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Average White Band / Aretha Franklin / Al Green /  Al Jarreau / Akrobatik / Anita Baker / Brittny Spears / Barry White     Beatles / B B King /Busta Rhymes / Backstreet Boys / Barbara Mason / Boyz II Men / Beach Boys / Bette Midler / Bonnie Raitt /  McKnight  Brian / Bar-Kays / Toni Braxton /Ce Ce Winans / Curtis Mayfield / Charlie Parker / Dells / Delfonics / Donnie McClurkin /  Dolly Parton / Diana Ross / Duke Ellington / David Ruffin /Dixie Hummingbirds / Donny Hathaway /Earth Wind & Fire /  Eddie Kendricks / Edwin Hawkins / Fairfield Four / Five Blind Boys / Frank Sinatra /  Four Tops / Grover Washington / George Duke  Gladys Knight / Garth Brooks / Harmonizing Four / Herbie Hancock / Isaac Hayes / Impressions / Janet Jackson / Janis Joplin Jeffrey Osborne / Jackie Wilson / James Cleveland /  James Brown / Jackson Southernaires / Kirk Franklin /LL Cool J / Luther Vandrose  Louis Armstrong / Larry Graham / Lauryn Hill /Michael Jackson /Melissa Elliot / Mariah Carey / Miles Davis / Natile Cole /Ojays /Ohio Players Otis Redding / Patie Labelle / Peaches and Herb / Percey Sledge / Prince / Peabo Bryson /Queen Latifa / Rick James / Ramsey Lewis /   Roy Ayers /Sam Cooke / Sister Sledge / Stevie Wonder / Stephanie Mills / Stylistics / Shirley Murdock Shirley Ceasar /Santana / Teena Marie  Tina Turner / Tom Jones / Temprees / Temptations /Teddy Pendergrass /Tribe call Quest /Victor Wooten / Wilson Picket / Whitney Houston  Will Smith / Yolanda Adams

Average White Band  FORMED: 1972, Scotland.. DISBANDED: 1990 The Average White Band had their name jokingly bestowed on them by Bonnie Bramlett of Delanie & Bonnie; during their prime, AWB's solid grooves and overall chemistry were anything but average. But the name did reflect their paradoxical position: they were an American-style soul band made up of native Scots. The group was formed in Glasgow, Scotland, in early 1972 by Alan Gorrie (b. Jul. 19, 1946, Perth, Scotland) on bass, vocals, Michael Rosen; (soon replaced by Hamish Stuart; [b. Oct. 8, 1949, Glasgow, Scotland] [guitar, vocals]), Onnie McIntyre, (b. Sep. 25, 1945, Lennox Town, Scotland) on vocals, guitar, Robbie McIntosh (b. 1950, Scotland - d. Sep. 23, 1974, Los Angeles), Roger Ball, (b. Jun. 4, 1944, Dundee, Scotland) on keyboards, saxophone, and Malcolm Duncan, (b. Aug. 24, 1945, Montrose, Scotland) on saxophone. After their 1973 debut album, Show Your Hand, went unnoticed, they hooked up with producer Arif Mardin to record Average White Band (frequently called AWB because of the initials on the cover). Released in August 1974, the album topped the charts and spawned the near-instrumental dance hit "Pick Up the Pieces," which also went to number one. Meanwhile, tragedy struck the band, when drummer Robbie McIntosh died of a drug overdose; he was replaced by Steve Ferrone (b. Apr. 25, 1950, Brighton, England). AWB nearly replicated its success with the third album, Cut the Cake, and its title single, both of which reached the Top Ten. But the sameness of the group's approach and such side projects as an album with Ben E. King broke its momentum. Also, the rise of disco left its funky soul style sounding dated. AWB managed a couple more gold albums in Person to Person (January 1977) and Warmer Communications (March 1978), and its popularity lasted longer in the UK than in the US, but by the start of the '80s the band was permanently out of fashion. The band members have worked as session sidemen for artists ranging from Chaka Khan to Paul McCartney and Badfinger.   ~ Rick Clark & William Ruhlmann, All-Music Guide

Aretha Franklin  BORN: March 25, 1942, Memphis, TN Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.Franklin's roots in gospel ran extremely deep. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. In fact, she made her first recordings as a gospel artist at the age of 14. It has also been reported that Motown was interested in signing Aretha back in the days when it was a tiny start-up. Ultimately, however, Franklin ended up with Columbia, to which she was signed by the renowned talent scout John Hammond.Franklin would record for Columbia constantly throughout the first half of the '60s, notching occasional R&B hits (and one Top Forty single, "Rock-a-bye Your Baby with a Dixie Melody"), but never truly breaking out as a star. The Columbia period continues to generate considerable controversy among critics, many of whom feel that Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount of fine items to be found on the Columbia sides, including the occasional song ("Lee Cross," "Soulville") where she belts out soul with real gusto. It's undeniably true, though, that her work at Columbia was considerably tamer than what was to follow, and suffered in general from a lack of direction and an apparent emphasis on trying to develop her as an all-around entertainer, rather than as an R&B/soul singer. When Franklin left Columbia for Atlantic, producer Jerry Wexler was determined to bring out her most soulful, fiery traits. As part of that plan, he had her record her first single, "I Never Loved a Man (The Way I Love You)," at Muscle Shoals in Alabama with esteemed Southern R&B musicians. In fact, that was to be her only session actually at Muscle Shoals, but much of the remainder of her '60s work would be recorded with the Muscle Shoals Sound Rhythm Section, although the sessions would actually take place in New York City. The combination was one of those magic instances of musical alchemy in pop: the backup musicians provided a much grittier, soulful, and R&B-based accompaniment for Aretha's voice, which soared with a passion and intensity suggesting a spirit that had been allowed to fly loose for the first time. In the late '60s, Franklin became one of the biggest international recording stars in all of pop. Many also saw Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he Black community. The chart statistics are impressive in and of themselves: ten Top Ten hits in a roughly 18-month span between early 1967 and late 1968, for instance, and a steady stream of solid mid-to-large-size hits for the next five years after that. Her Atlantic albums were also huge sellers, and far more consistent artistically than those of most soul stars of the era. Franklin was able to maintain creative momentum, in part, because of her eclectic choice of material, which encompassed first-class originals and gospel, blues, pop, and rock covers, from the Beatles and Simon & Garfunkel to Sam Cooke and the Drifters. She was also a fine, forceful, and somewhat underrated keyboardist. Franklin's commercial and artistic success was unabated in the early '70s, during which she landed more huge hits with "Spanish Harlem," "Bridge Over Troubled Water," and "Day Dreaming." She also produced two of her most respected, and earthiest, album releases with Live at Fillmore West and Amazing Grace. The latter, a 1972 double LP, was a reinvestigation of her gospel roots, recorded with James Cleveland & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as one of the greatest gospel-pop crossover smashes of all time. Franklin had a few more hits over the next few years--"Angel" and the Stevie Wonder cover "Until You Come Back to Me"--being the most notable--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. ~ Richie Unterberger, All-Music Guide

