Notable extensions of the Philadelphia sound were bassist Ronald Baker, guitarist Norman Harris and drummer/Trammps baritone Earl Young (B-H-Y), who also recorded as the Trammps and would produce records themselves. État Pochette: CR 1975, Label:Columbia Another Thom Bell group, the Stylistics were as close to a boy band that Philly soul ever got; their lead singer Russell Thompkins Jr. had bubblegum-sweet high vocals, lending his group’s songs a tenderness similar to groups like the Jackson 5. Philadelphia soul, sometimes called Philly soul, the Philadelphia sound, or TSOP (The Sound of Philadelphia), is a genre of late 1960s–1970s soul music characterized by funk influences and lush instrumental arrangements, often featuring sweeping strings and piercing horns. Like Detroit had the assembly line groove of Motown, and Memphis had the sanctified sounds of Stax, Philadelphia had Philadelphia International and the sound of Philly soul. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. He lives in St. Paul, Minnesota. It was famous for showcasing the Philadelphia soul music genre that was founded on the gospel, doo-wop, and soul music of the time. Ce morceau emblématique du style Philadelphia soul[1] est écrit par Kenneth Gamble et Leon Huff pour servir de générique à l'émission de télévision musicale américaine Soul Train, spécialisée dans les prestations d'artistes afro-américains.
NB-11-164-7, Label:Motown Pochette: Cat N°: IS-078, Label:Constellation (2) » ; et le refrain « Let's get it on / It's time to get down » à la fin du morceau. It was the first television theme song to reach number one on the Billboard Hot 100, and it is arguably the first discoson… Part of Time Life's extensive Sweet Soul of the ‘70s series, The Sound of Philadelphia provides a two-disc overview of Philly soul, with Kenny Gamble and Leon Huff's Philadelphia International rightly given much of the spotlight. Le groupe britannique Dexys Midnight Runners l'enregistre pour la face B de la version maxi 45 tours du single Jackie Wilson Said en 1982. Teddy Pendergrass helped shepherd Philly soul into its final form: quiet storm R&B, which emphasized tender ballads, quiet instrumentation, and songs that sounded like they came from between silk sheets. Soon after, Harris created the Gold Mind label in conjunction with Salsoul Records. Cat N°: Andrew Winistorfer is Vinyl Me, Please’s Editorial Director, VMP Classics A&R, and an editor of their books, 100 Albums You Need In Your Collection and The Best Record Stores In The United States. 974, Label:She Records (2) Very Good Plus (VG+) Cat N°:

The label’s version of Berry Gordy was the two-headed writing and composing machines, Kenny Gamble and Leon Huff, whose writing credits are too numerous to list here. The single was released on the Philadelphia International label. Cat N°: For the arena football team, see, "Philly Soul Music Genre Overview - AllMusic", "Bunny Sigler, Who Helped Create 1970s Philly Sound, Dies", "R.I.P. While Gamble & Huff were making Philly soul as producers and at Philadelphia International, Thom Bell was arguably having as much of an impact on the shape of Philly soul while producing records for a series of vocal groups recording for Philly Groove. ». La dernière modification de cette page a été faite le 1 juillet 2020 à 18:54. Paul’s classic tale of shagging Mr. Jones’ wife sets the tone for half of his 360 Degrees of Billy Paul album, which leans hard into organ funk in the half opposite the slow burn ballads about affairs and being a prisoner to love.

L'intro de la chanson est également utilisée pour servir de jingle à tous les matchs de basket des 76ers de Philadelphie diffusés sur la radio WCAU-AM entre le milieu et la fin des années 1970 et aussi pour la pause publicitaire lors des matchs de NBA sur CBS Sports du début des séries éliminatoires de 1975 jusqu'à la finale de 1976. AM-1320, État Média:

Cette version particulière est parue sur l'album International des Three Degrees en 1975. Le thème de 1999 est utilisé jusqu'au dernier épisode de l'émission en 2006. Building on the steady groove of Hi Records and Stax/Volt singles, Philly soul added sweeping strings, seductive horns, and lush arrangements to the deep rhythms. 2.
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3-10388, Label:ATCO Records 1715GF, Label:Grassroots Records (2) Fred Wesley, the trombonist of the James Brown band and Parliament-Funkadelic, described the signature deep but orchestrated sound as "putting the bow tie on funk.



