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Viola Wills   Gonna Get Along Without You Now Extended Version

Viola Wills Gonna Get Along Without You Now Extended Version

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Viola Wills Gonna Get Along Without You Now Extended Version

Uh huh hm hm
Gonna get along without you now
Uh huh hm hm
Gonna get along without you now
You told me I was the neatest thing
You even asked me to wear your ring
You ran around with every girl in town
You didn't even care if it got me down
Uh huh hm hm
Gonna get along without you now
Uh huh hm hm
Gonna get along without you now
You told everybody that we were friends
But this is where our friendship ends
Because all of a sudden you changed your tune
You haven't been around since way last June
Uh huh hm hm
Gonna get along without you now
Uh huh hm hm
Gonna get along without you now
So long my honey goodbye my dear
Uh huh hm hm
Gonna get along without you now
Uh huh hm hm
Gonna get along without you now
You told everybody that we were friends
But this is where our friendship ends
Because all of a sudden you changed your tune
You haven't been around since way last June
Uh huh hm hm
Gonna get along without you now
Uh huh hm hm
Gonna get along without you now
So long my honey goodbye my dear

Source: Musixmatch

Songwriters: Milton Kellem

Gonna Get Along Without You Now lyrics © Milton Kellem Music Co., Bibo Music Publishing, Inc.

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Viola Mae Wilkerson (December 30th, 1939 – May 6th, 2009) was an American pop singer, best known for the 1979 UK Singles Chart number 8 hit and U.S. Hot Dance Club Play number 52 hit, "Gonna Get Along Without Ya Now". Other hits included furthur covers of the songs, "Both Sides Now" (number 35 UK) (1986) and "If You Could Read My Mind" (number 2 U.S. Hot Dance Club Play) (1980).

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Born Viola Mae Wilkerson in the Watts district of South Los Angeles, Wills was married in her teens. She was the mother of six children before the age of 21. In 1965, she was discovered by Barry White who signed her to Bronco Records and renamed her with the shorter stage surname of Wills; from her first marriage name of Lyons. She started her career at the Los Angeles Conservatory of Music and, over the following years, in addition to working with White, also performed with Joe Cocker, Smokey Robinson and many other established recording artists of the era. It was while working in London as one of Cocker's backing vocalists (dubbed the "Sanctified Sisters") that she worked on and released her solo debut album of self-penned originals titled Soft Centres, backed by Cocker's session players.

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Wills' first major break into the mainstream came in 1979 with her cover version of "Gonna Get Along Without Ya Now" (the song's release date was May 14, 1979) which started a string of dance hits. All three of the songs landed Wills in the Guinness Book of British Hit Singles. In 1982, her cover of "Stormy Weather" peaked at number 4 in the U.S. Hot Dance Club Play chart. Later in 1983, the newly formed record label RVA (Robert Viola Ashmun), released a number of songs, including "Wall", "Space" and "If These Walls Could Speak". A demand for 1980s music brought Wills back to Europe. Some of the UK venues Wills has appeared on, or at, were Top of The Pops (October 11th, 1979), Pebble Mill, Soul Train (October 30th, 1971 [Season 1, Episode 5] where she performed the song "Sweetback"), Later...with Jools Holland, Ronnie Scott's, Never Mind the Buzzcocks (February 17, 2003 [Season 12, Episode 7]) and a residency at Joogleberry Playhouse in Brighton. Here she was backed on occasion by Brighton based pianist Tom Phelan and jazz guitarist Shane Hill.

Viola Wills - If You Could Read My Mind (Official Video)

Viola Wills - If You Could Read My Mind (Official Video)

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Viola Wills - If You Could Read My Mind (Official Video)

If you could read my mind, love
What a tale my thoughts could tell
Just like an old time movie
'Bout a ghost from a wishing well
In a castle dark or a fortress strong
With chains upon my feet
You know that ghost is me
And I will never be set free
As long as I'm a ghost that you can't see

If I could read your mind, love,
What a tale your thoughts could tell
Just like a paperback novel
The kind the drugstores sell
Then you reached the part where the heartaches come
The hero would be me
But heroes often fail
And you won't read that book again
Because the ending's just too hard to take!

I'd walk away like a movie star
Who gets burned in a three way script
Enter number two
A movie queen to play the scene
Of bringing all the good things out in me
But for now, love, let's be real
I never thought I could feel this way
And I've got to say that I just don't get it
I don't know where we went wrong
But the feeling's gone
And I just can't get it back

If you could read my mind, love
What a tale my thoughts could tell
Just like an old time movie
'Bout a ghost from a wishing well
In a castle dark or a fortress strong
With chains upon my feet
But stories always end
And if you read between the lines
You'd know that I'm just tryin' to understand
The feelin's that you lack
I never thought I could feel this way
And I've got to say that I just don't get it
I don't know where we went wrong
But the feelin's gone
And I just can't get it back!

Source: LyricFind

Songwriters: Gordon Lightfoot

If You Could Read My Mind lyrics © Warner Chappell Music, Inc

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Although Wills did not have a mainstream U.S. hit, she was popular among the nation's gay community and her singles are popular in dance clubs and a number of her recordings are found in various compilations, "No News Is News", "A House Is Not a Home",  "If You Could Read My Mind", "Up On The Roof", "Somebody's Eyes", "Love Pains", "Let's Love Now", "Take One Step Forward" (by Wills and Noel McCalla), and "Always Something There to Remind Me". Her vocals also featured on My Friend Sam's 1992 house track "It's My Pleasure" which later appeared on the seminal Renaissance: The Mix Collection album.

Gonna Get Along Without You Now

Gonna Get Along Without You Now

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Skeeta Davis - Gonna Get Along Without You Now - 1964

"Gonna Get Along Without Ya Now" is a popular  song written by Milton Kellem, and published in 1951. Originally written in English, it has been done in several styles and tempos. The first known recorded version was released in 1951, by Roy Hogsed. The "original" version, recorded by Teresa Brewer with Orchestra directed by Ray Bloch on January 10th, 1952, was released by Coral Records as catalog number 60676 on April 5, 1952. It reached number 25 on the Billboard charts.  It was done in a "Swing" style, with big band backing (including mouth harp).

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Roy Hogsed

Patience and Prudence had more success with the song when they recorded it in 1956 reaching number 11 on the chart. This is considered the benchmark version, by which all others are judged, due to the intimate harmony of the two young singers. This version brightened the melody somewhat, and later artists followed the brighter version, as did Brewer when she recorded an album version in 1964 in a semi-Caribbean style. Two other versions hit the US chart in 1964 as sung by Tracey Dey (peaking at number 51), and Skeeter Davis (peaking at number 48) Dey's version was done in a style emulating the Wall of Sound, which was popular with girl groups at the time. Davis' version reached the Top 10 on Country charts, and is considered by oldies enthusiasts to be "the" cover version. Where the Patience and Prudence version has an orchestral backing, the Davis version has a pop band backing of electronic organ, bass and drums, with violin and backup singers.

Kovács Kati  x Király Tamás - Mindig van valami baj veled (Dj Danceman Remix Edit)

Kovács Kati x Király Tamás - Mindig van valami baj veled (Dj Danceman Remix Edit)

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Kovács Kati x Király Tamás - Mindig van valami baj veled (Dj Danceman Remix Edit)

The track has proven to have a very popular sound that many other bands have covered over the years. 

The Bell Sisters  in 1956, using the alternate title "Boom Boom, My Honey" on the Bermuda Records label, with a simple, slightly Calypso arrangement and Jamaican accents.
Chet Atkins on his 1968 LP Solo Flights
The Vibrations (1966), who did a funk-style version
Trini Lopez (U.S. #93, 1967)
Brent Dowe and The Melodians (1967), who recorded the rocksteady version by Duke Reid.
Penny Marshall and Cindy Williams, who recorded a version on their 1976 novelty LP, Laverne & Shirley Sing.
Tina Charles on The Original British Pop Princess - Tina Charles - Greatest Hits.
Kati Kovács in 1981, Mindig van valami baj veled.
Bad Manners (1989), a ska version
The Lemonheads (1991)
Maureen McGovern on her 1992 album Baby I'm Yours.
Mr President (1995), done in a Eurodance style.
Michelle, then known as Tanja Thomas (2006), dance style and tempo, on her album My Passion.
Christina del Valle, in Catalan, again in a dance style and tempo.
Soraya Arnelas  (2007), in both English and Spanish (not mixing the languages), dance style.
She & Him, with vocals by Zooey Deschanel, covering Skeeter Davis's version of the song on their 2010 album Volume Two.
UB40, on their Labour of Love IV album (2010) and as a single released on 25 January 2010

Viola Wills Continued: On February 21st, 1982 in Hennepin County, Minnesota; she married Robert Chappell Ashmun. This was her second marriage. Later in 1983, the new husband and wife pair formed the record label RVA (Robert Viola Ashmun). Wills died of cancer on May 6th, 2009 in Phoenix, Arizona.  Her funeral was held at the Macedonia Abbey Baptist Church in Los Angeles on May 15, 2009. Viola left behind six children - Vincent, Christopher, Regina, Ladonna, David and Rejal, 21 grandchildren and eight great grandchildren.