Al Green  Born Albert Greene on April 13, 1946 in Forrest City, Ark., to a large family of sharecroppers. At the age of 9, he started touring with his siblings as the Green Brothers among the gospel circuits in the South, under his father's direction. But he was dismissed from the quartet when his father caught him listening to the music of Jackie Wilson. Years later, he and high school friends formed the pop group, Al Green and the Creations. Palmer James and Curtis Rogers were part of the group and they in turn founded the record company, Hot Line Music Journal and changed the name of the group to Al Green and the Soul Mates. They also wrote and produced the R& B hit "Back Up Train." Less successful albums would follow, however, and the group broke up. In 1969, Green met Willie Mitchell, a bandleader, producer and vice president of Hi Records of Memphis. Green signed with the company and for eight years Mitchell wrote and produced his songs. In 1970, his song "I Can't Get Next to You" reach the No. 11 spot on the R& B charts. The following year he had his first gold single, "Tired of Being Alone." It was No. 11 on the pop charts, No.7 R& B and No.4 in the UK. Green's stature in the industry continued to increase with the release of the following singles:GOLD SINGLES 1971;"Let's Stay Together" 	No.1 pop	No.1 R& B 	1972	"Look What You Done for Me"	No.4 pop	No.2 R& B 	1972	"I'm Still in Love with You" 	No.3 pop	No.1 R& B 	1972	"You Ought To Be With Me" 	No.3 pop	No.1 R& B 	1973	"Call Me (Come Back Home)" 	No.10 pop	No.2 R& B 	1973	"Here I Am (Come and Take Me)" 	No.10 pop	No.2 R& B 	1974	"Sha La La (Make Me Happy)" 	No.7 pop	No.2 R& B 	1975	"L-O-V-E (Love)" 	No.13 pop	No.1 R& B 	His personal life, however, suffered and in October 1974, Green was hospitalized with second-degree burns caused by a former girlfriend Mary Woodson. After pouring boiling grits on him while he was bathing, she killed herself with his gun. Green reflected on the incident and decided to spend more time on his faith. He went on to become a pastor, ending his partnership with Mitchell. In 1976, he purchased a church where he preached and continued to sing. He is the pastor of Full Gospel Tabernacle in Memphis, Tenn. The following year he built a recording studio and released a few more singles that proved to be less successful. With his musical career in decline and an eventful concert in Cincinnati where he fell off the stage, he concluded it was a sign to focus on God and limit his public appearances to religious services around the country. "The Me To The River." Green himself joined Annie Lennox of the Eurythmics to do "Put A Little Love in Your Heart" for the soundtrack of the 1988 film Scrooged reaching the UK singles chart. In 1994, Green performed with Lyle Lovett on the Grammy-winning, "Funny How Time Slips AwayLord Will Make A Way" was the first of Green's gospel-only recordings in the '80s. In 1982 he co-starred on Broadway with Patty LaBelle in the gospel musical Your Arms Too Short to Box with God. And in 1985 he and Mitchell reunited to produce "He is the Light." While Green continued to minister, his music continued to soar. Talking Heads scored one of their biggest hits with Green's "Take me to the river

Al Jarreau  BORN: April 12, 1940, Milwaukee, WI  The only vocalist in history to net Grammy awards in three different categories (jazz, pop and R&B, respectively), Al Jarreau was born in Milwaukee, Wisconsin on April 12, 1940; the son of a vicar, he earned his first performing experience singing in the church choir. After earning his Masters degree in psychology, Jarreau pursued a career as a social worker, but eventually he decided to relocate to Los Angeles and try his hand in show business, playing small clubs throughout the West Coast. In the mid-1960s, he recorded an LP dubbed 1965 but largely remained an unknown, not re-entering the studio for another decade. Upon signing to Reprise, Jarreau resurfaced in 1975 with the LP We Got By, earning acclaim for his sophisticated brand of vocalese and winning positive comparison to the likes of Billy Eckstine and Johnny Mathis. After 1976's Glow, Jarreau issued the following year's Look to the Rainbow, a two-disc live set which reached the Top 50 on the U.S. album charts. With 1981's Breakin' Away, he entered the Top Ten, scoring a pair of hits with "We're in This Love Together" and the title track. After recording 1986's L Is for Lover with producer Nile Rodgers, Jarreau scored a hit with the theme to the popular television program Moonlighting, but his mainstream pop success was on the wane, and subsequent efforts like 1992's Heaven and Earth and 1994's Tenderness found greater success with adult contemporary audiences. ~ Jason Ankeny, All-Music Guide

Akrobatik  Very few hip-hop artists, whether on major or independent labels, possess the amount of talent and skill as Boston rap soloist Akrobatik. For years he has been the city's best kept secret, but is now prepared to make a huge dent in hip-hop on regional, national, and international levels. Whether in the studio, on stage, or behind the production boards, Akrobatik brings a vibe that is both new and refreshing. New school heads feel his ultra-tight rhyme flow, futuristic beats and unique approach to his craft, while old-schoolers appreciate his 'throwback' MC disposition and ability to rock a crowd like it was Fresh Fest all over again. The 25 year old Akro is a native of inner city Boston, Massachusetts. This is where he honed his skills, which on a local level are now close to legendary. He has been rhyming since a very early age; he started writing rhymes to Kool Moe Dee and Run DMC beats back in 1983, and continued to develop his skills consistently up to the present. He cites his early influences as Boogie Down Productions (KRS-ONE), Public Enemy, The Jungle Brothers, De La Soul, and A Tribe Called Quest, among others. He also has over a decade of live performance experience, which is a tribute to his confidence and overall comfortable demeanor when he hits the stage. Over the course of his budding career, he has shared the stage with such big name acts as Run DMC, A Tribe Called Quest, Naughty By Nature, Black Moon, Fat Joe, Eminem, and Black Star, to name just a few. He has rocked the mic all over the Northeast, including Massachusetts, New York, New Hampshire, Pennsylvania, and Connecticut. His style is not reminiscent of any particular rapper, and neither is his voice. It is also unanimous that Ak is one of the most adept freestylists around. It was Akrobatik's freestyling ability, in fact, that landed him a deal with independent Detonator Records, which released his first single, "Ruff Enuff" b/w "Woman" in 1998. The single received rave reviews across the board, as Ak has been deemed noteworthy in many of hip-hop's top publications, including The Source, XXL, Blaze, and URB. This coupled with his outstanding live performance abilities have created quite a buzz throughout the hip-hop community and have people wondering just who Akrobatik is ? 

Anita Baker BORN: January 26, 1958, Toledo, OH   Anita Baker's strong, sensual alto helped her break down the doors in the middle of the '80s. More than any other singer, she defined quiet storm -- smooth, romantic soul for adults. Baker's music is sophisticated without being cold, romantic without being saccharine; besides soul, her singing has roots in jazz and classic pop, bringing a refined romanticism to her music. Although her 1983 debut, The Songstress, disappeared upon its release, her 1986 album, Rapture, was a modern classic that ushered in a new era of urban contemporary and modern pop singing. None of her following records were quite as good, but her singing remains impressive on each album and she was one of the most popular urban/adult contemporary singers of the '80s and '90s.  ~ Stephen Thomas Erlewine, All Music Guide

Britney SpearsDance-pop singer Britney Spears was born in Kentwood, LA in 1982; after honing her chops in local dance showcases and church choirs, at age eight she auditioned for a role on the Disney Channel's Mickey Mouse Club show, and although the series' producers deemed her too young for the job they were sufficiently impressed with the girl's talent to assist her in gaining entry to New York's Off-Broadway Dance Center and the Professional Performing Arts School. After a series of television commercials and stage appearances, at 11 Spears finally joined The Mickey Mouse Club, where she remained for two seasons; continuing on as a solo artist, she signed to Jive Records and in early 1999 issued her first LP ...Baby One More Time. The record was a massive hit, debuting atop the pop charts and reeling off a series of radio smashes including the title track, "(You Drive Me) Crazy" and "From the Bottom of My Broken Heart" on its way to becoming the best-selling album ever released by a teenage girl. Spears' success also spawned legions of imitators, most notable among them Christina Aguilera and Jessica Simpson. Her sophomore effort, Oops!...I Did It Again, followed in the spring of 2000.   ~ Jason Ankeny, All Music Guide

