Less than forty-eight hours before the album was to be mastered, U2's Bono made a surprise appearance at the studio where Van Zandt and coproducer Arthur Baker were working on the final mix. Bono brought tapes of a newly recorded number, "Silver and Gold"; too good to pass up, the song was tacked onto the completed album, although the title never made it onto the original cover credits because the artwork was already finished. Bono said his involvement in Sun City was humanistically rather than politically motivated.
It doesn't matter what side you're on — this is common sense. For whatever reason, the single never became a radio hit. Some chalked it up to timid radio programmers who were afraid to broadcast the song's strong message. Others believed it was due to the track's aggressive rap attack, which didn't fit neatly into the Top Forty format. Van Zandt is inclined to agree with the latter explanation. Fortunately, the lack of radio airplay didn't stop "Sun City" from Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 the public.
Thanks to a spectacular video clip, directed by Godley and Creme, Jonathan Demme and Hart Perry, the antiapartheid message was heard and seen around the world. More a minidocumentary than a music video, the visually inventive clip featured all the performers on the anthem and also crosscut recent footage of South African unrest with scenes of the Sixties civil-rights struggle in America.
Vigorously championed by MTV and other cable outlets, the video raised both consciousnesses and record sales. Several months later, Van Zandt, Baker and others involved with Sun City were able to donate more than a half million dollars to causes supporting the antiapartheid struggle.
Perhaps more important than the money Transylvania - Various - Metalmania, the album threw an effective political punch: Not only did it discourage musicians from playing the South African resort city, but it also helped spread the word about new sounds like rap.
A deranged painting of a snarling pit bull held back on a short leash adorns the cover of What Up, Dog? And it vindicated the struggling absurdist band from Detroit by proving it capable of commercial success.
Formed by two cynical white songwriter-musicians and fronted by the black vocal duo of Sweet Pea Atkinson and Sir Harry Bowens, Was Not Was has always taken a smart, and occasionally smartass, approach. The band's first two albums had achieved critical raves but miserable sales. Things became so dismal after its second album stiffed that Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 band came dangerously close to permanent not-was status.
With the group in complete disarray, Weiss says he was doing "lamentable" home-video scores, while Fagenson produced "sexual deviants" like transvestite singer Marilyn. Bowen In The Moment - The Entertainers - The Entertainers with the O'Jays, and Atkinson was "probably watching the soaps and pimping," Weiss says jokingly.
After landing a new record deal in England, the band bounced back with What Up, Dog? With so many deliciously wicked numbers, it might seem tough to pick a single highlight, but for Weiss the album's tour de farce is "Wedding Vows in Vegas," a track included on the CD version of What Up, Dog? The song is a smoky, sardonic number crooned by cocktail-lounge icon Frank Sinatra Jr. After the late release of What Up, Dog?
But however welcome success may have been, Weiss still sounds like a man with more than a few questions about the merits of pop music. Labour of Loveby Britain's UB40, was exactly that: an enjoyable way of paying tribute to the reggae tunes that meant the most to the band members when they were growing up.
The ten numbers they chose to cover from among hundreds they knew and loved were originally recorded between and — a period that corresponded to the band members' early exposure to reggae at weekend-long parties in the ethnic neighborhood of Balsall Heath, in their hometown of Birmingham. In the Sixties, the term reggae was Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 interchangeably with bluebeat, ska and rock steady.
It was Jamaican pop music, meant for dancing. UB40's lilting rhythms, uncluttered arrangements and sweet, soulful vocals proved irresistible, and Labour of Love helped break UB40, which had been famous in Europe sincein the U.
The album also reentered the charts, doing better the second time around and outselling the band's then-current release, simply titled UB Sax player Brian Travers claims that UB40 may someday do a second volume of reggae covers.
Ambitious and fiercely spare, the album examines the progress of Parker's life in powerful terms, exploring the relative value and meaning of love and loss, work and creativity, success and failure. The trouble started when Parker submitted a thirty-song demo tape to his new label, Atlantic Records.
