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Welcome!,

You've just discovered the sounds of Buddyloves R&B Old School Flavours. Take a trip down to memory lane. This group is for all music lovers, DJ's, producers, singers, songwriters and artists, whether you are in the entertainment industry or not, this group is for you. Feel free to post comments, events, concerts and show dates. Also let's keep the golden years of Old School R&B alive. This is an open forum and a great tool for networking. Enjoy!.

Cheers!,

Mokhtar.


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(Old School)

In slang, old school can refer to anything that is from an earlier era and looked upon with high regard or respect, including music, clothing and language.

More formally, Old school may refer to:

In music:

* Old school hip hop, the earliest commercially recorded hip hop music (1979–1984)
* "Old School" (2Pac song), a 1995 single by 2Pac
* "Old School" (Danger Doom song), a 2006 single by Danger Doom
* "Old School" (Hedley song), a 2008 single by Hedley
* Ol' Skool, an American new jack swing group
* Moog old school, an analogue synthesizer produced by Moog

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(Disco)











Disco is a genre of dance music that originated in African American and Hispanic communities in the United States, starting in Philadelphia and later in New York City during the late 1960s and early 1970s. In what is considered a forerunner to disco style clubs, in February 1970, the New York City DJ, David Mancuso, opened The Loft, a members-only private dance club set in his own home. Most agree that the first disco songs were released in 1973, though some claim Manu Dibango's 1972 Soul Makossa to be the first disco record. The first article about disco was written in September 1973 by Vince Aletti for Rolling Stone Magazine. In 1974 New York City's WPIX-FM premiered the first disco radio show.

Musical influences include funk and soul music. The disco sound has soaring, often reverberated vocals over a steady "four-on-the-floor" beat, an eighth note (quaver) or sixteenth note (semi-quaver) hi-hat pattern with an open hi-hat on the off-beat, and a prominent, syncopated electric bass line sometimes consisting of octaves. Strings, horns, electric pianos, and electric guitars create a lush background sound. Orchestral instruments such as the flute are often used for solo melodies, and unlike in rock, lead guitar is rarely used.

Well-known late 1970s disco performers included The Bee Gees, Amanda Lear, Donna Summer and The Jacksons. Summer would become the first well-known and most popular disco artist, and also played a part in pioneering the electronic sound that later became a part of disco. While performers and singers garnered the lion's share of public attention, the behind-the-scenes producers played an equal, if not more important role in disco, since they often wrote the songs and created the innovative sounds and production techniques that were part of the "disco sound". Many non-disco artists recorded disco songs at the height of disco's popularity, and films such as Saturday Night Fever and Thank God It's Friday contributed to disco's rise in mainstream popularity.

An angry backlash against disco music and culture emerged in the United States hitting its peak with the July 1979 Disco Demolition Night riot. While the popularity of disco in the United States declined markedly as a result of the backlash, the genre continued to be popular elsewhere during the 1980s.

Disco has been influential on several dance music genres that have emerged since, such as House, Techno, and Nu-Disco, as well as the hip hop subgenres of snap music, crunk, and hyphy. In addition, numerous acts have revived the genre directly or added various elements of it to their sound.

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Close The Door (Live 1979) - Teddy Pendergrass.




Billie Jean 30th Anniversary Special - Micheal Jackson.

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( Musical Instruments)




(Talkbox)

A talk box is an effects device that allows a musician to modify the sound of a musical instrument. The musician controls the modification by changing the shape of their mouth.


TalkBoxThe effect can be used to shape the frequency content of the sound and to apply speech sounds (in the same way as singing) onto a musical instrument, typically a guitar (its non-guitar use is often confused with the vocoder) and keyboards.

A talk box is usually an effects pedal that sits on the floor and contains a speaker attached with an air tight connection to a plastic tube, however, it can come in other forms, such as the 'Ghetto Talkbox' (a homemade version which is usually crude) or higher quality custom made versions. The speaker is generally in the form of a horn driver, the sound generating part of a horn speaker with the horn replaced by the tube connection.

The box has connectors for the connection to the speaker output of an amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talkbox speaker or to the normal speaker. The switch is usually a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth.

When activated, the sound from the amplifier is reproduced by the speaker in the talkbox and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone. The shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking.

The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talkbox speaker. The performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, and when it enters a microphone, an instrument/voice hybrid is heard.

The sound can be that of any musical instrument, but the effect is mostly commonly associated with the guitar. The rich harmonics of an electric guitar are shaped by the mouth producing a sound very similar to voice, effectively allowing the guitar to appear to "speak".


