Showing posts with label Black Music Power Broker. Show all posts
Showing posts with label Black Music Power Broker. Show all posts

Saturday, 30 August 2014

Key Significant Benchmarks in the African American Black Music industry (Part 3 ).



 Founded in 1976, Tyscot Records is longest running black own gospel label in America. It experienced tremendous growth and success during 1990s with John P. Kee, who’s 1999 release, “Not Guilty”, sold more than 500,000 copies and gave Tyscot Records their first RIAA certified Gold Record. Tyscot Records is now a multimedia company offering movies, documentaries , videos and music to the gospel community at large.
Music One Inc (a division of Radio One)
Cathy Hughes, major black power broker.
The imprint was founded by Cathy Hughes in 1999 to released series of instrumental albums by Harpist Jeff Majors which were recorded at legendary Gamble/Huff Recording Studios. The musicians featured on all the recording projects were mainly members of Philadelphia Symphony Orchestra and additional musicians who were part of the famous “Philadelphia Signature Soul Sound” or “The Sound of Philadelphia” of the 1970s.Instrumental series of album featured the harp as the central instrument accompanied by the symphony orchestra.

                                   Researched and compiled by               
                                   Mr K Tomlin Music Historian                   
                                  ©RCM Music/Signaturesoundsonline2013-2014

Tuesday, 24 June 2014

Quinton Joseph (Part 2)

 "The R&B and Soul Music Drummer with a Signature Touch"



    The Chicago Years

This was the group's
 first million seller
His signature style drumming techniques is heard on other Chicago soul classics such as “Have You Seen Her”, a one million plus selling single performed the Chi-Lites and produced and co-written by one of the key members of the vocal group, the late Eugene Record and on the following gold-certified single performed by the Chi-Lites, “Oh Girl”. 

This was the only studio album of the group's career
to have achieved the number-one position on
 Billboard Top Soul Albums Chart. Joseph conducted
arrangements and played drums on the album

Joseph conducted arrangements for the group on several singles including the two gold singles mentioned above. The track “Oh Girl” became both a Billboard number-one on the Billboard Hot Soul Singles Chart on 3rd June 1972 (2 weeks) and on the Billboard Hot 100 Singles Chart on 27th May 1972 (1 week), preceded by “the First Time Ever I Saw Your Face”, performed by Roberta Flack and succeeded by “I’ll Take You There”, performed by The Staple Singers. The parent album “A Lonely Man” peaked on top of the  Billboard Top Soul Albums Chart on 10th June 1972 (5 weeks), which was very interesting because it was preceeded by Roberta Flack’s album “First Take”. During the 1970s, Joseph played on all the number-one singles and albums released by Brunswick Records in North America.


Second gold record of the 
group's career
"Oh Girl" 




                                   



















                                    Researched and compiled by               
                                   Mr K Tomlin Music Historian                   
                                  ©RCM Music/Signaturesoundsonline2013-2014 
 

Wednesday, 21 August 2013

Billy Davis Jr ( Part 3)



 Recording and Advertising Executive Extraordinaire.





    

 
   

               He was one of the key architects in the development of the soul music we so love today!

The second stage of his creative career made him a very important figure in the advertising industry around the globe. On the strength of the gold record “Rescue Me” and other major hit records on Chess, Billy caught the attention of the McCann-Erickson advertising agency in New York. They made him an offer he could not refuse and so in 1969 the agency hired him as jingles songwriter. Davis first major assignment at the agency was to help Coca-Cola develop an international brand across all the markets where the company was trading, based on the old advertising campaign slogan “It’s the Real Thing”.
Davis was assigned to create several songs with songwriter Roger Cook and creative director Billy Backer, who was responsible for The Coca-Cola Company account. The actual recording session occurred in London, England, with the New Seekers, a British recording group. Out of the studio session a song was born that would impact people around the global for generations and established Coca-Cola as a major leader in the soft drink market for a long period. The song was titled “I’d Like to Buy The World a Coke and Keep it Company”.

