Harmonica_header

The Power of Love (For Nigelxx)

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Howdy Yall its Tin Man giving you folk
Yet another tab. This one is dedicated to its
Requestee so..
NIGELXX this ones for you!!!

KEY OF A FLAT

(SPOKEN)

I’ll protect you from the hooded claw
Keep the vampires from your door

-3b 4 -4
Feels like fire

5 5 -5 5 -4 4
I’m so in love with you

5 5 5 -5 5
Dreams are like an-gels

-3b 5 5 -5 5 5 -5 5
They keep bad at bay bad at bay

5 5 -5 5
Love is the light

-4 4 5 5 -5 5
Scar-ing dark-ness a-way yeah

5 -4 4 -4 5 4
I’m so in love with you

4 -4 -3b 5 5 5 4
Purge the soul make love your goal

6 6 5 6 -6 5 6 5 6 -6
The pow-er of love a force from a-bove

5 5 5 4 6 6 5 6 -6
Clean-ing my soul flame on burn de-sire

5 6 5 6 -6
Love with tongues of fire

5 -4 4 4 4 -4 -3b
Purge the soul make love your goal

(Spoken)
I’ll protect you from the hooded claw
Keep the vampires from your door

VERSE 2 same as 1
When the chips are down I’ll be around
With my undying, death-defying
Love for you envy will hurt itself
Let yourself be beautiful
Sparkling love, flowers
And pearls and pretty girls
Love is like an energy
Rushin’ rushin’ inside of me

5 5 -5 5 -4 4
This time we go sub-lime

5 5 5 5 -5 5 -4 4
Lov-ers en-twine di-vine di-vine

5 6 -6 -6 5 6 -6 -6
Love is dan-ger, love is plea-sure

5 6 -6 6 -6 6 -6 6
Love is pure the on-ly trea-sure

5 -4 4 -4 5 4
I’m so in love with you

4 -4 -3b 5 5 5 4
Purge the soul make love your goal

6 6 5 6 -6 5 6 5 6 -6
The pow-er of love a force from a-bove

5 5 5 4
Clean-ing my soul

6 6 5 6 -6 5 6 5 6 -6
The pow-er of love a force from a-bove

5 6 5 6 -6
A sky-scrap-ing dove

6 6 5 6 -6
Flame on burn de-sire

5 6 5 6 -6
Love with tongues of fire

5 -4 4 -4 5 4
I’m so in love with you

4 -4 -3b 5 5 5 4
Purge the soul make love your goal

I’ll protect you from the hooded claw
Keep the vampires from your door

ENJOY!!!

Lyrics


The Power Of Love

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

5 -5 -5 -5b 5 -5 -5
The whis-pers in the morn-ing

-5 -5 -5 7 -6b -6b
Of lov-ers sleep-ing tight

-6b -6b -6b -6 7 -5 5 -5
Are roll-ing by like thun-der now

5 -5 -5 -5b 5 -4
As I look in your eyes

5 -5 -5 5 5 -6b -6b
I hold on to your bo-dy

-5 -5 -5 7 -6 -6b
And feel each move you make

-6b -6b -6b -6 7 7 -6b
Your voice is warm and ten-der

-6b -6 7 7 -5 7 -7 -7
A love that I could not for-sake

(First chorus)

-5 7 -7 8 -8
‘Cause I’m your la-dy

7 7 -7 -8 7
And you are my man

7 7 -7 -8 8 -6b -6b
When-ev-er you reach for me

7 7 7 -7 -8 -8
I’ll do all that I can

Verse 2 same as 1

Even though there may be times
It seems I’m far a-way
Nev-er won-der where I am
‘Cause I am al-ways by your side

(Repeat first chorus)

(Second chorus)

-5 -9 8 -7 -8 -8
We’re head-ing for some-thing

7 7 7 -7 -8 7
Some-where I’ve nev-er been

7 7 -7 -8 8 8
Some-times I am fright-ened

8 8 8 -8 -8 -7
But I’m rea-dy to learn

-5 -5 7 7 7 7
About the pow-er of love

7 -6 -6 7 -7 8 8
The sound of your heart beat-ing

7 7 -6
Made it clear

-6b -6b -6b 7 -6 -6 7 -7 -9 -8 -8
Sud-den-ly the feel-ing that I can’t go on
Is light years aw-ay

(Repeat first chorus)

(Repeat second chorus to end )

ENJOY!!

Lyrics


Power Of Love GP4 Guitar Pro Tab

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Power Of Love gp4 Guitar Pro Tab is free to download. Tablature file Power Of Love opens by means of the Guitar PRO program.

Lyrics


More Love, More Power

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Chorus:

7 -7 -6 7 -7 -6 -7 -7 -7 6 5 -7 -6
More love,_ more pow-er, more of You in my life.

7 -7 -6 7 -7 -6 -7 -7 -7 6 5 -7 -6
More love,_ more pow-er, more of You in my life.

5 -6 -7 7 8
And I will wor-ship

Verse 1 and 2:

-8 -8 -8 7 -7 -7 -6
You with all of my heart,

5 -6 -7 7 8 -8 -8 -8 7 -7 -7 -6
and I will wor-ship you with all of my mind,

5 -6 -7 7 8 -8 -8 -8 7 -7 -7 -6
and I will wor-ship you with all of my strength,

5 -6 -7 7 -6
For you are my lord (back to start 1st time.)

Verse 3:

5 -6 -7 7 8
And I will sing your

-8 -8 -8 7 -7 -7 -6
praise with all of my heart,

5 -6 -7 7 8 -8 -8 -8 7 -7 -7 -6
and I will sing Your praise with all of my mind

Chorus

Lyrics


Power of love

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Rr 5 6 6 -5 5 6 6–> 6 6 6 7 -7 -6
| The whispers in the | morning | of lovers sleeping | tight, |
-> -6 -6 -6 -7 7 6 5 6 -> 5 6 6 6 -5 5 -4
| are rolling by like | thunder now | as I look in your | eyes. |
->-4 6 6 -5 5 -6 6 -> 6 6 6 7 -6 -6
| I hold on to your | body | and feel each move you | make. |
-> -6 -6 -6 -7 7 7 -6 -6 -7 7 7 6 7 -8 -8
| Your voice is warm and | tender, a love that | I could not for | sake. |

Chorus:
-> 6 7 -8 -9 8 7 -8 -9 8
| ‘Cause I’m your la | dy (you’re my lady) |
-> 6 7 -8 8 7 -7 -6 7 -8 8 7 -7 -6
| And you are my ma a n (I am your ma a n) |
-> 7 7 -8 8 -9 -6 -6 R -6 -6 7 -8 8 -9 8 -8
| Whenever you reach | for me | I’ll do all that I | can. |

RR 6 6 -5 5 -6 6 -> 6 6 7 -7 -6
| Lost is how I’m | feeling,| lying in your | arms. |
-> -6 -6 -6 -6 -7 7 6 5 6 5 -5 6 6 -5 5 -4
| When the world outside’s too | much to take | that all ends when I’m with | you. |
Rr 5-5 6 6 6 5 -6 6 -> 6 7 7 -7 8 8 -8 7 -8 7 -6
| Even though there may be | times | it seems I’m far a | way |
->-6 -6 7 7 -8 8 7 6 -6 -7 7 7 6 7 -8 -8
| Never wonder where | I am ’cause I am | always by your | side. |

Chorus …

-> 6 6 9 8 -8 8 -8 8 -8 7 -> 7 7 7 -8 8 7 -7 7 -7 -6
| We’re heading for | something, | somewhere I’ve never be | en. |
-> 7 7 -8 8 -9 -9-9 -9 -9 -9 9 8 -8 -> 6 6 7 7 7 7
| Sometimes I am frigh | tened but I’m ready to learn | of the power of love. | |

R 7 7 -7 -7 7 -8 8 -8 8 -8 7 R 7 7 -7 -6 -6 6 -6 r
| The sound of your heart bea ting | made it clear sudden | ly |
R 7 -7 -7 7 -8 8 -8 7 -> 7 7 -8 8 -8 —>
| the feeling that I | can’t go on | is light years away. | |

Chorus …

-> 6 6 9 8 -8 8 -8 8 -8 7 -> 7 7 7 -8 8 7 -7 7 -7 -6
| We’re heading for | something, | somewhere I’ve never be | en. |
-> 7 7 -8 8 -9 -9-9 -9 -9 -9 9 8 -8 -> 6 6 7 7 7 7
| Sometimes I am frigh | tened but I’m ready to learn | of the power of love. | |

Instrumental:
->7 7 -8 8 -9 -9 -9 -9 -9 9 8 -8->6 6 7 7 7 7 –>
| | | |
->9 9 8 -8 8 -8 8 -8 8->9 8 -8 7 -6 7
| | | | |

-> 7 7 -8 8 -9 -9-9 -9 -9 -9 9 8 -8 -> 6 6 7 7 7 7
| Sometimes I am frigh| tened but I’m ready to learn | of the power of love. | |

Lyrics


Power Of Love GP3 Guitar Pro Tab

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Power Of Love gp3 Guitar Pro Tab is free to download. Tablature file Power Of Love opens by means of the Guitar PRO program.

Lyrics


Power To Love GP4 Guitar Pro Tab

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Power To Love gp4 Guitar Pro Tab is free to download. Tablature file Power To Love opens by means of the Guitar PRO program.

Lyrics


Power Of Love GP3 Guitar Pro Tab

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Power Of Love gp3 Guitar Pro Tab is free to download. Tablature file Power Of Love opens by means of the Guitar PRO program.

Lyrics


Blue Eyes Crying In The Rain (Power Bend)

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Blues Eyes Crying In The Rain (Power Bender Tuning)

-5 6 -5 3 4 5 -5 4

In the twilight glow I see her

5 -5 -4 3 6 6 -5

Blue eyes crying in the rain

-5 6 -5 3 4 5 -5 4

When we kissed goodbye and parted

5 5 -5 -4 3 -3 -4 4

I knew we’d never meet again

7 -7 7 4 6 -6 7 6

Love is like a dying ember

4 -5 6 -5 4 -5 5 5

And only memories remain

3 -5 6 -5 3 4 5 -5 4

And through the ages I’ll remember

5 -5 -4 3 -3 -4 4

Blue eyes crying in the rain.

-6 -6 7 3 4 5 -5 4

Someday when we meet up yonder

-6 -5 -6 -5 6 -5 5

We’ll stroll hand in hand again

-5 6 -5 3 4 5 -5 4

In the land that knows no parting

3 -4 -5 -4 3 -3 -4 4

For blue eyes crying in the rain.

Lyrics


How Deep The Fathers Love For Us

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

4 5 4 -4 5 -4 4 3
How great the Fathers love for us

3 3 4 4 5 5 -4
How vast beyond all measure

4 5 4 -4 5 -4 4 3
That He should give His only Son

3 3 4 4 5 -4 4
And make a wretch His treasure

6 6 5 -5 6 -5 5 4
How great the pain of searing loss

6 6 5 -5 5 5 -4 -4
The father turns his face away

4 5 4 -4 5 -4 4 3
As wounds which mar the Chosen One

3 3 4 4 5 -4 4 `
Bring many sons to glory

Behold the man upon the cross
My sin upon His shoulder
Ashamed I hear my mocking voice
Call out among the scoffers
It was my sin that held Him there
Until it was accomplished
His dying breath has brought me life
I know that it is finished

I will not boast in anything
No gifts, no power, no wisdom
But I will boast in Jesus Christ
His death and resurrection
Why should I gain from His reward
I cannot give an answer
But this I know with all my heart
His wounds have paid my ransom

6 6 5 -5 6 -5 5 4
Why should I gain from His reward
6 6 5 -5 5 5 -4
I cannot give an answer
4 5 4 -4 5 -4 4 3
But this I know with all my heart
3 3 4 4 5 -4 4
His wounds have paid my ransom

Lyrics


Here is love

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

This is a great hymn. In the sixth line, i’ve got a 8/9 (there’s a **
on that line to point it out). This means you can play either 8 or 9
at that point. I think 9 sounds better.

William Rees – Here is love

7 -8 8 7 -8 8 -8 7
Here is love, vast as the ocean,
7 -6 6 7 -7 7 -8
Lovingkindness as the flood,
7 -8 8 7 -8 8 -8 7
When the Prince of Life, our Ransom,
7 -6 6 7 -8 -7 7
Shed for us His precious blood.
8 -9 9 8 -9 8 8 -8
Who His love will not remember?
-8 8 -9 -8 8/9 -9 8 **
Who can cease to sing His praise?
8 -8 7 -8 7 -7 -6 7
He can never be forgotten,
7 -8 8 7 -8-7 7
Throughout Heav’n’s eternal days.

On the mount of crucifixion,
Fountains opened deep and wide;
Through the floodgates of God’s mercy
Flowed a vast and gracious tide.
Grace and love, like mighty rivers,
Poured incessant from above,
And Heav’n’s peace and perfect justice
Kissed a guilty world in love.

Let me all Thy love accepting,
Love Thee, ever all my days;
Let me seek Thy kingdom only
And my life be to Thy praise;
Thou alone shalt be my glory,
Nothing in the world I see.
Thou hast cleansed and sanctified me,
Thou Thyself hast set me free.

In Thy truth Thou dost direct me
By Thy Spirit through Thy Word;
And Thy grace my need is meeting,
As I trust in Thee, my Lord.
Of Thy fullness Thou art pouring
Thy great love and power on me,
Without measure, full and boundless,
Drawing out my heart to Thee.

Lyrics


Love divine so great and wondrous/Perleporten

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

This song is known as Pearly gates, or He the pearly gates will open.
Although the formal title is Love Divine So Great and Wondrous. Same
in Norwegian. It is known as Perleporten or Han skal åpne perleporten
although the formal name is Som En Herlig Guddomskilde. I wanted to
put all the names in the title field, but not allowed cause of limited
space.

I tabbed the English version of it, but the Norwegian lyrics follows
behind and of course it is the same tabbing for both of them.

Love divine, so great and wondrous,
5 5-4 -5 5 -4 44

Deep and mighty, pure, sublime!
-5 -5 5-4 4 5-4

Coming from the heart of Jesus,
5-4 4 4 3 3 3*4

Just the same through tests of time.
4 -3 3 5 -5 -3 4

Refrain
He the pearly gates will open,
-4 -4 -4-4 4 -4 54

So that I may enter in;
-5 -5 5 -4 45 -4

For He purchased my redemption
5 -4 44 3 33*4

And forgave me all my sin.
4 -33 5 -5 -3 4

Like a dove when hunted, frightened,
As a wounded fawn was I;
Brokenhearted, yet He healed me,
He will heed the sinner’s cry.

Refrain
He the pearly gates will open,
So that I may enter in;
For He purchased my redemption
And forgave me all my sin.

Love divine, so great and wondrous,
All my sins He then forgave!
I will sing His praise forever,
For His blood, His power to save.

Refrain
He the pearly gates will open,
So that I may enter in;
For He purchased my redemption
And forgave me all my sin.

In life’s eventide, at twilight,
At His door I’ll knock and wait;
By the precious love of Jesus
I shall enter Heaven’s gate.

Refrain
He the pearly gates will open,
So that I may enter in;
For He purchased my redemption
And forgave me all my sin.

Som en herlig guddomskilde,
Mektig, dyp og rik og stor.
Er den kjærlighet og nåde
Som i Jesu hjerte bor.

Han skal åpne perleporten
Så at jeg får komme inn,
For med blodet har han frelst meg
Og bevaret meg som sin.

Engang som en jaget due
som en såret hjort jeg var.
Men et sykt fortvilet hjerte
Aldri Jesus bortvist har.

Han skal åpne perleporten
Så at jeg får komme inn,
For med blodet har han frelst meg
Og bevaret meg som sin.

Under over alle under
Alt han tilga meg en gang
Om hans underfulle godhet
Vil jeg synge glad min sang

Han skal åpne perleporten
Så at jeg får komme inn,
For med blodet har han frelst meg
Og bevaret meg som sin.

Når engang i livets aften
Jeg for porten banker på
Da ved Jesu store nåde
Skal den åpen for meg stå.

Han skal åpne perleporten
Så at jeg får komme inn,
For med blodet har han frelst meg
Og bevaret meg som sin.

Lyrics


The Power of Gold (Diatonic)

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

-3 6 -5 6 -5 -4 -3 6 -5 5 -5 -4 -3 6 -5 6
The stor – y is told___ of the pow – er of gold__ and its lure on the
-5 -4 -4 5 -3 6 -5 6 -5 -3 6 -5 5
un – sus – pect – ing; it glit – ters and shines,_ it bad – gers and
-5 -3 6 -5 6 -5 -4 -4 5 -4 -4
blinds_ and con – stant – ly needs____ pro – tect – ing. Bal – ance
-4 -4 -3 -3 5 -5 6 6 -6 7 -6 6
the cost____ of the soul___ you lost__ with the dreams__ you
-6 7 5 -4 5 -5 6 ————-> -3
Light – ly sold.______ Are you___ un – der_______________ the
-6 6 -5 (6 5)—–> -3 6 -5 6 -5 -4 -3
pow – er of gold?______ The let – ters and calls___ got you
6 -5 5 -5 -3 6 -5 6 -5 -4 -4 5 -3
climb – ing the walls__ and ev – ‘ry – one wants___ a fav – or; they
6 -5 6 -5 -4 -3 6 -5 5 -5 -4 -3 6 -5
beg to re – mind___ you of times left be – hind__ you, but you know
6 -5 6 -5 -5 5 -3 -4 -4 -4 4 -3 5 -5
the past___ is a los – er. The face you’re wear – ing is dif – f’rent
6 6 -6 7 -6 6 -6 7 5 -4 5 -5
now,_ and the days___ run hot___and cold.____ Are you___ un –
6——————–> -3 -6 6 -5 (65)—–>
der___________________ the pow – er of gold?______
-3 -3 6 -5 6 -5 -4 6
You’re a crea – ture of hab – it, run
-5 5 -5 -4 6 -5 6 -5 5 -4 5 -3 6
like a rab – bit, scared of a fear___ you can’t___ name. Your own
-5 6 -5 -4 -3 6 -5 5 -5 -4 -3 6 6 6
par – a – noi – a is loom – ing be – fore____ you, but no – bod – y
6 -5 5 -4 5 -4 -4 -4 -4 -3 -3
thinks that it’s a game.________ Bal – ance the cost____ of the
5 -5 6 6 -6 7 -6 6 -6 7 5 4
soul___ you lost___ with the dreams__ you light – ly sold.____ Then
-4 5 5 -5 6——————-> -3 -3 -6 6 -5
tell me___ that you’re free___________________ of the pow – er of
(65)—–> -3 6 -5 6 -5 -4 -3 6 -5 6 -5 -4
gold.______ The wom – en are love – ly the wine is su – perb,__ but
-2 6 -5 6 -5 -4 6 -5 6 -5 -4 -4
there’s some – thing a – bout the song___ that dis – turbs__ you
-4 -7 -6 -7 -6 -5 -4 -7 -6 -7 -6
(background vocal): The wom – en are love – ly, the wine is su – perb,___
-5 -6 -7 -6 -7 -6 -5 -7 -6
but there’s some – thing a – bout_____ the song _____ that
-7 -6 -5
dis – turbs____ you. (repeat and fade)

Lyrics


The Power Of Gold

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

By: Dan Fogelberg
Key: G

-4 7 -6* 7 -6* -5 -4 7 -6* 6 -6*
The stor-y is told of the pow-er of gold
-5 -4 7 -6* 7 -6*-5 -5 -5 6
And its lure on the un- sus-pect-ing
-4 7 -6* 7 6-6*
It glit-ters and shines
-4 7 -6* 6 6-6*
It bad-gers and blinds
-4 7 -6* 7 -6* -5 -5 6
And con-stant-ly needs pro-tect-ing.
-5* -5* -5* -5* -4 -4 6 -6* 7
Bal-ance the cost of the soul you lost
7 -7 -8 -7 7 -7 -8 6
With the dreams you light-ly sold
-5 6 -6* 7 -4 -7 7 -6* 7-6*6
Are you un-der the pow-er of gold?

-4 7 -6* 7 -6*
The let-ters and calls
-5 -4 7 -6* 6 -6*
Got you climb-ing the walls
-4 7 -6* 7 -6*-5 -5 -5 6
And ev-‘ry-one wants a fav-or
-4 7 -6* 7 -6* -5
They beg to re-mind you
-4 7 -6* 6 6-6* -5
Of times left be-hind you
-4 7 -6* 7 -6* -5 -5 -5 6
But you know the past is a los-er.
-5* -5* -5* -5* 5*
The face you’re wear-ing
-4 6 -6* 7
is dif-f’rent now
7 -7 -8-7 7 -7 -8 6
And the days run hot and cold
-5 6 -6* 7 -4 -7 7 -6*7-6*6
Are you un-der the pow-er of gold?

-6* -4 -4 7 -6* 7 -6* -5
Ah. You’re a crea-ture of hab-it
7 -6* 6 -6* -5
Run like a rab-bit
7 -6* 7 -6* 6 -5 6
Scared of a fear you can’t name
-4 7 -6* 7 -6*-5 -4 7 -6* 6 -6* -5
Your own par-a-noi-a is loom-ing be-fore you
-4 7 7 7 7 -6* 6 -5 6
But no-bod-y thinks that it’s a game.

-5* -5* -5* -5* -4 -4 6 -6* 7
Bal-ance the cost of the soul you lost
7 -7 -8 -7 7 -7 -8 6
With the dreams you light-ly sold
-5 6 -6* 7 -4 -7 7 -6* 7-6*6
Are you un-der the pow-er of gold?

-4 7 -6* 7 -6* -5
The wom-en are love-ly
-4 7 -6* 7 -6*
The wine is su-perb
-4 3 7 -6* 7 -6* 6 7
But there’s some-thing a-bout the song
-6* 7 -6*-5 -4
That dis-turbs you…

Duet (as a chorus)

-5 -8 -7 -8 -7 -6*
-4 7 -6* 7 -6* -5
The wom-en are love-ly

-5 -8 -7 -8 -7
-4 7 -6* 7 -6*
The wine is su-perb
-6* -7 -8 -7 -8 -7 -6* -8
-5 -6* 7 -6* 7 -6* -5 7
But there’s some-thing a-bout the song

-7 -8 -7 -6*-6*
-6* 7 -6*-5 -5
That dis-turbs you…

Lyrics


You Are My Sunshine (Power Bender Tuning

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

You are my Sunshine (Power Bender Tuning)

 

 

3 4 5 -5 -5 -5 5 -5 4 4

You are my sun-shine, my on-ly sun-shine,

 

4 5 -5 6 7 7 -6 6 -5

You make me hap-py when skies are grey

 

4 5 -5 6 7 7 -6 6 -5 4

You’ll nev-er know dear how much I love you

 

4 5 -5 6 5 5 -5 4

Please don’t take my sun-shine a-way.

Lyrics


Sea Of Love (chromatic)

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

SEA OF LOVE
By: George Khoury & Philip Baptiste
Honeydrippers, Del Shannon, Cat Power
Key: G, Ab

Key: G

-4 -4 -4 -4 -4 -5*-4 -4 -4
Do you re-mem-ber when we met
-3 3 -33 -3 -4 -3 3 -3 3
That’s the day I knew you were my pet
6-5 -5 -4 -5 6
I wan-na tell you
-3-4 -33 -1 2 3
How much I love you

-4 -4 -4 -5*-4 -4
Come with me, my love
-3 -3 -33 -3 -4-3 3 -3 3
To the sea, the sea of love
6-5 -5 -4 -5 6
I wan-na tell you
-3 -3-4 -3 3 -1 2 3
Just how much I love you

-5 6 6-55
Come with me
-5 6 6-55 -4 -55
to the sea Of love

Key: Ab

-5* -6 -6-5*5*
Come with me
-5* -6 -6-5*5* 5 -5*
to the sea Of love
5 5 5 65 5-3*
Come with me, my love
-3* 3* -3*3* -3* 53* -3*-3*3*
To the sea, the sea of love
-6-5*-5* 5 -5* -6
I wan-na tell you
5 -3* 5-3* -1* -2 3*
Just how much I love you

-6-5*-5* 5 -5* -6
I wan-na tell you
5-3*5 -3* -1* -2 3*
Oh how much I love you

Lyrics


O Canada (Power Bender Tuning)

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

O Canada (Power Bender Tuning)

-5 -6 -6 4
O Canada
5 -5 6 -6 7 5
Our Home and Native Land
-5 6 6 -6
True Patriot Love
7 -7 -7 7 7 -6
In all thy sons command
5 -5 6 -5 5
With glowing hearts
-5 6 -6 6 -5
We see thee rise
-6 7 -6 6 -5 5
The true north strong and free
5 -5 6 -5 5
From Far and wide
-5 6 -6 6 -5
O Canada
-5 5 -6 -6 6 -5 6 -6
We stand on guard for thee
-5 -6 -6 4
God Keep our Land
6 6 7 7 5
Glorious and Free
-6 7 7 -7
O Canada
6 -5 5 4 5 -5
We Stand on Guard for thee
-6 8 8 7
O Canada
6 -5 5 -6
We stand on guard
-3 4
For Thee

Lyrics


Baby I Love Your Way

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

1.
7 7 7 7 7 7 -8 8 -9
Shadows grow so long before my eyes
-6 6 -5-5 -5 7 6 b-7
and they`re moving across the page
7 7 7 7 7 7 -8 8 -9-8
Suddenly the day turns into night
6 -6-5 -4 -5 7b-7
far away from the city
REFRAIN
7 -8 8 -8 7 7 7b-7 -8 -8 7
Don`t hesitate `cause your love won`t wait
CHORUS
-9 8 8-8 8 -9 -6 6
Ooh Baby I Love Your Way~~~~~~~
-9-9 8 8 -8 8 -9 -6 6
Wanna tell you I love your way~~~~~~~
8 8 8 8 -8 8 -9 -6 6
Wanna be with you night and day~~~~~~
2.
Moon appears to shine and light the sky with the
help of some firefly.
Wonder how they have the power to shine
I can see them under the pine
REPEAT REFRAIN
REPEAT CHORUS
3.
I can see the sunset in your eyes, brown and
grey and blue besides
Clouds are stalking Islands in the sun
I wish I could buy one out of season
REPEAT REFRAIN
REPEAT CHORUS

Lyrics


All Hail The Power Of Jesus’ Name

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Words and Music by: Edward Perronet
and Oliver Holden
6 7 7 8 8 -8 7 -8
All hail the power of Jesus� Name!
8 -8 7 8 -8 7
Let angels prostrate fall;
-8 8 -8 7 8 9 -9 8 -8 8
Bring forth the royal di-a-d-e-m,
9 9 9 -10 9 -9 9
and crown Him Lord o-f all.
8 9 8 7 8 -8 7 -8 8 -8
Bring forth the royal di-a-d-e-m,
7 9 -9 8 -9 -8 -8 7
and crown Him L-o-rd of all.

Let highborn seraphs tune the lyre,
and as they tune it, fall
Before His face Who tunes their choir,
and crown Him Lord of all.
Before His face Who tunes their choir,
and crown Him Lord of all.

Crown Him, ye morning stars of light,
who fixed this floating ball;
Now hail the strength of Israel�s might,
and crown Him Lord of all.
Now hail the strength of Israel�s might,
and crown Him Lord of all.

Crown Him, ye martyrs of your God,
who from His altar call;
Extol the Stem of Jesse�s Rod,
and crown Him Lord of all.
Extol the Stem of Jesse�s Rod,
and crown Him Lord of all.

Ye seed of Israel�s chosen race,
ye ransomed from the fall,
Hail Him Who saves you by His grace,
and crown Him Lord of all.
Hail Him Who saves you by His grace,
and crown Him Lord of all.

Hail Him, ye heirs of David�s line,
whom David Lord did call,
The God incarnate, Man divine,
and crown Him Lord of all,
The God incarnate, Man divine,
and crown Him Lord of all.

Sinners, whose love can ne�er forget
the wormwood and the gall,
Go spread your trophies at His feet,
and crown Him Lord of all.
Go spread your trophies at His feet,
and crown Him Lord of all.

Let every tribe and every tongue
before Him prostrate fall
And shout in universal song
the crown�d Lord of all.
And shout in universal song
the crown�d Lord of all.

John Rippon added this verse in 1787

O that, with yonder sacred throng,
we at His feet may fall,
Join in the everlasting song,
and crown Him Lord of all,
Join in the everlasting song,
and crown Him Lord of all!

Lyrics


Westlife

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Westlife is an Irish pop vocal group formed in Dublin, Ireland in 1998. The group currently consists of members Shane Filan, Mark Feehily, Kian Egan, and Nicky Byrne. Brian McFadden was a memer, until he left in 2004. The group temporarily disbanded in 2012 after 14 years of success and later reunited in 2018.

The group has released twelve studio albums: four as a five-piece and eight as a four-piece. They rose to fame with their debut international self-titled studio album, Westlife (1999). It was followed by Coast to Coast (2000), World of Our Own (2001), Unbreakable – The Greatest Hits Vol. 1 (2002), and Turnaround (2003), which continued the group’s success worldwide. The group released their cover albums Allow Us to Be Frank (2004) and The Love Album (2006) and the studio albums Face to Face (2005) and Back Home (2007). After a hiatus of studio recording for almost one year in 2008, they released the studio albums Where We Are (2009), and Gravity (2010), and the compilation album Greatest Hits (2011). After eight years, the quartet group released their eleventh studio album, Spectrum, in 2019, followed by their twelfth studio album, Wild Dreams, in 2021.

Westlife is the act with the most Number 1 debuts on the UK Singles Chart, with all 14 of their chart-toppers landing there in their first week.[1] They have the most singles certifications for a pop band on the UK number one singles artists chart since The Beatles. According to the British Phonographic Industry (BPI), Westlife has been certified for 13.2 million albums, 1.3 million video albums, and 10.6 million singles, with a total of more than 25 million combined sales in the UK.[2][3] They are also currently ranked 19th with the most number-one albums of all time and sixth-highest band in the list.[4] The group has accumulated 14 number-one singles as a lead artist as well as having eight number-one albums in the United Kingdom, making them Ireland’s and non-British act’s (since Elvis Presley) most prolific chart-toppers. In 2012, the Official Charts Company listed Westlife 34th among the biggest-selling singles artist, 16th amongst the biggest selling groups, and 14th with most top ten hits—all the highest for a boy band and a pop group in British music history.[5] They are also the biggest selling album group of the 2000s, and three of their studio albums were part of the 50 fastest-selling albums of all time in the UK.[6]

The group has the most consecutive number-one studio albums in a decade in the UK and Ireland for a band, since the Beatles, and for a pop band and act since ABBA. Also in Ireland, they have 11 number-one albums with a total of 13 top two albums, 16 number-one singles, as well as 34 top-fifty singles. They have sold over 55 million records.[7] and are holders of the following Guinness World Records: first to achieve seven consecutive number-one singles in the UK; most public appearances in 36 hours by a pop group; most singles to debut at number one on the UK chart; and top-selling album group in the United Kingdom in the 21st century.[8][9][10] Westlife is one of the most successful music groups of all time, among the highest-profile acts in 2000s popular culture in most territories worldwide, and one of the few boy bands to have continued success after their commercial peak. On the best-selling boy bands of all time list, they are currently tenth worldwide along with the biggest-selling boy band from Ireland in history globally. They have received numerous accolades including one World Music Award, two Brit Awards, four MTV Awards, and four Record of the Year Awards. As a live act, Westlife has sold 5.5 million concert tickets worldwide from their fourteen concert tours so far. They hold the record for the most shows played at The SSE Arena, Belfast and SSE Arena, Wembley; this makes them the biggest arena act of all-time in the United Kingdom. They sold out Croke Park Stadium in their home country in a record-breaking five minutes.[11] Their fourteenth, and latest concert tour is called The Wild Dreams Tour.

 

History

Origin: Byrne, Egan, Feehily, Filan and McFadden’s beginnings

Kian Egan, Mark Feehily and Shane Filan, all schoolmates in Summerhill College in Sligo, Ireland, participated in a school production of Grease with fellow Sligo men Derrick Lacey, Graham Keighron, and Michael Garrett. They considered it as the start of Westlife. The sextet formed a pop vocal group called Six as One in 1997, which they later renamed IOYOU. Before this, Egan was part of a punk-rock bands called Skrod, and Pyromania. The group, managed by choreographer Mary McDonagh and two other informal managers, released a single titled “Together Girl Forever” under Sound Records which was written by Feehily and Filan with fellow Irish Those Nervous Animals and The Strong are Lonely band members Padraig Meehan and Daragh Connolly. Another song “Everlasting Love” included in the single was written by Feehily, Keighron, Meehan, and Connolly. There is also an unreleased song called “Good Thing”.[13] McDonagh first encountered Egan as a six-year-old student at her weekly dance classes, and came to know Filan and Feehily in their early teens as they starred in shows such as Oliver! and Godspell for Sligo Fun Company.
Louis Walsh, the manager of fellow Irish boy band Boyzone, came to know the group after Filan’s mother Mae contacted him, but the group failed to secure a BMG record deal with Simon Cowell. Cowell told Walsh: “You are going to have to fire at least three of them. They have great voices, but they are the ugliest band I have ever seen in my life.”[14] Lacey, Keighron, and Garrett were told they would not be part of the new group, and auditions were held in Dublin where Nicky Byrne and Brian McFadden were recruited. McFadden was part of an R&B group called Cartel before this.

The new group, formed on 3 July 1998, was originally named Westside, but as another band was already using that name, the group was renamed Westlife. It was revealed that Walsh was already calling them Westlife before the Westside name came along.[15] In Westlife – Our Story, Byrne revealed that, unlike the others in the group, he was keen to change the name to West High. McFadden also changed the spelling of his name to Bryan to facilitate signing autographs. They managed to secure a major record deal the second time around under BMG with all other record labels competed. They signed a four million pound record deal with RCA Records. Westlife’s first big break came in 1998 when they opened for Boyzone and Backstreet Boys’ concerts in Dublin. Boyzone singer Ronan Keating was brought in to co-manage the group with Walsh. Later, they won a special Smash Hits Roadshow award at that year’s Smash Hits Poll Winners Party. Their first live television performance as a group in Ireland and worldwide was on the Irish TV series and the world’s second longest-running late-night talk show, The Late Late Show that had its broadcast on 13 November 1998. They performed “Flying Without Wings”.[16] The band then released an EP titled Swear It Again afterwards. Both recorded songs under Westside were produced by Steve Mac and written by Mac and Wayne Hector. Cowell chose the debut extended play and single with the guidance of his father, Eric Cowell, who stated then, “I think they will be big”.

International breakthrough, Debut album, Coast to Coast, World of Our Own and super stardom (1999–2002)

In April 1999, the group released their first single, “Swear It Again” which immediately topped the charts in Ireland and in the UK for two weeks. It became the biggest-selling single in a week one by a debut artist.[17][18] On the week of its release and its chart achievement announcement, Cowell’s father Eric died. Their second single, “If I Let You Go” was released in August 1999, which established them as the first boy band to hit the No. 1 with its first two singles.[19] They also performed for billions in 1999 at the Miss World telecast with this song. The third single was the highly acclaimed “Flying Without Wings” (their first ‘Record of the Year’ and their third No. 1 single), released in October the same year, also followed suit. It made them the only the second Irish act and fourth act to debut at No. 1 with their first three singles, B*Witched, Robson and Jerome, and Spice Girls being the other three. “Flying Without Wings” was also included on the soundtrack of the Warner Brothers film, Pokémon: The Movie 2000. Their first album, simply titled Westlife, was released in November 1999 and went to No. 2 in the UK and their first No. 1 in Ireland. The album was the biggest chart dropper on the top 40 in UK music history when, in its 58th week on the charts it leapt from No. 79 to No. 3 before falling to No. 37 the following week.[20] Despite the history, the album successfully managed to peak at No. 1 in Scotland in the year 2001 after premiering at No. 6 at the Scottish Albums Chart in 1999.[21]

In December 1999, a fourth and a double-side single was released, “I Have A Dream”/”Seasons in the Sun”. It knocked Cliff Richard’s “The Millennium Prayer” off the top spot and earned them the 1999 UK Christmas number-one single. It is also their fourth No. 1 single.[22][23] It was the first official No. 1 single music act in the 2000s of UK Singles Chart and also the last official No. 1 single music act in the 1990s decade of UK Singles Chart. They are one of only five acts to achieve four number ones in the UK Singles Chart in one calendar year, the others being Elvis Presley, The Shadows, The Beatles and Spice Girls.[24] The fifth and last single from the album, “Fool Again”, also peaked at No. 1.[25] With this, they broke records of being the only male band to have every singles released from an album to reach No. 1 in the UK and the only male group with most original songs in an album that went straight to No. 1 in the UK with multiple and/or with four original singles. Afterwards, Westlife signed to Arista Records for the North American territory after auditioning for the label’s founder, Clive Davis.[26] Then the group had a promotional tour in the United States for their “Swear It Again” single and peaked at No. 20 in the Billboard Hot 100.[27] An Asian tour followed in support of their debut album before releasing a second album. On 1 July 2000, they were honored as Freemen of the Borough of Sligo.[28]

Coast to Coast, their second album, was released a year later and was their first No. 1 UK album, beating the Spice Girls’ Forever album by a large margin, the said chart battle was widely reported by British media. It became the country’s 4th biggest selling album of 2000.[29][30] This is their second No. 1 album in Ireland. The album was preceded by a duet with Mariah Carey singing “Against All Odds (Take a Look at Me Now)” and the original song “My Love” (their second Record of the Year award). Both singles reached No. 1 on the UK charts, their sixth and seventh number ones respectively.[31][32] With this, Westlife broke an unexpected record of the most consecutive No. 1 singles in the UK, having their first seven consecutive singles debut at the top by a debuting act and group, and by an act, a group, a male group, a pop act and a pop group in UK and became the fastest number one music act beating Elvis Presley’s previous record of three years versus 23 months of Westlife getting each its first No. 1 singles and second music act to have the longest string of number ones in UK history.[33] However, in December 2000, their eighth and an Ireland and UK exclusive single “What Makes a Man”, only debuted at No. 2.[34] The single “My Love” was controversially used by Central Intelligence Agency as part of a torture program in Afghanistan. According to the American Civil Liberties Union, “the music pounded constantly as part of a scheme to assault prisoners’ senses”.[35] They survived the 2000 Mexico City major earthquake and lightning during this time.[36] As the 2000 had ended, Westlife achieved four number one singles in a year for two straight years (1999, 2000) since Elvis Presley (1961, 1962).

Outside the UK and Ireland, they gained chart success with “I Lay My Love on You” and “When You’re Looking Like That”. This time as well, they were included in the top ten earners list of all acts in UK and Ireland and sold over 2.5 million units in Asia Pacific region.[37][38] Also in this year, they launched their first world tour, “Where Dreams Come True Tour”.[18] A recording of a concert from the tour live from Dublin was released on 19 November 2001. Also in the same month and year, Westlife released their third album World of Our Own, their second No. 1 album in the UK and their third No. 1 album in Ireland.

“Uptown Girl” (their first single to be on the List of million-selling singles in the United Kingdom), “Queen of My Heart” and “World of Our Own” were released as singles, all of which peaked at No. 1 in the UK. Those singles are also their eighth, ninth, and tenth number ones respectively.[39][40][41] With their tenth No. 1, they made history by being the shortest music act or band to have ten or double-figures number ones in the UK Singles Chart (2 years and 10 months or 149 weeks) – more than 3 months quicker than The Beatles (165 weeks). “Bop Bop Baby” was also released as a single, but it peaked at No. 5 in the UK. In 2002, Westlife went on their second world tour, the World of Our Own Tour (In The Round). Overall in 2002, IRMA awarded the band plaque about their 1 million units sold in Ireland and ranked seventh as Irish’s millionaires under age 30 with 18 million euros for all of the five members.[42] For every performance each band member will get 228,000 euros, which means the 68 dates raked in 1.55 million euros for them by June 2002. The cash rolled in from sales of their merchandise, while a recent advertising deal with Adidas was worth 488,000 euros to each of them with a total of 3.33 million euros each at the end of the said tour.

UnbreakableTurnaround, and departure of McFadden (2002–2004)

The group sold more than 12 million records in a span of three years during this time.[44] They released their eleventh UK No. 1 single, “Unbreakable” in 2002.[45] Amidst rumours of a split, Westlife released their first greatest hits album in November that same year titled Unbreakable – The Greatest Hits Vol. 1, which zoomed all the way to No. 1 in the UK and Ireland. Their third No. 1 in the UK and the fourth one in Ireland. Also during that time, Westlife bagged another Guinness World Record for most public appearances by a pop group in a 36-hour period. The band made stop-offs in five different cities (Dublin, Belfast, Edinburgh, London and Manchester) to promote their then-new album. The release was followed by the double A-side single “Tonight”/”Miss You Nights”, which debuted at No. 3 in the UK and No. 1 in Ireland.[46] At this time, Because Films Inspire made a TV documentary titled “Wild Westlife”, directed by Iain MacDonald and starred the group, featuring their daily life as musicians and their tour experiences. It was aired on BBC Choice.[47] In 2003, Westlife went on their third world tour, The Greatest Hits Tour and was invited to play at the annual Edinburgh Military Tattoo, shrugging off rumours of a split which is what most of the pop bands do after a Greatest Hits album and tour.[48] A recording of a concert from the tour, live from Manchester, was released in November 2003.

Back in September 2003, Westlife released “Hey Whatever”, which peaked at No. 4 in the UK.[49] Their fourth studio album, Turnaround, was then released in November, earning the group another UK No. 1 album, the fourth one. The album is also their fifth No. 1 in Ireland. “Mandy”, was released a week before the album release. The band’s twelfth No. 1 single. Their version won them their third Record of the Year award, in under five years.[50] Their version of “Mandy” is also considered the single with the longest leap to the top (from No. 200 to No. 1) in UK music history.[51] “Obvious” was released as the final single from the album, charting at No. 3.

On 9 March 2004, just three weeks prior to embarking on their fourth world tour, McFadden left the group to spend more time with his family and six months later to release solo music projects.[52] On that day, a press conference was held where all the group’s members were present, each giving emotional individual speeches. McFadden’s final public performance as part of Westlife was at Newcastle upon Tyne’s Powerhouse nightclub on 27 February 2004.[53][54] McFadden attended the first day of the band’s tour date as an audience. The last time the five had reunited in public was when McFadden acted in an Irish reality television show Anonymous where he disguised as a fan in an album signing event of the group in November 2005 and had a broadcast in January 2006. He subsequently began a solo career, and reverted the spelling of his first name back to its original ‘Brian’. McFadden later released more albums and singles, but only with moderate success.

Less than a month after McFadden’s departure, the group kicked off their “Turnaround Tour”.[55] A live version of “Flying Without Wings” from the said tour was released as an official UK download, earning them the first official UK Downloads No. 1.[56] A recording of a concert from the Turnaround Tour, live from Stockholm, Sweden, was released in November 2003.

Face to FaceBack Home, and cover albums (2004–2008)

In September 2004, they performed on the World Music Awards, where they were recognised as the Best Irish Act of that year. They then released a Rat Pack-inspired album and fifth album …Allow Us to Be Frank, which peaked at No. 3. No singles from this album were released in the UK but “Ain’t That a Kick in the Head?”, accompanied with a music video, was released as a digital download in the UK and peaked at No. 4 and as a physical single in other European countries. “Smile” and “Fly Me to the Moon”, both with music videos as well, were released as digital downloads only.

Prior to the release of the …Allow Us to Be Frank album, Westlife scouted for “the perfect fan” to help promote their album.[57] After X Factor-style auditions, they found Joanne Hindley, who recorded “The Way You Look Tonight” with the group.[18] To mark this special collaboration, a special programme was televised, showing auditions and live performances, called She’s The One, presented by Kate Thornton.[58] It also featured a live performance by their fathers with their version of “That’s Life”. Westlife continued to tour Europe as part of their “The Number Ones Tour” which started in early 2005. The tour ranked at number 84 worldwide with top concert tour ticket sales with 191,361.[59] A recording of a concert from the tour, live from Sheffield, was released in November 2005.

By 2004, they sold over 30 million albums already, the biggest live act in UK, and making around £4m each as reported in 2005.[60] In October 2005, Westlife returned with their comeback single, “You Raise Me Up”, which was taken from their sixth album Face to Face, their thirteenth No. 1. On 5 November 2005, both the album and the single were at No. 1 in the UK, at the same time, during the second week of the single. It was the first time that Westlife had held both the top album and the top single position in the same week and the first Irish music act to have such feat.[61][62] This is their fifth No. 1 in the UK and sixth one in Ireland. “You Raise Me Up” was awarded as their fourth Record of the Year in the UK, for 2005. In December of that year, the group released “When You Tell Me That You Love Me”, a duet with Diana Ross, as the second single, and it debuted at its peak position of No. 2.[63] This single marked its fourteenth year since the original Diana Ross version was released and peaked at No. 2, the same chart position in the UK Singles Chart in 1991. Westlife then released a third single, “Amazing”, which debuted at No. 4.[64] After that, Westlife embarked on the “Face to Face Tour”, travelling extensively to the UK, Ireland, Australia and Asia. This tour marked the first time that Westlife travelled to mainland China for a concert.[65][66] The tour ranked the band sixth for the year with a number of performances with 32 shows and recorded 238,718 paid-for attendances.[55] A recording of a concert from the tour, live from Wembley Arena, was released in November 2006. The band was mentioned as part of the names of male groups that peaked in the United Kingdom album sales in 2005 with 45 percent of the market.[67] By this time, they already sold over 36 million records worldwide.

In late 2006, Westlife signed a brand new five-album deal with Sony BMG Music Entertainment. Their seventh album, The Love Album was a compilation concept album which consisted of popular love-song covers. The album outsold other compilation albums by Oasis, The Beatles, and U2 in its first week of release and went straight to No. 1 in both UK and Ireland. It was the top selling album of 2006 in Ireland and Westlife’s seventh and sixth No. 1 album in Ireland and the UK, respectively. Moreover, the only single from The Love Album, “The Rose”, became their 14th UK No. 1 single.

