Newspapers / The Carolinian (Raleigh, N.C.) / March 28, 1988, edition 1 / Page 11
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. • ':'/L ENTERTAINMENT fendary Joe lkune Singe Wilson Fans I When asked how he would like to be smbered, Joe Williams, legen Jan vocalist, once replied, “I ; like Mr. Basie said, ‘As a nice The music will speak for ’ For more than SO years, has made magic with his to bass-baritone voice and —live stylo. Ho appeared in con t at Pike High School in Wilson on ihM. t Williams was born in Cordele, , but moved to Chicago’s South s at the age of three. Church pro 1 his first taste of music, and he sobers a childhood of working I jobs like selling newspapers or Tying ice, all the while absorbing i strongly dramatic and rhythmic in blues. rith role models like Pha Terrell, ' Kiit, Dan Grissom, an Jimmy .—eford, Williams made his move around age 17 to ask bandleaders \ the South Side to let him sing with Lir orchestras. Finding work with able musicians was easy in the i and ’80s, and in 1964 came the «t significant relationship in ms’ career. That was the year i became the singer with the Count lie Band. The years that followed nntA/4 in fho onnala of usical history. The Basie Band iumphed in the jazz polls and Joe at st began receiving long overdue cognition. The name of Joe illiams became synonymous with e blues. In 1961, with the Count’s encour lement and blessing, Williams came a solo performer. In the lars since, he has become a living gend, appearing with his own group i well as with symphony orchestras id other big bands. He is a versatile irformer, at home with romantic llads, upbeat contemporary songs id the blues. Winner of the Grammy ward in 1985, Williams is also the st recipient of the Black Legend ward, presented by the Black Gold wards Show. He can be seen on BC’s “The Bill Cosby Show” in the scurring role of Grandpa Al, Claire uxtable’s father. The years of experience have only ihanced Williams’ artistry as a pcr rmer. He understands, appreciates, id loves his audience. A recent niversity of Nevada tribute com ends the “...artist extraordinaire, hose golden voice and great heart ive brought joy to millions roughout the world.” The most cur nt recording by Joe Williams is Every Night,” released in 1967 on e Polygram label. This concert was presented as a lint venture between the Arts Coun 1 of Wilson, Alpha Kappa Apha, elta Sigma Theta, Tau Gamma elta sororities, and Omega Psi Phi ratemity. The performance was lade possible in part by a grant from te National Endowment for the Arts trough the Southern Arts Federa on. Icehouse will be performing in aleigh at the Stewart Theatre on pril is. As Icehouse’s current album Man of Colours” has been steadily limbing the charts (the single Crazy” went to No. 14 on Billboard’s op charts and the new single, “Elec ic Blue,” is currently at 48 with a ullet), the band will be touring North merica for seven weeks. The newest single, ‘‘Electric Blue,” as a collaboration between uttarist/songwriter Iva Davies and ohn Oates (of Hall and Oates). But atee hasn’t been the only celebrated tusician to seek out this band. Both avid Bowie and Peter Gabriel asked aehouse to accompany them on the oad, and Brian Eno (who played and ing background on the group’s LP Measure for Measure”), came out f semi-retirement to work with A number one band in Australia their latest album entered the lustralian charts at No.' 1, and has ince gone platinum over seven mes, the second-largest selling ecord in Australian history), this is a roup gaining a lot of attention. Most ecently, Icehouse headlined ustralia’s bicentennial celebrations, laying to several hundred thousand eople, with the performance of Electric Blue" fed live via satellite »the American Music Awards. People Magazine described the lelodies on “Man of Colours” as ...handsome, strong... ‘Heartbreak id' [isl a neatly turned composition >e Eagles would have been glad to Isim. You should be able to find unething you like on ‘Man of Col 's most successful and Co. can produce light MOMENT—Columbia superstar Dolly Parton and Motown wgend Smok ey Robinson en|oy a light moment on the sot of Dolly’s latest video, “I Know You By Heart.” the second single from her new “Rainbow” LP. A duet with Smokey, it Is already garnering quicx ontnusiastlc response from radio. The video was directed by Gary Weis, Well known for his early work on Saturday Night Live and for his recent video work with the Bangles, Paul Simon, Fishbone, and George Harrison. In Weis' video version of “I Know You By Heart,” ho takes a lighthearted and whimsical view of the song's warm and romantic lyrics. LL Cool J Keeps Eye On Climbing Charts Def Jam/Columbia double platinum-selling artist LL Cool J's “Going Back to Cali” b/w “Jack the Ripper” has been released as the third single from the label’s hit soundtrack album “Less Than Zero,” certified RIAA gold the first of the year. Both sides were co-produced by LL and Def Jam’s Rick Rubin, celebrated for his multi-platinum success with the Beastie Boys, and producer of seven of 11 cuts on the soundtrack. The new single follows the Bangles’ top 5 smash, “Hazy Shade of Winter,” whose video has been in nonstop heavy rotation on MTV for three months. The sexy, startling “Going Back to Cali” promo video, directed by Rick Manello and produced by Rick Rubin, was an immediate add ‘it MTV (a first for LL) and BET. “L.A.,” wrote Jim Farber of the video in the New York Daily News, “a