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Les Élémens (Rebel)

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Les Élémens, simphonie nouvelle is a ballet composed for instrumental ensemble in 1737 and 1738 by Jean-Féry Rebel.

Composition

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The theme of the ballet was most likely inspired by the ballet-opera Les élémens, which Rebel conducted in 1721.

The work consists of ten movements.

"Le cahos" or chaos. This 127-bar prologue is an undanced instrumental piece. "Le cahos" is divided into seven parts referring to the seven days of Creation (Bible). The first chaos, marked "très lent", begins with a dissonant tone cluster which includes all the notes of the D harmonic minor scale (D, E, F, G, A, B♭, C♯), which is held for two measures by the strings, the bassoon and the harpsichord, in dynamics indicated "fort" and "strong" (also known as a decrescendo), followed by a silence. This chord is held in the following bars with rhythmic acceleration of Quarter note, Eighth note, and Sixteenth note, with a high A held by the Piccolo at the end of the 3rd measure. Four themes are presented in the second chaos: "l’eau" (water) in the flutes, represented by a descending melodic movement, which then ascends gradually in regular joint values; "l'air" (air) in the piccolos, represented by a high B♭ Trill (music). This occurs at the same time as "le feu" (fire) in the violins, represented by high jerks. The last theme of the second chaos is "la terre", in the bass instruments, represented in the following measure by long notes. These themes are developed in the following chaoses. The shorter seventh chaos is generally more peaceful, without the harmonic and rhythmic irregularities of previous chaos; it ends with a long Cadence music in D major.[1]

The rest of the symphony comprises dances and pieces of varied instrumentation, from 2 to 5 parts, including horns and oboes, in which the elements are evoked without the harmonic audacity of the introduction.

Instrumentation

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The engraved edition is presented as a reduction comprising two parts for violins, two for flutes and a bass, but includes indications allowing richer instrumentation. A score and handwritten separate parts that were probably used in the performance indicate the participation of Bassoon, Hunting horn, Oboe, and a Double bass. Certain passages are played by piccolos. Parts of trumpets and horns are given for the finale (caprice) of the symphony.

This first edition is preceded by an introduction, Warning, in which the composer describes his approach.

"The elements painted in dance and in music seemed to me susceptible of a pleasant variety, as much in relation to the different genres of music as in relation to the dancers. The introduction to this symphony was natural, It was Le cahos even, this confusion which reigned between the Elements before the moment when subjected to invariable laws they took the place which is prescribed to them in the order of nature. To designate, in this confusion, each element in particular I used the most popular conventions. The bass expresses the earth through notes linked together and which are played by jerks. The Flutes, by lines of song, which go up and down, imitate the course and the murmur of the water. The air is painted by outfits followed by cadences that form the small flutes. Finally, the violins, in lively and brilliant lines, represent the activity of fire. These distinctive characters are recognized, separated or confused, in whole or in part, in the various occasions, which I call by the name of Cahos and which mark the efforts which the Elemen make to get rid of each other. In the 7th cahos, these efforts decrease in proportion as the entire resourcefulness approaches. This first idea took me further. I dared to undertake to join to the idea of ​​the confusion of the elements of Harmony. I hazarded to hear first all the sounds mixed together or rather all the notes of the Octave united in a single sound. These notes then develop while going up in Unison in the progression which is natural for them, and, after a Dissonance, one hears the perfect chord. I finally believed that this would make the Cahos of harmony even better, if by walking through the different Cahos on different strings, I could without shocking the ear, make the final tone indecisive, until he returned determined at the time of the final examination."}}[2]

Performances

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The work was performed with dancers on September 27, 1737, without "Le cahos".

