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Teri Lynn DeSario (born November 27, 1951) is an American singer-songwriter from Miami, Florida.
DeSario worked within several music genres out of high school. She was vocalist, played recorder and harp from 1970–1977 with a Medieval and Renaissance music group, the Early Music Consort, headed by scholar and Pro Musica member Arnold Grayson.
She began her career as a singer/songwriter in the folk genre and later expanded her love of folk music with her passion for jazz.
After marrying horn player, arranger, and composer Bill Purse, they founded a pop-folk-jazz collaborative called Abacus. One night a long-haired man walked into the club where she was performing, claiming to be the producer of the Bee Gees; it turned out he actually was.
Barry Gibb heard her demo of original music and was so inspired by DeSario’s vocals that he wrote a song for her called “Ain’t Nothing Gonna Keep Me from You” and helped her obtain a recording contract.
Even though the first single from her debut, Pleasure Train, made #43 on the U.S. pop charts, she hadn’t really enjoyed the recording experience and wanted a new direction. It was then that she bumped into an old school mate she had as a teen, Harry Wayne Casey (KC) of KC and the Sunshine Band.
In the U.S., DeSario is mainly known for her duet with KC, lead singer of the R&B and funk group KC and the Sunshine Band of the Barbara Mason cover, “Yes, I’m Ready” from 1980 (#2 on the Billboard Hot 100 and certified gold, Adult Contemporary #1 for 2 weeks) from her second album Moonlight Madness, released in 1979.
Follow-up singles (album title track) “Moonlight Madness” and a remake of “Dancin’ in the Streets” charted but didn’t make the Billboard Top 40.
A1. Moonlight Madness – 4:59
A2. Heart Of Stone – 3:25
A3. With Your Love – 4:28
A4. Hold On, Hold On – 4:54
A5. Dancin’ In The Streets (Featuring [Duet] – KC) – 3:10
B1. Sell My Soul For You – 5:39
B2. Goin’ Thru The Motions – 3:28
B3. Fallin’ – 3:08
B4. Yes, I’m Ready (Featuring [Duet] – KC) – 3:05
B5. You Got What It Takes – 5:16
- Teri DeSario – main artist, vocals (lead and backing)
- Sid Sharp – concertmaster
- Al Ciner, Mitch Holder, Snuffy Walden – guitars
- Dennis Belfield – bass
- Michael Boddicker, Harry Wayne Casey, Tom Hensley, Michael Lang, Bill Purse – keyboards
- Carlos Vega – drums
- Paulinho Da Costa and Alan Estes – percussion
- Vincent DeRosa – French horn
- Joey Carbone, H.W. Casey, Patricia Henderson, and Julia and Maxine Waters – backing vocals
- Gary Herbig, Jim Horn, and Kim Hutchcroft – saxophone
- Michael Boddicker – synthesizer
- Dick Hyde – trombone
- Jerry Hey, Steve Madaio, and Dalton Smith – trumpet
Genre: Disco, Funk
Label: Casablanca Records
Prijs: € 7.00
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Korfoe Vicky Leandros wordt op 23 augustus 1952 als Vasiliki Papathanasiou geboren op het Griekse eiland Korfoe. Samen met haar vader Leo Papathanasiou en haar moeder Kyriaka ‘Boubou’ Protapapa woont zij korte tijd in het pittoreske dorpje Paleokastritsa.
In 1958 verhuist het gezin naar de Duitse industriestad Hamburg.
In 1961 scheiden de ouders van Vicky. Haar moeder keert terug naar Griekenland. Vicky blijft bij haar vader in Hamburg wonen. Na haar lagere school gaat zij naar het gymnasium.
Met het oog op de toekomst – Vicky is vastbesloten zangeres te worden – volgt zij lessen in ballet, zingen en gitaarspelen. SongfestivalIn 1965 maakt Vicky haar debuut op de Duitse televisie, waar zij samen met haar voltallige schoolklas het liedje ‘Messer, Gabel, Schere, Licht’ zingt.
