Young) who recorded the album Soul Buster!, with Them's producer Tommy Scott.[5][6]
In 1968 Samuel, Isidore and guitarist/singer Wendell Richardson formed the psychedelic rock/soul trio The Sundae Times, and recorded an album of original songs, Us Coloured Kids, produced by their friend Eddy Grant of The Equals.[7] One single "Aba-Aba” was a hit in Israel.
Subsequently Marvin joined reggae group The Wailers, Young joined pop group The Foundations, and Richardson became a founding member of the Afro-rock group Osibisa.[8]
In late 1969 or early '70 Samuel met American singer-songwriter Stephen Stills in London. At Island Studios in January 1970 they began recording for Stills' first solo album, which includes the hit single "Love the One You're With", and personnel including Jimi Hendrix and Samuel's friend Isidore.
Relocating to the US, Samuel became the bassist for Crosby, Stills, Nash and Young and immediately took part in the studio recording of their protest song "Ohio", recorded in May 1970. After touring with CSNY, he became a founding member of Stills' super-group, Manassas, a band which brought together rock, folk, blues, country and Latin rhythms. He appears on CSNY's live album 4 Way Street (1971) and other recordings by Stills, Nash, and Crosby.
From the 1970s, through to the '90s, Samuel worked with musicians in the UK and US including Rita Coolidge, Dr. John, Marianne Faithfull, America, Alvin Lee, Steve Winwood, Mick Taylor,[9] Kevin Ayers, and Taj Mahal.[10] His long friendship with Taj resulted in his bass playing on the Grammy-nominated album Mule Bone (1991).
Samuel has recorded under his own name from the 1990s onwards, singing and playing bass, bouzouki, and guitar. He's released albums including This Train Still Runs, Love Don't Taste Like Chicken (1999)[11]and Island Breeze (2012).[12]
Personal life[edit]
In the 1970s Samuels was in a relationship with vocalist P.P. Arnold.[13] Their son Kodzo Samuel is a musical director for Jessie J and Jess Glynne.[14] He is credited as a songwriter on Arnold's 2019 album, The New Adventures of... P.P. Arnold .[15]
Samuel also has child with his wife, Andrani.
References[edit]
- ^ https://www.ascap.com/repertory#/ace/search/writer/Thomas%20Kilpatrick/performer/Them?searchFilter=SVW&page=1
- ^ https://www.ascap.com/repertory#/ace/writer/345157172/SAMUEL%20CALVIN%20'FUZZ'
- ^ "Neil Young News: Calvin "Fuzzy" Samuel Celebrates His 70th Birthday".
- ^ "Artist Profiles: Junior Marvin | World Music Central". 28 September 2018.
- ^ "Joe e. Young & the Toniks - Soul Buster". Discogs.
- ^ "Joe e Young & the Toniks | Garage Hangover".
- ^ "Sundae Times". Discogs.
- ^ "Wendel Richardson Songs, Albums, Reviews, Bio & More". AllMusic.
- ^ "Rolling Their Own".
- ^ "Calvin "Fuzzy" Samuels". Discogs.
- ^ "Calvin "Fuzzy" Samuels". Discogs.
- ^ "Fuzzy Samuel (CSN&Y, Manassas)". 21 August 2020.
- ^ Simone, Michael. "An Interview With PP Arnold". RogerWaters.org. Archived from the original on March 4, 2016. Retrieved 24 September 2015.
- ^ Lester, Paul (2016-07-23). "Where are they now...? Singer PP Arnold". Express.co.uk.
- ^ Sexton, Paul (2019-05-16). "PP Arnold's Soulful Showcase Of Upcoming 'New Adventures' Album". uDiscover Music.
Yvonne Wright Biography[edit]
Yvonne Lowrene Wright-Willis was born in Harlem, in New York City to Harry Wright and Margaret Williams in 1951. Wright's mother Margaret was briefly a member of the dance troupe, Whitey's Lindy Hoppers.
