Prelude, also known as 2001, is a 1972 album of Brazilian keyboardist Eumir Deodato. With the signature track “Also Sprach Zarathustra (2001)” (an arrangement of the theme from 2001: A Space Odyssey), Prelude would be the biggest hit Deodato and CTI Records ever had.
The album features guitarist John Tropea on three tracks, bassists Ron Carter and Stanley Clarke, and Billy Cobham on drums.
The funk-influenced version of the “Introduction” from Richard Strauss’s Also sprach Zarathustra, entitled “Also Sprach Zarathustra (2001)”, won the 1974 Grammy Award for Best Pop Instrumental Performance and went to No. 2 in the pop charts in the US, No. 3 in Canada, and No. 7 in the UK.
Cecil Holmes was one of the first African Americans to hold the post of Senior Vice President at a major label when he served as Sr. VP at the legendary Casablanca Records, the home of Donna Summer, Parliament/Funkadelic, among others. He was also one of the first African American executives given his own imprint label, “Cecil Holmes Chocolate City” which launched the careers of the legendary funk group Cameo. He later served as VP/A&R at CBS Records (Sony Music) working w/ Michael Jackson, New Kids on The Block and the late Marvin Gaye.
Released in 1973 from the album, Neither One of Us, the song spent four weeks at number one on the Soul Singles chart during the spring of that year. The song was also one of their biggest crossover hits, peaking at number 2 on the Billboard Hot 100, behind “The Night the Lights Went Out in Georgia” by Vicki Lawrence. It was one of the group’s last hits with Motown before leaving for Buddah Records. It also won a Grammy Award for Best Pop Performance by a Duo or Group with Vocal.
Diana Ross & Marvin Gaye – You’re a Special Part of Me (1973)
“You’re a Special Part of Me” was a successful duet single for soul singers and Motown label mates Diana Ross & Marvin Gaye, released in 1973. The original duet was one of the few originals featured on their famed album, Diana & Marvin, and was among the most successful of the songs the Motown label mates made reaching #4 on the Billboard R&B Singles chart and #12 on the Billboard Pop Singles chart.
There are several mixes of this song which have been released: the single mix, the album mix, the Japanese Quadraphonic album mix, and an alternate mix released in 1995 on the “Motown Year By Year: 1973″ CD, which clocks in at 4:29.
The Ruffin Brothers – I Am My Brothes Keeper (OG Ad for the single “Stand By Me”)
The Ruffin Brothers – I Am My Brothes Keeper (Color cover)
Damn, is David’s head really that much smaller than Jimmy’s head?
Anyway, I just listened to this entire record and it was soulful for sure…just wasn’t the most amazing LP I’ve ever heard. I could def chop some of it up into some hot tracks, which I may do, but as far as listening to it again…it’s gonna get buried in my itunes so it’ll resurface here and there. I think my favorite joint on here is definitely “Your Love Was Worth Waiting For” as I like the song and these brothers were doing their thing.
The record business has changed dramatically in the past 30 years, but putting yourself out there to get noticed is still the same. In some ways it’s different (ads in trade mags, standing outside of labels, calling in favors, cold calling, breaking the bank on unsolicited demos, etc) and in some ways it’s the same (eating dicks / sucking up, playing shows to build a following, and having talent (which is somewhat questionable in most cases these days)).
So what we have here is an old school ad for a group of three people trying to get noticed. They have a nice rudimentary graphic that meets up with their logo on some old school clashing of five different fonts. Obviously, this is before photoshop so someone put in work cutting film and lining up this ad in a very sloppy way on a light table. I only know this because I learned it back in high school in South Bend….why they taught us this in the age of computers is a mystery to me.
The only reason I’m really posting this is because of Vernon. This is pure speculation, but I’m going to go out on a limb and say that Vernon is smashing Vicki Rae something terrible. He has that old school “Mike, I’m all up in this biatch so back the hell up” smile with an accompanying arm clamp on what he’s claiming as his in the demo picture. Mike prob had the money to pay for the ad and “demos” plus the songwriting skills and talent. I put demos in quotes because who knows if it was a physical 8 track tape or vinyl record…or maybe they really just waited around by the phone and tried to sing live to anyone who called?
It appears that the telephone number is from Santa Ynez California…which appears to be desolate land somewhere up the Cali coast. I bet that was a real hotbed for disco shit back in the day.
So…I wonder if they ever made it? I wonder if Vernon will answer if you call the number?
I wonder if Vicki Rae went solo and finally made a record under the name Vicki Rae Von and this is it (below)? The song was produced by Tom Brasfield and he appears to be a disco producer who ended up writing a big hit for Ronnie Milsap. Oh shit, now I’m really tripping cause I use to bang that hit Ronnie Milsap song on my am radio back in the day.
Fuck. Now I’ve gotta get off into some Ronnie Milsap shit. Why did I just find out that he’s blind? I thought he was rocking shades all those years to be cool. Here’s the kicker: I thought Roy Orbison was blind because he rocked shades his entire career and then he turned out to not be blind at all. Wtf?! My blindar is way off.
Ronnie Milsap – (There’s No) Gettin’ Over Me
But now that I’ve lost all control of this post…look at these cats from the Fukuoka American Music Association trying to put it down on the same song: