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Who Is He ?
Vinyl record
Funky Vocal Tech House Rework of soulful vocal


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Last FM Information on Bill Withers

Please note the information is done on a artist keyword match and data is provided by LastFM.
William Harrison "Bill" Withers Jr. (July 4, 1938 – March 30, 2020) was an American singer-songwriter and musician. He had several hits over a relatively short career of fifteen years, including "Ain't No Sunshine" (1971), "Grandma's Hands" (1971), "Use Me" (1972), "Lean on Me" (1972), "Lovely Day" (1977), and "Just the Two of Us" (1981). Withers won three Grammy Awards and was nominated for six more. His life was the subject of the 2009 documentary film Still Bill. Withers was inducted into the Songwriters Hall of Fame in 2005 and Rock and Roll Hall of Fame in 2015. Two of his songs were inducted into the Grammy Hall of Fame. Withers, the youngest of six children, was born in the small coal-mining town of Slab Fork, West Virginia, on July 4, 1938. He was the son of Mattie (Galloway), a maid, and William Withers, a miner. He was born with a stutter and later said he had a hard time fitting in. His parents divorced when he was three, and he was raised by his mother's family in nearby Beckley, West Virginia. He was 13 years old when his father died. Withers enlisted in the United States Navy at the age of 17, and served for nine years, during which time he became interested in singing and writing songs. He left the Navy in 1965, relocating to Los Angeles in 1967 to start a music career. His debut release was "Three Nights and a Morning" in 1967. Arranged by Mort Garson, the song went unnoticed at the time but was later reworked by Withers as the track "Harlem". Withers worked as an assembler for several different companies, including Douglas Aircraft Corporation, IBM and Ford, while recording demo tapes with his own money, shopping them around and performing in clubs at night. When he returned with the song "Ain't No Sunshine" in 1971, he refused to resign from his job because he believed the music business was a fickle industry. In early 1970, Withers's demonstration tape was auditioned favorably by Clarence Avant, owner of Sussex Records. Avant signed Withers to a record deal and assigned former Stax Records stalwart Booker T. Jones to produce Withers' first album. Four three-hour recording sessions were planned for the album, but funding caused the album to be recorded in three sessions with a six-month break between the second and final sessions. Just as I Am was released in 1971 with the tracks, "Ain't No Sunshine" and "Grandma's Hands" as singles. The album features Stephen Stills playing lead guitar. On the cover of the album, Withers is pictured at his job at Weber Aircraft in Burbank, California, holding his lunch box. Withers was known for his "smooth" baritone vocals and "sumptuous" soul arrangements. He wrote some of the most covered songs of the 1970s, including "Lean on Me" and "Ain't No Sunshine". The former entered the Hot 100 chart through multiple versions, including Club Nouveau's 1987 cover, which made the composition one of nine songs to have led the chart via different acts. With "Lovely Day", he set the record for the longest sustained note on a chart hit on American charts, holding a high E for 18 seconds. Editors from The Guardian considered that Withers' songs are "some of the most beloved in the American songbook," citing, "'Ain't No Sunshine' is regarded as one of the all-time great breakup tracks, while 'Lean on Me', an ode to the supportive power of friendship ..." For the same newspaper, Alex Petridis noticed "[he] laid pain and paranoia under his deceptively gentle songs, and retired early having conquered gospel, funk, blues, disco and more." In Rolling Stone, writer Andy Greene noted that several of his songs "are embedded in the culture and have been covered countless times." Writing for The New York Times, Giovanni Russonello considered Withers "[a] soulful singer with a gift for writing understated classics", adding, "the ultimate homespun hitmaker, he had an innate sense of what might make a song memorable, and little interest in excess attitude or accoutrements. Ultimately Withers reminded us that it’s the everyday that is the most meaningful: work, family, love, loss." A Billboard article considered that Withers "stands as one of R&B/soul music's most revered singer-songwriters." In the same magazine, writer Gail Mitchell acknowledged "Withers' legacy has flourished in the decades since, thanks to a cross-section of artists who have covered/sampled his songs or cited him as a major influence." Musician and music journalist Questlove referred to Withers' post-breakup 1974 album +'Justments as "a diary [...] [it] was a pre-reality-show look at his life. Keep in mind this was years before Marvin Gaye did it with Here, My Dear." The Beach Boys' Brian Wilson deemed him "a songwriter's songwriter". Musicians Sade, D'Angelo, Justin Timberlake, John Legend and Ed Sheeran have credited Withers as a music inspiration. Withers died from heart complications in Los Angeles on March 30, 2020, at age 81; his family announced his death four days later. He is interred in the Forest Lawn Memorial Park (Hollywood Hills). Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

