Press "Enter" to skip to content

Posts tagged as “Michael Jackson”

MUSIC MONDAY: “Bring It On Home” – A Famous Background Vocalists Playlist (LISTEN)

by Marlon West (FB: marlon.west1 Twitter: @marlonw IG: stlmarlonwest Spotify: marlonwest)

Happy springtime from your friend and selector, Marlon!

Here’s a freewheeling playlist, and a seemingly random collection of tunes. Though what they all have in common is famous folks, sometimes uncredited, singing backup.

In some cases it is an established artist leading a hand, like Stevie Wonder contributing to Jermaine Jackson’s “Let’s Get Serious,” or a then-unknown protege like Lou Rawls singing behind his childhood pal Sam Cooke on “Bring It On Home To Me.”

In some tracks, you won’t be able to pick them out. Though in others you will never be able to hear the same again without recognizing them. Here is a breakdown of each song and who’s helping out in the background. Enjoy!

[spotifyplaybutton play=”https://open.spotify.com/playlist/1Wiw3WvesSmopQpyuoTybK?si=7f4c79d723884010″]

  1. “Bring It On Home to Me” by Sam Cooke with Lou Rawls
  2. “Let’s Get Serious” by Jermaine Jackson was produced by Stevie Wonder (who also provided vocals)
  3. “Part-Time Lover” by Stevie Wonder with Luther Vandross and Philip Bailey
  4. “Don’t Lose Your Head” by Queen with Joan Armatrading
  5. “Step by Step” by Whitney Houston with original writer and vocalist Annie Lennox
  6. “Every Time I Close My Eyes” by Babyface with Kenny G, Mariah Carey, and Shelia E.
  7. “Somebody’s Watching Me” by Rockwell with Michael Jackson and Jermaine Jackson
  8. “Pink + White” by Frank Ocean with Beyoncé
  9. “State of Shock” by the Jacksons, with Mick Jagger
  10. “Young Americans” by David Bowie with Luther Vandross
  11. “Why Should I Love You?” by Kate Bush with Prince singing and playing guitar
  12. “There Must Be More to Life Than This” by Queen with Michael Jackson
  13. “This Is What You Came For” by Calvin Harris and Rihanna with uncredited vocals by the song’s author, Taylor Swift
  14. “Partition” by Beyoncé with Justin Timberlake
  15. “Chain Reaction” by Diana Ross with Barry Gibb

There are certainly others, but I’ll stop here. Though if there are glaring omissions, lemme me know, and I’ll make additions.

See ya next month, and as always: stay safe, sane, and kind.

Marlon West (photo courtesy Marlon West)

MUSIC MONDAY: “Yacht Soul” – What It Is, Who Made It, and Why It’s Everything You Love About Yacht Rock But Cooler (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

As we sail away from summer into the (hopefully) cooler climes of autumn, a playlist filled with Yacht Soul might just be the perfect accompaniment to those post-Labor Day outdoor gatherings.

In case you’re thinking, “Sounds fun, but what exactly is ‘Yacht Soul’?,” it’s the supercool, sophisticated sibling of the “Yacht Rock” genre, a term coined fifteen years ago to describe 1970s and 1980s adult-oriented rock music infused with jazz and R&B recorded primarily in California by acts such as Steely Dan, The Doobie Brothers, Toto, Kenny Loggins and Christopher Cross.

“Yacht Soul” heightens the soul, R&B and jazz elements of the music while dropping a dollop of funk in the mix.

The following quotes from soultracks.com perhaps illuminate the distinctions best:

Donald Cleveland says that we have Yacht Soul question entirely backwards. “To be honest, Yacht Rock should have been called Yacht Soul from the start. Anybody with ears knows that. The only thing ‘rock’ about Yacht is the label that was on the albums as originally released, so they could be filed separately from the ‘Soul’ albums. It was just easier for the White people listening to this music with obvious soulful stylings to just keep the White ‘rock’ labeling going, even if the musicians themselves were influenced by and working from a framework of Black Soul.”

Mama’s Gun lead singer Andy Platts agrees. “Really if we’re honest, you don’t get ‘Yacht Rock’ without the evolution of Black music in the first place, from which it borrows heavily, so perhaps this just underscores the issues with appropriating and using terms like the ‘yacht’ label.”