"Le chaos" was performed by the oyal Academy of Music, alone and not danced, on the 17th and 22nd March 1738, following sung pieces by other composers. According to the brief report of the Mercure de France of March 1739, the harmonic daring of the composition does not seem to have repelled the audience: "The Royal Academy of Music gave two performances of the Cadmus Opera [...] and the Cahos of Sr Rebel, the father, who passes from the admission of the most Connoisseurs, to one of the most beautiful pieces of Symphony there is of its kind".[3]

"Le chaos" and excerpts from Les Élémens were again played in a concert in July 1740.[4]

After two centuries of obscurity, the ballet was performed in 1950 on a choreography by Serge Lifar by an orchestra conducted by Roger Désormière[5]. Since then, the symphony has been periodically performed in instrumental versions by baroque ensembles and symphony orchestras.

References

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  1. ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. pp. 114–118.
  2. ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 107.
  3. ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 105.
  4. ^ Cessac, Catherine. Jean-Féry Rebel (1666-1747) : musicien des Éléments. p. 137.
  5. ^ https://data.bnf.fr/fr/44292246/les_elements_spectacle_1950/


MPL

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In 1976 MPL bought the rights to Buddy Holly's compositions[1][2], and in 2003 the rights to Carl Perkins' works.[3] The Holly acquisition was followed by McCartney's launch of 'Buddy Holly Day' with a concert presented annually from 1976 to 1999. Additionally, MPL has acquired rights to some other cover songs recorded by the Beatles, and solo recordings by John Lennon, Paul McCartney, Ringo Starr, and Denny Laine as follows:

  1. ^ "PAUL MCCARTNEY PICTURED CRICKETS DURING BUDDY Editorial Stock Photo - Stock Image".
  2. ^ Sanjek, t. l. R. (1988). American Popular Music and Its Business: The First Four Hundred Years, Volume III: From 1900-1984. United States: Oxford University Press. p.539
  3. ^ "McCartney buys rights to Carl Perkins' catalogue". ABC News. 4 April 2003.
  4. ^ "Holly Days - Denny Laine | Songs, Reviews, Credits | AllMusic". AllMusic.
  5. ^ Madinger, C., Easter, M. (2000). Eight Arms to Hold You: The Solo Beatles Compendium. United States: 44.1 Productions.

Sources

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MPL Communications music search

Test Thomas Kilpatrick[1]

Calvin "Fuzzy" Samuel

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Calvin Samuel,[2] known as Calvin "Fuzzy" Samuel, is an Antiguan-born musician best known for his bass playing in the 1970s with Stephen Stills, Manassas, Crosby, Stills, Nash and Young, and others. He has often been credited as "Samuels", with an "s" added to his surname.

Design/sandbox
Calvin Samuel in 1972
Calvin Samuel in 1972
Background information
Born (1947-09-24) September 24, 1947 (age 77)[3]
Antigua
Occupationmusician
Instrumentbass
Years active1970s - present
Websitecalvinfuzzsamuel.com

Biography

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Born in Antigua, in the West Indies, in 1947, Samuel relocated to London, U.K. as a child. Self-taught on bass, through the 1960s Samuel toured and recorded with a series of groups which included other West Indian musicians. In 1965 he played in Blue-Ace-Unit with Junior Marvin.[4] In 1966 he joined Joe E. Young & The Toniks (with drummer Conrad Isidore and vocalist Colin Young) who recorded the album Soul Buster!, with Them's producer Tommy Scott.[5][6]

In 1968 Samuel, Isidore and guitarist/singer Wendell Richardson formed the psychedelic rock/soul trio The Sundae Times, and recorded an album of original songs, Us Coloured Kids, produced by their friend Eddy Grant of The Equals.[7] One single "Aba-Aba” was a hit in Israel.

Subsequently Marvin joined reggae group The Wailers, Young joined pop group The Foundations, and Richardson became a founding member of the Afro-rock group Osibisa.[8]

In late 1969 or early '70 Samuel met American singer-songwriter Stephen Stills in London. At Island Studios in January 1970 they began recording for Stills' first solo album, which includes the hit single "Love the One You're With", and personnel including Jimi Hendrix and Samuel's friend Isidore.