This made Westlife the third act (along with Cliff Richard) in the UK to have the most No. 1 singles, tailing behind Elvis Presley (21) and The Beatles (17). In Ireland, they made it to the second place (tied with The Beatles) to have most number one singles, tailing behind U2 (21). They also returned to the Miss World stage where billions saw the exclusive live performance of The Rose. Westlife then kicked off their eighth world tour, “The Love Tour”, in Perth, Australia.[69] The group then went on to other Australian cities before moving on to South Africa, the UK and Ireland. The tour had a total of £1,031,033 secondary gross sales.[70]

On 5 November 2007, Westlife released their eighth album, Back Home, which contained nine new original songs along with three cover songs. The album debuted at No. 1 on the UK, their seventh No. 1. It was also 2007’s fifth biggest selling album in the UK. This makes them as one of the only five band, with Coldplay, The Prodigy, Stereophonics, and Take That, in UK chart history to claim seven No. 1 albums. With seven of their albums reaching the number one spot from 2000-2007, they attained the fastest accumulation of UK number one albums record in recent history until Taylor Swift’s re-recording release of her album Fearless in 2021.[71] The album was their eighth No. 1 in Ireland. The first single released from the album was “Home”, which peaked at No. 3 in the UK.[72][73] “I’m Already There”, not released as a single, managed to chart in the UK based on downloads alone, following a performance on an episode of The X Factor UK.

On 15 December 2007, they had a two-hour show called The Westlife Show where they performed 10 of their songs, some of which were voted online by fans and some from Back Home. It was hosted by Holly Willoughby.[74] Months later, “Us Against the World” was announced and released as their second single in UK and Ireland. Before the release of the second single, they embarked on the Back Home Tour on 25 February 2008. This tour marked the first time that the group had travelled and performed in New Zealand, performing four sold-out shows in Auckland, Wellington, New Plymouth and Christchurch. Meanwhile, “Something Right” was released as the second single and “Us Against the World” became the third single in Europe and the Asia Pacific region. Both songs performed well on several music charts.

10th anniversary and hiatus (2008–2009)

From 2005 to 2008, Music Week revealed on their website that Westlife was the official third top touring act within the years while they were the seventh top touring act of 2008.[75] On 28 March 2008, after 27 sell-out shows, in the space of 10 years and have sold 250,000 tickets. All four members were presented with a plaque cast of their hands, which can also be seen in the Wembley Square of Fame similar to Hollywood Walk of Fame.[76] Then to mark their tenth year in music, Westlife staged a special 10 Years of Westlife, a sold-out concert at the world’s thirty-third biggest and Europe’s fourth biggest stadium,[77] Croke Park, on 1 June 2008.[78] which Egan described to be a “pop extravaganza”.[79] It was only the second time for an Irish act to headline the stadium after U2.[80] Filan confirmed that a corresponding live concert DVD would be released. The group announced that they would be on hiatus for a year after their Back Home Tour[81] and that there would not be an album release in 2008 as they would be spending more time on the production of their tenth album.[82] As promised, the group’s official website confirmed on 27 September 2008 the release of a DVD on 24 November 2008 entitled 10 Years of Westlife – Live at Croke Park Stadium which went straight to No. 1 on UK, Ireland, South African, Hong Kong and New Zealand Music DVD charts. As the group ended another successful tour, Walsh announced in the show Xpose that 1 July 2008 would be the official start of the longest hiatus of the group. He said that it will be a one-year break, from that day up to 1 July 2009. On 13 December 2008, while on a break, Westlife made an unexpected appearance during that year’s X Factor final where they performed “Flying Without Wings” with runners-up JLS. After the performance, Filan and Byrne were interviewed on The Xtra Factor with Boyzone’s Keating and Stephen Gately. As JLS also performed, “I’m Already There”, Westlife’s version of the song re-entered the UK Singles Chart at No. 63 while a new entry on Ireland Singles Chart at No. 47 due to extensive downloads only. In the last week of January 2009, a DVD entitled The Karaoke Collection was released. This is the first time Sony Music has released an official Karaoke disc for music videos in DVD format. On 27 February 2009 issue of Herald Ireland, Walsh revealed that Cowell had already picked three new songs which he believed would be instant hits. On 18 March 2009, Westlife won the Best Irish Pop Act on the 2009 Meteor Awards for the ninth consecutive time.

Where We Are and Gravity (2009–2010)

Their tenth album, Where We Are, was released on 30 November 2009 in the UK and peaked at No. 2 on both Irish and UK Albums Charts. The lead single, “What About Now”, was released a few weeks earlier on 23 October 2009, with digital downloads being available the day before. The said single peaked at No. 2 on both Irish and UK Singles Charts and ranked No. 85 in the year-end official sales chart.[83] Following that month was the announcement of the Guinness Book of World Records for Westlife as the top selling album group of the 21st century with 10.74 million albums sold in the UK alone.

They were also part of the Haiti charity single in early 2010 with “Everybody Hurts”, which was organised by Cowell.[84] The said single peaked at No. 1 on both Irish and UK Singles Chart. The tour in support of this album was called, “The Where We Are Tour”. The tour entered at number 50 of top concert tour for the third quarter of the year with 241,865 ticket sales.[85] A recording of a concert from the tour, live from London, was released in November 2010. The eleventh album was recorded and processed with songwriter and producer John Shanks in London and Los Angeles and was entirely produced by Shanks.[86] On 14 November 2010, the single “Safe” was released. It debuted on the UK Singles Chart on 21 November at No. 10, giving the group their 25th Top 10 single in the United Kingdom. The new album titled Gravity was released on 22 November 2010.[87] It went to No. 1 in Ireland and No. 3 in the UK. This is their ninth No. 1 in Ireland and this album made Westlife as one of the few musical acts and band and the only pop band to have number one albums in three consecutive decades (1990s, 2000s, 2010s) in their home country.

As the 2000s decade ends with 275 singles reached the No. 1 position on the chart in the UK. Over this period, Westlife were the most successful musical act and group at reaching the top spot with 11 No. 1 singles only from the said decade, top act with most total number of weeks at No. 1 with individual credits and second to most total number of weeks at No. 1 with 14 weeks. Ten out of their fourteen No. 1 singles were released and came from this decade. Westlife is also the second biggest selling music act in the UK of the 21st century. And second from the list of artist from the past decade, 1990s, in UK Albums and Singles Charts. While in 2005, half of the decade, they were the fifth.[88]

Westlife was named the fourth most hard-working music artist and third most hard-working band in the UK by PRS in 2010.[89] Also from the said year Billboard compiled the top international touring acts worldwide, the group ranked 14th with $5,104,109 estimated net take of tour grosses (assuming a typical 34% artist cut after commissions and expenses).[90] In March 2011, they started their eleventh major concert tour, the Gravity Tour. This tour marked the first time the group travelled to Oman, Namibia, Guangzhou and Vietnam for concerts.

Greatest Hits and split (2011–2018)

As of 2011, the group were the longest reigning band and second longest reigning number one music act in the 21st century in UK. On 14 March 2011, Westlife confirmed that they had left Cowell after 13 years and his record label Syco Music after nine years. The group cited Syco’s decision not to release a second single from Gravity as the reason Byrne felt it as another reason of being unloved,

We signed to Simon back in 1998 and he was brilliant, but then came the development of The X Factor and American Idol. Simon became famous himself and his interests went that way rather than on Westlife. We almost felt a little bit unloved with Simon Cowell, if I was to be honest. We had it (full time support) with Simon but he got so busy and would do it at the very last minute and we needed someone who was on it all the time.[91]

On 23 April 2011, Egan’s Twitter account posted a series of tweets saying he was to walk away from the group. He later said his account was hacked and debunked the announcement.[92] After going back to RCA Records full-time for a one-year album contract, they announced their Greatest Hits album to be released on 21 November 2011. It debuted at No. 1 in Ireland and No. 4 in the UK. This is their tenth No. 1 album in Ireland. The first and lead single, “Lighthouse” was released in November 2011. And a follow-up promotional single “Beautiful World” released later. In October 2011, Egan ruled out speculation that McFadden would reunite with them for the new compilation album and its promotion for a television show. Egan said: “All the rumours about Brian re-joining Westlife are untrue. We have been a 4 piece for too long now. We love Brian but it’s not going to be. That includes any TV performances.”[93] With a new compilation album coming out, it was speculated Westlife would be doing a new greatest hits tour. They were scheduled to headline the ChildLine Concert in Dublin on 12 November 2011 and to have another exclusive concert on O2 Blueroom, also in Dublin on 24 November.[94][95]

A UK tour was first officially announced on 18 October 2011, with dates confirmed for May 2012 and it was titled, The Greatest Hits Tour or The Farewell Tour. Stereoboard reported that the tour sold out within minutes.[96] On 19 October 2011, Westlife officially announced they were splitting after an album and a tour.[97]

After 14 years, 26 top ten hits including 14 number one singles, 11 top 5 albums, 7 of which hit the top spot and have collectively sold over 44 million copies around the world, 10 sell out tours and countless memories that we will forever cherish, we today announce our plan to go our separate ways after a Greatest Hits collection this Christmas and a farewell tour next year. The decision is entirely amicable and after spending all of our adult life together so far, we want to have a well-earned break and look at new ventures. We see the Greatest Hits collection and the farewell tour as the perfect way to celebrate our incredible career along with our fans. We are really looking forward to getting out on the tour and seeing our fans one last time.

Over the years, Westlife has become so much more to us than just a band. Westlife are a family. We would like to thank our fans who have been with us on this amazing journey and are part of our family too. We never imagined when we started out in 1998 that 14 years later we would still be recording, touring and having hits together. It has been a dream come true for all of us.

Kian, Mark, Nicky and Shane[98]

During this time, the Official Charts Company compiled the band’s chart history which states that other than their number-ones they had, 25 UK Top 10s, 26 UK Top 40s, 27 UK Top 75s, 20 Weeks at No. 1, 76 Weeks in Top 10, 189 Weeks in Top 40 and 282 Weeks in Top 75 in the UK Singles Chart. While 7 No. 1s, 12 UK Top 10s, Top 40s, Top 75s, 7 Weeks at No. 1, 92 Weeks in Top 10, 189 Weeks in Top 40, and 299 Weeks in Top 75 in the UK Albums Chart.[99] They also had seven number-one albums in eight years, the most number-ones with different albums by a music album act, group, pop group, and male group in the UK Albums Chart in the 2000s and the second most number ones, tied with Rod Stewart, with different albums by a music album act, group, pop group, and male group in the UK clustered per decade since The Beatles in the 1960s and of all time. In Ireland, they have fourteen No. 1 singles and ten No. 1 albums, the most for a pop band and act and male band and act, and Irish band next to U2.

A second statement was issued through their official site, saying the fans were continuing to be the best support system.[100][101] Some fans on social networks described themselves as feeling “devastated” following news of the split.[102][103] People left their messages on Twitter by using #WestlifeForever and #Westlife, it trended on Ireland, Indonesia, New Zealand, Philippines, Singapore, Sweden, and the UK. A live stream Q&A happened on 28 October 2011 as a “thank you” to their fans. As part of it, ITV commissioned a one-off music event as they took to the stage to sing some of their greatest hits, it was entitled Westlife: For the Last Time.[104] Another show entitled, The Westlife Show: Live, was broadcast from Studio One of London Studios on the same channel on 1 November 2011.[105] They then had a live guesting on The Late Late Show.[106] They were honored at that time by Scottish Exhibition and Conference Centre (SECC) with four specially commissioned bar stools to mark 49 performances at the venue for over 380,000 fans, selling more tickets than any other act.[107] The band had their final concert on 23 June 2012 at Croke Park Stadium in Ireland. The 82,300 capacity show was sold out in 4 minutes. Due to this popular demand, an extra date was added at Croke Park on 22 June 2012, which also sold out. Combined, there was a total of 187,808 spectators on both nights, exceeding the capacity of the stadium.[108] Their last concert was also screened live in more than 300 cinemas in the United Kingdom,[109] and 200 cinemas worldwide.[110][111] They also released a DVD, which went to number 1 in both UK and Irish chart. In that year they were also declared the 34th top-grossing tour act of the year with earnings of $35.2 million (€27 million). The farewell tour consisted of eight dates in China and 33 in the UK and Ireland; in total, the band sold 489,694 tickets from the tour.[112]

Cowell and some media predicted a possible reunion in the future,[113] but Westlife put an end to that speculation by vowing they would never reunite.[114] Later reports from the Daily Record said there was an “irreparable rift” in the band,[115] but was later denied by a source close to the band saying: “There’s no bad blood in the band, they’re still great pals. But all good things come to an end and they are all keen to do their own thing.”[116] Later, the band also denied it and called the split a “united decision”.[117] However he confessed three months after the split, Byrne said that members of the group fought with one another more and more often in the latter years leading up to the split and he felt that it was the right time to end their time together. A year after Westlife ended, they agreed to all voluntarily wind up Bluenet Ltd, their main entertainment firm, after going their own ways and split €2.3million to €595,500 each except for Filan who missed out any of it as he declared bankruptcy at that time due to property crash problems.[118]

Since the split, the four lads have released albums and singles individually. Filan, with three studio albums and with singles and tours (with support act dates for Lionel Richie) released and a Top 5 hit album in UK. Feehily associated with an independent record label (which he is the co-director) and released albums and singles. He also made it as a supporting act to Mariah Carey and Wet Wet Wet. Egan was voted King of the Jungle on the 2013 series of ITV’s I’m a Celebrity series, released one studio album with singles, was a coach judge on The Voice of Ireland, and was a support act for Boyzone. Byrne released one studio album, joined Strictly Come Dancing, hosted several major Irish television and radio shows, and represented Ireland in Eurovision, which was also his debut solo single.[119]

In 2014, Syco Music said to The Sun: “All the guys are up for it in principle. It’s now just a matter of sorting out all the details, Syco would love Brian to be part of the band again. It’d create the same sort of buzz as when Robbie Williams returned to Take That. But the other lads will need to be convinced because they were always very clear that when Brian left it was for good.”[120] but Egan later tweeted, “Guys I’m sorry to say but I don’t know where these rumours are coming from about a Westlife reunion but it’s untrue. Sorry #westlifeforever.”[121] In 2015,[122] 2016 (On this year, Walsh posted on the band’s social accounts that they will not regroup as of the moment),[123] 2017,[124] Walsh expressed that the four-piece band would reunite. He had been in contact with Ed Sheeran and James Arthur to create songs for the band.[125]

However, on 2016–2017, four years following the split, Filan told Lorraine and other media outlets that while there are currently no plans for a Westlife reunion, he would not rule it out for the future.[126] Byrne expressed in 2017, “Shame this Westlife news is not true. They were always my guilty pleasures.” He also talked about touring with the group: “Who wouldn’t want to do that again? The laugh with the boys and travelling around and seeing all the fans again. It’s nearly six years next summer since we’ve done it so who knows? Maybe in ten years. I’ve spoken to all the lads individually but we’ve never brought up a Westlife reunion, the thing about it is the four of us haven’t been in a room together since Jodi’s [Kian’s wife] mum’s funeral,’ That was the last time we spoke properly as a band, if you want to call it that., I’m sure it will happen but I don’t know when and I don’t know if even we know when the right time will be.”[127] Feehily added, “People have offered us blank cheques to get back together but it’s not about money. There are no plans to reform. The time isn’t now. We all have a lot more that we want to achieve first. It feels way too soon to be honest, a 20th anniversary tour could still happen one day as 2019 is 20 years since we released our first single, while 2021 is 20 years since our first world tour. So you never know”.[128]

On 31 March 2018, it was reported on Allkpop that all of them might guest on a popular Korean musical show Immortal Songs 2 but Filan was the only one who appeared on the show as a judge and a guest performer afterwards.[129] Egan answered that this and other reports were untrue and the rest of the group members sided with Egan’s response after as well.[130] Later they revealed they had been phoned up by Walsh and Cowell every six months since their split. On 23 September 2018, several Irish news outlets started reporting that the group has been signed to Universal Music Group for a new five-year album and tour deal with Virgin EMI Records.

Reunion, Spectrum album, and tour (2018–2021)

On 3 October 2018, the group formally announced that there’ll be new music and a tour coming soon on their official social media accounts like on their newly created Instagram.[133][non-primary source needed] Their reunion story caused huge fan reaction worldwide. According to the reports, they had been preparing for their comeback for the past year of 2017 as Feehily had said on the same year that he hoped to get them all together for a proper catch-up.[134] It was later revealed that Egan and Filan first talked about their reunion when Adele released “Hello” in late 2015.[135] While Byrne raised his concerns about “…where Westlife’s music fits into the current market” and not wanting to be simply a “nostalgia” act.[136] He went on to say, “While we were away, we realised what Westlife really meant to the fans – and to us.”[137] McFadden was not involved in the reformation as he said on an interview with Closer Magazine, “…there’s no reason for me and the boys to stay buddies.” and “For me, it was just a job. I only met the guys when I joined the band and have no regrets about leaving.”[138] Their first live interviews and press conferences as a four-piece in six years were made 20 days later held in Dublin and Belfast where they revealed their plans to stick around longer.[139][140] Days later, it was followed by several radio interviews in Manchester, Ulster, Dublin and Glasgow. Walsh also said in separate interviews that the most important things now are the songs, it will be featured as an introduction to their new sound and added, “I was just waiting for them to decide when. There were record deals on the table, but the icing on the cake was Ed Sheeran writing these amazing songs for them, as well as having Steve Mac, who produced their early songs, on track too.” […] “Sheeran’s input adds a contemporary edge”, “I’ve heard the first two songs and they are just incredible.”[141] Mac and Sheeran have come up with four new tracks for them. One will be a single co-written by Sheeran. Some had been composed since 2016. The duo have co-written recent hits like the most streamed song on Spotify, “Shape of You”, and also “Woman Like Me” by Little Mix, and “Thursday” by Jess Glynne. Mac revealed the band’s signature sound will be back.[142][non-primary source needed] Feehily and Filan added, “We’re not trying to change Westlife’s sound, we’re trying to evolve”, “We need to be a Westlife 2.0, a better version of ourselves. We wanted to come back and recreate Westlife’s sound, but better, and be a better band, and the most important thing about any band is music.”[143] In November 2018, Byrne expressed 2019 will be “one hell of a year”[144][non-primary source needed] On 19 December 2018, Egan and Feehily posted a picture of the group’s first rehearsals together in six years and Egan added that “2019 will be nothing but epic”.[145][non-primary source needed][146][non-primary source needed] A musical and a documentary film about them and their reunion were also reported.

“Hello My Love”,[141] their first single since 2011 was released on 10 January 2019.[147][non-primary source needed] It reached No. 1 in iTunes Store Top Songs in more than fifteen countries that include the United Kingdom and Ireland, reached top 10 in 23 countries, and charted in more than 50 countries only minutes after its release. It was released in four official versions: Original, instrumental, acoustic, and a remix. Their first UK, worldwide television and recorded professional appearance, performance in seven years and of the single was on The Graham Norton Show on 11 January 2019 where it was tagged as “one of the most highly-anticipated TV comebacks of the decade”.[148][149] They also performed the single on the 24th National Television Awards on 22 January 2019 and it was their first live television performance, first The O2 Arena and arena performance together in seven years. Their first Irish performance and television appearance together was in the finals night of Dancing With the Stars Ireland on 24 March 2019. Their first tour and first promotional tour in general and for a single release together outside UK and Ireland in seven years was on Singapore on 29 January 2019 to 1 February 2019.[150][non-primary source needed] It reached number-two in Ireland and Scotland. It was their highest charting on their official singles charts since the band’s “What About Now” single in 2009, ten years ago. The single got its Silver certification four months after its release and its Gold certification seven months after its premiere in the UK. In Ireland, it has a 2× Platinum certification.

The full-length album is released on 15 November 2019. It is in different formats like the CD, digital download, vinyl, and a limited box set edition. Some of the album formats are bundled with their official tour merchandise. It is their eleventh studio album, their first major album to be released in eight years and first studio album in nine years.[151][non-primary source needed] In November 2018, the pre-order links for the upcoming album were released on Amazon Australia,[152] Japan,[153] UK,[154] and HMV.[155] The album is titled Spectrum. The album peaked at number one in Ireland, Scotland, and the UK and was certified as Gold in the UK and as Platinum in Ireland. This is their first number one album in twelve years in the UK and in eight years in Ireland. This is also the fastest selling album in 2019 in Ireland. This is their eighth UK number-one album making them the fifth band (fourth until Coldplay got their eight number-one album week after) to have eight UK number-one albums with the likes of Led Zeppelin, and R.E.M. Overall, they are one of the only ten bands that has had eight number-one albums.[4] It marks their eleventh number-one album in Ireland.

To promote the album before its release, more singles were released like the second one, also by Mac and Sheeran with Fred Again (George Ezra, Prettymuch, Rita Ora), which was called “Better Man”. It was their second number one on the UK Singles Physical Chart and reached number two on the UK Singles Sales Chart and Scottish Singles Chart in 2019. It was also released in orchestral and acoustic versions. The third single, “Dynamite”, was released on 5 July 2019 and was released in three different mixes. The single was their 27th Top 10 hit in Scotland and 29th Top 40 hit in Ireland. The fourth single from the album, “My Blood”, was released on 25 October 2019. “My Blood” ended up peaking at number ninety-six on the UK Singles Chart and at number-six on the Scottish Singles Chart. It also peaked at number forty-six in the Irish Singles Chart.

Since their comeback in 2018, their previous singles “What About Now”, “Queen of My Heart”, “If I Let You Go”, and “My Love” reached the higher Gold certifications in the United Kingdom after ten, seventeen, eighteen, and twenty years of their releases respectively. “Flying Without Wings”, and “World of Our Own” were certified Platinum twenty years after its release. While “When You’re Looking Like That” after twenty years and “The Rose” after thirteen years achieved their Silver certifications since their releases respectively in the same country. Six were certified in 2019, one in 2018, and two in 2020.

On the evening of 17 October 2018, the UK and Ireland dates of their latest tour were announced through Westlife’s social networks and was called The Twenty Tour. A pre-order site of the forthcoming new Westlife album, for both unsigned and limited signed (which was taken down minutes later), from their official store was cited where fans will receive an exclusive pre-sale code for early access tickets to the 2019 tour.[156] Pre-sale tickets were all sold out before the general sale and the event had been described as a “big one”[157] making the original tour dates sold out at the very time of its general sales opening. The tour had twelve original dates and fourteen more dates added on places like Liverpool, Leeds, and Sheffield in less than seven hours due to high demand.[158][159][160][161][162] In their first full print interview as a band in six years, they said: “We will get to everyone eventually.” Egan added, “Every country that wants to see Westlife will see us at some point. We won’t step away from this until we’ve managed to tour the world.”[135] Seventeen additional Asian dates were announced from 21 March 2019 onwards; the tour has a total of fifty-one dates and took place at some of Asia’s and Europe’s largest indoor arenas and stadium. It was their fastest selling tour to date.

The second day of the tour in Croke Park had a live film broadcast in selected cinemas in at least fourteen European countries on 6 July 2019, and in more than 600 cinemas live via satellite in UK and Ireland alone. A delayed broadcast in at least nine Asian countries that include Hong Kong, India, UAE, Bahrain, Qatar, and in Australia and New Zealand were done from August 2019 as well. They hired the Cirque du Soleil team for the production, stage design, and routines of the tour. A follow-up cinema screenings of the filmed tour date was produced from August 2019 onwards as well in a sing-along version that kick-started in Denmark, Ireland, and UK. This was released in a video album in different formats on 13 March 2020. It reached the number one in UK and Ireland and stayed at the top spot for more than thirty weeks on their official charts.