Songs like “Just The Two of Us” by Grover Washington, Jr. and Bill Withers, “Forget Me Nots” by Patrice Rushen, “Give Me The Night” by George Benson, “Rio De Janiero Blue” by Randy Crawford and Joe Sample and “Golden Time of Day” by Maze are strong examples of the style.

MUSIC: “Don’t Look Any Further” – a Celebration of Ultimate ’80s “Slow Jams” (LISTEN)

by Jeff Meier (FB: Jeff.Meier.90)

Heading into a hot summer weekend a few weeks ago, Good Black News brought you a mellow, all-day playlist of ’70s slow jams (click here if you haven’t checked it out yet).

Since so many responded to it, we decided to follow it up with a playlist for the ’80s generation to call its own. Thus, on this warm late-July weekend, we happily offer you a throwback “quiet storm” collection: “Ultimate ’80s Champagne Slow Jams.”

[spotifyplaybutton play=”spotify:playlist:7KuOYglomITRDyxqbrPsMv”/]

Following the civil rights-infused, raw, expansive, pioneering music of the ’70s, the ’80s found soul music veering towards more urbane and sophisticated sounds. Smooth adult soul was the name of the game, with polished veteran artists like Dionne Warwick, Patti Labelle, The Isley Brothers, Melba Moore, Gladys Knight, Michael Jackson all hitting new career highs more than a decade into their illustrious careers.

Many of the decade’s most celebrated newcomers – Whitney Houston, Luther Vandross, Sade, Anita Baker, Freddie Jackson, to name a few – were also decked out in fine fashions, singing ballads that married the lush instrumentation of Philly Soul with the new smooth jazz grooves.

The ’80s were also the peak decade for the superstar duet – from Teena Marie & Rick James to Patti Austin & James Ingram to Kashif & Meli’sa Morgan to Dennis Edwards & Siedah Garrett – and our playlist has all the ones you remember.

But BET’s Midnight Love video show wasn’t only packed with slick romance for “grown folks” – the ’80s also had a cavalcade of teen stars working to replicate Michael Jackson/Jackson 5-level superstardom.

Fresh from the pages of Right On Magazine came Stacy Lattisaw & Johnny Gill, New Edition, The Jets, the DeBarge family and Tracie Spencer, among others. Of course, the most successful of those teens was Janet Jackson – and she’s here along with other Minneapolis Sound stars like SOS Band and Human League, all inspired by the one and only Prince, during his premiere pre-symbol peak years.

In the years before hip hop gained a mainstream foothold on the charts, the ’80s provided many of the jams that would ultimately be sampled by rappers – so you can hear some of the underlying inspirations of Notorious B.I.G., Eric B & Rakim, and LL Cool J – along with LL Cool J himself, with the first enormous hip-hop slow jam, “I Need Love.”

Musically, the ’80s also represented the decade where spiritual messages met more traditional soul balladry in a new kind of contemporary gospel that felt at home on R&B radio. Our playlist closes with a set of tracks from The Winans, Howard Hewett, Tramaine Hawkins, The Clark Sisters and others.

So, calling all you ’80s people, whether you’re slipping into a warm bath by candlelight, sipping champagne at sunset on a yacht or imagining yourself doing so, or maybe just seeking a mellow playlist as background to your umpteenth day sheltering in place – we’ve got you covered.

In fact, it’s a mega-playlist long enough to fill most of your weekend waking hours without repeat – you can set it and forget it.  Hope you enjoy!

Diana Ross to Receive Lifetime Achievement Honor at American Music Awards 

Diana Ross (photo via eurweb.com)