The label didn't like the songs and asked Parker to work with an outside producer and collaborate with other songwriters. Parker, who felt that his recent albums had been fatally overproduced, refused.
Atlantic released him from his contract, and Parker eventually signed with RCA, where he found the autonomy he craved. Parker called in guitarist Brinsley Schwarz and bassist Andrew Bodnar, two members of his original backing band, the Rumour. The Mona Lisa's Sister is one of Parker's most personal records. The ballad "Success" is a scathing indictment of the ethic that judges people by their material worth.
The single "Get Started. It relates to the album's cover, which depicts a modernist Mona Lisa sporting Parker's trademark shades. I was the sister who didn't get the painting done of herself. Looking back at The Mona Lisa's Sister, Parker says, "What it's given me is an approach that I can always go back to with the right kind of songs. You can record songs and make them pretty honestly without a circus happening around you and lots of money being thrown away. You really can. When told that Culture Club's Colour By Numbers had been selected as one of the Top albums of the decade, Boy George said, with typical playfulness, "As well it should be.
The band's second LP, Unleash The Hardcore - Karen Joy* - Talk To Me (Acetate) by Numberswas released in the fall of while a second British Invasion was dominating the American pop charts. But George insists the album's surprisingly mature pop polish wasn't motivated by competition with his peers. We wanted to be more like the older people we admired. Colour by Numbers does Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 a respect for pop history.
But the familiarity of the group's songs bothered at least one person. Culture Club made its second album with the same producer Steve Levine and at the same studio Red Bus Studios, in London it had used for its debut. George attributes the band's improvement from the tropical pop of Kissing to Be Clever to the input of outside musicians, notably keyboardist Phil Pickett, who co-wrote two songs with the band, and singer Helen Terry, who electrifies several tracks.
Within months of the release of Colour by Numbers, George's plucked brow was on the cover of Newsweek, followed by a Tonight Show bitch-off with Joan Rivers, a Boy George doll and his infamous acceptance speech at the Grammys, when George thanked the audience for "knowing a good drag queen when you see one.
George said he last listened to Colour by Numbers three years ago, when he was Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 to kick his heroin addiction.
Which doesn't mean he's not proud of the band he may — or may not — be re-forming. I've read things where people have said the songs were awful and the only important thing was the way I looked.
Colour by Numbers definitely does have a place. Above who or below who, I'm not sure. Scarecrow consolidated the band's rugged, roots-rock thrash and the ongoing maturation of Mellencamp's lyrics. The album is largely about dreams and illusions in America and how the essential character of the nation was being twisted in a government-supported climate of corporate greed.
The most visible manifestation of the problem, from Mellencamp's perch in central Indiana, was the rash of farm foreclosures across the Midwest. Despite the bittersweet, reflective tone of songs like Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 Face of the Nation" and "Minutes to Memories" and the sentimental cast of his ode to rural America, "Small Town," the rehearsals that led up to the recording of the songs were nothing but pure fun.
When a cousin opened up a bar nearby, Mellencamp christened it by playing an entire evening's worth of cover versions, from "White Room" to "Lightnin' Strikes. When it came time to cut Scarecrow, the band members employed the lessons they learned from their Sixties studies. The idea, according to producer Don Gehman, was "to learn all these devices from the past and then use them in a new way with John's arrangements. And I want the overall record to have this kind of a tone, like maybe it was a modern-day Dylan record.
Ian Curtis, the Manchester group's singer and songwriter, had hanged himself in May The remaining members — guitarist Bernard Albrecht, bassist Peter Hook and drummer Stephen Morris — had taken a new name, added Gillian Gilbert on guitar and keyboards and gone back into the studio Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 Joy Division producer Martin Hannett.
The album was recorded "in a situation of complete turmoil," according to Albrecht, the band's reluctant new singer You Just Like Me Cos Im Good In Bed - Skyhooks - Living In The 70s lyricist.
After six weeks in the studio, New Order went on tour. People just stood there. A lot of hard-core Joy Division fans wondered what we were up to. But fortunately, we started creating New Order songs. But this New Yorker with the polished tenor had been in the music business since the early Seventies.