On 13 September 2019, they announced that they are scheduled to play at Wembley Stadium in London, England and at Páirc Uí Chaoimh in Cork, Ireland, both for the first time, as part of their Stadiums in the Summer Tour, which was later renamed. The tour play dates were moved from 2020, 2021 to 2022 due to the COVID-19 pandemic with most of the original scheduled tour dates were also cancelled.

On 8 February 2021, the band revealed the mutual parting of ways with Virgin EMI Records and details of a new and groundbreaking partnership are imminent.

Wild Dreams (2021–present)

On 17 March 2021, they formally announced through different medias that they signed a new album deal through Warner Music UK and East West Records.

After 514 days since their last get together, they played eight of their songs live together for a BBC Radio 2 event on Ulster Hall, Belfast on 25 August 2021 and was broadcast from 10 September 2021. An estimate of sixty-eight thousand people have applied to be part of the audience that night but an approximate number of only 160 people has been picked due to COVID-19 restrictions.

“Starlight”, the lead single from their twelfth studio album, was released on 14 October 2021. The album, Wild Dreams, was released on 19 November 2021 but was pushed back to 26 November 2021 on 13 October 2021.[163][non-primary source needed] It is in different formats like the CD, digital download, streaming. Some of the album formats are bundled with their official tour merchandise.

On 29 October 2021, new schedule for their renamed fourteenth concert tour, The Wild Dreams Tour, were released. It is comprised of fourteen new dates and venues and eight dates added later. They also announced that their Wembley Stadium date will be streamed live in different cinemas in Europe.

On 17 December 2021, a Westlife concert filmed at London’s Bush Hall Venue and broadcast by Tencent’s WeChat (Weixin) across China’s most popular social media platform had an audience of almost 28 million. It received 160 million likes during the 100 minute stream. It was the first ever livestream concert by the band, and by an international artist in China. This was followed by being the special guest on Backstreet Boys livestream concert on the same said platform on 24 June 2022. The two band’s collaboration of Westlife’s song “My Love” had trended to number-one on the country’s top social media Weibo.[164][165] As of 7 April 2022, according to Official Charts Company, they are currently the fifth biggest-selling albums artist of the 21st century alone in the UK with 12,907,183.

Lyrics


Don Henley

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Donald Hugh Henley (born July 22, 1947) is an American musician, singer, songwriter, record producer, and a founding member of the rock band Eagles. He was the drummer and co-lead vocalist for the Eagles from 1971 until the band broke up in 1980, and has reprised those duties for the group’s reunions since 1994. Henley sang the lead vocals on Eagles hits such as “Witchy Woman”, “Desperado”, “Best of My Love”, “One of These Nights”, “Hotel California”, “Life in the Fast Lane”, “The Long Run” and “Get Over It”.

After the Eagles broke up in 1980, Henley pursued a solo career and released his debut album I Can’t Stand Still, in 1982. He has released five studio albums, two compilation albums, and one live DVD. His solo hits include “Dirty Laundry”, “The Boys of Summer”, “All She Wants to Do Is Dance”, “The Heart of the Matter”, “The Last Worthless Evening”, “Sunset Grill”, “Not Enough Love in the World”, and “The End of the Innocence”.

The Eagles have sold over 150 million albums worldwide, won six Grammy Awards, had five number one singles, 17 top 40 singles, and six number one albums. They were inducted into the Rock and Roll Hall of Fame in 1998 and are the highest selling American band in history. As a solo artist, Henley has sold over 10 million albums worldwide, had eight top 40 singles, won two Grammy Awards and five MTV Video Music Awards. Combined with the Eagles and as a solo artist, Henley has released 25 top 40 singles on the Billboard Hot 100. He has also released seven studio albums with the Eagles and five as a solo artist. In 2008, he was ranked as the 87th greatest singer of all time by Rolling Stone magazine.[2]

Henley has also played a founding role in several environmental and political causes, most notably the Walden Woods Project.[3] From 1994 to 2016, he divided his musical activities between the Eagles and his solo career.

Early life

Donald Hugh Henley was born in Gilmer, Texas, and grew up in the small northeast Texas town of Linden.[4][5] He is the son of Hughlene (McWhorter) and C. J. Henley.[6] He has Irish, English and Scottish ancestry. Henley attended Linden-Kildare High School where he initially played football, but due to his relatively small build his coach suggested that he quit, and he joined the high school band instead. He first played the trombone, then in the percussion section.[7] After leaving high school in 1965, he initially attended college at Stephen F. Austin State University in Nacogdoches, Texas. He then attended North Texas State University (renamed in 1988 the University of North Texas) in Denton, Texas, from 1967 to 1969. Henley left school to spend time with his father, who was dying of heart and arterial disease.

Career beginnings

While still at high school, Henley was asked to join a Dixieland band formed by his childhood friend Richard Bowden’s father Elmer, together with another school friend Jerry Surratt. They then formed a band called the Four Speeds.[7][9] In 1964 the band was renamed Felicity, then finally Shiloh, and went through a number of changes in band personnel.[10][11] As Felicity they were signed to a local producer and released a Henley-penned song called “Hurtin’”.[12] In 1969, they met by chance fellow Texan Kenny Rogers who took an interest in their band. They changed their name to Shiloh and recorded a few songs for Rogers, and “Jennifer (O’ My Lady)” was released as their first single.[13] Surratt, however, died in a dirt bike accident just before their single was released, and the band members then became Henley, Richard Bowden and his cousin Michael Bowden, Al Perkins, and Jim Ed Norman. Rogers helped sign the band to Amos Records, and brought the band to Los Angeles in June 1970. They recorded a self-titled album produced by Rogers at Larrabee Studios while living at the home of Rogers for a few months.[14] Shiloh disbanded in 1971 over the band’s leadership and creative differences between Henley and Bowden.[15]

In Los Angeles, Henley met Glenn Frey as they were both signed to the same label (Frey was signed to Amos Records, together with J. D. Souther, as the duo Longbranch Pennywhistle), and they were recruited by John Boylan to be members of Linda Ronstadt’s backup band for her tour in 1971. Touring with her was the catalyst for forming a group, as Henley and Frey decided to form their own band.[16] They were joined by Randy Meisner and Bernie Leadon who also played in Ronstadt’s backing band (the four had, however, played together only once previously, as the band personnel changed) and became the Eagles.

Eagles

Eagles were formed in 1971,[18] and signed to David Geffen’s label Asylum Records.[19] They released their first studio album in 1972, which contained the hit song “Take It Easy”, co-written by Jackson Browne. During the band’s run, Henley co-wrote (usually with Frey) most of the band’s best-known songs.[17] “Witchy Woman”, which was co-written with Leadon, was his first commercially successful song,[20] while “Desperado” marks the beginning of his songwriting partnership with Frey.[21]

Henley sang lead vocals on many of the band’s popular songs, including “Desperado”, “Witchy Woman”, “Best of My Love”, “One of These Nights”, “Hotel California”, “The Long Run”, “Life in the Fast Lane” and “Wasted Time”. Eagles won numerous Grammy Awards during the 1970s and became one of the world’s most successful rock bands of all time.[22] They are also among the top five overall best-selling bands of all time in America, and the highest-selling American band in U.S. history.[23] Henley and Frey have been called the American version of McCartney and Lennon.[24]

The band broke up in 1980, following a difficult tour and personal tensions that arose during the recording of The Long Run. Eagles reunited 14 years later in 1994. Henley continues to tour and record with the Eagles. Their most recent album, Long Road Out of Eden, was released in 2007.[25] The band had a number of highly successful tours, such as the Hell Freezes Over Tour (1994-1996), and Long Road Out of Eden Tour. On April 1, 2013, during a concert at the Casino Rama in Rama, Ontario, Henley announced the History of the Eagles Tour, which began in July 2013[26] and ended in July 2015, six months before Frey’s death. At the 2016 Grammy Awards, the Eagles and Jackson Browne performed “Take It Easy” as a tribute to Frey.[27]

On his songwriting in the band, Henley stated in a March 2001 interview on Charlie Rose that “rock bands work best as a benevolent dictatorship”, with the principal songwriters in a band (in the case of Eagles, “me and Glenn Frey”) being the ones that will likely hold the power.

Solo career

Following the breakup of the Eagles, Henley embarked on a solo career. He and Stevie Nicks (his girlfriend at the time) had duetted on her Top 10 Pop and Adult Contemporary hit “Leather and Lace”,[29] written by Nicks for Waylon Jennings and his wife Jessi Colter, in late 1981. Henley’s first solo album, I Can’t Stand Still, was a moderate seller. The single “Dirty Laundry” reached No. 3 on the Billboard Hot 100 at the beginning of 1983 and earned a Gold-certified single for sales of over a million copies in the US.[30] It was Henley’s all-time biggest solo hit single, and also was nominated for a Grammy Award. Henley also contributed “Love Rules” to the 1982 Fast Times at Ridgemont High movie soundtrack.[31]

This was followed in 1984 by the album, Building the Perfect Beast. A single release, “The Boys of Summer”, reached No. 5 on the Billboard Hot 100.[32] The music video for the song was directed by Jean-Baptiste Mondino and won several MTV Video Music Awards including Best Video of the Year. Henley also won the Grammy Award for Best Male Rock Vocal Performance for the song.[33] Several other songs on the album, “All She Wants to Do Is Dance” (No. 9 on Hot 100), “Not Enough Love in the World” (No. 34) and “Sunset Grill” (No. 22) also received considerable airplay. He then had a No. 3 album rock chart hit with “Who Owns This Place?” from 1986’s The Color of Money soundtrack.

Henley’s next album, 1989’s The End of the Innocence, was even more successful. The album’s title track, a collaboration with Bruce Hornsby, reached No. 8 as a single. “The Heart of the Matter”, “The Last Worthless Evening” and “New York Minute” were among other songs that gained radio airplay.[35][36] Henley again won the Best Male Rock Vocal Performance Grammy Award in 1990 for “The End of the Innocence”.[37] Also in 1990, Henley made a brief appearance on MTV’s Unplugged series.[38]

In 1995, Henley released the single “The Garden of Allah” to promote his greatest hits solo album Actual Miles: Henley’s Greatest Hits.[39]

MusicRadar called Henley one of the greatest singing drummers of all time.[40]

In live shows, Henley plays drums and sings simultaneously on some Eagles songs.[40] On his solo songs and other Eagles songs, he plays electric guitar and simultaneously sings or just sings solo. Occasionally Eagles songs would get drastic rearrangements, such as “Hotel California” with four trombones.

Lawsuits with Geffen Records

Henley spent many years in legal entanglements with Geffen Records. In January 1993, following prolonged tensions between Henley and the label, the dispute went public and the record company filed a $30 million breach-of-contract suit in California Superior Court after receiving a notice from Henley saying that he was terminating his contract even though he reportedly owed the company two more studio albums and a greatest-hits collection.[43] Henley wanted to sign a publishing deal with EMI that would have been worth a few million dollars. Geffen Records stopped this from happening, which in turn upset Henley.[43]

Geffen Records claimed that Henley was in breach of contract and Henley attempted to get out of his contract in 1993 based on an old statute. Under the statute, a California law enacted over 50 years ago to free actors from long-term studio deals, entertainers cannot be forced to work for any company for more than seven years. Geffen Records did not want Henley signing with any other label, and had an agreement with Sony and EMI that they would not sign Henley. He counter-sued Geffen Records, claiming that he was “blackballed” by David Geffen, who had made agreements with other record labels to not sign him.[43] Henley eventually became an outspoken advocate for musicians’ rights, taking a stand against music labels who he believes refuse to pay bands their due royalties. Henley came to terms with Geffen Records when the Eagles’ reunion took off and the company eventually took a large chunk of the profit from the reunion album. Glenn Frey was also in legal entanglements with his label, MCA Records (whose parent company had also acquired Geffen).[44] Before the Eagles reunion tour could begin, the band had to file a suit against Elektra Records, which had planned to release a new Eagles Greatest Hits album. The band won that battle.[45]

A long period without a new recording followed as Henley waited out a dispute with his record company while also participating in a 1994 Eagles reunion tour and live album. During the hiatus, Henley recorded a cover of “Sit Down, You’re Rockin’ the Boat” for the film Leap of Faith, and provided the background vocals for country star Trisha Yearwood’s hit single “Walkaway Joe”,[citation needed] and duetted with Patty Smyth on “Sometimes Love Just Ain’t Enough”,[46] and Roger Waters on “Watching TV” on Waters’ Amused to Death album, in 1992.[47] Henley provided the voice of Henry Faust in Randy Newman’s Faust, a 1993 musical which was released on compact disc that year.[48]

Henley and Courtney Love testified at a California Senate hearing on that state’s contractual laws in Sacramento on September 5, 2001. In 2002 Henley became the head of the Recording Artists’ Coalition. The coalition’s primary aim was to raise money to mount a legal and political battle against the major record labels.[49] Henley says the group seeks to change the fundamental rules that govern most recording contracts, including copyright ownership, long-term control of intellectual property and unfair accounting practices. This group filed a friend-of-the-court brief in the Napster case,[50] urging District Judge Marilyn Hall Patel not to accept the industry’s broad claims of works made for hire authorship.

Inside Job and recent solo work

In 2000, after 11 years, Henley released another solo album titled Inside Job, which peaked at number 7 on the Billboard 200 and contained the new singles “Taking You Home”, “Everything Is Different Now”, “Workin’ It” and “For My Wedding”.[52] He performed songs from the album in a VH1 Storytellers episode during 2000. In 2002 a live DVD entitled Don Henley: Live Inside Job was released. In 2005, Henley opened 10 of Stevie Nicks’ concerts on her Two Voices Tour.[53]

Henley performed duets with Kenny Rogers on Rogers’ 2006 release Water & Bridges, titled “Calling Me”[54][55] and on Reba McEntire’s 2007 album, Reba: Duets, performing “Break Each Other’s Hearts Again”.[56]

In a 2007 interview with CNN, while discussing the future of the Eagles, Henley indicated he still has plans for more records: “But we all have some solo plans still. I still have a contract with a major label [Warner] for a couple of solo albums.”[57] In January 2011, Henley commenced work on a solo album of country covers featuring special guests. Ronnie Dunn from Brooks & Dunn and Alison Krauss have recorded a song with Henley for the album.[58]

On July 18, 2015, Henley started pre-orders of his album, Cass County. The album was released on September 25.

Henley was honored with the “Lifetime Achievement” award during the East Texas Music Awards event in 2015.

Political and other causes

In 1990, Henley founded the Walden Woods Project to help protect “Walden Woods” from development. The Thoreau Institute at Walden Woods was started in 1998 to provide for research and education regarding Henry David Thoreau. In 1993, a compilation album titled Common Thread: The Songs of the Eagles was released, with a portion of the royalties from the sales going to the Walden Woods Project. In 2005, he had a fundraiser concert with Elton John and others to buy Brister’s Hill,[59] part of Walden Woods, and turn it into a hiking trail.[citation needed]

Henley co-founded the non-profit Caddo Lake Institute in 1993 with Dwight K. Shellman to underwrite ecological education and research. As part of the Caddo Lake Coalition, CLI helps protect the Texas wetland where Henley spent much of his childhood. As a result of the Caddo Lake Institute’s success in restoring and protecting Caddo Lake’s wetlands, Caddo Lake was included as the 13th site in the United States on the Ramsar Convention’s list of significant wetlands. The Ramsar Convention is an intergovernmental treaty that provides a framework for national action and international cooperation for the conservation and wise use of wetlands and their resources.[60]

In 2000, Henley co-founded the Recording Artists’ Coalition, a group founded to protect musicians’ rights against common music industry business practices. In this role he testified before the U.S. Senate Committee on the Judiciary in 2001[61] and the U.S. Senate Committee on Commerce, Science and Transportation in 2003.[62]

Henley in a 2008 interview revealed that he contributes to many other charitable causes such as The Race to Erase MS, and the Rhythm and Blues Foundation.[63][64] He is also a member of the CuriosityStream Advisory Board.[65]

A lifelong supporter of the Democratic Party, Henley has also been a generous donor to political campaigns of Democrats. In 2008, The Washington Post reported Henley had donated over $680,000 to political candidates since 1978.[66] Several tracks on the 2007 Eagles album Long Road Out of Eden (including the title track, which Henley co-wrote) are sharply critical of the Iraq War and other policies of the Bush administration.[67]

Henley’s liberal political leanings led to tension with guitarist Bernie Leadon when he submitted the song “I Wish You Peace” for inclusion on One of These Nights. Henley was not thrilled that the song was co-written by Patti Davis, who was the daughter of Ronald Reagan, the Republican Governor of California at that time.[68]

Henley endorsed Joe Biden in the 2020 presidential election.[69]

In a fundraiser hosted by Matthew McConaughey to raise money for Texans affected by the snowstorms in February 2021, Henley performed “Snow”, which was written by Jesse Winchester. The show premiered on March 21, 2021. Henley remarked “On that bitter cold Tuesday of February 16th, we had a busted pipe at the attic at my house, and me and my family were shoveling and bailing for 8 or 9 hours there. Nothing, of course, compared to the shoveling and bailing that’s been going on down in the state capitol the past 3 weeks.”[70][71]

In a Discover Concord magazine in the summer of 2021, Henley spoke of the Walden Woods Foundation as well as his life during the COVID-19 pandemic. Henley noted that “I think that each and every one of us has a duty to help care for our natural environment, even if it’s something as simple as not throwing your fast-food wrapper out the car window.”

Personal life

In 1974, Henley became involved with Loree Rodkin, and the breakup of their relationship was the inspiration for the song “Wasted Time” and parts of the lyrics for “Hotel California”.[73][74] Late in 1975, Henley started dating Fleetwood Mac singer Stevie Nicks as her relationship with Lindsey Buckingham came to an end.[75] The relationship lasted on and off for around two years. Nicks later wrote a song “Sara” that Henley claimed was about their unborn child, for which Nicks had an abortion.[76] Henley then began a three-year-long relationship with actress/model and Bond girl Lois Chiles.[77]

Henley called paramedics to his home on November 21, 1980, where a 16-year-old girl was found naked and claiming she had overdosed on quaaludes and cocaine. She was arrested for prostitution, while a 15-year-old girl found in the house was arrested for being under the influence of drugs. Henley was arrested and subsequently charged for contributing to the delinquency of a minor. He pled no contest, was fined $2,500 and put on two years’ probation. Chiles, who was no longer in a relationship with Henley at the time of the incident, later said, “I was shocked to hear about it. He didn’t have drugs around the house. It was an accident, I’m sure.” The media attention from this incident was primary among the inspirations for the solo hit, “Dirty Laundry”.[77]

In the early 1980s, Henley was engaged to Battlestar Galactica actress Maren Jensen. His first solo album I Can’t Stand Still was dedicated to Jensen, who also sang harmony vocals on the song “Johnny Can’t Read”. He and Jensen separated in 1986.[78]

In 1995, Henley married Sharon Summerall.[79] Performers at the wedding included Bruce Springsteen, Sting, Billy Joel, John Fogerty, Jackson Browne, Sheryl Crow, Glenn Frey, and Tony Bennett. Henley later wrote the song “Everything Is Different Now” from the album Inside Job for Sharon. Summerall has been diagnosed with multiple sclerosis.[80] They have three children together, two girls and a boy.

In 2012, Henley was estimated to be the fourth-wealthiest drummer in the world, behind Ringo Starr, Phil Collins and Dave Grohl, with a $200 million fortune.[81]

As of 2019, he resides in Dallas, Texas, with his wife and three children. Henley also maintains a home in Hollywood, California.

Discography

Main articles: Don Henley discography and Eagles discography

  • I Can’t Stand Still (1982)
  • Building the Perfect Beast (1984)
  • The End of the Innocence (1989)
  • Inside Job (2000)
  • Cass County (2015)

 

Lyrics


Robert Johnson

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. He is now recognized as a master of the blues, particularly the Delta blues style.

As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law. These songs, recorded at low fidelity in improvised studios, were the totality of his recorded output. Most were released as 10-inch,  rpm singles from 1937–1938, with a few released after his death. Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers. Johnson’s poorly documented life and death have given rise to much legend. The one most closely a*sociated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.

His music had a small, but influential, following during his life and in the two decades after his death. In late 1938 John Hammond sought him out for a concert at Carnegie Hall, From Spirituals to Swing, only to discover that Johnson had died. Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death. Law, who by then worked for Columbia Records, a*sembled a collection of Johnson’s recordings titled King of the Delta Blues Singers that was released by Columbia in 1961. It is widely credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially on the nascent British blues movement; Eric Clapton has called Johnson “the most important blues singer that ever lived.” Musicians such as Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson’s lyrics and musicianship as key influences on their own work. Many of Johnson’s songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed by many later musicians.

Renewed interest in Johnson’s work and life led to a burst of scholarship starting in the 1960s. Much of what is known about him was reconstructed by researchers such as Gayle Dean Wardlow and Bruce Conforth, especially in their 2019 award-winning biography of Johnson: Up Jumped the Devil: The Real Life of Robert Johnson (Chicago Review Press). Two films, the 1991 documentary The Search for Robert Johnson by John Hammond Jr., and a 1997 documentary, Can’t You Hear the Wind Howl, the Life and Music of Robert Johnson, which included reconstructed scenes with Keb’ Mo’ as Johnson, were attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Over the years, the significance of Johnson and his music has been recognized by numerous organizations and publications, including the Rock and Roll, Grammy, and Blues Halls of Fame; and the National Recording Preservation Board.

Life and career

Early life

Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911,[3] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children. Charles Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert, but in less than two years she brought the boy to Memphis to live with her husband, who had changed his name to Charles Spencer.[4] Robert spent the next 8–9 years growing up in Memphis and attending the Carnes Avenue Colored School where he received lessons in arithmetic, reading, language, music, geography, and physical exercise.[5] It was in Memphis that he acquired his love for, and knowledge of, the blues and popular music. His education and urban context placed him apart from most of his contemporary blues musicians.

