On this day in music history: May 15, 1976 - “Love Hangover” by Diana Ross hits #1 on the Billboard R&B singles chart for 1 week, also topping the Hot 100 for 2 weeks on May 29, 1976. Written by Pam Sawyer and Marilyn McLeod, it is the second R&B and fourth pop chart topper for the Motown superstar. With the departure of The Jackson 5 from Motown after the release of their album “Moving Violation”, producer Hal Davis is left without his top act after working together for five years. During this time he hears the original demo of “Love Hangover” in a Motown colleague’s office. Instantly excited about the songs hit potential, he cuts it right away. Recorded at Paramount Studios in Hollywood in mid 1975, it features musicians such as Joe Sample (keyboards), James Gadson (drums), and Henry Davis (of the band L.T.D.) (bass) playing on the track. Davis also comes up with the idea for the songs signature dual tempos, which the musicians are initially resistant to, but he convinces them otherwise. Shortly after, Davis plays the completed track for Berry Gordy who hears it as a smash for Diana Ross. Though initially, Ross doesn’t care for the song, but agrees to record it at Gordy’s urging. Upon arriving at the studio, Davis pours her a drink and they get to work. The producer has recording engineer Russ Terrana install a strobe light in the vocal booth to add some ambiance to the session, helping to put Ross in the proper frame of mind. The end results of which are heard on the finished record. “Love Hangover” is rush released as a single in March of 1976 when a competing version by The 5th Dimension is released on ABC Records just before it. Both versions enter the chart the same week on April 3, 1976, with The 5th Dimension’s version stalling at #80 on the Hot 100 the week of April 24, 1976, while Ross’ version soars to the top of the chart three weeks later. Ross’ version of “Love Hangover” also receives a Grammy nomination for Best R&B Vocal Performance, Female in 1977. The song is also remixed twice, first in 1988 by Phil Harding of PWL (Pete Waterman Limited), and again in 1993 by Frankie Knuckles and Joey Negro for a remix album titled “Diana Extended: The Remixes”.
On this day in music history: May 1, 1971 - “Never Can Say Goodbye” by The Jackson 5 hits #1 on the Billboard R&B singles chart for 3 weeks, also peaking at #2 for 3 weeks on May 8, 1971. Written by Clifton Davis, it is the fifth R&B chart topper for the superstar family group. The track is cut at the Sound Factory in Hollywood, CA in June of 1970 with Bob West (bass), Art Wright and David T. Walker (guitars), Joe Sample (keyboards) and Gene Pello (drums). Yet another departure from their trademark “bubblegum” uptempo pop/soul sound, it is “more adult” in nature than their previous hits. During the vocal recording session, the then eleven year old Michael while looking over the lyrics to the song asks the producer Hal Davis the meaning of the word “anguish”. Davis quickly explains, then Michael nods and picks up where he had stopped singing. Released on March 16, 1971 (four weeks ahead of the album), it is the first single from The Jackson 5’s fifth album “Maybe Tomorrow”. “Never Can Say Goodbye” becomes the group’s sixth consecutive million selling single in the US. The song is covered by a number of different artists over years, most notably by Isaac Hayes whose version is released only a few months after the The Jackson 5’s. Gloria Gaynor record “Goodbye” in a dramatically revamped disco version that also becomes an instant classic, peaking at #9 on the Hot 100 and topping the Billboard Club Play chart. UK synth pop duo The Communards record a Hi-NRG dance version of the song in 1987 based on the Gloria Gaynor arrangement of the song, taking it #4 on the UK singles chart, and #2 on the US Club Play chart.
hello yes hi can you please tell us more about your band au shiro???? Thank you your art is so so so beautiful!!!!!!!
yes, so, band AU.
i imagine Shiro plays bass, as well as does backing vocals, while Allura’s the lead singer! Hunk is drums, Pidge is the turntables/keyboard/samples/synth, and Lance and Keith are both rhythm guitar. Shiro lost his arm when a jealous metal band, ~*~The Fall of Galra~*~, had their tour bus crash into his car. Accidentally. He was a former member who moved on to pop punk instead.
Musical selections from the soundtrack of Bad Jubies
composed by Disasterpeace
nature collagin’ - Kirsten Lepore
beatboxing/vocalizations - John DiMaggio
from Disasterpeace (Rich Vreeland):
“I had the pleasure of scoring Kirsten Lepore’s guest directed, Emmy award-winning episode of Adventure Time from Season 7, ‘Bad Jubies’. This is one of my favorite shows and I wanted to honor the feeling of open-ended creativity I feel is often on display when watching it, so I set out to create a collage aesthetic. I asked a bunch of friends to contribute samples to the score, and I was showered with all kinds of wonderful sounds. Guitars, organs, vocalizations, old answering machines, and that’s just scratching the surface really.