As a child Wright sang in her church choir where she and her older sister Adele were given solos on pieces like James Cleveland's "Two Wings". As a teen Wright and her friends formed vocal groups the Diamonds and the Velveteens. While still a teenager, she performed "Moon River" at Amateur Night at the Apollo Theater and was enlisted to sing background for Wilson Pickett on that same stage. Always a prolific writer, she met Stevie Wonder in the early 1970s and collaborated with him as a songwriter over four albums from 1972 to '79. She received a platinum record for her work on the album Fulfillingness' First Finale (1974), which also earned a Grammy Album of the Year.
Wright also sang background vocals on Minnie Riperton's "Edge Of A Dream", from Riperton's 1974 breakthrough album Perfect Angel, produced by Stevie Wonder.
Wright also did extensive stage work in the '70s and early '80s. In 1975, she performed in a touring production of Hair in Spain. She sang background vocals for Lou Rawls and Millie Jackson. She was a featured vocalist in touring lineups for the Chantels and the Marvelettes, as well as on numerous recordings.
Later in life she returned to study in Dallas, Texas and earned a BSc and her MS in Special Education.
Selective discography Tommy Scott[edit]
Phil Solomon Major Minor Records Artie Scott Orchestra, The Plaid Pops Orchestra, Pat Campbell, Lena Zavaroni, Dubliners, Sydney Devine, Twink,
Singles[edit]
| Year | Song Title | Artist | Singles Chart | Writer(s) | Producer(s) |
|---|---|---|---|---|---|
| 1964 | "Who Will It Be" c/w "If It's Me That You Want" |
Tommy Scott | Les Vandyke B-side: Scott |
Michael Barclay | |
| 1964 | "Boys Cry” | Eden Kane | UK #8 | Scott, Buddy Kaye | Les Reed |
| 1964 | "Beneath the Willow Tree" (B-side of "Wouldn't Trade You for the World") |
The Bachelors | UK #4, US #69 | Scott, Bill Martin. | Dick Rowe |
| 1964 | "Oh, Samuel Don’t Die" (B-side of "No Arms Can Ever Hold You") |
The Bachelors | UK #7, US #27 | Scott, Martin | Noel Walker |
| 1964 | "Terry" | Twinkle | UK #4 | Twinkle | Scott |
| 1965 | "Golden Lights” | Twinkle | UK #21 | Twinkle | Scott |
| 1965 | "All For Myself" (B-side of "Here Comes the Night") |
Them | UK #2, US #24 | Van Morrison | Scott |
| 1965 | "Mystic Eyes" | Them | US #33 | Van Morrison | Scott |
| 1966 | "I Can Only Give You Everything" | Them | Scott, Phil Coulter | Scott | |
| 1966 | "Call My Name" | Them | Scott | Scott | |
| 1966 | "Richard Cory" c/w "Don't You Know" |
Them | Paul Simon B-side: Scott |
Scott | |
| 1966 | "Boys Cry" c/w "I Can Only Give You Everything" |
Tommy Scott | Scott, Kaye B-side: Scott, Coulter |
Michael Barclay | |
| 1966 | "Beautiful Dreams" | Twiggy | Scott, Peter Law | Scott | |
| 1967 | "Oh How I Miss You" | The Bachelors | UK #30 | Scott | Scott |
| 1967 | "Seven Drunken Nights" | The Dubliners | UK #7, IRE #1 | Arr. The Dubliners | Scott |
| 1967 | "The Black Velvet Band" | The Dubliners | UK #15, IRE #4 | Arr. The Dubliners | Scott |