Robert rejoined his mother around 1919–1920 after she married an illiterate sharecropper named Will “Dusty” Willis. They originally settled on a plantation in Lucas Township in Crittenden County, Arkansas, but soon moved across the Mississippi River to Commerce in the Mississippi Delta, near Tunica and Robinsonville. They lived on the Abbay & Leatherman Plantation.[6] Julia’s new husband was 24 years her junior. Robert was remembered by some residents as “Little Robert Dusty”,[7] but he was registered at Tunica’s Indian Creek School as Robert Spencer. In the 1920 census, he is listed as Robert Spencer, living in Lucas, Arkansas, with Will and Julia Willis. Robert was at school in 1924 and 1927.[8] The quality of his signature on his marriage certificate[9] suggests that he was relatively well educated for a boy of his background. A school friend, Willie Coffee, who was interviewed and filmed in later life, recalled that as a youth Robert was already noted for playing the harmonica and jaw harp.[10] Coffee recalled that Robert was absent for long periods, which suggests that he may have been living and studying in Memphis.[11]

Once Julia informed Robert about his biological father, Robert adopted the surname Johnson, using it on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929. She died in childbirth shortly after.[12] Surviving relatives of Virginia told the blues researcher Robert “Mack” McCormick that this was a divine punishment for Robert’s decision to sing secular songs, known as “selling your soul to the Devil”. McCormick believed that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician.[13]

Around this time, the blues musician Son House moved to Robinsonville, where his musical partner Willie Brown lived. Late in life, House remembered Johnson as a “little boy” who was a competent harmonica player but an embarrassingly bad guitarist. Soon after, Johnson left Robinsonville for the area around Martinsville, close to his birthplace, possibly searching for his natural father. Here he perfected the guitar style of House and learned other styles from Isaiah “Ike” Zimmerman.[14] Zimmerman was rumored to have learned supernaturally to play guitar by visiting graveyards at midnight.[15] When Johnson next appeared in Robinsonville, he seemed to have miraculously acquired a guitar technique.[16] House was interviewed at a time when the legend of Johnson’s pact with the devil was well known among blues researchers. He was asked whether he attributed Johnson’s technique to this pact, and his equivocal answers have been taken as confirmation.[17]

While living in Martinsville, Johnson fathered a child with Vergie Mae Smith. He married Caletta Craft in May 1931. In 1932, the couple settled for a while in Clarksdale, Mississippi, in the Delta, but Johnson soon left for a career as a “walking” or itinerant musician, and Caletta died in early 1933.

 

Itinerant musician

From 1932 until his death in 1938, Johnson moved frequently between the cities of Memphis and Helena, and the smaller towns of the Mississippi Delta and neighboring regions of Mississippi and Arkansas.[19][20] On occasion, he traveled much further. The blues musician Johnny Shines accompanied him to Chicago, Texas, New York, Canada, Kentucky, and Indiana.[21] Henry Townsend shared a musical engagement with him in St. Louis.[22] In many places he stayed with members of his large extended family or with female friends.[23] He did not marry again but formed some long-term relationships with women to whom he would return periodically. In other places he stayed with whatever woman he was able to seduce at his performance.[24][25] In each location, Johnson’s hosts were largely ignorant of his life elsewhere. He used different names in different places, employing at least eight distinct surnames.[26]

Biographers have looked for consistency from musicians who knew Johnson in different contexts: Shines, who traveled extensively with him; Robert Lockwood, Jr., who knew him as his mother’s partner; David “Honeyboy” Edwards, whose cousin Willie Mae Powell had a relationship with Johnson.[27] From a mass of partial, conflicting, and inconsistent eyewitness accounts,[28] biographers have attempted to summarize Johnson’s character. “He was well mannered, he was soft spoken, he was indecipherable”.[29] “As for his character, everyone seems to agree that, while he was pleasant and outgoing in public, in private he was reserved and liked to go his own way”.[30] “Musicians who knew Johnson testified that he was a nice guy and fairly average—except, of course, for his musical talent, his weakness for whiskey and women, and his commitment to the road.”[31]

When Johnson arrived in a new town, he would play for tips on street corners or in front of the local barbershop or a restaurant. Musical a*sociates have said that in live performances Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day[32] – and not necessarily blues. With an ability to pick up tunes at first hearing, he had no trouble giving his audiences what they wanted, and certain of his contemporaries later remarked on his interest in jazz and country music. He also had an uncanny ability to establish a rapport with his audience; in every town in which he stopped, he would establish ties to the local community that would serve him well when he passed through again a month or a year later.

Shines was 20 when he met Johnson in 1936. He estimated Johnson was maybe a year older than himself (Johnson was actually four years older). Shines is quoted describing Johnson in Samuel Charters’s Robert Johnson:

Robert was a very friendly person, even though he was sulky at times, you know. And I hung around Robert for quite a while. One evening he disappeared. He was kind of a peculiar fellow. Robert’d be standing up playing some place, playing like nobody’s business. At about that time it was a hustle with him as well as a pleasure. And money’d be coming from all directions. But Robert’d just pick up and walk off and leave you standing there playing. And you wouldn’t see Robert no more maybe in two or three weeks. … So Robert and I, we began journeying off. I was just, matter of fact, tagging along.

During this time Johnson established what would be a relatively long-term relationship with Estella Coleman, a woman about 15 years his senior and the mother of the blues musician Robert Lockwood, Jr. Johnson reportedly cultivated a woman to look after him in each town he played in. He reputedly asked homely young women living in the country with their families whether he could go home with them, and in most cases, he was accepted, until a boyfriend arrived or Johnson was ready to move on.

In 1941, Alan Lomax learned from Muddy Waters that Johnson had performed in the area around Clarksdale, Mississippi.[34] By 1959, the historian Samuel Charters could add only that Will Shade, of the Memphis Jug Band, remembered Johnson had once briefly played with him in West Memphis, Arkansas.[35] In the last year of his life, Johnson is believed to have traveled to St. Louis, Chicago, Detroit, and New York City.[36] In 1938, Columbia Records producer John H. Hammond, who owned some of Johnson’s records, directed record producer Don Law to seek out Johnson to book him for the first “From Spirituals to Swing” concert at Carnegie Hall in New York. On learning of Johnson’s death, Hammond replaced him with Big Bill Broonzy, but he played two of Johnson’s records from the stage.

Recording sessions

In Jackson, Mississippi, around 1936, Johnson sought out H. C. Speir, who ran a general store and also acted as a talent scout. Speir put Johnson in touch with Ernie Oertle, who, as a salesman for the ARC group of labels, introduced Johnson to Don Law to record his first sessions in San Antonio, Texas. The recording session was held on November 23–25, 1936, in room 414 of the Gunter Hotel in San Antonio.[37] In the ensuing three-day session, Johnson played 16 selections and recorded alternate takes for most of them. Among the songs Johnson recorded in San Antonio were “I Believe I’ll Dust My Broom”, “Sweet Home Chicago”, and “Cross Road Blues”, which later became blues standards. The first to be released was “Terraplane Blues”, backed with “Last Fair Deal Gone Down”, which sold as many as 10,000 copies.[38]

Johnson traveled to Dallas, Texas, for another recording session with Don Law in a makeshift studio at the Vitagraph (Warner Bros.) Building,[39] on June 19–20, 1937.[40] Johnson recorded almost half of the 29 songs that make up his entire discography in Dallas and eleven records from this session were released within the following year. Most of Johnson’s “somber and introspective” songs and performances come from his second recording session.[41] Johnson did two takes of most of these songs, and recordings of those takes survived. Because of this, there is more opportunity to compare different performances of a single song by Johnson than for any other blues performer of his era.[42] In contrast to most Delta players, Johnson had absorbed the idea of fitting a composed song into the three minutes of a 78-rpm side.[43]

Death

Johnson died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. His death was not reported publicly; he merely disappeared from the historical record and it was not until almost 30 years later, when Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found his death certificate, which listed only the date and location, with no official cause of death. No formal autopsy was done; instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. However, 30 years of local oral tradition had, like the rest of his life story, built a legend which has filled in gaps in the scant historical record.[44]

Several differing accounts have described the events preceding his death. Johnson had been playing for a few weeks at a country dance in a town about 15 miles (24 km) from Greenwood. According to one theory, Johnson was murdered by the jealous husband of a woman with whom he had flirted. In an account by the blues musician Sonny Boy Williamson, Johnson had been flirting with a married woman at a dance, and she gave him a bottle of whiskey poisoned by her husband. When Johnson took the bottle, Williamson knocked it out of his hand, admonishing him to never drink from a bottle that he had not personally seen opened. Johnson replied, “Don’t ever knock a bottle out of my hand.” Soon after, he was offered another (poisoned) bottle and accepted it. Johnson is reported to have begun feeling ill the evening after and had to be helped back to his room in the early morning hours. Over the next three days his condition steadily worsened. Witnesses reported that he died in a convulsive state of severe pain. The musicologist Robert “Mack” McCormick claimed to have tracked down the man who murdered Johnson and to have obtained a confession from him in a personal interview, but he declined to reveal the man’s name.[13]

While strychnine has been suggested as the poison that killed Johnson, at least one scholar has disputed the notion. Tom Graves, in his book Crossroads: The Life and Afterlife of Blues Legend Robert Johnson, relies on expert testimony from toxicologists to argue that strychnine has such a distinctive odor and taste that it cannot be disguised, even in strong liquor. Graves also claims that a significant amount of strychnine would have to be consumed in one sitting to be fatal, and that death from the poison would occur within hours, not days.[45]

In their 2019 book Up Jumped the Devil, Bruce Conforth and Gayle Dean Wardlow suggest that the poison was naphthalene, from dissolved mothballs. This was “a common way of poisoning people in the rural South”, but was rarely fatal. However, Johnson had been diagnosed with an ulcer and with esophageal varices, and the poison was sufficient to cause them to hemorrhage. He died after two days of severe abdominal pain, vomiting, and bleeding from the mouth.[46]

The LeFlore County registrar, Cornelia Jordan, years later and after conducting an investigation into Johnson’s death for the state director of vital statistics, R. N. Whitfield, wrote a clarifying note on the back of Johnson’s death certificate:

I talked with the white man on whose place this negro died and I also talked with a negro woman on the place. The plantation owner said the negro man, seemingly about 26 years old, came from Tunica two or three weeks before he died to play banjo at a negro dance given there on the plantation. He stayed in the house with some of the negroes saying he wanted to pick cotton. The white man did not have a doctor for this negro as he had not worked for him. He was buried in a homemade coffin furnished by the county. The plantation owner said it was his opinion that the man died of syphilis.

In 2006, a medical practitioner, David Connell, suggested, on the basis of photographs showing Johnson’s “unnaturally long fingers” and “one bad eye”, that Johnson may have had Marfan syndrome, which could have both affected his guitar playing and contributed to his death due to aortic dissection.

Gravesite

The exact location of Johnson’s grave is officially unknown; three different markers have been erected at possible sites in church cemeteries outside Greenwood.

  • Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist Church near Morgan City, Mississippi, not far from Greenwood, in an unmarked grave. A one-ton cenotaph in the shape of an obelisk, listing all of Johnson’s song titles, with a central inscription by Peter Guralnick, was placed at this location in 1990, paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund.
  • In 1990, a small marker with the epitaph “Resting in the Blues” was placed in the cemetery of Payne Chapel, near Quito, Mississippi, by an Atlanta rock group named the Tombstones, after they saw a photograph in Living Blues magazine of an unmarked spot alleged by one of Johnson’s ex-girlfriends to be Johnson’s burial site.
  • More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger, in 2000) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church, north of Greenwood along Money Road. Through LaVere, Sony Music placed a marker at this site, which bears LaVere’s name as well as Johnson’s. Researchers Bruce Conforth and Gayle Dean Wardlow also concluded this was Johnson’s resting place in their 2019 biography.

John Hammond, Jr., in the documentary The Search for Robert Johnson (1991), suggests that owing to poverty and lack of transportation Johnson is most likely to have been buried in a pauper’s grave (or “potter’s field”) very near where he died.

Devil legend

According to legend, as a young man living on a plantation in rural Mississippi, Johnson had a tremendous desire to become a great blues musician. One of the legends often told says that Johnson was instructed to take his guitar to a crossroad near Dockery Plantation at midnight. (There are claims for at least a dozen other sites as the location of the crossroads.)[citation needed] There he was met by a large black man (the Devil) who took the guitar and tuned it. The Devil played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This story of a deal with the Devil at the crossroads mirrors the legend of Faust. In exchange for his soul, Johnson was able to create the blues for which he became famous.

Various accounts

This legend was developed over time and has been chronicled by Gayle Dean Wardlow,[51] Edward Komara[52] and Elijah Wald, who sees the legend as largely dating from Johnson’s rediscovery by white fans more than two decades after his death.[53] Son House once told the story to Pete Welding as an explanation of Johnson’s astonishingly rapid mastery of the guitar. Welding reported it as a serious belief in a widely read article in Down Beat in 1966.[citation needed] Other interviewers failed to elicit any confirmation from House and there were fully two years between House’s observation of Johnson as first a novice and then a master.

Further details were absorbed from the imaginative retellings by Greil Marcus[54] and Robert Palmer.[55] Most significantly, the detail was added that Johnson received his gift from a large black man at a crossroads. There is dispute as to how and when the crossroads detail was attached to the Robert Johnson story. All the published evidence, including a full chapter on the subject in the biography Crossroads, by Tom Graves, suggests an origin in the story of the blues musician Tommy Johnson.[56] This story was collected from his musical a*sociate Ishman Bracey and his elder brother Ledell in the 1960s.[17] One version of Ledell Johnson’s account was published in David Evans’s 1971 biography of Tommy Johnson,[57] and was repeated in print in 1982 alongside House’s story in the widely read Searching for Robert Johnson, by Peter Guralnick.[58]

In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This resembles the story told to Steve LaVere that Ike Zimmerman of Hazlehurst, Mississippi, learned to play the guitar at midnight while sitting on tombstones. Zimmerman is believed to have influenced the playing of the young Johnson.

Recent research by the blues scholar Bruce Conforth, in Living Blues magazine, makes the story clearer. Johnson and Ike Zimmerman did practice in a graveyard at night, because it was quiet and no one would disturb them, but it was not the Hazlehurst cemetery as had been believed: Zimmerman was not from Hazlehurst but nearby Beauregard, and he did not practice in one graveyard, but in several in the area.[60] Johnson spent about a year living with and learning from Zimmerman, who ultimately accompanied Johnson back to the Delta to look after him.

While Dockery, Hazlehurst and Beauregard have each been claimed as the locations of the mythical crossroads, there are also tourist attractions claiming to be “The Crossroads” in both Clarksdale and Memphis.[61] Residents of Rosedale, Mississippi, claim Johnson sold his soul to the devil at the intersection of Highways 1 and 8 in their town, while the 1986 movie Crossroads was filmed in Beulah, Mississippi. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because “Robert Johnson was a rambling guy”.

Interpretations

Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the trickster god of African origin, Legba, himself a*sociated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had “sold their soul to the devil at the crossroads”, they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a “deal” (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads.

The Blues and the Blues singer has really special powers over women, especially. It is said that the Blues singer could possess women and have any woman they wanted. And so when Robert Johnson came back, having left his community as an apparently mediocre musician, with a clear genius in his guitar style and lyrics, people said he must have sold his soul to the devil. And that fits in with this old African a*sociation with the crossroads where you find wisdom: you go down to the crossroads to learn, and in his case to learn in a Faustian pact, with the devil. You sell your soul to become the greatest musician in history.

This view that the devil in Johnson’s songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in 1999, “Demythologizing the Blues”:

There are … several serious problems with this crossroads myth. The devil imagery found in the blues is thoroughly familiar from western folklore, and nowhere do blues singers ever mention Legba or any other African deity in their songs or other lore. The actual African music connected with cults of Legba and similar trickster deities sounds nothing like the blues, but rather features polyrhythmic percussion and choral call-and-response singing.

The musicologist Alan Lomax dismissed the myth, stating, “In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme”.

Musical style

Johnson is considered a master of the blues, particularly of the Delta blues style. Keith Richards, of the Rolling Stones, said in 1990, “You want to know how good the blues can get? Well, this is it”.[67] But according to Elijah Wald, in his book Escaping the Delta, Johnson in his own time was most respected for his ability to play in a wide range of styles, from raw country slide guitar to jazz and pop licks, and for his ability to pick up guitar parts almost instantly upon hearing a song.[68] His first recorded song, “Kind Hearted Woman Blues”, in contrast to the prevailing Delta style of the time, more resembled the style of Chicago or St. Louis, with “a full-fledged, abundantly varied musical arrangement”.[69] The song was part of a cycle of spin-offs and response songs that began with Leroy Carr’s “Mean Mistreater Mama” (1934). According to Wald, it was “the most musically complex in the cycle”[70] and stood apart from most rural blues as a thoroughly composed lyric, rather than an arbitrary collection of more or less unrelated verses.[71] Unusual for a Delta player of the time, a recording exhibits what Johnson could do entirely outside of a blues style. “They’re Red Hot”, from his first recording session, shows that he was also comfortable with an “uptown” swing or ragtime sound similar to that of the Harlem Hamfats, but as Wald remarked, “no record company was heading to Mississippi in search of a down-home Ink Spots … [H]e could undoubtedly have come up with a lot more songs in this style if the producers had wanted them.”

Voice

An important aspect of Johnson’s singing was his use of microtonality. These subtle inflections of pitch help explain why his singing conveys such powerful emotion. Eric Clapton described Johnson’s music as “the most powerful cry that I think you can find in the human voice”. In two takes of “Me and the Devil Blues” he shows a high degree of precision in the complex vocal delivery of the last verse: “The range of tone he can pack into a few lines is astonishing.”[74] The song’s “hip humor and sophistication” is often overlooked. “[G]enerations of blues writers in search of wild Delta primitivism”, wrote Wald, have been inclined to overlook or undervalue aspects that show Johnson as a polished professional performer.[75]

Johnson is also known for using the guitar as “the other vocalist in the song”, a technique later perfected by B.B. King and his personified guitar named Lucille: “In Africa and in Afro-American tradition, there is the tradition of the talking instrument, beginning with the drums … the one-strand and then the six-strings with bottleneck-style performance; it becomes a competing voice … or a complementary voice … in the performance.”

Instrument

Johnson mastered the guitar, being considered today one of the all-time greats on the instrument. His approach was complex and musically advanced. When Keith Richards was first introduced to Johnson’s music by his bandmate Brian Jones, he asked, “Who is the other guy playing with him?”, not realizing it was Johnson playing one guitar. “I was hearing two guitars, and it took a long time to actually realise he was doing it all by himself”,[77] said Richards, who later stated that “Robert Johnson was like an orchestra all by himself”.[73] “As for his guitar technique, it’s politely reedy but ambitiously eclectic—moving effortlessly from hen-picking and bottleneck slides to a full deck of chucka-chucka rhythm figures.”

Lyrics

In The Story with Dick Gordon, Bill Ferris, of American Public Media, said, “Robert Johnson I think of in the same way I think of the British Romantic poets, Keats and Shelley, who burned out early, who were geniuses at wordsmithing poetry … The Blues, if anything, are deeply sexual. You know, ‘my car doesn’t run, I’m gonna check my oil … ‘if you don’t like my apples, don’t shake my tree’. Every verse has sexuality a*sociated with it.”

Influences

Johnson fused approaches specific to Delta blues to those from the broader music world. The slide guitar work on “Ramblin’ on My Mind” is pure Delta and Johnson’s vocal there has “a touch of … Son House rawness”, but the train imitation on the bridge is not at all typical of Delta blues—it is more like something out of minstrel show music or vaudeville.[78] Johnson did record versions of “Preaching the Blues” and “Walking Blues” in the older bluesman’s vocal and guitar style (House’s chronology has been questioned by Guralnick). As with the first take of “Come On in My Kitchen”, the influence of Skip James is evident in James’s “Devil Got My Woman”, but the lyrics rise to the level of first-rate poetry, and Johnson sings with a strained voice found nowhere else in his recorded output.[79]

The sad, romantic “Love in Vain” successfully blends several of Johnson’s disparate influences. The form, including the wordless last verse, follows Leroy Carr’s last hit “When the Sun Goes Down”; the words of the last sung verse come directly from a song Blind Lemon Jefferson recorded in 1926.[80] Johnson’s last recording, “Milkcow’s Calf Blues” is his most direct tribute to Kokomo Arnold, who wrote “Milkcow Blues” and influenced Johnson’s vocal style.[81]

“From Four Until Late” shows Johnson’s mastery of a blues style not usually a*sociated with the Delta. He croons the lyrics in a manner reminiscent of Lonnie Johnson, and his guitar style is more that of a ragtime-influenced player like Blind Blake.[82] Lonnie Johnson’s influence is even clearer in two other departures from the usual Delta style: “Malted Milk” and “Drunken Hearted Man”. Both copy the arrangement of Lonnie Johnson’s “Life Saver Blues”.[83] The two takes of “Me and the Devil Blues” show the influence of Peetie Wheatstraw, calling into question the interpretation of this piece as “the spontaneous heart-cry of a demon-driven folk artist”.

Legacy

Early recognition and reviews

Famed producer John Hammond was an early advocate of Johnson’s music.[84] Using the pen-name Henry Johnson, he wrote his first article on Robert Johnson for the New Masses magazine in March 1937, around the time of the release of Johnson’s first record. In it, he described Johnson as “the greatest Negro blues singer who has cropped up in recent years … Johnson makes Leadbelly sound like an accomplished poseur.”[85] The following year, Hammond hoped to get Johnson to perform at a December 1938 From Spirituals to Swing concert in New York City, as he was unaware that Johnson had died in August.[86] Instead, Hammond played two of his recordings, “Walkin’ Blues” and “Preachin’ Blues (Up Jumped the Devil)”, for the audience and “praised Johnson lavishly from the stage”.[86] Music historian Ted Gioia noted “Here, if only through the medium of recordings, Hammond used his considerable influence at this historic event to advocate a position of preeminence for the late Delta bluesman”.[86] Music educator James Perone also saw that the event “underscored Robert Johnson’s specific importance as a recording artist”.[84] In 1939, Columbia issued a final single, pairing “Preachin’ Blues” with “Love in Vain”.[87]

In 1942, commentary on Johnson’s “Terraplane Blues” and “Last Fair Deal Gone Down” was included in The Jazz Record Book, edited by Charles Edward Smith.[88] The authors described Johnson’s vocals as “imaginative” and “thrilling” and his guitar playing as “exciting as almost anything in the folk blues field”.[88] Music writer Rudi Blesh included a review of Johnson’s “Hellhound on My Trail” in his 1946 book Shining Trumpets: a History of Jazz. He noted the “personal and creative way” Johnson approached the song’s harmony.[89] Jim Wilson, then a writer for the Detroit Free Press, also mentioned his unconventional use of harmony. In a 1949 review, he compared elements of John Lee Hooker’s recent debut “Boogie Chillen”: “His [Hooker’s] dynamic rhythms and subtle nuances on the guitar and his startling disregard for familiar scale and harmony patterns show similarity to the work of Robert Johnson, who made many fine records in this vein.”[90]

Samuel Charters drew further attention to Johnson in a five-page section in his 1959 book, The Country Blues. He focused on the two Johnson recordings that referred to images of the devil or hell – “Hellhound on My Trail” and “Me and the Devil Blues” – to suggest that Johnson was a deeply troubled individual. Charters also included Johnson’s “Preachin’ Blues” on the album published alongside his book.[91] Columbia Records’ first album of Johnson’s recordings, King of the Delta Blues Singers, was issued two years later.

Musicianship

Johnson is mentioned as one of the Delta artists who was a strong influence on blues singers in post-war styles.[92] However, it is Johnson’s guitar technique that is often identified as his greatest contribution.[93] Blues historian Edward Komara wrote:

The execution of a driving bass beat on a plectrum instrument like the guitar (instead of the piano) is Johnson’s most influential accomplishment … This is the aspect of his music that most changed the Delta blues practice and is most retained in the blues guitar tradition.

