Young Girl – Gary Puckett And The Union Gap

Posted on July 13, 2013 by Kneeknee

Young Girl – Gary Puckett And The Union Gap

Young Girl - Gary Puckett & The Union Gap

Gary Puckett & The Union Gap (initially credited as The Union Gap featuring Gary Puckett) was an American pop rock group operating in the late 1960s.

Their biggest hits were “Woman, Woman,” “Young Girl,” and “Lady Willpower.” Singer Gary Puckett (born October 17, 1942, Hibbing, Minnesota) grew up in Yakima, Washington – close to the city of Union Gap – and Twin Falls, Idaho.

He began playing guitar in his teens, and graduated from Twin Falls High School before attending college in San Diego, California. There, he quit college and played in several local bands before joining the Outcasts, a local hard rock group comprising bassist Kerry Chater (born August 7, 1945, Vancouver, British Columbia, Canada),[1] keyboardist Gary ‘Mutha’ Withem (born August 22, 1946, San Diego), tenor saxophonist Dwight Bement (born December 28, 1945, San Diego), and drummer Paul Wheatbread (born February 8, 1946, San Diego).
In 1966, the band toured the Pacific Northwest without Wheatbread, who was recruited as the house drummer on the television series, Where the Action Is; he later rejoined the line-up. Under manager Dick Badger, the band were renamed The Union Gap in early 1967, and fitted themselves out with Union Army-style Civil War uniforms as a visual gimmick. They then recorded a demo, which was heard by CBS record producer and songwriter Jerry Fuller. Impressed by Puckett’s baritone voice and the band’s soft rock leanings, Fuller signed them to a recording contract with Columbia Records.

Biography source…..www.last.fm

Picture source…..www.last.fm

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Pete The Amazing Skateboarding Dog

Posted on July 10, 2013 by Kneeknee

Pete The Amazing Skateboarding Dog

This is Pete now famous skateboarding dog ripping the ramps at the Skatelab in California.These are just a few of the tricks that he can perform. He was trained with positive reinforcement, never abused in any ways, and he loves to do everything that you see on this video.

Picture source…..www.lifeinthefastlane.ca

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You To Me Are Everything – The Real Thing

Posted on July 3, 2013 by Kneeknee

You To Me Are Everything – The Real Thing

You To Me Are Everything - The Real Thing

The Real Thing, a Liverpool based vocal group, had its origins in the Merseybeat boom of the 1960s. Lead Singer Eddie Amoo was a former band member of The Chants, whose beat singles gathered considerable critical acclaim, although they failed to chart. After continuing to record for various record labels, the band name was eventually dropped.

Re-labelled as The Real Thing, and with brother Chris Amoo, Ray Lake and Dave Smith on board, they got their big break following an appearance on the “Opportunity Knocks” ITV talent show. Spotted by an ex-Radio Luxembourg DJ, Tony Hall, he played a significant part in their early career development. Even so, success was not immediate, and contracts they signed with a couple of major record labels came to nothing, before signing to Pye Records in 1975. A spell acting as backing singers on tour with David Essex, also helped to increase their profile.

With a song written and produced by Ken Gold and Mick Denne, The Real Thing finally emerged in 1976 when “You To Me Are Everything” sailed up to the Number One slot in the UK singles chart.

It led off a list of nine hits on Pye over a three year period, which included “Can’t Get By Without You”, and “Can You Feel The Force”, both of which were top five success stories.

Their brand of commercial sweet soul music, mixed with disco influences, established their popularity with the British audience. They were the UK’s best selling black group of the late 1970s, but a switch to the Calibre record label in 1980 slowed the momentum. Subsequent material fared less well, although remixes of their first two hits charted some 10 years after their original release.

The group, with three of the founder members still on board, continue to perform and record to this day

Chris Amoo is also a regular on the Dog Show circuit, the highlight coming in 1987, when his Afghan Hound, Champion Viscount Grant, was crowned Supreme Champion at Crufts.
Eddie Amoo’s early career, in the chants, was supported by a backing band called ‘Vince & the Volcanoes’, led by Vinnie Tow/Ismail, who was managed and promoted by Mr George Roberts at Liverpool 8, Stanley House, before the chants were, temporarily, backed by the Beatles at the Original Cavern Club.

Biography source…..www.last.fm

Picture source…..userserve-ak.last.fm

Angel Of The Morning – Juice Newton

Posted on June 30, 2013 by Kneeknee

Angel Of The Morning – Juice Newton

Angel Of The Morning - Juice Newton

“I always see singing as a painting project,” Juice Newton says. “It’s very visual for me ““ the story of the song unfolds before my eyes while I sing.”