via eurweb.com
Diana Ross will be given a Lifetime Achievement honor at the 45th annual American Music Awards, and also perform during the broadcast, which airs Nov. 19 on ABC from Los Angeles’ Microsoft  Theater. Ross has history with the AMAs, having attended her first ceremony in 1974 and serving as host in 1986 and 1987. She has seven AMA wins under her belt and has performed many times on the show, which is produced by Dick Clark Productions.
“I have endless memories of all the years that I have appeared on the American Music Awards,” Ross said in a Wednesday release about honor. “It started with Dick Clark and The Caravan of Stars and American Bandstand. It was Dick Clark who said, ‘Music is the soundtrack of our lives.’ So true. I am so excited to be receiving this honorable award.”
The American Music Award for Lifetime Achievement, given to those who’ve had significant contributions to the music industry, has previously honored Sting, Whitney Houston, Michael Jackson, Gloria Estefan and Prince. Nominations for the 2017 AMAs were announced last week, with Bruno Mars leading with eight and followed by Ed Sheeran, The Chainsmokers, Drake, Kendrick Lamar and The Weeknd, each with five.
To read more, go to: Diana Ross to Receive Lifetime Achievement Honor at American Music Awards | EURweb

MUSIC: All 9 Jackson Family Siblings Have Now Had Solo Hits on the Billboard Charts

The Jackson Five photographed in Amsterdam circa 1977.   (GIJSBERT HANEKROOT/REDFERNS)
article by Trevor Anderson via billboard.com
Tito Jackson joins his brothers and sisters like Michael and Janet, and scores his first solo hit on the Billboard charts with “Get It Baby.”  With the single’s recent debut, Tito becomes the ninth and final Jackson family sibling to place a solo single on the charts.
Michael Jackson’s Top 50 Billboard Hits
For over 45 years, the Jackson family has been charting hits — stretching back to the 1969 debut of the Jackson 5’s “I Want You Back” on the Billboard Hot 100. In the following decades, the children of Joe and Katherine Jackson all embarked on solo careers, most spectacularly with Michael Jackson. By 1989, eight of the nine siblings had reached the charts.
“Get It Baby,” featuring Big Daddy Kane, debuts at No. 30 on the Billboard + Twitter Top Tracks chart dated June 11, and climbs 29-26 on the Adult R&B Songs airplay chart in its second week.

[youtube https://www.youtube.com/watch?v=aASwsMOy-pA]

The Jackson siblings’ solo chart runs date back to October 30, 1971, when Michael Jackson’s debut single, “Got to Be There,” started at No. 89 on the Hot 100. Since Michael kicked off his string, nine of the Jackson children have scored hits on a Billboard songs chart (listed in birth order):
Maureen “Rebbie” Jackson – seven charted titles on the Hot R&B/Hip-Hop Songs chart, including two top 10s in 1984’s “Centipede” (No. 4) and 1988’s “Plaything” (No. 8).
Sigmund “Jackie” Jackson – two charted titles on the Hot R&B/Hip-Hop Songs chart, including a 1989 top 40 hit “Stay” (No. 39).
Tito Jackson – “Get It Baby” debuted at No. 29 on Adult R&B Songs on the June 4, 2016 chart and Billboard + Twitter Top Tracks the following week.
Jermaine Jackson – 17 charted titles on the Hot 100, including two top 10 hits: “Daddy’s Home” in 1973 and “Let’s Get Serious” in 1980. Both cuts peaked at No. 9.
LaToya Jackson – nine charted titles on the Hot R&B/Hip-Hop Songs chart, including four top 40 hits. Her highest ranking track, “Bet’cha Gonna Need My Lovin’” climbed to No. 22 in 1983.
Marlon Jackson – two charted titles on the Hot R&B/Hip-Hop Songs chart, including the No. 2 smash “Don’t Go” in 1987.
Michael Jackson – 50 charted titles on the Hot 100, including 13 No. 1s, the most by any male artist in Hot 100 history.
Steven “Randy” Jackson – three charted titles on the Hot R&B/Hip-Hop Songs chart (one as a solo artist and two as part of Randy & The Gypsys). Of those three, 1990’s “Love You Honey” scored the best rank, topping out at No. 16.
Janet Jackson – 40 charted titles on the Hot 100, including 10 No. 1s.
Of course, the Jacksons also made music history working together. The Jackson 5 — a lineup consisting of Jackie, Jermaine, Marlon, Michael and Tito — scored Hot 100 No. 1s with their first four releases on Motown: “I Want You Back,” “ABC,” “The Love You Save” and “I’ll Be There.”
After a break with the label, the group shifted to Epic Records and was renamed The Jacksons (with Randy replacing Jermaine). The new quintet racked up three more Hot 100 top 10s between 1977 and 1984.