Relocating to the US, Samuel became the bassist for Crosby, Stills, Nash and Young and immediately took part in the studio recording of their protest song "Ohio", recorded in May 1970. After touring with CSNY, he became a founding member of Stills' super-group, Manassas, a band which brought together rock, folk, blues, country and Latin rhythms. He appears on CSNY's live album 4 Way Street (1971) and other recordings by Stills, Nash, and Crosby.

From the 1970s, through to the '90s, Samuel worked with musicians in the UK and US including Rita Coolidge, Dr. John, Marianne Faithfull, America, Alvin Lee, Steve Winwood, Mick Taylor,[9] Kevin Ayers, and Taj Mahal.[10] His long friendship with Taj resulted in his bass playing on the Grammy-nominated album Mule Bone (1991).

Samuel has recorded under his own name from the 1990s onwards, singing and playing bass, bouzouki, and guitar. He's released albums including This Train Still Runs, Love Don't Taste Like Chicken (1999)[11]and Island Breeze (2012).[12]

Personal life

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In the 1970s Samuels was in a relationship with vocalist P.P. Arnold.[13] Their son Kodzo Samuel is a musical director for Jessie J and Jess Glynne.[14] He is credited as a songwriter on Arnold's 2019 album, The New Adventures of... P.P. Arnold .[15]

Samuel also has child with his wife, Andrani.

References

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Yvonne Wright Biography

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Yvonne Lowrene Wright-Willis was born in Harlem, in New York City to Harry Wright and Margaret Williams in 1951. Wright's mother Margaret was briefly a member of the dance troupe, Whitey's Lindy Hoppers.

As a child Wright sang in her church choir where she and her older sister Adele were given solos on pieces like James Cleveland's "Two Wings". As a teen Wright and her friends formed vocal groups the Diamonds and the Velveteens. While still a teenager, she performed "Moon River" at Amateur Night at the Apollo Theater and was enlisted to sing background for Wilson Pickett on that same stage. Always a prolific writer, she met Stevie Wonder in the early 1970s and collaborated with him as a songwriter over four albums from 1972 to '79. She received a platinum record for her work on the album Fulfillingness' First Finale (1974), which also earned a Grammy Album of the Year.

Wright also sang background vocals on Minnie Riperton's "Edge Of A Dream", from Riperton's 1974 breakthrough album Perfect Angel, produced by Stevie Wonder.

Wright also did extensive stage work in the '70s and early '80s. In 1975, she performed in a touring production of Hair in Spain. She sang background vocals for Lou Rawls and Millie Jackson. She was a featured vocalist in touring lineups for the Chantels and the Marvelettes, as well as on numerous recordings.

Later in life she returned to study in Dallas, Texas and earned a BSc and her MS in Special Education.

Selective discography Tommy Scott

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Phil Solomon Major Minor Records Artie Scott Orchestra, The Plaid Pops Orchestra, Pat Campbell, Lena Zavaroni, Dubliners, Sydney Devine, Twink,