Now this Grammy, CMA and Billboard award-winning artist, who has multiple platinum and gold albums, ten million records sold and 15 Top 10 hits under her belt, has a new set of paintings to display ““ only this time she’s invited some legendary vocalists to join her at the easel. The result is Duets: Friends & Memories (Fuel 2000), which finds her stellar voice paired with those of Willie Nelson, Glen Campbell, Frankie Valli, Randy Meisner, Melissa Manchester, Gary Morris and the late Dan Seals.

“I’d never done a duets project,” Newton says of the record’s origins. “I called various people I knew and asked them: Are there songs you’ve thought about recording? It could be your song or somebody else’s. The point was to let them pick songs they were interested in. I wanted it to be fun for them and take the pressure off. Though the pressure was on me to learn the tunes!”

She took that pressure in stride, as she has throughout her career, but the challenges were considerable: Working in multiple keys with singers known for wildly different styles, all while endeavoring to create distinctive versions of beloved material like “You’ve Lost That Lovin’ Feelin’” (which she sings with Manchester), “Still the One,” “Fooled Around and Fell in Love” (both with Morris), “Up Where We Belong,” “Without You” (both with Campbell), “These Dreams” (with Seals), “The Biggest Part of Me” (with Valli), “Take It to the Limit” (with Meisner, the song’s author) and two songs by and with Nelson, “Funny How Time Slips Away” and “Touch Me.”

“For me, it was like making three records,” she says of the collection’s musical and logistical difficulty level. “These singers are so wonderful and unique ““ I really wanted to be on my game. I lived with my headphones on, studying the songs and preparing my interpretations.” By the time she entered the studio, however, Newton was ready to wield her painter’s brush like a master, as evidenced by the emotional force of her vocal delivery ““ whether she’s punching the soaring high notes of “Without You” withCampbell, trading the silken phrases of “Funny How Time Slips Away” with Nelson, or putting an evocatively feminine spin on “Lovin’ Feelin’” with righteous sister Manchester.

Read more…..juicenewton.net

Picture source….juicenewton.net

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Seasons In The Sun – Terry Jacks

Posted on June 29, 2013 by Kneeknee

Seasons In The Sun – Terry Jacks

Seasons In The Sun - Terry Jacks

Singer, songwriter, guitarist and record producer Terry Jacks was born on March 29, 1944 in Winnipeg, Manitoba, Canada. A member of the hippie generation, Jacks resisted his family’s wishes to become an architect and decided to pursue a career in music instead. In the mid 60s Terry joined the Vancouver, British Columbia-based band The Chessmen as both a singer and guitarist.

The group had a few minor local hits before breaking up. Jacks subsequently met singer Susan Jacks and formed a duo with her called The Poppy Family. Terry and Susan eventually married. The Poppy Family scored a big smash with the touching ballad “Which Way You Goin’ Billy?”; the song was a #1 hit in Canada and peaked at #2 on the Billboard pop charts in America. “Which Way You Goin’ Billy?” sold over two million copies and won several Juno Awards.

The follow-up singles “That’s Where I Went Wrong” and “Where Evil Grows” likewise did pretty well. Alas, Jacks and Susan broke up in 1973. In 1974 Terry scored himself a massive international success with the sad, sappy song “Seasons in the Sun;” the song peaked at #1 in both Canada and America alike, reportedly sold over eleven million copies worldwide, and went on to win three Juno Awards.

Terry was never able to either match or surpass the monumental success of “Seasons in the Sun,” but did manage to eke out a nice career as a record producer (among the artists he’s worked as a producer for are the Beach Boys, Nana Mouskouri, D.O.A., and Chilliwack). In 1986 Jacks produced, acted in, and composed the score for a flop made-for-TV adaptation of his signature hit song “Seasons in the Sun.” A dedicated environmentalist, Terry Jacks is the founder of the organization Environmental Watch, which makes sure that major pulp and logging companies are properly adhering to Canadian pollution laws. He lives in Pender Harbour, British Columbia, Canada.

Bio Source…..www.imdb.com

The Moody Blues – Nights In White Satin

Posted on June 26, 2013 by Kneeknee

The Moody Blues – Nights In White Satin

The Moody Blues - Nights In White Satin

Although they’re best known today for their lush, lyrically and musically profound (some would say bombastic) psychedelic-era albums and singles, the Moody Blues started out as one of the better R&B based combos of the British Invasion. The Moody Blues’ history began in Birmingham, England, where one of the more successful bands during that time was El Riot and the Rebels, co-founded by Ray Thomas (harmonica, vocals) and Mike Pinder (keyboards, vocals).