With his creative skills, he was able plant into people’s subconscious minds a song that was easy to remember and enjoyable to listen to, with a special appeal to young people, which helped to increase sales levels for Coca-Cola international. The basic message of the ad was that Coca-Cola had a strong bond helping people to connect to each other regardless of race or colour. 
 The advertising campaign became so successful that it appeared in a variety of languages to match the ever-increasing global demand. Davis rewrote the song as “I'd Like To Teach The World To Sing (In Perfect Harmony)”, as recorded by the Hillside Singers and the New Seekers. The single version performed by the New Seekers entered the American Pop chart in the top ten listing and achieved platinum level sales for over two million plus copies sold. According to many surveys conducted in the  United States, this commercial was the best of all time and the sheet music continues to sell thirty years after it was originally recorded and written.

Other successful jingles followed: “It's The Real Thing”, “Have a Coke and a Smile”, “Coke Is It” and “Things Go Better with Coke”. Other ads were created for NescafĂ©, Miller Beers, Sony and Nabisco. The Miller Beers’ popular jingle was; “If You’ve Got the Time”, which was also a successful advertising campaign in North America.
Before Davis retired from the advertising industry, he achieved the position of senior vice-president and musical director at McCann-Erickson and became one of the most successful black executives in the world of advertising. Davis’s song writing approach to jingles, completely revolutionized the advertising industry and brought products into our subconscious minds, creating brand images that spread globally regardless of race and culture. Billy Davis stated in an interview published in the Detroit Free Press on 24th April 1983:
            “Using music in a commercial is a great aid to recall. It will help you remember the commercial and the product. Music allows you to add emotional content.”
                          Researched and compiled by
                          Mr K Tomlin Music Historian  

                          ©RCM Music/Signaturesoundsonline 2013
 



Monday, 19 August 2013

Steve Cropper (Part 1)


One  of  the Key Creative Pillars of  the  Southern Soul Music

                    

While at Stax Records Steve Cropper performed many different roles as Record Producer, Engineer, Studio Musician, Songwriter and Recording Executive. He acquired his engineering skills from Chip Moman, the primary Recording Engineer at Stax during the early years of operation.


Cropper played guitar on Stax’s first major hit, a duet with Rufus Thomas and daughter Carla Thomas entitled “’Cause I Love You”. Stax’s open-door policy and harmonious working methods enabled Cropper to develop a deep passion for the music created there transcending racial lines.


As a result a profound bond developed between himself, Al Jackson Jr., Booker T Washington and Donald “Duck” Dunn. Washington and Jackson were black, born in the Deep South, whilst Dunn, like Cropper, were both white. Together they became the nucleus of the Stax Studio Band and became also the Touring (support) Band for artists such as Otis Redding and the duo Sam and Dave.


And as for several other signed artists/acts at Stax, they complemented the Memphis Horn section and they then emerged of course as Booker T & The MG’s.  The men and women who came together at Stax developed a raw and refined Southern Soul sound to rival other hit-making city centers such as Chicago and Detroit of course with its’ Motown Sound.



 Album was produced by Isaac Hayes
 and Dave Porter. 
The album features Cropper 
on guitar with Booker T & The MGs
and The Memphis Horn section.


Cropper was one of the key people to help the Stax organization develop as a multi-racial corporation during a period in American history then steeped deeply in racial discord. Cropper’s signature guitar sound is found on many of the major R&B and Soul hits to come out of Memphis during the 1960s and early 1970s. The classic hit song "Soul Man" with the powerful guitar intro and the response from The Memphis Horn Section is one of the best of these. 

Steve’s approach to playing set him apart from many of his contemporaries and became a significant element in the development and delivery of Stax’s raw and refined sound. For his great impact on contemporary music, he was also named the second greatest guitar player of all time, behind Jimi Hendrix, according to Britain’s Mojo magazine in 1996.


Many educational institutions are actually conducting courses on Steve Cropper’s guitar techniques, with many publications available to the public. He was elected to The Rock & Roll Hall of Fame in 1992 by his peers for his historical influence on the development of music through several decades.