Barry White   BORN: September 12, 1944, Galveston, TX  Say the name Barry White and you'd be hard pressed to follow it with name of a recording artist who has such a huge, cross-sectional following. He's at home appearing on Soul Train, guesting with a full band on the Today show, appearing in cartoon form in various episodes of The Simpsons. During the '70s, Dinah Shore devoted a full hour of her daily syndicated Dinah! show to White. While there was a period where Barry White wasn't releasing records or making the pop charts, he did stay active touring and appearing on other artists' records including Quincy Jones '"The Secret Garden(The Seduction Suite)", Regina Belle and rap star Big Daddy Kane "All Of Me". It's surprising to find out that such an illustrious career almost didn't happen because White wasn't interested in being a recording artist. White made his first record when he was 16 with a group called The Up fronts. The song was called "Little Girl" on a local LA label called Lummtone Records. Later he worked for various independent labels around Los Angeles landing an A&R position with Bob Keene, the man who first recorded Sam Cooke. His label, Keen Records was hot at the time with a group called the Bobby Fuller Four in 1966. White was hired for $40 a week to do A&R for Keene's other labels Mustang and Bronco. During this time, White flirted with the idea of being a recording artist making a record for Bronco called "All In The Run Of a Day". But he chose to stick with his A&R duties. One of the first groups he worked with was the Versatiles whom later changed their name to the Fifth Dimension. White's first big hit came from an artist familiar to dance-floor denizens. Viola Wills whose "Lost Without The Love Of My Guy" went Top Twenty R&B. His salary went up to $60 a week. White started working with the Bobby Fuller Four. Bob Keene and Larry Nunes-who later became White's spiritual advisor and true friend wanted to cut a female act. White had heard about a singer named Felice Taylor. They had three hit records, "It May Be Winter Outside", "I'm Under The Influence Of Love" and "I Feel Love Coming On". They were huge hits in England. White started making $400 a week! When Bronco went out of business, White began doing independent production. Those were some lean times for White. Veteran arranger Gene Page, who would later arrange or co-arrange White's hits, helped him out giving him work and non-repayable loans. Then three years later, Paul Politti, who also worked at Bronco, contacted him to tell him that Larry Nunes was interested in starting a business with him. Nunes had started cutting tracks for a concept album he was working on. Meanwhile White had started working with this girl group who hadn't done any singing professionally. They rehearsed for almost a year. White wrote "Walkin' In The Rain (With The One I Love)" with lyrics that were inspired by conversations with one of the singers, Glodean. White christened the group, Love Unlimited. Larry Nunes took the record to Russ Regan, who was the head of the Uni label owned by MCA. The album Love Unlimited's "From A Girl's Point Of View" became a million seller. Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni in chaos and Love Unlimited contract- bound with the label, White decided he needed to work with another act. He wanted to work with a male artist. He made three song demos of himself singing and playing the piano. Nunes heard them and insisted that he re-record and release them as a recording artist. They argued for days about it. Then he somehow convinced White to do it. White was still hesitate up to the time the label copy(credits) were made. He was going to use the name "White Heat". But the record became the first Barry White album. That first album was 1973's "I've Got So Much To Give"on 20th Century Records. It included the title track, and "I'm Gonna Love You Just A Little More Baby".White got a release from Uni for Love Unlimited and they joined him over at 20th Century Records. Then he had a brainstorm for another concept album. He told Regan he wanted to do an instrumental album. Regan thought he had lost it. White wanted to call it The Love Unlimted Orchestra. The single, "Love's Theme" went to Number One Pop, was a million-seller and was a smash all over the world". The song earned him a BMI award for over "3 million" covers.For the next five years, from 1974 to 1979, there was no stopping the Barry White Hit Train. His own "Stone Gon", "Barry White Sings Love Songs For The One You Love"("It's Ecstasy When You Lay Down Next To Me""Playing Your Game Baby"), "Let The Music Play"(Title track, "You See The Trouble With Me")"Just Another Way To Say I Love You"("I'll Do For You Anthing You Want Me to""Love Seranade")"The Man"("Your Sweetness Is My Weakness", "Sha La La Means I Love You", "September When We met", a splendid cover of Billy Joel's "Just The Way You Are"). Love Unlimited's"In Heat"("I Belong To You", "Move Me No Mountain", "Share A Little Love In Your Heart"and "Love's Theme"-with lyrics!). He also scored a soundtrack for the 20th Century Fox film, "The Together Brothers", enjoying a resurgence on home video. His studio band included such luminaries as guitarists Ray Parker, Jr., (pre-Raydio, co-writer with White on "You See The Trouble With Me"), bassist Nathan East, Wah Wah Watson, David T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of The Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary Coleman and later keyboardist Rahn Coleman. His hit streak seemed, well, unlimited. Then it all derailed. Russ Regan and another ally, Hosea Wilson left 20th Century Records and White was left with management that White thought of in less than glowing terms. White left after fulfilling his contract with two more album releases, Love Unlimted Orchestra's"My Musical Bouquet" and his own "I Love To Sing The Songs I Sing". White signed a custom label(manufacturing &distribution) deal with CBS Records. At the time it was touted as one of the biggest deals ever. He started a label called Unlimited Gold. The roster included White, Love Unlimited, the Love Unlimited Orchestra, Jack Perry and a teenaged singer named Danny Pearson whom charted with a song called "What's Your Sign Girl". He also did a duet album with Glodean called "Barry & Glodean". Aside from the gold album, "The Message Is Love", most of the albums weren't huge sellers. After during eight Barry White albums, four Love Unlimited albums, four Love Unlimited Orchestra albums, constant touring and dealing with the rigors of the music industry, White decided to take a break. Then in 1992, White signed with A&M, releasing four albums, "The Man Is Back", "The Right Night & Barry White" and "Put Me In Your Mix"(which contains a duet with Issac Hayes "Dark And Lovely"). His latest, "The Icon Is Love"became his biggest selling album since the 70s releases going multi-platinum. It includes the platinum single"Pratice What You Preach" The production lineup includes Gerald Levert & Tony Nicholas, his godson Chuckii Booker, Jimmy Jam & Terry Lewis, and Barry and his longtime friend Jack Perry. There are two lovely introspective ballads by the highly underated creative songwriter Michael Lovesmith, "Don't You Want To Know" and "Whatever We Had We Had". Other cuts include the jovial"I Only Want To Be With You" The cohesiveness of the album is do to the emphasis on Barry's vocals. While some recent efforts, have buried his vocals in whiz-bang electronic effects, on "The Icon Is Love", Barry's deep steam engine baritone pipes are upfront in the mix. Staying Power followed in 1999. Showcased in the best traditon of soul music where the focus in the singer and the song. White's thankful for a career that has taken him from the ghetto to international sucesss with 106 gold and 41 platinum albums, 20 gold and 10 platinum singles with worldwide sales in excess of 100 million.  ~ Ed Hogan, All Music Guide

Riley B. King  BORN: September 16, 1925, Indianola, MS   Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. A contemporary blues guitar solo without at least a couple of recognizable King-inspired bent notes is all but unimaginable, and he remains a supremely confident singer capable of wringing every nuance from any lyric (and he's tried his hand at many an unlikely song -- anybody recall his version of "Love Me Tender"?). Yet B.B. King remains an intrinsically humble superstar, an utterly accessible icon who welcomes visitors into his dressing room with self-effacing graciousness. Between 1951 and 1985, King notched an amazing 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand!). The seeds of King's enduring talent were sown deep in the blues-rich Mississippi Delta. That's where Riley B. King was sired -- in Itta Bena, to be exact. By no means was his childhood easy. Young Riley was shuttled between his mother's home and his grandmother's residence. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola -- another town located in the very heart of the Delta -- in 1943. Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats T-Bone Walker and Lonnie Johnson and jazz geniuses Charlie Christian and Django Reinhardt. In 1946, B.B. King set off for Memphis to look up his cousin, rough-edged country blues guitarist Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King arrived in Memphis once again in late 1948. This time, he stuck around for a while. King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-Black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA deejay Maurice "Hot Rod" Hulbert exited his airshift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became the "Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B. 1949 was a four-star breakthrough year for King. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas. The Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace. It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name. The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA airshift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation. In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino. In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaping out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969. Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins's "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number three R&B smash, it vaulted to the upper reaches of the pop lists as well. King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course -- Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster. Although his concerts have long been as consistently satisfying as anyone's now working in the field (and he remains a road warrior of remarkable resiliency who used to gig an average of 300 nights a year), King has tempered his studio activities somewhat. Still, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases include1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding With The Kings, a collaboration with Eric Clapton. King's immediately recognizable guitar style, utilizing a trademark trill that approximates the bottleneck sound shown him by cousin Bukka White all those decades ago, has long set him apart from his contemporaries. Add his patented pleading vocal style and you have the most influential and innovative bluesman of the post-war period. There can be little doubt that B.B. King will reign as the genre's undisputed king (and goodwill ambassador) for as long as he lives. ~ Bill Dahl, All Music Guide