ALBUMS:

1974    Soft Centers    Goodear Records    -
1980    If You Could Read My Mind    Hansa    76
1983    Space    RVA Records    -
1986    Dare to Dream    Wide Angle    -
1994    Gonna Get Along Without You    Unidisc    -

Ashford & Simpson - Solid

Ashford & Simpson - Solid

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Ashford & Simpson - Solid

And for love's sake, each mistake
Ah, you forgave
And soon both of us learned to trust
Not run away, it was no time to play
We build it up and build it up and build it up

And now it's solid
Solid as a rock
That's what this love is
That's what we've got, oh

Solid, solid as a rock
And nothing's changed it
The thrill is still hot, hot, hot, hot, hot, hot, hot, hot

Oh, you didn't turn away
When the sky went gray
Somehow we managed
We had to stick together (oh, oh)

You didn't bat an eye
When I made you cry
We knew down the line
We would make it better (oh, oh)

And for love's sake, each mistake
Ah, you forgave
And soon both of us learned to trust
Not run away, it was no time to play
We build it up and build it up and build it up

And now it's solid
Solid as a rock
That's what this love is (oh, oh)
That's what we've got (oh)
Yes, it is

Solid, solid as a rock
And nothing's changed it
The thrill is still hot, hot, hot, hot, hot, hot, hot, hot

Oh, gone with the wind
Another friend
Got in between
Tried to separate us (oh, oh)

Oh, knock-knock on wood
You understood
Love was so new
We did what we had to (ooh, ooh)

And with that feeling
We were willing to take a chance
So against all odds, we made a start
We got serious, this wouldn't turn to dust
We build it up and build it up and build it up

And now it's solid
Solid as a rock
That's what this love is, oh
That's what we've got, oh

Solid (yes, it is)
Solid as a rock
And nothing's changed it
The thrill is still hot, hot, hot, hot, hot, hot, hot , hot

Solid, solid as a rock (you know it, well, you know it, baby)
Solid, solid as a rock (lovin' me, lovin' me, oh)
Solid (don't leave me, baby)
Solid as a rock (well, well, well, well)
Solid, solid as a rock (every day it gets sweeter, now)
Solid, solid as a rock (good, good, well, it's good, good, good)
Solid

Source: LyricFind

Songwriters: Nickolas Ashford / Valerie Simpson

Solid lyrics © Sony/ATV Music Publishing LLC, Tratore, Songtrust Ave

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Ashford & Simpson were an American husband-and-wife songwriting-production team and recording duo of Nickolas Ashford (May 4, 1941 – August 22, 2011) and Valerie Simpson (born August 26, 1946). Ashford was born in Fairfield, South Carolina, and Simpson in the Bronx, New York City. Afterwards, his family relocated to Ypsilanti, Michigan, where he became a member of Christ Temple Baptist Church. While there, he sang with a group called the Hammond Singers (named after the founding minister, James Hammond). Later, Nickolas attended and graduated from Willow Run High School in Ypsilanti, Michigan, before pursuing his professional career, where he would ultimately meet his wife, Valerie. They met at Harlem's White Rock Baptist Church in 1964. After having recorded unsuccessfully as a duo, they joined an aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label, where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step at a Time"), as well as the Shirelles and Chuck Jackson. 

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 Calatopia Plantation in 2010 © Tim Lord — Location – Eight miles southwest of Fairfield, South Carolina - 

  • Calatopia means "beautiful place" in Latin

     

  • Other names – Bob Lemmon House, Copeland Place

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East Cross Street is the main thoroughfare in Depot Town, located in Ypsilanti, Michigan’s historic district. The development around the Ypsilanti Train Depot spurred a building boom throughout the city and surrounding areas, and great efforts have been made by residents and the city to encourage and protect small businesses. East Cross Street today is bursting with local flavor through its locally owned businesses.

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 DEPOT TOWN: Rainy Day Fun in Ypsilanti, Michigan... There were people with Umbrellas of every kind everywhere that day at the festival | Photo by Bhumsoo Kim on 500px

Another of the trio's songs, "Let's Go Get Stoned" gave Ray Charles a number one U.S. R&B hit in 1966. That same year, Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough" "You're All I Need to Get By" "Ain't Nothing Like the Real Thing", and "Reach Out and Touch (Somebody's Hand). Ashford and Simpson wrote many other hit songs, including Chaka Khan's "I'm Every Woman" (1978) and Teddy Pendergrass's "Is It Still Good to You?" As performers, Ashford & Simpson's best-known duets are "Solid" (1984) and "Found a Cure" (1979). The duo were inducted into the Songwriters Hall of Fame in 2002. They are also recipients of The Rhythm & Blues Foundation's Pioneer Award, ASCAP Founders Award, and the Grammy Trustee Award. Rolling Stone  ranked them No. 19 on its list of the 20 Greatest Duos of All Time. 

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In latter times, Ashford & Simpson recorded and toured sporadically, and in 1996, they opened a restaurant and live entertainment venue, Sugar Bar in New York City, with an open mic on Thursday nights, where performers included Queen Latifah, Vickie Natale and Felicia Collins. Ashford & Simpson recorded the album Been Found with poet Maya Angelou in 1996. Around that time, they were also featured disc jockeys on New York radio station WRKS. 

On August 16th, 2006, Playbill Online reported that they were writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee, and comedian Chris Rock accompanied Oprah Winfrey when she opened her Leadership Academy for Girls in South Africa. They were given writing credit onAmy Winehouse's 2007 CD Back to Black for the single "Tears Dry on Their Own". The track is based on a sample of Marvin Gaye and Tammi Terrell's 1967 Motown hit "Ain't No Mountain High Enough". They had begun performing their act in small, intimate venues, such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco, and in January 2009, they released a CD and DVD of their live performances titled The Real Thing. On June 22, 2009, they made a guest performance at a party at Tribeca Rooftop, New York, to celebrate Virgin Atlantic's birthday party. They also made their first appearance in Tokyo, Japan, in November 2009, and performed eight shows in four days at Blue Note Tokyo.

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Sugar Bar in New York City

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Leadership Academy for Girls in South Africa 2020

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Ashford died in a New York City hospital on August 22, 2011, four days before Valerie Simpson's 65th birthday, of complications from throat cancer. His publicist, Liz Rosenberg, said that he had undergone radiation therapy to treat his illness. Simpson released a new solo album in June 2012, called Dinosaurs Are Coming Back Again, which also features the last recorded performance of Nina Simone, a second duet with Roberta Flack and an instrumental version of "Ain't No Mountain High Enough". Nick Ashford and Valerie Simpson have two daughters, Nicole (born in 1975), and Asia (born in 1987). Nicole graduated from Wesleyan University in 1997. Ashford and Simpson were nominated for three Grammy Awards. In 2019, they received the Grammy Trustees Award. 

Jon & Vangelis - I Hear You Now

Jon & Vangelis - I Hear You Now

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Jon & Vangelis - I Hear You Now

After the first embrace from you my senses knew
The look of love was in your eyes
and after we first make love our senses tingle to
Thetouch oh how we hypnotize
Oh, to get the feeling on and on
Oh, just to get the feeling
Holding you closer in my arms we drift to heaven
Bringing in the morning light
And after all is said and done there's only us
We can make it right
So, our love will carry on and on
Now our love will be free, be free.
And when we play, love don't delay, I hear you now
For what was then, is what is now, anyhow
As I became a guest of love's tune hear again
We'll carry on together like today.
After the first embrace from you I want you too
After the first embrace from you I want you too

Source: LyricFind

Songwriters: Evangelos Papathanassiou

I Hear You Now lyrics © Sony/ATV Music Publishing LLC

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Yes singer Jon Anderson enlisted Steve Howe, Alan White, Ian Anderson and the late Chris Squire for his new LP '1,000 Hands.'

Ibl/REX/Shutterstock

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Evangelos Odysseas Papathanassiou, better known to us all as Vangelis, is one of the modern giants and masters of electronic, progressive rock, classical and new age. Perhaps best known for his soundtrack work such as the Academy Award-winning Chariots of Fire and the equally revered scores to Blade Runner, 1492: Conquest of Paradise and Alexander, Vangelis’ beautiful and mesmerizing themes provide an aural palette that genuinely enhances many of the most significant movies of the last three decades. His electronic genius is allied to a popular music template that values melody and harmony and gives full flight to some of the most ambitious and absorbing keyboards works on the planet.

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“The only thing I need to do is just to make music,” Vangelis said, explaining his reputation as a press-shy recluse. 

(Giorgos Dermentzis)

Born in Volos, Greece in 1943 Vangelis was a self-taught prodigy who avoided most formal piano lessons. Apparently, a gifted painter as a child his schooling was based on a formidable memory that enabled him to learn by intuition rather than by rote. In the ‘60s he was part of the popular groups The Forminux and Aphrodite’s Child who hit big with “Rain and Tears” and the double album 666. That latter collaboration featured Demis Roussos who would go on to provide vocals to the Blade Runner soundtrack. A significant figure during turbulent times in Greece Vangelis began his score work in 1970 and then released his first proper solo disc – Earth – in 1973.

Jon and Vangelis recorded their first album together, Short Stories in 1979, producing the major hit "I Hear You Now" as well as "One More Time". Anderson wrote the lyrics and Vangelis composed the music. In 1980, Jon left Yes and while he published his third solo album Song of Seven in 1980, Vangelis did the same with See You Later on which Jon sang two songs. The two reunited to record their second album as a duo Friends of Mr Cairo in 1981, producing the hit songs "Friends of Mr Cairo", "State of Independence" ,"Back to School" and the UK top 10 hit "I'll Find My Way Home". In 1983, Jon Anderson got back with Yes and they published their album 90125, and so did Jon & Vangelis with their own album Private Collection the same year. 