land of cartoon colorfulness, is shown hot in high contrast black and white... [Manello] uses everyone in the video [including LL] as sort of an architectural sex ob ject, thereby turning the pretentious archness of the movie into a jokey turn-on.” The second single from “Less Than Zero,” the Black Flames’ “Are You My woman' backed with Public Enemy’s “Bring the Noise,” is gain ing airplay on both tracks. For Public Enemy, who toured college campuses and suburbs on the Beastie Boys’ spr ing ’87 “Licensed To 111” tour, and then spent June-November on LL Cool J’s 80-date Def Jam ’87 tour—the fresh exposure has been critical. At tention has been refocused on their Def Jam debut album, “Yo! Bum Rush the Show,” which has sold more than a quarter-million copies to date and was named the number one album of the year in England’s New Musical Express. For LL Copl J, “Going Back to Cali” lacks off another year of suc cess: His second Def Jam/Columbia album, “Bigger and Deffer," a top 5 pop LP in Billboard with 11 weeks at RIAA double-platinum in November 1987. The album has yielded three singles, including “I’m Bad” (top five R&B), “I Need Love” (No. 1 R&B and top 15 pop), and “Go Cut Creator Go.” In recognition his achievements, the 20-year-old LL has been nominated for two American Music Awards, in categories that find him in competition with Smokey Robinson, Luther Vandross, and Anita Baker, among others. The Egyptians, about 3000 B.C., used a checkmark as the letter T. MTS AND tANDMAIMS-Michael Jackson is the first amst ever with tour number Me hits tram the same album, as “Man in the Miner benefit single tops BWbearfs Hot 108. “Bad” LP, at bulleted No. 3, is top five for the 27th CMsecutive week. “American Concert Tour” is 8.R.O. everywhere. Tho hits and the landmarks...keep ««m»ng. • , ’ v.’ ^-4" ' ' ' " * ■ • ; V ' >’• Y ■ Ziggy Marley Establishing Own Identity; Praises Jah, Reggae NEW YORK, N.Y. (AP)-At the age of 19, reggae artist Ziggy Marley has seen enough of the world to know he wants to change it. “I am not blind,” Marley says. “Even in Jamaica, injustice happen ed. It happened all over the world. It means something all over the world.” On the Melody Makers’ new album, “Conscious Party,” Marley sings of oppression, bigotry and hope for a better world. For anyone who follows reggae music, Marley’s political con sciousness should come as no sur prise. The late Bob Marley, Ziggy’s father, was reggae’s most celebrated artist and famous for such protest songs as “Get Up, Stand Up” and “I Shot the Sheriff.” But while acknowledging the legacy of his father, Ziggy Marley is determined to establish his own iden tity. "I want to be fulfilled myself rather than try to follow exactly in my father’s footsteps.” Marley was born on Oct. 17,1968, in Trenchtown, an impoverished section of Kingston in Jamaica. When he was 11, he formed the Melody Makers along with his brother, Stevie, and sisters, Cedella and Sharon. The Melody Makers’ first song, “Children Playing in the Streets,” was written by their father. In 1985, they released their first album, “Play the Game Right,” which received a Grammy nomination for best reggae record. In 1986, they released the album, “Hey World.” we re oromers ana listers, Marley said. “Doing music was part of being a family.” “Hey World” contained such overt ly political songs as the anti apartheid “666,” and on the new album, he continues to confront in justice with songs such as “Tomor row People,” the first single to be released. “Tomorrow People, think of your past," he sings, attacking those who think only of the future and their in difference to humanity. “The original idea was from robots, like the movie ‘Robocop’—people becoming androids,” Marley said. “Scientists are making dangerous things." Although “Conscious Party” is only Marley’s third album, he is already attracting the attention of some of the music industry’s most highly ac claimed artists. Talking Heads member Chris Frantz and Tina Heymouth produced the record and Rolling Stones guitarist Keith Richards plays on the song, “Lee and Molly.” “Lee and Molly” is a story about racial bigotry. Lee is a white man who dates Molly, a black woman, and is beaten up by his father because of the relationship. The song is based on an actual couple who went to high school in Kingston with Cedella Marley. “He [Lee’s father] thought going out with Molly set a bad exam ple,” Cedella recalled. Ziggy Marley identifies strongly wun uie people of Africa, on "Tumbi IngDown,” he uses the symbols of the «agle, the bear and the lion to warn against the consequences of super power oppression of the Third World. "The eagle is the United States and their allies. The bear is the Soviet Union because of what they’ve done , in Ethiopia and Afghanistan,” Marley said. "The lion is Africa. Bad things are done against my people. Consequences will come down on you.” Marley also sings about Africa on the ballad, "Dream of Home.” “Home is Africa,” Marley said. "We know that's where we originated from. We have to get rid of [South African President P.W.] Botha. Through ourselves, our music, we fight apartheid.” “New Love” is the album’s only love song, although it’s more about ‘ the spiritual quality of love rather than a particular person. “My love is always new; it shouldn’t get boring,” Marley said. ‘ ‘Love can hurt you, like Lee and Mol ly. But new love is like the sun rising. Like the morning dew.” Marley is a Rastafarian and religion