Busta Rhymes   BORN: 1972, Brooklyn, NY  The most idiosyncratic personality in rap and possessor of its most recognizable delivery, a halting,  ragga-inspired style with incredible complexity, inventiveness and humor, Busta Rhymes formed Leaders of the New School in 1990 and released two albums with the group before breaking out with a 1996 solo hit single, "Woo-Hah!! Got You All in Check." Born in East Flatbush, Brooklyn in 1972 of Jamaican heritage (a definite influence on his rapping style), Busta moved to Long Island in 1983 and, at Uniondale High School, met up with MCs Charlie Brown, Dinco D. and Cut Monitor Milo. Inspired by fellow Long Islanders Public Enemy and Eric B. & Rakim, the foursome united as Leaders of the New School and signed a deal with Elektra Records right out of the gate, when Busta was only seventeen years old. Much respected in the hip-hop underground for their Afrocentric philosophy and tough rapping styles, Leaders of the New School debuted in 1991 with Future Without a Past, but released only one more album, 1993's T.I.M.E., before breaking up the following year. Out on his own for the first time, Busta Rhymes called on some friends, appearing on A Tribe Called Quest's "Scenario," the incredible remix of Craig Mack's "Flava in Ya Ear" (also featuring Notorious B.I.G. and LL Cool J) as well as other projects with Boyz II Men, Mary J. Blige and TLC. He also appeared in the 1995 John Singleton film Higher Learning, and earned a solo contract with Elektra. Busta Rhymes' first album, The Coming, proved a huge hit; the single "Woo-Hah!! Got You All in Check" hit the Top Ten and pushed album into gold-record territory. His second album, When Disaster Strikes, debuted at number three in September 1997. E.L.E. followed a year later, and in mid-2000, Rhymes released Anarchy while appearing on the silver screen in a remake of the blaxploitation classic Shaft.   ~ John Bush, All Music Guide

Backstreet Boys  FORMED: 1992   Backstreet Boys were, in many ways, a contradictory band. Comprised entirely of white, middle-class Americans, the group sang a hybrid of new jack balladry, hip-hop R&B and dance-club pop that originally found its greatest success in Canada and Europe, with their 1996 debut album charting in the Top 10 in nearly every country on the continent; ironically, success in their native land did not follow until nearly two years later.The core of the Backstreet Boys is cousins Kevin Richardson and Brian Littrell, who both hail from Lexington, Kentucky. The two began singing while they were children, performing in local church choirs, as well as festivals, where they sang doo-wop and new jack R&B in the style of Boyz II Men. Two of the other remaining members, Howie Dorough and A.J. McLean, were natives of Orlando, Florida who met each other -- as well as transplanted New Yorker and fifth Backstreeter Nick Carter -- through auditions for local commericials, theater and television. At one audition, the three discovered that they shared an affection for classic soul and could harmonize together. In no time, they were singing as a trio. Shortly after the trio had formed, Richardson moved to Orlando, where he became a tour guide at Disney World; at night, he concentrated on becoming a professional musician. Eventually, he met Dorough, Carter and McLean through a co-worker, and the four decided to form a group, naming themselves after an Orlando fleamarket; Littrell was invited to join to make the band into a quintet. Through a friend, record producer Louis J. Pearlman, the band secured management from Donna and Johnny Wright, who put the group out on the road and had several A&R reps come see the Boys perform live. Eventually, Jive Records became interested in the band, signing the group in 1994. Jive/Zomba set the Backstreet Boys up with producers Veit Renn and Tim Allen and they labored over the album with the band for several months. The group's eponymous album was released throughout Europe in late 1995. The record was a success, spending several weeks in the Top Ten in most continental countries where it charted. In the U.K., the Backstreet Boys were named Best Newcomers of 1995 at the Smash Hits Awards thanks to their international hit single "We've Got It Goin' On." After scoring another European hit with "I'll Never Break Your Heart," the group released their eponymous debut album in Europe and Canada in late 1996; it was a success, spending several weeks in the Top Ten in most of the countries where it charted. Despite their popularity in Europe and Canada, "We've Got It Goin' On" stalled in the lower reaches of the U.S. charts in 1995; this may have been due to the fact that the American version of Backstreet Boys was not released until 1997. Combining their international singles with new tracks (which also formed the centerpiece of that year's European-only album Backstreet's Back), the American Backstreet Boys finally began their rise to U.S. success, scoring hits with the singles "Quit Playin' Games (With My Heart)" and "As Long as You Love Me" (the former of which went platinum). The album continued to spin off hits into 1999, with "Everybody (Backstreet's Back)," "I'll Never Break Your Heart," and "All I Have to Give" all landing on the charts; both the former and the latter were platinum Top Five hits, and the album ended up with sales of over 13 million copies. In the meantime, the group saw its share of turmoil; Littrell underwent surgery in early 1998 to correct a congenital heart defect, and the Boys became embroiled in lawsuits against Pearlman and the rest of their management over royalties for most of the rest of the year. When the dust settled, Pearlman remained the group's manager (though the rest of the team was fired), and the Boys began work on their follow-up album.Millennium was released in the summer of 1999, and debuted at number one with first-week sales of over a million copies. Despite the fact that no singles were officially released from the album in the U.S., "I Want It That Way," "Larger Than Life," "Show Me the Meaning of Being Lonely," and "The One" all hit the charts based on airplay alone. The group released its Christmas Album before the end of the year, by which time Millennium was well on its way to sales of 12 million copies in the U.S. alone. Once again striking immediately after their previous album stopped producing hits, the Backstreet Boys issued Black & Blue in fall 2000. ~ Stephen Thomas Erlewine, All Music Guide

Barbara Mason   BORN: 1949, Philadelphia, PA An interesting minor soul performer, Mason initially focused on songwriting when she entered the music business in her teens. As a performer, though, she had a huge hit in 1965 with her self-penned "Yes, I'm Ready" (number five pop, number two R&B), a fetching soul-pop confection that spotlighted her high, girlish vocals. One of the first examples of the sweet, lush sound that came to be called Philly soul, she had modest success throughout the rest of the decade on the small Arctic label, reaching the pop Top 40 again in 1965 with "Sad, Sad Girl."In the early and mid-'70s, Mason toughened her persona considerably, singing about sexual love and infidelity with a frankness that was uncommon for a female soul singer in songs like "Bed and Board," "From His Woman to You," and "Shackin' Up." Sweet soul continued to be her groove, and she continued to write some of her material. But the production, as it was throughout soul in the '70s, was more funk-oriented, and at times Mason would interrupt her singing to deliver some straight-talkin' raps about romance. Curtis Mayfield produced her on a cover of Mayfield's "Give Me Your Love," which restored her to the pop Top 40 and R&B Top Ten in 1973; "From His Woman to You" and "Shackin' Up" were also solid soul sellers in the mid-'70s. After leaving Buddah Records in 1975, she only dented the charts periodically, with "I Am Your Woman, She Is Your Wife" (1978), "Another Man" (1984), and a couple of other singles.   ~ Richie Unterberger, All-Music Guide

Boyz II Men

FORMED: 1988, Philadelphia, PA  Under the guidance of Michael Bivins of Bell Biv Devoe, the four-man vocal group Boyz II Men became a pop sensation in 1992. Although they call their music "hip-hop doo wop," there's very little traditional doo wop in it. Instead, they bring the sound of '60s and early-'70s R&B vocal groups into the '90s, adding a little New Jack swing to that timeless sound. Their 1991 debut, Cooleyhighharmony, featured a massive hit single, "Motownphilly" which exemplifies the best of their dance work. Their second single, a ballad called "It's So Hard to Say Goodbye," was an even bigger hit; its success paved the way for "The End of the Road" (taken from the Boomerang soundtrack), the group's follow-up single, which broke Elvis Presley's record for the most weeks spent at number one. After releasing a Christmas album in 1993, Boyz II Men went to work on their second album, which appeared in the fall of 1994. II proved to be even more successful than its predecessor, selling over seven million copies by summer of 1995 and spawning the record-breaking hit "I'll Make Love to You." Evolution followed in 1997.    ~ Stephen Thomas Erlewine, All-Music Guide