Jon & Vangelis - I'll Find My Way Home (Live on Top Of The Pops, 1982)

Jon & Vangelis - I'll Find My Way Home (Live on Top Of The Pops, 1982)

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Jon & Vangelis - I'll Find My Way Home (Live on Top Of The Pops, 1982)

You ask me where to begin
Am I so lost in my sin
You ask me where did I fall
I'll say I can't tell you when
But if my spirit is lost
How will I find what is near
Don't question I'm not alone
Somehow I'll find my way home

My sun shall rise in the east
So shall my heart be at peace
And if you're asking me when
I'll say it starts at the end
You know your will to be free
Is matched with love secretly
And talk will alter your prayer
Somehow you'll find you are there.

Your friend is close by your side
And speaks in far ancient tongue
A seasons wish will come true
All seasons begin with you
One world we all come from
One world we melt into one

Just hold my hand and we're there
Somehow we're going somewhere
Somehow we're going somewhere

You ask me where to begin
Am I so lost in my sin
You ask me where did I fall
I'll say I can't tell you when
But if my spirit is strong
I know it can't be long
No questions I'm not alone
Somehow I'll find my way home
Somehow I'll find my way home
Somehow I'll find my way home
Somehow I'll find my way home

Source: LyricFind

Songwriters: Evangelos Papathanassiou / Jon Anderson

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Jon Anderson

In 1986, the duo made a few attempts at writing a new album, but much of this work was never officially released under the Jon and Vangelis name. Twelve tracks were compiled on 1991's Page of Life, while other songs from these sessions appeared in later works, including "Let's Pretend", the last song on the 1989 album Anderson Bruford Wakeman Howe. Anderson ultimately took it upon himself to re-work Page of Life, which was released in 1998 in the United States only with nine tracks. In 2011, Anderson approached Vangelis for a possible new collaboration but he did not receive a reply.

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Heart - These Dreams

Heart - These Dreams

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Heart - These Dreams (Official Music Video)

Spare a little candle
Save some light for me
Figures up ahead
Moving in the trees
White skin in linen
Perfume on my wrist
And the full moon that hangs over
These dreams in the mist

Darkness on the edge
Shadows where I stand
I search for the time
On a watch with no hands
I want to see you clearly
Come closer than this
But all I remember
Are the dreams in the mist

These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away

Is it cloak and dagger
Could it be spring or fall?
I walk without a cut
Through a stained glass wall
Weaker in my eyesight
The candle in my grip
And words that have no form
Are falling from my lips

These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away

There's something out there
I can't resist
I need to hide away from the pain
There's something out there
I can't resist

The sweetest song is silence
That I've ever heard
Funny how your feet
In dreams never touch the earth
In a wood full of princes
Freedom is a kiss
But the prince hides his face
From dreams in the mist

These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away

These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away

Source: Musixmatch

Songwriters: Bernie Taupin / Martin Page

These Dreams lyrics © Little Mole Music, Imagem London Ltd., Concord Copyrights London Limited

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Heart is an American rock band formed in 1970 in Seattle, Washington by Steve Fossen (bass guitar), Roger Fisher (guitar), David Belzer (keyboards), and Jeff Johnson (drums). It evolved from an existing band, White Heart. The vocalists for Heart are sisters Ann Wilson (lead vocals, flute, guitar) (born June 19, 1950) and Nancy Wilson (vocals, guitar, mandolin) (born March 16, 1954). Heart rose to fame in the mid-to-late-1970s with music influenced by hard rock and heavy metal, as well as folk music. The band's popularity declined in the early 1980s, but it began a successful comeback in 1985 which continued into the mid-1990s. Heart disbanded in 1998, resumed performing in 2002, went on hiatus in 2016, and resumed performing in the summer of 2019. 

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Heart's U.S. Top 40 singles include "Magic Man" (1975), "Crazy on You" (1976), "Barracuda" (1977), "What About Love" (1985), "Never" (1985), and "All I Wanna Do is Make Love to You" (1990), along with no. 1 hits "These Dreams" (1986) and "Alone" (1987). Heart has sold over 35 million records worldwide, including approximately 22.5 million albums in the United States. It has placed top 10 albums on the Billboard 200 in the 1970s, 1980s, 1990 and 2010s. Heart was ranked number 57 on VH1's "100 Greatest Artists of HARD ROCK". In 2013, Heart was inducted into the Rock and Roll Hall of Fame.

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LOS ANGELES, CA – MARCH 04: Musicians Ann Wilson (L) and Nancy Wilson of the band Heart arrive at the Country Music Hall Of Fame & Museum’s “All For The Hall” fundraising concert at Club Nokia on March 4, 2014 in Los Angeles, California. (Photo by Frazer Harrison/Getty Images)

Grateful Dead - Touch Of Grey (Official Music Video) [HD]

Grateful Dead - Touch Of Grey (Official Music Video) [HD]

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Grateful Dead - Touch Of Grey (Official Music Video)

It must be getting early, clocks are running late
Paint-by-number morning sky looks so phony
Dawn is breaking everywhere, light a candle, curse the glare
Draw the curtains, I don't care 'cause it's alright

I will get by
I will get by
I will get by
I will survive

I see you've got your list out, say your piece and get out
Guess I get the gist of it, but it's alright
Sorry that you feel that way, the only thing there is to say
Every silver lining's got a touch of grey

I will get by
I will get by
I will get by
I will survive

It's a lesson to me
The Ables and the Bakers and the C's
The ABC's we all must face
Try to keep a little grace

It's a lesson to me
The Deltas and the East and the Freeze
The ABC's we all think of
And try to wean a little love

I know the rent is in arrears, the dog has not been fed in years
It's even worse than it appears, but it's alright
Cow is giving kerosene, kid can't read at seventeen
The words he knows are all obscene, but it's alright

I will get by
I will get by
I will get by
I will survive

The shoe is on the hand it fits, there's really nothing much to it
Whistle through your teeth and spit 'cause it's alright
Oh well, a touch of grey kinda suits you anyway
And that was all I had to say and it's alright

I will get by
I will get by
I will get by
I will survive

We will get by
We will get by
We will get by
We will survive

We will get by
We will get by
We will get by

Source: LyricFind

Songwriters: Jerome J. Garcia / Robert C. Christie Hunter

Touch of Grey lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc

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Grateful Dead 1993. Photo by Ken Friedman

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The Grateful Dead circa 1970. The band's members were quintessential rock hippies — but, a new exhibit reveals, savvy businessmen as well.

GEMS / REDFERNS

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From left, Phil Lesh, Bill Kreutzmann and Jerry Garcia of the Grateful Dead, performing in 1968 in San Francisco in the documentary “Long Strange Trip.”Credit...Jim Marshall/The Grateful Dead, via Amazon Prime Video

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by Jesse Jarnow

 

Formed as a quintet in California in 1965, the Grateful Dead became as much a folktale as the story from which they drew their name. Fusing rock and roll, folk, and jazz with avant-garde, visual, and literary traditions--and virtually inventing a new way to play music in the process--they became one of the most popular, enduring, and influential bands in American history. Emerging as a vessel for a vibrant global counterculture, they would create an unparalleled original songbook through 30 years of recording and touring. Never playing the same setlist twice (except that once), the Dead’s musical legacy remains unfathomably rich, spread across a combined body of live and studio recordings. Creating an artistic ecosystem all their own, the Grateful Dead would transform American music and arguably even America itself.

After a comically disastrous stint in the Army and discharge in late 1960, Jerry Garcia (guitar, vocals) had spent an intense four years immersed in traditional American music, turning himself into a virtuoso acoustic guitarist and banjoist. Assembling a jug band with his coworkers at the Menlo Park music store where he taught, the happily sloppy Mother McCree’s Uptown Jug Champions plugged in and transformed into the Warlocks by 1965. Fronted by Ron “Pigpen” McKernan (organ, vocals, harmonic, and later percussion), the blues enthusiast who’d urged them to go electric, the new band also included Garcia’s occasional substitute teacher Bob Weir (guitar, vocals) along with Bill Kreutzmann (drums, percussion). They debuted in May of 1965 and quickly drafted in Garcia’s friend, the lapsed experimental composer Phil Lesh (bass, vocals).

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Discovering a single by another band called the Warlocks--most likely a Massachusetts garage rock quintet--the now-former California Warlocks resorted to stoned bibliomancy for their new name, picking “Grateful Dead” at random out of a dictionary. Appearing in many cultures, it is a folktale in which the protagonist resolves the debt of a deceased stranger, and later receives karmic repayment from their spirit incarnate: the Grateful Dead.

Debuting with their new name at the first public Acid Test thrown by author Ken Kesey and the Merry Pranksters in December 1965, the relationship cemented the band’s part in the multidisciplinary Bay Area arts scene starting to flourish around the use of still-legal LSD. The newly christened Grateful Dead found an unusual and appropriate patron in psychedelic chemist and sound engineer Augustus Owsley Stanley III, known as Bear, whose profits sustained them as they began to write their own songs and hone their conversational playing style in 1966. As the band settled in San Francisco’s Haight-Ashbury, acid simultaneously became both illegal and a global trend, symbolically if not always literally. A collaborative tool for the Grateful Dead, psychedelics were an ingrained part of the band’s mythos, occasionally (but only occasionally) to their chagrin.