Last FM Information on Henrik Schwarz

Please note the information is done on a artist keyword match and data is provided by LastFM.
Let's just pause for one second; now, think about all that music that has so enriched your life down the years. All of it, without fault, and regardless of any strict genre definitions, is soul music. If it flicks a switch deep inside you, speaks to you, comforts you and makes you feel good about yourself, then that, my friend, is soul music. German DJ and producer Henrik Schwarz understands this musical truth more than most.A long-time aficionado of those musical forms that are commonly rooted in some appreciation of this sonic legacy - funk, house, disco, jazz, techno, and yes, the dictionary definition of soul (James Brown, Marvin Gaye, Motown etc, etc) - his adventures into hi-fi are testament to such a fact.And nowhere is this more readily apparent than on Schwarz's latest venture: a much-deserved foray into that Holy Grail of DJ mix albums, !K7's acclaimed DJ Kicks series. Across 23 tracks, Schwarz enthusiastically takes us on a musical journey that without wanting to get too chin-strokery about it, manages to entertain, enthral and educate all at once. And that he achieves this without losing sight of the style and sophistication that are the hallmarks of his unique DJ sets and his much praised productions and remixes is only added grist to his musical mill. Schwarz's background is jazz: free-flowing, improvisational and inspirational jazz, the likes of which set the pre-rock'n'roll years alight. And it's this mindset that initially informs his well-chosen mix. Rather than go for the latest bunch of tunes that are burning a hole on dancefloors across the globe, Henrik has paid homage to the music that he has loved down the years. Consequently, Moondog's jazz classic 'Bird's Lament' sets the scene for the journey we are about to undertake.When this segues into Double's blissful slice of Balearica, 'Woman Of The World', it's clear that we are in the hands of a rare talent. For Henrik Schwarz is a DJ who utilises all the tools of the modern sound sculptor - his usual sets are comprised of him jamming live via his trusty laptop - with a reverence for what has gone before. It's no wonder that Gilles Peterson is such a fan of his productions 'Supravision', 'Chicago', 'Jon' (which is featured here) and 'Leave My Head Alone Brain', nor that his music is lapped up by Manchester's hugely influential Electric Chair coterie. Henrik himself admits that he didn't want to think too much about his mix, rather he let the music dictate what direction he went in."I just selected the tracks and then played them," he admits. "It was more about the feeling of the mix, creating those emotions and combining extremes."Such a case comes when he mixes the minimal techno of Robert Hood's 'The Core' with an African field recording. It's about creating layers and textures and in doing so it gives his mix a depth that is truly awe-inspiring.But this isn't all about intellectual grandstanding. Good times are audible at every turn: James Brown encourages us to get on the good foot with his dancefloor shimmy, 'Since You've Been Gone', and the psychedelic free jazz of Schwarz's own 'Jon' is both vibrant and hypnotic.Elsewhere, the stirring strut of Jae Mason's 'Let It Out' and the irresistible Afro-beat of Cymande's 'Anthracite' both compel you to fish out those dancing trousers. Undoubtedly though, the blue touchpaper is well and truly lit by Schwarz's 'Imagination Limitation', a track written especially for this mix. Placed next to Detroit legends Drexciya's 'Black Sea' - all crisp and muscular Motor City futurism - it ticks Schwarz's techno fetish with aplomb. Other dancefloor delights come courtesy of avant-garde nut job Arthur Russell's trippy cosmic disco 'Get Around To It'. Being a mix of untold seams, the funk flavours at the business end speak of Schwarz's cerebral qualities. Womack & Womack's 'Conscious Of My Conscience', Rhythm & Sound and Sugar Minott's 'Let Jah Love Come', Doug Hammond's 'Wake Up Brothers' and the incomparable Marvin Gaye's 'You're The Man' are all moving and literate pleas for a better world. And that in a nutshell is the mix you presently have in your hand. It's a CD that tells a story. It contains tracks that ooze class, that reek of history, that are imbued with style. It is a mix that speaks of life's rich tapestry. In short, Henrik Schwarz has delivered a mix with something for your mind, your body, and, most importantly, your soul. Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.