The Beach Boys  FORMED: 1961, Hawthorne, CA   The Beach Boys are the most successful and important American band of the rock music era. They were formed in 1961 in Hawthorne, CA, around the three Wilson brothers: Brian (b. June 20, 1942) (bass, piano, vocals), Dennis (b. Dec. 4, 1944 - d. Dec. 28, 1983) (drums, vocals), and Carl (b. Dec. 21, 1946) (guitar, vocals). Additional members were Mike Love (b. Mar. 15, 1941) (vocals), the Wilsons' cousin, and Al Jardine (b. Sep. 3, 1942) (guitar, vocals). From the start, the focus of the group's music was Brian Wilson, who combined a fascination with vocal harmony in the Four Freshmen mold with a love of Chuck Berry-derived rock & roll. Added to that was the subject matter of middle-class teenage life in Southern California -- surfing, cars, and girls.The result was massive popular success for the group during the first half of the 1960s, starting with their first chart entry, "Surfin' " in 1962. "Surfin' " was released on a local record label. Subsequently, the group signed to the major label Capitol Records, where they stayed for the rest of the '60s. But their early recordings have continued to turn up on one discount label after another ever since. To date, the most complete and best-quality version of the material is to be found on the 1991 DCC album Lost and Found! (1961-62).The Beach Boys' first Capitol single, "Surfin' Safari," was released in June 1962 and became their first Top 40 hit. It was followed in October by a debut album of the same name. Similarly, in March 1963, Capitol released the single "Surfin' U.S.A.," which became the group's first Top Ten hit, and the Surfin' U.S.A. album, which went gold. They followed in July with "Surfer Girl," another Top Ten, and in September with a gold-selling Surfer Girl LP.By this point, Brian Wilson, who was composing nearly all of the material (with lyrics by himself, Love, and others), had taken over production of the group's records as well. Given the accelerated recording schedule of the day, it was an awesome task when coupled with his onstage performing duties. This is illustrated by the release of the Beach Boys' fourth album, the million-selling Little Deuce Coupe, less than a month after Surfer Girl. The album featured a version of their latest Top Ten hit, "Be True to Your School."The Beach Boys dominated the pop music of 1963, but in early 1964, the Beatles arrived in the U.S., followed by the rest of the British Invasion, and the Beach Boys felt the competition keenly. Unlike most American recording artists, however, the group did not suffer a drop-off in popularity. In fact, 1964 was another banner year for the Beach Boys, with the Top Ten singles "Fun, Fun, Fun," "When I Grow Up (To Be a Man)," and "Dance, Dance, Dance," as well as their first number one single, the gold-selling "I Get Around," and three more gold albums, Shut Down, Vol. 2 (Vol. 1 had been a various artists album), All Summer Long, and their first number one LP, Beach Boys Concert. (There was also a Beach Boys' Christmas Album.)The strain of all that work caught up with Brian Wilson, however, and at the end of 1964, he retired from onstage work with the Beach Boys, retaining his composing and producing duties. The group eventually settled on Bruce Johnston (b. June 24, 1944) as his replacement.The first product of this arrangement was the March 1965 album The Beach Boys Today!, which contained a version of their next number one single, "Help Me, Rhonda," followed four months later by the group's eighth straight gold album, Summer Days (And Summer Nights!!) and its single, the Top Ten "California Girls." Such recordings gave evidence of the expansion of Brian Wilson's musical imagination, which found him taking longer to make records that were more ambitious than the group's early teen anthems.While Wilson prepared his next opus, Capitol's release schedule was satisfied by The Beach Boys' Party! album, released in September, featuring a hit cover of "Barbara Ann." In March 1966, Wilson released "Caroline, No," which was billed as a solo single and made the Top 40. But he did not launch a full-fledged solo career at this time, instead completing the group's Pet Sounds LP (May 1966), which featured the Top Ten hits "Sloop John B" and "Wouldn't It Be Nice" and was universally hailed as one of the greatest rock albums of all time, though it did not sell as well as Beach Boys albums usually did.Wilson trumped it with the #1 gold single "Good Vibrations," released in October. By this point, he was being hailed as a genius in the media, as he prepared a new album tentatively titled Smile. The album never appeared, however. A single, "Heroes and Villains" (July 1967), offered tantalizing clues to what would become a legendary unheard, unfinished masterpiece. But Brian Wilson, whether because of the pressure to top himself and compete with the Beatles and others, internal disagreements within the group, psychological problems, or drug abuse, ceded leadership of the Beach Boys, and their next album, Smiley Smile (September 1967), was produced by the group as a whole.At the same time, the Beach Boys suffered a commercial decline, and though they continued to release new albums -- Wild Honey (December 1967), Friends (June 1968), 20/20 (February 1969) -- and singles through the end of the decade, they ceased to be an important force in popular music. In 1970, the group switched to the Reprise subsidiary of Warner Bros. Records for a series of albums that sometimes drew critical approval without restoring their commercial appeal -- Sunflower (August 1970), Surf's Up (August 1971), Carl and the Passions: So Tough (May 1972), initially packaged with a reissue of Pet Sounds, and Holland (January 1973).The Beach Boys returned to prominence in the mid-'70s on a wave of nostalgia and a potent concert act that focused on their early hits. Capitol Records had repackaged their catalogue repeatedly, but Endless Summer, a June 1974 double LP compiling their early-'60s work, amazingly topped the charts, becoming their first gold album in seven years. In July 1976, the Beach Boys released 15 Big Ones, their first new studio album in more than three years and their first album in a decade to credit Brian Wilson as producer. The album spawned a Top Ten hit in a cover of Chuck Berry's "Rock and Roll Music," but the group's commercial appeal, at least as far as new recordings, was temporary. Subsequent albums The Beach Boys Love You (April 1977) and M.I.U. Album (September 1978) sold less well. Brian Wilson's "comeback" also proved elusive after 1977.The Beach Boys moved to their third major label with the release of L.A. (Light Album) on the Caribou subsidiary of CBS Records in March 1979. But neither that album nor its follow-up, Keepin' the Summer Alive (March 1980), did anything to change the group's commercial status. In December 1983, Dennis Wilson drowned. In June 1985, the group returned with The Beach Boys, their first new album in five years, which marked the end of their Caribou contract. The Beach Boys recorded sporadically thereafter. In 1987, they scored a surprising hit cover of "Wipeout," co-billed with rap act the Fat Boys. In 1988, minus Brian Wilson, who finally launched a solo career, they returned to number one with "Kokomo," from the hit film Cocktail. In 1992, they released their first new album in seven years, Summer in Paradise.Especially with the dawn of the CD era, the extensive repackagings of Beach Boys material have continued apace. The year 1993 finally brought a five-CD boxed-set retrospective, Good Vibrations: Thirty Years of the Beach Boys. In 1995, after the resolution of various legal issues, lead singer Mike Love and Brian Wilson began working together again, yet the partnership was quickly derailed due to various tensions, and Wilson began collaborating with Van Dyke Parks and working on a new solo album. The following year, the Beach Boys released a collection of duets with country artists titled Stars and Stripes, Vol. 1, and in 1997 a long-delayed box set compiling material from the now-legendary Pet Sounds sessions finally appeared. Another collection of rarities, Endless Harmony, followed in 1998 in the wake of Carl Wilson's cancer-related death on February 6.   ~ William Ruhlmann, All-Music Guide 