Prince To Be Inducted Into Apollo Theater's Walk of Fame this June

 Prince, performing in 2005.
Prince, performing in 2005. (Getty/Kevin Winter)

article by Dartunorro Clark via dnainfo.com
Prince will be immortalized at the Apollo Theater’s Walk of Fame.
Theater officials announced Wednesday they will add the Purple One to their walk under the theater’s iconic marquee on 125th Street during its annual spring gala and fundraiser next month, honoring the music legend’s contributions over 40 years.
Prince’s plaque will be in the company of previously inducted Walk of Fame music icons such as Michael Jackson, Aretha Franklin and Ella Fitzgerald.
“The Apollo family was, of course, devastated to hear about the loss of Prince. He is, hands down, one of the greatest artists of all time — an absolute genius — and his relationship with the Apollo dates back to 1993,” said Jonelle Procope, the Appollo’s president and CEO.
 The Apollo Theater honored Prince, who died at his Minnesota home Thursday at 57.
The Apollo Theater honored Prince, who died at his Minnesota home Thursday at 57. (DNAinfo/Kathleen Culliton)

“Over the years, we’ve been honored to host him, whether for a seminal New York performance or as a guest in our audience, so we are beyond thrilled to kick off this year’s Spring Gala by inducting him into the Apollo Walk of Fame.”
The gala, scheduled for June 13th at 7 p.m., will also feature a star-studded line up with performances from legendary R&B group The O’Jays and newer artists such as Leon Bridges and Andra Day.
LL Cool J will host. The evening will also include special tributes to other trailblazing artists who died in 2016, as well as a dance tribute to Prince.

LisaRaye McCoy Confronts Colorism, Pigmentocracy In Her Directorial Debut, “Skinned”

"Skinned" to air on TV One (photo via newsone.com)
Made-for-TV film”Skinned” about skin bleaching to air on TV One (photo via newsone.com)

This weekend, TV One will premiere LisaRaye McCoy‘s directorial debut with the made-for-TV film Skinnedwhich tackles a very sensitive topic within the African-American community.

Skinned confronts colorism, pigmentocracy, and the outbreak of skin bleaching, as well as the use of lightening creams amongst many individuals in America and around the world. 
According to Black Enterprise and the University of Cape Town, skin bleaching has ballooned into a $10 billion market and the long-term effects of bleaching one’s skin is currently unknown. Black Enterprise reports 35 percent of South African women bleach their skin, and 77 percent of Nigerian women bleach their skin.

LisaRaye McCoy talks about "Skinned" on NewsOne Now (photo via newsone.com)
Director LisaRaye McCoy talks about “Skinned” on NewsOne Now (photo via newsone.com)

On Friday, McCoy, best known for her roles in The Players Club, All of Us, Single Ladies and the TV One reality series The Real McCoy, joined Roland Martin on NewsOne Now to discuss the notion of colorism within the Black community through the muse of Skinned’s main character, Jolie.
Essence Magazine reports, “Jolie is a young woman who is uncomfortable with her complexion and begins to experiment with bleaching and lightening creams to alter her skin tone.”
When asked why she wanted to tackle the issue of colorism in her directorial debut, McCoy said Studio 11 Films asked her to direct the movie and once she read the script, the message behind it forced her to ask, “Why do they want a light-skinned woman to direct a dark-skinned project?”
McCoy explained the reason was controversy. She said, “Controversy now sells and I wanted to have all eyes on this epidemic, because not only is it happening in Africa and our Caribbean nations, but here in America too.”
During their conversation, McCoy mentioned the lightening of former MLB star Sammy Sosa and late King of Pop Michael Jackson as instances of skin bleaching’s prevalence in our society.
McCoy later added that skin bleaching “causes skin cancer, yet it is an over-the-counter drug.”
Psychologist Dr. Kevin Washington, a board member of The Association of Black Psychologists, also joined Martin to discuss the epidemic. He said people of color have been “indoctrinated into a system of European superiority.”
“Anything that is associated with the dominate group becomes desirable,” said Dr. Washington. Adding, “Even in Cote d’Ivoire — just in May — they’ve banned skin bleaching for the purpose of health and racial identity.”
According to Washington, skin lightening “is not just a Black issue.” Dr. Washington said, “The idea of pigmentocracy takes over as a result of a hierarchy that is ascribed to the features associated with Whiteness in this country and globally.”
Watch Roland Martin, LisaRaye McCoy, and Dr. Kevin Washington discuss colorism, pigmentocracy, self-esteem, and Skinned, which premieres Saturday night at 8PM ET on TV One.
article via newsone.com

