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FEATURED: A Pair of Ahmad Jamal Live Albums Capture an Innovator in His Prime

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#AceNewsDesk – The pianist, 92, has been hesitant to glance back: “I’m still evolving, whenever I sit down at the piano.”

New York Times: Aug. 31, 2022, 10:00 a.m. ET

A set of pristine old recordings, captured in the mid-to-late 1960s during Ahmad Jamal’s performances at the Penthouse club in Seattle, will be released starting in November.
A set of pristine old recordings, captured in the mid-to-late 1960s during Ahmad Jamal’s performances at the Penthouse club in Seattle, will be released starting in November.Don Bronstein

The first time Ahmad Jamal put out a live recording with his trio, it was an unexpected smash. “At the Pershing: But Not for Me,” from 1958, became one of the best-selling instrumental records of its time. Since then, in an extraordinary career spanning more than 75 years, this piano eminence has released dozens more live albums, a catalog sprinkled with gems.

But what about the concerts he played that were captured on tape but never released? Ask him about digging those up for archival release, and he’ll almost certainly say “no, thanks.” Even at 92, Jamal resists glancing back. “I’m still evolving, whenever I sit down at the piano,” he said one recent afternoon, speaking by phone from his home in the Berkshires. “I still come up with some fresh ideas.”

So when he got wind of a set of pristine old recordings, captured in the mid-to-late 1960s during performances at the Penthouse club in Seattle, he hesitated. It took some cajoling for Jamal to sign off on a release. Eventually, “I went along with it,” he said. “But it’s unusual for me.”

His reluctance was thawed by Zev Feldman, the skillful and enthusiastic producer who unearthed the tapes, and by the quality of the performances themselves.

Culled from half-hour radio broadcasts that had been caught on the Penthouse’s reel-to-reel tape machine, these recordings will see the light of day starting in November, with the release of two separate double-disc collections: “Emerald City Nights: Live at the Penthouse (1963-64)” and “(1965-66),” the first albums to arrive on Feldman’s new label, Jazz Detective. A third set, “(1966-68),” will be released soon after.

Five-and-a-half hours of music in all, the albums arriving in November are a celebration of both the flexibility and the certitude of Jamal’s style — a modernist marvel, and nearly a genre unto itself.

His music can sometimes scan as easygoing acoustic jazz with catchy hooks, which explains its broad appeal. But really it’s packed with combustive overlays of rhythm — and a connection to musical history so deep and expansive that, in fact, it foresaw the future.

“I think when he was creating those grooves that became iconic, he was finding another way: It left funk music, it left soul music, it left jazz,” said the pianist Jason Moran, who as the Kennedy Center’s artistic director for jazz has presented Jamal multiple times in recent years. “He was phrasing for the future. He wasn’t just phrasing for the ’60s, he was phrasing for the ’90s.”

The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing was growing more lush.
The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing was growing more lush.Don Bronstein

Jamal’s music with his trio — and then, in later years, a quartet with a hand percussionist added to the mix — reaches into a deep reserve of Black rhythmic practices, even as he wears the influence of Romantic piano music on his sleeve. In the process, as far back as the early 1950s he was sounding out grooves and feelings that would not catch on broadly until years later.

Plenty has been made of his influence on Miles Davis, who declared Jamal his favorite piano player. But it goes beyond that. Before James Brown had helped invent funk, Jamal was rearranging the organization of time in jazz, adding a heavier emphasis on the downbeat — like Brown eventually would — and syncopating the heck out of the rest of the measure, as an Afro-Cuban musician might.

“There are things that occur in your sound that you’ll never be able to trace, because they go too far back. And I feel like he is totally aware of that ancestral rhythmic connection,” Moran said. “Ahmad on the piano is one of the rare ones that figured out that sensibility that was gluing together so many decades, in the past and the future.”

It’s little wonder that he became one of the most sampled musicians in hip-hop history. Jamal’s piano phrasing haunts iconic tracks like Nas’s “The World Is Yours” (the producer Pete Rock sampled his “I Love Music,”from 1970) and De La Soul’s “Stakes Is High” (J Dilla plucked a few bars from Jamal’s “Swahililand,” from 1974).

Born Frederick Russell Jones, he first sidled up to a piano at age 3, the year Franklin Delano Roosevelt was sworn in as president of the United States. He’s been playing ever since.

At that time, when pianists still played the role that jukeboxes would soon take over, Pittsburgh was turning out future jazz stars as reliably as it was generating steel. Jamal was preceded at Westinghouse High School by Erroll Garner, Mary Lou Williams and Dodo Marmarosa — all future piano greats. The city was also full of Western classical music, a tradition Jamal learned from his piano teacher, Mary Cardwell Dawson, who would later found the National Negro Opera Company.

“In Pittsburgh, we didn’t study just the American classical music, also sometimes referred to as jazz,” he said. (Jamal has always rejected the word “jazz,” calling it both imprecise and racially insensitive.) “We studied European classical music, and Duke Ellington, along with others. So that’s the difference.”

He joined the local musicians’ union at 14, and headed out on tour three years later with the George Hudson Orchestra. While playing in Detroit, he was exposed to the growing Ahmadiyya Muslim movement. He converted, changed his name and began studying Islam intensely — something that he credits with saving him from the snares of life on the road. It also fortified his conviction to abide by his own code.

“I always tried to divest myself of the music business. I wasn’t too thrilled with the music business at any time,” he said. “So I have always sought to do other things.”

Soon Jamal began traveling to Africa, and he began what he says was the first company to import greeting cards from Africa to the United States. (His first mention in The New York Times, from 1959, is in an article titled “Pianist-Investor Is a Hit in Cairo.”) He also briefly ran a music venue, the Alhambra, in Chicago, where he was living in the 1950s. And for a time he stopped performing publicly altogether, focusing instead on running a series of small record labels that put out LPs by musicians on both sides of the Atlantic.

The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing — always centered on finely wrought patterns and spare, interwoven phrases — was growing more lush. The Penthouse was one of his favorite clubs to play, so the new collections showcase Jamal in a number of different engagements, with a variety of trio lineups.

The tracks include Jamal originals like “Minor Moods”; contributions from his bandmates; jazz standards by Cole Porter and Benny Golson; and pop ditties like “Feeling Good,” performed here just months before Nina Simone’s famous rendition was released. On “(1965-66),” one side features a particularly exciting (and rarely recorded) lineup: the drummer Vernel Fournier, whose famous beat had set the gamboling foundation for “Poinciana,” and the bassist Jamil Nasser, one of Jamal’s most consistent collaborators in the 1960s and ’70s.

“He supervised every part of this production: listening to the music, ID-ing the tracks,” Feldman said of Jamal’s involvement in the archival release.

“There are a few things that didn’t make it,” Feldman conceded. Then, with an artful touch of understatement, he explained: “He has a discerning ear.”

#AceNewsDesk report ………..Published: Aug.31: 2022:

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FEATURED: Johnny Depp Appears As Moon Person At MTV VMAs: ‘I Needed The Work’

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#AceNewsRoom With ‘Kindness & Wisdom’ Aug.29, 2022 @acenewsservices

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#AceNewsDesk – Johnny Depp made an appearance at the 2022 MTV Video Music Awardsdressed as the show’s mascot — the moon person. This was the actor’s first appearance since the defamation trial with ex-wife Amber Heard.according to Deadline News by

Johnny Depp
MTV

After Jack Harlow, Fergie and Lizzo’s performance, Depp showed up digitally seemingly floating over the Prudential Center arena.

“And you know what? I needed the work,” Depp was heard saying.

