"Woo" is the first single from Hamilton's 4th studio album, set for a December 13th release on RCA Records. The follow-up to Hamilton's Gold-certified, critically-acclaimed 2008 release The Point of it All, the new album will feature production by industry legends and Grammy Award winning producers Kenny "Babyface" Edmonds, Salaam Remi, Kelvin Wooten ("So in Love") and Hamilton, himself. With his distinctive voice and signature grit, soul and funk, Hamilton has gained a steady and loyal fan base throughout his career beginning with his 2003 platinum-certified debut album Comin' From Where I'm From, which spawned the chart-topping song, "Charlene." In 2005, the Charlotte, North Carolina native followed up with his gold-certified sophomore album Ain't Nobody Worryin' which featured the #1 hit, "Can t Let Go." The singer/songwriter/producer released The Point of it All in 2008 to critical acclaim, including USA Today's declaration that Hamilton is "one of the genre's rare singers." In 2009, Hamilton won his first Grammy Award for his collaboration on Al Green's, "You Got the Love I Need."
AARON NEVILLE - MY TRUE STORY Â Â Â Â "These songs helped to mold me into who I am," says Aaron Neville. "They're all dear to my heart, and they rode with me, in my bones, through all these years." Â Â Â Â With MY TRUE STORY, one of the world's finest singers is revisiting the music he grew up with, and adding a few new spins along the way. Neville's first release for Blue Note Records is a collection of twelve classic doo-wop numbers, performed in his utterly inimitable vocal style, and co-produced by Blue Note President Don Was and Keith Richards. Â Â Â Â The selections on the album include classics by such vocal-group giants as Little Anthony and the Imperials ("Tears on My Pillow"), Hank Ballard and the Midnighters ("Work With Me, Annie"), and the Drifters ("Money Honey," "Under the Boardwalk," "This Magic Moment"). To Neville, though, these songs weren't just the soundtrack to his youth; they became the underpinning for all of the remarkable music he has created across five decades. Â Â Â Â "I attended the university of doo-wop-ology," he says. "Anything I do has got some doo-wop in it. Itâ€™s just part of meâ€”itâ€™s the texture that Iâ€™m singing in, itâ€™s the endings, it's the harmonies. At 3 oâ€™clock in the morning, I wake up with a doo-wop song going in my head and I canâ€™t go back to sleep because Iâ€™m singing it over and over." Â Â Â Â Yet the recordings on MY TRUE STORY aren't simply imitations of the original sessions. For one thing, some of the songs includedâ€”like the Ronettes' "Be My Baby" or "Gypsy Woman" by the Impressionsâ€”come from a slightly later time period than the classic doo-wop era, and aren't usually classified as part of the genre. But Neville explains that for him, it's not the calendar that matters, it's the vocal approach. Â Â Â Â "Doo-wop started with five guys, like the Cloversâ€”or five girls, like the Chantels or the Shirelles â€”sin...
2012 album from the Jazz pianist and his electric Experimental band. Black Radio is a future landmark album that boldly stakes out new musical territory and transcends any notion of genre, drawing from Jazz, Hip Hop, R&B and Rock, but refusing to be pinned down by any one tag. Black Radio also features many of Glasper's famous friends from the spectrum of urban music, seamlessly incorporating appearances from a jaw-dropping roll call of special guests including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafi q Husayn (Sa-Ra), KING, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Stokley Williams (Mint Condition), and yasiin bey (Mos Def).