This technique has been called a “boogie bass pattern” or “boogie shuffle” and is described as a “fifth–sixth [degrees of a major scale] oscillation above the root chord”.[94] Sometimes, it has been attributed to Johnnie Temple, because he was the first to record a song in 1935 using it.[95] However, Temple confirmed that he had learned the technique from Johnson: “He was the first one I ever heard use it … It was similar to a piano boogie bass [which] I learned from R. L. [Johnson] in ’32 or ’33.”[95] Johnny Shines added: “Some of the things that Robert did with the guitar affected the way everybody played. In the early thirties, boogie was rare on the guitar, something to be heard.”[96] Conforth and Wardlow call it “one of the most important riffs in blues music”[95] and music historian Peter Guralnick believes Johnson “popularized a mode [walking bass style on guitar] which would rapidly become the accepted pattern”.[96] Although author Elijah Wald recognizes Johnson’s contribution in popularizing the innovation, he discounts its importance[97] and adds, “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note”.

Contemporaries

Johnson’s contemporaries, including Johnny Shines, Johnnie Temple, Henry Townsend, Robert Lockwood, Jr., Calvin Frazier, and David “Honeyboy” Edwards were among those who kept his music alive through performing his songs and using his guitar techniques.[99] Fellow Mississippi native Elmore James is the best known and is responsible for popularizing Johnson’s “Dust My Broom”.[100] In 1951, he recast the song as a Chicago-style blues, with electric slide guitar and a backing band.[101] According to blues historian Gerard Herhaft:

Johnson’s influence upon Elmore James’s music always remained powerful: his falsetto voice, almost shrill, and the intensive use of the “walking” bass notes of the boogie-woogie, several pieces of James’ repertoire were borrowed from Johnson (e.g, “Dust My Broom”, “Rambling on My Mind”, and “Crossroads”).

James’ version is identified as “one of the first recorded examples of what was to become the classic Chicago shuffle beat”.The style often a*sociated with Chicago blues was used extensively by Jimmy Reed beginning with his first record “High and Lonesome” in 1953.[104] Sometimes called “the trademark Reed shuffle” (although also a*sociated his second guitarist, Eddie Taylor),[105] it is the figure Johnson used updated for electric guitar.

Blues standards

Several of Johnson’s songs became blues standards, which is used to describe blues songs that have been widely performed and recorded over a period of time and are seen as having a lasting quality.[107][108] Perone notes “That such a relatively high percentage of the songs attributed to him became blues standards also keeps the legacy of Robert Johnson alive.”[94] Those most often identified are “Sweet Home Chicago” and “Dust My Broom”, but also include “Crossroads” and “Stop Breaking Down”.[96][109][110][111][112][113] As with many blues songs, there are melodic and lyrical precedents.[111] While “Sweet Home Chicago” borrows from Kokomo Arnold’s 1933 “Old Original Kokomo Blues”, “Johnson’s lyrics made the song a natural for Chicago bluesmen, and it’s his version that survived in the repertoires of performers like Magic Sam, Robert Lockwood, and Junior Parker”.[114]

In the first decades after Johnsons’ death, these songs, with some variations in the titles and lyrics, were recorded by Tommy McClennan (1939),[115] Walter Davis (1941),[115] Sonny Boy Williamson I (1945),[116] Arthur Crudup (1949),[117] Elmore James (1951–1959), Baby Boy Warren (1954),[118] Roosevelt Sykes (1955),[119] Junior Parker (1958), and Forest City Joe (1959).[120] Pearson and McCulloch believe that “Sweet Home Chicago” and “Dust My Broom” in particular connect Johnson to “the rightful inheritors of his musical ideas—big-city African American artists whose high-powered, electrically amplified blues remain solidly in touch with Johnson’s musical legacy” at the time of Columbia’s first release of a full album of his songs in 1961.[121]

In Jim O’Neal’s statement when Johnson was inducted into the Blues Foundation Blues Hall of Fame, he identified “Hell Hound on My Trail”, “Sweet Home Chicago”, “Dust My Broom”, “Love in Vain”, and “Crossroads” as Johnson’s classic recordings.[122] Over the years, these songs have been individually inducted into the Blues Hall’s “Classic of Blues Recording – Single or Album Track” category.

Rock music

In the mid-1950s, rock and roll pioneer Chuck Berry adapted the boogie pattern on guitar for his songs “Roll Over Beethoven” and “Johnny B. Goode”.[100] Author Dave Rubin commented:

his [Berry’s] utilization of the bass-string cut-boogie patterns popularized by Robert Johnson on songs like “Sweet Home Chicago” … subtly altered the swing feel of the boogie blues into a more driving, straight 4/4 meter while still maintaining a limber lilt that is often missing in the countless imitations that followed.

The pattern “became one of the signature figures in early electric guitar-based rock and roll,

such as that of Chuck Berry and the numerous rock musicians of the 1960s who were influenced by Berry”, according to Perone.[124] Although music historian Larry Birnbaum also sees the connection, he wrote that Johnson’s “contributions to the origins of rock ‘n’ roll are negligible”.[125] The Rock and Roll Hall of Fame inducted Johnson as an early influence in its first induction ceremony, in 1986, almost a half century after his death. It also included four of his songs it deemed to have shaped the genre: “Sweet Home Chicago”, “Cross Road Blues”, “Hellhound on My Trail”, and “Love in Vain”.[126] Marc Meyers, of the Wall Street Journal, commented, “His ‘Stop Breakin’ Down Blues’ from 1937 is so far ahead of its time that the song could easily have been a rock demo cut in 1954.”[73]

Several rock artists describe Johnson as an influence:

  • Eric Clapton – “Robert Johnson to me is the most important blues musician who ever lived”.He recorded several of Johnson’s songs as well as an entire tribute album, Me and Mr. Johnson (2004).Clapton feels that rather than trying to recreate Johnson’s originals, “I was trying to extract as much emotional content from it as I could, while respecting the form at the same time.”
  • Bob Dylan – “In about 1964 and ’65, I probably used about five or six of Robert Johnson’s blues song forms, too, unconsciously, but more on the lyrical imagery side of things. If I hadn’t heard the Robert Johnson record when I did, there probably would have been hundreds of lines of mine that would have been shut down—that I wouldn’t have felt free enough or upraised enough to write. [His] code of language was like nothing I’d heard before or since.”
  • Robert Plant – “A lot of English musicians were very fired up by Robert Johnson [to] whom we all owe more or less our existence, I guess, in some way”.[130] Led Zeppelin recorded “Traveling Riverside Blues” and quoted some of Johnson’s lyrics in “The Lemon Song“.
  • Keith Richards – “I’ve never heard anybody before or since use the [blues] form and bend it so much to make it work for himself … he came out with such compelling themes [and] just the way they were treated, apart from the music and the performance, [was appealing].”The Rolling Stones recorded “Love in Vain” and “Stop Breaking Down”.
  • Johnny Winter – “Robert Johnson knocked me out—he was a genius. [He and Son House] both were big influences on my acoustic slide playing.”He recorded “Dust My Broom” with additional guitar by Derek Trucks.

Problems of biography

Until the 2019 publication of Bruce Conforth and Gayle Dean Wardlow’s biography, Up Jumped the Devil: The Real Life of Robert Johnson, little of Johnson’s early life was known. Two marriage licenses for Johnson have been located in county records offices. The ages given in these certificates point to different birth dates, but Conforth and Wardlow suggest that Johnson lied about his age in order to obtain a marriage license.[136] Carrie Thompson claimed that her mother, who was also Robert’s mother, remembered his birth date as May 8, 1911. He was not listed among his mother’s children in the 1910 census giving further credence to a 1911 birthdate. Although the 1920 census gives his age as 7, suggesting he was born in 1912 or 1913, the entry showing his attendance at Indian Creek School, in Tunica, Mississippi[when?] listed him as being 14 years old.[citation needed]

Five significant dates from his career are documented: Monday, Thursday and Friday, November 23, 26, and 27, 1936, at a recording session in San Antonio, Texas; and Saturday and Sunday, June 19 and 20, 1937, at a recording session in Dallas. His death certificate, discovered in 1968, lists the date and location of his death.[137]

Johnson’s records were admired by record collectors from the time of their first release, and efforts were made to discover his biography, with virtually no success. A relatively full account of Johnson’s brief musical career emerged in the 1960s, largely from accounts by Son House, Johnny Shines, David Honeyboy Edwards and Robert Lockwood. In 1961, the sleeve notes to the album King of the Delta Blues Singers included reminiscences of Don Law who had recorded Johnson in 1936. Law added to the mystique surrounding Johnson, representing him as very young and extraordinarily shy.

The blues researcher Mack McCormick began researching his family background in 1972, but died in 2015 without ever publishing his findings. McCormick’s research eventually became as much a legend as Johnson himself. In 1982, McCormick permitted Peter Guralnick to publish a summary in Living Blues (1982), later reprinted in book form as Searching for Robert Johnson.[58] Later research has sought to confirm this account or to add minor details. A revised summary acknowledging major informants was written by Stephen LaVere for the booklet accompanying Robert Johnson, The Complete Recordings box set (1990). The documentary film The Search for Robert Johnson contains accounts by McCormick and Wardlow of what informants have told them: long interviews of David “Honeyboy” Edwards and Johnny Shines and short interviews of surviving friends and family. Another film, Can’t You Hear the Wind Howl: The Life and Music of Robert Johnson,[138] combines documentary segments with recreated scenes featuring Keb’ Mo’ as Johnson with narration by Danny Glover. Shines, Edwards and Robert Lockwood contribute interviews. These published biographical sketches achieve coherent narratives, partly by ignoring reminiscences and hearsay accounts which contradict or conflict with other accounts.

Photographs

Until the 1980s, it was believed that no images of Johnson had survived. However, three images of Johnson were located in 1972 and 1973, in the possession of his half-sister Carrie Thompson. Two of these, known as the “dime-store photo” (December 1937 or January 1938) and the “studio portrait” (summer 1936), were copyrighted by Stephen LaVere (who had obtained them from the Thompson family) in 1986 and 1989, respectively, with an agreement to share any ensuing royalties 50% with the Johnson estate, at that time administered by Thompson. The “dime-store photo” was first published, almost in passing, in an issue of Rolling Stone magazine in 1986, and the studio portrait in a 1989 article by Stephen Calt and Gayle Dean Wardlow in 78 Quarterly.[139] Both were subsequently featured prominently in the printed materials a*sociated with the 1990 CBS box set of the “complete” Johnson recordings, as well as being widely republished since that time. Because Mississippi courts in 1998 determined that Robert Johnson’s heir was Claud Johnson, a son born out of wedlock, the “estate share” of all monies paid to LaVere by CBS and others ended up going to Claud Johnson, and attempts by the heirs of Carrie Thompson to obtain a ruling that the photographs were her personal property and not part of the estate were dismissed.[140][141] In his book Searching for Robert Johnson, Peter Guralnick stated that the blues archivist Mack McCormick showed him a photograph of Johnson with his nephew Louis, taken at the same time as the famous “pinstripe suit” photograph, showing Louis dressed in his United States Navy uniform; this picture, along with the “studio portrait”, were both lent by Carrie Thompson to McCormick in 1972.[140] This photograph has never been made public.

Another photograph, purporting to show Johnson posing with the blues musician Johnny Shines, was published in the November 2008 issue of Vanity Fair magazine.[142] Its authenticity was claimed by the forensic artist Lois Gibson and by Johnson’s estate in 2013,[143] but has been disputed by some music historians, including Elijah Wald, Bruce Conforth and Gayle Dean Wardlow, who considered that the clothing suggests a date after Johnson’s death and that the photograph may have been reversed and retouched. Further, both David “Honeyboy” Edwards and Robert Lockwood failed to identify either man in the photo. Facial recognition software concluded that neither man was Johnson or Shines. Finally, Gibson claimed the photo was from 1933 to 1934 while it is now known that Johnson did not meet Shines until early 1937.[144] In December 2015, a fourth photograph was published, purportedly showing Johnson, his wife Calletta Craft, Estella Coleman, and Robert Lockwood Jr.[145] This photograph was also declared authentic by Lois Gibson, but her identification of Johnson has been dismissed by other facial recognition experts and blues historians. There are a number of glaring errors in this photo: it has been proven that Craft died before Johnson met Coleman, the clothing could not be prior to the late 1940s, the furniture is from the 1950s, the Coca-Cola bottle cannot be from prior to 1950, etc.[146]

A third photograph of Johnson, this time smiling, was published in 2020. It is believed to have been taken in Memphis on the same occasion as the verified photograph of him with a guitar and cigarette (part of the “dime-store” set), and is in the possession of Annye Anderson, Johnson’s step-sister (Anderson is the daughter of Charles Dodds, later Spencer, who was married to Robert’s mother but was not his father). As a child, Anderson grew up in the same family as Johnson and has claimed to have been present, aged 10 or 11, on the occasion the photograph was taken. This photograph was published in Vanity Fair in May 2020, as the cover image for a book, Brother Robert: Growing Up with Robert Johnson, written by Anderson in collaboration with author Preston Lauterbach,[147] and is considered to be authentic by Johnson scholar Elijah Wald.

Descendants

Johnson left no will. In 1998, the Mississippi Supreme Court ruled that Claud Johnson, a retired truck driver living in Crystal Springs, Mississippi, was the son of Robert Johnson and his only heir. The court heard that he had been born to Virgie Jane Smith (later Virgie Jane Cain), who had a relationship with Robert Johnson in 1931. The relationship was attested to by a friend, Eula Mae Williams, but other relatives descended from Robert Johnson’s half-sister, Carrie Harris Thompson, contested Claud Johnson’s claim. The effect of the judgment was to allow Claud Johnson to receive over $1 million in royalties.[148] Claud Johnson died, aged 83, on June 30, 2015, leaving six children.

Discography

Eleven 78-rpm records by Johnson were released by Vocalion Records in 1937 and 1938, with additional pressings by ARC budget labels. In 1939, a twelfth was issued posthumously.[150] Johnson’s estate holds the copyrights to his songs.[151] In 1961, Columbia Records released King of the Delta Blues Singers, an album representing the first modern-era release of Johnson’s performances, which started the “re-discovery” of Johnson as blues artist. In 1970, Columbia issued a second volume, King of the Delta Blues Singers, Vol. II.

The Complete Recordings, a two-disc set, released on August 28, 1990, contains almost everything Johnson recorded, with all 29 recordings, and 12 alternate takes. Another alternate take of “Traveling Riverside Blues” was released by Sony on the CD reissue of King of the Delta Blues Singers. To celebrate the 100th anniversary of Johnson’s birth, May 8, 2011, Sony Legacy released Robert Johnson: The Centennial Collection, a re-mastered 2-CD set of all 42 of his recordings[152] and two brief fragments, one of Johnson practicing a guitar figure and the other of Johnson saying, presumably to engineer Don Law, “I wanna go on with our next one myself.”[152] Reviewers commented that the sound quality of the 2011 release was a substantial improvement on the 1990 release.

Awards and recognition

Lyrics


Harmonica FAQs

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any
Harmonica FAQs

Harmonica FAQs – Welcome to over 100+ questions and answers about the harmonica. You’ll find the most common queries asked by beginners (and not only) harmonica players on this page. I categorized the topics into four sections for easier consultation. You’ll discover some generic questions concerning the instrument, some about playing theory, and a number of questions about how the harmonica is built and works. Of course, there are also many questions and answer about how exactly to play the harmonica.

The information you’ll find on this page is provided by experts, harmonica players, and teachers all over the world.

Do you doubt your preferred musical instrument and want to ask a fresh question? Get in touch, and we’ll answer you soon! You can reach out to me utilizing the contact form or on my social media marketing pages.

 Harmonica Frequently Asked QuestionsHarmonica FAQs

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GENERIC QUESTIONS ABOUT THE HARMONICA

Can a harmonica play chords?  

A standard diatonic harmonica can play several chords; both most important are the first-degree chord (holes 1, 2 and 3 blow) and the fifth-degree chord (holes 1, 2, and 3 draws). There’s also some other chords, but their usage is bound.

Can playing harmonica help in singing? 

Learning to play a musical instrument will help you sing better because you’ll learn about music and train your ear. However, if you cannot sing, studying the harmonica doesn’t guarantee become familiar with to sing.

Can you play any song on a harmonica? 

With a standard diatonic harmonica, it is possible to play most of the song out there; however, some require bending and overbending capabilities. The simple truth is that the average harmonica player will never be able to everything he listens to.

Can you teach yourself, harmonica?

Yes, you can teach yourself harmonica, nonetheless it takes more time and effort. Being guided by a teacher is the better option. If you want to teach yourself harmonica try at least carrying out a structured learning path with online courses.

Do you need to read music to play the harmonica?

Reading music isn’t a prerequisite to understand harmonica, but your learning journey will undoubtedly be easier and faster if you can read music. Reading music offers you more opportunities when you look for new material to study, and knowing the musical language is fantastic if you want to communicate with other musicians.

How can I tell what key my harmonica is in?

If your harmonica is not labeled, blow in hole 4 and work with a common tuner to read the not reallye you obtain; that’s the key of your harmonica.

How do you know what key a song is in?

If you want to find a song key, first discover the root note (the one that plays better on the entire song) and then check the minor third and the third major intervals. For example, if you discover that a D notice always sounds good on the track, check D and F#, and the D and F. If you discover that the first pair sounds good, the song is in D major; otherwwill bee, it is in D minor. To get the small third interval, count 3 half-tone up beginning with the main note, add a half-tone to get the 3rd major interval.

How long does it take to learn harmonica? 

It depends, you can learn well in 4 years if you study well and you’re followed by a good teacher, or you can be a beginner all lifelong if you just watch YouTube videos.

How much does a harmonica cost? 

A cheap harmonica costs less than $10, and a professional custom harp can cost more than $150. Good harmonicas cost not significantly less than $40. However, I will advise that you don’t purchase a very inexpensive instrument; they normally don’t play because they should and make your practice harder.

How much should I practice to improve my skills on harmonica?

Aim for at least 30 minutes per day, every day, better if you practice one hour each day. Professional harmonica players practice up to 4 hours each day. If you practice many hours during the day, split your study routines right into a 20-minutes block, including a break between each prevent.

Is playing harmonica good for my health? 

Of course, playing the harmonica is good for your health. You learn to breathe properly, and music is definitely therapeutic. Additionally, there are a couple of harmonica models designed for pulmonary rehabilitation.

Is the harmonica hard to learn?

Learning harmonica is hard and takes time. It costs few and even though it is often considered as a toy, it doesn’t mean that it shouldn’t be respected as any other instrument. The majority of the students don’t succeed since they don’t go on it seriously.

What are the 3 chords used in the blues? 

In the blues, the three main chords used are the first-degree, the fourth-degree, and the fifth-degree chord. In a G blues, the first chord is the G chord, the fourth chord may be the C chord, and the fifth chord may be the D chord. Blues often makes usage of dominant seventh chords so that a G blues could have G7, C7, and D7.

What do I have to study to learn harmonica?

If you want to learn harmonica well, you should study songs, exercises, scales, and arpeggios. You would also desire to work on your tone and figure out how to bend notes. The harmonica is really a musical instrument like many others, in fact it is not easier.

What is the easiest song to play on the harmonica? 

 There are many easy songs to play on harmonica. “Piano Man” by Billy Joel is a good one for beginners.

What is the lowest key harmonica? 

In the standard harmonica set, the G harmonica is the lowest, whereas the F sharp harmonica may be the highest. There are also many low-tuned harmonicas like low F and low C.

What key are most blues harmonica songs in?

Many blues are played in E, G, and A. The best way to play an E blues is to use an A harmonica and play in second position (cross harp). You may use a C harmonica fpr a G blues; and for an A blues, work with a D harp.

What key harmonica should I buy to play with a guitar? 

It depends; you should consider the song key you play on the guitar and the position you would like to play on harmonica. For example, if you enjoy a G track on the guitar, it is possible to take a C harmonica and play in the second position or a G harmonica and play in the first position. Many rack harmonica players, particularly of days gone by, used to play harmonica on your guitar in the 1st position.

What type of harmonica is used in country music?

A standard diatonic harmonica may be used in country music. You can also buy a country-tuned harmonica to have an F sharp note on hole 5 in place of the natural F; this would fit more in the event that you play major mode melodies. To play country songs on harmonica, you’ll make large usage of the second position pentatonic scale, and the G scale on a C harmonica.

Who is the most famous harmonica player? 

It is hard to choose the most famous harmonica player. Here is a small list of great artists:
Alan Wilson 
Cliff Martin
Paul Butterfield
Little Walter
Sonny Terry
James Cotton
Sonny Boy Williamson II
Charlie Musselwhite

TECHNICAL QUESTIONS ABOUT THE HARMONICA

Can a harmonica go out of tune?

Yes, a hthermonica can go out of tune; however, this shouldn’t become an obsession. In the event that you play alone, your tuning doesn’t have to be perfect, and if you play with someone else, you then should check your harmonica tuning more regularly.

Can I wash a harmonica?

If your harmonica has a plastic comb, you can wash it under water, and then dry it with a soft cloth and a hairdryer. You can also opt for an ultrasonic cleaner that permits you to avoid disassembling the harmonica. If your harmonica includes a wood comb, you should be careful and prevent immersing the instrument in water becomecause the comb will get deformed.

How long does a harmonica last?

A harmonica can last for years once you learn how to play it properly and keep maintaining it. When learning, beginners break harmonicas easier; usually, they use an excessive amount of hair for performing and make an effort to bend notes.

How to retune a harmonica?

Tuning a harmonica reed isn’t complicated, but you should be careful because in the event that you move the reed, it could happen that it doesn’t vibrate well in its slot. You will need to file the reed on the tip part (far from the rivet) if you need to raise the note pitch, or on the start part (where the rivet is) to lower the pitch. A little action will be required; often check the way the reed sounds while tuning it.

What is a custom harmonica?

A custom harmonica can have a different comb design, different materials and can be worked to make bending and overbending easier. Customization can interest not only the instrument look, but especially how it’ll play.

What harmonicas are made of?

Common harmonicas are made of plastic, wood, steel, stainless steel, and brass.

Where did harmonica originate?

The harmonica, how we know it today, was born in Germany. Among its ancestors is the Sheng, a Chinese mouth-blown free reed instrument comprising vertical pipes.

How does a harmonica work?

In the harmonica, the sound is produced by the vibrations of the reeds in the slots. When you blow in the holes, the upper reeds vibrate; those in the bottom work once you draw.

QUESTIONS ABOUT HARMONICA THEORY

How many harmonica tunings are available?

The most common harmonica tuning is called “Richter,” followed by the “Country Tuning” that differs on hole 5 draw, where you discover an F sharp in place of a natural F note. There are also some minor tuning, such as the natural minor and harmonic minor. Some manufacturers also produce custom tuning (like Seydel) along with other special tunings. Among those, you will discover the melody maker by Lee Oskar and the Powerbender.

What are harmonica keys? 

There are twelve notes inside our musical system, those you find on a piano keyboard and form an octave. They’re basically, the white and black keys. A song can be in twelve different keys, and the diatonic harmonicas can be purchased in twelve keys and labeled with the name of the key. The standard range starts from G (the lowest key) to F sharp (the best). Once you learn how to play something on the blues harp, if you need to change the key, you only need to use a different harmonica and play the same holes. That’s the advantage of playing a pitched instrument. With an individual harmonica, you can play various song importants, nevertheless, you have to know something about “harmonica positions,” this means knowing various musical scales.

What are harmonica positions?

With the same harmonica, you can play different songs in different keys. Knowing the position is basically knowing the musical scales and where these scales’ notes can be found on the harmonica.