Twee jaar later wordt Vicky door Radio Luxemburg gevraagd dit land te vertegenwoordigen tijdens het Eurovisie Songfestival in Wenen.
Hoewel het festival wordt gewonnen door het op blote voeten zingende Britse zangeresje Sandy Shaw met ‘Puppet On A String’, behaalt Vicky toch een verdienstelijke vierde plaats met haar liedje ‘L’amour Est Blue’.
Vervolgens werkt zij hard aan haar internationale carrière. Zo zingt ze liedjes in het Grieks, Duits, Frans, Engels, Spaans, Italiaans en zelfs in het Japans! Haar Duitse tv-show Ich Bin wordt in 1971 in Montreux onderscheiden met een bronzen roos.WinnaresBegin 1972 wordt Vicky opnieuw door Luxemburg uitgenodigd het land te vertegenwoordigen tijdens het Eurovisie Songfestival. Samen met haar vader en componist Klaus Munro vertrekt zij naar het Schotse Edinburgh.
Er doen achttien landen aan het festival mee. Vicky stapt als voorlaatste deelneemster op het podium. Haar gepassioneerde versie van ‘Après Toi’ wordt door de Europese jury gehonoreerd met maar liefst 128 punten! Tot haar eigen verbazing wint Vicky de 17de editie van het Europese liedjesfestival.
De single staat in tientallen landen op de eerste plaats, al dan niet in vertaalde versies zoals ‘Come What May’ in de Britse charts.
Aan het einde van dat jaar ontvangt Vicky vele prijzen, waaronder die van ‘s werelds best verkochte single.
Gedurende de jaren ’70 scoort zij aan de lopende band grote wereldhits, waaronder, ´St. Tropez-Gitarren Bei Nacht´ (1970), ´Après Toi´ (1972), ‘Ich Hab’ Die Liebe Geseh’n’ (1972), ‘Die Bouzouki Klang Durch Die Sommernacht’ (1973), ´Hey, Joe McKenzie´ (1973).
Allen te vinden op haar verzamel LP “Greatest Hits” uit 1973. https://www.bing.com/translator
A1. Meine Freunde Sind Die Träume
A2. Le Lac Majeur
A3. I Am (Ich Bin)
A4. I Ekdromi (Es War Ein Sonntag)
A5. St. Tropez-Gitarren Bei Nacht
A6. Amazing Grace
B1. Après Toi
B2. Hey, Joe McKenzie
B3. Fotia Sta Matia (Augen Wie Feuer)
B4. Vivre Ta Vie (Liebe)
B5. When Bouzoukis Played (Die Bouzouki Klang Durch Die Sommernacht)
B6. Ich Hab’ Die Liebe Geseh’n (O Kaymos)
- Design [Hoesontwerp] – Myosotis
- Producer – Brian Shepherd (tracks: A3), Leo Leandros (tracks: A1, A2, A4 to B6)
Style: Ballad, Schlager
Label: Philips Records
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Aerosmith is an American rock band, sometimes referred to as “the Bad Boys from Boston” and “America’s Greatest Rock and Roll Band”.
Their style, which is rooted in blues-based hard rock, has come to also incorporate elements of pop, heavy metal, and rhythm and blues, and has inspired many subsequent rock artists.
They were formed in Boston, Massachusetts in 1970.
Guitarist Joe Perry and bassist Tom Hamilton, originally in a band together called the Jam Band, met up with vocalist/pianist/harmonicist Steven Tyler, drummer Joey Kramer, and guitarist Ray Tabano, and formed Aerosmith. In 1971, Tabano was replaced by Brad Whitford, and the band began developing a following in Boston.
Their first five albums have since attained multi-platinum status. Throughout the 1970s, the band toured extensively and charted a dozen Hot 100 singles.
By the end of the decade, they were among the most popular hard rock bands in the world and developed a loyal following of fans, often referred to as the “Blue Army“.