Notable extensions of the Philadelphia sound were bassist Ronald Baker, guitarist Norman Harris and drummer/Trammps baritone Earl Young (B-H-Y), who also recorded as the Trammps and would produce records themselves. État Pochette: CR 1975, Label:Columbia Another Thom Bell group, the Stylistics were as close to a boy band that Philly soul ever got; their lead singer Russell Thompkins Jr. had bubblegum-sweet high vocals, lending his group’s songs a tenderness similar to groups like the Jackson 5. Philadelphia soul, sometimes called Philly soul, the Philadelphia sound, or TSOP (The Sound of Philadelphia), is a genre of late 1960s–1970s soul music characterized by funk influences and lush instrumental arrangements, often featuring sweeping strings and piercing horns. Like Detroit had the assembly line groove of Motown, and Memphis had the sanctified sounds of Stax, Philadelphia had Philadelphia International and the sound of Philly soul. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. He lives in St. Paul, Minnesota. It was famous for showcasing the Philadelphia soul music genre that was founded on the gospel, doo-wop, and soul music of the time. Ce morceau emblématique du style Philadelphia soul[1] est écrit par Kenneth Gamble et Leon Huff pour servir de générique à l'émission de télévision musicale américaine Soul Train, spécialisée dans les prestations d'artistes afro-américains.
NB-11-164-7, Label:Motown Pochette: Cat N°: IS-078, Label:Constellation (2) » ; et le refrain « Let's get it on / It's time to get down » à la fin du morceau. It was the first television theme song to reach number one on the Billboard Hot 100, and it is arguably the first discoson… Part of Time Life's extensive Sweet Soul of the ‘70s series, The Sound of Philadelphia provides a two-disc overview of Philly soul, with Kenny Gamble and Leon Huff's Philadelphia International rightly given much of the spotlight. Le groupe britannique Dexys Midnight Runners l'enregistre pour la face B de la version maxi 45 tours du single Jackie Wilson Said en 1982. Teddy Pendergrass helped shepherd Philly soul into its final form: quiet storm R&B, which emphasized tender ballads, quiet instrumentation, and songs that sounded like they came from between silk sheets. Soon after, Harris created the Gold Mind label in conjunction with Salsoul Records. Cat N°: Andrew Winistorfer is Vinyl Me, Please’s Editorial Director, VMP Classics A&R, and an editor of their books, 100 Albums You Need In Your Collection and The Best Record Stores In The United States. 974, Label:She Records (2) Very Good Plus (VG+) Cat N°:

The label’s version of Berry Gordy was the two-headed writing and composing machines, Kenny Gamble and Leon Huff, whose writing credits are too numerous to list here. The single was released on the Philadelphia International label. Cat N°: For the arena football team, see, "Philly Soul Music Genre Overview - AllMusic", "Bunny Sigler, Who Helped Create 1970s Philly Sound, Dies", "R.I.P. While Gamble & Huff were making Philly soul as producers and at Philadelphia International, Thom Bell was arguably having as much of an impact on the shape of Philly soul while producing records for a series of vocal groups recording for Philly Groove. ». La dernière modification de cette page a été faite le 1 juillet 2020 à 18:54. Paul’s classic tale of shagging Mr. Jones’ wife sets the tone for half of his 360 Degrees of Billy Paul album, which leans hard into organ funk in the half opposite the slow burn ballads about affairs and being a prisoner to love.

L'intro de la chanson est également utilisée pour servir de jingle à tous les matchs de basket des 76ers de Philadelphie diffusés sur la radio WCAU-AM entre le milieu et la fin des années 1970 et aussi pour la pause publicitaire lors des matchs de NBA sur CBS Sports du début des séries éliminatoires de 1975 jusqu'à la finale de 1976. AM-1320, État Média:

Cette version particulière est parue sur l'album International des Three Degrees en 1975. Le thème de 1999 est utilisé jusqu'au dernier épisode de l'émission en 2006. Building on the steady groove of Hi Records and Stax/Volt singles, Philly soul added sweeping strings, seductive horns, and lush arrangements to the deep rhythms. 2.

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