Pinder left the band, first for a gig with Jackie Lynton and then a stint in the Army. In May of 1963, he and Thomas reunited under the auspices of the Krew Cats. They were good enough to get overseas bookings in Germany, where English rock bands were the rage. Upon their return to Birmingham in November of 1963, the entire English musical landscape was occupied by 250 groups, all of them vying for gigs in perhaps a dozen clubs.

Thomas and Pinder decided to try and go professional, recruiting members from some of the best groups working in Birmingham. This included Denny Laine (vocals, guitar), Graeme Edge (drums), and Clint Warwick (bass, vocals). The Moody Blues made their debut in Birmingham in May of 1964, and quickly earned the notice and later the services of manager Tony Secunda. A major tour was quickly booked, and the band landed an engagement at the Marquee Club, which resulted in a contract with England’s Decca Records less than six months after their formation. The group’s first single, “Steal Your Heart Away,” released in September of 1964, didn’t touch the British charts.

Their second single “Go Now,” released in November of 1964, fulfilled every expectation and more, reaching number one in England; in America, it peaked at number 10. Following it up was easier said than done. Despite their fledgling songwriting efforts and the access they had to American demos, this version of the Moody Blues never came up with another single success. By the end of the spring of 1965, the frustration was palpable within the band.

The group decided to make their fourth single, “From the Bottom of My Heart,” an experiment with a different sound. Unfortunately, the single only reached number 22 on the British charts following its release in May of 1965. Ultimately, the grind of touring coupled with the strains facing the group, became too much for Warwick, who exited in the spring of 1966, and by August of 1966 Laine had left as well. Warwick was replaced by John Lodge. His introduction to the band was followed in late 1966 by the addition of Justin Hayward.

Read More…..www.themoodyblues.com

The Monkees – I’m A Believer

Posted on June 25, 2013 by Kneeknee

The Monkees – I’m A Believer

The Monkees - I'm A Believer

Unlike most bands of the time, the Monkees were not formed by its members, but rather by TV producers: they were a fictional band in the TV show of the same name.

TV producers, Bert Schneider and Bob Rafelson, formulated an idea for a show about a Beatles-like band, then put ads in newspapers, seeking musicians to star in the series.

The band was composed of Mike Nesmith, Mickey Dolenz, Davy Jones, and Peter Tork. All of the members had some musical experience.

The show debuted on NBC in 1966 and became a huge hit. When the series got the greenlight to go ahead, development of the musical side of the project accelerated with Columbia Screen Gems and RCA Records forming a partnership called Colgems Records to distribute Monkees records.

Each week the group would sing a song or two written by top industry names like Carole King, Neil Diamond and Gerry Goffin, while instrumentation was provided by talented musicians, including Stephen Stills and Harry Nilsson.

‘Last Train to Clarksville’ was the band’s first single was released in August 1966 before the debut of the show and it became a huge hit. Their first album ‘The Monkees’ was released a month later and shot to the top of the chart.

The Monkees’ principle audience consisted of young teenagers and children. Nonetheless, singles like ‘I’m a Believer’ became Top 10 hits, and the ‘Prefab Four’ became media icons. By 1967 the Monkees were the most popular band in the US, their records outselling the Beatles and The Rolling Stones.

Other top hits included ‘I’m a Believer’ (1966), ‘A Little Bit Me A Little Bit You’ (1967), ‘Mary Mary’ (1968) and ‘I’m Not Your Stepping Stone’, with the group selling over 65 million records worldwide.

But the Monkees themselves grew frustrated at not being able to play their own instruments or write their own songs, and began to rebel against their producers and record company.

The Monkees began playing some of their instruments and writing some songs on 1967’s ‘Headquarters’. That year they embarked on a major tour, proving they could perform live.

By 1968 the Monkees were already deviating from their manufactured image and straining for credibility, starring in the bizarre psychedelic movie ‘Head’. It was not a commercial success but has since gained a cult status. Read More…www.thebiographychannel.co.uk

Picture Source…..www.showbiz411.com

Milli Vanilli – Blame It On The Rain

Posted on June 15, 2013 by Kneeknee

Milli Vanilli – Blame It On The Rain

Milli Vanilli - Blame It On The Rain
Picture source

Milli Vanilli. The mere mention of the name still calls up the same derision it did when the dance-pop duo’s career came to a sudden and ignominious end:

Fakers. Frauds. A blatant marketing scam. Their story has been retold countless times: after selling millions of records, Rob Pilatus and Fabrice Morvan were revealed to be models who publicly lip-synced to tracks recorded by anonymous studio vocalists. They became the first act ever stripped of a Grammy award and came to symbolize everything people disliked about dance-pop: it was so faceless that every musician involved could remain anonymous without anyone knowing the difference, so mechanical and artificial that the people who constructed it had to hire models to give it any human appeal, so pandering and superficial that people bought it just for its attachment to a pretty face.

