tpj1965

Biblically psychedelic and -- at 17 minutes -- remarkably patience-testing, this classic has long had listeners scratching their heads. Drummer Ron Bushy said that the slurred title stemmed more from dizzy inebriation than divine intervention: One evening, organist Doug Ingle "polished off a whole gallon of Red Mountain wine and played this song on the keyboard. He was so drunk that when he would sing 'In the Garden of Eden,' it came out as 'In a Gadda Da Vida.' The next morning, we woke up and decided to keep the title."

Phil Spector produced this. He originally had singer Darlene Love record it at Gold Star studios in Los Angeles. After singing lead on the Crystals' previous hits "He's a Rebel" and "He's Sure the Boy I Love," Darlene Love received session fees. After singing on this, she preferred to be signed to an artist's contract. Spector responded to her demand by erasing her vocals and flying in Crystals lead singer Dolores "La La" Brooks to replace the lead vocal. The backup vocals were provided by The Blossoms, Darlene Love, and Cher. (thanks, Jerro - New Alexandria, PA) Jeff Barry and Ellie Greenwich wrote this. The refrain of "da doo ron ron" came from nonsense syllables they stuck in as space filler. This became one of the most popular American Pop songs of the period in England. It was covered by all manner of acts on-stage and on-record. (thanks, Edward Pearce - Ashford, Kent, England, for above 2) Although it has not been confirmed, legend has it that Sonny Bono was one of the many vocalists who sang backup for this song. Bono was a record producer at the time and knew Phil Spector. A version by Shaun Cassidy reached US #1 in 1977. Other artists who have covered this song include The Carpenters, Billy J. Kramer and the Dakotas, Jack Nitzsche, The Raindrops, and The Searchers. (thanks, Jerro - New Alexandria, PA, for above 2) Vintage The Crystals - Da Doo Ron Ron Featured in a '82 documentary HERE The Crystals - Da do ron ron Uploaded by Iplus

Richard Rodgers and Lorenz Hart wrote 'Blue Moon' in 1934 -- but didn't write the words above. Singers from Ella to Elvis have tackled the song, but Pittsburgh quintet the Marcels sent it into outer space by adding syllables that were far out even for doo-wop. Rodgers was so horrified by their recording he took out an ad begging folks not to buy it -- he may have changed his tune about his changed tune when the royalties poured in from this million-seller. The Marcels - Blue Moon Uploaded by rockinbart

Sam the Sham and the Pharaohs toured the world and scored another huge hit in 1966 called "Little Red Riding Hood". The third LP "Li'l Red Riding Hood" ushered in a change of personnel and a change in their musical direction. Travelling through New York, Sam recruited a band called the Gypsies to be the new Pharaohs. The line-up at this time consisted of Frank Carabetta, multi- instrumentalist; Tony Gerace, bass; Billy Bennett, drummer and a guitarist named Andrew Kuha. Record company pressures to produce another formula hit single led to a period in which the group abandoned their hard rocking sound in favour of adaptations of nursery rhymes, cartoon characters, and other juvenile topics. Personnel changes continued, and as the Sam The Sham Revue, Louis Vilardo of the original Gypsies replaced Billy Bennett on drums, and Ronnie (Spiderman) Jacobsen played bass. The group was augmented with a trio of female backup singers, Fran Curcio, Loraine Genero, and Jane Anderson known as The Shamettes. The Shamettes released a couple singles on their own, one being a novelty response to Li'l Red Riding Hood, called "(Hey There) Big Bad Wolf". It flopped miserably.

Na Na Hey Hey Kiss Him Goodbye" was a song written and recorded by Gary DeCarlo, Dale Frashuer, and Paul Leka; attributed to a then fictitious band "Steam," it was released under the Mercury subsidiary label Fontana. It became the number one pop single on the Billboard Hot 100 in late 1969. Although subsequent recordings and a quickly assembled touring band Steam met with little success, "Na Na Hey Hey Kiss Him Goodbye" remains a perennial favorite.