However, drug addiction and internal conflict took their toll on the band, which led to the departures of Perry and Whitford in 1979 and 1981, respectively; they were replaced by Jimmy Crespo and Rick Dufay.
The band did not fare well between 1980 and 1984,
Done with Mirrors is the eighth studio album, released November 9, 1985. The release marked the return to the band of guitarists Joe Perry, who had left the group in 1979, and Brad Whitford, who had left the band in 1981. It was also the band’s first album released by Geffen Records. It was intended as their “comeback” album, and while it got good reviews during its release, it did not live up to commercial expectations.
In an interview, Brad Whitford revealed that producer Ted Templeman wanted to capture the band’s aggressive “out of control freight train” sound by removing the red light that indicated that the band was recording (a technique he used to capture Van Halen‘s sound).
He informed the band to run through the songs in the studio and recorded them without the band’s knowledge.
Whitford referred to the nerves generated when knowingly recording songs as “the red light blues”.
Templeton later explained having to record the album in an unfamiliar studio negatively affected the final product.
“I had a great time making that record, and Steven was one of the most amazing guys. But we had to do that record in Berkeley because they didn’t want those guys to score (drugs). They didn’t want them to be in L.A. or San Francisco. I wasn’t familiar with the board. As a producer, if you know your room and the mic preamps, you know how things are going to sound. I don’t think I made Joey’s drums sound as good as they could have, or Joe’s guitar.”— Geoff Edgers, Washington Post.
Joe Perry was similarly dismissive of Done with Mirrors in an interview with Noisecreep, stating that he “really didn’t like [the album].”
Viacom (MTV & VH1) executive Doug Herzog recalled that after this album, “Aerosmith was done at that point. … They were a little bit of a joke.”
The band would soon revive their career in 1986 with the landmark remake of their 1975 song “Walk This Way” with hip-hop group Run DMC.The title is a double entendre, referring both to illusions that are “done with mirrors”, as well as how the drugs are often laid out before consuming (such as cocaine, which is traditionally snorted off a mirror).Side A
A1. Let the Music Do the Talking (3:48)
A2. My Fist Your Face (4:23)
A3. Shame on You (3:22)
A4. The Reason a Dog (4:13)
B1. Shela (4:25)
B2. Gypsy Boots (4:16)
B3. She’s on Fire (3:47)
B4. The Hop (3:45)
- Steven Tyler – lead vocals, piano, harmonica, percussion
- Joe Perry – guitar, slide guitar, backing vocals
- Brad Whitford – guitar, acoustic guitar
- Tom Hamilton – bass
- Joey Kramer – drums, percussion
- Producer: Ted Templeman
- Engineer: Jeff Hendrickson
- 1st Assistant Engineer: Tom Size
- 2nd Assistant Engineer: Gary Rindfuss
- 3rd Assistant Engineer: Stan Katayama
- Analog Mastering Engineer: Howie Weinberg
- Digital Mastering Engineer: Ken Caillat
- Production Coordinator: Joan Parker
- Band Equipment installation assembler #1: Jay Fortune
- Band Equipment installation assembler #2: Toby Francis
- Band Equipment installation assembler #3: Patrick O’Neil
- Album Cover Concept: Jeffrey Kent Ayeroff
- Art Direction and Design: Norman Moore
- Photography: Jim Shea
Recorded 1984 at The Power Station and Fantasy Studios
Genre: Hard rock, Blues rock
Label: Geffen Records
Catalog# GHS 24091
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Peter Brown (born July 11, 1953, in Blue Island, Illinois) is an American singer-songwriter and record producer.
Brown was a popular performer in the late 1970s and early 1980s with hits that included “Do Ya Wanna Get Funky With Me” (the original version of which was recorded in his bedroom) and “Dance With Me”.