Signing to Warner Brothers in late 1966, they released their self-titled debut later that spring, consisting mostly of cover songs, with only one extended jam. Having already a set a course of constant musical change, it was in the next years that the Grateful Dead would begin to blossom both onstage and in the studio. Though they’d written (and abandoned) a number of ambitious songs, the band broadened their scopes in every way: building their live shows into jam-linked suites, using the recording studio as an instrument on the ambitious Anthem of the Sun (1968) and Aoxomoxoa (1969), and expanding their lineup.

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Joining in autumn 1967 was full-time collaborator Robert Hunter (lyrics), an old friend of Garcia’s. Shortly thereafter, the band added Mickey Hart (drums, percussion), who helped the Dead realize their psychedelic musical vision with new rhythmic intensity and commitment to practice. Joining a year later was Tom Constanten (keyboards), Lesh’s former classmate at Mills College, where the two studied under composer Luciano Berio. Constanten would depart after barely 12 months, but the lineup would generate the indelible Live/Dead (1969), a live album drawn from shows at San Francisco’s Avalon Ballroom and the Fillmore West.

With Robert Hunter’s lyrics at the center, Garcia’s songs simplified from psychedelic prog-rock to folk and country-grounded music, and the Grateful Dead soon released Workingman’s Dead (1970) and American Beauty (1970) in rapid succession. Scoring hits for the Dead in the sense of the radio and pop charts, including “Truckin,” “Uncle John’s Band,” and “Casey Jones,” they also produced the deeper kinds of hit, songs that could be (and were) played around campfires, back porches, and college dorms. With Garcia and Hunter working in overdrive and building the core of the band’s classic songbook, Bob Weir upped his output with new songwriting partner John Perry Barlow. The next half-decade would be perhaps the band’s most creatively fertile.

The Grateful Dead’s constant change could be measured in their expanding repertoire and even the personnel on stage. Over the course of 1970, with the band performing acoustic sets, members of the New Riders of the Purple Sage would often wander on and off to add instruments and voices. In early 1971, Mickey Hart took an indefinite leave of absence for personal reasons. Later that year, health issues surrounding Pigpen’s alcoholism would ground him, too. In a story as hard to believe as it is seemingly true, the band took on a new member when--without knowing of Pigpen’s illness--a woman approached Jerry Garcia and announced that her husband was the Dead’s new keyboardist. Within weeks, after blowing away the band in practice jams, Keith Godchaux (piano, keyboards) became a member of the Grateful Dead, adding acoustic piano to their stage sound. Keith’s wife, Donna Jean Godchaux (vocals), a former Muscle Shoals session singer who’d sung on hits by Elvis Presley and others, joined the band several months later.

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The nimble one-drummer quintet learned to improvise with a new dexterity, and laidback Marin County swing, as much a product of the Acid Tests as Garcia’s love of Bakersfield country music. When Pigpen returned, the singular two-keyboard lineup produced Europe ’72, a studio-sweetened live album, from a tour so beloved for both its sterling song performances and vivid improvisations that it eventually yielded a box set featuring every show. It was also to be Pigpen’s last outing. Hoping to return to health and the band he loved, the band’s original singer died in the spring of 1973 at age 27, forever one of the Grateful Dead.

The band’s ambitions continued to expand, splitting from Warner Brothers to establish their own independent companies -- the band’s Grateful Dead Records, and the Garcia co-owned Round Records. From an unassuming block of houses in San Rafael, they built a small industry around themselves, including a publishing company, a travel agency, and (for a time) even a spin-off boutique. Since their earliest days with Owsley Stanley, the band experimented with sound systems and equipment and for several years they’d helped fund Alembic, the instrument and sound system workshop established with Stanley’s encouragement, originally located adjacent to the Dead’s rehearsal hall. Playing custom instruments through custom amplification, the band earned a deserved reputation for attention to non-metaphoric sonic detail. The band’s innovations, from monitor systems to literal guitar hacks, would transform the technology of rock and roll.

Channeling all of their progressive instincts into music to go along with their progressive businesses, the Grateful Dead tilted away from Americana on Wake of the Flood (1973) and From the Mars Hotel (1974), their first two releases on Grateful Dead Records. Playing in ever-larger venues, the era also included the 1973 Watkins Glen Summer Jam, featuring the Dead, the Allman Brothers, The Band, and an estimated 600,000 concertgoers; for many years standing as the largest concert crowd in world history. The band’s speaker array bloomed accordingly, and eventually into the configuration that later became known as the Wall of Sound. An achievement to match any in rock history, it encapsulated the band’s ethos perfectly, the opposite of a superficial stage prop but an oversized tool for an oversized mission. Perhaps too oversized.
 

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By the end of 1974, the Grateful Dead were overwhelmed and exhausted, announcing their imminent retirement from the road. The first major epoch of the Grateful Dead concluded with five shows at San Francisco’s Winterland, featuring the enormous sound array, experimental collaborations with electronic composer and sometimes Dead contributor Ned Lagin, the first appearance of Mickey Hart on a Dead stage since 1971, and a camera crew filming it for what would become The Grateful Dead Movie (1977), directed by Jerry Garcia. They were at work again soon, though, writing the music that became Blues For Allah (1975) at Bob Weir’s new home studio, Ace’s. When the band returned to the road in 1976, Mickey Hart and his second drum kit returned, too, creating the 9th different touring lineup of the band’s 11 year career.

Signing to Clive Davis’s Arista Records in 1977 and dissolving their independent record companies, another new Grateful Dead era began. Working with Fleetwood Mac producer Keith Olsen, their first major outside collaborator since their debut 10 years earlier, the band created Terrapin Station (1977). It didn’t produce the hit Davis wanted, but the intense rehearsal with Olsen put the band into impeccably tight form, and the subsequent spring tour became one of legend to the growing legion of Dead Head tape traders. A summer-ending show in Englishtown, New Jersey show before an estimated 300,000 minted a new generation of fans. In the same way that Garcia and Hunter’s songbook made underground classics for guitar strummers, the tape-trading Dead Head network now had its own hit parade, helping to find new listeners. It was an alternative canon for the band’s very alternative fans, who could now be increasingly found camping out in parking lots and following the band on entire tours.

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Following Shakedown Street (1978) and the band’s trip to Egypt (which found them performing at the foot of the Sphinx during an eclipse), Keith and Donna Jean Godchaux left the Grateful Dead. Replaced by Brent Mydland (keyboards, vocals), formerly of the band Silver, the younger musician shifted the onstage energy, introduced new tonal colors, and filled out what became the band’s longest-running lineup. Though they would release Go To Heaven (1980), the Dead now had most of their adventures on the road, where they existed off the radar of mainstream music. With the country moving into a decade of increased conservatism, the parking lot scene surrounding Dead shows became an active meeting point for numerous countercultural networks.

While releasing the acoustic Reckoning (1981) and electric Dead Set (1981), it was mostly up to the Dead Heads to keep up with their favorite band. During these years, the band’s fans turned the band’s music into a beloved mythology, a vibrant and vibrating expanded universe manifesting in an unceasingly colorful explosion of t-shirts, bumper stickers, cover bands, and a creative energy that fed creators of all kinds. Resolving a sometimes tense relationship between concert tapers and the band’s crew, the band officially sanctioned a taping section in 1984, legitimizing a practice that had begun in the 1960s.

In the second half of the 1980s, the Grateful Dead’s expanded universe underwent its most dramatic changes yet. Nearly dying after falling into a diabetic coma, Jerry Garcia’s unexpectedly swift recovery brought the Grateful Dead back into the media spotlight in 1986. Finally completing their long-awaited 12th studio album, In the Dark (1987), the band scored the only top 10 hit of their career with “Touch of Grey,” following its unexpected MTV success. Already playing large venues, the band catapulted into stadiums.

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After struggling with heroin addiction for nearly a decade, Jerry Garcia returned with a creative vigor after recovering from his coma, writing new songs with Robert Hunter, renewing old creative partnerships, diving into digital art (not to mention actual SCUBA diving), and expanding his musical palette. In 1989 and 1990, the band began to outfit their instruments with MIDI, allowing them access to an infinite variety of tones and colors. Resulting in some of the most experimental music of their later years, documented on the live album Infrared Roses (1991). It can also be heard throughout Built to Last (1989), what turned out to be the band’s final studio album.

Receiving more songwriting credits on Built to Last than his bandmates, Brent Mydland, too, had been suffering from addiction, dying of an overdose in the summer of 1990. For a year and change, the band returned to a double-keyboard lineup, featuring Vince Welnick (keyboards, vocals) and Bruce Hornsby (piano, accordion, vocals), before Hornsby’s departure in 1992, creating the 11th and 12th touring lineups of the band. Even in troubled times, the band’s commitment to musical change remained as constant as ever. By 1995--with the Dead’s popularity growing beyond manageable proportions, leading to a troubled summer tour--the band had introduced nearly an album’s worth of new material into their live repertoire. Like their first songs, they never made it to a proper album. Again fighting the sickness of addiction, Jerry Garcia died in a Marin County rehab clinic in August 1995. The Grateful Dead dissolved officially four months later.