He wrote a song for The Wiz; sang on, co-wrote and arranged David Bowie's "Young Americans" in ; toured as a background singer with Bette Midler, Chaka Khan and Carly Simon; recorded albums as a member of three bands; and did sessions with Barbra Streisand, Quincy Jones and others. He also sang a lot of ad jingles. But when he recorded his own albums, Vandross says he "got tired of going into the same studios, driving up the same streets and going up the same elevators I had gone up during all my years of sessions.
After a few albums, I said, 'There's got to be another way to record. They take off that bulletproof vest they've been wearing and give you the best that they've got. It's magnificent. Outside the control room is a big swimming pool on the side of a gigantic mountain that leads to the ocean. The mood it puts you in gives you a better perspective on your music. Of the album's first single, Dont Get Around Much Anymore - Various - The Swing Years finger-popping "'Til My Baby Comes Home," Vandross says, "That was one of the baddest things on radio.
You had a big pop element, without ignoring the soul element. The moody ballad "Wait for Love," Vandross says, "gets the most applause in concert. We tear that thing up. There was something magical about the way everyone responded to it, which to this day I can't account for. With Full Moon Fever, I was lucky in that the songs just kept coming up, and I hit a good period of writing that carried through the Traveling Wilburys. Full Moon Fever, Petty's first album without the Heartbreakers, fell together almost by accident early in when he and new acquaintance Jeff Lynne wrote and cut a few songs together at guitarist Mike Campbell's garage studio.
The result was an album of pop nuggets with a bright, Sixties-style sheen. If you take me away from them, this is what you get.
Full Moon Fever was truly a garage record. The sessions were relaxed and unhurried, and Petty credits Lynne, the former leader of ELO, for the upbeat atmosphere. Boy, what fun! The sessions also led to the Traveling Wilburys, the impromptu supergroup whose knockoff album was a sensation in Petty and Lynne worked up nine songs and then stopped to make the Wilburys record.
In his lyrics, Petty strove to say more in fewer words, citing Randy Newman's influence. I just kept thinking I wanted to keep the lyrics real simple, as if it were a conversation. Some songs were personal, others journalistic.
It was the most enjoyable record I've ever worked on. Some of the songs on Lyle Lovett were written as early as Inhe spent his life savings as well as a loan from his parents to record eighteen demos; ten of these were finally remixed and released in The wait paid off.
Lyle Lovett — an assured, refined collection of tunes about rocky romances, dubious weddings and sturdy old porches — heralded the arrival of a major songwriter who brought absurdity and wit Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 a field that was normally earnest and predictable. InLovett, a Texas singer-songwriter with a degree in journalism, hooked up with the J.
David Sloan band at a music festival in Luxembourg. He returned with the members of the band to their native Arizona, and one day in June he cut four songs at Chaton Recordings, in Scottsdale. Lovett then drove to Nashville, looking for a publishing deal, and wound up recording fourteen more demos that August. He sent Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 tape around to record companies.
They liked the material but wanted him to re-record it, which he refused to do. Aside from some remixing and minor overdubbing, the tapes were virtually released as is. Brown helped Lovett select ten songs the rest have appeared on subsequent albums with an ear to country radio.
There was, he complained, "no new fuel in rock music. Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 will do. Sting's sources ranged from German composer Hans Eisler and Jimi Hendrix a jazz reading of "Little To Love Somebody - Various - 20 Solid Gold Hits to a traditional Chilean courting dance in "They Dance Alone," a haunting tribute to the families of Chile's "disappeared," opponents of the government who are believed to have been murdered.
In his lyrics, Sting juxtaposed meditations on death and rebirth — his mother died during the making of the record — with observations on religion, history and, in "Englishman in New York," spiritual and cultural exile. Literally worlds away from the artful simplicity of his hits with the Police and even his jazz-fusion tangents on The Dream of the Blue Turtles, his first solo excursion, … Nothing Like the Sun is as much a vivid reflection of the mushrooming exploratory fervor among many of Sting's middle-aged pop peers, such as Peter Gabriel, Talking Heads and Paul Simon, as it is an expression of Sting's disgust with the state of pop.