Bette Midler  BORN: December 1, 1945, Honolulu, Hawaii  Gloriously flamboyant American entertainer Bette Midler was born in Honolulu, Hawaii to the only Jewish family in the neighborhood. After dropping out of a drama course at the University of Hawaii, she took a tiny role in the 1966 film Hawaii, playing a seasick boat passenger (though it's hard to see her when viewing the film today). Training for a dancing career in New York, Midler made the casting rounds for several months, finally attaining a chorus role, and then the featured part of Tzeitel, in the long-running Broadway musical Fiddler on the Roof.It helps to do something well that no one else does, and Midler found her forte by singing at the Continental Baths, a gay hangout in New York. Most bath house performers were painfully bad, but Midler established herself by combining genuine talent with the tackiness expected of her. As "The Divine Miss M," Midler did an act consisting of campy (and dirty) specialty numbers, dead-on imitations of such earlier performers as the Andrews Sisters and Libby Holman, and the most outrageously revealing costumes this side of Bob Mackie. Soon she outgrew the bath houses and went on to nightclub and recording-artist fame, earning a Grammy Award in 1973. After several years of sellout tours, Midler re-entered films as the star of The Rose, an "a clef" film loosely based on the life and times of Janis Joplin. The film was a success, but it failed to establish Midler as a dramatic actress; audiences, particularly the gay fans, still preferred the Divine Miss M. Jinxed (1982), Midler's next film, lived up to its name with well-publicized production squabbles between Midler, the director, the producers, and a few of the co-stars. Following the the film's failure, Midler wasn't seen on screen until she signed a contract with Disney Studios in 1986. Establishing a new screen identity as a character comedienne, Midler sparkled in Down and Out in Beverly Hills (1986), and was even better as a loudmouthed kidnap victim in Ruthless People (1987). Using her restored film stature, Midler set up her own production company and produced Beaches (1988), a "pals through the years" saga that proved to be a four-hankie audience favorite. Once again attempting to establish herself as a tragedian, Midler starred in Stella (1990), a poorly-received remake of Stella Dallas. For the Boys (1992), offered Midler in tons of old-age makeup as a Martha Raye-style USO star (Raye responded to this "tribute" by suing the studio). The subsequent Scenes from a Mall (1991), which paired Midler with Woody Allen, and Hokus Pokus, a "witchcraft" fantasy, also failed to truly showcase her talents. She rebounded somewhat in 1995 with a role in the wildly acclaimed Get Shorty, and had even greater success the following year starring with Diane Keaton and Goldie Hawn in The First Wives Club. In 1999, Midler played herself in two documentaries, the first the TV "mockumentary" Jackie's Back and the second the big-screen Get Bruce!, a documentary about legendary comic writer Bruce Vilanch. In addition to her film work, Midler still performs live in concert to turnaway crowds and continues to release albums, including Bathouse Bette, a tribute to her days at the Continental Baths. And in late 1993, she scored an enormous success in a superb TV adaptation of the Broadway musical Gypsy. In 2000, Midler also extended her talents to television, starring as herself in the aptly-named sitcom Bette. ~ Hal Erickson, All Movie Guide

Bonnie Raitt  BORN: November 8, 1949, Burbank, CA  Long a critic's darling, singer/guitarist Bonnie Raitt did not begin to win the comparable commercial success due her until the release of the aptly titled 1989 blockbuster Nick of Time; her tenth album, it rocketed her into the mainstream consciousness nearly two decades after she first committed her unique blend of blues, rock and R&B to vinyl. Born in Burbank, California on November 8, 1949, she was the daughter of Broadway star John Raitt, best known for his starring performances in such smashes as Carousel and Pajama Game. After picking up the guitar at the age of 12, Raitt felt an immediate affinity for the blues, and although she went off to attend Radcliffe in 1967, within two years she had dropped out to begin playing the Boston folk and blues club circuit. Signing with noted blues manager Dick Waterman, she was soon performing alongside the likes of idols including Howlin' Wolf, Sippie Wallace and Mississippi Fred McDowell, and in time earned such a strong reputation that she was signed to Warner Bros.Debuting in 1971 with an eponymously titled effort, Raitt immediately emerged as a critical favorite, applauded not only for her soulful vocals and thoughtful song selection but also for her guitar prowess, turning heads as one of the few women to play bottleneck. Her 1972 follow-up, Give It Up, made better use of her eclectic tastes, featuring material by contemporaries like Jackson Browne and Eric Kaz, in addition to a number of R&B chestnuts and even three Raitt originals. 1973's Takin' My Time was much acclaimed, and throughout the middle of the decade she released an LP annually, returning with Streetlights in 1974 and Home Plate a year later. With 1977's Sweet Forgiveness, Raitt scored her first significant pop airplay with her hit cover of the Del Shannon classic "Runaway"; its follow-up, 1979's The Glow, appeared around the same time as a massive all-star anti-nuclear concert at Madison Square Garden mounted by MUSE (Musicians United for Safe Energy), an organization she'd co-founded earlier. Throughout her career, Raitt remained a committed activist, playing hundreds of benefit concerts and working tirelessly on behalf of the Rhythm and Blues Foundation. By the early 1980s, however, her own career was in trouble -- 1982's Green Light, while greeted with the usual good reviews, again failed to break her to a wide audience, and while beginning work on the follow-up, Warners unceremoniously dropped her. By this time, Raitt was also battling drug and alcohol problems as well; she worked on a few tracks with Prince, but their schedules never aligned and the material went unreleased. Instead, she finally released the patchwork Nine Lives in 1986, her worst-selling effort since her debut. Many had written Raitt off when she teamed with producer Don Was and recorded Nick of Time; seemingly out of the blue, the LP won a handful of Grammys, including Album of the Year, and overnight she was a superstar. 1991's Luck of the Draw was also a smash, yielding the hits "Something to Talk About" and "I Can't Make You Love Me." After 1994's Longing in Their Hearts, Raitt resurfaced in 1998 with Fundamental.  ~ Jason Ankeny, All Music Guide

Brian McKnight  BORN: June 5, 1969, Buffalo, NY   Brian McKnight grew up in a family where music came naturally. He was a member of the church choir along with his immediate family; his grandfather was the director. With a gospel upbringing, McKnight explored other genres of music. Still in his early teens, he exercised his writing ambitions by penning instrumentals (soft jazz, easy listening). He formed a band and began performing his originals at local venues. By the age of 18, McKnight had secured a publishing deal. His calling to the national scene manifested itself when his older brother Claude and the group he was a member of, Take 6, signed a recording contract with a major label. After sending out numerous demos to various record companies, McKnight's tape drew the interest of Mercury Records president Ed Eckstine (son of Billy Eckstine). Eckstine was so impressed with McKnight's sound that the young artist was signed to a deal within two weeks. McKnight's first release on Mercury was "The Way Love Goes," peaking at number 11 after 19 weeks on the Billboard R&B charts. His two follow-up singles barely cracked the Billboard R&B Top 60, which included "Love Is," a duet with Vanessa Williams featured on Beverly Hills 90210. Ironically, that single peaked at number three on the Billboard pop charts, introducing McKnight to a crossover audience. In addition to being a singer, McKnight is a songwriter, multi-talented musician, arranger and producer. The success he has achieved as producer and songwriter on his own projects has facilitated his popularity as a producer and songwriter for other artists. However, the Buffalo native retained the services of hip-hop producer Sean "Puffy" Combs on the release of his 1997 CD Anytime, which features the club-flavored single "You Should Be Mine." A Christmas album, Bethlehem, followed in 1998, and a year later McKnight returned with Back at One. ~ Craig Lytle, All Music Guide

BAR_KAYS FORMED: 1966, Memphis, TN    Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the ‘70s. They continued to score hits on the R&B charts through much of the ‘80s as well, making for a career longevity that no one would have predicted for Stax’s formerly star-crossed number two house band.The Bar-Kays were formed in Memphis, Tennessee in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis-soul instrumental outfits like the Mar-Keys and Booker T. & the MG’s, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson, Jr., the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG’s on occasion. That spring, the Bar-Kays cut their first single, ”SoulFinger,” a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. ”Soul Finger” reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, ”Give Everybody Some,” barely scraped the R&B Top 40) Producer Allen Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer. Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, Wisconsin, Redding’s plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles’ ”A Hard Day’s Night,” was virtually ignored. Nonetheless, with Allen Jones’ help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Harvey Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart. With 1971’s Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Isaac Hayes’ hit Shaft soundtrack,Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles “Scoop” Allen and guitarist Vernon Burch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix’ ”Foxy Lady” dubbed ”Copy Cat.” The follow-up, another good-humored goof on a recent hit, was ”Son of Shaft,” which in 1972 became the group’s first Top Ten R&B hit since ”Soul Finger.” That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn’t enough to keep their commercial momentum going, especially as Stax/Volt headed towards eventual bankruptcy in 1975. Armed with new guitarist Lloyd Smith (who’d joined when Burch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut Too Hot to Stop was a hit, powered by the smash R&B single ”Shake Your Rump to the Funk.” The group consolidated their success by opening for George Clinton’s P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays’ brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band’s first gold record, and Money Talks -- a Fantasy reissue of some previously unreleased Stax material -- produced another Top Ten hit in ”Holy Ghost” the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979’s Injoy (which featured the Top Five R&B hit ”Move Your Boogie Body”), 1980’s As One, 1981’s Nightcruising (which spawned two hits in ”Hit and Run” and ”Freaky Behavior”), and 1982’s Propositions (more hits in ”Do It (Let Me See You Shake)” and ”She Talks to Me With Her Body”). All of those albums, save for As One, went gold. In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early ‘80s. 1984’s Dangerous produced one of the group’s bigge hits, ”Freakshow on the ancefloor,” and a couple more R&B chart hits in ”Dirty Dancer” and ”Sex-O-Matic.” Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson, and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with ”Certified True.” When their contract with Mercury was up, the Bar-Kays called it quits with 1988’s Animal. Dodson and original bassist James Alexander put together a short-lived new version of the Bar-Kays for the 1994 album 48 Hours, released on the small    Basix label. ~ Steve Huey, All Music Guide