| 1967 | "All For Me Grog" | The Dubliners | IRE #10 | Arr. The Dubliners | Scott |
| 1967 | "Maids When You're Young" | The Dubliners | UK #43, IRE #11 | Arr. The Dubliners | Scott |
| 1967 | "I Can Only Give You Everything" | MC5 | Scott, Coulter | ||
| 1968 | "Dirty Old Town" | The Dubliners | UK #43, IRE #10 | Ewan MacColl | Scott |
| 1968 | "May I Have The Next Dream With You" | Malcolm Roberts | UK #8 | Charles & Harry Tobias | Scott |
| 1969 | "Love Is All" | Malcolm Roberts | UK #12, US #40 | Les Reed, Barry Mason |
Scott |
| 1969 | "Nobody's Child" c/w "Oh How I Miss You" |
Karen Young | UK #6 | Cy Coben, Mel Foree B-side: Scott |
Scott |
| 1969 | "The Deal" c/w "The Mission" |
Pat Campbell | UK #31 | D. Miles, K. Herston, B. Prather B-side: Campbell, Scott |
Scott |
| 1974 | "Ma! (He's Making Eyes At Me)" | Lena Zavaroni | UK #10, US #91 | Sidney Clare, Con Conrad |
Scott |
| 1974 | "(You've Got) Personality" c/w "Schools Out" |
Lena Zavaroni | UK #33 | Lloyd Price, Harold Logan B-side: Scott |
Scott |
| 1978 | "Scotland Forever" c/w "The Flower of Scotland" |
Sydney Devine | UK #48 | Scott B-side: Scott |
Scott |
| 1980 | "Tommy Scott's Hop.Scotch Ceilidh Party" | Tommy Scott | Arr. Scott | Scott |
Albums/Album tracks[edit]
| Year | Title | Artist | Albums Chart | Tommy Scott's role |
|---|---|---|---|---|
| 1965 | The Angry Young Them | Them | Produced 10 tracks, wrote 1 | |
| 1966 | Them Again | Them | UK #21, US #138 | Produced all tracks, wrote 4 |
| 1967 | A Drop of the Hard Stuff | The Dubliners | UK #5, IRE #1 | Producer |
| 1967 | More of the Hard Stuff | The Dubliners | UK #8, IRE #1 | Producer |
| 1967 | "I Can Only Give You Everything" (on the album Trogglodynamite) |
The Troggs | UK #10 | Written by Scott/Coulter |
| 1968 | Soul Buster! | Joe E. Young & The Toniks | Producer | |
| 1969 | Nobody's Child | Karen Young | Produced all tracks, wrote 2 | |
| 1974 | Ma! He's Making Eyes At Me | Lena Zavaroni | UK #8 | Produced all tracks, wrote 2 |
| 1975 | The Elephant Song | Kamahl | NED #1, SWE #3 | Scott produced 2 tracks |
| 1975 | If I Give My Heart To You (UK version) |
Kamahl | Produced all tracks, wrote 1 | |
| 1976 | Doubly Devine | Sydney Devine | UK #14 | Produced all tracks, wrote 2 |
| 1976 | Devine Time | Sydney Devine | UK #49 | Produced all tracks, wrote 2 |
| 1979 | "I Can Only Give You Everything" (on the album Live) |
Little Bob Story | Written by Scott/Coulter | |
| 1982 | "I Can Only Give You Everything" (on the album Destiny Street) |
Richard Hell and the Voidoids | Written by Scott/Coulter |
References[edit]
Howie Casey selective discography[edit]
Singles[edit]
| Year | Title | Artist | Chart | Casey's role |
|---|---|---|---|---|
| 1973 | 20th Century Boy | T. Rex | UK#3 | Saxophone |
| 1974 | The Golden Age of Rock 'n' Roll | Mott the Hoople | UK#16 | Saxophone |
| 1974 | Mrs. Vandebilt | Paul McCartney and Wings | NLD#7 | Saxophone solo [1] |
| 1974 | Jet | Paul McCartney and Wings | US#7, UK#7 | Saxophone |
