A PARADOX: The upright Man.

“OUR CHARACTER IS DEVELOPED FULLY BY HIS POWER AND GRACE.”

First Corinthians 15:10 contains a great paradox. “By the grace of the Most High God of IsraEL I am that I am, and His grace to me was not without effect. No, I worked harder than all of them–yet not I, but the grace of the Most High God that was with me.” Our character is developed fully by the power and grace of the Most High God which works within us. Yet, it is also a conscious decision we make to bring our mind, heart, and actions into line with His will.

Hebrews 4:13 says “Nothing in all creation is hidden from the Most High God’s sight. Everything is uncovered and laid bare before the eyes of Him to whom we must give account.” The Most High knows you inside and out. He knows your secret thoughts and feelings, your dreams and aspirations. The Most High knows where your loyalties are and where your weaknesses cause you to stumble. He watches you interact with His people and react to circumstances. The Most High looks to see if you are trustworthy and faithful. He can do much through you if your character is right.

If you are a man of little integrity or questionable character, do not expect The Most High to reveal much of Himself to you or to use you significantly for His Kingdom. If you are a man of great character and integrity, you no doubt already have experienced His activity in your life and serve Him. The Most High God of IsraEL is a mighty God who hears and saves us. But our sins separate us from Him, and as a result, our relationship with Him is not what it should be. All sins equally separate us from Him—sins of doing wrong and sins of not doing right. Inaction and words can be as destructive as action and physical violence.

Consider the sins described in Isaiah: 59:4:

“No one calls for justice; no one pleads his case with integrity. They rely on empty arguments and speak lies; they conceive trouble and give birth to evil.”

When truth becomes victim to preserving our own safety and comfort, or when rationales take the place of facts, we will find ourselves involved in sin.

Narrator: Wa’Dell Jones, Author/Artist Music Producer.

Co. Rock Of Ages Entertainment.com

email address: wadellj0725@gmail.com

BIDEN OUST SOCIAL SECURITY CHIEF:

Haiti calls US for troops, after wild day of gunfights and suspicionDonald Trump has regretsa man in a suit and tie© shawn thew/epa-efe/rex/EPA/Shutterstock

WASHINGTON—President Biden fired Social Security Commissioner Andrew Saul Friday after Mr. Saul declined a request to resign, the White House said, accusing Mr. Saul of politicizing Social Security disability benefits.

The president also asked for the resignation of the deputy Social Security commissioner, David Black, who the White House said agreed to step down. Both men were appointed by President Trump.

Social Security is one of the federal government’s largest programs, paying regular retirement, disability and survivor’s benefits to millions of Americans.https://www.dianomi.com/smartads.epl?id=3533

Mr. Biden has appointed Kilolo Kijakazi as acting commissioner, the White House said. Ms. Kijakazi is the deputy commissioner for retirement and disability policy at the agency.

Republicans criticized the firing of Messrs. Saul and Black, arguing that their terms weren’t set to expire until 2025. “This removal would be an unprecedented and dangerous politicization of the Social Security Administration,” Senate Majority Leader Mitch McConnell wrote on Twitter.

The White House said Mr. Saul had undermined Social Security disability benefits, arguing that his approach to the agency conflicts with Mr. Biden’s goals.

The White House also criticized Mr. Saul for terminating the telework policy upon which one-quarter of the agency’s employees relied, straining the administration’s relationship with federal employee unions and reducing due process protections for benefits appeals hearings.

The Social Security Administration referred a request for comment to the White House. Mr. Saul couldn’t immediately be reached for comment.

The Washington Post earlier reported Mr. Saul’s firing. He told the outlet he would contest his removal.

Democrats had been pressing for the firing, citing as precedent the recent Supreme Court decision that let Mr. Biden fire the director of the Federal Housing Finance Agency.

Rep. Bill Pascrell (D., N.J.), a senior member of the House Ways and Means Committee, in March called for Messrs. Saul’s and Black’s removal, contending that they had made it harder for older, disabled workers to be found eligible for benefits.

Mr. Pascrell had accused Mr. Saul of blocking non-English speakers’ access to disability assistance, increasing the number of case reviews for recipients of Social Security disability insurance and shifting responsibility for disability hearings from administrative law judges to Social Security Administration lawyers.

“The leadership of the Social Security Administration under these men has been marked by a stunning streak of disregard, callousness, and destruction of the agency,” Mr. Pascrell said following the firing.