Depp would later make another cameo where he said, “Hey VMAs, let’s get back to the f***ing music, shall we?”

In a later segment, Depp offers his professional services.

“I just want you guys to know that I’m available for birthdays, bar mitzvahs, bat mitzvahs, weddings, any ol’ thing you need… ANYTHING, you name it. So, oh, I’m also a dentist,” he said after the commercial break.

#AceNewsDesk report ………..Published: Aug.29: 2022:

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FEATURED AUSTRALIA: Judith Durham, one of the best-loved entertainers and the former lead singer of The Seekers, has died at the age of 79.

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#AceNewsDesk – Judith Durham, The Seekers lead singer, dead at 79, six decades after the formation of the group

Play Video. Duration: 2 minutes 36 seconds
Australian music legend Judith Durham dies aged 79

Born in Essendon in Victoria, Durham recorded her first EP at 19 and went on to worldwide fame with The Seekers, selling more than 50 million records.

Durham died in palliative care on Friday night after a short stay in The Alfred Hospital in Melbourne, according to a statement from Universal Music Australia and Musicoast after complications from chronic lung disease.

As part of The Seekers, Durham was one of the first Australian artists to achieve international success, with songs like Georgy Girl, I’ll Never Find Another You, A World Of Our Own, Morningtown Ride, I Am Australian and The Carnival Is Over.

Prime Minister Anthony Albanese took to Twitter to describe Durham as “a national treasure” who “gave voice to a new strand of our identity”.

Opposition Leader Peter Dutton described Durham as “an exemplary performer” whose voice was “a gift of universal beauty”.

“The carnival may be over, but Judith Durham’s legacy will well and truly live on,” Mr Dutton said.

Her Seekers’ bandmates, Athol Guy, Bruce Woodley and Keith Potger, said their lives had been changed forever by losing “our treasured lifelong friend and shining star”.

“Her struggle was intense and heroic, never complaining of her destiny and fully accepting its conclusion. Her magnificent musical legacy Keith, Bruce and I are so blessed to share,” Athol Guy said in a statement.

Durham was born Judith Mavis Cock, but changed her surname to her mother’s maiden name at the age of 19, having trained as a classical pianist.

The Seekers moved to the UK in 1964, having formed in 1962, a year before Durham joined the group.

After recording I’ll Never Find Another You in November 1964 at EMI’s Abbey Road Studios — known as the domain of The Beatles — The Seekers went to number one in the UK and Australia.

With their first three releases going to the top of the British charts, the previously unknown group from Melbourne knocked The Beatles off the number one spot.

They also had three top-20 singles and two top-20 albums in the US — a market notoriously difficult to crack for Australian artists.

Play Audio. Duration: 44 minutes 16 seconds
Hear Judith Durham on Conversations with Richard Fidler, recorded in 2012.

On their return to Australia in 1967, The Seekers set an Australian record when a crowd of more than 200,000 watched their performance at Melbourne’s Sidney Myer Music Bowl.

They were later named joint Australians of the Year for 1967.

But just over a year later, Durham stunned the music world by quitting the group at the height of its success to launch a solo career.

Durham made her shock decision to leave The Seekers on a tour to New Zealand in 1968, with the band about to sign a lucrative second contract with EMI.

“I found artistically that I wasn’t quite on the same page as the boys … I just that I really need to do my own thing,” Durham told Australian Story in 2019.

World of Their Own
Judith Durham joined fellow The Seekers members for the filming of Australian Story in 2019.(Australian Story: Darren James Photography)none

The Seekers’ final performance in July 1968 — Farewell The Seekers — was broadcast on the BBC and watched by more than 10 million viewers. 

Over the past three decades, The Seekers played a series of comeback concerts and recorded three new albums with Durham returning as lead singer.

Travelling with British pianist husband Ron Edgeworth and tour manager Peter Summers, Durham survived a road accident in 1990 that killed the driver of the other car, as she sustained a fractured leg and wrist.

Soon after The Seekers reunited for a 25-year Silver Jubilee tour in 1993, Edgeworth was diagnosed with motor neurone disease, dying in December 1994.

In 1995, The Seekers were inducted into the ARIA Hall of Fame, with I’ll Never Find Another You added to the National Film and Sound Archive of Australia’s Sounds of Australia registry in 2011.

In 2013, during The Seekers’ Golden Jubilee tour, Durham suffered a stroke, which affected her ability to read and write, while not diminishing her singing skills.

Members of The Seekers, including Durham, were honoured as Officers of the Order of Australia in 2014.

Durham was inducted into the Australian Women in Music Awards Honour Roll in 2019.

#AceNewsDesk report ………..Published: Aug.06: 2022:

Editor says …Sterling Publishing & Media Service Agency is not responsible for the content of external site or from any reports, posts or links, and can also be found here on Telegram: https://t.me/acenewsdaily and all wordpress and live posts and links here: https://acenewsroom.wordpress.com/ and thanks for following as always appreciate every like, reblog or retweet and free help and guidance tips on your PC software or need help & guidance from our experts AcePCHelp.WordPress.Com

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BREAKING U.K MUSIC NEWS: Queen’s Greatest Hits sells seven million copies, breaking chart record

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#AceNewsDesk – Queen have made UK chart history by becoming the first act to sell seven million copies of an individual album.

By Mark Savage
BBC Music Correspondent

Freddie Mercury
Queen’s Greatest Hits is a perennial best-seller

Their first Greatest Hits collection, from 1981, is now owned by one in every four households in the UK, said the Official Charts Company.

The record, which features classic singles like We Will Rock You and Bohemian Rhapsody, has been a perennial best-seller for years.

It recently spent its 1,000th week on the UK album chart.

Queen guitarist Brian May called the latest achievement “joyous news”. 

“No album has done this before in history,” he said in a statement. “Thank you, we appreciate it.”

Drummer Roger Taylor added: “The British public and their infinitely-great taste have made this the biggest-selling album in history. 

“Thank you very much; we’re humbled and honoured. We salute you!”

Record company

Queen’s first Greatest Hits album features the songs Bohemian Rhapsody, Bicycle Race and We Are The Champions

Queen’s Greatest Hits leads the all-time album chart by almost a million copies, ahead of Abba’s 1992 compilation album Gold.

“When it was released for the first time in 1981, career-spanning packages such as Greatest Hits were relatively rare, the preserve of only the very biggest acts,” noted Martin Talbot, chief executive of the Official Charts. 

“There is no doubt that its massive success has done as much as any other release to turn hits packages into the omnipresent album concept that they are today.”

Queen’s second Greatest Hits album, released in October 1991, a month before the death of singer Freddie Mercury – is also the UK’s tenth biggest record, with sales around the four million mark.

Back in 2014, Queen’s Greatest Hits became the first album to surpass six million sales in the UK. 

At the time, the chart only counted “pure” sales – i.e. vinyl, cassette, CD and downloads. 

A year later, audio streams were incorporated into the calculations, with 1,000 streams counting as one “sale”. 

Since then, Queeen’s Greatest Hits has accumulated 1.26 billion total UK streams, with the album’s most-streamed track being Bohemian Rhapsody, which boasts 240 million UK streams and counting, the chart company said.

The band’s back catalogue received a massive boost from the release of the Oscar-winning Freddie Mercury biopic Bohemian Rhapsody in 2018.

On Spotify, Queen are currently the 31st most-streamed act in the world, ahead of other classic artists like The Beatles, who place 44th, and Michael Jackson, who is 68th.

According to the accounts filed by the band’s company, Queen Productions Ltd, sales and streams of their music generated £39m in royalties in the last financial year.