Sometimes harsh critics of their own music, it was during this last period of the band, too, that they began to tap into their vast tape archive to release archival albums, including the multi-track releases One From the Vault (1991) and Two From the Vault (1992), and finally the longer-running more warts-and-all Dick’s Picks series, initiated in 1993 and named after their archivist, legendary Dead tape freak Dick Latvala. Beginning to make sense of the 30 years of music they made together, these ongoing releases have created a fuller and fuller picture of the Grateful Dead’s remarkable creative output.

Heard as influences in other musical acts, it is perhaps the Grateful Dead’s freethinking attitude, passionate discipline, and committed fanbase that have become their biggest legacies. Felt in the work of countless innovators from painting to programming, from chemistry to activism, it is almost unquestionable that the United States became an observably better place in the Grateful Dead’s wake -- more colorful, a lot hairier, definitely louder, and way more fun.

Jesse Jarnow (@bourgwick) is the author of Heads: A Biography of Psychedelic America (Da Capo Press).

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Boris Gardiner 'I Want To Wake Up With You' (Official Video)

Boris Gardiner 'I Want To Wake Up With You' (Official Video)

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Boris Gardiner 'I Want To Wake Up With You' (Official Video)

I wanna wake up with you
I wanna be there when you open your eyes
I want you to be the first thing that I see
I wanna wake up with you

I wanna lay by your side, baby
I wanna feel every beat of your heart
And throughout the night I wanna hold you tight
I wanna wake up with you

All the love inside me has been sleeping
Waiting 'till the right one came along
You can share the love that I've been keeping, baby
You can put the music to my song

I wanna wake up with you
I wanna reach out and know that you're there
I want you to be the first thing that I see
I wanna wake up with you

Tododo...

And throughout the night I wanna hold you tight
I wanna wake up with you

All the love inside me has been sleeping
Waiting 'till the right one came along
You can share the love that I've been keeping
You can put the music to my song

I wanna wake up with you
I wanna reach out and know that you're there
I want you to be the first thing that I see
I wanna wake up with you

I wanna lay by your side, baby
I wanna feel every beat of your heart
And throughout the night I wanna hold you tight
I wanna wake up with you

Tododo...

I want you to be the first thing that I see
I wanna wake up with you

All the love inside me has been sleeping
Waiting 'till the right one came along
You can share the love that I've been keeping
You can put the music to my song

I wanna wake up with you
I wanna reach out and know that you're there

BORIS_GARDINER__YOU_RE_EVERYTHING_TO_ME_

Born 13th January 1946, Rollington Town area of Kingston, Jamaica, West Indies. Gardiner attended Franklin Town Government School and St Monica's College, dropping out of education after being diagnosed with tachycardia (A heart beat that is faster and exceeds the normal rest rate.)

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Boris Gardiner, bass player, vocalist and musical director, has never been one of reggae’s most celebrated names, but he has remained a permanent fixture in the music and has three major UK chart hits to his credit. His bass-playing skills first emerged in the late 60s, and the bands he graced included Byron Lee’s Dragonaires, the Aggrovators, Crystalites and many more. His first brush with chart success was ‘Elizabethan Reggae’, recorded for Lee, which hit number 14 in January 1970. Gardiner toured the UK in support of his hit, which, at first, was incorrectly credited to its producer. His debut album, again produced by Lee, was released the same year. In its wake, Gardiner immersed himself in session work, regularly playing as part of the Now Generation band, and he later became a member of Lee Perry’s Upsetters, following Carlton and Aston ‘Familyman’ Barrett’s defection to the Wailers. His solid, incisive basslines were seldom prominent, yet always effective. In the 80s, as reggae was on the cusp of the digital era, an age likely to put paid to the careers of bass players, Gardiner’s mellow, soulful voice came to the fore on a MOR reggae ballad, ‘I Want To Wake Up With You’, which hit number 1 in the UK charts. Gardiner, who had been intermittently dogged by illness throughout the 80s, was finally receiving his due. His follow-up, ‘You’re Everything To Me’, went to number 11, and the seasonal ‘The Meaning Of Christmas’ also scraped the charts.

 

Albums:

 

Reggae Happening (1970), Trojan
It's So Nice to Be with You (1970), Steady
Soulful Experience (1971), Dynamic Sounds
For All We Know (1972), Dynamic Sounds
Is What's Happening (1973), Dynamic Sounds
Every Nigger Is a Star OST (1973), Leal Productions
Everything to Me (1986), Revue, AUS No. 45
Lover's Lane (1989), TNT
Let's Take a Holiday (1992), WKS
Next to You (1992), VP
Reggae Songs of Love (Plus) (2008), Encore

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Debbie Gibson - Shake Your Love (Official Music Video)

Debbie Gibson - Shake Your Love (Official Music Video)

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Debbie Gibson - Shake Your Love (Official Music Video)

Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love

I'm under a spell again
Boy, I'm wondering why
This is not a game of love but
An emotional tie
I'm trying to figure out my heart (heart..)
But I can't offer you proof
Of why we should never be apart
And that is the (that is the ) that is the truth
Oh!

Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love

Do you know why I stop and stare
And smile when you walk by
And how I call you up at night
I hang up the phone and I cry
If I never got to know you so well (I knew you well)
Maybe I would be fine
Baby you know that I can't tell
Why you should be (you should be)
you should be mine, Oh!

Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love

Ooh, I know what you're thinkin'
I see it in your eyes
You want to give our love another try
I'm so glad you realize I can't...

Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love

Shake it
Your love
Can't shake
Just can't shake your love

Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake your love

Shake your love
Shake your love
I just can't shake your love
Shake your love
I just can't shake....Say shake it!
Shake your love
I just can't shake your love

Shake your love
I just can't shake
Shake your love
I just can't shake your love
Shake your love
I just can't shake
Shake your love
I just can't shake your love

Source: LyricFind

Songwriters: Prince Rogers Nelson

Shake Your Love lyrics © Universal Music Publishing Group

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Singer Debbie Gibson got her start in the entertainment industry at a young age. After writing her first song at age five, she became a teen pop star in the late 1980s with hits like "Only in my Dreams," "Shake Your Love" and "Foolish Beat" before even graduating from high school. After the release of her successful album Electric Youth (1989), Gibson took a hiatus from music and began finding work on Broadway. While performing on the stage, she was praised for her performances in productions such as Beauty and the Beast (1997) and Gypsy (1998).

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Deborah Ann Gibson was born on August 31, 1970, in Brooklyn, New York, and grew up in Merrick, New York. Gibson began taking piano lessons from Morton Estrin (who also taught Billy Joel) at the age of five and quickly proved herself a musical prodigy. She wrote her first song, "Make Sure You Know Your Classroom," at age six, and in fifth grade, she composed an opera. "It was called Alice in Operaland," Gibson recalls. "Alice encountered characters in famous operas."

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In addition to composing, Gibson also started performing at a very young age. She began acting in community theater productions from the age of five, and as an eight-year-old, she joined the children's chorus at New York City's famed Metropolitan Opera House. Despite her busy schedule as a young songwriter and performer, Gibson found time to enjoy the pleasures of childhood. "I don't ever feel I was robbed of my childhood," she sayid. "I hung on to all that I could."

Gibson built a makeshift studio in her family's garage and began dedicating what little free time she had to writing and recording music. When she won $1,000 in a songwriting contest as a 12-year-old (for a song she had written called "I Come From America") Gibson's parents realized their daughter's musical talents might translate into a career. They hired Doug Breibart to serve as Gibson's manager, and Breibart taught her how to arrange, engineer and produce her own music. By the time she turned 15 in 1985, Gibson had recorded more than 100 of her own songs.

Later that year, Gibson signed with Atlantic Records and began recording her debut album with famous music producer Fred Zarr. She released Out of the Blue in 1987, which rocketed to the top of the charts and made Gibson a pop icon virtually overnight. The album reached No. 7 on Billboard's Hot 100 Albums chart and was certified three times platinum. Her first two singles, "Only in my Dreams" and "Shake your Love," both peaked at No. 4 on the Billboard charts. The album's third single, "Foolish Beat," reached No. 1, making Gibson the youngest person in history to write, perform and produce a No. 1 single—a record she still holds today.

Gibson managed to live a double life as both a chart-topping recording artist and a seemingly normal student at Calhoun High, her local public school in Merrick. "I'd put on a baseball cap and no makeup, and nobody would recognize me," Gibson recalls. She graduated with honors in 1988 and even attended her senior prom after giving the DJ one condition: "I asked them not to play my records that night," Gibson remembers. "I didn't want to intrude on the evening."

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Upon graduating from high school in 1988, Gibson immediately began work on another album. She released her second and most famous album, Electric Youth, in 1989, and it held the No. 1 spot on the Billboard charts for five weeks. The first single, "Lost in Your Eyes," also peaked at No. 1 on the charts, and Gibson shared the 1989 ASCAP Songwriter of the Year award with Bruce Springsteen. However, after Electric Youth Gibson's popularity as a pop star began to fade. In 1990, she released a third album, Anything is Possible, which peaked at No. 41, and in 1992 her fourth album, Body, Mind, Soul, failed to crack the top 100. Gibson then took a hiatus from the pop music that defined her youth to remake herself—as Deborah rather than Debbie Gibson—as a stage actress. She made her Broadway debut as Eponine in the 1992 production of Les Miserables. Immediately after concluding her run in Les Mis, Gibson traveled to London to star as Sandy in a West End production of Grease. The production sold out for Gibson's entire nine-month run, shattering West End box office records.