“Saul and his team have admirably focused on service to beneficiaries, and steered the Social Security Administration through the pandemic with success,” said Sen. Chuck Grassley (R., Iowa), who sits on the Finance Committee. “President Biden is overtly politicizing the SSA.”

Write to Andrew Restuccia at andrew.restuccia@wsj.com and Richard Rubin at richard.rubin@wsj.com

News Report by;

Wa’Dell Jones: Author/Artist Music Producer.

Co. Rock Of Ages Entertainment.

RHYME TO REASON:

Brainstorming with a rhyming dictionary prepares you to write a lyric. At the same time your are brainstorming your ideas, you are also finding sounds you can use later. With solid rhyming techniques that include family rhymes, additive and subtractive rhymes, {assonance}; meaning: 1. similarity of sounds in words or syllables. 2. Rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words. Using a rhyming dictionary can be as relaxed and easy as brainstorming with a friend, except it’s more efficient than a friend, and it won’t whine for a piece of the song if you get a Hit. My E-book; ” How To Write Lyrical Compositions” can give you all the fundamental techniques to write lyrics with reason, to build with excitement, and to close with a strong vamp out or stinger ending.

POETRY AND VERSE:

Poetry; is the expression of thoughts which awake the higher and nobler emotions or their opposites, in words arranged according to some accepted convention.

Occidental Poetry; in its usual form, is the expression of thoughts which awake the higher and nobler emotions or their opposites, in words whose rhythm tends toward uniformity or regularity, rather than toward variety.

Author/ Artist Music Producer/Composer.

Wa’Dell Jones.

email address: wadellj0725@gmail.com

FREDERICK DOUGLAS SPOKE FOR THE ENSLAVED:

Frederick Douglass wearing a suit and tie looking at the camera: Frederick Douglass circa 1852, when he was in his mid-30s.© Samuel J. Miller/Art Institute of Chicago Frederick Douglass circa 1852, when he was in his mid-30s.

So began Frederick Douglass on the platform of Corinthian Hall in Rochester, N.Y. It was a Monday, the day after the Fourth of July in 1852, and he was speaking to a packed room of 500 to 600 people hosted by the Rochester Ladies’ Anti-Slavery Society. Douglass was about 35 years old (he never knew his actual birth date) and had escaped enslavement in Maryland 14 years earlier. Ad RECOMMENDED Deals for Womens Sunglasses Microsoft Ads Ugg Winter Boots Microsoft Ads Human Hair Wigs For Women Microsoft Ads Free Bank Account Microsoft Ads Coach Floral Perfume Microsoft Ads Make My Own Blog Microsoft Ads Frederick Douglass statue torn down in Rochester, N.Y., on anniversary of his famous Fourth of July speech

Although by this time he was world-renowned for his speeches, he began modestly, reminding the crowd that he had begun his life enslaved and had no formal education.

“With little experience and with less learning, I have been able to throw my thoughts hastily and imperfectly together,” he began, “and trusting to your patient and generous indulgence, I will proceed to lay them before you.”

Over the next hour and a half, Douglass made what is now thought to be among the finest speeches ever delivered: “What to the Slave is the Fourth of July?” He quoted Shakespeare, Longfellow, Jefferson and the Old Testament. He certainly bellowed in moments, exclaiming and anguishing in others. He painted vivid pictures of exalted patriots and the wretched of the earth.

First, he posited that while 76 was old for a man, it was young for a nation. America was but an adolescent, he said, and that was a good thing. That meant there was hope of its maturing vs. being forever stuck in its ways.

He wove through the familiar tale of taxation without representation, tea parties and declarations of independence. “Oppression makes a wise man mad,” he said. “Your fathers were wise men, and if they did not go mad, they became restive under this treatment.”

Perhaps at this point it was imperceptible to his audience that Douglass repeatedly said “yours” and not “ours.” Did they notice the hint of what was to come? Frederick Douglass delivered a Lincoln reality check at Emancipation Memorial unveiling

But his business was with the present, not the past, he said, and here his critique began to build.

“Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here today? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?”

“The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought life and healing to you, has brought stripes and death to me. This Fourth [of] July is yours, not mineYou may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak to-day?”

“At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could I reach the nation’s ear, I would, today, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.