* Famous Talkbox users - The Legendary Roger Troutman of Zap & Roger *



* A tribute to Roger Troutman - Music and Talkbox by Rufus Troutman *

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(A Tribute To Micheal Jackson - 1958 to 2009)








Remembering Micheal Jackson (1958 to 2009) - " You Are Not Alone " - No one can deny, his musical genius and may he forever moonwalk on everyone..s heart. Thank you for the music, the change and the inspiration.

Mokhtar.



Michael Jackson's daughter Paris Katherine addressed mourners at the Staples Center, tearfully telling them her father was "the best father you could ever imagine." "Ever since I was born, daddy has been the best father you could ever imagine," the 11-year-old girl said. "And I just wanted to say I love him so much."

Source: CNN Live Coverage - Micheal Jackson Memorial At Staples Center L.A (07/07/2009)





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(Artist Biography)





(Jodeci)

If Boyz II Men are portrayed as a clean-cut, wholesome R&B vocal group, then Jodeci's wild, sexual, bad-boy image represents the other side of the coin. Made up of two sets of brothers, the group's name is a consolidation of three members' aliases: "JoJo" Hailey, Donald "DeVante Swing" DeGrate, and Cedric "K-Ci" Hailey; the group also includes Dalvin DeGrate. Natives of Charlotte, NC, all four members toured the South as young boys singing gospel music, even recording albums; both families belonged to the Pentecostal church, and the DeGrates' father was a minister. The boys were able to hear each other's gospel songs played on the radio, and eventually were introduced through girlfriends as teenagers. However, when they did meet, K-Ci was with a girl Dalvin had been dating, and a fight nearly broke out. The Hailey brothers and DeVante started hanging out together, partying and talking about making R&B records together, coming up with the name Jodeci at this time.

At age 16, DeVante ran away to Minneapolis to get a job in Prince's organization, but was refused. He returned to Charlotte, where he wrote a song and recorded JoJo singing it. The two planned on going to New York to shop the demo around by themselves, but both K-Ci and Dalvin decided to tag along at the last minute. By the time they got to New York, they had demo recordings of 29 songs, which they brought to the offices of Uptown Entertainment. They were almost rejected, but rapper Heavy D overheard the tape and talked Uptown president Andre Harrell into hearing the group. Harrell was impressed, and just like that, Jodeci signed a recording contract. In 1991, they recorded Forever My Lady, which featured the gold single "Come and Talk to Me" and went on to sell over three million copies. A minor feud resulted over the band's follow-up album, Diary of a Mad Band; Jodeci, unhappy with their treatment by Uptown, flirted with the idea of leaving for Dr. Dre's Death Row Records, which resulted in almost zero promotion for their new album. It didn't matter much, as Diary went platinum. The group's troubles got worse in 1993; DeVante and K-Ci were involved in an incident with a woman K-Ci met at a club and brought back to DeVante's apartment. The woman filed charges against the two, saying that K-Ci had threatened her and fondled her breast, while DeVante pointed a gun at her. Both pleaded guilty, but that wasn't all; shortly afterwards, DeVante's house was robbed of over 160,000 dollars in jewelry and clothes as the singer was held with guns in his mouth and at the back of his head.

Jodeci's third album, The Show, the After Party, the Hotel, was released in the summer of 1995. DeVante also was afforded the opportunity to work with Al Green, one of his idols, writing and producing the song "Could This Be the Love."




(Anita Baker)

With her classy, refined brand of romantic soul, Anita Baker was one of the definitive quiet storm singers of the '80s. Gifted with a strong, supple alto, Baker was influenced not only by R&B, but jazz, gospel, and traditional pop, which gave her music a distinctly adult sophistication. Smooth and mellow, but hardly lifeless, it made her one of the most popular romantic singers of her time.

Baker was born January 26, 1958, in Toledo, OH, and raised in nearby Detroit, where she grew up listening to female jazz singers like Sarah Vaughan, Nancy Wilson, and Ella Fitzgerald. At age 12, she began singing a gospel choir, and by age 16 she was performing with several local bands. In 1975, she successfully auditioned for Chapter 8, one of Detroit's most popular acts at the time; the group eventually signed with Ariola and released an album in 1979, but were immediately dropped when the label was acquired by Arista (which didn't care for Baker's vocals). Chastened, Baker worked low-paying jobs in Detroit and eventually found steady work as a receptionist at a law firm. In 1982, Otis Smith -- an executive who'd worked with Chapter 8 -- contacted Baker about recording for his new label Beverly Glen. Happy with her employment benefits and skittish over the experience with Arista, Baker was reluctant at first, but eventually flew out to the West Coast to record her debut album, The Songstress, in 1983. Though it didn't gain quite enough exposure to become a hit, it did help Baker build a strong fan base through word-of-mouth and she was signed by Elektra in 1985.