UK’s best-selling albums of all time

  1. Queen – Greatest Hits
  2. Abba – Gold
  3. The Beatles – Sgt Pepper’s Lonely Hearts Club Band
  4. Adele – 21
  5. Oasis – (What’s The Story) Morning Glory?
  6. Michael Jackson – Thriller
  7. Pink Floyd – Dark Side Of The Moon
  8. Dire Straits – Brothers In Arms
  9. Michael Jackson – Bad
  10. Queen – Greatest Hits II
#AceNewsDesk report ………..Published: July.19: 2022:

Editor says …Sterling Publishing & Media Service Agency is not responsible for the content of external site or from any reports, posts or links, and can also be found here on Telegram: https://t.me/acenewsdaily and all wordpress and live posts and links here: https://acenewsroom.wordpress.com/ and thanks for following as always appreciate every like, reblog or retweet and free help and guidance tips on your PC software or need help & guidance from our experts AcePCHelp.WordPress.Com

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BREAKING U.K. NEWS: Glastonbury Music Festival in Pictures Friday & Saturday

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The best photos from Glastonbury 2022 on Friday and Saturday

Thousands of revellers watch Groove Armada from beneath a 50-tonne laser spewing and fire breathing spider, at Arcadia, during the early hours of Saturday mornin (Image: PA)

The world’s best festival is back after three long years

After a three year hiatus, the world’s biggest music festival is back. Hundreds of thousands of people have descended on Somerset for a weekend of tents, tunes, and tipples.

This year’s Glastonbury kicked off in a raucous fashion as pop sensation Billie Eilish wowed revellers on the Pyramid Stage on Friday night, with indie outfit Foals producing a great Glasto sets on the Other Stage. Friday highlights also included Little Simz, Phoebe Bridgers, and Bonobo.

Saturday sees Paul McCartney take to the Pyramid Stage in a headline slot. He’s joined by Noel Gallagher’s High Flying Birds, AJ Tracey, and Haim. Megan Thee Stallion – who performed at Parklife earlier this month – headlines the Other Stage, and is supported by Glass Animals and Olivia Rodrigo to name but a few.

The West Holts Stage is topped by Roisin Murphy, and also will feature Caribou and Leon Bridges. Sunday’s legends slot will be occupied by Diana Ross, who also performed at the Queen’s Jubilee at the start of the month.

With so much to see and do, we’ve rounded up some of the best pictures which have come out of Worthy Farm from Friday and Saturday this year.

Why not tell us your favourite act performing this year in the comments.

The 50-tonne spider produced some memorable sights during Groove Armada’s set (Image: PA)
Ukrainian group Go_A performed on the John Peel (Image: PA)
Bilie Eilish was in her element during her headline set on Friday (Image: Getty Images)
Fans lapped up Eilish’s performance, which drew in crowds as far as they eye could see (Image: Guy Bell/REX/Shutterstock)
St Vincent was the epitome of cool during her Other Stage set (Image: Getty Images)
Californian Phoebe Bridgers – who made her opposition to the decision to overturn Roe V Wade by the US Supreme Court well known – also produced a wonderful pop-up-book-style set of visuals (Image: Getty Images)
Thousands turned out for Geordie Sam Fender (Image: PA)
Idles took the Other Stage by storm, producing a performance so driven it was impossible to take your eyes off it (Image: Getty Images)
Robert Plant and Alison Kraus were one of the star attractions on Friday (Image: Getty Images)
Griff was warmly received under the tent of the John Peel Stage (Image: Getty Images)
Wolf Alice had a torturous route to the festival – with a flight from LA cancelled, the band had to travel to Seattle for a direct plane to London, and then hot-footed it to Somerset (Image: PA)
Irish Zambian rap, grime and hip hop artist Denise Chaila performs on the BBC Music Introducing Stage (Image: Getty Images)
Jason Williamson from Sleaford Mods could not hide his joy from crowds (Image: PA)
Indie darlings Wet Leg had one of the largest screams the festival had ever seen – which has to be watched to be believed (Image: PA)
Some festival-goers chose to avoid the long queue for the showers by setting up their own facilities (Image: Getty Images)
Performers sing and dance as they process through the Circus Field area (Image: Getty Images)
Fatboy Slim performing at the Stonebridge Bar in the Park area (Image: JON ROWLEY/EPA-EFE/REX/Shutterstock)
Mel C was playing the William’s Green area – and had a brilliant T-shirt (Image: Getty Images)
Some people chose to get away from the hustle and bustle in a meditation tent (Image: Getty Images)
Glasto is always a special weekend – even more so for Ed and Chelsea (Image: Getty Images)
Some of the tents which occupy the 1,200 acre site (Image: Getty Images)
Michael Eavis (right) and his daughter Emily Eavis open the gates on the first day (Image: PA)
#AceNewsDesk report ………..Published: June.25: 2022:

Courtesy of MEN News Desk

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BREAKING UK: Johnny Depp Joins Jeff Beck Onstage For Second Night In A Row, This Time In London

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#AceBreakingNews – UPDATED: One night after making a surprise appearance during guitar legend Jeff Beck’s show in Sheffield, England, Johnny Depp joined Beck onstage again Sunday, this time at London’s iconic Royal Albert Hall by Beck’s tour continues in Gateshead June 2nd.

Johnny Depp
Screenshot via YouTube @SONIC.SPIRIT.SOUNDS

“He came knocking on my dressing room door about five years ago and we haven’t stopped laughing since,” the onetime Yardbirds guitarist said by way of introduction as some expectant fans called out “Johnny!”

“We kept it quiet for obvious reasons,” said Beck, “but here he is.”

Jeff Beck introducing Johnny Depp at the Royal Albert Hall ♥️

“He came knocking on my dressing room door about five years ago and we haven’t stopped laughing since” pic.twitter.com/JhHAMvAEcR

— 🌟🏴‍☠️ (@GellertDepp) May 30, 2022

The duo again played their 2020 collaboration “Isolation,” a remake of the song John Lennon released in 1970. 

Beck has one more show in London on Monday night. It’s unclear if the former Viper Room owner will join him, but if Depp does he’ll likely be on a red eye back to Virginia as jury deliberation resumes Tuesday in his $50 million defamation lawsuit against ex Amber Heard.

PREVIOUSLY on May 29: Johnny Depp made a surprise appearance in the English city of Sheffield on Sunday for a special performance alongside Jeff Beck who is currently touring in the U.K.

Depp and Beck rocked out to their 2020 collaboration “Isolation,” a remake of the John Lennon song released in 1970. The pair also performed covers of Marvin Gay’s “What’s Going On” and Jimi Hendrix’s “Little Wing.” There’s speculation Depp may also join Beck on his next two tour stops at London’s Royal Albert Hall on May 30 and 31.

Depp fans erupted with joy on social media seeing the passionate performers together again, as well as his newly dyed hair that’s much lighter than what he wore during his court appearances.

Before becoming an actor, Depp began his career as a musician. He formed the supergroup Hollywood Vampires with Alice Cooper and Joe Perry in 2015.

Depp is currently on a break from his high-profile court case against his ex-wife Amber Heard which is nearing its conclusion as the jury deliberates. Depp is suing Heard for defamation for $50 million in damages; his ex is countersuing for double that amount. The televised case has been ongoing since April 11 with a decision expected as early as Tuesday.