“What, to the American slave, is your 4th of July? I answer: a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciations of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade, and solemnity, are, to him, mere bombast, fraud, deception, impiety, and hypocrisy — a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices, more shocking and bloody, than are the people of these United States, at this very hour.”

“Behold the practical operation of this internal slave-trade, the American slave-trade, sustained by American politics and America religion. Here you will see men and women reared like swine for the market.

“You know what is a swine-drover? I will show you a man-drover. They inhabit all our Southern States. They perambulate the country, and crowd the highways of the nation, with droves of human stock. You will see one of these human flesh-jobbers, armed with pistol, whip and bowie knife, driving a company of a hundred men, women, and children, from the Potomac to the slave market at New Orleans. These wretched people are to be sold singly, or in lots, to suit purchasers. They are food for the cotton-field, and the deadly sugar-mill.

“Mark the sad procession, as it moves wearily along, and the inhuman wretch who drives them. Hear his savage yells and his blood-chilling oaths, as he hurries on his affrighted captives! There, see the old man, with locks thinned and gray. Cast one glance, if you please, upon that young mother, whose shoulders are bare to the scorching sun, her briny tears falling on the brow of the babe in her arms. See, too, that girl of thirteen, weeping, yes! weeping, as she thinks of the mother from whom she has been torn!

“The drove moves tardily. Heat and sorrow have nearly consumed their strength; suddenly you hear a quick snap, like the discharge of a rifle; the fetters clank, and the chain rattles simultaneously; your ears are saluted with a scream, that seems to have torn its way to the center of your soul! The crack you heard, was the sound of the slave-whip; the scream you heard, was from the woman you saw with the babe. Her speed had faltered under the weight of her child and her chains! that gash on her shoulder tells her to move on.

“Follow the drove to New Orleans. Attend the auction; see men examined like horses; see the forms of women rudely and brutally exposed to the shocking gaze of American slave-buyers. See this drove sold and separated forever; and never forget the deep, sad sobs that arose from that scattered multitude. Tell me citizens, WHERE, under the sun, you can witness a spectacle more fiendish and shocking. Yet this is but a glance at the American slave-trade, as it exists, at this moment, in the ruling part of the United States.”

He also indicted the American church, “with fractional exceptions,” for its “indifference” to the suffering of the enslaved, its willingness to obey laws so clearly immoral. It was a theme echoed a century later by the Rev. Martin Luther King Jr. in his “Letter From Birmingham Jail.”

The church, Douglass charged, “esteems sacrifice above mercy; psalm-singing above right doing; solemn meetings above practical righteousness. A worship that can be conducted by persons who refuse to give shelter to the houseless, to give bread to the hungry, clothing to the naked, and who enjoin obedience to a law forbidding these acts of mercy, is a curse, not a blessing to mankind. “The Statue of Liberty was created to celebrate freed slaves, not immigrants, its new museum recounts

He turns to the Constitution, and here he defends it and raises it up as a pathway to liberation for the enslaved.

“In that instrument I hold there is neither warrant, license, nor sanction of the hateful thing [slavery]; but, interpreted as it ought to be interpreted, the Constitution is a GLORIOUS LIBERTY DOCUMENT. Read its preamble, consider its purposes. Is slavery among them? … [L]et me ask, if it be not somewhat singular that, if the Constitution were intended to be, by its framers and adopters, a slave-holding instrument, why neither slavery, slaveholding, nor slave can anywhere be found in it. What would be thought of an instrument, drawn up, legally drawn up, for the purpose of entitling the city of Rochester to a track of land, in which no mention of land was made?”

That is why, he said, despite the “dark picture” he painted, “I do not despair of this country.”

“There are forces in operation, which must inevitably work the downfall of slavery. ‘The arm of the Lord is not shortened,’ and the doom of slavery is certain,” he says. “I, therefore, leave off where I began, with hope.”

When he finished speaking and took his seat, “there was a universal burst of applause,” according to one newspaper account. Within a few minutes he had promised to publish his words as a pamphlet.

Douglass was right. The forces that would end slavery in little more than a decade were in operation, and he was one of those forces.

But he couldn’t see what would follow: sharecropping and Jim Crow, redlining and Bull Connor, incarceration rates and George Floyd. Would Douglass still figure us an adolescent nation, with the youthful hope of transformation — or something else?