The first to break out across the Atlantic in a really big way was Londoner Junior Giscombe with "Mama Used To Say" in 1982. The original release of this track wasn't a hit but it was given the remix treatment in the States which jacked up the bass and horns and generally made it sound less weedy and "British" a production - the beat on this slams like a jackhammer. It became a monster hit in America and Junior has the distinction of being the first black British artist to appear on Soul Train (Elton John and David Bowie had been on before him) which must have given him a lot of bragging rights back home. Junior - Mama Used To Say Uploaded by PeteRock

George Duke - Love Canbe So Cold Uploaded by capitainfunkk George Duke - Sweet Baby (live) Uploaded by capitainfunkk

"Strawberry Letter 23" is a song written by Shuggie Otis, although known most prominently by the version done by the Brothers Johnson. Otis wrote the song for a girlfriend, who used strawberry-scented paper in letters to him. George Johnson of the Brothers Johnson was dating one of Otis' cousins when he came across Freedom Flight, Otis' 1972 album that featured the song. The group would later record it for their 1977 album Right On Time, under legendary producer Quincy Jones. The album would go platinum. "Strawberry Letter 23", as recorded by the Brothers Johnson, in a funkier, more dance oriented vein than the original Otis version, hit the Hot 100 # 5 in 1977. The song's title appears to be a misnomer, the actual lyrics reading in part: "...a present from you, Strawberry Letter 22." This however is not true. Otis wrote it for his girlfriend, who liked to send him letters written on strawberry scented paper. The song describes the feelings evoked by "Strawberry Letter 22," the title indicating the hopes of another letter. Another explanation is that the song is a reply to strawberry letter 22 and the title refers to the song being like a "strawberry letter 23" The Brothers Johnson - Strawberry letter 23 Uploaded by DoMinho

"Rise" is a song written by Andy Armer and Randy Badazz, and recorded by trumpeter Herb Alpert. The instrumental track was included on Alpert's solo album Rise and released as a single in 1979. It reached #1 on the U.S. Billboard Hot 100 in October of that year and remained in the top position for two weeks. Herb Alpert thus became the first (and only) artist to reach the top of the Hot 100 with a vocal performance ("This Guy's in Love with You", 1968) as well as an instrumental performance. The recording also received a Grammy Award for Best Pop Instrumental Performance. Recorded after a ten-minute-long discofied version of Alpert's first hit, "The Lonely Bull", "Rise" was originally recorded as a fast-paced dance song, but the tempo was slowed down prior to release and re-recorded by Alpert. Shortly after "Rise" became a hit in the United States, it became a hit in the United Kingdom when British disk jockeys were playing import copies of the record at the wrong speed (American 12-inch singles are played at 33 revolutions per minute, the same as an LP, while British and European 12-inch singles are played as 45 RPM). Herb Alpert - Rise 1980 Uploaded by capitainfunkk

Landis did a lot better than Naughton. Naughton only other claim to fame was Dr. Pepper.

this was one of the smoothes songes ever, another great one Droop

i loved Stacy as much as i loved Janet, and Stacy was actually a better singer. Didn't you have another post with Stacy I could swear i posted some videos in that post. Stacy Lattisaw & Johnny Gil-Perfect Comb Uploaded by SirDroopy

LMAO, Droopy you are the man, I actually owned "Stayin Alive", a somewhat sorry sequal to Saturday Night Fever. You said his biggest hit, he had another hit?

I remember in Jr High a classmate was a bass player and he introduced me to the works of the Bro. Johnson and the phenominal bass playing of Louis Johnson. Here are a couple of other very good slap bass players. Flea on Funk Slap Mark King live at the Jazz Café [Mr Pink bass solo]

Ike and Tina Turner Uploaded by Gatorrock784 Ike & Tina Turner - Feel Good Uploaded by docfromcpt Ike & Tina - I Want To Take You Higher Uploaded by Discodandan Ike and tina turner nutbush city limits Uploaded by dede-78 Ike & Tina Turner-Honky tonk woman(Beat Club) Uploaded by Salut-les-copains Opening Act Ike & Tina Turner Revue Uploaded by loischantrelle Ike & Tina Turner - River Deep, Mountain Uploaded by yugo257 Ike & Tina Turner Uploaded by LyLoou

Maceo Parker - Pee Wee Ellis - Fred Wesley - Kim Mazelle (femme vocal) - George Clinton - Jerry Preston (bass) - JB'S Maceo Parker Funk Groove Maceo Parker Funk Groove Uploaded by FunkyMotion Maceo Parker Funk Groove 2 Maceo Parker FUNK GROOVE 2 Uploaded by FunkyMotion Maceo Parker Funk Groove 3 Maceo Parker Funk Groove 3 Uploaded by FunkyMotion Maceo Parker FUNK GROOVE 4 Maceo Parker FUNK GROOVE 4 Uploaded by FunkyMotion Maceo Parker FUNK GROOVE 4 Maceo Parker FUNK GROOVE FIN Uploaded by FunkyMotion

Chaka Khan Tribute Bet Awards 2006 Chaka khan tribute (prince, yolanda, ste Uploaded by Hanvak BONUS Chaka Khan - Melody Chaka Khan - Sweet Thing - Melody Uploaded by jade274