Working with producer Michael J. Powell (an old Chapter 8 cohort), Baker released her major-label debut Rapture in 1986. It was a platinum, Grammy-winning smash, appealing to both urban and adult contemporary listeners and producing two all-time quiet storm classics in "Caught Up in the Rapture" and "Sweet Love." Baker toured the world in 1987 and her guest appearance on the Winans track "Ain't Got No Need to Worry" won a Grammy. Her equally stylish follow-up album, Giving You the Best That I Got, appeared in 1988, spawning more staples in the title track and "Just Because." "Giving You the Best That I Got" also won Baker two more Grammys, for Best Female R&B Vocal and Best R&B Song. For her third Elektra album, Baker decided to handle a greater share of the songwriting, hence the title Compositions, which was released in 1990 and featured even stronger jazz inflections than Baker's previous work (not to mention all live instruments).

Following Compositions, Baker took a break from recording and touring; after having her first son in 1993, she returned to the studio to craft Rhythm of Love, which was released in 1994. In the years that followed, Baker was mostly silent, despite her fans' clamoring for a jazz album; instead, she raised her family and became embroiled in contract disputes with Elektra, which eventually led her to move to Atlantic. She began working on a new album in 2000, but had to start over from scratch due to defective recording equipment that made the original tracks unsalvageable. In 2004 it was announced that she had signed with Blue Note and still working on her new album. In the meantime, the Atlantic imprint Rhino released Night of Rapture: Live, a 1987 concert originally available on video. Baker finally returned to the studio in 2003 and issued My Everything, her first album in 10 years. Two years later she released her first holiday album.





(Kenneth " Babyface " Edmonds)

As a singer, producer, and songwriter, Babyface was an inescapable presence in virtually every major facet of pop music during the '90s. His own recordings helped rejuvenate the R&B tradition of the smooth, sensitive, urban crooner and made him a staple of urban contemporary radio. Yet their considerable success was eclipsed by his songwriting and production work for other artists, which linked him with some of the biggest stars and hit singles of the decade (and not just in the realm of R&B). You'd be hard-pressed to name a '90s hitmaker with a track record more consistently successful and versatile than Kenny "Babyface" Edmonds.

Kenneth Edmonds was born April 10, 1959, in Indianapolis and began playing in local R&B bands as a teenager. He served a stint in Bootsy Collins' backing unit (where he earned his nickname) and subsequently joined the funk outfit Manchild, which signed a record deal in 1977 and released three albums. After their breakup, Babyface and partner Antonio "L.A." Reid formed an urban funk group called the Deele in the early '80s, which scored a few sizable hits on the R&B charts. Babyface and Reid began producing and writing for other artists on the side, landing hits in Pebbles' "Girlfriend" and the Whispers' "Rock Steady"; following the Deele's third album in 1988, the duo left to continue their outside activities full-time, co-founding the LaFace label in 1989. Further hits followed in Bobby Brown's "Every Little Step," Sheena Easton's "The Lover in Me," and Karyn White's "The Way You Love Me" and "Superwoman," all of which performed well on both the pop and R&B charts.

Babyface had actually recorded a little-noticed solo album in 1986, titled Lovers, but with his newfound success having marked him as one to watch, his solo career now began in earnest. Released in 1989, Tender Lover caught fire, spinning off four singles over the next year, including the R&B chart smashes "It's No Crime" (number one) and "Whip Appeal" (number two; both also reached the pop Top Ten); the album also went double platinum. Now firmly established as a powerhouse, Babyface went on to co-write hits for Johnny Gill ("My, My, My," nominated for the Best R&B Song Grammy), Whitney Houston ("I'm Your Baby Tonight"), and Madonna ("Take a Bow"); his biggest success, however, came with Boyz II Men, whose recording of "End of the Road" became one of the longest-running number ones in pop history (the Babyface-penned follow-up "I'll Make Love to You" was also pretty successful in its own right). He was co-nominated for an Album of the Year Grammy for his production on The Bodyguard soundtrack and went on to work with artists like Celine Dion, Mariah Carey, Gladys Knight, Aretha Franklin, En Vogue, and Mary J. Blige. As if that weren't enough, LaFace had become a highly successful and lucrative imprint, breaking artists like Toni Braxton, TLC, OutKast, and Usher (often with input from Reid and Babyface).