Narrator of History by;

Wadell G. Jones Sr. Author, Biographer, Music Producer, Poet.

email address: wadellj0725@wadelljones7

THE FAIRNESS IN MUSIC LICENSING ACT OF 1998:

Under the Fairness in Music Licensing Act of 1998, bars and restaurants of less than 3,700 square feet and retail stores of less than 2,000 square feet that play music via radio or television sets are exempt from paying performance royalty fees. A protest against the Fairness in Music Licensing Act was filed by music publishers and songwriters residing in EU countries signatory to the Berne Convention, led by the Irish Music Rights Organization.

The protestors claimed that the exemption violated World Trade Organization (WTO) intellectual property rules. The claim was referred to the WTO dispute resolution and panel, which decided in July 2001 that the claim was justified and gave the United States until the end of 2001 to repeal the offending legislation or face damages of $1.1 million per. year retroactive to 1998. In 2002, the United States submitted a status report on what it assured the WTO were productive discussions directed toward arriving at a compensatory series of subsidies for the benefit of EU music creators. As of this writing, a final settlement had not been reached.

Narrator of History by:

Wa’Dell Jones; Artist/Music Producer/Video Director

Co. Rock Of Ages Entertainment

BMI. Pro. Member: 1179604

email address: wadellj0725@gmail.com

KNOWLEDGE FOR TIMES OF CRISIS:

“Crisis, Pandemic, No Faith.”

Crisis is often mistaken to mean “tragedy” or “threat” A truer understanding is that crisis means “a turning point” For the believer, a crisis of belief is a point at which that person either trusts and obeys God or places his own wisdom or interests above God’s. A crisis of belief equals a moment of decision.

In that respect, a crisis becomes an opportunity to serve God and see God work. Opportunities aside, crisis are not without stress. At such times, the strength and value of belonging to a local church comes to bear A local congregation is a family created to act in times of crisis. Their support can make all the difference for the man of God uses in times of crisis.

I sought the Lord, and He answered me; he delivered me from all my fears.

Psalm: 34,4.

Narrator: Minister/Artist/ Music Producer.

Wa’Dell Jones

Co. Rock Of Ages Entertainment

email address: wadellj0725@gmail.com

THE CALLING BACK:

“God is transforming men across our nation.”

Men’s hearts are feeling a tremendous surge of God’s activity today. It is as if God has announced: “The world has had my people long enough! I am calling them back to me. I will mold them and shape them for my purposes in my world! Men are responding to this call, and God is transforming men across our nation. Many men understand this quickening of their souls and know precisely what God is asking of them. They are responding with a resounding. “Yes, Lord!” Others know God is speaking but are unclear as to how they should respond. Yet others recognize a deep stirring in their lives but do not recognize it is God.

This message is put together with much prayer and heart-searching that strong, clear help and encouragement may come to those lives God is touching. There is no question in my mind that if thousands of men “return to God” and God in turn returns to them. (Zech. 1:3), great revival will come through them and have worldwide impact.

Be assured of my sincere prayer and intercession as you study to show thyself approved either personally or an interactive, accountability group. May the Most High God, {Ahayah, I Am that I Am} of Isra’EL receive the highest glory and honor to His Name, as I offer this Post for His use to draw his people back to Himself.

Sincerely:

Minister/Artist/Music Producer.

Wa’Dell Jones.

Co. Rock Of Ages Entertainment

email address: wadellj0725@gmail.com

THE ORIGIN OF SOUL TRAIN MEDIA: HOSTED BY, DON CORNIELUS.

Soul Train

From Wikipedia, the free encyclopediaJump to navigationJump to searchThis article is about the music dance TV show. For the awards program, see Soul Train Music Awards. For other uses, see soul train (disambiguation).

Soul Train
Created byDon Cornelius
Presented byDon Cornelius
(1971–1993; 734 episodes)
Various guest hosts
(1993–1997; 128 episodes)
Mystro Clark
(1997–1999; 76 episodes)
Shemar Moore
(2000–2003; 111 episodes)
Dorian Gregory
(2003–2006; 68 episodes)
Narrated bySid McCoy
Country of originUnited States
No. of episodes1,117 (list of episodes)
Production
Production locationsMetromedia Square
Hollywood, California
(1971–1981)
A&M Studios
Hollywood, California
(1981–1984)
Hollywood Center Studios
Hollywood, California
(1984–1993)
Paramount Studios
Hollywood, California
(1993–2006)
Running time45–48 minutes
Production companyDon Cornelius Productions
DistributorTribune Entertainment (1985–2006)
Release
Original networkSyndication
Original releaseOctober 2, 1971 –
March 25, 2006
External links
Website

Soul Train is an American music-dance television program which aired in syndication from October 2, 1971, to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop, and hip hop artists, although funk, jazz, disco, and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer.

