Dale Hawkins was an innovator and an original Chess recording artist who had played his music in his own unique style since the mid 50's. This CD is a compilation of rare songs from the 50's and early 60's and new recordings from the 80's & 90's. This was the first release on Beveric Records and Dale Hawkins was truly back in business.
A great selection of remastered early recordings, including Dale's ultra rare Zonk single from 1961 and some brand new rockers. The CD kicks off with a legendary track penned by Dave Alvin, James Burton & Dale Hawkins join their forces on "Fool's Paradise". An unbeatable combination! This is the real thing!
The copyrights in these sound recordings are owned by Plumtone Music Inc. and are licensed to Beveric Ltd.
On this album Dale Hawkins was backed up by some of the best musicians - The legendary Crickets and Dale join forces on "Well.. All Right". James Burton and Dale Hawkins are back in studio together for the first time since late 60's. Several of the sessions had other well known musicians like Joe Osborne, Larry Knechtel (Duane Eddy's band), Kenny Brown (sideman to R.L. Burnside).
Special mention goes to Pekka Laine (Hypnomen) and Mika Liikari (Barnshakers) who had a chance to play with Dale while he was in Finland. The guys overdubbed the guitar & upright bass to Wildcat Tamer in Helsinki and the result is outstanding.
The Zonk release of Peaches/Gotta Dance is very rare and chances of finding original copies are slim. Beveric Records reissued this sought-after rocker as a bonus along with the new songs.
Unwilling to pretend that colorism doesn’t play a part in the way black women are treated in their day to day lives?
Rising to fame as the brains behind Destiny’s Child, Knowles’ once heavily guarded private life now finds itself up for public discussion now that the revered industry power player has revealed how internalised racism caused him to pursue Beyonce‘s mother.
For, he also revealed why it’s time for all of us to listen to African-American artists who believe that their inability (or unwillingness) to lighten their hair and skin has blocked their path to levels reached by Nicki Minaj, Rihanna and Beyonce herself.
When I was growing up, my mother used to say, ‘Don’t ever bring no nappy-head black girl to my house.’”
In the deep South in the ’50s, ’60s and ’70s, the shade of your blackness was considered important. So I, unfortunately grew up hearing that message.
He then went onto reveal that he faced the same self-hatred when he joined the historically black campus Fisk.
They had a colourism issue there.I was in the last class where they’d take out a brown paper bag and if you were darker than the bag, you could not get into Fisk. One day I had a breakthrough. I used to date mainly white women or very high-complexion black women that looked white… I had been conditioned from childhood. Within eroticised rage, there was actual rage in me as a black man, and I saw the white female as a way, subconsciously, of getting even or getting back.
I actually thought when I met Tina that she was white. Later, I found out that she wasn’t, and she was actually very much in-tune with her blackness.
When it comes to black females, who are the people who get their music played on pop radio? Mariah Carey, Rihanna, the female rapper Nicki Minaj, my kids, and what do they all have in common?
August Alsina made a triumphant return to London at a packed-to-capacity indigO2 show presented by Musicalize.
It’s been two years since the R&B star hit the capital. And while for most acts said window represents a standard bridge between projects, his was the result of a much more serious reality. For, the New Orleans native has publicly battled a number of life threatening health challenges.
Donning a suave red suit (of which little was left by the night’s end), the 25-year-old commanded the crowd with spell-binding precision. And it didn’t require a plethora of production bells and whistles.
Effectively comprised of a mic, a DJ, and two Duracell-powered dancers (who delivered all evening), Alsina’s set placed the focus on his most prized assets: his catalogue and the vehicle that powers it – his voice.
Oft underrated as a vocalist, the singer gifted himself and fans many a moment showcasing the length and breadth of his impressive range. Indeed, performances of jams such as ‘Make It Home,’ ‘I Luv This,’ and ‘Downtown’ were punctuated with adlibs, runs, and outright belts that were evocative of a time when singers really…sang. Ah, the nostalgia.
Naturally, Alsina did indulge the obligatory “R&B pin-up” schtick. Case in point, a topless wipe-down to rapturous applause. But most praise-worthy is his holistic improvement as a performer.
Confident and comfortable, the star organically locked in (and out) of synchronised choreography with his dancers and worked all corners of the stage. He gave a…show; which is a marked improvement from earlier outings.
Despite a spell out of the spotlight, Alsina continues to prove himself to be a compelling artist. One with ample live gravitas. And with new music en route, he clearly has a talent and fanbase that’ll serve him well.
Lil Kim and R. Kelly dominated the Urban landscape in the 90s and are aiming to do so together in 2018.
Taking to social media, rap’s Queen Bee revealed that she and the Pied Piper had hit the studio together for a “legendary” collaboration. She told fans:
Word on the curb is that Kim is hard at work on her long-awaited fifth studio album – the follow-up to 2005’s ‘The Naked Truth.’
Iggy Azalea has used her platform to cape for a number of causes – including Kesha‘s fight against Dr. Luke who the latter accused of sexual harassment and more.
However, in an odd twist, some are alleging that the femcee’s comeback single ‘Savior’ is ironically produced by… Dr. Luke.
With the Quavo assisted song due out tomorrow, it’s already available in regions such as Australia – as such is playable on streaming services.
