July 28, 1992 - EPMD solidify their position as one of hip-hop’s traditional groups with the release of their fourth studio album, Business Never Personal. Erick Sermon and Parrish Smith proved their commercial and artistic viability on this album. Backed by funky beats, innovative nods to the Zapp/Roger Troutman catalogue, and their no-nonsense rhymes, EPMD stuck to pure hip-hop in every sense. Their trademark shined throughout the 11-track offering, which had plenty here to keep fans head-bobbing.
The album is considered the duo’s third classic by fans and critics. The record was given a rating of 4.5 mics out of 5 in The Source. The lead single, “Crossover”, became its biggest success, nearly reaching the Top 20 on the Billboard Hot 100. Ironically, the song was about keeping it real and not crossing over to the mainstream, but became EPMD’s biggest mainstream success. The duo cut “Head Banger” with Redman and K-Solo was also a hit in 1992. The album was certified Gold in sales by the RIAA on October 13, 1992. The single “Crossover” was certified Gold on November 16, 1992.
Members Erick Sermon and Parrish Smith began having money troubles during recording, which led to a 1992 robbery of Smith’s home. The perpetrators claimed that Erick Sermon paid them to do the deed, causing the group to break up soon after this release. They each released two solo albums between 1993 and 1996, then reunited as a duo in 1997. On a personal note: I remember the video shoot for “Head Banger” (directed by Marcus Rayboy). We shot it in a condemned playground building downtown along the FDR Drive. At the time it was going to be the last video shoot ever for EPMD. Erick, Parrish and K-Solo all smashed their verses. For me though, this song belongs to Redman. All night I watched these guys perform the song and every time, Redman just SHUT SHIT DOWN with his verse. I was mesmerized watching Reggie tear into his rhyme. With a tissue up his nose, afro-pick sticking out from underneath his skully, baseball bat in hand and rhyming in the clean-up spot, Reggie cleared the damn bases! A Hip Hop Grand Slam!!
July 27, 1976 - Tina Turner filed for divorce from her husband Ike, ending their violent 16-year marriage and musical partnership.
In the final divorce decree, Tina took responsibility for missed concert dates as well as an IRS lien while also being allowed to retain use of her stage name as a means to find work as a performer. Following the divorce, Turner had corrective surgery on her nasal septum, injured due to Ike’s frequent hitting. Later, Turner dismissed popular notions that she was a “victim” of Ike Turner’s abuse stating she had argued with producers of her loosely-based biopic What’s Love Got to Do with It over her depiction in the film. Friends and relatives of Ike Turner said he never fully got over their divorce.
In 1960, Ike wrote “A Fool in Love”, originally for Kings of Rhythm lead vocalist Art Lassiter. When Lassiter failed to show up to the studio to record the song, Ike asked Anna (Tina) to sing a dummy vocal, with the intention of erasing her vocals and adding Lassiter’s at a later date. Although some felt that the demo with Anna’s voice was “high pitched” and “screechy”, the song received decent airtime in St. Louis. Local St. Louis deejay Dave Dixon convinced Ike to send the tape to Juggy Murray, president of R&B label, Sue Records. Upon hearing the song, Murray was impressed with Anna’s vocals, later stating that her vocals “sounded like screaming dirt… it was a funky sound.” Murray bought the track and paid Ike a $25,000 advance for recording and publishing rights. Murray also convinced Turner to make Anna “the star of the show”. It was at this point that Ike Turner renamed Anna Mae Bullock “Tina”, because the name rhymed with his favorite television character, Sheena. It has also been said that the renaming of Anna Mae Bullock was intended to keep her from running off and making a name for herself. Ike Turner felt that, if Anna Mae Bullock left him, he could replace her with another singer and have her perform as Tina. Ike later admitted that another reason for the name change was to discourage one of Tina’s former lovers from returning to her.
#tinaturner #iketurner #thisdayinmusic #1976 #1970s #singer #songwriter
July 27, 1985 - Paul Young went to No.1 on the US singles chart with his version of the Daryl Hall song ‘Every Time You Go Away’. It remains his only number-one hit and was one of two top 10 hits he had on the U.S. pop singles chart. It also topped the U.S. adult contemporary chart for two weeks. The song peaked at No. 4 in the UK, Young’s home country. The song won Best British Video at the 1986 Brit Awards.
The original appeared on Hall & Oates’s 1980 album, Voices, although it was not released as a single. Hall & Oates also recorded it for their 1985 concert album Live at the Apollo.