It's no wonder Babyface wound up taking a break from his own career as a singer during the early '90s, releasing only a remix album, A Closer Look, in 1991. The proper follow-up to Tender Lover didn't appear until 1993; even so, For the Cool in You was an even bigger hit than its predecessor, going triple platinum and producing Babyface's first Top Five pop hit, the change-of-pace acoustic guitar ballad "When Can I See You Again" (which won him his first Grammy as a performer for Best Male R&B Vocal). In 1995, he scored another major success with the Waiting to Exhale soundtrack, not only producing it but scoring the film itself and writing nearly all of its songs, including the Whitney Houston smash "Exhale (Shoop, Shoop)." The same year, he won the first of three consecutive Grammys as Producer of the Year. Successes just kept coming in 1996; the guest-laden album The Day spawned another Top Ten pop/R&B hit in "Every Time I Close My Eyes," and he solidified his crossover credentials once and for all by winning a Grammy for Record of the Year as producer of Eric Clapton's "Change the World."

Encouraged by the success of Waiting to Exhale, Babyface and his wife, Tracey Edmonds, formed their own film production company, which debuted in 1997 with the acclaimed urban family comedy/drama Soul Food (Babyface, naturally, masterminded the soundtrack). The next year, he contributed lyrics to the animated musical The Prince of Egypt, which went uncredited on the soundtrack album. With the movies taking up more of his time, his next musical releases were quick one-offs: an MTV Unplugged album in 1997 and the seasonal Christmas with Babyface the next year. His production and songwriting activities continued, though he remained silent as a performer for a few years. In 2000, Epic released the best-of compilation A Collection of His Greatest Hits, marking the end of his tenure with the label; he had elected to move to Arista, where L.A. Reid had been a high-ranking executive. In 2001, Babyface released a new album, Face2Face, and also produced the punk-pop soundtrack for the film Josie & the Pussycats. The back-to-basics Grown & Sexy came in July 2005, followed by 2007's covers-based Playlist for Mercury.




(Whitney Houston)

Whitney Houston is inarguably one of the of the biggest female pop stars of all time. Her accomplishments as a hitmaker are extraordinary; just to scratch the surface, she became the first artist ever to have seven consecutive singles hit number one, and her 1993 Dolly Parton cover "I Will Always Love You" became nothing less than the biggest hit single in rock history. Houston was able to handle big adult contemporary ballads, effervescent, stylish dance-pop, and slick urban contemporary soul with equal dexterity; the result was an across-the-board appeal that was matched by scant few artists of her era, and helped her become one of the first black artists to find success on MTV in Michael Jackson's wake. Like many of the original soul singers, Houston was trained in gospel before moving into secular music; over time, she developed a virtuosic singing style given over to swooping, flashy melodic embellishments. The shadow of Houston's prodigious technique still looms large over nearly every pop diva and smooth urban soul singer male or female in her wake, and spawned a legion of imitators (despite some critics' complaints about over-singing). Always more of a singles artist, Houston largely shied away from albums during the '90s, releasing the bulk of her most popular material on the soundtracks of films in which she appeared. By the end of the decade, she'd gone several years without a true blockbuster, yet her status as an icon was hardly diminished.

Whitney Elizabeth Houston was born in Newark, NJ, on August 9, 1963; her mother was gospel/R&B singer Cissy Houston, and her cousin was Dionne Warwick. By age 11, Houston was performing as a soloist in the junior gospel choir at her Baptist church; as a teenager, she began accompanying her mother in concert (as well as on the 1978 album Think It Over), and went on to back artists like Lou Rawls and Chaka Khan. Houston also pursued modeling and acting, appearing on the sitcoms Gimme a Break and Silver Spoons. Somewhat bizarrely, Houston's first recording as a featured vocalist was with Bill Laswell's experimental jazz-funk ensemble Material; their 1982 album One Down placed Houston alongside such unlikely avant-gardists as Archie Shepp and Fred Frith. The following year, Arista president Clive Davis heard Houston singing at a nightclub and offered her a record contract. Her first single appearance was a duet with Teddy Pendergrass, "Hold Me," which missed the Top 40 in 1984.