What are harmonica tabs?

Harmonica tabs certainly are a simple way to notate music for the harmonica. Simple harmonica tabs show only the hole number to blow or draw and some additional information like if you have to bend notes. Some more complex tabs also show the information on the staff plus some hybrids tabs with the name of the notes. You need to know the song you’re using the basic harmonica tabs as you don’t have whatever lets you know how each note lasts.

What harmonica key should I buy for blues?

The most common harmonica key for blues is A, this is because most of the blues are in E. Another common blues key is really a, and you need a D harmonica to play it. The G blues is also quite typical, also it requires a C harmonica. With these harmonica keys, you’ll play the blues in the second position (cross harp); in the event that you get the same key because the song, you will play in the initial position (straight harp).

Which harmonica key should I buy?

Harmonicas in the key of C and A are the most common for beginners. You also want to consider a D, a G, and an F harmonica to get a quite complete set. Knowing different playing positions will permit you to play most of the songs.

What is the fifth position on harmonica? 

The fifth position is one of the best harmonica positions to play minor songs and small blues. Your root note is located on hole 2 blow, 5 blow, and 8 blow with the fifth position. Once you learn the second position, you already know how to play in the fifth placement; in fact, the next position major pentatonic scale, and the fifth position minor pentatonic scale share exactly the same notices. On a typical C harmonica, in the 5th position, your root note is E.

What is the first position on harmonica?

The first position, also known as straight harp, is one of the best harmonica placements to play major songs. Your root note is located on hole 1 blow, 4 blow, 7 blow, and 10 blow. On a standard C harmonica, in the initial position, your root notice is C, and you also have a complete main scale on holes from 4 to 7.

What is the second position on harmonica?

The second position is an excellent harmonica position to play blues songs and major songs. Your root note is located on hole 2 draw, 3 blow, 6 blow, and 9 blow with the second position. On a standard C harmonica, in the next position, your root notice is G.

What is the most common key for a harmonica? 

The most common harmonica key is C.

What is the third position on harmonica? 

The third position is one of the best harmonica positions to play minor songs and small blues. Your root note is located on hole 1 draw, 4 blow, and 8 blow with the third position. On a standard C harmonica, in the 3rd position, your root notice is D. When playing in the third placement, the minor scale you play will be called “Dorian” and shares the same note as the first position major level. For example, a C major scale gets the same notes as the “Dorian” D minor scale. It’s suggested in order to avoid playing holes 3 and 7 draws in third position if the song mode is minor.

What’s the difference between a diatonic harmonica and a chromatic one?

Basically, the diatonic harmonica includes a three-octave extension but doesn’t permit you to play all of the notes that form them. The note layout follows a diatonic progression (major scale). With a chromatic harmonica, it is possible to play all the notices like a piano. The technique to perform these two kinds of harmonicas differs, and the sound is quite different too. On the chromatic harmonica, the blues is nearly always played in the 3rd position, and the fact you could play all the notes makes the chromatic harmonica ideal for jazz and classical music.

What’s the extension of a standard diatonic harmonica?

The extension of a standard blues harp is three octaves, but they are not complete. Even the major scale of the same key of the harmonica is found only on the middle octave, holes 4 to 10. To play exactly the same scale on the low octave, holes 1 to 4, you have to play a couple of bendings. On the best octave, holes 7 to 10, another bending must obtain the whole level.

Which harmonica should I use for minor key songs?

If you want to play minor chords, you need a minor tuned harmonica because the standard tuning permits you to enjoy only a minor chord on holes 3, 4, and 5 draws, and 8, 9, and 10 draw. On a C harmonica, the notes of the D small chord. If you need to play solos and melodic lines, a standard diatonic harmonica is fine, and you just have to find the right key and the right position. The most typical placements used to play minor songs will be the third and the fifth. You could also use the fourth position for minor playing, but getting the root note on hole 3 whole-step bending isn’t comfortable.

PRACTICAL QUESTIONS ABOUT PLAYING THE HARMONICA

How do I start learning harmonica? 

This is what you should start to learn harmonica: Figure out how to hold the instrument correctly, choose a technique such as puckering, tongue blocking, U blocking, or Lips blocking. Then figure out how to breathe correctly and play single notes, better if you practice long notes. Focus on your tone and don’t rush; learning to bend notes should happen later. Work on simple tunes and practice the whole instrument range. Avoid focusing too much on blues and on the blues scale. Make an effort to become a musician, not really a copy of everyone else.

How many embouchures to play the harmonica?

There are several techniques to play the harmonica. Puckering, tongue blocking, lips blocking, and U blocking, will be the most common, and all of them requires a different approach.

How to accompany on harmonica?

To accompany on harmonica, you should learn to play chords and how to interact with the other musicians. Avoid overenjoying; it is very important learn where to stop playing, leaving space for anothers. When accompanying with the harmonica, it is possible to play pads using octaves, emulate horn sections, and adapt your playing to the music style.

How to bend on harmonica?

Bending on harmuponica isn’t for beginners and often is really a trap that results in a waste of time plus frustration. Basically, to bend an email, you have to shape your oral cavity and use your tongue to modify the airflow. Blow bending differs from draw bending, and bending with puckering is different from bending with tongue blocking. Understanding how to bend notes takes much period; consider it a long-term goal, and do not neglect the most crucial what to learn, like playing at tempo and getting single clear information.

How to breathe for harmonica playing?

The correct breathing for harmonica playing involves the diaphragm. You should learn to make long breathes in a relaxed way while sustaining the flow. Controlling the airflow is fundamental for a good tone on harmonica. The majority of the harmonica players struggle with air and get full of it easily, in fact it is important to figure out how to manage the quantity of air you inhale and exhale, making use of your nose as a vent valve.

How to cup a harmonica microphone? 

Your tone on harmonica is strictly correlated to your embouchure, the seal you make with the harp, and the shape of your oral cavity. Sustain of the airflow also plays a big role in shaping your tone. Before relying on expensive harmonica mics and amps, try to build your tone with your embouchure. Basically, a bigger space in your mouth creates a bigger tone and vice versa.

How to have hole 2 draw playing well?

Getting a good sound from hole two draw is frequently difficult for beginners. Keep your throat relaxed and prevent sucking. The airflow should start in your opened throat, not in your mouth. Think about breathing from your own belly and not in the mouth area.

How to hold the harmonica?

Hold your harmonica without tilting it, and it should stay straight in front of your own mouth. Practice before a mirror to verify you don’t a*sume strange postures. Move the instrument rather than your head.

How to play a dip bending on harmonica? 

A dip bending is a note that starts with bending and ends with the normal pitch. The transition should be quick, and you also don’t want to hear two notices. Start like when you play the bending and immediately release it. Opening your nose can a*sist you to achieve the goal. It is possible to perform a dip bending on blow notes, on draw information, and on double stops too.

How to play a glissando on harmonica?

To play a glissthendo, start from a hole that is different than the target one. For example, to play hole 7 blow with a glissando, start hole 2, and continue blowing until you reach hole 7. The airflow remains constant while you move the harmonica. You can play a glissando with blow and draw notes, and you may go up or right down to achieve your target.

How to play a pull on harmonica? 

A harmonica pull is a feature of the tongue blocking technique. Basically, the sound is stopped by the tongue on the harmonica, and you start drawing or blowing before removing the tongue. Once you remove the tongue from the holes, the sound starts.

How to play a slap on harmonica? 

The slap is really a feature of the tongue blocking technique. To play a slap, your airflow (it could be draw or blow) starts with the tongue off the harmonica. You’ll slap the harmonica holes quickly to obtain a distinct sound attack. Very often, slap and pulls interact when performing with the tongue blocking technique. When playing by way of a bullet microphone and an amplifier, slaps and pulls help you to get that punching audio that lots of harmonica players love.

How to play a tremolo on harmonica?

A tremolo is a variation of the note volume. You can use your throat or the diaphragm, or both. When playing a tremolo, you can shape it by working on the amount of air variation (volume) and speed (frequency).

How to play a vibrato on harmonica? 

A vibrato involves a note pitch change. To play vibrato on harmonica, you should know how to bend notes. Basically, you perform a bent note and changing the airflow amount influences the note pitch. You can regulate how much the pitch is affected and the speed of change.

How to play a wah wah on harmonica?

The wah wah effect on harmonica is made by working on the cupping of the instrument. You apply the wah wah moving your hand (normally your right one), opening and closing the cupping. You can also help the wah wah by working with the airflow.

How to play a warble or shake on harmonica?

A warble, also known as a shake, is when you play two contiguous holes switching from one to the other very quickly. You don’t stop the airflow through the playing, and you may furthermore play a bent shake or warble. It is suggested to go the harmonica and not the head, or both, but never only the top.

How to play double stops on harmonica?

A double stop on harmonica is when you play two notes on two contiguous holes simultaneously. To play the double quit, open your embouchure a little. If you play using the tongue blocking technique, start like once you want to play a single hole, and open up your embouchure, moving your right lip side.

How to play single notes with lip blocking on harmonica? 

Lip blocking is really a particular technique used to play the harmonica. It involves blocking the holes with the inner side of your bottom lips. Tilt the harmonica a little bit when positioning it on your lips to possess better adherence. With lip blocking, you may also play double stops and bend notes. This system is easier than what most players think; test it out for, and you will be surprwill beed!

How to play single notes with puckering on harmonica? 

To play single notes on harmonica with puckering, you need to shape your embouchure, making a little “O.” Blow or draw in a hole to obtain the sound. If you hear two notes, you want to reduce your embouchure and check the harmonica’s position, and it might be that you are in the center of two holes. Puckering lips shape is comparable to the one you make by using a drinking straw.

How do I play single notes with tongue blocking on harmonica? 

When playing holes 3 to 10, cover the holes that must be blocked on the left, with the upper section of the tongue, closer to the end, and leave the right hole free. Don’t use the tip of the tongue if you want to protect two or three holes, as you need a slightly larger surface of your tongue to serve that purpose. Being an indication, put your tongue on the vertical separator between holes 2 and 3 if you need to play hole 4. The tongue covers two holes: i.e.2 & 3.
For hole 2 playing, put your tongue between hole 1 and the left border of the instrument. For hole 1 actively playing, you should learn to switch your tongue to the right and cover holes 1 and 2 with its left side.

How to play single notes with U blocking on harmonica?

U blocking is another technique used by some harmonica players. To use this method, you should be able to curl your tongue to possess its sides facing up. Essentially you will play like with the puckering technique, but with the added centering of your air via your tongue. Sounds very complicated? It is; most people can’t even curl their tongue.

How to play split notes on harmonica? 

You can play split notes on harmonica if you use the tongue blocking technique. The most common type of split notes may be the octave. To perform the hole 1 and 4 octaves (C octave on ha C harmonica), close holes 2 and 3 with the tongue. You can play many octaves on a diatonic harmonica, and they’re a good way to obtain a full sound which has low and high frequencies.

What chords can I play on harmonica? 

The most common chords you can play on a standard harmonica will be the first-degree chord and the fifth-level chord. On a C harmonica, the C major chord and the G main chord.

What is an overblow on harmonica?

An overblow on harmuponica is a note obtained with very advanced technique that most of the time requires to create the harmonica. Reed gap adjustment and embossing are a few of the modifications that help to obtain the overblow. Overblows allows you to play chromatically and have more notes on the instrument; for instance, on a C harmonica, on hole 1, you may get a D sharp, as well as on hole 4. On hole 5, with the overblow, you can perform an F razor-sharp, whereas, on hole 6, you will discover a B flat. The B smooth on hole 6 is essential for playing the second position blues scale on the higher section of the harmonica. With overblows, it is possible to play far better jazz music because it makes large usage of chromatics.

What octaves can I play on harmonica? 

On a standard harmonica, you can play many octaves if it is possible to tongue block. For example, on a C harmonica, blowing, you should have C, E, and G octaves overall instrument extension. Drawing notes enables you to play D, A, F, and B octaves.

What scales can I play on harmonica? 

There are many scales you can play on a harmuponica. Basically, the first position major scale, then the second position dominant seventh scale. You can also play the third position “Dorian” minor scale, and also the twelfth position major scale. It depends on your bending and overbending skills. The most common scales it is possible to play on a C harmonica are C major, G seventh, D Dorian minor, D blues, G blues, C, F, and G major pentatonic scales. It is possible to perform F major and D main scale on holes 1 to 4. They are only some examples.

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Harmonica amplifiers – How to choose correctly for yourself?

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Harmonica amplifiers – Are you thinking about buying a harmonica amplifier but you don’t know which to choose? Uncertain about the kind of sound you want to get or you feel you’ll want to understand more? Which amplifier is the best for the harmonica sound? If your brain will be brimming with such questions then this short article is just what the physician ordered.

Once you have read the article you must have got clear ideas about how to go on; non-etheless, I’ll introduce you to some amplifier models today and will discuss their salient features or benefits and drawbacks with you one at a time. Follow the instructions in next paragraphs carefully and I am sure that from now onwards, you can purchase your generic amplification system or your unique device with utter confidence you have made the best option according to your preferences.

Harmonica amplifiers – How to choose correctly for yourself?

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Let’s start by analyzing various categories of amplifiers that people find in market and which may be useful for the blues harp:

Guitar amplifiers or battery-operated generic amps.

Solid state guitar amplifiers and modeling devices.

Tube amplifiers for guitars.

Amplified speakers (also called active ones) for more pure sound.

On the basis of our needs we can choose among alternative categories and select the best for the harmonica. Let’s see these categories at length:

Guitar amplifiers or battery-powered generic amps

These amplifiers are small and have power ranging from 0.1 to 5 watts. They’re capable of operating with a power supply or even with common batteries; their capacity can reach up to 10 hours of work if powered by batteries. Sometimes they’re equipped with sound effects and rhythm reproduction. These amplifiers often possess computer connections and sometimes allow an additional microphone connection (e.g for voice).The unit are much appreciated by ones looking for something portable especially those who want to play on the street (busking) or for those who want to keep somewhat small yet powerful enough system internal to create wave in neighbourhood.

If you opt for a modeling amplifier, it will be possible to reproduce both pure harmonica sound and ‘Chicago’ which means we’ve everything we have to play independently. Given the choice of these types of equipments, one interesting fact shouldn’t be underestimated that they usually supply the option to connect to a mixer or other amplifiers, which gives us an opportunity to expand the sound power without compromising the kind of the audio we like. Now it might seem ,”Then I’ll have a little thing like this one, and something day I’ll link it to a bigger to obtain additional volume?” Yes, you have it right!

Now let’s look at two models of portable solid state modeling of an excellent quality: Vox Mini 5 and Roland Micro Cube. They are amplifiers with price ranging from $120 to $150 whereas the characteristics they exhibit are very similar.

The Vox provides an extra input for a vocal microphone, and is therefore more suitable if you would like someone to sing along when you play the harmonica (or guitar). This low impedance input enables you to have a clean instrument sound.

Both models have an input for external sound sources such as mp3 players or smart phones and the headphone output. This one can also be used to connect an additional amplification system or a computer.The two amplifiers provide effect such as for example delay and reverb whereas the modeling circuit allows us to choose emulation of various kinds of amplifiers. By changing the emulation configuration and adjusting the gain, the tone and volume controls, we are able to achieve the desired sound, including the ‘Chicago style’ one. The size of speaker included for VOX is 6.5″ and for Micro Cubecome it’s 5″.The energy of these devices is 5 watts max for the VOX and 2 watts for the Roland.

Harmonica amplifiers - How to choose correctly for yourself 1

Solid-state guitar amplifiers and modeling

Larger devices with powers which range from 10 watts up to few hundred watts have to be connected to the electric supwardply. Because they are a composite of integrated circuits hence the title ‘solid condition type’.

In this specific article I’ll not dig into the merits of diatribe ‘valve against transistor’ because internet has already been full of that and you could find all forms of opinions online. From my perspective, you may get a good sound from tube amplifiers and also from incorporated circuit amplifiers, nevertheless, you must remember that valve amplifiers often usually do not provide digital modules with effects, auxiliary connections etc.

Let’s go back to the category of amplifiers we were talking about: alongside portable amplifiers, comes a circuitry that amplifies the sound of the bullet microphone so, for models that emulate different devices it is possible to choose the type of emulated amplifier and still manage to get effects. Even these amplifiers often allow us to connect inputs and auxiliary outputs, plus some also provide the option to attach output to an extra speaker.

Most advanced models in this category may also be connected to the computer via USB cable and managed in a variety of configurations through custom software. Now, we look at two solid state amplifier models being among the most popular ones on the market: The Fender Champion 100 and the Orange Crush 35 RT, both cost around $250.

The Fender Champion 100 has enough power to be used on small and medium-sized venues, and is equipped with an emulation module and different effects. It has two 12-inch speakers, different connections for external effects, an auxiliary input for sound sources like mp3 or smart phones, and the headphones output that may also be connected to another sound system like a mixer or a computer. This is really a perfect amplifier that provides many possibilities.

Harmonica amplifiers - How to choose correctly for yourself 2

The Orange Crush 35 RT is one most important amplifier that doesn’t emulate other models, but still offers the reverb effect, an auxiliary input for external sound sources and a headphones output which can also be utilized as a line output to get attached to a computer, a mixer and so forth. The 35 RT has a chromatic tuner and connections for external effects. It includes 35 watts power which is sufficient even though you play in a mid-sized room. The supplied speaker size will be 10 inches.

You can also find a 20 watt model of this brightly colored amplifier here.

Orange Crush 35 RT

Valve Guitar Amplifiers

These are the favourite ones for vintage lovers, renowned for good old tubes and known as supporters of warm sound. In fact the valves are usually fragile and warm-up easily but without a shadow of doubt, all the musicians, at some time fall for the charm of such sort of electrical circuit.

The first thing I wish to explain is that, there are no portable tube amplifiers because they require a whole lot of electric supply. The energy delivered by such amplifiers ranges from 5 watts to many hundred watts and their prices start from $150.

One point that should be taken into consideration is that the power output from the unit cannot be compared to that of solid state amplifiers; usually several watts on a tube amp would produce same volume as greater number of watts on a strong state device would do. Because of this you will discover in the market many tube amplifiers with a power ranging significantly less than 20 watts on average.

Often the unit have no auxiliary inputs or outputs, and so are designed to operate in a standalone configuration. Only in more costly models you could find connections for external effects, and output line connections to other audio systems.

Below I am going to introduce you to two models called VHT 6 Special Ultra and Fender Blues Junior IV. The first is no more available in the market nevertheless, you can still find an used instrument for $200, the next costs about $600.

VHT 6 Special Ultra is really a low-power unit that delivers 6 watts but has earned lots of appreciation from both guitarists and harmonica players. Built with 3 tubes, this amplifier, in addition to the standard controls has some inclusional controls to improve the sound at will. VHT includes a headphone output line which you can use for connecting it to external audio systems and also additional speaker results. The supplied speaker size is 12 inches.

The Fender Blues Junior IV is really a tube amplifier equipped with 3 valves and is with the capacity of delivering 15 watt power. It has a 12-inch speaker and reverberation effect. It does not have any connections for audio inputs or auxiliary outputs.

All the devices I’ve shown you are suitable to produce Chicago suond, and are used with high impedance microphones such as for example bullet type, like the famous shure 520DX. The VOX mini instead, has a low-impedance microphone input for voice or even more clean harmonica sound.

The last category of amplifiers I am going to present to you’re the generic amplified loudspeakers, also called active speakers (or amplified): this is actually the sort of amplification I use when I play around in not-so-big situations.

You can just make use of a voice microphone and connect it to an amplified active speaker which acts well being an amplifier without changing the harmonica sound. These speakers are available with power ratings ranging from a few watts up to several hundred watts, on the market we furthermore find models that focus on battery.

The speaker that I use includes a power of 40 watts and an autonomy that reaches 10 hours with rechargeable battery given it. There are active speaker models that have effects, equalizations, inputs for multiple microphones, usb connections and much more, only the most advanced models have bluetooth and wireless connections to also take advantage of wireless microphones. Lastly I wish to introuduce you to the Beheringer MPA40BT-PRO, a 40-watt unit built with an 8″ woofer and a 1″ tweeter.

The sound reproduction is good and the volume more than sufficient for small locations. Thwill be speaker has two inputs to which it is possible to connect microphones or instruments, auxiliary inputs for other external sources, bluetooth and usb socket for connecting wireless microphones (around 2). This amplifier can cost you $150.

If you are curious to know, let me tell you that the wireless microphone set for the active speaker Behringer MPA40BT-PRO consists of an USB adhere to be connected on the trunk side and two battery-powered microphones which have about l0 hours of autonomy.

This concludes our review of harmonica amps. As you can see, there are different types on the market, designed to meet not merely the usage requirements but budget also .See you within the next article.

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How To Play Piano Man On Harmonica?

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Get Learn How To Play Piano Man On Harmonica – The Pianoforall Method is very simple.. Join us. Having a single reed for each note: The diatonic is a single reed harmonica, with only one reed to play each note. Welcome to this free lesson on how to play Piano Man on the harmonica.

Today, you’ll practice using my methodology along with the interactive video, on which you’ll see the song tabs in real time and play along with me. This is the method I adopted in all my online harmonica school courses. You’ll practice all the licks of this wonderful Billy Joel song, and after this, you will play the them on the provided backing track.

I suggest that you learn each lick separately with the metronome and put everything together when you can play all the licks consistently at a moderate tempo.

You can use a C harmonica to practice Piano man with my videos, or you can play any other harmonica key if you plan to play alone. For this lesson, you’ll find the play-along video, the backing track, and the slow version of both, as well as the tabs. As usual, the video tabs will show you both the note name and the harmonica hole to use.

Below on this page, you’ll find an in-depth analysis of the song, but first, let’s have fun with my play-along methodology.

Here are the videos: On the tabs, you’ll find the hole number on the lower row, and the note name on the upper row. A + symbol after the hole number means “blow”, where there’s no + you should draw the note. Follow the video and Good practice!

How To Play Piano Man On Harmonica?

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PIANO MAN SONG ANALYSIS

Basically, Billy Joel’s Piano Man is a great strategy start learning the blues harmonica, because it is really a really well-known song with very simple but memorable melodies.

However, as a teacher, I created this lesson with the intent of transferring knowledge that goes further than merely learning a couple of harmonica licks in order to be honest, just one melody and a slight variation of it. For this reason, I’m going to inform you something about how these licks are built and why they’re so effective and appealing for that listener.

The song time signature is seventy-five per cent and the backing is performed in triplets like an ordinary waltz.

Before analyzing the melodies, I want to introduce some general points to within mind that mind about the harmonica parts from this song. The trademark licks recall the singer’s melody, as well as a very simple but powerful way to use the instrument on sung furniture units.

The intro actually acts with regard to implication of what Billy is going to sing. Then an individual a small three-note sequence that resolves on the new singing part, along the 1:23 mark. Couple of other significant harmonica parts are part belonging to the track.

The song is very easy, as it doesn’t require bending skills and the licks are built on the central holes of the harmonica in particular, only on holes 4, 5, and 6.

How can a song be so great if we need just three hole notes perform it?

The answer lies in the fact that with easy tips harmonica holes, purchase play almost every note of the C major scale: C, D, E, F, G, having a. With these notes, doable ! make tons of lovely licks, and in this group of notes, you have the 3 most important in the key: C, E, and G.