When Peter Brown excelled in the 1970s and 1980s, he really excelled; “Do You Wanna Get Funky With Me?,” “Fantasy Love Affair,” “Overnight Sensation,” and “Dance With Me” are disco-funk classics. But unfortunately, the Chicagoan didn’t excel as often as he should have.
This 1979 release contains a few gems, including the passionate “It’s Alright,” the mysterious “Leadmeon,” and the hell-raising hit “Crank It Up.” But most of the tunes are merely competent.
Brown, who wrote or co-wrote all of the songs and produced Stargazer with Cory Wade, had the potential to record an album that was great all the way through. But Stargazer isn’t such an album; it’s a generally decent record, but Brown was capable of a lot more.
This is one of those releases that was sorely overlooked upon its initial release, probably being lost in the mass of other disco-themed albums of 1979.
Its “discovery” now is just rewards to fans of the genre as well as those that just like a consistent musical collection. One of the best tunes is the fun-filled “West of the North Star,” a story song that fits perfectly in the era of “Star Wars” when space battles were comparable to the Old West and Brown’s vocal tongue is perfectly in cheek with the song.
“Crank It Up” is pure rock funk to the max (though it was a big disco hit in it’s 12″ extended remix form), “Stargazer” is a top notch rock/pop power ballad, “Gotta Get The Show On The Road” is retro 60s soul rock, “Leadmeon” is great New Wave funk with a sleaze tempo (and my fave tune on the whole album), “Love In Our Hearts” is a nice soulful near Acapella tune and “Penguin” is a humorous nonsense tune with a miami funk sound (KC & The Sunshine Band like). It’s a real shame this album didn’t get more mainstream exposure in it’s day. It belongs in everyone’s collection, no matter what your genre preference is.
A1. Crank It Up (5:29)
A2 . It’s Alright (Featuring – Dan Hartman) (6:38)
A3. Stargazer (4:35)
A4. Got To Get The Show On The Road (3:54)
B1. Leadmeon (5:25)
B2. West Of The North Star (3:41)
B3. Love In Our Hearts (3:50)
B4. Penguin (4:39)
Genre: Disco / Funk
Label: T.K. Records
Catalog# TKR 83354
Price: € 8,95
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He worked as a session drummer in the 1960s for jazz artists such as Wes Montgomery, Les McCann, Kai Winding, Charles Mingus, Lee Konitz, Blue Mitchell and Gene Ammons.
As a bandleader, he recorded under the name Paul Humphrey and the Cool Aid Chemists, with Clarence MacDonald, David T. Walker, and Bill Upchurch.
He also recorded with Steely Dan, Frank Zappa, Jerry Garcia, Jimmy Smith, The Four Tops, Al Kooper, Jackie DeShannon, Natalie Cole, Albert King, Quincy Jones, Dusty Springfield, Jean-Luc Ponty, Michael Franks, Maria Muldaur, Marc Bolan and others.
Humphrey was one of the drummers on Marvin Gaye’s album “Let’s Get It On”.
Not “Supermellow”, but super dope one of the grooviest albums ever from drummer Paul Humphrey, and a sweet batch of laidback electric funky jazz cuts! Paul’s working here with a bit more keyboards and guitar than before all nicely compressed into the grooves that are directed by his tight work on drums often stepping around in a really badass mode that we totally love, and which moves past a simple approach to funky rhythms.
Humphrey clearly knows that he’s got to complicate things a bit more than usual to keep the ears of the increasingly sophisticated 70s listener by going for hipper changes and timings, while still keeping the tight core funky groove intact.
He’s helped strongly in his efforts here by players who include Joe Sample, Wilton Felder, and Arthur Adams all playing in a more laidback, less studio mode than on other sets and even the arranger Nick Decaro manages to play some groovy accordion on a few tracks! Titles include “Boo A Cha”, “Macho”, “Do The Buzzard”, “Hot Ice Cream”, and “Got It Together”.