Ironically, the eleven original songs on the album were the product not of extensive musical field trips but of five months' concentrated writing in New York City in the winter and early spring of And Beat Back - Various - Pyromaniac E.P. had this kind of monkish life. Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 lived on my own. I cooked my Here I Am (Come And Take Me) - Al Green - Call Me food.
I went to the gym every day. I took piano lessons. The phone was off Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 hook. And I worked usually from twelve midday to very late at Love X Love - Various - Disco Mix Club - November 1983 - Tape 1. I was too bound up in it to make judgments. Sting's record company initially questioned the wisdom of his musical expeditions on … Nothing Like the Sun. Then he may wink, and it's like 'Who's zoomin' who?
The phrase — which Lost - Blossom - Dreams Of The Other World (File) said was an old New York street expression — immediately caught Walden's imagination.
Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 reclusive Franklin had spent many of the preceding years in her hometown of Detroit, looking after her seriously ill father, the Reverend C. According to Walden, Aretha hadn't sung seriously in two or three years. After her father died inthe singer began thinking about returning to the music scene. Walden started assembling backing tracks in Los Angeles. Since Franklin doesn't like to travel — she refuses to take airplanes when on tour — Walden brought the session tapes to Detroit, where Franklin added her vocals.
Who's Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 Who? Looking for a male singer to work with Franklin on another duet, "Push," Walden "put out signals, but a lot of people were frightened to death to sing with her. Geils Band vocalist Peter Wolf, however, jumped at the chance.
Despite Franklin's awesome reputation as a singer, Walden found her easy to work with. She's so vast and brings so much to her takes that it's more a question of keeping up with her. And when it stops, it stops. So you've got to be on your toes. Before any session with her, I'd jog four or five miles just to be mentally alert. You have to be — she's the queen. The album was inspired, in part, by visits Browne made to Central America in andthough he had already begun writing "For America" and the title track prior to his trips.
Discussing the song at the time of the video's release, Browne said, "I imply that the truth is kept from us on a regular basis. I flat out say the government lies.
Well, these things are no longer heresy. Other songs examine related aspects of the album's political theme. And, intriguingly, amid all the hard-hitting sociopolitical commentary stands "In the Shape of a Heart," one of Browne's finest love songs. Lives in the Balance never achieved the commercial success of some of Browne's earlier records. That hardly mattered to him. And whether or not an album succeeds wildly or not, that's intact.
That get-together was the make-or-break point for the Rolling Stones ' reunion — a reunion that had been imperiled by Jagger's and Richards's solo records and by a year of public backbiting between the two.
Their attitudes in approaching the Barbados session say a great deal about the differences between them. Jagger, however, admits to having no such doubts about his ability to work with Richards. Keith is very supersensitive about all that sort of thing and worries that maybe it can't happen. I said, 'Well, we'll just try. If we don't do it, we don't do it. Each man brought material to the session. And Richards says there was something of I Gave A Little And Lost A Lot - Paul Anka - Anka (Reel-To-Reel, Album) rapprochement.
Charlie Watts's arrival on the scene also bolstered Richards's sense of possibility for Steel Wheels. This year's made. Musically, Jagger was concerned that the songs on Steel Wheels not repeat the sort of problems that had made him feel constrained in Tina Toledos Street Walkin Blues - Ryan Adams - Gold Stones. Steel Wheels also seems to have provided Jagger with an opportunity to respond to Richards's public criticism of him.
On the album's first single, "Mixed Emotions," Jagger sings, "Button your lip, baby," and declares, "You're not the only one with mixed emotions. Jagger moans when told of Richards's remark. His records were FM-radio staples. He sold out coliseums. His live shows were legendary.
But byBruce Springsteen had not yet placed a single in the Top Twenty, and he hadn't really made an album that fully captured the bracing live sound of the E Street Band.