The Stylistics was one of the best-known Philadelphia soul groups of the 1970s. They formed in 1968, and comprised lead Russell Thompkins, Jr., Herbie Murrell, Airrion Love (second lead on "You Make Me Feel Brand New"), James Smith, and James Dunn. They had their first U.S. hit in 1971 with "You're a Big Girl Now". Signing to Avco Records, The Stylistics began working with producer Thom Bell, who had already produced a catalogue of hits for The Delfonics, and songwriter Linda Creed. Bell imported the sweet soul techniques he had perfected with The Delfonics, and his arrangements worked perfectly with Thompkins' falsetto. The bittersweet lyrics from Creed were a key factor in creating hugely memorable music. Their hits — distilled from three albums — from this period included "Betcha by Golly Wow!", "I'm Stone in Love with You", "Break Up To Make Up", "You Make Me Feel Brand New" featuring a double lead with Love, "Stop, Look, Listen (To Your Heart)" and "You Are Everything". "You Make Me Feel Brand New" was the group's biggest U.S. hit, holding at #2 for two weeks in the spring of 1974, and was one of five U.S. gold singles the Stylistics collected. The Stylistics' smooth sound also found an easier path onto adult contemporary airwaves than other soul artists, and the group made Billboard magazine's Easy Listening singles chart twelve times from 1971 to 1976, with three entries ("Betcha by Golly Wow!," "You Make Me Feel Brand New," and "You'll Never Get To Heaven (If You Break My Heart)") reaching the Top 10. The group split with Thom Bell in 1974, and the split proved devastating commercially to the group's success in the U.S. Just as with The Delfonics, The Stylistics were to some extent a vehicle for Bell's own creativity. They struggled hard to find producers who could come up with the right material, and partnerships with Hugo & Luigi and Van McCoy were notably less successful. Rockin' Roll Baby The Stylistics - Rockin' Roll Baby Uploaded by capitainfunkk Stylistics - Betcha By Golly Wow Stylistics - Betcha By Golly Wow Uploaded by erwan951 THE STYLISTICS .You Make Me Feel Brand THE STYLISTICS .You Make Me Feel Brand Uploaded by capitainfunkk

Blue Magic is an American R&B soul vocal quintet which was formed in Philadelphia in June 1973 when former Delfonic Randy Cain brought singer-songwriter Ted Mills in to do some writing with the Philly-based WMOT production company and a short time later, the group Shades of Blue, featuring Keith Beaton, Richard Pratt, Vernon Sawyer and his brother Wendell, came in for an audition. According to Marc Taylor, in his book A Touch of Classic Soul of the Early 1970's, although the group performed admirably, they lacked a standout lead singer and WMOT execs decided to put Mills with the Shades of Love and renamed the group Blue Magic. They were signed with Atco/Atlantic Records in the same year. Blue Magic were one of the earliest acts produced by Norman Harris, a Philadelphia records veteran. The group's harmonies were supported by the MFSB house band. Blue Magic became popular in 1974 with their first million-selling US Top 10 hit single Sideshow and Three Ring Circus, both co-written by guitarist Bobby Eli. They became known mostly for their smooth ballads. The album Thirteen Blue Magic Lane in 1975 maintained the group's popularity and spawned their version of the popular dance track We're On The Right Track. Some of MFSB's best work can be found on Magic Of The Blue Welcome To The Club,We're On The Right Track,and Look Me Up. Blue Magic had two R&B chart singles in 1975 and four in 1976. They recorded the hit What's Come Over Me twice, once on their first album and, secondly, as a single with Margie Joseph. In 1975 the group had their first world tour, which lasted sixteen weeks. The tour included forty-eight states in the United States, five countries in Europe, and ten days in the Philippines. Blue Magic concluded their tour with a fourteen-day engagement in the Virgin Islands. In April 1975 they were chosen as the best new group of the year which earned them an Ebony Award. With the rise of disco and the group making the mistake of changing their style for the Halloween-oriented album 'Mystic Dragons', which was centered around the single 'Freak-N-Stein,' the group became less popular, and both lead singer Ted Mills and Richard Pratt left for religious reasons in 1981. They returned to the R&B chart with singles in 1981 and 1983 and experienced renewed popularity in 1989 with a comeback album, From Out of the Blue. A reconstituted Blue Magic, consisting of the two Sawyers, Beaton and lead singer Wade Elliott, also continues to tour in soul music shows and appeared on a 2003 PBS 70s Soul special [available on DVD under the title "Old School Soul Party Live!"]. Blue Magic - Look Me Up Blue Magic - Look Me Up Uploaded by avectoisegolene Three Ring Circus Blue Magic - Sideshow