A1. Supermellow (5:15)
A2. Hot Ice Cream (3:25)
A3. Do The Buzzard (3:00)
A4. St. Thomas (3:35)
A5. Boo-A-Cha (4:25)
B1. Got It Together (4:20)
B2. Grapefruit Juice (2:24)
B3. Poppa Charlie (3:36)
B4. Everything I Do Is Going To Be Stupid (4:03)
B5. Macho (2:55)
Genre: R&B, Funk
Label: Blue Thumb Records Inc.
Catalog# BTS 47
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“West Side Story” is a 1961 American romantic musical drama film directed by Robert Wise and Jerome Robbins. The film is an adaptation of the 1957 Broadway musical of the same name, which in turn was inspired by William Shakespeare’s play Romeo and Juliet.
It stars Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, and George Chakiris
On the grounds that “West Side Story” was listed on a chart for stereo albums only at a time when many albums were recorded in mono. In 1962, it won a Grammy award for “Best Sound Track Album.
The soundtrack of the “West Side Story” film is deservedly one of the most popular soundtrack recordings of all time, and one of the relatively few to have attained long-term popularity beyond a specialized soundtrack/theatrical musical audience.
It´s widespread impact could be attributed to a few factors: the wide range of compositional and orchestral styles, from cool swing jazz and shades of Latin pop to classical; the universality of the storyline, pitting underdog lovers against the world; and an assortment of songs that goes well beyond the sentimental love odes that are the staples of musicals (though it has some of those, too), including some downright tough posturing and sardonic social commentary.
“Jet Song,” “America,” “Gee, Officer Krupke,” “Tonight,” “Cool,” “Maria,” “I Feel Pretty,” and “Something’s Coming” are all among the most famous and oft-sung soundtrack numbers ever.
A1. Prologue (5:39)
A2. Jet Song (2:11)
A3. Something’s Coming (2:38)
A4. Dance at the Gym (Blues, Promenade, and Jump) (3:37)
A5. Maria (2:40)
A6. America (5:05)
A7. Tonight (3:35)
B1. Gee, Officer Krupke (4:11)
B2. I Feel Pretty (2:50)
B3. One Hand, One Heart (2:03)
B4. The Rumble (2:32)
B5. Cool (4:27)
B6. A Boy Like That/I Have a Love (4:34)
B7. Somewhere (2:03)
Label: CBS Records
Catalog# S 70006
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During the remainder of the 1940s and into the 1950s Davis continued working as a trumpeter/vocalist in several big bands including the band’s of Bobby Byrne, Sammy Kaye, Art Mooney (he played First Trumpet on Mooney’s huge seller “I’m Looking Over a Four Leaf Clover”), Vincent Lopez and Freddy Martin. In Martin’s band, in addition to his duties on trumpet, Davis sang as one of the “Martin Men” and roomed on the road with the band’s male vocalist, Merv Griffin.
In the mid-sixties Davis moved to the RCA label. While still in New York he pitched his idea of recording country songs with a brass ensemble. To say the least, the idea was not well received. Not long after he joined RCA Davis was approved for transfer to the Nashville office by Chet Atkins.
One evening Davis was in the office of his boss, Chet Atkins. He decided to pitch Chet his idea of recording country songs with brass instruments. Davis was surprised when Atkins told him he thought it was a good idea. In fact, Davis told Atkins that the RCA label executives in New York had thought it was a “terrible idea.” Atkins told Davis, “young fella, I run Nashville, go do it.” The only suggestion Atkins made was instead of calling the group “Country Brass” he thought Davis should call it “Nashville Brass.”
Davis immediately went to work on a demo. He chose Nashville arranger and fellow trumpeter, Bill McElhiney, to help create the sound of the Nashville Brass.
Danny Davis and the Nashville Brass literally took Country Music around the world, being one of the first acts in the genre to have their own airplane (originally a DC-3 later a Martin 404, named “Lady Barbara” for Davis’ wife). They were also one of the first Country acts to take the music to the Vegas strip working first as an opening act for Connie Francis and later Kay Starr, they soon returned to headline.