Check out videos of Depp and Beck’s performances below:

#AceNewsDesk report ………..Published: May.31:  2022:

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PEACE & TRUTH

MUSIC SPOT: Listen To Gee What Guy By Yvonne Carroll

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Yvonne Carroll is an obscure female vocalist of the 1960s. Her songs are as follows for 1965: Mister Loveman B side to Laugh Or Cry. Girlie Northern …

Gee What Guy | Yvonne Carroll
#AceNewsDesk report ………..Published: May.24: 2022: 

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PEACE & TRUTH

“Joe Cocker – Bye Bye Blackbird”✨

John Robert “Joe” Cocker, OBE (20 May 1944 – 22 December 2014) was an English singer and musician. He was known for his gritty voice, spasmodic body …

“Joe Cocker – Bye Bye Blackbird”

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National Recording Registry Inducts Music from Alicia Keys, Ricky Martin, Journey & More 2022

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National Recording Registry Inducts Music from Alicia Keys, Ricky Martin, Journey and More in 2022

National Recording Registry Inducts Music from Alicia Keys, Ricky Martin, Journey and More in 2022: Published: Release Date: 13 April 2022:

Recordings by Bonnie Raitt, Linda Ronstadt, Queen, A Tribe Called Quest, Wu-Tang Clan and Broadcaster WNYC on 9/11 Also Among 25 Selected for Preservation

Alicia Keys’ debut album “Songs in A Minor,” Ricky Martin’s “Livin’ La Vida Loca” and Journey’s “Don’t Stop Believin” are some of the unforgettable sounds of the nation’s history and culture joining the National Recording Registry of the Library of Congress. The 2022 class includes important inductions of hip-hop and Latin music, including recordings by Linda Ronstadt, A Tribe Called Quest, Wu-Tang Clan and Buena Vista Social Club.

Librarian of Congress Carla Hayden today named 25 recordings as audio treasures worthy of preservation for all time based on their cultural, historical or aesthetic importance in the nation’s recorded sound heritage.

“The National Recording Registry reflects the diverse music and voices that have shaped our nation’s history and culture through recorded sound,” Hayden said. “The national library is proud to help preserve these recordings, and we welcome the public’s input. We received about 1,000 public nominations this year for recordings to add to the registry.”

The recordings selected for the National Recording Registry bring the number of titles on the registry to 600, representing a small portion of the national library’s vast recorded sound collection of nearly 4 million items. 

The latest selections named to the registry span from 1921 to 2010. They range from rock, pop, R&B, hip-hop and country to Latin, Motown, jazz, and recordings of history as it happened. In addition to the musical selections, the new class includes the famous speeches of President Franklin D. Roosevelt, WNYC’s broadcasts on 9/11 and a podcast interview with comedian Robin Williams. 

Keys described her album, “Songs in A Minor,” as a story and one of her favorite albums as she recalled writing songs like “Troubles,” “Rock wit U,” “A Woman’s Worth” and “Fallin’” in her teens and recording them in her one-bedroom Harlem apartment. 

“I’m so honored and grateful that ‘Songs in A Minor,’ the entire album, gets to be recognized as such a powerful body of work that is just going to be timeless,” Keys said of her album’s induction into the registry. 

Steve Perry, the lead singer of Journey, grew up in a small California farming town, the son of Portuguese immigrants. He said he was stunned for his parents and grandparents to have “Don’t Stop Believin’” enshrined as one of the nation’s signature recordings and that it’s “one of those ‘only in America’ kind of things.” 

“That song, over the years, has become something that has a life of its own,” Perry said. “It’s about the people who’ve embraced it and found the lyrics to be something they can relate to and hold onto and sing.”

NPR’s “1A” will host several features in the series, “The Sounds of America,” on this year’s selections for the National Recording Registry, including interviews with Hayden and several featured artists in the weeks ahead. Follow the conversation about the registry on Twitter and Instagram @librarycongress and #NatRecRegistry. 

You can listen to many of the recordings on your favorite streaming service.The Digital Media Association, a member of the National Recording Preservation Board, has compiled a list of some streaming services with National Recording Registry playlists here: dima.org/national-recording-registry-2022-inductees/.

Defining Sounds of Hip-Hop

Several recordings joining the registry were influential in helping to deepen and grow the genres of rap, hip-hop and R&B in American culture. 

A Tribe Called Quest’s 1991 album, “The Low End Theory” was the group’s second studio release and came to be seen as a definitive fusion of jazz and rap with its distinctive sound. “We are honored to have our work added to the prestigious National Recording Registry amongst so many other astounding works,” said rapper Q-Tip. “We are humbled and grateful for this acknowledgement. Thank you so, so much.”

Wu-Tang Clan’s 1993 album “Enter the Wu-Tang (36 Chambers)” would shape the sound of hardcore rap and reasserted the creative capacity of the East Coast rap scene. The group’s individual artists would go on to produce affiliated projects that deepened the group’s influence for decades in hip-hop.

By 2001, the young singer-songwriter Alicia Keys released her debut album, “Songs in A Minor” and achieved new independence with record producer Clive Davis in the process. Keys had written and recorded much of the album under a previous record deal, but the label rejected it. Keys described her influences on the album as a “fusion of my classical training, meshed with what I grew up listening to,” which included the jazz from her mother’s record collection, along with the classic R&B and hip-hop that was prevalent in her New York City neighborhood. Keys’ fusion of influences would produce a sound all her own.

“But what is it about (the album) that I think resonates with everybody for so long?” Keys said. “I just think it was so pure. … People hadn’t quite seen a woman in Timberlands and cornrows and really straight 100% off of the streets of New York performing classical music and mixing it with soul music and R&B … And people could find themselves in it. And I love that.”

Latin Music Reaches New Audiences

The 2022 class also adds a number of defining Latin sounds to the nation’s audio history from legendary artists. 

While Linda Ronstadt is best known for her work in country, rock and pop music, she often referenced her Mexican-American roots. In 1987, she paid full tribute to her heritage with her album “Canciones de Mi Padre,” recorded with four distinguished mariachi bands. The album quickly went double platinum, won a Grammy, and is the biggest-selling non-English recording in American recording history. It would also introduce mariachi music to countless new listeners. 

“Canciones de Mi Padre is an album I’ve always wanted to make because of my Mexican heritage,” Ronstadt said. “I love the musical traditions that came with it. I always thought they were world-class songs. And I thought they were songs that the music could transcend the language barrier.”

While she was learning the music and lyrics, Ronstadt said she never worked so hard in her life. By the time she opened a show for the album in San Antonio, it all paid off. 

“I looked out to the faces of the audience; it was packed,” Ronstadt said. “There were three generations of families there. They all sang along with the songs. They knew them all. It was really fun.”

When guitarist Ry Cooder and producer Nick Gold assembled an all-star ensemble of 20 Cuban musicians in 1996, the “Buena Vista Social Club” was reborn to record some of the key Cuban musical styles of son, danzon and bolero. The album’s surprising popularity helped fuel a resurgence of Cuban and Latin music, propelled the band to concert dates in Amsterdam and New York’s Carnegie Hall, and led to a popular film by director Wim Wenders. 

Soon after, a young Puerto Rican named Ricky Martin would become the “original Latin Crossover King,” paving the way for the globalization of Latin pop with his first major U.S. release, “Livin’ La Vida Loca,” a worldwide smash hit in 1999. Written by Draco Rosa and Desmond Child, the song went No. 1 in 20 countries and was certified platinum in the U.S., the UK and Australia. It remained at No. 1 on the Billboard Hot 100 for five consecutive weeks and would help define Martin’s career. Later, it was named the ASCAP Song of the Year, the BMI Latin Awards Song of the Year and would win four Grammys.

“I believe that the energy of a movement is what dominates in that song about Latinos, the empowerment of Latinos,” Rosa, the song’s co-writer said in Spanish. “Life is full of great suffering, and ‘La Vida Loca’ is the total opposite. Let’s live it up, right?!”