Special Thanks to: Kirsten Lepore (nature collages), Joseph Bourgeois (gameboy and various voice samples), Liz Ryerson (amazing answering machine recordings), Mateo Lugo (jaw harp from one of our sessions), Dan Cantrell (accordion from one of our sessions), Mark DeNardo (wonderful acoustic guitar and dobro recordings), Dan de Lara & Matt Powell (drums, organ and pianet), Martin Kvale (cool weird synth things), Jay Tholen (ukelele, guitar, keyboards), John DiMaggio (for being Jake the Beatboxing Dog wonder), Mathijs Wiermans & Anne la Berge (for avant garde flute improvisations), and Dino Lionetti (because I sampled his circuit bent keyboard).”
On this day in music history: May 13, 1985 - “19” by Paul Hardcastle is released (UK release is on April 26, 1985). Written by Paul Hardcastle, William Coutourie and Jonas McCord, it is the biggest hit for the multi-instrumentalist from Kensington, London, UK. Having made his breakthrough on the European and US dance charts with the singles “Rain Forest (and its B-side "Sound Chaser”) (#1 US Club Play) in 1984, musician Paul Hardcastle quickly makes the jump from indie label Oval Records in the UK and Profile Records in the US to a major label the same year. Signed to Chrysalis Records by label A&R man Simon Fuller, who also becomes Hardcastle’s manager, the musician gets to work recording his first album for the label. While working on material, Hardcastle sees an ABC network documentary on the Vietnam War titled “Vietnam Requiem”, which focuses on the effects of PTSD (Post Traumatic Stress Disorder), a condition affecting many veterans who have witnessed the horrors of active combat while serving in Vietnam. Working in his home recording studio in Leytonstone, East London, Hardcastle utilizes various instruments, including the Sequential Circuits Prophet 5 synthesizer, LinnDrum II and Roland TR-808 drum machines to put the track together. He also utilizes an E-mu Emulator II keyboard to sample spoken audio passages from the documentary to lay on top of the instrumental track. Released in the UK first in April of 1985, “19” quickly leaps to number one the UK singles chart, spending five weeks on top. Released in the US three weeks later, it quickly becomes a huge hit on dance floors and R&B radio. Though lingering controversy about the Vietnam War keeps the song off of some US top 40 pop stations. “19” spends two weeks at #1 on the Billboard Club Play chart on July 6, 1985, peaking at #8 on the R&B singles chart on July 13, 1985, and #15 on the Hot 100 on July 20, 1985. The huge success not only establishes Paul Hardcastle on a worldwide basis, it allows Simon Fuller to leave his job at Chrysalis Records to start his own management firm called 19 Entertainment. Fuller later manages numerous British pop stars including Annie Lennox, Cathy Dennis, The Spice Girls, and creates the highly successful “American Idol” franchise. Hardcastle also finds later success in the smooth jazz realm with his band The Jazzmasters. “Vietnam Requiem” narrator Peter Thomas sues over the unauthorized sampling of his voice on “19”, and receives a co-writing credit and royalties from sales of the record.
What kinds of instruments do you use to make your music???
Electric Guitar, old casio keyboards (specifically sk1 and sk5 sampling keyboards r golden), classical guitar, a squire bass from guitar center lol, bell kit, glockenspiel, melodica, we used some snare drum and tambourine for Fox Acad, lots of audio samples, samples from old records, sounds of a lawnmower, ect ect. You can be very creative with sounds and there is no limitation! Infact, limitation is something you can use to yr advantage! Almost anything can be made out of any sound !!! You can record a cricket chirping and warp it 1000 different ways !!! You can use the sound of ripped Bodybuilders at the Golds Gym dropping their weights on the rack, as a percussion sound! There is so much to expand on !! I wish more than anything to have access to an orchestra, or at least a cello or violin or harp ! Someday! I think the next step is an omnichord! Best wishes and feel free 2 send me yr music if you make it, always woud love to hear!
Sidenote: My electric guitar is also a squire from Guitar Center lmao but it is beautiful dark purple and we named Grape Soda Bby after it !!!! My baby a beauity!! The lesson here is Go To Guitar Center. Or craigslist !!!!
Danny ‘Kootch’ Kortchmar, Jim Keltner, George Harrison, Paul Stallworth and David Foster.
“Oh, God. He was an inspiration for so many things in my life and my family’s life. He was an extraordinary guy. He wasn’t like most of your friends. I know it sounds trite, like, 'Well, he was a Beatle, so of course he was an extraordinary guy.’ But it’s so much more than that. He had such a down-to-earth quality. He was funny and bright, and loved to share stuff. He was a real people person. He genuinely liked people. And yet, he had a tremendous bullshit meter. He could see through you from a long distance. I saw him do that all the time. My family and I feel very fortunate that we came into his life at such an early time.” - Jim Keltner on George Harrison, 2005
The following is an interview with Jim Keltner, from Modern Drummer (24 May 2005):
Bob’s Burgers is one of the most consistently musical shows around, with almost every episode yielding some new song from Gene’s fart-sampling keyboard or Linda’s inexplicably high confidence in her singing talent. (Sometimes these songs are even then covered by artists with actual singing talent.) So it stands to reason the show would finally get around to releasing an album.
av club needs to bring notifications back because i should NOT have had to go five days without seeing this