| 1976 | Silly Love Songs | Wings | US#1, UK#2 | Saxophone |
| 1976 | Let 'Em In | Wings | US#3, UK#2 | Saxophone |
| 1979 | Arrow Through Me | Wings | US#29 | Saxophone |
| 1980 | Coming Up | Wings | US#1, UK#2 | Saxophone |
| 1983 | S.O.S. | ABC | UK#39 | Saxophone solo |
| 1987 | When Smokey Sings | ABC | US#5, UK#11 | Saxophone |
Albums[edit]
| Year | Title | Artist | Chart | Casey's role |
|---|---|---|---|---|
| 1962 | Twist at the Top | Howie Casey and the Seniors | - | Band leader, co-writer, saxophone |
| 1963 | Let's Do The Madison, Twist, Locomotion, Slop, Hully Gully, Monkey | The Shakers (aka Kingsize Taylor and the Dominoes) | - | Saxophone |
| 1963 | Live at the Star Club | Kingsize Taylor and the Dominoes[2] | - | Saxophone |
| 1964 | Alex Harvey and His Soul Band | Alex Harvey | - | Saxophone |
| 1971 | The Roy Young Band | Roy Young Band | - | Co-writer, arranger, saxophones |
| 1973 | Tales of Old Grand Daddy | Marcus Hook Roll Band | - | Saxophone |
| 1973 | Rigor Mortis Sets In | John Entwistle | - | Saxophone |
| 1973 | Tanx | T. Rex | UK#4 | Saxophone |
| 1973 | Band on the Run | Paul McCartney and Wings | US#7, UK#9 | Saxophone |
| 1974 | The Hoople | Mott the Hoople | UK#11 | Saxophone |
| 1976 | Wings at the Speed of Sound | Wings | US#1, UK#2 | Saxophone |
| 1976 | Wings Over America | Wings | US#1, UK#8 | Saxophone |
| 1979 | Back to the Egg | Wings | US#8, UK#6 | Saxophone |
| 1981 | Concerts for the People of Kampuchea | Various artists | US#36 | Saxophone with The Who, Wings, Rockestra |
| 1981 | Bucks Fizz | Bucks Fizz | UK#14 | Saxophone |
| 1983 | Japanese Tears | Denny Laine | - | Saxophone |
| 1983 | Beauty Stab | ABC | UK#12 | Saxophones |
| 1987 | Alphabet City | ABC | UK#7 | Saxophone |
Hank Cosby Albums[edit]
| Year | Title | Artist | Chart | Producers |
|---|---|---|---|---|
| 1962 | The Jazz Soul of Little Stevie | Stevie Wonder | - | Clarence Paul, Hank Cosby |
| 1962 | Tribute to Uncle Ray | Stevie Wonder | - | Clarence Paul, Hank Cosby |
| 1965 | With a Song in My Heart | Stevie Wonder | - | Clarence Paul, Mickey Stevenson |
| 1966 | Up-Tight | Stevie Wonder | US#33, UK#14 | Paul, Cosby, Stevenson, Brian Holland, Lamont Dozier |
| 1966 | Down to Earth | Stevie Wonder | US#92 | Clarence Paul, Hank Cosby |
| 1967 | Reach Out | The Four Tops | US#11, UK#4 | Paul, Holland, Dozier, Smokey Robinson |
| 1967 | I Was Made to Love Her | Stevie Wonder | US#45 | Clarence Paul, Hank Cosby |
Richard Morris (songwriter)[edit]
Richard T. Morris[3] is an American songwriter and producer best known for his work with Motown Records in the 1960s.
Career[edit]
In early 1960 Morris heard The Primettes audition for Motown Records. Label owner Berry Gordy Jr. declined to sign the group at that time, and Morris approached them with an offer to record them on another label. He wrote and produced their first single "Tears of Sorrow" on Lu-Pine Records.[4] The Primettes signed to Motown in 1961 and became The Supremes, Motown's most commercially successful act.