Singles

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Year Song Title Artist Singles Chart Writer(s) Producer(s)
1964 "Who Will It Be"
c/w "If It's Me That You Want"
Tommy Scott Les Vandyke
B-side: Scott
Michael Barclay
1964 "Boys Cry” Eden Kane UK #8 Scott, Buddy Kaye Les Reed
1964 "Beneath the Willow Tree"
(B-side of "Wouldn't Trade You for the World")
The Bachelors UK #4, US #69 Scott, Bill Martin. Dick Rowe
1964 "Oh, Samuel Don’t Die"
(B-side of "No Arms Can Ever Hold You")
The Bachelors UK #7, US #27 Scott, Martin Noel Walker
1964 "Terry" Twinkle UK #4 Twinkle Scott
1965 "Golden Lights” Twinkle UK #21 Twinkle Scott
1965 "All For Myself"
(B-side of "Here Comes the Night")
Them UK #2, US #24 Van Morrison Scott
1965 "Mystic Eyes" Them US #33 Van Morrison Scott
1966 "I Can Only Give You Everything" Them Scott, Phil Coulter Scott
1966 "Call My Name" Them Scott Scott
1966 "Richard Cory"
c/w "Don't You Know"
Them Paul Simon
B-side: Scott
Scott
1966 "Boys Cry"
c/w "I Can Only Give You Everything"
Tommy Scott Scott, Kaye
B-side: Scott, Coulter
Michael Barclay
1966 "Beautiful Dreams" Twiggy Scott, Peter Law Scott
1967 "Oh How I Miss You" The Bachelors UK #30 Scott Scott
1967 "Seven Drunken Nights" The Dubliners UK #7, IRE #1 Arr. The Dubliners Scott
1967 "The Black Velvet Band" The Dubliners UK #15, IRE #4 Arr. The Dubliners Scott
1967 "All For Me Grog" The Dubliners IRE #10 Arr. The Dubliners Scott
1967 "Maids When You're Young" The Dubliners UK #43, IRE #11 Arr. The Dubliners Scott
1967 "I Can Only Give You Everything" MC5 Scott, Coulter
1968 "Dirty Old Town" The Dubliners UK #43, IRE #10 Ewan MacColl Scott
1968 "May I Have The Next Dream With You" Malcolm Roberts UK #8 Charles & Harry Tobias Scott
1969 "Love Is All" Malcolm Roberts UK #12, US #40 Les Reed,
Barry Mason
Scott
1969 "Nobody's Child"
c/w "Oh How I Miss You"
Karen Young UK #6 Cy Coben, Mel Foree
B-side: Scott
Scott
1969 "The Deal"
c/w "The Mission"
Pat Campbell UK #31 D. Miles, K. Herston,
B. Prather
B-side: Campbell, Scott
Scott
1974 "Ma! (He's Making Eyes At Me)" Lena Zavaroni UK #10, US #91 Sidney Clare,
Con Conrad
Scott
1974 "(You've Got) Personality"
c/w "Schools Out"
Lena Zavaroni UK #33 Lloyd Price,
Harold Logan
B-side: Scott
Scott
1978 "Scotland Forever"
c/w "The Flower of Scotland"
Sydney Devine UK #48 Scott
B-side: Scott
Scott
1980 "Tommy Scott's Hop.Scotch Ceilidh Party" Tommy Scott Arr. Scott Scott

Albums/Album tracks

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Year Title Artist Albums Chart Tommy Scott's role
1965 The Angry Young Them Them Produced 10 tracks, wrote 1
1966 Them Again Them UK #21, US #138 Produced all tracks, wrote 4
1967 A Drop of the Hard Stuff The Dubliners UK #5, IRE #1 Producer
1967 More of the Hard Stuff The Dubliners UK #8, IRE #1 Producer
1967 "I Can Only Give You Everything"
(on the album Trogglodynamite)
The Troggs UK #10 Written by Scott/Coulter
1968 Soul Buster! Joe E. Young & The Toniks Producer
1969 Nobody's Child Karen Young Produced all tracks, wrote 2
1974 Ma! He's Making Eyes At Me Lena Zavaroni UK #8 Produced all tracks, wrote 2
1975 The Elephant Song Kamahl NED #1, SWE #3 Scott produced 2 tracks
1975 If I Give My Heart To You
(UK version)
Kamahl Produced all tracks, wrote 1
1976 Doubly Devine Sydney Devine UK #14 Produced all tracks, wrote 2
1976 Devine Time Sydney Devine UK #49 Produced all tracks, wrote 2
1979 "I Can Only Give You Everything"
(on the album Live)
Little Bob Story Written by Scott/Coulter
1982 "I Can Only Give You Everything"
(on the album Destiny Street)
Richard Hell and the Voidoids Written by Scott/Coulter

References

[edit]



