Beyoncé’s eponymous fifth album took many by surprise with its release on December 13 via iTunes without any hype or promotion, but perhaps what’s most surprising – and exhilarating – about this release is the actual music
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Remember the video for “I Can’t Go For That”? It’s there. Live Aid? There, too. Early TV performances of “Rich Girl” and “Sara Smile”? Yep. But whatever happened to John Oates’ modified ’58 Strat?
Otis Redding made his signature debut before a predominantly white audience at the Monterey Pop Festival, and those who were on stage with him say the moment still resonates more than 45 years later.
Otis Williams, nicknamed “Big Daddy” for his imposing presence, stands as the only surviving original member of the Motown hitmaking juggernaut known as the Temptations.
Hall and Oates’ most recent No. 1 single started as an experiment with a new synthesizer. It ended up atop the Billboard Hot 100 for two weeks in December 1984, and — amazingly — appeared on four other charts, as well.
It’s an interesting thing to hear the teenaged Kevin Coelho take to an instrument like the Hammond B3 organ. In part, this is because said instrument is often associated with the more “old-fashioned” side of life.
Here’s the answer to that question, “what to do for an encore after such a note-perfect quiet storm groove tune as ‘What You Won’t Do For Love’?”
For all of the unabridged amazement surrounding Billy Preston’s high school-aged mastery of both the bubbling jazz of Jimmy Smith and the lean Memphis R&B of Booker T. Jones, the truth is, he’d been at this a while.
For Stax Records executive Al Bell, the label’s focus on personalized arrangements was what made its stable of stars into timeless figures. Unlike some of their competitors, he says no two of their records sounded exactly alike.
It’s not always easy to find an unfiltered moment like this from Hall and Oates — a pairing that has become so closely associated with genre-jumping mixtures of street-corner soul with modern new-wave verve.