History as it Happens

The recordings added to the registry also include sounds of history as it happened. New to the registry this year are the complete presidential speeches of President Franklin D. Roosevelt from 1933 to 1945, which ranged from events such as the attack on Pearl Harbor to the campaign against polio. His speeches became defining political and social texts of their day. 

Public radio station WNYC’s broadcasts from Sept. 11, 2001, also join the recording registry this year. The NPR station from New York City broadcast the chaotic first details of the attack on the World Trade Center from its studios just blocks away, and the station would struggle to keep its signal live because its transmitters were atop one of the towers. Remarkably, the WNYC staff remained on the air throughout the day. 

About the National Recording Registry

Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 titles each year that are “culturally, historically, or aesthetically significant” and are at least 10 years old. More information on the National Recording Registry can be found at loc.gov/programs/national-recording-preservation-board/about-this-program/. The public may nominate recordings for the Registry here

Some registry titles have already been preserved by the copyright holders, artists or other archives. In cases where a selected title has not already been preserved, the Library of Congress National Audio-Visual Conservation Center works to ensure that the recording will be preserved by some entity and available for future generations. This can be through the Library’s recorded-sound preservation program or through collaborative ventures with other archives, studios and independent producers.

The national library maintains a state-of-the-art facility where it acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (loc.gov/avconservation/). It is home to more than 9 million collection items.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States — and extensive materials from around the world — both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.

National Recording Registry, 2022 Selections 

(chronological order)

  1. “Harlem Strut” — James P. Johnson (1921) 
  2. Franklin D. Roosevelt: Complete Presidential Speeches (1933-1945)
  3. “Walking the Floor Over You” — Ernest Tubb (1941) (single)
  4. “On a Note of Triumph” (May 8, 1945)
  5. “Jesus Gave Me Water” — The Soul Stirrers (1950) (single)
  6. “Ellington at Newport” — Duke Ellington (1956) (album)
  7. “We Insist!  Max Roach’s Freedom Now Suite” — Max Roach (1960) (album)
  8. “The Christmas Song” — Nat King Cole (1961) (single)
  9. “Tonight’s the Night” — The Shirelles (1961) (album)
  10.  “Moon River” — Andy Williams (1962) (single)
  11.  “In C” — Terry Riley (1968) (album)
  12.  “It’s a Small World” — The Disneyland Boys Choir (1964) (single)
  13.  “Reach Out, I’ll Be There” — The Four Tops (1966) (single)
  14.  Hank Aaron’s 715th Career Home Run (April 8, 1974)
  15.  “Bohemian Rhapsody” — Queen (1975) (single)
  16.  “Don’t Stop Believin’” — Journey (1981) (single)
  17.  “Canciones de Mi Padre” — Linda Ronstadt (1987) (album)
  18.  “Nick of Time” — Bonnie Raitt (1989) (album)
  19.  “The Low End Theory” — A Tribe Called Quest (1991) (album)
  20.  “Enter the Wu-Tang (36 Chambers)” — Wu-Tang Clan (1993) (album)
  21.  “Buena Vista Social Club” (1997) (album)
  22.  “Livin’ La Vida Loca” — Ricky Martin (1999) (single)
  23.  “Songs in A Minor” — Alicia Keys (2001) (album)
  24.  WNYC broadcasts for the day of 9/11 (Sept. 11, 2001) 
  25.  “WTF with Marc Maron” (Guest: Robin Williams) (April 26, 2010)

National Recording Registry, 2022 Selections 
(about each selection) 

“Harlem Strut” — James P. Johnson (1921) (single)

James P. Johnson (1894-1955), a native of New Brunswick, New Jersey, was one of the creators of the jazz piano style known as “Harlem Stride,” which fused elements of ragtime with an active left hand that provided a bass characterized by wide leaps, or “strides.” “Harlem Strut,” a multi-strain work and a Johnson original, was his first recorded selection, although he did cut piano rolls prior. This recording, along with Eubie Blake’s “Sounds of Africa,” lays claim to being the first recordings of Harlem Stride piano. Today, James P. Johnson is best remembered as the composer of “The Charleston” and as the mentor of pianist and composer Thomas “Fats” Waller.

Franklin D. Roosevelt: Complete Presidential Speeches (1933-1945)

The most famous speeches by Franklin D. Roosevelt are tied to singular events — such as the attack on Pearl Harbor — but many of his most influential addresses were actually made on otherwise mundane occasions in the 1930s such as his tour of a flood control project in 1936, when he delivered the blistering “I Hate War” speech, anticipating World War II. Others reverberate in our time for different reasons, such as when he spoke on behalf of the campaign against polio, now nearly eradicated but a dreaded scourge in that era of which he was the disease’s most famous victim. His speeches are far more than sources for historical soundbites, they are defining political and social texts of their day that form a narrative of the 12 years of his presidency and of an historical epoch.

“Walking the Floor Over You” — Ernest Tubb (1941) (single)

If “Walking the Floor Over You” wasn’t the first honky-tonk hit in country music, it’s certainly on the short list. Recorded by “Texas Troubadour” Ernest Tubb, on April 26, 1941 at Bunny Biggs’ studio in Dallas, it was notable for the prominence of an electric guitar, played by Fay “Smitty” Smith. Although Bob Wills had used an electric guitar as early as 1935, Wills did so in the context of his large, Western swing group, the Texas Playboys. Reportedly, Tubb wanted to include an electric guitar so his records would sound louder on jukeboxes and be heard above the din of roadhouses and honky tonks, the noisy, sometimes rowdy clubs that gave the genre its name. So, the use of electric or steel guitar in songs like “Walking the Floor,” signified not the first appearance of those instruments in country music, but rather the emergence of a new style. “Walking the Floor Over You” was not only a hit, it was influential far beyond the confines of country music, begetting covers by artists as diverse as Bing Crosby, Georgia Gibbs, Pat Boone and Brook Benton. Tubb himself recorded the song several times, but it’s this 1941 performance, originally released as Decca 5958, that is generally regarded at the classic.

“On a Note of Triumph” (May 8, 1945)

Writer Norman Corwin’s radio tribute to the Bill of Rights, “We Hold These Truths,” was heard by the largest radio audience to date in December of 1941, a people searching for affirmation in the wake of their country’s entry into World War II. Three and a half years later, “On a Note of Triumph,” his salute to the Allied victory in Europe, aired the evening of V-E Day, May 8, 1945. An enormous audience tuned in again, and an encore performance aired five days later and was issued as a record album. The script of the program was rushed into bookstores within a week of the first performance. The 60-minute production was anchored by the passionate narration of Martin Gabel, who led a sonic tour of the years leading up to the war, its battlefields, and the homes of ordinary people. The title aptly describes the program’s thunderous opening and proclamation of victory. The tone changes, however, and voices are heard asking questions like “what do we know now that we didn’t know before?” and “what do we do now?” Although not a subtle work, like its predecessor, “On a Note of Triumph” filled a deep need for its audience. 

“Jesus Gave Me Water” — The Soul Stirrers (1950) (single) 
“Jesus Gave Me Water” comes from the first studio session of a young Chicago gospel singer named Sam Cook, seven years before he added an “e” to his last name and gained worldwide fame in pop and R&B. Cook was 19, with only about 18 months of professional experience on the local gospelscene, and had been chosen to replace the much loved and respected leader of the group, R.H. Harris. Without Harris, the group’s future was uncertain, but the combination of its three veteran members with Cook and another recent addition, tenor Paul Foster, was a winner. Cook’s deceptively gentle, mellifluous voice was a new sound in the music, and drew younger audiences back to gospel programs in droves. Cook excelled at songs that told a story, and “Jesus Gave Me Water” recounts a key event in the life of Jesus, his encounter with the Samaritan woman at the well and the lesson of living water he reveals to her. “Jesus Gave Me Water” sold strongly for the Specialty label in the spring of 1950, reestablishing the Soul Stirrers as a premier group and launching one of American music’s greatest artists.