The Chi-Lites were a Chicago-based smooth soul vocal quartet from the early 1970s, one of the few from the period to not come from Memphis or Philadelphia. They were led by Eugene Record, and scored eleven Top Ten R&B hits in the early part of the decade. The group formed in the late 1950s when The Chanteurs (Record, Robert "Squirrel" Lester, and Clarence Johnson) teamed up with Marshall Thompson and Creadel "Red" Jones of the Desideros to form The Hi-lites. Wishing to add a tribute to their home town of Chicago, they changed their name to "Marshall and the Chi-Lites" in 1964. Johnson left later that year, and their name was subsequently shortened to The Chi-Lites. Their major hits came in 1971 and 1972, with "Have You Seen Her" and "Oh Girl", the latter a Number one single on the Billboard Hot 100 in 1972. Other transatlantic chart smashes followed, although the output became more fragmented as the group's personnel came and went. For example, bass singer Jones left in 1973, and was replaced in quick succession by Stanley Anderson, Willie Kensey, and then Doc Roberson. Shortly thereafter, Eugene Record left, and David Scott and Danny Johnson entered. More personnel changes ensued, when Johnson was replaced by Vandy Hampton in 1977. At that point, the group totally disintegrated, but re-formed in 1980, with the mid 1960s quartet of Record, Thompson, Jones, and Lester back together. Creadel Jones left for a second time in 1982, and the group was a trio. Record left again in 1988, and new lead Frank Reed was recruited, considered by many to be one of the best in the group's history. Reed left for reasons unknown, and singer Anthony Watson would join the group. (It should be noted that Lester took over singing lead on "Oh Girl", while Watson led on their other songs.) By then, the group also featured a female member. Chi-Lites - Oh Girl Chi-Lites - Oh Girl (tv - 1972) Uploaded by capitainfunkk The Chi Lites - Have You Seen Her The Chi Lites - Have You Seen Her Uploaded by coolfunk

The Delfonics was a quintessential Philadelphia soul singing group, most popular in the late 1960s and early 1970s. Brothers William and Wilbert Hart formed the group with Randy (Rudy) Cain in high school in the early 1960s. Philadelphia soul was smoother than traditional soul, strongly influenced by Phil Spector's "Wall of Sound" production, but solidly based in the doo-wop sounds of the 1950s. Randy Cain left the group in 1971, and in 1973 had a hand in formulating Blue Magic when he brought singer-songwriter Ted Mills in to do some writing for W.M.O.T. (We Men Of Talent), and the remaining future members of Blue Magic came in for an audition. Cain was replaced by Major Harris; by then, however, Thom Bell had moved on to produce The Stylistics and later, The Spinners. The Delfonics swiftly produced another album, Alive and Kicking, produced by Stan Watson. However, in the absence of Thom Bell, the Delfonics' career declined sharply, and with the exception of the aforementioned "Hey Love" and the minor hits "When You Get Right Down to It", "I Don't Want To Make You Wait" and "I Told You So", success eluded them after 1975. ("For The Love I Give To You", although popular, was never released as a single.) Most of their songs at this point were written by lead singer William Hart. Major Harris left and had major success with the song "Love Won't Let Me Wait". Wilbert Hart also left around this time, leaving William Hart as the only original member. New members were brought in, and the group continued for some time. The group then broke up and reformed with William Hart, Randy Cain, and Major Harris. (Wilbert Hart formed his own Delfonics group; the members were Wilbert, Eban Brown (falsetto lead), and Dr. S. Love.) Randy Cain left for a second time, and was replaced by Frank Washington of The Futures. The Delfonics - Didn't I Blow Your Mind This Time The Delfonics - La La Means I Love You

OMG Droop, that is still one of the hottest songs on the planet. If you can't get some after a romantic evening and playing this song there is something wrong.

I tell you Red it is an experience I remember for a life time. There are not too many of those groups left if any.

You can't beat the classics, I have see the Tops preform a number times once on a bill with the Temptations, damn what a show that was. There music has stood the test of time. The group was inducted into the Rock and Roll Hall of Fame in 1990, and into the Vocal Group Hall of Fame in 1999. In 2004, Rolling Stone Magazine ranked them #79 on their list of the 100 Greatest Artists of All Time

Do you know them all, extra credit for the piano player. :happy: One viewer comment for this video was: "They all are just average, and bonnie has the most style, please, put Jerry on that stage and they'd ALL be in the audience watching as they did in the past." " all you need to do is learn the penatonic scale, it is in ALL guitar scale book, it is the easist scale to learn..than you could jam along with that video in G, or Gm. seriouly it's not that hard. " I know there are a few guitar players here, any responses to those comments.