Michael Jackson’s "Thriller" Becomes the 1st 30-Times Multiplatinum Album in U.S. History

137410493-superstar-michael-jackson-holds-several-grammy-awards
Michael Jackson holding the several Grammy awards he won at the 1984 Grammy ceremonies Feb. 28, 1984, in Los Angeles. His top award was Album of the Year for Thriller. (SUSAN RAGAN/AFP/GETTY IMAGES)
Michael Jackson is still setting records years after his death. The King of Pop’s Thriller album has become the first album to go platinum 30 times in the U.S., with sales of more than 30 million albums here and 100 million albums worldwide.
“RIAA has awarded gold and platinum records on behalf of the music business for nearly 60 years, but this is the first time an artist has crossed the 30-times, multiplatinum plateau,” said Recording Industry Association of America chief Cary Sherman in a statement. “We are honored to celebrate the unique status of Thriller in gold and platinum history.”
Thriller was released Nov. 30, 1982, and spent nearly two-and-a-half years on the Billboard album charts, with 37 weeks at No. 1. The album was produced by Quincy Jones and won eight Grammys. Included on the album were such hits as “Billie Jean,” “Beat It” and its title song, “Thriller.”
“It is crystal clear that Michael Jackson is simply the greatest and biggest artist of all time,” Epic Records Chairman and CEO L.A. Reid said in a statement. “Not only are his charts hits, and sales stats staggering, but his pure musicality was otherworldly. Thriller was groundbreaking and electrifying … it was perfection. I am extremely proud that Michael is the heart and soul of Epic Records, and he will forever remain the one-and-only King of Pop.”
article by Yesha Callahan via theroot.com

Spike Lee's New Michael Jackson Documentary To Premiere at Sundance Film Festival in January

"Michael Jackson's Journey from Motown to 'Off the Wall'"
Spike Lee directs documentary “Michael Jackson’s Journey from Motown to ‘Off the Wall'” (photo via blogs.indiewire.com)

I had no idea Spike Lee was working on another Michael Jackson film. Or maybe I did, but I just don’t recall. I searched the S&A archives but didn’t immediately find anything, so it doesn’t appear we mentioned it. There was the Michael Jackson documentary Spike made in 2012, in collaboration with Jackson’s estate and Sony Music, titled “Bad 25.” But this one is an entirely new project, which will premiere at the Sundance Film Festival next month.
Titled “Michael Jackson’s Journey from Motown to ‘Off The Wall'”, the documentary’s synopsis reads: Catapulted by the success of his first major solo project, “Off The Wall,” Michael Jackson went from child star to King of Pop. This film explores the seminal album, with rare archival footage and interviews from those who were there and those whose lives its success and legacy impacted.
My research tells me that Spike first shared that he was working on this earlier this year, while doing press for his last film, “Da Sweet Blood of Jesus,” ahead of its USA release. Although he didn’t share any details – just that he was working on it, with potential plans to make similar documentaries on other seminal MJ albums, like “Thriller.”
No trailer or much media available yet for “Michael Jackson’s Journey from Motown to ‘Off the Wall'” except for the above still from Sundance.
article by Tambay A. Obenson via Shadow And Act

NYT MUSIC FEATURE: Can the Weeknd Turn Himself Into the Biggest Pop Star in the World?

02weeknd1-superJumbo
The Weeknd (Photo Credit: Peter van Agtmael/Magnum, The New York Times)

The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-­print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as The Weeknd, remained calm, slow ­motion to everyone else’s warp speed.

Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-­splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.

Abel Tesfaye, a.k.a. the Weeknd, at his apartment building in Toronto last December. (Credit: Peter van Agtmael/Magnum, for The New York Times)

He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.

When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-­news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.

Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B., sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.