“Ellington at Newport” — Duke Ellington (1956) (album)

After enduring a decade of waning record sales, Duke Ellington reignited his career via one single solo recorded in 1956. After their short set at the Newport Jazz Festival, on July 7, 1956, Duke and his orchestra were recalled to the stage. One of the numbers they performed at that time was the 1930s composition “Diminuendo and Crescendo in Blue.” For this piece, at first, just the rhythm section played, then they were joined by the full orchestra. Then, saxophonist Paul Gonsalves jumped in, and at the urging of the crowd and Ellington himself, wailed through 27 choruses. The performance was historic. “Time” magazine would later call it a turning point in Ellington’s career and the Duke himself later said, “I was born in 1956 at the Newport Festival.” For decades, this performance was only available to record buyers in a version sourced from a tape where Gonsalves was off-mic and could only be heard beneath the band and audience. But, years later, a location tape recorded for overseas broadcast by Voice of America was discovered, and a restored version was finally released as part of a 1999 CD set. 

“We Insist!  Max Roach’s Freedom Now Suite” — Max Roach (1960) (album)

Throughout his career, drummer Max Roach constantly sought to extend the boundaries of jazz, both stylistically and in the service of political change. “We Insist!” consists of an innovative suite featuring singer Abby Lincoln performing lyrics by Oscar Brown, Jr., accompanied by Roach, legendary tenor sax player Coleman Hawkins (on “Driva’ Man”), Booker Little (trumpet), Julian Priester (trombone), Walter Benton (tenor sax) and James Schenk (bass). Shortly after the album’s release, Roach stated that he would “never again play anything that does not have social significance,” and he urged Black musicians to “employ our skill to tell the dramatic story of our people.” The album masterfully fulfills this brief. “Driva’ Man” focuses on the history of slavery and the notorious figure of the slave driver, while “Freedom” and “Tryptich: Prayer/Protest/Peace” deal with emancipation, the ambiguous legacy of freedom, and protest. Side two, devoted to pan-African themes, features a larger percussion ensemble including Babatunde Olatunji, Raymond Mantilla and Thomas Du Vall. The resulting works are heavily influenced by African rhythms; they also foreshadow Roach’s future work with the percussion ensemble M’Boom. 

“The Christmas Song” — Nat King Cole (1961) (single)

One of America’s favorite holiday songs was inspired by a hot summer day. During a sweltering July afternoon in 1945, while visiting his frequent songwriting collaborator, Robert Wells, at his Toluca Lake, California, home, Mel Tormé noticed some lines Wells had written to distract himself from the heat, with wintry images like “Jack Frost nipping at your nose.” Sensing their potential as a song, Wells and Tormé went to work and in less than an hour created an enduring holiday standard. Although Tormé himself was an accomplished singer, he felt that a bigger name was needed to generate more record sales. He and Wells pitched the song to Nat King Cole, the leader of a long established jazz trio, who was becoming a popular vocalist. Cole recorded “The Christmas Song” four times: in June 1946 with just his Trio; in August of that same year with an added string section; in 1953 with a full orchestra, conducted by Nelson Riddle, and in 1961 with a full orchestra, conducted by Ralph Carmichael, the first stereo version and the one most commonly heard today. According to reports, King Cole Trio guitarist Oscar Moore created the “Jingle Bells” coda heard at the end of every one of Cole’s versions. “The Christmas Song” is said to be one of the most recorded holiday songs in history, but it’s Cole’s 1961 performance, with perhaps his most lush vocal take, that is generally regarded as definitive.

“Tonight’s the Night” — The Shirelles (1961) (album)

The Shirelles are often referred to as a “girl group,” but as their first album demonstrates, they sang with the grown-up passion of teens entering their 20s, a winning combination that made them trendsetters in the early 1960s. Shirley Owens, Beverly Lee, Doris Kenner and Adele “Micki” Harris met in junior high school in Passaic, New Jersey. The three hit singles from, this, their first album — “Will You Love Me Tomorrow,” “Dedicated to the One I Love,” and the title track — remain moving performances that still communicate maturing desire with plaintive vulnerability, while other album tracks like “Boys,” later covered by the Beatles, are delivered with untroubled gusto and abandon. “Tonight’s the Night,” may have once seemed like kid’s stuff, but it has stood the test of time.

“Moon River” — Andy Williams (1962) (single)

Though first introduced to audiences in the 1961 Audrey Hepburn film “Breakfast at Tiffany’s” (in which Hepburn herself sang it), “Moon River” is forever associated with smooth pop singer Andy Williams. It became his signature hit, and he sang the first eight bars of the song at the beginning of each and every episode of his long-running television variety show. Simple yet endearing, the song’s evocative lyrics, as the “Financial Times” once noted, “are a metaphor of yearning for the unpredictable eddies of an adventurous life, to be swept along by the currents of somewhere new.” The success of the song made it a modern standard and relaunched the career of its lyricist Johnny Mercer. Though “Moon River” has gone on to be recorded more than 500 times by everyone from Frank Sinatra to Louis Armstrong to Judy Garland (and there’s even a Joan Rivers funny version and Hepburn’s version certainly has its charms), it is Williams’ flawless rendition that endures.

“In C” — Terry Riley (1968) (album)

Terry Riley’s composition, “In C,” forgoes a traditional score and, instead, is comprised of 53 melodic phrases that may be played and repeated at the discretion of each musician and accommodates any number of instruments. It was first performed in 1964 at San Francisco’s Tape Music Center, where Riley worked with other groundbreaking experimental composers such as Steve Reich, Morton Subotnick and Pauline Oliveros. The composition filled both sides of the album, which Riley recorded for Columbia Record’s Music of Our Time series of albums in 1968, with Riley playing saxophone and leading a group of 10 musicians. This series aimed to introduce to the home listening public new and experimental music forms, and Riley’s work proved to be a popular and influential release across several genres, including classical rock and jazz. The album’s recording featured a group of performers for whom months of preparation lent confidence to the ever shifting improvisatory nature of the composition. 

“It’s a Small World” — The Disneyland Boys Choir (1964) (single)

Richard B. and Robert M. Sherman’s song “It’s a Small World” was first heard at the Disneyland Pavilion of the 1964-1965 World’s Fair in New York. There, guides costumed as Disney characters helped visitors into small boats that took them through tunnels adorned with brightly-colored puppets representing children from around the world, who cheerfully sang it to them. Today, the same experience can be had at Disneyland in California, where the ride was moved and reconstructed after the fair closed at the end of its second season in October 1965. Since then, the song has been heard daily ever since, as well as at other Disney theme parks, making it one of the most widely heard and remembered songs of all time. The motto of the 1964-65 World’s Fair was “Peace, Through Understanding,” but, day by day in the middle of the 1960s, there seemed to be less and less of that in the world. Still, the ride and the song became two of the most hopeful things about the fair, and it has endured. During the fair’s first season, the song was only available on a 7-inch disc at the fair itself but was later distributed to stores between the fair’s two seasons and eventually became part of an album of the same name.