#paulyoung #thisdayinmusic #1985 #1980s #hallandoates #darylhall
July 27, 1991 - Bryan Adams started a seven week run at No.1 on the US singles chart with ‘(Everything I Do), I Do It For You’. It is a soft rock power ballad performed by Canadian rock singer Bryan Adams and co-written with Michael Kamen and Robert John “Mutt” Lange, featured on the soundtrack album from the 1991 film Robin Hood: Prince of Thieves and on Adams’ sixth studio solo album Waking Up the Neighbours. It was an enormous chart success internationally, particularly in the United Kingdom, where it spent sixteen consecutive weeks at number one on the UK Singles Chart, the longest in British chart history.
It sold more than 15 million copies worldwide, making it Adams’ most successful song and one of the best-selling singles of all time.
Adams, Kamen and Lange won a Grammy Award for Best Song Written Specifically for a Motion Picture or Television at the Grammy Awards of 1992, and was nominated for an Academy Award for Best Song but lost to “Beauty & the Beast”.
#bryanadams #thisdayinmusic #1991 #1990s #soundtrack #robinhoodprinceofthieves #muttlange #michaelkamen
July 27, 1996 - Toni Braxton scored her first US No.1 single with ‘You’re Makin’ Me High’, a No.7 hit in the UK. It is the lead single from Toni Braxton’s second studio album, Secrets (1996). This mid-tempo song represents a joint collaboration between the Grammy Award-winning producer Babyface and Bryce Wilson, and was issued in the United States as a double A-side with “Let It Flow”, the airplay hit from the motion picture Waiting to Exhale.
You’re Makin’ Me High became Braxton’s first number-one single on both the Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts; it remained on top for one week on the former and for two weeks on the latter, eventually going platinum as rated by the RIAA. A dance remix by Morales allowed the single to also top the Hot Dance Club Play chart for two weeks in August 1996. Another remix for urban markets was created featuring rapper Foxy Brown, called the Groove Mix.
The song earned Braxton her third Grammy Award for Best Female R&B Vocal Performance in 1997. The success of “You’re Makin’ Me High” would later be continued with the release of “Un-Break My Heart” (1996).
#tonibraxton #thisdayinmusic #1996 #1990s #babyface #brycewilson #laface
Happy Birthday, Mick Jagger! • July 26, 1943 - Born on this day, Mick Jagger, vocals, The Rolling Stones, (1969 UK & US No.1 single ‘Honky Tonk Women’, and over 35 UK & US Top 40 singles and albums). Solo (1985 UK No.1 single with David Bowie ‘Dancing In The Street’). 1985 UK No. 6 solo album She’s The Boss.
Jagger’s career has spanned over 50 years, and he has been described as “one of the most popular and influential frontmen in the history of rock & roll”. His distinctive voice and performance, along with Keith Richards’ guitar style, have been the trademark of the Rolling Stones throughout the career of the band. Jagger gained much press notoriety for admitted drug use and romantic involvements, and was often portrayed as a countercultural figure. In the late 1960s Jagger began acting in films (starting with Performance and Ned Kelly), to mixed reception. In 1985, Jagger released his first solo album, She’s the Boss. In early 2009, he joined the electric supergroup SuperHeavy.
In the words of British dramatist and novelist Philip Norman, “the only point concerning Mick Jagger’s influence over ‘young people’ that doctors and psychologists agreed on was that it wasn’t, under any circumstances, fundamentally harmless.” According to Norman, even Elvis Presley at his most scandalous had not exerted a “power so wholly and disturbingly physical”: He wrote in 1984: Presley, while he made girls scream, did not have Jagger’s ability to make men feel uncomfortable.
In fact, musicians such as David Bowie joined many rock bands with blues, folk and soul orientations in his first attempts as a musician in the mid-1960s, and Bowie was to recall: I used to dream of being their Mick Jagger.
Steven Van Zandt also wrote: The acceptance of Jagger’s voice on pop radio was a turning point in rock & roll. He broke open the doors for everyone else. Suddenly, Eric Burdon and Van Morrison weren’t so weird – even Bob Dylan.
In 1989 Jagger was inducted into the Rock and Roll Hall of Fame, and in 2004 into the UK Music Hall of Fame with the Rolling Stones. In 2003 he was knighted for his services to music.
#mickjagger #thisdayinmusic #hbd #happybirthday #rollingstones #singer #songwriter #actor
July 26, 1986 - Peter Gabriel went to No.1 on the US singles chart with ‘Sledgehammer’, a No.4 hit in the UK. The song’s video has won a number of awards, including a record nine MTV Awards at the 1987 MTV Video Music Awards, and Best British Video at the 1987 Brit Awards. Gabriel was also nominated for three Grammy Awards. As of 2011, ‘Sledgehammer’ is the most played music video in the history of MTV.