Production was suspended following the 2005–2006 season, with a rerun package (known as The Best of Soul Train) airing for two years subsequently. As a nod to Soul Train’s longevity, the show’s opening sequence during later seasons contained a claim that it was the “longest-running first-run, nationally syndicated program in American television history,” with over 1,100 episodes produced from the show’s debut through the 2005–2006 season. Despite the production hiatus, Soul Train held that superlative until 2016, when Entertainment Tonight surpassed it completing its 35th season. Among non-news programs, Wheel of Fortune surpassed that mark in 2018.

Contents

History[edit]

Chicago origins[edit]

The origins of Soul Train can be traced to 1965 when WCIU-TV, an upstart UHF station in Chicago, began airing two youth-oriented dance programs: Kiddie-a-Go-Go and Red Hot and Blues. These programs—specifically the latter, which featured a predominantly African Americans group of in-studio dancers—would set the stage for what was to come to the station several years later. Don Cornelius, a news reader and backup disc jockey at Chicago radio station WVON, was hired by WCIU in 1967 as a news and sports reporter. Cornelius also was promoting and emceeing a touring series of concerts featuring local talent (sometimes called “record hops”) at Chicago-area high schools, calling his traveling caravan of shows “The Soul Train”. WCIU-TV took notice of Cornelius’s outside work and in 1970, allowed him the opportunity to bring his road show to television.

After securing a sponsorship deal with the Chicago-based retailer SearsSoul Train premiered on WCIU-TV on August 17, 1970, as a live show airing weekday afternoons. Beginning as a low-budget affair, in black and white, the first episode of the program featured Jerry ButlerThe Chi-Lites, and the The Emotions as guests.[1] Cornelius was assisted by Clinton Ghent, a local professional dancer who appeared on early episodes before moving behind the scenes as a producer and secondary host.[2]

Move to syndication[edit]

Soul Train host Don Cornelius (second from right) with The Staple Singers in 1974.

The program’s immediate success attracted the attention of another locally based firm—the Johnson Products Company (manufacturers of the Afro Sheen line of hair-care products)—and they later agreed to co-sponsor the program’s expansion into broadcast syndication. Cornelius and Soul Train‘s syndicator targeted 25 markets outside of Chicago to carry the show, but stations in only seven other cities—WAGA-TVWBRCWJW (TV)WJBKKIAHKTTV, and WKBS-TV—purchased the program, which began airing on a weekly basis on October 2, 1971. By the end of the first season, Soul Train was on in the other eighteen markets.[3] At the time, there were no other commercial television programs being produced by black people for a black audience; the only nationally available show by blacks for blacks at the time was the public television series Soul![4] When the program moved into syndication, its home base was also shifted to Los Angeles, where it remained for the duration of its run. Soul Train was part of a national trend toward syndicated music-oriented programs targeted at niche audiences; two other network series (Hee Haw for country music, and The Lawrence Welk Show for traditional music) also entered syndication in 1971 and would go on to have long runs.

Though Don Cornelius moved his operations west, a local version of Soul Train continued in Chicago; Cornelius hosted both the local Chicago and Los Angeles–based national programs simultaneously but soon focused his attention solely on the national edition. He continued to oversee production in Chicago, where Clinton Ghent hosted episodes on WCIU-TV until 1976, followed by three years of once-weekly reruns.[5] The syndicated version was picked up in the Chicago market by CBSowned-and-operated station WBBM-TV at its launch; the program moved to WGN-TV in 1977 and remained there for the rest of its Chicago run.

Narrator of History by:

Wa’Dell Jones: Artist/Producer/Singer/Songwriter.

Co. Rock Of Ages Entertainment

BMI Pro. Member: 1179604

THE SOUND OF PHILADELPHIA: PHILLY SOUL.

Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble’s band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records, and allowed them to sign later Philadelphia International Records artists The O’Jays and The Three Degrees. When Chess Records changed ownership in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records.[1] Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff’s new Philadelphia International Records.[2]

The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label’s major hits included: “TSOP (The Sound of Philadelphia)” by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); “Ain’t No Stoppin’ Us Now” by McFadden & Whitehead (writers and producers with the label), 1979; “Back Stabbers” and “Love Train” by The O’Jays, 1972/3; “If You Don’t Know Me By Now” and “The Love I Lost” by Harold Melvin & The Blue Notes, 1972/3; “Me and Mrs. Jones” by Billy Paul, 1972; “When Will I See You Again” by The Three Degrees, 1974; and “You’ll Never Find Another Love Like Mine” by Lou Rawls, 1976.[3]

The label had a distribution deal with CBS Records until 1984. Distribution of the catalog from 1976 onwards was then taken over by EMI Records, but CBS continued to distribute material recorded up to 1976. In 2007, Sony’s Legacy Recordings regained the rights to Philadelphia International’s full catalog and the following year, PIR/Legacy released a box set titled Love Train: The Sound of Philadelphia.[4]

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer and later studio owner Joe Tarsia recording many of the sessions.[5] More than 30 resident studio musicians, known collectively as MFSB “Mother Father Sister Brother”, were based at this studio and backed up most of these recordings.[2] Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons‘ first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single “Enjoy Yourself“, and a second album, Goin’ Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary’s name was changed to TSOP Records, from the aforementioned 1974 hit single, “TSOP (The Sound of Philadelphia)”. Artists for Excel/Gamble/TSOP included Dee Dee Sharp, Archie Bell & the Drells, and The People’s Choice, who had a top 10 single on TSOP in 1976 with “Do It Any Way You Wanna.” Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I’ll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single “I Got the Notion, You Got the Motion” was produced by his brother and The Spinners‘ member Philippe Wynne.[8]

Narrator of History by;

Wa’Dell Jones: Artist/Producer/Singer/Songwriter/Video Director.

Co. Rock Of Ages Entertainment

Office. # (714)455-2111

Email address: wadellj0725@gmail.com

THE MOTOWN SOUND:

Motown Records
Parent companyUniversal Music Group
FoundedJanuary 12, 1959; 62 years ago
FounderBerry Gordy Jr.
Distributor(s)Capitol Music Group
(US)
EMI Records
(UK)
Universal Music Group
(worldwide)
GenreVarious
Country of originUnited States
LocationLos AngelesCalifornia[1]
Official websitewww.motownrecords.com

Motown Records is an American record label owned by the Universal Music Group. It was founded by Berry Gordy Jr. as Tamla Records on January 12, 1959,[2][3] and incorporated as Motown Record Corporation on April 14, 1960.[4] Its name, a portmanteau of motor and town, has become a nickname for Detroit, where the label was originally headquartered.

Motown played an important role in the racial integration of popular music as an African American-owned label that achieved crossover success. In the 1960s, Motown and its subsidiary labels (including Tamla Motown, the brand used outside the US) were the most successful proponents of the Motown sound, a style of soul music with a mainstream pop appeal. Motown was the most successful soul music label, with a net worth of $61 million. During the 1960s, Motown achieved 79 records in the top-ten of the Billboard Hot 100 between 1960 and 1969.

Following the events of the Detroit Riots of 1967, and the loss of key songwriting/production team Holland–Dozier–Holland that year over pay disputes, Gordy moved Motown to Los Angeles. Motown expanded into film and television production.

It was an independent company until MCA Records bought it in 1988. PolyGram purchased the label from MCA in 1993, followed by MCA successor Universal Music Group, which acquired PolyGram in 1999.[2]

Motown spent much of the 2000s headquartered in New York City as a part of the UMG subsidiaries Universal Motown and Universal Motown Republic Group. From 2011 to 2014, it was a part of The Island Def Jam Music Group division of Universal Music.[5][6][7] In 2014, however, UMG announced the dissolution of Island Def Jam, and Motown relocated back to Los Angeles to operate under the Capitol Music Group, now operating out of the Capitol Tower.[1] In 2018, Motown was inducted into Rhythm and Blues Music Hall of Fame in a ceremony held at the Charles H. Wright Museum.[8]

Narrated History by:

Wa’Dell Jones: Artist/Producer/Singer/Songwriter/Video Director/Editor.

Co. Rock Of Ages Entertainment

BMI Pro. Member: #1179604

Songwriter/Composer: IP# 00560927242

BMI Publisher of Works: IP# 00734411466

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