Queen 's "Another One Bites the Dust" showed another white rock band going disco with great success. The Top 20 Billboard Hot Hits of the s. Duets from established stars were frequently massively successful during the '80s: Lionel Richie and Diana Ross, Paul McCartney -- appearing in the top 20 for his third consecutive decade -- recorded one apiece with Michael Jackson and Stevie WonderDionne Warwick sang with a slew of stars.
These tracks tended to be smooth, highly-produced ballads. Smooth and highly-produced was a common path into the top Trax Records and DJ International RecordsChicago labels with wider distribution, helped popularize house music inside and outside of Chicago.
The first major success of house music outside the U. Around that time, UK record labels started releasing house music by Chicago acts, but as the genre grew popular, the UK itself became one of the new hot spots for house, acid house and techno music, experiencing the so called second summer of love between and One book states the Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 house music originated from a Chicago club called Early In The Morning - Various - Jazz In Chicago 2 - Les Clubs De Jazz Warehousewhich existed from to Frankie began the trend of splicing together different records when he found that the records he had weren't long enough to satisfy his audience of dancers.
In the Channel 4 documentary Pump Up The VolumeKnuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car with him joked, "you know that's the kind of music you play down at the Warehouse!
Mostly the documentary looks at some of the DJs from that genre, and how they stumbled into the music. He came over to my club one night, and into the DJ booth and said to me, 'I've got the gimmick that's gonna take all the people out of your club and into mine — it's called House music. Chip E. Patrons later asked for new music for the bins, which Chip E. International record label, was asked about the "house" moniker, he did not mention Importes Etc.
However, he agreed that "house" was a regional catch-all term for dance music, and that it was once synonymous with older disco music, before it became a way to refer to "new" dance music.
Larry Hearda. Fingers", claims that the term "house" became popular due to many of the early DJs creating music in their own home studios using affordable synthesizers and drum machines, such as the Roland TRTR and the Roland TB bassline synth. Juan Atkinsan originator of Detroit techno music, claims the term "house" reflected the exclusive association of particular tracks with particular clubs and DJs; those records helped differentiate the clubs and DJs, and thus were considered to be their "house" records.
Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 house lyrics contained positive, uplifting messages for all people, from every different walk of life but spoke especially to those who were considered to be outsiders, especially African-Americans, Latinos, and the gay subculture. As well, house music lyrics encouraged unity and called for people of all ethnic groups and backgrounds to come together.
The house music dance scene was one of the most integrated and progressive spaces in the s; gays, blacks, and other minority groups were able to dance together in a positive environment. House music DJs aimed to create a "dream world of emotions" with "stories, keywords and sounds", which helped to "glue" communities together.
House record producer Marshall Jefferson compared it to "old-time religion in the way that people just get happy and screamin'". Some house lyrics contained messages calling for equality, unity and freedom of expression beyond racial or sexual differences e. However, not all house music songs had vocals, and in many cases, the vocals were quite meaningless, as the most important element in house was the beat and rhythm.
Detroit techno is an offshoot of Chicago house music  Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 developed in the early and mids. One of the earliest hits was " Big Fun " by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. Derrick May a. Transmat Records also released such as 's "Wiggin".
As well, Derrick May had [ citation needed ] releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's When I Dived Into The Dirty Moat - Various - Friends And Friends Of Friends KMS Records contributed many releases that were as much house music as they were techno.
These tracks were well received in Chicago and played on Chicago radio and in clubs. Inas house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the hits "Big Fun" and " Good Life ", which eventually were picked up by Virgin Records. The Detroit Techno scene was also met with some conflict.
Reynold's "A Tale of Three Cities" discussed the acceptance and inclusion of marginalized groups within each genre of Techno, House, and Garage.
Detroit turned out to be where wealthier black youth tried to discourage ghetto youth from enjoying Techno. Comparing that to the religious sanctuary that House provided, Chicago became a true "house" to the black, Hispanic, Your Smiling Face - James Taylor - J.T. gay communities in Chicago. With house music already important in the s dance club scene, eventually house penetrated the UK pop charts.
