Calvin Richardson Torrent Discography
Nichelle Gruger
Calvin Richardson appeared on the R&b / Soul scene with the release of the album 'Country Boy' published on August 24, 1999. The song 'I'll Take Her' quickly became a hit and made Calvin Richardson one of the newest emerging talents at that time. Afterwards, Calvin Richardson released the hugely famous album '2:35 PM' which includes some of the most popular music from the Calvin Richardson catalog. '2:35 PM' contains the song 'Keep on Pushin'' which has proven to be the most sought-after for fans to hear during the gigs. Aside from 'Keep on Pushin'', most of other tracks from '2:35 PM' have also become well-known as a result. Some of Calvin Richardson's most famous tour albums and songs are displayed below. After 17 years since releasing 'Country Boy' and making a huge effect in the industry, music lovers still head to hear Calvin Richardson on stage to play favorites from the complete discography.
Herb Powers Jr. began his journey mastering at Frankford/Wayne in 1977. In the 80's he mastered at the Hit Factory and he currently runs Powers Mastering. His discography (see below) reads like a "Who's Who" of genre defining music from Mariah Carey, Alicia Keys, John Legend & Luther Vandross to Whitney Houston & Justin Timberlake.
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Always in demand, Conrad also recorded with Jimi Hendrix and Memphis Slim. On BadCat Records he recorded with Willie Bobo backing up vocalist and guitarist, Terry Reid. See the musiciansolympus.blogspot.com for a complete discography.
The native of Gadsden, Alabama established his career with the group Daybreak and went on to work with the likes of Larry Blackmon and Cameo prior to releasing his solo debut, Hell at the House (2003), which reached number 53 on Billboard's R&B/Hip-Hop chart. Cunningham has steadily built a solid and unwavering solo discography that appeals to grown fans of traditionally rooted R&B. The extensive list of artists he's collaborated with include: Karen Wolfe, Vick Allen, Lacee, CoCo, Dave Mack, Big Yayo, Wendell B., Calvin Richardson, Mel Waiters, Bigg Robb, Sir Charles Jones, and Lenny Williams to name a few. Omar also performed on the finale night of the 2004 Air Jamaica Jazz and Blues Festival with Alicia Keys, Cassandra Wilson and Michael McDonald. Other celebrity performers include India Arie, Nancy Wilson, Beres Hammond, Bobby Womack, Monty Alexander, and Kenny Rogers. With the construction of his new studio, Kylee Tunz Entertainment, Omar is sure to churn out more hits in the future. As you can see, Omar has been busy and there is more to come!
These theories are often reignited by Swift's re-releases of her early discography while she works to reclaim ownership of her first six albums (her previous record label's new executive, Scooter Braun, infamously refused to sell the masters to her in 2020). After her release of Red (Taylor's Version) in 2021, many folks online placed intense attention on Swift's ex, Jake Gyllenhaal, the rumored subject of Swift's fan-favorite song, "All Too Well," and its accompanying 10-minute version. Gyllenhaal was 29 when he dated then 20-year-old Swift in 2010.
Fans believe much of Swift's recent discography was inspired by her relationship with Alwyn, including tracks from Reputation (2017), Lover (2019), Folklore (2020), Evermore (2020) and Midnights (2022). Alwyn also boasts an impressive number of co-writing credits, under the pseudonym William Bowery, on albums Folklore, Evermore and Midnights.
Wes Montgomery/Wynton Kelly Trio: Maximum Swing: TheUnissued 1965 Half Note Recordings (1965 [2023], Resonance,2CD): For many years, it seemed like every American jazz guitaristtook Wes Montgomery as their model -- a spell even more total thanCharlie Parker and (later) John Coltrane held for saxophonists. I'velong been skeptical (really for all three), but when Pat Methenycalled Smokin' at the Half Note "the greatest jazz guitaralbum ever made," I had to check it out. I found it, "complete,"in a 2-CD compilation, Impressions: The Verve Jazz Sides(probably where I got the Metheny quote), and have since collectedCD reissues, the older one giving Wynton Kelly Trio top billing,a later one headlining Montgomery. Metheny's not right, but he'snot far off base either: there is some truly remarkable guitarthere -- Kelly and the rhythm section (Paul Chambers and JimmyCobb) are pretty great, too. What's offered here aren't outtakesfrom the same session, but snippets from other live shots fromthe same year and venue, with spoken intros and a revolving castof bassists (Chambers, Ron Carter, Larry Ridley, Herman Wright,and Ridley again). There are, for sure, short stretches whereMontgomery is on top of his game, and those are sublime. Andthere's a nice booklet, with a Bill Milkowski essays, and someappreciations from other musicians. This fits into Montgomery'sdiscography rather like the Royal Roost broadcasts do forParker. How indispensable they are is up to you.B+(***) [cd] [12-01]
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