Howie Casey selective discography

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Singles

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Year Title Artist Chart Casey's role
1973 20th Century Boy T. Rex UK#3 Saxophone
1974 The Golden Age of Rock 'n' Roll Mott the Hoople UK#16 Saxophone
1974 Mrs. Vandebilt Paul McCartney and Wings NLD#7 Saxophone solo [1]
1974 Jet Paul McCartney and Wings US#7, UK#7 Saxophone
1976 Silly Love Songs Wings US#1, UK#2 Saxophone
1976 Let 'Em In Wings US#3, UK#2 Saxophone
1979 Arrow Through Me Wings US#29 Saxophone
1980 Coming Up Wings US#1, UK#2 Saxophone
1983 S.O.S. ABC UK#39 Saxophone solo
1987 When Smokey Sings ABC US#5, UK#11 Saxophone

Albums

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Year Title Artist Chart Casey's role
1962 Twist at the Top Howie Casey and the Seniors - Band leader, co-writer, saxophone
1963 Let's Do The Madison, Twist, Locomotion, Slop, Hully Gully, Monkey The Shakers (aka Kingsize Taylor and the Dominoes) - Saxophone
1963 Live at the Star Club Kingsize Taylor and the Dominoes[2] - Saxophone
1964 Alex Harvey and His Soul Band Alex Harvey - Saxophone
1971 The Roy Young Band Roy Young Band - Co-writer, arranger, saxophones
1973 Tales of Old Grand Daddy Marcus Hook Roll Band - Saxophone
1973 Rigor Mortis Sets In John Entwistle - Saxophone
1973 Tanx T. Rex UK#4 Saxophone
1973 Band on the Run Paul McCartney and Wings US#7, UK#9 Saxophone
1974 The Hoople Mott the Hoople UK#11 Saxophone
1976 Wings at the Speed of Sound Wings US#1, UK#2 Saxophone
1976 Wings Over America Wings US#1, UK#8 Saxophone
1979 Back to the Egg Wings US#8, UK#6 Saxophone
1981 Concerts for the People of Kampuchea Various artists US#36 Saxophone with The Who, Wings, Rockestra
1981 Bucks Fizz Bucks Fizz UK#14 Saxophone
1983 Japanese Tears Denny Laine - Saxophone
1983 Beauty Stab ABC UK#12 Saxophones
1987 Alphabet City ABC UK#7 Saxophone

Hank Cosby Albums

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Year Title Artist Chart Producers
1962 The Jazz Soul of Little Stevie Stevie Wonder - Clarence Paul, Hank Cosby
1962 Tribute to Uncle Ray Stevie Wonder - Clarence Paul, Hank Cosby
1965 With a Song in My Heart Stevie Wonder - Clarence Paul, Mickey Stevenson
1966 Up-Tight Stevie Wonder US#33, UK#14 Paul, Cosby, Stevenson,
Brian Holland, Lamont Dozier
1966 Down to Earth Stevie Wonder US#92 Clarence Paul, Hank Cosby
1967 Reach Out The Four Tops US#11, UK#4 Paul, Holland, Dozier, Smokey Robinson
1967 I Was Made to Love Her Stevie Wonder US#45 Clarence Paul, Hank Cosby

Richard Morris (songwriter)

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Richard T. Morris[3] is an American songwriter and producer best known for his work with Motown Records in the 1960s.

Career

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In early 1960 Morris heard The Primettes audition for Motown Records. Label owner Berry Gordy Jr. declined to sign the group at that time, and Morris approached them with an offer to record them on another label. He wrote and produced their first single "Tears of Sorrow" on Lu-Pine Records.[4] The Primettes signed to Motown in 1961 and became The Supremes, Motown's most commercially successful act.