Indeed, for well over 30 years, the drinks giant have tapped some of the biggest names in Pop to create a fizz of excitement surrounding their beloved beverage.
And as this year’s Super Bowl sponsor, Pepsi celebrate their star-studded past with the Pepsi Generations commercial.
Set to air during the big game this Sunday, the spot – titled ‘This Is The Pepsi’- salutes King Of Pop Michael Jackson and Pop princess Britney Spears.
As streaming continues to anchor itself as the primary means of music consumption, more pressure than ever is being placed on artists to deliver big numbers on-demand.
Indeed, whereas streams of music video and audio used to serve as an additive measure to the more dominant digital downloads, the roles have reversed.
This has caused for the birth and boom of artists whose success is fuelled primarily by streaming such as Migos, Cardi B, and Lil Uzi Vert. It’s also helped boost acts whose traditional sales aren’t quite blockbuster ala Rihanna. There’s evidence too to suggest that it could very well have been a catalyst for established winners such Beyonce pivoting towards visual-driven roll-outs.
See, part and parcel of the streaming push is the rise and prominence of VEVO, whose “machine” like size and reach have allowed them to help build huge followings for the acts who use their platform. These artists have typically been signed to labels of VEVO partners such as Sony Music, Universal Music, and select indie entities.
This, in effect, has made it quite difficult for many acts not in said equation to compete. For, they’re left to use “normal” YouTube channels (often relegated to drive behind the scenes clips and the like) to push their actual music videos. The end result being lower views than their VEVO counterparts. This has especially been the case for indie talent as well Warner/Atlantic acts – with the few exceptions of the latter being Bruno Mars, Ed Sheeran, and Jason Derulo.
It’s also put acts who’ve, for example left Sony for Warner, in an odd position. Because in jumping ship, they give up use of their VEVO (and the millions of subscribers accrued) to begin dropping audio and video on their standard YouTube channels. Most of which are often much less populous.
Head below for more on the exciting move, which is set to benefit the likes of Ciara and Rita Ora, as well as veterans like Janet Jackson, in a significant way…
Set for roll-out in the coming weeks, the move will see ONE primary destination created for each artist. In effect, all of an artist’s channels – including their VEVOs – will be consolidated into one all-encompassing destination.
With the change, subscribers will receive notifications for all content officially uploaded by an artist anywhere on the YouTube platform – whether that be VEVO or their standard YouTube channel.
While this is a huge development for hundreds of artists, it has sizeable benefits for some of TGJ‘s top names.
Ciara and Rita Ora are two acts who made the move from their Sony Music labels to Warner last year. In doing so, they effectively left behind the millions of subscribers earned on their VEVO channels. CiCi has yet to release, but Rita has and, despite managing to still notch up hits, the disparity between views on her current artist channel and her VEVO are undeniable (i.e 10s of millions vs 100s of millions). With this new system, she’ll now be able to benefit from the reach she built on her previous label/platform. Same with Ci.
Elsewhere there are legends such as Janet Jackson who’ve made the move from the major label system to running her own indie imprint. The end result has seen her YouTube presence become super scattered: some videos on VEVO, others on her personal page, and countless more uploaded by fans. By uniting everything into one official spot, the confusion is somewhat remedied.
The news comes after Warner Music inked a deal with VEVO recently to begin sharing their content on the powerful platform. It also arrives following YouTube’s hiring of respected industry juggernaut Lyor Cohen as its Global Head Of Music.
Put simply, this levels out the playing field for artists and allows them to capitalize on their established brand, catalogue, and followings towards the benefit of their current outleti. For fans, they’ll be able to stay in the loops regardless of whatever label changes happen “behind the scenes.”
As we reported here, ‘Work From Home’ hitmakers Fifth Harmony are all set to go to work…work…work…on the ‘Lip Sync Battle’ stage with four sizzling solo performances.
With Lauren assuming the getup of Amy Winehouse, Ally becoming fly girl Jennifer Lopez, and Dinah dazzling as a character from Disney flick ‘Moana,’ arguably the most highly anticipated of the foursome’s performances will be that of Normani bouncing as Beyonce to the beat of Destiny’s Child‘s 2001 chart-topper, ‘Bootylicious.’
Busta Rhymes is on the comeback trail and has enlisted both Kelly Rowland and Missy Elliott to assist him.
The veteran rapper will be unleashing a new collaboration with the ladies and fans won’t have to wait long to hear it. Because, it’s coming on Friday (February 2nd).
And it seems Busta is making the necessary moves to make sure it moves the needle upon its release. Today he stopped by the Spotify office:
The ‘4:44’ mogul secured the rights to the name Hovino for the purposes of “restaurant and café services, pubs, cocktail lounges and wine bars” hours ago giving fans good reason to believe he is planning to open a restaurant.
If this is the case, his new venture would follow in the footsteps of his successful ’40/40′ club and the winning streak he has enjoyed a music mogul.
Lady GaGa surprised fans by joining her family to open the restaurant ‘Joanne‘s in her hometown of New York shortly after rising to fame.
Elsewhere, Justin Timberlake feeds the good people of the city at ‘Southern Hospitality‘ while the former sportsman Michael Jordan makes a pretty profit from ‘Michael Jordan’s Steakhouse.’