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The Best Of Percy Sledge Rar

Mostly this heartaching soul music -- there's barely a dance track throughout -- but from Alexander's problemmatic three-way of him/best friend and best friend's gal on Go Home Girl to Gater Davis' spare I'll Play the Blues for You three discs later there are spirits broken (Don't Make Me Cry by O.V. Wright, the Masqueraders' farewell letter on Let's Face Facts), songs supported by emerging horn sections and chipping guitars (Let's Do It Over by James McCall) and distilled genius (James Carr's Dark End of the Street, Loretta Lynn's country classic You Ain't Woman Enough to Take My Man given a soul sister treatment by June Edwards).

The Best Of Percy Sledge Rar

The Music Explosion was an American garage rock band from Mansfield, Ohio, United States, discovered and signed by record producers Jerry Kasenetz and Jeffry Katz. The quintet is best known for their number two hit, "Little Bit O' Soul", that received gold record status by the RIAA.

The Rock and Roll Hall of Fame, established in 1983 and located in Cleveland, Ohio, United States, is dedicated to recording the history of some of the best-known and most influential musicians, bands, producers, and others that have in some major way influenced the music industry, particularly in the area of rock and roll.[1] Originally, there were four categories of induction: performers, non-performers, early influences, and lifetime achievement. In 2000, "sidemen" was introduced as a category.

Thank you Philip. I was fortunate enough to do promotion for WEA in Miami as it was Wexler and Dave benjamin who gave me the opportunity. I did an interview with Jerry on the old WBUS in Miami and was the highlight of my musical carrer.I stumbled on the site and it brought tears to my eyes and the Galkin piece was priceless.the days of Joe storming into Dunlap's office as only he could do and demanding he put Otis's new single on.And the best advice he could give any promo man "Remember kid if you don't ask, you don't get"Still alive and well in Miami and collecting old records.Bob Perry..

Rudolph (born on April 1, 1939), Ronald (May 21, 1941) and O'Kelly (Dec. 25, 1937) survived twenty years of musical changes, scoring definitive hits in each era along the way, to emerge as one of the most innova-tive black groups of the Seventies. Raised in Cincinnati, Ohio, the brothers moved to New York in 1957 where they recorded mediocre doo-wop /rock'n'roll sides for Teenage, and George Goldner's Cindy, Mark X, and Gone labels be-fore signing with RCA.Produced by Hugo and Luigi, their driving gospel style enlivened a weak selection of pop materi-al, but was best displayed by 'Shout' (1959), an exciting adap-tation of the climax to their wild stage act which has since become a rock classic. They next worked with writer/ producers Leiber and Stoller (Atlantic, 1961-62) and Bert Berns (Wand, 1962-63; UA, 1963-64) who tried unsuccessfully to fit their raw sound into a commercial package, although it was Berns who gave them 'Twist And Shout' (1962), a one-take, end-of-session dance riff that became their first Top Twenty pop hit, later immortalized by the Beatles. Forming their own production company, T-Neck, in 1964-65 they cut several memorable sides (including the rousing 'Testify' and dramatic ballad 'The Last Girl') fea-turing their young guitarist, Jimi Hendrix, before joining Tamla the following year.After hitting with some typically slick corporation pro-duct (the Top Twenty 'This Old Heart Of Mine' and 'I Guess I'll Always Love You', for example, in 1966) the trio were relegated to second-rate material and quit to revive T-Neck in 1969. From their first release, the million-selling 'It's Your Thing', they projected a new heavy image and soon began using two younger brothers (Ernie, on guitar, and Marvin, on bass) and Chris Jasper (keyboards) to create 'progressive' hits that anticipated modern trends in black music and brought them to the attention of wider audiences.By the early Seventies they were interpreting songs by Steve Stills (the Top Twenty hit 'Love The One You're With', 1971) and Dylan May Lady Lay', 1971) and including Hendrix's trau-matic 'Machine Gun' in their act. In 1973, they crystallized all their influences and ideas in the highly acclaimed 3+3 album, which included the million-selling 'That Lady'. Subsequent releases in a similar style (Live It Up, The Heat Is On) have kept them in the forefront of black music.


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