In 1995 Morris sued Berry Gordy Jr. and Motown for unpaid royalties. [5]
Morris Selective Discography[edit]
Singles[edit]
| Year | Title | Artist | Chart | Writers | Producers |
|---|---|---|---|---|---|
| 1960 | Tears of Sorrow | The Primettes | - | Richard Morris, Florence Ballard, Diana Ross | 'Hom-Rich' |
| 1966 | Stop Her On Sight (S.O.S.) | Edwin Starr | US#48, UK#11 | Morris, Al Hamilton, Charles Hatcher | Morris, Al Kent (aka Al Hamilton) |
| 1966 | Headline News | Edwin Starr | US#84, UK#39 | Morris, Hamilton, Hatcher | Morris, Kent (arr. Mike Terry) |
| 1967 | Love Bug Leave My Heart Alone | Martha & the Vandellas | US#25 | Sylvia Moy, Richard Morris | Richard Morris |
| 1967 | Honey Chile | Martha & the Vandellas | US#11 | Moy, Morris | Richard Morris |
| 1968 | I Promise to Wait My Love | Martha & the Vandellas | US#62 | Billie-Jean Brown, George Gordy, Margaret J. Gordy, Allen Story |
Richard Morris, Billie-Jean Brown, Henry Cosby |
| 1968 | Sweet Darlin' | Martha & the Vandellas | US#80 | Morris | Richard Morris |
| 1969 | (We've Got) Honey Love | Martha & the Vandellas | US#56 | Moy, Morris | Richard Morris |
| 1971 | Forget Me Not | Martha & the Vandellas | UK#11 | Moy, Morris | Richard Morris |
Albums[edit]
| Year | Title | Artist | Chart | Producers |
|---|---|---|---|---|
| 1968 | Ridin' High | Martha & the Vandellas | US#167 | Richard Morris |
Mike Terry Selective Discography[edit]
Singles[edit]
| Year | Title | Artist | Chart | Mike Terry’s role |
|---|---|---|---|---|
| 1960 | Shop Around | The Miracles | US#2 | Baritone sax[6] |
| 1962 | Boom Boom | John Lee Hooker | US#60[7] | Baritone sax[8] |
| 1963 | Heat Wave | Martha & the Vandellas | US#4[9] | Baritone sax solo[10] |
| 1963 | Quicksand | Martha & the Vandellas | US#8[11] | Baritone sax solo[10] |
| 1963 | You Lost the Sweetest Boy | Mary Wells | US#22 | Baritone sax solo[10] |
| 1964 | Where Did Our Love Go | The Supremes | US#1, CAN#1, UK#3 | Baritone sax solo[10] |
| 1964 | Baby Love | The Supremes | US#1, UK#1 | Baritone sax feature[12][13] |
| 1964 | Come See About Me | The Supremes | US#1, CAN#1 | Baritone sax |
| 1964 | (Just Like) Romeo and Juliet | The Reflections | US#6 | Baritone sax solo |
| 1964 | In My Lonely Room | Martha & the Vandellas | US#6 | Baritone sax solo[14] |
| 1965 | I Can’t Help Myself | The Four Tops | US#1, UK#10 | Baritone sax feature[10] |
| 1965 | It's the Same Old Song | The Four Tops | US#5 | Baritone sax feature[15] |
| 1965 | Stop! In The Name Of Love | The Supremes | US#1, CAN#3, UK#7 | Baritone sax[16] |
| 1965 | Back in My Arms Again | The Supremes | US#1, CAN#1 | Baritone sax feature[17][18] |
| 1965 | I Hear A Symphony | The Supremes | US#1 | Baritone sax solo[19] |
| 1966 | Cool Jerk | The Capitols | US#7, CAN#9 | Arranger[20] |
| 1966 | This Old Heart of Mine | The Isley Brothers | US#12, UK#3 | Baritone sax feature[10] |
| 1966 | Love Is Like an Itching In My Heart | The Supremes | US#9 | Baritone sax feature[14] |
| 1967 | (Your Love Keeps Lifting Me) Higher and Higher | Jackie Wilson | US#6, CAN#2 | Baritone sax[21] |
| 1967 | (I Wanna) Testify | The Parliaments | US#20 | Arranger[22] |
| 1968 | The Horse | Cliff Nobles & Co | US#2 | Baritone sax[10] |
| 1969 | Jealous Kind of Fella | Garland Green | US#20[23] | Arranger, producer[24] |
Albums[edit]
| Year | Title | Artist | Chart | Mike Terry’s role |
|---|---|---|---|---|
| 1963 | Motor-Town Revue Vol. 1: Recorded Live At The Apollo | Various Artists | US#47 | Baritone sax[25] |
| 1964 | Where Did Our Love Go | The Supremes | US#2 | Baritone sax |
| 1965 | More Hits by The Supremes | The Supremes | US#6 | Baritone sax |
| 1965 | Four Tops Second Album | The Four Tops | US#20 | Baritone sax |
| 1966 | I Hear a Symphony | The Supremes | US#8 | Baritone sax |
| 1966 | The Supremes A' Go-Go | The Supremes | US#1, UK#15 | Baritone sax[26] |
| 1969 | The Many Grooves of Barbara Lewis | Barbara Lewis | Arranger[27] | |
| 1975 | Loneliness & Temptation | Clarence Carter | Arranger[28] | |
| 1975 | Bad Luck | Atlanta Disco Band | Writer, Arranger, Musician[29] | |
| 1976 | No Way Back | The Dells | Writer, Arranger, Producer[30] |
References[edit]
- ^ Madinger, Chip; Easter, Mark (2000). Eight Arms To Hold You: The Solo Beatles Compendium. Chesterfield, MO: 44.1 Productions. p. 189.