Whether that assessment was fair or not, it was beyond easy to hold Milli Vanilli in contempt. Yet for all the scapegoating, they were far from the only dance-pop act to be fronted by lip-syncers in the late ’80s (the Martha Wash-voiced Black Box and C+C Music Factory spring to mind), nor were they the only Europop act to employ similar marketing tactics. (They were simply the most successful and visible, since their incorporation of rap made them more appealing to Americans.) What’s more, pop music had a long tradition of hits recorded by anonymous studio musicians, dating back to ’50s instrumental combos and ’60s bubblegum.
Milli Vanilli had the bad luck to get caught in a hoax during the extraordinarily image-conscious MTV era and a time when dance music of any stripe was accorded virtually no critical respect anyway, before its producers were perceived as the real creative points of focus. It’s not as though Milli Vanilli were acclaimed for their honesty of expression before the scandal broke; it’s more likely that what fuelled the backlash was public resentment over Rob and Fab’s celebrity (why should they be famous if they couldn’t sing?) and embarrassment over the fact that Milli Vanilli’s marketing had worked like a charm on everyone right up through the Grammy committee. Source allmusic

The Ultimate Goat Edition Supercut

Posted on June 13, 2013 by Kneeknee

The Ultimate Goat Edition Supercut

If you’re among the millions who have spent a significant portion of the past month watching videos of goats yelling like humans, you may have wondered: Why do goats yell like that? Are they distressed? Do they yell for any particular reason? Are they trying to tell us something?

We asked the goat experts. The first thing we learned is that the goat experts are not amused. “Maybe for some it is entertaining,” Dr. An Peischel of Tennesse State University told me. “I am a goat producer and don’t consider it entertainment at all.”

They were quick to point out that some of these “goats” are not, in fact, goats at all. “The individuals making the noises were not all goats,” wrote Dr. Peischel, “There are several sheep involved.”

Yelling, for goats, is not unusual. They will yell for all sorts of reasons. “Mother goats call for their young when they get separated,” explained goat specialist Dr. Daniel Waldron of Texas A&M, and “young kid goats also call for their mothers.” “Goats may also ‘yell’ when they expect to get fed,” continued Dr. Waldron. “If I feed one pen of goats, the second pen may start ‘yelling’ because they want to be fed right now.”

Dr. Jean-Marie Luginbuhl of North Carolina State, a specialist in meat goats, agreed. “In my experience with goats, it does not take much for them to scream bloody murder, as if you are torturing them, when simply handling them.” Read More: http://www.slate.com

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Deee-Lite – Groove Is In The Heart

Posted on June 6, 2013 by Kneeknee

Deee-Lite – Groove Is In The Heart

Deee-Lite - Groove Is In The Heart

With the massive popularity of their hit single “Groove Is in the Heart,” Deee-Lite brought the colourful sights and sounds of New York’s club culture into the mainstream. Formed in 1986, the trio was led by vocalist Lady Miss Kier (born Kieren Kirby in Youngstown, Ohio) and fleshed out by a pair of DJs, Super DJ Dmitry (a classically-trained guitarist and Russian emigre born Dmitry Brill) and Jungle DJ Towa Towa (born Doug Wa-Chung in Tokyo, Japan).

Fusing house, techno, rap, ambient and funk music with an outrageous visual flair largely influenced by the drag-queen community (Kier’s fondness for Fluevog platform shoes helped the 1970s fashion revival gather steam), Deee-Lite became hugely popular among New York club denizens, and the trio’s own unique cultural make-up earned them a following which ignored racial and sexual boundaries. In 1990, they debuted with the album World Clique, a crossover smash thanks to hits like the loping classic “Groove Is in the Heart” (featuring the fluid bass of Bootsy Collins and the saxophone of Maceo Parker) and “Power of Love.”

With their 1992 follow-up Infinity Within, Deee-Lite’s music turned overtly political as songs touched base with hot topics like the environment, safe sex and democracy. Towa Towa left the group soon after; rechristened Towa Tei, he released his solo debut Future Listening in 1995. Kier and Dmitry, meanwhile, enlisted DJ Ani for 1994’s Dewdrops in the Garden, a sensual outing influenced by the growing rave culture. After the release of 1996’s remix album Sampladelic Relics and Dancefloor Oddities, Deee-Lite disbanded.

Source… artistdirect.com

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Young Girl – Gary Puckett And The Union Gap