Gibson switched parts to portray Rizzo in the Grease U.S. national tour before returning to Broadway for turns as Belle in Beauty and the Beast (1997) and Gypsy Rose Lee in Gypsy (1998). Fully established as a musical theater star, Gibson went on to land leading roles in virtually every popular Broadway musical of the time. Her notable performances include the narrator in Joseph and the Amazing Technicolor Dreamcoat (2000); the title role in Cinderella (2001); Velma Kelly in Chicago (2002); and Sally Bowles in Cabaret (2003).

A versatile and enduring talent, Gibson's musical theater career in the 1990s and 2000s proved every bit as successful as her remarkable run as a 1980s pop sensation. In more recent years, Gibson has turned to educating and mentoring young girls hoping to make it in the entertainment industry. She founded Deborah Gibson's Electric Youth, a youth camp for arts education, in 2008, and a year later she founded the Gibson Girl Foundation to provide scholarships for underprivileged youngsters to study the arts.

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Gibson still has her youthful good looks—something she credits to her longtime boyfriend, anti-aging specialist Dr. Rutledge Taylor. And while she is no longer a blonde-haired teenager hopping around to catchy dance hooks while sporting bangs, a leather jacket and her signature black hat, Gibson stays in touch with her youth in a more meaningful way.

She makes regular visits to the town where she was raised, Merrick, where she still knows her old friends and teachers by their first names, and where the faded green paint of her hopscotch board still marks the sidewalk outside of her childhood home. "When you hear the name Debbie Gibson," a childhood friend said, "the lights go on in Merrick."

Debbie Gibson - Foolish Beat (Official Music Video)

Debbie Gibson - Foolish Beat (Official Music Video)

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Debbie Gibson - Foolish Beat (Official Music Video)

The Pointer Sisters - I'm So Excited

The Pointer Sisters - I'm So Excited

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The Pointer Sisters - I'm So Excited

Tonight's the night we're gonna make it happen
Tonight we'll put all other things aside
Give in this time and show me some affection
We're goin' for those pleasures in the night

I want to love you, feel you
Wrap myself around you
I want to squeeze you, please you
I just can't get enough
And if you move real slow, I'll let it go

I'm so excited, and I just can't hide it
I'm about to lose control and I think I like it
I'm so excited, and I just can't hide it
And I know, I know, I know, I know, I know I want you

And we shouldn't even think about tomorrow
Sweet memories will last a long, long time
And we'll have a good time, baby, don't you worry
And if we're still playin' around, boy, that's just fine

Let's get excited, we just can't hide it
I'm about to lose control and I think I like it
I'm so excited and I just can't hide it
And I know, I know, I know, I know, I know I want you, I want you
Oh yes I do

Oh boy, I want to love you, feel you
Honey wrap myself around you
I want to squeeze you, please you
No I just can't get enough
And if you move real slow, I'll let it go

I'm so excited, and I just can't hide it
I'm about to lose control and I think I like it
I'm so excited, and I just can't hide it
And I know, I know, I know, I know, I know I want you, I want you

Look what you do to me
You got me burning up (Burning up)
How did you get to me?
I've got to give it up

And I'm so excited (Look what you do to me)
Oh boy (You got me burning up)
I'm burning up yeah, oh I think I like it (Yeah)
You, you, you, you, you got me (I've got to give it up)
(Oh oh oh oh) Oh, ooh I like it boy
And I'm so excited (Look what you do to me)
And I just can't hide it (You got me burning up)

Source: Musixmatch

Songwriters: June Pointer / Anita Pointer / Trevor Anthony Lawrence / Ruth Pointer

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The Pointer Sisters -  CREDIT: MICHAEL OCHS ARCHIVES/GETTY

These four sisters, Anita (23 January 1948), Bonnie (11th July 1951), Ruth (19th March 1946) and June (30th November 1953, East Oakland California, USA, Died 11th April 2006, Santa Monica, California, USA), were all born and raised in East Oakland, California, USA, and first sang together in the West Oakland Church of God where their parents were ministers. Despite their family’s reservations, Bonnie, June and Anita embarked on a secular path that culminated in work as backing singers with several of the region’s acts including Cold Blood, Boz Scaggs, Elvin Bishop and Grace Slick. Ruth joined the group in 1972, a year before their self-named debut album was released. During this early period the quartet cultivated a nostalgic 40s image, where feather boas and floral dresses matched their close, Andrews Sisters -styled harmonies. Their repertoire, however, was remarkably varied and included versions of Allen Toussaint’s ‘Yes We Can Can’ and Willie Dixon’s ‘Wang Dang Doodle’, as well as original compositions. One such song, ‘Fairytale’, won a 1974 Grammy for Best Country Vocal Performance. However, the sisters were concerned that the typecast, nostalgic image was restraining them as vocalists. They broke up briefly in 1977, but while Bonnie Pointer embarked on a solo career, the remaining trio regrouped and signed with producer Richard Perry’s new label, Planet. ‘Fire’, a crafted Bruce Springsteen composition, was a million-selling single in 1979, and the group’s rebirth was complete.

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The Pointer Sisters pose in New York on Aug. 24, 1995. From the left, Ruth, Anita and (now deceased) June. (Marty Reichenthal/AP)

The Pointer Sisters progress continued with two further gold discs, ‘He’s So Shy’ and the sensual ‘Slow Hand’, while two 1984 releases, ‘Jump (For My Love)’ and ‘Automatic’, won further Grammy Awards. June and Anita also recorded contemporaneous solo releases, but although ‘Dare Me’ gave the group another major hit in 1985, their subsequent work lacked the sparkle of their earlier achievements. The trio appeared resigned to appearing on the oldies circuit during the 90s. In 1995, they appeared in a revival performance of the musical Ain’t Misbehavin’. June Pointer was later barred from performing with her sisters due to repeated substance abuse problems. She was replaced by Ruth’s daughter Issa. On June 25th, 2019, The New York Times Magazine listed The Pointer Sisters among hundreds of artists who lost master recordings in the 2008 Universal blaze.

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As children in West Oakland, the Pointer sisters and brothers were encouraged to listen to and sing gospel music by their parents Reverend Elton Pointer and Sarah Pointer. However, they were told rock and roll and the blues were "the devil's music", and it was only when they were away from their watchful parents that they could sing these styles. They regularly sang at a local Church of God in Christ congregation in West Oakland, but as the sisters grew older their love of other styles of music began to grow. When June, the youngest sister, brought home a copy of the Elvis Presley 1957 record "All Shook Up",  she was surprised that her mother allowed her to play it, until discovering that her mother had been pacified by the song "Crying in the Chapel" on the "B" side of the record.

The sisters graduated from Oakland Technical High School: Ruth in 1963, Anita in 1965, and Bonnie in 1968. After leaving school, oldest sister Ruth was already married with two children Faun (born 1965) and Malik (born 1966), Anita, the second oldest sister, also was married with a child Jada. Bonnie, the third oldest sister, and June, the youngest, sought a show business career and they formed a duo, 'Pointers, a Pair'. Later, Anita quit her job to join the group. They began touring and performing and provided backing vocals for artists such as Grace Slick, Sylvester James, Boz Scaggs and Elvin Bishop. It was while supporting Bishop at a nightclub appearance in 1971 that the sisters were signed to a recording contract with Atlantic Records. . The resulting singles that came from their Atlantic tenure failed to become hits but, nevertheless, the sisters were enjoying their fledgling recording career. One recording, however, has become a Northern Soul classic: "Send Him Back" (Atlantic 45 2893). Concentrated at Wigan Casino  around 1973-1974, Northern Soul was an underground music scene comprising American 45 rpm records released at the same time as Tamla Motown and imported into the United Kingdom.  "Send Him Back" remains a favorite with the worldwide Northern Soul audience. Ruth finally gave in to the temptation to join them, joining the group in December 1972. The quartet signed with Blue Thumb Records and began to record their first full-fledged album.

Upon signing, they agreed that they did not want to follow the current trend of pop music but wanted to create an original sound that combined jazz music, jazz singing, and bebop music. Searching for a visual style for their act, they remembered the poverty of their childhood; using their experience and ability to improvise, they assembled a collection of vintage 1940s clothes from thrift shops, comprising period costumes to give them their distinctive look. In 1976, they were asked to record "Pinball Number Count" for the popular childrens programme "Sesame Street" which was a series of educational cartoons teaching kids how to count. It made its debut in 1977 and was a feature on the show for many years.

They made their television debut performance at the Troubadour nightclub in Los Angeles on The Helen Reddy Show. In 1974, they joined Reddy on the track "Showbiz" which appeared on her Free and Easy album.
 