The group also guest starred on many of the biggest television shows of the day including Red Skelton, Ed Sullivan and the show of his old friend, Merv Griffin.
A1. King of the road (2:06)
A2. Make the world go away (2:15)
A3. Don’t let the stars get in your eyes (2:09)
A4. (I’d be) a legend in my time (2:33)
A5. Cold, cold heart (2:52)
B1. Cattle call (2:30)
B2. He’ll have to go (2:39)
B3. Why don’t you love me (2:19)
B4. I don’t hurt anymore (2:38)
B5. She still thinks I still care (2:57)
Recorded in RCA´s “Nashville Sound” Studios, Nashville Tennessee
Recording Engineer – Tom Pick
Recording Technician – Roy Shockley
Arranged and Conducted by – Bill McElhiney
Arranged by – Terry Waddell
Produced by – Bob Ferguson
Genre: Country, Big Band
Label: RCA Records
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The Blue Diamonds was een Nederlands duo bestaande uit de broers Riem (Depok/West-Java, 15 april 1943) en Ruud de Wolff (Batavia, 12 mei 1941 – Driebergen, 18 december 2000).
De broers, van Indisch-Nederlands afkomst, braken in 1960 door met de wereldwijde hit Ramona.
Riem en Ruud de Wolff kwamen in 1949 met hun ouders naar Nederland en zongen in hun tienerjaren op schoolfeesten in bandjes als The String Extase Boys en The Cool Cats.
Het repertoire bestond voornamelijk uit covers van The Everly Brothers. In 1960 stond hun uitvoering van de song Ramona uit 1927 maandenlang in de hitlijsten, en ook in veel andere landen was het nummer een grote hit. Andere succesnummers uit die tijd waren onder andere Oh Carol en Little Ship.
Voor Ramona ontvingen de broers een Edison uit handen van Wim Sonneveld, nadat er zeven miljoen exemplaren waren verkocht. Ook in de jaren zeventig brachten The Blue Diamonds diverse singles uit, maar het stormachtige succes van Ramona werd niet meer geëvenaard. Dat trof als eerste hun versie van Save the last dance for me.
Na de dood van Ruud bleef Riem de Wolff optreden, als soloartiest met een begeleidingsband, en als duo met zijn zoon Steffen onder de naam The New Diamonds. Op 29 april 2005 werd Riem de Wolff benoemd tot Ridder in de orde van Oranje Nassau.
A2. Lilli Marlene (Lili Marleen)
A3. Oh Carol
A4. In A Little Spanish Town
A5. Hey! Ba-Ba-Re-Bop
A6. (‘Til) I Kissed You
B1. Little Ship
B2. All Of Me
B3. Sukiyaki (Ue O Muite Aruko)
B4. Have I Told You Lately That I Love You
B5. Red Sails In The Sunset
B6. Show Me The Way To Go Home
Genre: Rock & Roll
Label: Decca Records
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This release for the Tom Principato Band after the leader Tom Principato launched his solo career. Continuing in the grand tradition of their first album “Smokin'” , the guitarist/vocalist again partners with Steve Wolf on bass and Clark Matthews on drums.
This trio, assisted here and there by organ fills and horn arrangements, is a real threat, and they dish out some fine rock-n-roll that is infused with some jazz and some blues/soul.
Tom Principato contributes 2 originals, the jumping “Try to Reach You” and the searing instrumental “Blue Lights”, which is one of the best songs he ever wrote. “Blue Lights” certainly finds a rival in the title track of Tom’s “In The Clouds” album, it is definitely a composition that should have been considered for a Grammy.
Steve Wolf, who is a remarkable bass player in his own right, contributes 3 originals that bring a greater strength and diversity to the album. With Steve Wolf paired up with Clark Matthews on drums, the rhythm section in this power trio is rock solid and tighter than a bull’s butt.