plays an important role in his life and music. On “A Who a Sey,” he ittacks those who do not share his oelief in a higher being. “My religion is a way of life. If I please Jah [God], I will please many more people,” he said. BUSBOYS—L.A.’s perennial MlnlmtimWago Rock i Rollers the Busboys kicked off the release of their first album hi six years with an onstage visit from very special friend Eddie Murphy who has been one ef the Busboys’ most vocal. wpportw* sinceliiey met an tbo *at anl^arameunt; blockbuster "48 Hrs.” The new album la Wad “Money Han’t Make No Man.” Bus Hoys Commit Heart And Soul To Keep Music In The Spotlight The intrepid Bus Boys, as if guided by W.C. Fields’ advice to underdogs, have never been afraid to “take the bull by the horns and face the situa tion.” As if to underscore that philosophy, the first single from their first album in six years is titled, “Never Giving Up.” Bus Boys’ Brian O’Nal, writer, keyboards, vocalist and dedicated leader, explains, “We wanted to play rock and roll, and we were black; two things that did not go hand in hand un til we came along to give life to rock’s ‘missing link.’” O’Neal has been the leader of the L.A.-based group since its inception, committing heart and soul and anything else it takes to keep America’s premiere minimum wage rock and rollers in the music spotlight, while remaining philo sophically on target. He is joined by original member Victor Johnson (guitar and vocals) and Steve Felix (drums), and new members Andy Kapner and Bill Steinway (keyboards) and French (bass and vocals). The last 3V4 years have been spent on the road with their successful “Don’t Mind Working” tour, and recording their third album, “Money Don’t Make No Man,” released on Leap Day on Voss Records. Accor ding to O'Neal, this is a major victory for what he lauds as American per sistence. “Instead of having the customary budget from a label, we’ve been doing ‘guerrilla recording’—for years we earmarked the bulk of our earn ings from touring for recording, and lived on as little money as possible.”. Sometimes working two weeks just to be able to afford two days in the studio, the group’s frugal lifestyle proved that fame and fortune are not necessarily synonymous. “Money Don’t Make No Man,” co-produced by O’Neal and John Hug, whose credits include albums with Marty Balin and Dwight Twilley, has recorded in 23 different studios over the three-year period. “People always gave us five times our penny’s worth,” says O’Neal, ad ding that the album is a pact of good will and faith between a great number of i ‘ ~ jHasaiRswmHH ,v. the music < JpHHl __ try who turned out for club datesand concerts. “Without their sponsorship, we couldn’t have done it on our own.” Having already presented their blueprints for bridging rock’s color gap, the Bus Boys’ new album doesn’t concentrate as much on the satirical social commentary of their two previous albums. Nevertheless, it is unmistakably and uniquely the Bus Boys, shaking things up in their conti nuing effort to eliminate the gap altogether. The Bus Boys burst into the public consciousness in 1980, with the release of their first album, “Minimum Wage Rock ft Roll',” and were promptly and unanimously ball ed by the critics for their social com mentary, as well as their sensational showmanship. Praised as a “great band” by the L.A. Herald, endorsed as “revolutionary" by the L.A. Times, the. Wall Street Journal Called them “remarkable” and reported, “The Bus Boys are launching an assault on the musical mainstream.” Prompted by the media fervor cued by rock’s newest phenomenon, Newsweek capped the Bus Boys’ blits with “The Bus Boys are more than a great band, they are an important Supported by well-timed ap pearances on major television venues including “Rock Concert,” “Mid night Special,” “Soul Train,” “Fridays” and “Saturday Night Live,” the group embarked on a monumentally successful tour, which earned them a faithful network of diehard Bus Boys fans. Definitely a landmark year for the — — - -.. Bus Boys, 1982 saw the release of their second LP, “American Worker,” along with their now legen dary appearance in the box office hit “48 Hrs” starring Eddie Murphy, good friend and vocal advocate of the; group. The years since 1982 have for the most put been spent on the road as a > working hand with Linda Ronstadt for a history-making week at New York’s incomparable Radio City Music Hall, opening for the Stray Cats’ concerts, and traveling with Murphy as the opener for the come dian’s “Delirious” tour, which subse quently became a cable TV special. “Groove-Rock” is what O’NeaT calls “Money Don't Make No Man.” Explaining the term he coined, “Groove Rock is a black, instinctive ly tribal beat with pop and rock in fluences. Actually, Groove Rock goes back to the Bus Boys being possibly the missing link in rock and roll, and connecting with the public in the primal way we’ve been doing for over eight years now. Once again, it was important we connect from a black perspective, hence in ’Money Don’t Make No Man’ there’s a strong modern R&B backdrop with the theme and spirit that's unmistakably rock and roll.” On the heels of the release of “Monoy Don’t Make No Man,” the Bus Boys will again carry their musical message to the people with a —cross-country tour of colleges
The Carolinian (Raleigh, N.C.)
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March 28, 1988, edition 1
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