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First success as recording artists

The group's self-titled first album, featuring the backing of Bay Area stalwarts the Hoodoo Rhythm Devils, was released in 1973 and received strong reviews, with the group being lauded for their versatility and originality: its first single "Yes We Can Can" - an Allen Toussaint-penned song which had been a minor R&B hit for Lee Dorsey in 1970 - afforded the Pointer Sisters the first chart hit reaching #11 on the Billboard Hot 100, while both "Yes We Can Can" and the follow-up single: the Willie Dixon cover "Wang Dang Doodle" were major R&B hits with respective R&B chart peaks of #12 and #24. The Pointer Sisters thrift shop style also made them fan favorites; many audience members of the group's live shows being dressed similarly to the group's members.The Pointer Sisters' second album, the 1974 release That's a Plenty, continued in the jazz and be-bop style of its predecessor but provided one exception that caused a great deal of interest: "Fairytale", written by Anita and Bonnie Pointer, was a country song that reached #13 on the pop charts, and #37 on the country charts. Based on this success, the group was invited to Nashville, Tennessee where they achieved the distinction of becoming the first Afro-American group to perform at the Grand Ole Opry. In 1975, the Pointer Sisters won a Grammy Award for Best Country Performance by a Duo or Group with Vocal with Anita and Bonnie Pointer also receiving nominations for the Grammy Award for Best Country Song as songwriters of "Fairytale". The song would later be covered by Elvis Presley.Subsequent to the live double album Live at the Opera House - a recording of April 21, 1974 Pointer Sisters concert at the War Memorial Opera House in San Francisco - the group's third studio album Steppin' was released in 1975. Steppin' produced their Grammy-nominated number one R&B single, "How Long (Betcha' Got a Chick on the Side)", which was sampled by female rap icons Salt-N-Pepa a decade later. The Pointer Sisters also scored another R&B hit from the album with "Going Down Slowly", another Allen Toussaint cover, and in 1976 appeared in the classic blaxploitation film Car Wash with their song from the movie: "You Gotta Believe", making the R&B top 20 in early 1977.The Pointer Sisters were featured on the 1977 album Saffo Music by Italian R&B singer Lara Saint Paul and produced by Leon Ware, with bass by Chuck Rainey, guitar by Ray Parker Jr. and mixed by Bill Conti. It was released in Italy under LASAPA records.November 1977 saw the release of the jazz-funk oriented Having a Party which would be the final album release featuring the Pointer Sisters in their original four-woman format. It was only on the title cut that all four members sang; the album's other cuts featured Anita, Bonnie, and Ruth, but not June Pointer. Recorded in 1976 the album's release was so delayed as to cause an eighteen-month gap between Having a Party and the precedent Pointer Sisters' album Steppin' - the compilation album The Best of the Pointer Sisters had been issued in July 1976 - and without the impetus of a major hit single the Having a Party album itself caused scant commercial interest. One track, "Don't It Drive You Crazy" with Bonnie Pointer on lead, would become a cult hit in the UK as part of the rare groove phenomenon.

The quartet becomes a trio

By 1977, both June and Bonnie had left the group. June wanted to take a break, and Bonnie left to start a solo career. Bonnie married Motown Records producer Jeffrey Bowen in 1978. She subsequently signed a contract with Motown and this led to a brief, moderately successful, solo career. Her first self-titled album produced the disco song "Heaven Must Have Sent You". The album was produced by Berry Gordy and husband Jeffrey Bowen. The song became a top 20 pop hit in September 1979.On January 22, 1978, Ruth gave birth to her second daughter and, now a duo, Ruth and Anita cut back their schedules and concentrated on raising their families. They began talking about the future of the group and what direction it should take. They agreed to dispense with the 1940s nostalgia and go in a contemporary direction. In July of that year June married William Oliver Whitmore II.The two sisters then signed a deal with producer Richard Perry's Planet Records, which was distributed by Elektra Records. After contributing guest vocals on the group's cover of Sly Stone's "Everybody Is a Star" June was persuaded to return to the group, making it a trio. With Perry the trio began working on an album of West Coast soft rock, which was released in 1978 with the title Energy. The first single, a cover version of Bruce Springsteen's "Fire", climbed to #2 on the US singles charts in early 1979, and a third Allen Toussaint cover, "Happiness", also charted.In 1979, the trio released an album with a harder-edged rock sound, entitled Priority.

The height of their success

Over the next few years, The Pointer Sisters achieved their greatest commercial success. In 1980 their single "He's So Shy", reached number three on the charts, and the following year a ballad, "Slow Hand", reached number two. The follow-up, "Should I Do It," featured a classic girl-group sound. Richard Perry then sold Planet to RCA Records in 1982. The first release from this new union was "American Music", a patriotic-themed, modernized take on the girl-group sound, featuring an early version of "I'm So Excited". All these singles charted in the US and were also successful in Australia, where all but "American Music" reached the Top 20. The Sisters also made a guest appearance on the sitcom Gimme a Break! in the episode "The Return of the Doo-Wop Girls".In 1983, the Pointer Sisters released Break Out. With the advent of MTV, videos of the Sisters' songs began to be played in heavy rotation. In 1984, they achieved four Billboard Hot 100 top 10 singles in a row. "Automatic" reached #5; "Jump (For My Love)" reached #3; a remix of "I'm So Excited" was added to the album almost a year into its shelf life and reached #9; and "Neutron Dance", also featured on the Beverly Hills Cop soundtrack, reached #6."I Need You" had been the lead single from the album, and was a significant R&B hit, peaking at #13 on the Black Singles charts. The album's last single, "Baby Come and Get It", did well on the Black Singles charts too but did not make the top 40. They received Grammy Awards for Best Pop Performance by a Duo or Group with Vocal for "Jump (For My Love)", and Best Vocal Arrangement for Two or More Voices for "Automatic". These songs also followed "Slow Hand" into the UK Top 10, with "Automatic" peaking at number 2 in that country. Following this, the group performed on the famous "We Are The World" song/music video, alongside such legendary artists as Tina Turner, Michael Jackson, Paul Simon, Bob Dylan, Diana Ross and Stevie Wonder.These Planet singles marked the end of their run of Top 10 hits in the US, with their subsequent RCA releases "Dare Me" in 1985 (the Sisters' last Australian Top 10 hit), and "Goldmine" in 1986, reaching numbers 11 and 33, respectively.In 1985, Ruth became a grandmother for the second time.In 1987, the Pointer Sisters starred in an NBC primetime special titled "Out All Night," which opened with footage of them performing "Jump" at one of their concerts, and which then followed the trio as they socialized and performed around the L.A. night scene. The special, which featured guest appearances by Bruce Willis, the McGuire Sisters, and Whoopi Goldberg, was also nominated for a Primetime Emmy Award. The sisters also were featured in a lavish Diet Coke commercial, which aired during the program, and which presented them singing a soulful jingle about the soda.The sisters eventually left RCA Records to record for Motown and then SBK, releasing several group albums and individual solo albums along the way, but these projects did not achieve the level of success of their earlier work.