In 1995 Morris sued Berry Gordy Jr. and Motown for unpaid royalties. [5]

Morris Selective Discography

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Singles

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Year Title Artist Chart Writers Producers
1960 Tears of Sorrow The Primettes - Richard Morris, Florence Ballard, Diana Ross 'Hom-Rich'
1966 Stop Her On Sight (S.O.S.) Edwin Starr US#48, UK#11 Morris, Al Hamilton, Charles Hatcher Morris, Al Kent (aka Al Hamilton)
1966 Headline News Edwin Starr US#84, UK#39 Morris, Hamilton, Hatcher Morris, Kent (arr. Mike Terry)
1967 Love Bug Leave My Heart Alone Martha & the Vandellas US#25 Sylvia Moy, Richard Morris Richard Morris
1967 Honey Chile Martha & the Vandellas US#11 Moy, Morris Richard Morris
1968 I Promise to Wait My Love Martha & the Vandellas US#62 Billie-Jean Brown, George Gordy,
Margaret J. Gordy, Allen Story
Richard Morris, Billie-Jean Brown, Henry Cosby
1968 Sweet Darlin' Martha & the Vandellas US#80 Morris Richard Morris
1969 (We've Got) Honey Love Martha & the Vandellas US#56 Moy, Morris Richard Morris
1971 Forget Me Not Martha & the Vandellas UK#11 Moy, Morris Richard Morris

Albums

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Year Title Artist Chart Producers
1968 Ridin' High Martha & the Vandellas US#167 Richard Morris

Mike Terry Selective Discography

[edit]

Singles

[edit]
Year Title Artist Chart Mike Terry’s role
1960 Shop Around The Miracles US#2 Baritone sax[6]
1962 Boom Boom John Lee Hooker US#60[7] Baritone sax[8]
1963 Heat Wave Martha & the Vandellas US#4[9] Baritone sax solo[10]
1963 Quicksand Martha & the Vandellas US#8[11] Baritone sax solo[10]
1963 You Lost the Sweetest Boy Mary Wells US#22 Baritone sax solo[10]
1964 Where Did Our Love Go The Supremes US#1, CAN#1, UK#3 Baritone sax solo[10]
1964 Baby Love The Supremes US#1, UK#1 Baritone sax feature[12][13]
1964 Come See About Me The Supremes US#1, CAN#1 Baritone sax
1964 (Just Like) Romeo and Juliet The Reflections US#6 Baritone sax solo
1964 In My Lonely Room Martha & the Vandellas US#6 Baritone sax solo[14]
1965 I Can’t Help Myself The Four Tops US#1, UK#10 Baritone sax feature[10]
1965 It's the Same Old Song The Four Tops US#5 Baritone sax feature[15]
1965 Stop! In The Name Of Love The Supremes US#1, CAN#3, UK#7 Baritone sax[16]
1965 Back in My Arms Again The Supremes US#1, CAN#1 Baritone sax feature[17][18]
1965 I Hear A Symphony The Supremes US#1 Baritone sax solo[19]
1966 Cool Jerk The Capitols US#7, CAN#9 Arranger[20]
1966 This Old Heart of Mine The Isley Brothers US#12, UK#3 Baritone sax feature[10]
1966 Love Is Like an Itching In My Heart The Supremes US#9 Baritone sax feature[14]
1967 (Your Love Keeps Lifting Me) Higher and Higher Jackie Wilson US#6, CAN#2 Baritone sax[21]
1967 (I Wanna) Testify The Parliaments US#20 Arranger[22]
1968 The Horse Cliff Nobles & Co US#2 Baritone sax[10]
1969 Jealous Kind of Fella Garland Green US#20[23] Arranger, producer[24]