The song was influenced by 1960s soul music, in particular the music made by the Memphis label Stax. The distinctive horn track was provided by the Memphis Horns, the Stax Records label’s house musicians. The song also features a synthesized shakuhachi flute generated with an Emu Emulator II sampler.
Sledgehammer was Peter Gabriel’s first and, to date, only number-one hit in the United States. It replaced “Invisible Touch” by his former band Genesis, which had been that group’s only US number-one hit the previous week. “Sledgehammer” also achieved chart success on other Billboard charts in 1986, spanning the range between Album Rock Tracks and Hot Dance Club Play.
Sledgehammer spawned a widely popular and influential music video commissioned by Tessa Watts at Virgin Records, directed by Stephen R. Johnson, and produced by Adam Whittaker. Aardman Animations (of Wallace and Gromit fame) and the Brothers Quay provided claymation, pixilation, and stop motion animation that gave life to images in the song. The video ended with a large group of extras jerkily rotating around Gabriel, among them: Gabriel’s own daughters Anna and Melanie, the animators themselves, and director Stephen Johnson’s girlfriend. Also included were six women who posed as the back-up singers of the song. Gabriel lay under a sheet of glass for 16 hours while filming the video one frame at a time. Notably, two oven-ready chickens, headless and featherless, were animated using stop-motion and shown dancing along to the synthesised flute solo in the middle of the song. This section was animated by Nick Park, of Aardman Animations, who was refining his work in plasticine animation at the time. The style was later used again in the video for another successful single from the album So, Big Time.
#petergabriel #thisdayinmusic #1986 #1980s #so #sledgehammer
July 26, 1975 - Van McCoy and the Soul City went to No.1 on the US singles chart with ‘The Hustle’, his only US chart hit, it made No.3 in the UK.
It would eventually sell over one million copies and is one of the most popular songs of the disco era. The song won the Grammy Award for Best Pop Instrumental Performance in 1976.
While in New York City to make an album, McCoy composed the song after his music partner, Charles Kipps, watched patrons do a dance known as “the Hustle” in the nightclub Adam’s Apple. The sessions were done at New York’s Media Sound studio with pianist McCoy, bassist Gordon Edwards, drummer Steve Gadd, keyboardist Richard Tee, guitarists Eric Gale and John Tropea, and orchestra leader Gene Orloff. Producer Hugo Peretti contracted piccolo player Philip Bodner to play the lead melody.
McCoy died from a heart attack in Englewood, New Jersey, on July 6, 1979, at the age of 39. According to producers Hugo Peretti and Luigi Creatore, who owned the Avco record label that originally released “The Hustle”, McCoy met with them shortly before his death in 1979 to discuss ideas for a new, longer version of the song, in order to appease Avco’s UK and German affiliates who were clamoring for a 12” disco single release. The new version, clocking in at just under 6-and-a-half minutes, was assembled posthumously as a remix, using parts of the original recording plus new parts, including drum, Syndrum, and a “little” Moog synthesizer. It was credited to Van McCoy alone or with an unnamed orchestra, mixed by “The Mix Masters”, identity unknown.
#vanmccoy #thisdayinmusic #1975 #1970s #music #song #melody #disco
July 26, 1980 - The Rolling Stones started a seven week run at No.1 on the US album chart with ‘Emotional Rescue’, the group’s eighth US No.1.
Recorded throughout 1979, first in Nassau, Bahamas (Compass Point), then Paris (Pathe Marconi), with some end-of-year overdubbing in New York City, Emotional Rescue was the first Rolling Stones album recorded following Keith Richards’ exoneration from a Toronto drugs charge that could have landed him in jail for years. Fresh from the revitalization of Some Girls, Richards and Mick Jagger led the Stones through dozens of new songs, some of which were held over for Tattoo You, picking only ten for Emotional Rescue.
While several of the tracks featured just the core band of Jagger, Richards, Ronnie Wood, Charlie Watts, and Bill Wyman, keyboardists Nicky Hopkins and co-founder Ian Stewart, sax player Bobby Keys and harmonica player Sugar Blue joined the Rolling Stones on Emotional Rescue.
Some other songs left off the album would find their way onto the next album, Tattoo You (“Black Limousine”, “Start Me Up”, “Hang Fire”, “Little T&A”, and “No Use in Crying”). “Think I’m Going Mad”, another song from the sessions, was released as the B-side to “She Was Hot” in 1984. A cover song sung by Richards: “We Had It All”, was released on the 2011 deluxe Some Girls package.