Toni Braxton BORN: October 7, 1967   Toni Braxton was one of the most popular and commercially female R&B singers of the ‘90s, thanks to her ability to straddle seemingly opposite worlds. Braxton was soulful enough for R&B audiences, but smooth enough for adultcontemporary; sophisticated enough for adults, but sultry enough for younger listeners; strong enough in the face of heartbreak to appeal to women, but ravishing enough to nab the fellas. Wielding such broad appeal, Braxton managed to score not one, but two albums that sold over eight million copies; naturally, they were accompanied by a long string of hit singles on the pop and R&B charts, one of which -- ”Un-Break My Heart” -- ranks among the longest-running number one pop hits of the rock era. Toni Braxton was born in Severn, Maryland on October 7, 1968. The daughter of a minister, she was raised mostly in the strict Apostolic faith, which prohibited not only all popular culture, but also pants in women’s wardrobes. Encouraged by their mother, an Operatically trained vocalist, Braxton and her four sisters began singing in church as girls; although gospel was the only music permitted in the household, the girls often watched Soul Train when their parents went shopping. Braxton’s parents later converted to a different faith, and eased their restrictions on secular music somewhat, allowing Braxton more leeway to develop her vocal style; because of her husky voice, she often used male singers like Luther Vandross, Stevie Wonder, and Michael McDonald as models, as well as Chaka Khan. Braxton had some success on the local talent-show circuit, continuing to sing with her sisters, and after high school studied to become a music teacher. However, Braxton soon dropped out of college after she was discovered singing to herself at a gas station by songwriter Bill Pettaway (who co-authored Milli Vanilli’s ”Girl You Know It’s True”). With Pettaway’s help, Braxton and her sisters signed with Arista Records in 1990 as a group dubbed simply the Braxtons The Braxtons released a single in 1990 called ”The Good Life,” and while it wasn’t a hit, it caught the attention of L.A. Reid and Babyface, the red-hot songwriting/production team who had just formed their own label, LaFace (which was associated with Arista) Braxton became the first female artist signed to LaFace in 1991, and the following year she was introduced to the listening public with a high-profile appearance on the soundtrack of Eddie Murphy’s Boomerang. Not only did her solo cut ”Love Shoulda Brought You Home” become a substantial pop and R&B hit, but she also duetted with Babyface himself on ”Give U My Heart.” Anticipation for Braxton’s first album ran high, and when her eponymous solo debut was released in 1993, it was an across-the-board smash, climbing to number one on both the pop and R&B charts. It spun off hit after hit, including three more Top Ten singles in ”Another Sad Love Song,” ”Breathe Again,” and ”You Mean the World to Me”, plus the double-sided R&B hit ”I Belong to You”/”How Many Ways.” With eventual sales of over

CeCe Winans (b. Priscilla)  BORN: Detroit, MI  The eighth of ten siblings in the musical Winans family, CeCe Winans (b. Priscilla) performed most often with her brother, BeBe, in a duo which recorded gospel material with R&B settings and proved to be the most commercially successful of the Winans groupings (which also includes her older brothers Marvin, Carvin, Ronald and Michael in the Winans and her parents in Mom & Pop Winans). Born in Detroit, she worked with BeBe in a duo called the PTL Singers until 1987, when they released their self-titled debut album (with vocal contributions from nine members of the family). Four albums followed during the next seven years (two of which hit gold) plus 1991's platinum Different Lifestyles. The duo's success increased as they added more contemporary forms of production -- their two number one R&B singles, "Addictive Love" and "I'll Take You There," both treated spiritual love in fuzzy terms just as conducive to the physical. After 1994's Relationships, CeCe began recording her very first solo album. Released in 1995, Alone in His Presence found her working her way back to traditional gospel, singing standards like "Great Is Thy Faithfulness," "Blessed Assurance" and "I Surrender All." His Gift followed in 1998.   ~ John Bush, All-Music Guide

Curtis Mayfield BORN: June 3, 1942, Chicago, IL  Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk, and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Superfly" are merely the most famous of his many hit records But Curtis Mayfield isn't just a singer. He wrote most of his material, at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of Black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Superfly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young Black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk-pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Superfly qualifies as one of the great disappointments in the history of Black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Superfly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. These tributes are no substitute for the man himself, but they are an indication of the enormous regard in which Mayfield is still held by his peers.  ~ Richie Unterberger, All-Music Guide

Charles Parker, Jr. BORN: August 29, 1920, Kansas City, KS DIED: March 12, 1955, New York, NY  One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. Bird, along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko" along with such blues as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950 it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker.Born in Kansas City, KS, Charlie Parker grew up in Kansas City, MO. He first played baritone horn before switching to alto. Parker was so enamored of the rich Kansas City music scene that he dropped out of school when he was 14 even though his musicianship at that point was questionable (with his ideas coming out faster than his fingers could play them). After a few humiliations at jam sessions, Bird worked hard woodshedding over one summer, building up his technique and mastery of the fundamentals. By 1937 when he first joined Jay McShann's Orchestra, he was already a long way towards becoming a major player.Charlie Parker, who was early on influenced by Lester Young and the sound of Buster Smith, visited New York for the first time in 1939, working as a dishwasher at one point so he could hear Art Tatum play on a nightly basis. He made his recording debut with Jay McShann in 1940, creating remarkable solos with a small group from McShann's Orchestra on "Lady Be Good" and "Honeysuckle Rose." When the McShann big band arrived in New York in 1941, Parker had short solos on a few of their studio blues records and his broadcasts with the orchestra greatly impressed (and sometimes scared) other musicians who had never heard his ideas before. Parker, who had met and jammed with Dizzy Gillespie for the first time in 1940, had a short stint with Noble Sissle's band in 1942, played tenor with Earl Hines's sadly unrecorded bop band of 1943 and spent a few months in 1944 with Billy Eckstine's orchestra, leaving before that group made their first records. Gillespie was also in the Hines and Eckstine big bands and the duo became a team starting in late 1944.Although Charlie Parker recorded with Tiny Grimes' combo in 1944, it was his collaborations with Dizzy Gillespie in 1945 that startled the jazz world. To hear the two virtuosos play rapid unisons on such new songs as "Groovin' High," "Dizzy Atmosphere," "Shaw 'Nuff," "Salt Peanuts" and "Hot House" and then launch into fiery and unpredictable solos could be an upsetting experience for listeners much more familiar with Glenn Miller and Benny Goodman. Although the new music was evolutionary rather than revolutionary, the recording strike of 1943-44 resulted in bebop arriving fully formed on records, seemingly out of nowhere.Unfortunately Charlie Parker was a heroin addict ever since he was a teenager and some other musicians who idolized Bird foolishly took up drugs in the hope that it would elevate their playing to his level. When Gillespie and Parker (known as "Diz & Bird") traveled to Los Angeles and were met with a mixture of hostility and indifference (except by younger musicians who listened closely), it was decided to return to New York. Impulsively Parker cashed in his ticket, ended up staying in L.A. and, after some recordings and performances (including a classic version of "Lady Be Good" with Jazz at the Philharmonic), the lack of drugs (which he combatted by drinking an excess of liquor) resulted in a mental breakdown and six months of confinement at the Camarillo State Hospital. Released in January 1947, Parker soon headed back to New York and engaged in some of the most rewarding playing of his career, leading a quintet that included Miles Davis, Duke Jordan, Tommy Potter and Max Roach. Parker, who recorded simultaneously for the Savoy and Dial labels was in peak form during the 1947-51 period, visiting Europe in 1949 and 1950 and realizing a lifelong dream to record with strings starting in 1949 when he switched to Norman Granz's Verve label.But Charlie Parker, due to his drug addiction and chance-taking personality, enjoyed playing with fire too much. In 1951 his cabaret license was revoked in New York (making it difficult for him to play in clubs) and he became increasingly unreliable. Although he could still play at his best when he was inspired (such as at the 1953 Massey Hall Concert with Gillespie), Bird was heading downhill. In 1954 he twice attempted suicide before spending time in Bellevue. His health, shaken by a very full if brief life of excesses, gradually declined and when he died in March 1955 at the age of 34, he could have passed for 64! Charlie Parker, who was a legendary figure during his lifetime, has if anything grown in stature since his death. Virtually all of his studio recordings are available on CD along with a countless number of radio broadcasts and club appearances. Clint Eastwood put together a well-intentioned if simplified movie about aspects of his life (Bird). Parker's influence, after the rise of John Coltrane, has become more indirect than direct but jazz would sound a great deal different if Charlie Parker had not existed. The phrase "Bird Lives" (which was scrawled as graffiti after his death) is still very true  . ~ Scott Yanow, All-Music Guide