Albums

[edit]
Year Title Artist Chart Mike Terry’s role
1963 Motor-Town Revue Vol. 1: Recorded Live At The Apollo Various Artists US#47 Baritone sax[25]
1964 Where Did Our Love Go The Supremes US#2 Baritone sax
1965 More Hits by The Supremes The Supremes US#6 Baritone sax
1965 Four Tops Second Album The Four Tops US#20 Baritone sax
1966 I Hear a Symphony The Supremes US#8 Baritone sax
1966 The Supremes A' Go-Go The Supremes US#1, UK#15 Baritone sax[26]
1969 The Many Grooves of Barbara Lewis Barbara Lewis Arranger[27]
1975 Loneliness & Temptation Clarence Carter Arranger[28]
1975 Bad Luck Atlanta Disco Band Writer, Arranger, Musician[29]
1976 No Way Back The Dells Writer, Arranger, Producer[30]

References

[edit]
  1. ^ Madinger, Chip; Easter, Mark (2000). Eight Arms To Hold You: The Solo Beatles Compendium. Chesterfield, MO: 44.1 Productions. p. 189.
  2. ^ "Savoy Records: Kingsize Taylor".
  3. ^ "BMI | Songview Search".
  4. ^ Wilson, Mary (1986). Dreamgirl: My Life as a Supreme. Cooper Square Press. pp. 69. ISBN 0-8154-1000-X.
  5. ^ "Billboard". 29 April 1995.
  6. ^ Thornton, Jason H. ‘The Andrew “Mike” Terry Story’, There’s That Beat! The Rare Soul Magazine, issue #4, 2007, UK
  7. ^ Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. p. 194. ISBN 0-89820-068-7.
  8. ^ Murray, Charles Shaar (2002). Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. New York City: St. Martin's Griffin. pp. 237–240. ISBN 978-0-312-27006-3.
  9. ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942–2004. Record Research. p. 378.
  10. ^ a b c d e f g Williams, Richard (December 1, 2008). "Mike Terry Obituary". The Guardian.
  11. ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Eighth Edition. Record Research. p. 398.
  12. ^ Flory, Andrew. I Hear a Symphony: Motown and crossover R&B, University of Michigan Press, 2017, USA, p222
  13. ^ Simpson, Dave (July 15, 2014). "The Supremes: How we made Baby Love". The Guardian.
  14. ^ a b Moore, Dave (November 7, 2014). "HOF: Mike Terry - Pre Production Inductee". Soul Source magazine.
  15. ^ Flory, Andrew. I Hear a Symphony: Motown and crossover R&B, University of Michigan Press, 2017, USA, p56
  16. ^ Sullivan, Steve (2017). Encyclopedia of Great Popular Song Recordings, Vol. 3. Rowman & Littlefield. p. 383.
  17. ^ "More Hits by the Supremes (1965)". 3 October 2015.
  18. ^ "Back in My Arms Again by the Supremes - Songfacts".
  19. ^ Liner notes. The Complete Motown Singles Vol. 5: 1965, Hip-O Select ‎– B0006775-02, USA, 04 Aug 2006
  20. ^ Label credit, "Cool Jerk", The Capitols, Karen Records 1524, 1966, USA
  21. ^ "Inter2".
  22. ^ "Groove Times : George Clinton - I Wanna Testify". Ejnord.com. 2007-03-17. Archived from the original on 2012-03-06. Retrieved 2012-02-23.
  23. ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 259. ISBN 0-214-20512-6.
  24. ^ LP Album credits, Jealous Kind of Fella, Garland Green, Uni Records 73073, 1969, USA
  25. ^ Thornton, Jason H. "The Andrew "Mike" Terry Story", There’s That Beat! The Rare Soul Magazine, Issue 4, 2007, UK
  26. ^ Refer to credits for the lead single "Love Is Like an Itching In My Heart"
  27. ^ "Many Grooves of Barbara Lewis - Barbara Lewis | Credits | AllMusic". AllMusic.
  28. ^ "Loneliness & Temptation/A Heart Full of Song - Clarence Carter | Credits | AllMusic". AllMusic.
  29. ^ LP Album credits, Bad Luck, The Atlanta Disco Band, Ariola Records ST-50004, 1975, USA
  30. ^ LP Album credits, No Way Back, The Dells, Mercury Records SRM-1-1084, 1976, USA