 Researched and compiled by 
 
Mr K Tomlin Music Historian 

  ©RCM Music/Signaturesoundsonline 2013


                  




                  

Tuesday, 10 February 2009

Did You Know

Music Industry Veteran Clarence Avant on Working with Bill Withers

Music Industry Veteran Clarence Avant on Working with Bill Withers. Former label owner Clarence Avant (Sussex Records, Tabu Records), relates his experiences working with songwriter and performer Bill Withers (“Lean On Me”).


http://www.artistshousemusic.org/videos/music+industry+veteran+clarence+avant+on+working+with+bill+withers




Universal Music Publishing Group Signs Clarence Avant's Publishing Companies (Avant Garde/Interior Music Corporation) To An Exclusive, Worldwide Administration Deal


Los Angeles, CA (May 17, 2004) - Universal Music Publishing Group is pleased to announce that they will administer Clarence Avant's music publishings catalogs, including representation worldwide for synchronization licensing for Motion Picture, TV, Advertising and other mediums.

The Avant catalogs encompass many hit songs including classics by Bill Withers, Jimmy Jam and Terry Lewis such as, "Ain't It Heavy" (Buchanan), "Ain't No Sunshine" (Withers), "Come Back and Finish What You Started" (Cobb/McCoy), "Demons" (Withers/Cook/Hings/Gray), "I Didn't Mean To Turn You On" (Harris/Jam/Lewis), "Lean on Me" (Withers), and "Grandma's Hands" (Withers).

Legendary music executive Clarence Avant is widely renowned for his sincere dedication to pioneering opportunities within the recording industry. During his 40 year career, Avant has represented the likes of blues artist Little Willie John, rock and roll pioneer Tom Wilson, and jazz producer Creed Taylor. In the late 1960s, Avant successfully engineered the first joint venture between an African-American artist and a major record company. Under his own record companies, Sussex Records and later Tabu Records, Avant signed recording artists Bill Withers, Dennis Coffey, The Presidents, in addition to playing a key role in the successful rise of Grammy winning Producers Jimmy Jam and Terry Lewis.

Acknowledged as a father figure by numerous performers and producers, Avant has been honoured publicly for his positive contributions to society. In 1993, Avant was named Chairman of Motown Records and, four years later, he became the first African-American to serve on the International Management Board for Polygram. Today, Avant is president of his own publishing companies, Avant Garde and Interior Music Corp.

Commented David Renzer, Worldwide President, Universal Music Publishing Group: "Clarence Avant is one of the true pioneers of our industry whether wearing the hat of record label executive, label owner, manager, publisher, and most of all as mentor to a great deal of creative and executive talent. We are pleased to be involved in his role as publisher as Clarence's publishing interests include classics written by Bill Withers, Jimmy Jam, and Terry Lewis among many others."

Avant's success has been achieved through combining a tireless work ethic with individual ingenuity. Still quite active today as the president of Avant Garde and Interior Music Corporation, Clarence Avant also serves a member of the NAACP Legal Defense Fund and the Pepsi-Cola African-American Advisory Board. Avant was recently awarded with an honorary doctorate from prestigious Morehouse College.







Clarence Avant
Talking about how he got involved in the music industry.
http://www.artistshousemusic.org/videos/background+on+clarence+avant

Working With Various Artists

Working With Various ArtistsMusic executive Clarence Avant discusses the artists he worked with at Sussex Records such as The Gallery and Bill Withers. Clarence also talks about his purchase of a radio station that he named Avant Garde Broadcasting.



The Creed Taylor Deal: How to Get the Most for your Artist

The Creed Taylor Deal: How to Get the Most for your ArtistMusic executive Clarence Avant discusses his negotiations with A&M Records over the signing of jazz producer Creed Taylor.


The Industry

The IndustryFormer label owner Clarence Avant (Sussex Records, Tabu Records) discusses the major corporate players in the music industry today, and offers thoughts on innovation, technology and the future of the major-label system.




About Me

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Old Harlow, Essex, United Kingdom
Kevin Tomlin has over 34 years of teaching experience in Jamaica, England and America, including 15 years teaching music history of black origin and visual art in South Florida, U.S.A., through Arts in Education. Tomlin created special training programmes and workshops for music teachers in South Florida schools, using music history as the foundation, to build exciting programmes of study and support materials for education professionals. Since 2000, he’s taught music history, geography, religious education, history, visual arts and performing arts at schools in Hertfordshire and Essex, at both primary and secondary levels. He conducts research and provides consultancy services for multi-media organisations, schools, recording artists, cultural and faith-based groups and entertainment professionals.

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