Dells   FORMED: 1952, Chicago, IL  DISBANDED: 1986  After nearly four decades of recording an incredible legacy of hits, the Dells have made only one personnel change in their entire professional career. Perhaps that's why the venerable R&B vocal group can boast such a remarkably consistent track record.The quintet from Chicago's south suburbs has weathered stylistic shifts from doo wop and soul to disco and urban contemporary, and every permutation in between. Their harmony remains as striking as ever, with Marvin Junior's earthshaking lead enduring as the group's focal point.Signing with Vee-Jay in 1955, their creamy vocal blend on "Oh, What a Night" gave the Dells their first major R&B hit the next year, but it would be nearly a decade before they returned to the winner's circle with another dreamy classic, "Stay in My Corner." By then Chicago's R&B sound had changed drastically -- doo wop was dead and soul was king -- but the Dells adapted effortlessly, regularly scaling the charts for the Chess subsidiary Cadet with "There Is," "Always Together," "Give Your Baby a Standing Ovation," and a marathon remake of "Stay in My Corner" that afforded Junior's booming baritone room to roam.Seemingly an indestructible force (turning up on the R&B

Delfonics  FORMED: 1965, Philadelphia, PA  DISBANDED: 1974  The Delfonics were one of the first groups to sing in the sleek, soulful style that became popularized (thanks to producer Thom Bell) as the "Philadelphia sound." A vocal trio made up of brothers William and Wilbert Hart and high school friend Randy Cain, the Delfonics roots go back to doo-wop singing at school dances in the early 60s. They were well-known in the Philly area for their supple, airtight harmonies talent that brought them to the attention of record producers eventually landing them a contract with Cameo-Parkway. While their early records brought them little if any notice, it did bring them to the attention of producer/arranger Thom Bell who signed the band to his soon-to-be influential soul label Philly Groove. Right from the start this was a perfect match as the band released the classic "La La Means I Love You" in 1968 a song that began a string of hits lasting into the mid-70sThe sound that Bell created for the Delfonics was the antithesis of the soul sound that came from Stax in Memphis and Muscle Shoals in Alabama. He sandpapered away the grit, lightened up on the backbeat, brought in string sections, and created a smooth, airy, sound. Critics enamored of the soul singing of Wilson Pickett and Otis Redding, accused Bell and his groups of creating aural wallpaper, but the reality was that Bell and the Delfonics and were setting the stage for a different kind of groove where subtlety and nuance reigned. The hits slowed for the Delfonics in the mid-70s, and in 1971 Randy Cain quit the band and was replaced by Major Harris. A few more minor hits followed but Harris left the band for a solo career in 1975 effectively finishing the Delfonics. In the late-90s the group played a significant musical role in Quentin Tarantino's film Jackie Brown. Tarantino, a borderline obsessive fan of 70s pop culture, used "La La Means I Love You," and their best single "Didn't I (Blow Your Mind This Time)" as a way of underscoring the relationship between actors Pam Grier and Robert Forster. In the film, Forster's character is so struck by the music (and Grier), he goes out and buys the Delfonics Greatest Hits cassette the following day. Something I'd recommend you do too.  ~ John Dougan, All-Music Guide

Donnie McClurkin BORN: 1961  Donnie McClurkin is a gospel vocalist with the soul of Andréa Crouch and the contemporary flair of Kirk Franklin. Born into a home filled with domestic violence and drug abuse, McClurkin was saved by an aunt who sang background vocals with Crouch himself. After staying close to Crouch throughout his boyhood, he began to play piano and sing with his church youth choir. He formed the McClurkin Singers by the time he was a teenager, and later formed another group, the New York Restoration Choir. Hired as an associate minister at Marvin Winans' Perfecting Church in 1989, with his vocals during a seminar, McClurkin endured a bout with leukemia that year. A friendship with a Warner Alliance executive resulted in his signing to the label for his 1996 self-titled LP, with producers Mark Kibble (of Take 6), Cedric and Victor Maxwell plus Andréa Crouch.  ~ John Bush, All Music Guide   Donnie McClurkin   "I want to make God proud of me. I want God to look at me and smile...to trust me with exactly what He tells me to do. I want to be just like Him...to have His heart for people, His compassion. I want to see people and have my heart break and minister Jesus to them. I could care less about fame." - Donnie McClurkin  Donnie McClurkin is into promoting Jesus, not himself...which is just fine. Because with his considerable singing and writing talents, combined with an uncompromising message of God's love and holiness, he has been slowly and surely gathering a committed group of friends and an appreciative audience for himself in Christian circles. Now, with the advent of his debut album, Donnie McClurkin's ministry is sure to take a very fast forward. The nine tracks on Donnie McClurkin, the artist's self-titled Warner Alliance debut, features an amazing range of musical and spiritual expression, as well as a stellar list of guests and producers. Cedric and Victor Caldwell, Mark Kibble (of Take 6), André Crouch and Bill Maxwell share production credits, and Helen Baylor, Abraham Laboriel, and Howard and Linda McCrary are only a few of the Gospel greats and personal friends who added to the album's power, joy and reverence. With the release of his album, offers for film soundtracks, as well as concert and workshop dates are stacking up. But with Donnie's sense of equilibrium, and his feet solidly on the rock of his salvation, he's not about to have his head turned. Donnie gained that sense of stability through the strength and faith he found in the face of a childhood filled with domestic violence-both his mother and father struggled with substance abuse-and a home life that in many cases would have been a prelude to prison or a life on the streets. Fortunately, the chaos of his home was offset by God's saving grace. Donnie committed his life to Christ when he was only nine, and when he was 11, an encounter with André Crouch helped bring form to the course God had set for him. Donnie's Aunt Bea Carr sang backgrounds for André and so he came to Donnie's church to minister. In the course of the evening, André spent time with Donnie, encouraging him to play the piano. Donnie remembers, "From that time on, André Crouch would send me postcards from the cities where he played, saying `We're in Akron. Ask Bea what happened here.` He'd put a scripture down and say `read this.' That changed my whole outlook on singing. André fostered ministry, rather than fame. It was more ministry to him than anything else, not some glamorous career." By the time Donnie was 14, he was playing piano for the youth choir at his church and later in his teens he began to sing, eventually forming the McClurkin Singers with his sisters and then the New York Restoration Choir. The choir frequented prisons, detention centers and sang on the streets. In '81, Donnie told the other members in his group that God said he was going to work with Marvin Weans. Later, in '83, while attending a seminar given by Winans, Donnie was asked to lead a song. After a less than stellar rehearsal, Donnie sang the song in the evening service. Afterward, Marvin said to Donnie, "I don't even know what your name is. I have nothing to offer you, but somehow we're going to work together." To which Donnie replied, "God told me that two years ago." Finally, in No