“Reach Out, I’ll Be There” — The Four Tops (1966) (single)

According to the Motown Museum, “Reach Out, I’ll Be There” was the Four Tops’ biggest hit and is considered the vocal group’s theme song. Recorded in Studio A at Hitsville USA and both written and produced by the powerhouse team of Holland-Dozier-Holland, the lyrics grew out of their feeling that women “wanted someone to be there for them, through thick or thin.” Lamont Dozier said that he wanted to write “a journey of emotions with sustained tension, like a bolero.” To achieve that, he “alternated the keys, from a minor, Russian feel in the verse to a major, gospel feel in the chorus.” Levi Stubbs’ impassioned vocal was inspired by an unlikely source: Bob Dylan. According to Dozier, they were inspired by Dylan’s shout singing style on “Like a Rolling Stone” and wanted lead vocalist Stubbs to sing like that. To give his vocal added intensity, Holland-Dozier-Holland put Stubbs at the top of his vocal range so he would have to strain a little. The “galloping” sound, heard prominently at the beginning of the song, is a series of triplet beats struck on the plastic head of a tambourine with no jingles, played by Motown producer Norman Whitfield. Levi Stubbs improvised the lyric, “Just look over your shoulder.” It sounded good, so they kept it in.

Hank Aaron’s 715th Career Home Run (April 8, 1974)

On April 8, 1974, when Hank Aaron stepped up to the plate, history was in the making. He was on the verge of smashing Babe Ruth’s home-run record, and the crowd, radio listeners and even the game’s own announcers were anxious, hopeful and on edge. Their anticipation can be heard, and felt, thanks to WSB-Atlanta’s vivid radio coverage, helmed by the legendary Milo Hamilton. When Aaron hit that homer, Hamilton’s on-air exuberance matched that of those in the stands. Almost as well remembered as the 715th home run itself, Hamilton’s announcing of the breaking of “the record that would never be broken” is one of baseball’s — and radio’s — greatest ever calls.

Bohemian Rhapsody” — Queen (1975) (single)

“Bohemian Rhapsody” breaks nearly every rule in the playbook for rock songs: it starts with a gentle a cappella intro; it has a complex structure without a chorus; and it clocks in at nearly six minutes. Nonetheless, songwriter and vocalist Freddie Mercury, while acknowledging the risk, was convinced that the public would receive it enthusiastically. Guitarist Brian May remembers the band being largely supportive of Mercury’s composition, finding it “intriguing and original, and worthy of work.” In fact, the recording required a huge amount of work with one section requiring 180 overdubs, and the vocal sessions with Mercury, May and drummer Roger Taylor stretched to 10 or 12 hours. Bassist John Deacon does remember an attempt to edit the song, but, in the end, he and the band felt nothing should be lost. Ultimately, “Rhapsody” was released in its full length, and audiences embraced it.The song has proven to have a number of afterlives, appearing in “Wayne’s World” and the bio-pic “Bohemian Rhapsody,” ensuring its continued place in the public’s consciousness.

“Don’t Stop Believin’” — Journey (1981) (single)

Powered by lead singer Steve Perry’s soaring, crystalline lead vocal, “Don’t Stop Believin’” was the second single off the super group Journey’s 1981 album “Escape.”  It went to No. 9 on the charts — selling over 7 million copies in the U.S. alone–and has since been described as a “perfect rock song.” While it has never left the airwaves — or Journey’s set list — the song has gained further cultural permanence via its frequent use at sporting games, in the Broadway rock musical “Rock of Ages” (where the song was the show’s big closer) and in film and television, most notably the cryptic final episode of “The Sopranos” and in the debut episode of “Glee.” Additionally, the song, written by Perry with bandmates Neal Schon and Jonathan Cain, has now taken its place, not only as Journey’s greatest legacy, but also as the personal empowerment anthem of millions of people of various generations.

“Canciones de Mi Padre” — Linda Ronstadt (1987) (album)

Even when she was working mainly within the genres of country, rock and pop, Linda Ronstadt often referenced her Mexican-American roots. In 1987, with her remarkable vocal prowess then at its considerable peak, she paid full tribute to this heritage with her album “Canciones de Mi Padre.” Though Ronstadt’s record label was expecting little after the collection’s release, the album quickly went double platinum, earned the Grammy for Best Mexican/Mexican-American album and is the biggest-selling non-English recording in American recording history. The album also spawned two equally successful follow-ups. As its title suggests, “Canciones” is a tribute to the musical history of Ronstadt’s family, incorporating many layers of musical influence. Ronstadt’s album brought 13 classic songs to a previously underserved audience. She recorded her selections with four distinguished mariachi bands (Mariachi Vargas de Tecaltlan, Mariachi Vargas, Mariachi Los Camperos and Mariachi Los Galleros de Pedro Reyand), introducing mariachi music to an untold number of new listeners.

“Nick of Time” — Bonnie Raitt (1989) (album)

Bonnie Raitt released her first album in 1971 and had long been considered a great and respected talent. But, though often critically acclaimed, significant commercial success had often eluded her. In 1989, seven years after being dropped from her previous record label and after suffering a debilitating skiing accident, Raitt rallied herself and returned to the studio. With the assistance of renowned producer Don Was, she not only fashioned the most important album of her career but an album many consider among the best of the decade. “Nick of Time,” Raitt’s 10thLP, would earn three Grammy Awards, including Album of the Year, top the “Billboard” chart, sell 5 million copies and earn a lasting place in the book “1001 Albums You Must Hear Before You Die.”  With the aid of Was, Raitt dove deep emotionally and cared little about genre labels or categories. About the record, it was said “[she] never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting.” About the album, Raitt herself said, “Basically, it’s a return to my roots.” 

“The Low End Theory” — A Tribe Called Quest (1991) (album)

“The Low End Theory” was A Tribe Called Quest’s second studio release and is frequently seen as the definitive record of jazz and rap fusion. Featuring sparse, live-sounding beats and acoustic-feeling bass runs with melodic jazz samples, the production of Ali Shaheed Muhammad showcases the nimble flows of Phife Dawg and Q-Tip, as well as a guest spot from an up-and-coming Busta Rhymes. Lyrically, Tribe infuses the laid-back vibe with deft and infectious chemistry, touching on themes of social awareness and commentary, celebration of Blackness, self-deprecating humor and classic MC boasting as a counterpoint to the rising mainstream popularity of “gangsta rap” that was often seen as glorifying depictions of criminality and violence. The result was a distinctive sound that helped to expand and deepen the sonic palette of the growing rap and hip-hop genres. 

“Enter the Wu-Tang (36 Chambers)” — Wu-Tang Clan (1993) (album)

The Wu-Tang Clan released “Enter the Wu-Tang (36 Chambers)” in 1993, in the process shaping the sound of hardcore rap and reasserting the creative capacity of the East Coast rap scene, centered around New York City. The lo-fi sound of the mix, an artifact of the equipment band member RZA employed, communicated the rough-hewn nature of underground rap and the hard experiences that formed the intense, combative, paranoid energy of the group. Across the record, samples from dozens of pulp kung-fu movies lend imagery of a secret knowledge and a warrior’s honor — and blend with the wordplay of the Clan’s MC to develop an evocative mythology. While the Wu-Tang Clan collectively signed with Loud Records to release “Enter the Wu-Tang (36 Chambers),” their contract preserved each artist’s ability to sign with other labels of their choice for solo work. This flexibility enabled a constellation of Wu-Tang affiliated projects to flourish, which served to deepen the influence of the group throughout subsequent decades of hip-hop. 