- ^ "Savoy Records: Kingsize Taylor".
- ^ "BMI | Songview Search".
- ^ Wilson, Mary (1986). Dreamgirl: My Life as a Supreme. Cooper Square Press. pp. 69. ISBN 0-8154-1000-X.
- ^ "Billboard". 29 April 1995.
- ^ Thornton, Jason H. ‘The Andrew “Mike” Terry Story’, There’s That Beat! The Rare Soul Magazine, issue #4, 2007, UK
- ^ Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. p. 194. ISBN 0-89820-068-7.
- ^ Murray, Charles Shaar (2002). Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. New York City: St. Martin's Griffin. pp. 237–240. ISBN 978-0-312-27006-3.
- ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942–2004. Record Research. p. 378.
- ^ a b c d e f g Williams, Richard (December 1, 2008). "Mike Terry Obituary". The Guardian.
- ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Eighth Edition. Record Research. p. 398.
- ^ Flory, Andrew. I Hear a Symphony: Motown and crossover R&B, University of Michigan Press, 2017, USA, p222
- ^ Simpson, Dave (July 15, 2014). "The Supremes: How we made Baby Love". The Guardian.
- ^ a b Moore, Dave (November 7, 2014). "HOF: Mike Terry - Pre Production Inductee". Soul Source magazine.
- ^ Flory, Andrew. I Hear a Symphony: Motown and crossover R&B, University of Michigan Press, 2017, USA, p56
- ^ Sullivan, Steve (2017). Encyclopedia of Great Popular Song Recordings, Vol. 3. Rowman & Littlefield. p. 383.
- ^ "More Hits by the Supremes (1965)". 3 October 2015.
- ^ "Back in My Arms Again by the Supremes - Songfacts".
- ^ Liner notes. The Complete Motown Singles Vol. 5: 1965, Hip-O Select – B0006775-02, USA, 04 Aug 2006
- ^ Label credit, "Cool Jerk", The Capitols, Karen Records 1524, 1966, USA
- ^ "Inter2".
- ^ "Groove Times : George Clinton - I Wanna Testify". Ejnord.com. 2007-03-17. Archived from the original on 2012-03-06. Retrieved 2012-02-23.
- ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 259. ISBN 0-214-20512-6.
- ^ LP Album credits, Jealous Kind of Fella, Garland Green, Uni Records 73073, 1969, USA
- ^ Thornton, Jason H. "The Andrew "Mike" Terry Story", There’s That Beat! The Rare Soul Magazine, Issue 4, 2007, UK
- ^ Refer to credits for the lead single "Love Is Like an Itching In My Heart"
- ^ "Many Grooves of Barbara Lewis - Barbara Lewis | Credits | AllMusic". AllMusic.
- ^ "Loneliness & Temptation/A Heart Full of Song - Clarence Carter | Credits | AllMusic". AllMusic.
- ^ LP Album credits, Bad Luck, The Atlanta Disco Band, Ariola Records ST-50004, 1975, USA
- ^ LP Album credits, No Way Back, The Dells, Mercury Records SRM-1-1084, 1976, USA