The album cover, designed by Peter Corriston, features a selection of thermographic photos taken by British-born, Paris-based artist Roy Adzak using a thermo camera. The original release came wrapped in a huge color poster featuring more thermo-shots of the band with the album itself wrapped in a plastic bag. The music video shot for “Emotional Rescue” also utilized the same type of shots of the band performing.
Released in June with the disco-infused hit title track as the lead single, Emotional Rescue was an immediate smash. The title track hit No.3 on the Billboard Hot 100. The album gave the Rolling Stones their first UK No.1 album since 1973’s Goats Head Soup and spent seven weeks atop the US charts. The follow-up single “She’s So Cold” was a top 30 hit while “Dance Pt. 1” reached No. 9 on Billboard’s Dance chart.
#rollingstones #thisdayinmusic #1980 #1980s #mickjagger #keithrichards #charliewatts #billwyman #ronniewood #emotionalrescue
July 25, 1970 - The Carpenters started a four week run at No.1 on the US singles chart with ‘(They Long To Be) Close To You’. The first of three US No.1’s and 17 other Top 40 hits.
The song was written in 1963 by Hal David and Burt Bacharach. It was first recorded by Richard Chamberlain and released as a single in 1963 as “They Long to Be Close to You”, without parentheses. However, it was the single’s flip side, “Blue Guitar”, that became a hit. The tune was also recorded as a demo by Dionne Warwick in 1963 and re-recorded with a Burt Bacharach arrangement for her 1964 album Make Way for Dionne Warwick, and was released as the B-side of her 1965 single “Here I Am”. Dusty Springfield recorded an early version of this song in 1964, which was originally scheduled for release as a single and potential follow-up to her hit “I Just Don’t Know What To Do with Myself.” However, it wasn’t until 3 years later, in 1967, that her version was finally was released on her album Where Am I Going?. Bacharach released his own version in 1968.
This song was given to Herb Alpert as a follow up to his Number 1 hit, “This Guy’s in Love with You”, another Bacharach/David composition. Alpert was not thrilled with his version and shelved the recording. He decided to give it to the new act he had signed to A&M Records, The Carpenters, in 1969. In 1970, it was released by Karen and Richard Carpenter on their album Close to You, and it became their breakthrough hit.
Richard had stated that when Alpert introduced the song to him back in early 1970, he was a bit apprehensive about the song. He and Alpert collaborated on the song, and the finished product was a 4-minute, 36-second long song. When A&M Records decided to release it in May 1970, it became A&M’s biggest hit since Alpert’s “This Guy’s in Love with You” from 1968.
The Carpenters earned a Grammy Award for Best Contemporary Performance by a Duo, Group or Chorus in 1971. It became the first of three Grammy Awards they would win during their career.
#thecarpenters #thisdayinmusic #1970 #1970s #carpenters #karencarpenter #richardcarpenter #burtbacharach #haldavid
July 24, 1976 - The Manhattans started a two week run at No.1 on the US singles chart with ‘Kiss And Say Goodbye’, the group’s only US No.1, it made No.4 in the UK. It also became just the second single to earn platinum certification status, after the RIAA established the designation in 1976. Johnnie Taylor’s “Disco Lady” had been the first a few months earlier.
The song was written by Manhattans member Winfred “Blue” Lovett. He said in an interview that he envisaged Glen Campbell singing his tune. Said Lovett: Back then I was into listening a lot to country things. Lionel Richie jumped the gun on me, but I had been listening for three or four years. I liked a lot of things Glen Campbell was doing… and Charley Pride.
Kiss and Say Goodbye was produced by the Philadelphia-based record producer Bobby Martin, a former member of the MFSB band of session musicians and recorded in 1975 at Joe Tarsia’s Sigma Sound Studios in Philadelphia. It would be a full year until it was released, possibly as the label was concerned about dropping a ballad during the Disco explosion. “We thought that ‘Kiss and Say Goodbye’ would be the wrong song to release, and we were very much upset with Columbia choosing a R&B-Country song during the disco era,” said Lovett. “And how wrong we were!” Columbia issued two different singles: the full version aimed toward the R&B market, which included a mid-song rap and an edited “pop” edition without the spoken part. Lovett said: “Pop stations didn’t like the rap the way I was talking, like Barry White, Isaac Hayes or Lou Rawls. They didn’t like that talking in the beginning. They felt it would sell better, if it was without the rap. I was fine with that. Whatever would sell records that was fine.”
#themanhattans #manhattans #thisdayinmusic #1976 #1970s #WinfredLovett #bobbymartin #columbiarecords #music #song #melody #rnb #soul