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Dear Evan Hansen. Joseph and the Amazing Technicolor Dreamcoat. Matilda the Musical. The Lion King. The Phantom of the Opera. Student, or Senior Discounts. Do not delete this link. Adele: Adele: Arr. Large image. View Songlist. Includes the number one single Rolling In The Deep. Watch here: ' 21 is simply stunning. While " When We Oooo " continues the feminine sensuality from 's janet.
Jackson later reignited the freaky adventure on 's Damita Jo via " Warmth " and " Moist ," two songs even more explicit than their predecessors, in which Jackson further details the pleasures of giving and receiving oral sex. On the Five Stairsteps-interpolating " Truth ," she makes note of her sold-out tours and radio hits while feeling a bit bitter: "How much is enough to pay for this mistake?
But I have to move on. I have to keep going. I can't let it stress me out, stop me from reaching my goals. The double-platinum album continued her No. The singer could've let the divorce circus derail her, but All For You proved she couldn't be confined by a man nor her music. Since All For You , women have shattered genre boundaries, dominated the charts and revealed their most vulnerable selves. We have Janet Jackson to thank for first inviting us into her world. In Studio A, the popular group the Carpenters were recording their self-titled third album.
But it was in Studio B, with the lights down low and candles flickering, where a songwriter was crafting an iconic work that would indisputably change the course of music history.
The success of Tapestry seems like a given today, a ubiquitous part of the pop culture landscape. In addition to its critical acclaim, Tapestry was also a commercial behemoth, topping the Billboard albums chart in the U. To understand Tapestry 's impact and King's triumph, you'd have to rewind the narrative. King's talents were on full display from an early age. The Brooklyn-born daughter of a piano-teacher mother, she was a music prodigy by 15, and by 17, she became a Brill Building powerhouse, penning the Shirelles' standard " Will You Love Me Tomorrow ," the first No.
Alongside writing partner and former husband Gerry Goffin, King poured out songs. People who are creative in any way, sometimes that happens. Young King's stunning list of achievements would have been more than enough for an already-astounding career. However, once Goffin's and King's marriage dissolved, Carole packed her bags and moved from the East Coast to the Los Angeles enclave of Laurel Canyon, with two kids in tow.
As fate would have it, she'd soon fall in with the likes of James Taylor , Joni Mitchell and a scene that was about to explode. Still, King had both a disinterest and aversion to being in front of the mic. As a member of Taylor's backing band, she has a distinct memory of the night she performed a lone song at one of his shows when her view on performing was forever altered.
Around the same time of her change of heart, she was also suffering from the commercial failure of her first artist project as part of a band called the City, no doubt stymied in by King's reluctance to perform live.
And while some may confuse Tapestry for her debut album, she officially debuted as a solo artist in with the aptly titled Writer , which featured covers of previously recorded Goffin-King tracks and boasted an otherwise muted cover with the sole dash of color from a rainbow. The album, which peaked at No. Perhaps that's why when King set out to work on her follow-up, she felt free of pressure. She already stepped in front of a mic and survived. At worst, listeners were indifferent.
What more was there to fear? The album's subsequent production was purposely sparse, which suited King, who was previously accustomed to recording demos anyway. Lou and Carole wanted that simplicity.
They wanted it to be nice and warm, and a very comfortable record for people to enjoy. With that in mind, it's not hard to envision King in your living room, a piano in front of her, tapping away at the opening piano hook—not chords, but the single keys —of "I Feel the Earth Move," which appropriately heralded not only the beginning of a powerhouse album, but announced a new era.
The album's second track, "So Far Away," introduces itself similarly: a piano riff consisting of lone keys, only to be accented by an acoustic guitar, played by Taylor, and a bass. Later, drums and a fittingly distant flute appear. It's a feat fitting for a greatest hits collection. But therein lies the magic, and gravity, of Tapestry. She initially employs the might of those single piano notes she favors with melancholy vocals when she mournfully sings, "When you're down," later crescendoing into the resounding proclamation of "I'll be there.
Less immediate and in an ongoing way, it opened doors. And I think I did that successfully. A disparate list of cultural icons and works could have King and Tapestry to thank for paving the way, among them the career of the songwriter-turned-artist Barry Manilow to Taylor Swift albums like Folklore and Evermore. Did Carole King know she had lightning in a bottle? Does she even know when she's writing a good song? It's a big, old, crazy thing. In , hip-hop was in a state of flux, and A Tribe Called Quest were searching for balance.
Tribe tempered the growing gangster rap movement with their own breed of hip-hop, one full of humor, life, positivity and a more lighthearted approach to making music. Their style positioned them more as a group who loved being musicians over utilizing their rhymes to vent about the doom and gloom enveloping their environment.
De La Soul coined the term on their debut album, 3 Feet High and Rising , in which they chanted the phrase several times throughout the project. DAISY artists donned brighter clothing, used literal daisy imagery in their artwork, music videos and album covers, and punctuated their positive messages with poignancies on Afrocentricity. But even if you weren't down with Native Tongues, if your music was the antithesis of the exploding gangster rap style of the time, you tangentially became a part of the DAISY Age.
DAISY artists diverged from what most considered then to be the sonic norm for rap music, which was a rugged exterior revealing street hymns and conspiracy theories, along with stories of police brutality and gang wars. It was raging against the machine at its best. While artists of the DAISY Age discussed ways for Black people to find their own grooves and means to mobilize, albeit in a different way, Tribe and groups of their ilk were categorized under the "alternative hip-hop" subgenre, an industry move suggesting that discussions of anything other than gun talk were the exception, not the rule.
They were all deemed "safe," nonviolent "alternatives," while also commanding a sound both parents and kids could mutually enjoy. It was a gift and a curse at the same time. It was a frustrating position for any critically acclaimed group paving their own path. This would be the project that served as a reference point for A Tribe Called Quest as bastions of versatility. In order to prove that, they had to rework their whole style, right down to their image.
There was also the added pressure of the sophomore slump. But that didn't faze lead producer Q-Tip in the least. Tribe weren't cocky—they were confident. Tribe had a lot to prove on The Low End Theory while not coming off as tryhards. In 14 tracks, they had to somehow remove the stigmas attached to so many hip-hop artists at the time: You were either too street, too soft or too artsy, or you didn't understand a single instrument.
Tribe aimed to strike that balance artfully. Q-Tip made it a point to masterfully bring the sounds of jazz and bebop to boom bap, where, for the first time ever, the instruments were front and center. Retrieved 25 March Retrieved 16 February Retrieved 1 September Independent Music Companies Association.
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