James Ingram, Greatest Hits - The Power Of Great Music Full Album Zip
Zee Petty
Ohio native James Ingram first received attention in the late 70s as part of the band Revelation Funk and served as pianist for the legendary Ray Charles. But it was a 1980 demo tape on which he sang that became his unexpected career boost. He cut the demo of "Just Once," a Barry Mann/Cynthia Weil composition that was being delivered to Quincy Jones for possible inclusion on Jones's landmark The Dude album. Jones not only liked the song, he liked the singer on the tape and invited Ingram to provide the vocals to both "Just Once" and "One Hundred Ways" on The Dude. Of course, The Dude became an international smash and both Ingram cuts rocketed up the pop, soul and adult contemporary charts, ultimately landing Ingram a performance at that year's Grammy Awards as well as the trophy for best R&B vocal performance.
Ingram's debut album, It's Your Night, was released to great anticipation, and it didn't disappoint. Led off by the smash duet with Michael McDonald, "Yah Mo Be There," Night was perhaps the best soul album of 1983 and was highlighted by the achingly beautiful ballad, "There's No Easy Way." Most of that album was also included on Ingram's 1991 greatest hits disc, The Power of Great Music, a nearly essential collection of romantic 80s soul music.
James Ingram, Greatest Hits - The Power Of Great Music Full Album Zip
Download File https://lpoms.com/2A3dbB
Over the course of the next decade, Ingram's career took an unusual direction, as he became known almost exclusively as an adult contemporary duet artist. He consistently hit the charts in duets with Patti Austin ("Baby Come To Me," "How Do You Keep The Music Playing"), Linda Ronstadt ("Somewhere Out There"), Dolly Parton ("The Day I Fell In Love"), Kenny Rogers and Kim Carnes ("What About Me"), and Barry White, Al B. Sure and El Debarge (on Quincy Jones's "Secret Garden"), but his solo recordings struggled to find an audience. He broke his drought in 1990, taking the Thom Bell-produced ballad "I Don't Have the Heart" to number one, but never again had a major hit.
After a six year hiatus, Ingram released Forever More: The Best of James Ingram in 1999, which included re-recordings of some of his biggest hits along with some lesser new material. He also appeared as a guest vocalist on Michael McDonald's excellent In the Spirit holiday album in 2001. Ingram continued to provide guest vocals for a number of artists and was a regular participant in the "Colors of Christmas" concerts with Peabo Bryson, Roberta Flack and others. He also occasionally penned material for other artists such as Phil Perry and Brian McKnight.
Ingram spent most of the early 21st century devoting his time to his family. He also performed regularly in Los Angeles and appeared in spot dates elsewhere. He remained active as a writer, teaming with dancer Debbie Allen to create seven plays, including the noted musical Brothers of the Night. He also became an active athlete, including a daily regimen of running, push ups, pull ups and stretching, and even participated in a marathon.
While performing with Gospel harpist Jeff Majors, Ingram sang a composition he wrote called "Mercy." It won over the audience and sparked his interest in releasing an entire Gospel album. Beginning in early 2007, Ingram began recording Stand (In The Light), his first full inspirational album. The title track was inspired by his emotions as he observed on television the tragic results of Hurricane Katrina. Ingram continued to perform regularly on tours, but reportedly struggled with cognitive issues over the past few years, preventing him from reaching as many fans as his enviable career would have warranted.
A chart-topping R&B singer and songwriter, Ingram landed his first No. 1 hit in 1982 with "Baby, Come To Me," a duet with Patti Austin. He earned two GRAMMY Awards later in that same decade, winning Best R&B Vocal Performance, Male for "One Hundred Ways" and Best R&B Performance By A Duo Or Group With Vocal for "Yah Mo B There," a duet with Michael McDonald. Ingram also returned to the top of the charts in 1990 with his hit "I Don't Have The Heart."
As a songwriter, he collected several hits with an impressive roster of artists including Ray Charles, Michael Jackson, and the Pointer Sisters, among others. He notably co-wrote Jackson's "P.Y.T. (Pretty Young Thing)" with Quincy Jones and worked with Jackson and Jones on the "We Are The World" all-star charity video and single.
He was also well-known for his soundtrack work, including a duet with Linda Ronstadt on "Somewhere Out There" for the 1986 animated film An American Trail, which earned the song's writers, James Horner and Cynthia Weil, the GRAMMY for Song Of the Year.
Ingram also scored Oscar nominations for Best Original Song twice for his theme songs from Beethoven's 2nd and Junior. In 2008, Ingram released what would be his final album, Stand (In The Light), which was co-produced by Jones.
"Ingram's rich voice and masterful songwriting has made a lasting impact on the music industry," said Recording Academy President/CEO Neil Portnow. "Our thoughts go out to his loved ones during this difficult time."
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiance, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
L'Impratrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.
Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP, Cage, and continuing to rock through decades of changing tastes.
Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.
Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face."
b37509886e