“Buena Vista Social Club” (1997) (album)

In 1996, guitarist Ry Cooder and producer Nick Gold journeyed to Havana, Cuba, to record an all-star ensemble of 20 Cuban musicians, most of whom had been central in the development of the key Cuban musical styles of son, danzon and bolero.The group adopted the name the Buena Vista Social Club to honor the popular nightclub of the same name at which many of the performers had appeared in the 1940s and 1950s. The album’s surprising popularity helped fuel a resurgence of Cuban and Latin music, propelled the band to concert dates in Amsterdam and New York’s Carnegie Hall, and led to a popular film by director Wim Wenders. Wender’s film, “The Buena Vista Social Club,” was previously selected for the National Film Registry, and it is now fitting to add the record that started all the excitement.

“Livin’ La Vida Loca” — Ricky Martin (1999) (single)

When ex-boy band member Ricky Martin (once part of Latin America’s perpetually young Menudo group) gave a legendary, star-making performance at the 1999 Grammy Awards (singing the World Cup anthem “Cup of Life”), audiences quickly realized that big things were going to be coming from this young singer. But few expected the massive overwhelming popularity of his first major U.S. release, “Livin’ La Vida Loca.”  Written by Draco Rosa and Desmond Child, and drenched in the swagger of Martin’s lead vocal, the song went No. 1 in 20 countries and was certified platinum in the U.S., the UK and Australia. Later, it was named the ASCAP Song of the Year, the BMI Latin Awards Song of the Year and would win four Grammys. Earwormy, fun and danceable, yet true to its Latin roots thanks to its horns and percussion, Martin was soon labeled by the press as the “original Latin Crossover King,” in the process paving the way for the globalization of Latin pop and the emergence of such other acts as Shakira, Paulina Rubio and others.

Songs in A Minor” — Alicia Keys (2001) (album)

On this album, J Records label head, Clive Davis, afforded singer-songwriter Keys great independence in creating the album she wanted to release.Under a previous record deal, Keys had written and recorded much of the album, but the label rejected it. Dissatisfaction with the rejection and the label’s unwillingness to take her seriously led Keys to J Records where Davis’ instinct proved prescient. Keys has described her influences on the album as a “fusion of my classical training, meshed with what I grew up listening to,” which included the jazz from her mother’s record collection, along with the classic R&B and hip-hop that was prevalent in her New York City neighborhood.Reviewers were quick to point out the sophistication and assurance with which the young Keys realized the sound on this album. Her unaffected vocals were capable of expressing feelings from heartbreak to new love and from righteous women’s empowerment to elegant, stylish yearning.

WNYC broadcasts for the day of 9/11 (Sept. 11, 2001) 

American media endured one of its greatest tests on the morning of Sept. 11, 2001, and perhaps no New York City media outlet was more directly affected than WNYC-AM and FM. In 2001, the studios for the station were located in the Manhattan Municipal Building, only blocks from the World Trade Center towers and, in fact, the station had its transmitters on top of the towers. An NPR affiliate, the station was in the middle of that day’s “Morning Edition” when, at around 8:50 a.m., the first plane struck the north tower. Down the street, WNYC staffers felt the reverberations in their building and would later see the buildings’ smoke and flames. Breaking in, the station conveyed the first chaotic details of the day and broadcast the tragedy’s first eyewitness accounts. With WNYC’s broadcast antennas knocked off the air, a quick-thinking engineer switched the AM signal from its microwave connection to a 15khz Telco (telephone company broadcast quality) line to reconnect the AM transmission. Amazingly, this connection was maintained by a pair of small metal clips. As the story unfolded, including the attacks in Washington, D.C., and the crash in Somerset County, Pennsylvania, the dedicated staff of WNYC remained on the air. 

“WTF with Marc Maron” (Guest: Robin Williams) (April 26, 2010)

Marc Maron started his “WTF” podcast after losing his radio show at Air America in 2009 at a time when podcasts were largely seen as personal hobby projects or as extensions of established programs. This startlingly intimate conversation with actor and comedian Robin Williams gave the lie to that notion, as have many of Maron’s interviews since. The show is structured around an interview, initially with comedians and actors Maron knew. Each episode opens with a check-in by Maron where he reflects on his life, mental state and reactions to the world around him. These confessional segments work to build a sense of intimacy and investment with the audience and have become a feature in the podcast genre. As the popularity of the program expanded, Maron has interviewed a wide segment of notables including actors such as Harry Dean Stanton and Aubrey Plaza; musicians including Joan Jett, Robbie Robertson and Rosanne Cash; and even President Barack Obama. With nearly 1,300 episodes posted so far, “WTF with Marc Maron’s” popularity has helped to legitimize the podcast as a media format and created an idiosyncratic document of this moment of American culture. 

###

Media Contact: Brett Zongker, bzongker@loc.gov 
Public Contact: Steve Leggett, (202) 707-5912sleg@loc.gov 
Website: National Recording Registry, loc.gov/recording

PR 22-026  
04-13-22  
ISSN 0731-3527

#AceNewsDesk report ………..Published: Apr.13:  2022:

Editor says …Sterling Publishing & Media Service Agency is not responsible for the content of external site or from any reports, posts or links, and can also be found here on Telegram: https://t.me/acenewsdaily and all wordpress and live posts and links here: https://acenewsroom.wordpress.com/ and thanks for following as always appreciate every like, reblog or retweet and free help and guidance tips on your PC software or need help & guidance from our experts AcePCHelp.WordPress.Com

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World History & Research Reports

#OnThisDay Mar.21: 1867: Ziegfeld Follies Was Born in Chicago, Illinois

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#AceHistoryDesk #OTD Today in History – Legendary showman Florenz Ziegfeld Jr., impresario behind what became known as the Ziegfeld Follies, was born on March 21, 1867 (possibly 1869), in Chicago, Illinois.

Ziegfeld Follies, in Two Acts. Washington, D.C.: New National Theatre, February 26, 1912. American Variety Stage: Vaudeville and Popular Entertainment, 1870 to 1920. Rare Book & Special Collections Division

Ziegfeld’s first entertainment triumph centered on the Great Sandow. Eugen Sandow was a strongman and early weight lifter who had developed a reputation in Europe with demonstrations of his impressive strength. After becoming Sandow’s manager in 1893, Ziegfeld whisked him off to the World’s Columbian Exposition in Chicago, where his physical prowess and imposing physique captured the imagination of the public to such a degree that he and Ziegfeld toured the country for several years afterwards. Sandow became an influential bodybuilder and proponent of physical training.Sandow. United States: American Mutoscope Company, 1896(?). ……Variety Stage Sound Recordings and Motion Pictures. Motion Picture, Broadcasting, & Recorded Sound Division

Ziegfeld met Anna Held, a well-known European actress in London in 1896. Ziegfeld and Held worked together as partners in life and business and produced a string of popular shows such as Mam’selle Napoleon(1903) and Miss Innocence(1909), which showcased Held’s talents. Drawing on Ziegfeld’s gift for publicity and her own charisma, Anna Held became one of the first stars of modern musical theater. Held and Ziegfeld parted ways bitterly and publicly in 1913; it was revealed in court that they had never officially married.

Ziegfeld’s Follies of 1907 was a lavish production in the tradition of the famous Parisian musical revue, the Folies-Bergère. The show opened in July 1907 at the New York Theatre and featured a scantily clad chorus line of beautiful women. Beginning in 1911, the show became known as the Ziegfeld Follies. The revue was updated almost yearly until the Depression. As time went on, the format evolved into a mixture of comedy, dance, and musical performances, interspersed with large, expensive production numbers.

Ziegfeld married actress Billie Burke in 1914; their daughter Patricia was born in 1916. Ziegfeld died in Hollywood in 1932.

#AceNewsDesk report ………..Published: Mar.21: 2022:

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