The band does an excellent job with the covers, really making them their own and delivering a really fun rendition of “Never Make a Move Too Soon” Tom also nails the vocals down to a tee on this great tune.
That being said, Tom does a super job with the vocals throughout.
A1. I Won’t Recover (3:56)
A2. Never Make Your Move Too Soon (5:16)
A3. Rose Marie (3:50)
A4. Blue Lights (6:13)
B1. Congo Square (5:50)
B2. Try To Reach You (Vocals [Harmony Vocals]: Clark Matthews) (3:00)
B3. I Know What You’re Thinkin’ (3:50)
B4. Honeydripper (5:29)
Tom Principato – vocals, guitar, steel guitar, lap steel guitar, electric bass, 6-string bass
Steve Wolf – Bass
Clark Matthews – vocals, drums
Tom Lepson – vocals
Scott Young – tenor saxophone, horns
Pete Barrenbregge – tenor saxophone
Dave Brink – baritone saxophone
Vaughn Nark, Bruce Gates – trumpet
Rick Lillard – trombone
David Palmer – drums, percussion
Cindy Wallman, Margot Kunkel, Mary Chapin Carpenter – background vocals
Enginered by – Bob Dawson
Executive Producer – Tom Grady
Mixed & Mastered from Analog Multi-Track Tapes
Producer – Bob Dawson, Steve Wolf, Tom Principato
Recorded at Bias Recording Studio, Springfield, VA, 1987
Genre: Rock, Blues
Label: Powerhouse Records
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With records charting from the 1950s to the 1980s, he became well known as a practitioner of the Nashville sound (a mixture of older country-style music with elements of popular music).
Known as “Gentleman Jim”, his songs continued to chart for years after his death.
Reeves died in the crash of a private airplane. He is a member of both the Country Music and Texas Country Music Halls of Fame.
One thing the wife of a celebrity learns early is that, she must share her hushband with his public.
“Being the wife of Jim Reeves was like this, with one small exception: Jim´s public were his friends.
Everywhere we went together there seemed to be a host of “Friends” waiting to greet us and remind me that Jim belonged to them, too.
I loved this continuous flow of affection for Jim from his friends, and I often felt a glow from them to him when he would call some aspiring young singer up to the bandstand, announce his conviction that the performer would someday reach great heights and ask the newcomer to sing with him.
From time to time Jim recorded with “Friends” – many times as a group, as well as duets.
Remembering all those exciting years, the multitudes of “Friends” and their excitement, brought such a feeling of nostalgia that I thought perhaps you would like to share a few of these magic moments with me.
Here are ten of them I hope you will enjoy”….Mary Reeves.
A1. Jim Reeves & Dottie West – Love Is No Excuse
A2. Jim Reeves & Leo Jackson & Floyd Robinson – You’ll Never Be Mine Again
A3. Jim Reeves & Gordon Stoker – How Can I Write On Paper (What I Feel In My Heart)
A4. Jim Reeves & Steve Moore – But You Love Me, Daddy
A5. Jim Reeves & Alvadean Coker – Are You The One
B1. Jim Reeves & Dottie West – Look Who’s Talking
B2. Jim Reeves & Carol Johnson – Mother Of A Honky Tonk Girl
B3. Jim Reeves & Leo Jackson – My Hands Are Clean
B4. Jim Reeves & Ginny Wright – I Love You
B5. Jim Reeves & Leo Jackson – Stand At Your Window
Jim Reeves – Guitar, Composer, Vocals
Jim Carroll – Composer
Buddy DeVal – Composer
Pat Twitty – Composer
Don Grashey – Composer
Justin Tubb – Composer
Bob Newman – Composer
Shorty Long – Composer
Buddy Killen – Composer
Producer – Chet Atkins, Danny Davis
Recorded in RCA’s “Nashville Sounds” Studio, Nashville, Tennessee.
Label: RCA Camden Records
Catalog# CDS 1128