Houston's debut album, Whitney Houston, was released in March 1985. Its first single, "Someone for Me," was a flop, but the second try, "You Give Good Love," became Houston's first hit, topping the R&B charts and hitting number three pop. Houston's next three singles -- the Grammy-winning romantic ballad "Saving All My Love for You," the brightly danceable "How Will I Know," and the inspirational "The Greatest Love of All" all topped the pop charts, and a year to the month after its release, Whitney Houston hit number one on the album charts. It eventually sold over 13 million copies, making it the best-selling debut ever by a female artist. Houston cemented her superstar status on her next album, Whitney; despite the unimaginative title, it became the first album by a female artist to debut at number one, and sold over nine million copies. Its first four singles "I Wanna Dance with Somebody (Who Loves Me)" (another Grammy winner), "Didn't We Almost Have It All," "So Emotional," and "Where Do Broken Hearts Go" all hit number one, an amazing, record-setting run of seven straight (broken by "Love Will Save the Day"). In late 1988, Houston scored a Top Five hit with the non-LP single "One Moment in Time," recorded for an Olympics-themed compilation album.

Houston returned with her third album, I'm Your Baby Tonight, in 1990; a more urban-sounding, R&B-oriented record, it immediately spun off two number one hits in the title track and "All the Man That I Need." But the quality of the material was generally viewed as, overall, much weaker than her previous efforts, and following those two hits, sales of the album tapered off quickly, halting around four million copies. Nevertheless, Houston remained so popular that she could even take a recording of "The Star Spangled Banner" (performed at the Super Bowl) into the pop Top 20 -- though, of course, the Gulf War had something to do with that. In retrospect, the erratic quality of I'm Your Baby Tonight seemed to signal Houston's declining interest in making fully fleshed-out albums. Instead, she began to focus on an acting career, which she hadn't pursued since her teenage years; she also married singer Bobby Brown in the summer of 1992. Her first feature film, a romance with Kevin Costner called The Bodyguard, was released in late 1992; it performed well at the box office, helped by an ad campaign which seemingly centered around the climactic key change in Houston's soundtrack recording of the Dolly Parton-penned "I Will Always Love You." In fact, the ad campaign undoubtedly helped "I Will Always Love You" become the biggest single in pop music history. It set new records for sales (nearly five million copies) and weeks at number one (14), although those were later broken by Elton John's "Candle in the Wind 1997" and Mariah Carey and Boyz II Men's "One Sweet Day," respectively. Meanwhile, the soundtrack eventually sold an astounding 16 million copies, and also won a Grammy for Album of the Year.

Once Houston had stopped raking in awards and touring the world, she prepared her next theatrical release, the female ensemble drama Waiting to Exhale. A few months before its release at the end of 1995, it was announced that she and Brown had split up; however, they called off the split just a couple months later, and rumors about their tempestuous relationship filled the tabloids for years to come. Waiting to Exhale was released toward the end of the year, and the first single from the soundtrack, "Exhale (Shoop Shoop)," topped the charts; the album sold over seven million copies. For her next project, Houston decided to return to her gospel roots; the soundtrack to the 1996 film The Preacher's Wife, which naturally featured Houston in the title role, was loaded with traditional and contemporary gospel songs, plus guest appearances by Houston's mother, Shirley Caesar, and the Georgia Mass Choir. Houston also began making headlines for what appeared to be increasing unreliability, cancelling several TV and concert appearances due to illness.

In 1998, Houston finally issued a new full-length album, My Love Is Your Love, her first in eight years. Houston worked with pop/smooth soul mainstays like Babyface and David Foster, but also recruited hip-hop stars like Missy Elliott, Wyclef Jean, Lauryn Hill, and Q-Tip. The album sold even fewer copies than I'm Your Baby Tonight, but it received Houston's most enthusiastic reviews in quite some time. Moreover, it produced one of her biggest R&B chart hits (seven weeks at number one) in the trio number "Heartbreak Hotel," done with Faith Evans and Kelly Price. She also duetted with Mariah Carey on "When You Believe," a song from the animated film The Prince of Egypt. Unfortunately, Houston was also back in the tabloids in early 2000; she was arrested in Hawaii when airline authorities reportedly found marijuana in her luggage (the charges were later dismissed). Speculation about Houston's personal life only grew when she was dropped from the Academy Awards telecast that March, officially because of a sore throat, but reputedly due to poor rehearsals and a generally out-of-it air. Later in the year, Arista released the two-disc compilation Greatest Hits, which actually featured one disc of hits and one of remixes; it also included new duets with Enrique Iglesias, George Michael, and Deborah Cox. It was also announced that Houston had signed a new deal with Arista worth 100 million, requiring six albums from the singer. Her personal issues became even more public through the reality television series Being Bobby Brown, and she eventually divorced her husband and went into intense rehabilitation. An album of new material was set for release by the end of 2007.