Manufacturer: Atlantic Off Roster
Certified at 5 million units by the RIAA. (2/01) Soul has been through a lot of changes of late, and if there seems to be an oversupply of young divas-in-waiting today, you can probably thank Anita Baker for it. Baker was one of the few singers that bridged the old school to the new, and this 1986 album was--and is--a true soul classic. An inspiration for everyone from Whitney Houston to Toni Braxton, Baker carved the way with soaring vocals and an effortless style on tracks like "Sweet Love" and "You Bring Me Joy." "Caught Up in the Rapture" was the anthem for many a lovestruck couple, and Baker sums it up best herself in the same song: "Nothing else can compare." --Rebecca Wallwork
Isaac Hayes's first album, Presenting Isaac Hayes, was a low-budget, jazz-imbued affair recorded on the spur of the moment with only bass and drums accompanying his piano and voice. Hot Buttered Soul, his second album, offered something altogether different: A husky, very masculine baritone rapping and crooning against a massive backdrop of strings and brass from the Memphis Symphony and the solid grooves of the Bar-Kays. with this 1969 release, made up of four long tracks, Hayes revolutionized African-American popular music by leading it out of the era of the three-minute single and into concept album territory. a double-sided single of edited versions of "Walk on By" and "By the Time I Get to Phoenix" sold fairly well, but fans clamored for the full-length treatments and turned Hot Buttered Soul into a smash-the first-ever gold album for Stax Records.
There's incredible chemistry between Cannonball, Miles Davis, Art Blakey and the rest of the band on this 1958 session. Contains extra photos and a bonus cut, Bangoon . When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. A must-have Blue Note album. --John Murph
Manufacturer: Sony Legacy
Brand: Sbme/La Face/Zomba Label Group
2008 release. There is a tradition in classic Black music that goes back to the smooth crooning of Sam Cooke, the earthy gritty sound of Otis Redding, the lyrical beauty of Curtis Mayfield and the unfiltered intensity of Donny Hathaway. It's a combination of church-rooted hallelujah praisin' and tell-it-like-it-is storytellin'. Few contemporary artists are equipped to carry the torch with any sense of authenticity. Anthony Hamilton may be the sole-indeed, soulful-exception. Simply put, Anthony has proved to be the real deal, as audiences discovered during his countless road treks performing night-after-night before packed crowds of -as he puts it-'young thugs, white and black, mothers with babies on their knees, old school G's and kids looking for something they could feel and relate to.'
Named by Billboard Magazine as one of the Top 10 Faces to Watch in 2007, the acclaimed Bay Area-based vocalist and songwriter makes her major label debut on Verve Forecast with a show-stopping blend of soul, funk, gospel, jazz and R&B on Lost and Found. Ledisi, whose name does not rhyme with "release me" (it's LED-duh-see), nevertheless sounds like she's hit upon freedom and sweet salvation on Lost And Found, her third CD and the first on a major label (Verve). And it's not just a matter of the third time being the charm: Though she's long been the object of love from critics--2002's jazz-themed Feeling Orange But Sometimes Blue earned props for its depth and nuance, and her contribution to 2004's Luther Vandross tribute, Forever, For Always, For Luther, also prompted breathlessness--her focus this time out is less on music that'll win her respect and more on the kind that'll render her a mainstream R&B favorite. Which is to say it's a much different and more accessible record than its predecessors, the kind that comes first from the heart, then from the head. First single "Alright" grooves insistently and with deep reserves of attitude; "I Tried"--a tell-all about a doomed relationship--packs a rhythmic wallop as well as an excellent set of lyrics; and "Upside Down" gets fuel from fierce, infectious guitar funk. Those are just a sampling of what makes this an instantly diggable (and, at 16 tracks, likably long) set. Straight up is sometimes a hard road for artists who value more than their sales rank or chart position to follow, but for Ledisi it's the way to go--what turns up in this particular Lost And Found is her groove; her ticket to stardom is likely in there with it. --Tammy La Gorce
Manufacturer: Sony Legacy
Cadillac Records stars Beyonce, Mof Def, Jeffrey Wright and Adrien Brody with the soundtrack featuring Beyonce, Mof Def, Columbus Short, Mary Mary, Raphael Saadiq, Solange, Little Walter and Nas with Olu Dara. The movie is about Leonard Chess who co-founded Chess Records, the pre-eminent blues label of the Fifties and Sixties, with his brother Phil. They formed Aristocrat Records in 1947 and the Chess label two years later with a mind-boggling flood of Blues, R&B plus Rock'N'Roll talent- Muddy Waters, Howlin' Wolf, Bo Diddley, Chuck Berry, Willie Dixon, Etta James and Little Walter. Phil focused on jazz while Leonard Chess honed in on roots music, making Chess the greatest repository of Black music at mid-century.