Richards' approach to house focuses on the deep basslines. C played a key role Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 early UK house.
House first charted in the UK in Wolverhampton following on from the success of the Northern Soul scene. The same month also saw Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. Stock Aitken Waterman SAW expensively-produced productions for Mel and Kimincluding the number-one hit "Respectable", added elements of house to their previous Europop sound.
Key labels in the rise of house music in the UK included:. Early British house music quickly set itself apart from the original Chicago house sound.
Many of the early hits were based on sample montage, and unlike the US soulful vocals, in UK house, rap was often used for vocals far more than in the US[ citation needed ] and humor and wit was an important element. The house music club scene in cities such as BirminghamLeedsSheffieldWolverhampton and London were provided with dance tracks by many underground Pirate Radio stations.
Club DJs also brought in new house styles, which helped bolster this music genre. These labels also promoted UK dance music acts. House was also being developed by DJs and record producers in the booming dance club scene in Ibiza. While no house artists or labels came from this tiny island at the time, mixing experiments and innovations done by Ibiza DJs helped to influence the house style. By the mids a distinct Balearic mix of house was discernible.
Several influential clubs in Ibiza, such as Amnesia, with DJ Alfredo at the decks, were playing a mix of rock, pop, disco and house. These clubs, fuelled by their distinctive sound and copious consumption of the club drug Ecstasy MDMAbegan to influence the British scene. In the U. Atkins follow this by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual songs was " Strings of Life " by Derrick May under the name Rhythm Is Rhythma darker, more intellectual strain of house.
The UK midlands also embraced the late s house scene with illegal parties and raves and more legal dance clubs such as The Hummingbird. Newark-area DJ Tony Humphries was influenced the sounds of disco pioneer David Mancusothe host of the disco-era's underground gay subculture loft parties. Humphries played his mixes in Newark NJ's Club Zanzibar, where he developed his signature "Jersey Sound", which mixed a soulful element with a rawer edge.
DJ Tony Humphries began his residency at the Club Zanzibar in Newark, New Jersey in and, along with others, helped "spawn the sometimes raw but always soulful, gospel-infused subgenre" of deep house music known as the Jersey Sound.
Many independent Chicago-based record labels were also getting their artists on the dance charts. Detroit DJ Terrence Parker uses his advanced turntablism skills and his focus on precision to blend hip hop music DJing styles, such as rhythmic scratching, in his house mixes. Her records on her Women on Wax label blend Parker-influenced turntablism precision with a funky style. In the UK, any house song released by a Chicago-based label was routinely considered a "must-play" at UK house music clubs.
Paradise Garage in New York City // - The Tumbled Sea - Melody/Summer still a top club in the house era, just as it had been during the disco age. The emergence of Todd Terrya pioneer of the genre, demonstrated the continuum from the underground disco approach which moved to a new house sound.
Terry's cover of Class Action's "Weekend" mixed by Larry Levan shows how Terry drew on newer hip-hop influences, such as the quicker sampling and the more rugged basslines. Mint-condition vinyl records by the Burrells from the s can fetch high prices. Los Angeles saw am explosion of underground raveswhere DJs mixed dance tracks. Inthe L. The record went up to number five on the Billboard Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 Chart, marking it as the first house record by a white Caucasian artist to chart in the U.
Love X Love - Various - Disco Mix Club - November 1983 - Tape 1 Nada, the moniker for Ozn's solo act, did his first releases inusing a jazz-based Deep House style. The Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" One Voice Records in the US, Polydor in the UKfeaturing Ozn's lush, crooning vocals and jazzy improvisational solos by muted trumpet, underscored Deep House's progression into a genre that integrated jazz and pop songwriting and song forms unlike acid house and techno.
Retrieved Recording Industry Association of America. Top Pop Singles 13th ed. Menomonee Falls, Wisconsin: Record Research. London: Guinness World Records Limited. George Benson. Book:George Benson. Grammy Award for Record of the Year. Categories : Discographies of American artists Jazz discographies. Namespaces Article Talk.
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