Subsequent years

Ruth became a grandmother as "Break Out" reached success; Anita became a grandmother in 1990 when her only child Jada gave birth to Roxie. On September 8, 1990, Ruth married a man named Michael Sayles (born 1957). The sisters entertained US troops in the Persian Gulf in 1991 with Bob Hope. By 1991, June Pointer had ended her thirteen-year marriage to William Oliver Whitmore II. In August 1993 at age 47 Ruth Pointer gave birth to twins Ali and Conor Sayles. 1994 saw the release of the Various Artist album Rhythm, Country and Blues which featured duets of country artists with R&B artists; this album contains a duet with the Pointer Sisters and Clint Black together on the classic song "Chain of Fools". Also in 1994, the Pointer Sisters were honored with a star on the Hollywood Walk of Fame and began touring with a production of the Fats Waller-based musical Ain't Misbehavin'. In 1995 Pointer Sisters recorded "Feel for the Physical" as a duet with Thomas Anders (of Modern Talking fame) for his album Souled. They were also one of the featured acts at the closing ceremonies of the 1996 Atlanta Summer Olympics.In 199596, the Pointer Sisters returned to their original jazzy incarnation touring nationally in Ain't Misbehavin'; during this tour issues with June Pointer came to the fore as June Pointer missed many performancesunderstudy Wendy Edmead replaced her on these occasionsand in 2002, Ruth Pointer's daughter Issa Pointer began performing with the Pointer Sisters in June Pointer's stead. On June 9, 2002, June Pointer and Bonnie Pointer performed as a duo on the bill at the San Jose Gay Pride Celebration the pair having been recruited by a promoter who had failed to recruit the official Pointer Sisters trio for the event: the June/Bonnie Pointer duo's appearance at San Jose Pride was promoted as a "Pointer Sisters" gig with pictures of June Pointer performing with Anita Pointer and Ruth Pointer utilized in its promotion, causing Anita Pointer and Ruth Pointer to sue the promoter and other affiliates of the June/Bonnie Pointer duo's San Jose Pride gig (neither Bonnie Pointer nor June Pointer was named in the suit). Bonnie Pointer and June Pointer subsequently performed as a duo at other Gay Pride celebrations and participated in the Get Up 'n' Dance disco music tour in the summer of 2003, the duo being officially billed as "Bonnie and June Pointer, formerly of the Pointer Sisters".In fall 2002, the Pointer Sisters played the Night of the Proms tour in Europe marking the inauguration of Issa Pointer, the daughter of Ruth Pointer, as the replacement for June Pointer: Ruth Pointer would recall: "We sort of pulled a fast one by waiting until the last minute to inform the promoters of [the] roster change...because we didn't want to give them the chance to change their minds." According to Ruth Pointer "Anita and I had talked for some time about having Issa and [Anita's] daughter Jada [Pointer] alternate in the third spot in the lineup...Issa was chosen [to go] first because she had experience singing solo at a lot of New England-area functions." Issa Pointer's membership in the Pointer Sisters would remain constant until 2009, Jada Pointer who was to alternate with her having been diagnosed with pancreatic cancer in the autumn of 2002 and dying June 10, 2003.The Pointer Sisters recorded their first album with Issa Pointer rather than June Pointer in April 2004 with The Pointer Sisters - Live in Billings recorded at the Alberta Bair Theatre in Billings, Montana. The first studio recording by the Pointer Sisters to feature Issa Pointer was "Christmas in New York" for YMC Records www.ymcrecords.com recorded in the summer of 2005 for release for the multi-artist seasonal release Smooth & Soulful Christmas Collection on YMC Records: "Christmas in New York" afforded the Pointer Sisters their last appearance on a Billboard chart to date, the track reaching #21 on the Billboard Adult Contemporary chart. Christmas In New York was written by Nathan East and Chris Christian and produced by them. The group's next recording was a remake of the Eurythmics' "Sisters Are Doin' It for Themselves" recorded with Natalia: this track spent sixteen weeks in the Top 20 of Belgium's Flemish chart from October 2005 with a peak of #2. In 2008, Anita Pointer and Ruth Pointer recorded the last Pointer Sisters album to date The Pointer Sisters Favorites consisting of remakes of ten of the group's biggest hits: recorded in response to the group's failure to receive royalties from the inclusion of any Pointer Sisters' hits on multi-artist hits compilations, "...Favorites" was sold exclusively at the group's live gigs and at the website ThePointerSisters.com, but was added to iTunes in 2013.In recent years, many Pointer Sisters songs have been covered by contemporary artists, such as "Jump (For My Love)" by Girls Aloud, which reached number two at the UK singles chart in 2003, "Dare Me" was turned into the dance smash "Stupidisco" by Belgian DJ Junior Jack, indie band Le Tigre covered in 2004 "I'm So Excited" on their third album This Island, and French DJ Muttonheads sampled "Back in My Arms" on his 2005 club hit "I'll Be There". Most recently in 2007, Tommy Boy recording artist Ultra Nat has released a dance-pop cover of "Automatic" that reached #1 at the US Hot Dance Music/Club Play charts. In 2005, "Pinball Number Count" was re-edited for Coldcut's Ninja Tune label, becoming a surprise dance hit. The same song has also been remixed by Venetian Snares of the Planet Mu record label.The Pointer Sisters have maintained a high international profile as performers: in 2002 they participated at the annual Night of the Proms, a successful series of concerts combining pop and classical music, taking place in the Benelux, France and Germany: the Pointer Sisters received the highest audience ratings of all participating Night of the Proms acts in 2002. In January 2006 the Pointer Sisters concert collaboration with Natalia resulted in ten sold out dates in Antwerp with the "Natalia Meets The Pointer Sister" concerts, selling out 130.000 tickets for the 10 date concert run.On June 7, 2006, Anita Pointer guest-starred on Celebrity Duets singing with Olympic gymnast Carly Patterson on "I'm So Excited": on the following night's results show the duo's encore was "Jump (For My Love)".On August 4, 2009, Ruth, Anita and Bonnie stopped by The Kibitz Room at Canter's in Los Angeles and jammed with the band and Ruth's son Malik Pointer. They sang "Fire", "Yes We Can Can", and "Going Down Slowly". On November 4, 2009, The Pointer Sisters played "I'm So Excited" and "Neutron Dance" on CBS morning show The Early Show with Ruth's granddaughter, Sadako Johnson. Issa Pointer is currently pursuing a solo career.While promoting an October 28, 2010 Detroit gig by the Pointer Sisters - then comprising Anita and Ruth Pointer and Sadako Johnson - Ruth Pointer, asked "Do you [and Anita] plan on recording an album with Sadako?", replied: "Hmm...not really. We talk about it from time to time, but the business has changed so much. It's not like the old days when you just have a record deal and go in the studio and record with a producer and then start promoting." In the same interview Ruth Pointer commented on the Pointer Sister's profile having dropped in recent years: "We've performed a lot in Europe and Asia and Australia, and it's just that we haven't been very visible publicly in the [US]. We still do a lot of corporate parties and private parties because I mean, let's face it, those are the people that are in our own age group and know our songs." In November 2011, the Pointer Sisters toured Australia and played one gig in New Zealand with a lineup consisting of Ruth Pointer, Sadako Johnson and Issa Pointer; the last-named was a last-minute and presumably temporary replacement for Anita Pointer, who did not feel up to travel due to an unnamed health concern. Ruth Pointer, Sadako Johnson and Issa Pointer were also the personnel for a February 11, 2012 Pointer Sisters concert in Metairie, LA. At the July 6, 2012 Essence Fest show in New Orleans, Anita Pointer had rejoined the group, the lineup for that concert being Ruth and Anita Pointer and Sadako Johnson. In an August 2012 interview Ruth Pointer stated: "Anita has had some health issues recently so we try to give her a break when she needs it. When that happens we bring my daughter [Issa Pointer] in to fill in for her." At most recent Pointer Sisters concert, performing with the Columbus Symphony on June 14, 2013 (and filling in for Chaka Khan with a week's notice), the lineup was Anita, Ruth and Issa Pointer.The Pointer Sisters are scheduled to play six Australian dates in May and June 2016 with the lineup of Ruth Pointer, Issa Pointer and Sadako Johnson: recent media reports indicate that Anita Pointer's health issued have necessitated her retiring from the group. In a February 25, 2016 interview with News.com.au Ruth Pointer said of the Pointer Sisters recent live performance history: "I'm almost inclined to call [the group's live engagements] pop-up engagements, not tours. We dont do the tours like we used to do back in the day. Well leave that to the young folks, out on the road in buses for months at a time....We still have a good time, we do a lot of corporate dates, a lot of casinos, special events, fundraisers, thats our audience. Were so glad [the Pointer Sisters' songs are] still relevant and people still want to hear them being sung and we love singing them." The Pointer Sisters were inducted into the Vocal Group Hall of Fame in 2005.

Vice City Dance

In Grand Theft Auto: Vice City, the Malibu club in the game featured a Village People tribute in which they danced to "Automatic". This dance involved the dancers crossing the hands by their knees for two beats then raising the roof for another two.

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June Pointer.

In November 2000, the sisters lost their mother Sarah. In 2003, sister Anita lost her only child Jada to cancer. Jada was the subject of the 1973 song "Jada". On April 11th, 2006, June, who suffered from drug addiction, died of lung cancer at the age of 52. According to a family statement, she was surrounded by Ruth and Anita as well as brothers Aaron and Fritz. On May 4th, 2006, Bonnie appeared on Entertainment Tonight saying the other sisters had not fulfilled June's burial wishes, instead having her cremated because it was cheaper. Bonnie also stated the sisters had not let her ride in the family car at the funeral. Anita and Ruth responded that Bonnie had demanded to rejoin the group and was upset that she had been rejected, and that June had left no instructions for her burial. The sisters seemed estranged from Bonnie until she joined Anita on the Idol Radio Show in 2007. Bonnie was arrested for allegedly possessing crack cocaine on November 18, 2011, in South Los Angeles, after the car she was riding in was pulled over for a mechanical malfunction. She filed for divorce from Motown Records producer, Jeffrey Bowen, on July 1, 2014. On June 8, 2020, she died at her home in Los Angeles at the age of 69.

The Pointer Sisters - Jump (For My Love)

The Pointer Sisters - Jump (For My Love)

Play Video

The Pointer Sisters - Jump (For My Love) (Official Video)

Your eyes tell me how you want me
I can feel it in your heart beat
I know you like what you see

Hold me, I'll give that you need
Wrap your love around me
You're so excited I can feel you getting hotter
Oh baby

I'll take you down, I'll take you down
Where no one's ever gone before
And if you want more
If you want more, more, more

Then jump
For my love
Jump in
And feel my touch
Jump if you want to taste my kisses in the night then
Jump, jump for my love
Jump, I know my heart can make you happy
Jump in, you know these arms can feel you up
Jump, if you want to taste my kisses in the night then
Jump, jump for my love

You told me, I'm the only woman for you
Nobody does you like I do
Then make a move before you try and go much farther
Oh baby

You are the one, you are the one
And heaven waits here at my door
And if you want more
If you want more, more, more

Then jump
For my love
Jump in
And feel my touch
Jump if you want to taste my kisses in the night then
Jump, jump for my love
Jump, I know my heart can make you happy
Jump in, you know these arms can feel you up
Jump, if you want to taste my kisses in the night then
Jump, jump for my love

When you are next to me
Oh I come alive
Your love burns inside
Oh it feels so right
Come to me if you want me tonight

Jump
Jump in if you want to taste my kisses in the night then
Jump, jump jump

Oh yeah
You know my heart can make you happy
Jump
You know these arms can feel you up
Jump in
If you want to taste my kisses in the night then
Jump, jump for my love

Come on and jump
Jump
You, I need
Jump in
I got to have you
Yeah, yeah
Jump, jump for my love
I got to, I got to have
Jump
Yeah, yeah
Jump
Oh, yeah, yeah, yeah
Oh, yeah

Come on and jump
Jump, jump for my love
Oh, oh, yeah
Jump
Oh baby, yeah
Jump in

Source: LyricFind

Songwriters: Marti Sharron / Stephen Mitchell / Gary Skardina

Jump (For My Love) lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc, Anidraks Music, Inc

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The Pointer Sisters on Soul Train (1975)

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