The C note will be the key root note, the E is very important because it’s the third interval that determines the major mode of the song, and the G note may be the fifth degree that resolves on the C note. Is it possible to see how much you can study on a simple tune?

Which is way to learn things: grab some concepts, digest them, and be fortunate to reuse them. I’ll provide you an example: learning 2 simple licks is totally okay, but what after we want to expand our practice doing something interesting like transposing them to your harmonica higher octave?

Actually, if you listen to Billy Joel singing, you’ll hear him jumping one octave up with the voice right after incredibly sentences. Try it! Playing the high harmonica holes is something that many players can’t do, so be brave and explore your instrument!

Let’s discuss more in regards harmony now. This song is built around a few fundamental chords: C major, F major and G major. If you know a bit of musical theory, you’ll know these types of are the most important chords when working on major tunes, in particular the C and G, because the fifth degree chord resolves on website.

Another aspect to notice about the melodies often that they work almost exercising as a pair, in the role of a typical call and answer-type song; the second melody always ends utilizing key root note C, as if to underline a sentence conclusion’.

In the following section you’ll find Piano man main chord progression:

C C/B Am C/G, F C/E D7 G

C C/B Am C/G, F G7 C

To wrap up these concepts, we are learning how to play harmonica in first position, using a well known chord harmonic progression, and we’re playing a variety licks that always end on the most important key note. Now fretting or constant why Piano Man is truly the most desirable songs to learn for beginner harmonica players!

A last note into the melodies execution: in originally song double notes are played in place of your clean single notes. These double notes sound wonderful, due to the simple fact that when you play harmonica in first position, the note layout of the instrument is to your benefit. I suggest that play the single notes first, trying to these people clean, then adding instantly hole slightly enlarging your embouchure.

could also alternate single and double note licks to get the playing more interesting. Inside of original song, sometime your next hole is added for the main one, other times the one on the left is used, listen to the song and you could try and notice the differences!

To give you some thing useful to practice using this lesson, I’ve created some alternative licks for a person play and learn to know how to variate your playing with only a few shrewd issues. In addition to the lesson videos, I’ve played a small improvisation of this song for you, hoping that seek out give you some inspiration to create new licks and really take a*sociated with this exercise.

Here are the tabs for Billy Joe’s Piano Man, you can also download them using the links:

The main licks:

6+, 6, 6+, 5, 5+, 5, 5+

4+, 4, 5+, 4

5+, 5, 6+, 6, 6+, 5, 5+, 5, 5+

4+, 5, 5+, 4, 4+

how to play piano man on harmonica

Then the resolving lick before the singing at 1:23:

4, 5+, 5

Here, you’ll find the transposed licks to practice on the higher octave:

9+, 10, 9+, 9, 8+, 9, 8+

7+, 8, 8+, 8

8+, 9, 9+, 10, 9+, 9, 8+, 9, 8+

7+, 9, 8+, 8, 7+

how to play piano man on harmonica

Here, you’ll find some new ideas for improvising on the song:

6+, 6, 6+, 5, 5+, 4, 5, 5+, 4+

5+, 5, 6+, 5, 5+, 4, 5+, 4

7+, 6, 6+, 5+, 5, 5+, 4, 5+

4+, 4, 5+, 5, 5+, 4, 4+, 4+

how to play piano man on harmonica

A little general information about Billy Joel’s Piano Man:

In 1973, after signing an innovative new contract with Columbia Records with the legendary Clive Davis, Billy began in order to become known to the community thanks to songs while Captain Jack, The Ballad of Billy the Kid, and Piano Man.

These songs are still extremely well-known today, and if you can Piano Man hit five good 20 on the charts, giving this artist his first golden disc award. Would you know who played harmonica on this tune?

His name is Kevin Spacey, a singer and actor, he said he wasn’t a really good harmonica player when Billy asked him to play the intro, but he promised to learn it better for the occasion. Additionally said he had to practice much in that era!

Thank you for joining me for this driving session. I hope you enjoyed the song, and I invite you to take a look at my harmonica school page, where you’ll find many courses that can improve your playing skills on the harmonica. Assist you to there!

How to play Piano Man by Billy Joel on a C harmonica for beginners (Video)

You can see more Piano Man Tabs For Harmonica Here

Lyrics


Carl Sturken and Evan Rogers

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Carl Sturken and Evan Rogers are New York-based songwriters and record producers who are business partners and friends. They have produced hits for Ruben Studdard, Wild Orchid, Christina Aguilera, Evelyn Champagne King, and Rihanna. They helped build the career of Rihanna, and are the principals of her production company named SRP Music Group. As songwriters and record producers, Rogers and Sturken have achieved more than twenty top 40 hits, twelve top 5 hits and six BMI Awards. Their songs have sold more than 60 million albums around the world.

History

Sturken & Rogers started their careers in the New York R&B scene of the mid-1980s. During that time, Rogers himself released a full-length solo album, 1985’s Love Games for RCA Records (he would release a second album, Faces of Love for Capitol four years later), and the duo produced Gavin Christopher for EMI Manhattan Records, scoring their first big hit with Christopher’s “One Step Closer to You.” They also worked on the legendary Beat Street soundtrack and began to gain a reputation by producing such artists as Cheryl Lynn, Stephanie Mills and Jennifer Holliday. They then crossed over to the pop world by engineering the comeback of Donny Osmond, writing and producing the #2 smash “Soldier of Love” and the Top 10 hit “Sacred Emotion”. Following their success with Donny Osmond, they became artists themselves, forming an R&B group called Rythm Syndicate with John Nevin, Rob Mingrino and Kevin Cloud, all of whom hailed from Connecticut. In 1991, the group scored a #2 hit on the US Billboard charts, “P.A.S.S.I.O.N.”, as well as a Top 15 follow-up, “Hey Donna”. In addition to providing vocals for the group, Rogers and Sturken wrote or co-wrote all of their songs. However, after two years of touring and promotion, along with two unsuccessful albums and a few less successful singles, Sturken and Rogers disbanded the group to resume writing and producing full-time.

They wrote and/or produced six songs for Debbie Gibson’s 1993 album Body Mind Soul including US single “Losin’ Myself” and the UK single “Shock Your Mama”. Success came next in the UK with the Top 5 single “Power of a Woman” for Eternal. More work overseas followed, including contributions to the Brand New Heavies’ platinum album Shelter. For Irish boy band Boyzone, they wrote and produced four songs for the group’s Where We Belong album, which entered at #1 on the UK charts. The six-time platinum album includes the Sturken & Rogers penned “All That I Need”, which was a UK #1 single. The song also appears on Boyzone’s Greatest Hits package, By Request, which spent over two months at #1 and also had sales of over six million units.

In 1997, they shifted their attention back to the U.S. The hit “(God Must Have Spent) A Little More Time on You”, written and produced for NSYNC, was a Billboard Top 10 single, before climbing into the Billboard Country Top 5 after being covered by country recording legend Alabama. The song also received a Grammy nomination in 2000 for Best Country Collaboration by a group or duo. NSYNC’s debut album sold over 10 million copies in the US alone. In addition to the pop and country versions of “(God Must Have Spent) A Little More Time on You”, the song was also recorded by jazz artist Kirk Whalum for his album Unconditional, which was nominated for Best Pop Instrumental Performance at the 2002 Grammy Awards. Sturken & Rogers also wrote and produced several songs for Christina Aguilera’s debut album. The album entered the Billboard charts at #1 and went double platinum after only three weeks, eventually totaling sales in excess of 11 million worldwide. They also branched out into the jazz world working with Dave Koz on his album The Dance. The album contains two Sturken & Rogers penned songs, including “Can’t Let You Go”, co-written with Koz and featuring Luther Vandross on vocals, which went on to become a #1 hit on the Smooth Jazz chart. The duo also had songs on 98 Degrees’ double platinum album Revelation and the multi-platinum debut albums of Jessica Simpson, Alsou, Mandy Moore and Anastacia, as well as many other collaborations with such artists as Christina Milian and Emma Bunton. They also wrote sings with and for The Brand New Heavies Shelter LP notably Last To Know with Simon Bartholomew.

As the 1990s came to a close and teen pop died down, Sturken & Rogers changed gears once again, discovering and developing Javier, whom they signed to Capitol Records. They wrote and produced the majority of his debut album, including the hit single “Crazy”. Next to come calling was Clive Davis, who hired the team to work on Kelly Clarkson’s debut album, for which they wrote the hit single “The Trouble with Love Is”, also featured in the movie Love Actually. The Davis connection continued with the American Idol project in 2004, as well as Rod Stewart’s As Time Goes By: the Great American Songbook 2 and two tracks for Ruben Studdard’s double platinum debut album, Soulful.

The duo then decided to begin developing artists in earnest, forming Syndicated Rhythm Productions in 2005. Their first signing was Rihanna, whom Rogers discovered while visiting family in Barbados.[2] They brought her to Jay-Z and L.A. Reid at Def Jam Records and she was signed within hours of her audition. Rihanna’s first single “Pon De Replay”, co-written and produced by Sturken & Rogers, went on to be a worldwide smash. Rihanna’s second album, A Girl Like Me, contained the hit singles “SOS” and “Unfaithful”, and established her as an international star. In 2007 Rihanna scored one of the biggest singles of the year with “Umbrella” ; the follow up single “Shut Up and Drive” was written and produced by Sturken & Rogers, and became a top 10 hit worldwide, as well as being featured in the movies 21, I Love You Man, and Cars. Good Girl Gone Bad went on to be one of the best selling albums of that year, selling over 15 million copies worldwide to date. As of November 2013, Rihanna sold over 50 million albums and 180 million singles worldwide. The SRP artist roster continued to grow during this time; next up was Shontelle, who they brought to Steve Rifkind’s SRC/Universal Motown label, where they produced her debut album Shontelligence in 2008. Shontelle has joined fellow Barbadian Rihanna at the top of the charts with her first hit, “T-Shirt”, which was a top 15 hit in the US, and was top 5 for a month in the U.K., where she has followed it with her second hit “Stuck with Each Other”, a duet with Akon from the movie Confessions of a Shopaholic. Shontelle’s follow up album included the worldwide platinum smash “Impossible”.

Sturken and Rogers continued writing and producing for artists outside of their own stable with their song “Issues”, they scored yet another top smash with British girl group The Saturdays. They also co-wrote the song “Gypsy” for Shakira, which was an international hit and won a Latin BMI award.  The time had come for the next chapter of Sturken and Rogers’ career, and thus the SRP Records label was formed in early 2009, in partnership with Universal/Motown. Their first signing was Vita Chambers who opened for Justin Bieber’s 2010 “My World” tour, and then scored a gold single in Canada with her single “Fix You”.

Singer/songwriter Taylor Berrett was discovered by SRP while still a high school student in Washington, DC. After signing a publishing deal with Kara DioGuardi’s Arthouse Music, Taylor inked a deal through SRP with Warner Bros. records, and recorded his debut album with producer Jake Gosling (Ed Sheeran, Christina Perri).

Nashville born pianist/singer Kandace Springs was SRP’s next discovery; they signed her to Don Was at Blue Note/Capitol. In 2014 she performed her debut single “Love Got in the Way” on the Late Show with David Letterman, followed by a slew of other national television appearances, and performances at the Afropunk and Bonnaroo festivals, as well as performing with Prince at the “Purple Rain” 30th anniversary show at Paisley Park. Her upcoming debut album is being produced by Grammy legend Larry Klein.

The newest signing to SRP is 20-year-old singer/flute prodigy Elena Pinderhughes; having already toured the world, played the White House, and performed with such giants as Herbie Hancock, she is now recording her debut album for release in 2016.

Sturken and Rogers have also begun to build their own stable of writer/producers, forming a joint venture with Universal Music Publishing Group. Their first signing, Brandon Alexander, a.k.a. BAM, had his breakout with the Grammy nominated Tyrese smash “Stay” which spent 11 weeks at #1 on the Adult Urban chart. BAM was also nominated for a Grammy for the Chris Brown/Kendrick Lamar collaboration “Autumn Leaves”, and he wrote and produced 9 of the 11 cuts on Tyrese’s new album, which entered at #1 on the Billboard Hot 200 Albums chart. He is currently in the studio with Chris Brown, Trey Songz, and August Alsina. Most recently SRP paired two young writers, Jackson Foote and Emma Lov, to form the writing/production team Loote; they’ve already landed cuts on Natalie La Rose and are collaborating with a host of other major label artists.

 

Lyrics


Boyce and Hart

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Sidney Thomas “Tommy” Boyce (September 29, 1939 – November 23, 1994) and Bobby Hart (born Robert Luke Harshman; February 18, 1939) were a prolific American duo of singer-songwriters. In addition to three top-40 hits as artists, the duo is well known for its songwriting for The Monkees.

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Early years

Hart’s father was a church minister and he himself served in the Army after leaving high school. Upon discharge, he travelled to Los Angeles seeking a career as a singer. Boyce was separately pursuing a career as a singer. After being rejected numerous times, Boyce took his father’s suggestion to write a song called “Be My Guest” for rock and roll star Fats Domino. He waited six hours at Domino’s hotel room to present him with the demo, and got Domino to promise to listen to the song. The song hit No. 8 in the US and No. 11 in the UK, becoming Domino’s biggest hit there in several years, and sold over a million copies.  Boyce also found success as the co-writer, with Curtis Lee, of Lee’s 1961 hits “Pretty Little Angel Eyes” and “Under the Moon of Love”.

Boyce met Hart in 1959, and the following year played guitar on Hart’s single “Girl in the Window”, which flopped, but marked the first time he used the name Bobby Hart, since his manager shortened it to fit the label. Their partnership made a breakthrough with a song recorded by Chubby Checker, “Lazy Elsie Molly”, in 1964. They went on to write hits for Jay & the Americans (“Come a Little Bit Closer”), Paul Revere and the Raiders (“(I’m Not Your) Steppin’ Stone”), and The Leaves (“Words”). The latter two songs provided the Monkees with hit B-sides in 1967. The duo also wrote the theme song of the daytime soap Days of Our Lives. At one point in this period, Hart also co-wrote “Hurt So Bad” for Little Anthony & the Imperials with Teddy Randazzo and his regular songwriting partner, Bobby Weinstein. Boyce co-wrote the song “Hello Pretty Girl”, which was a minor hit for singer Ronnie Dove, with Wes Farrell.

The Monkees

In late 1965, they wrote, produced and performed the soundtrack of the pilot for The Monkees, including singing lead vocals (which were later replaced, once the show was cast). In 1966, despite some conflicts with Don Kirshner, who was the show’s musical supervisor, they were retained in essentially the same role. It was Boyce and Hart who wrote, produced and recorded, accompanied by their backing band, the Candy Store Prophets, backing tracks for a large portion of the first season of The Monkees, and the band’s accompanying debut album.

The Monkees themselves re-recorded their vocals over Boyce and Hart’s when it came time to release the songs, including both “(Theme from) The Monkees” and “Last Train to Clarksville”, the latter being a huge hit. Kirshner suddenly relieved Boyce and Hart as producers, by claiming they were using studio time booked for Monkees songs to record tracks for their own solo project.

After their departure from the Monkees, and the negative publicity that erupted when word got out that the band hadn’t played the instruments on their early records, Boyce and Hart were unsure how the Monkees felt about them personally. Attending one of their concerts, though, the duo were spotted in the audience, and singer Davy Jones invited them onstage to introduce them: “These are the fellows who wrote our great hits — Tommy and Bobby!” Every original Monkees album (except for the Head soundtrack and 1996’s Justus) included Boyce and Hart songs.

Other successes

While working with The Monkees, Boyce and Hart embarked on a successful career as recording artists in their own right, releasing three albums on A&M Records: Test Patterns, I Wonder What She’s Doing Tonight, and It’s All Happening on the Inside (released in Canada as Which One’s Boyce and Which One’s Hart?). The duo also had five charting singles; the most well-known of these was “I Wonder What She’s Doing Tonight”, which reached No. 8 in early 1968. It sold over one million copies, and was awarded a gold disc.[4] “Out & About” (#39) and “Alice Long” (#27) were their other Top 40 hits. The duo also performed “I’ll Blow You a Kiss in the Wind” on the television show Bewitched in one of several TV series appearances that included guest spots on The Flying Nun and I Dream of Jeannie (“Jeannie the Hip Hippie”), and all of these shows were produced by Screen Gems, the television subsidiary of Columbia Pictures. In each of the three sitcom guest appearances, their music was featured including two covers (unreleased) they did on The Flying Nun.

Boyce and Hart had filmed video promos for their songs “Out and About” and “Alice Long”.

Boyce and Hart were involved in producing music for Columbia Pictures’ motion pictures during the mid-late 1960s, including two Matt Helm movies (The Ambushers and Murderer’s Row), Winter A-Go-Go and Where Angels Go, Trouble Follows. They also provided the music score for a TV movie called Three’s a Crowd starring Larry Hagman and Jessica Walter. Boyce and Hart did promos for the U.S. Army Reserve and Coca-Cola. This included the creation of two Coca-Cola commercial jingles, one being a powerful psychedelic song, “Wake Up Girl”, while the other was their single “Smilin’” with totally different lyrics.

In 1971 a sitcom named Getting Together appeared on ABC-TV, starring Bobby Sherman and Wes Stern as two struggling songwriters, who were friends of The Partridge Family (and were introduced on their show in the last episode of the show’s first season). The series was reportedly based loosely on Boyce and Hart’s partnership. At this point, they decided to work on various solo projects.

Dolenz, Jones, Boyce, and Hart

In the mid-1970s, Boyce and Hart reunited with Davy Jones and Micky Dolenz, performing the songs Boyce and Hart had written for The Monkees a decade before. Legally prohibited from using the Monkees name, they called themselves Dolenz, Jones, Boyce & Hart. The group toured amusement parks and other venues throughout America, Japan and other locations from July 4, 1975, to early 1977, also becoming the first American band to play in Thailand. Signed to Capitol Records by Al Coury, the group released an album of new material in 1976. (A live album was also recorded in Japan, but was not released in the United States until the mid-1990s.) The tours coincided with the syndication of the Monkees TV series, and helped boost sales of Arista’s The Monkees Greatest Hits.

Dolenz, Jones, Boyce and Hart also starred in their own TV special called The Great Golden Hits of the Monkees Show, which appeared in syndication. It featured a medley of other Boyce and Hart songs, as well as the songs they had produced for the Monkees. It did not include any songs from their new album.

Later years

Boyce released an album under the pseudonym Christopher Cloud in 1973. He produced several hit records UK rock n roll revival group Darts including, “Daddy Cool/The Girl Can’t Help It”, “Come Back My Love” and “It’s Raining”. In 1979, he formed his own band, called The Tommy Band, and toured the UK as support for Andrew Matheson (ex-Hollywood Brats). The tour was largely ignored by the public, especially in Middlesbrough where reportedly just one person paid to watch the show. Boyce and Hart reunited during the 1980s resurgence of the Monkees, and performed live.

During that same year, The First Bobby Hart Solo Album was released in Europe on WEA. The group included: Bobby Hart on keyboard and vocals, Victor Vanacore on keyboards, Larry Taylor on bass, Vince Megna on guitar, John Hoke on drums, and “Blue Jay” Patton on saxophone. Five years later, in 1983, Hart was nominated for an Oscar for his song “Over You”, written for the film Tender Mercies.

After a stint living in the UK, Boyce returned to live in Memphis, Tennessee, where he taught songwriting on Beale Street, and Nashville, Tennessee, and later suffered a brain aneurysm. On November 23, 1994, Boyce died by suicide, by gunshot.

According to the Rolling Stone Encyclopedia of Rock & Roll, Boyce and Hart wrote more than 300 songs, and sold more than 42 million records as a partnership.

Discography

Albums

  • Test Patterns (A&M LP 126 (Mono)/SP 4126 (Stereo), 1967, US 200)
  • I Wonder What She’s Doing Tonite? (A&M LP 143/SP 4143, 1968, US 109)
  • It’s All Happening On The Inside* (A&M SP 4162, 1969)
  • Dolenz, Jones, Boyce & Hart (Capitol ST-11513, 1976)
  • Dolenz, Jones, Boyce & Hart – Live in Japan (Capitol/Toshiba-EMI ECS-91018, 1981)
  • 16 Rarities (SG Records, 1981 – This is a bootleg of B-sides and oddities)
  • The Anthology (A&M Records Australia/Polygram 525 193–2, 1995)

Album Notes

  • It’s All Happening on the Inside was released in Canada as Which One’s Boyce & Which One’s Hart?

Singles

YearSingle (A-side, B-side)
Both sides from same album except where indicated
US Billboard
charts
Album
1967“Out & About”
b/w “My Little Chickadee”
39Test Patterns
“Sometimes She’s A Little Girl”
b/w “Love Every Day” (from I Wonder What She’s Doing Tonite)
110
“I Wonder What She’s Doing Tonight”
b/w “The Ambushers” (Non-album track)
8I Wonder What She’s Doing Tonite
1968“Goodbye Baby (I Don’t Want To See You Cry)
b/w “Where Angels Go, Trouble Follows” (Non-album track)
53
“Alice Long (You’re Still My Favorite Girlfriend)
b/w “P.O. Box 9847” (Non-album track)
27It’s All Happening on the Inside
“We’re All Going to the Same Place”
b/w “Six + Six” (Non-album track)
123
1969“L.U.V. (Let Us Vote)
b/w “I Wanna Be Free” (from I Wonder What She’s Doing Tonite)
111Non-album tracks
“I’m Gonna Blow You A Kiss in the Wind”
b/w “Smilin’”
Dolenz, Jones, Boyce & Hart
1975“I Remember The Feeling”
b/w “You and I”
Dolenz, Jones, Boyce & Hart
1976“I Love You (and I’m Glad That I Said It)
b/w “Savin’ My Love For You”

Singles notes:

  • “L.U.V. (Let Us Vote)” was the official campaign song for the Let Us Vote movement to lower the voting age to 18.
  • “P.O. Box 9847” and “I Wanna Be Free” were originally released by The Monkees.
  • “You and I” (DJB&H) was later re-recorded and released in 1996 by The Monkees.
  • “I’ll Blow You A Kiss In The Wind” was featured on the Bewitched episode “Serena Stops the Show”, aired on February 19, 1970, on which Boyce and Hart appeared as themselves. The episode also features Elizabeth Montgomery’s performance (as Serena) of the song.
  • “The Ambushers” and “Where Angels Go, Trouble Follows” are Columbia Pictures movie theme titles.

Tommy Boyce Singles:

  • Along Came Linda (1962, US 118)
  • I’ll Remember Carol (1962, US 80)
  • Have You Had A Change of Heart (1962, US MV 146)
  • Sunday, the Day Before Monday (1966, US 132)

Bobby Hart Singles:

  • Lovers for the Night (1980, US 110)

Lyrics


Edda Művek

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Edda Művek is a highly successful Hungarian rock band formed in 1973 initially under the name “Griff”. Undergoing a brief name change to Edda, the band finally settled for Edda Művek shortly thereafter. The name “Edda” was inspired by the Prose Edda of Norse Mythology while the word, “Művek” (works), is a symbolic reference to the band originally starting its career in the industrial city of Miskolc, also dubbed as the “Steel City”. According to frontman, Attila Pataky, “Művek” has also come to represent the band’s “labor intensive” work ethic and prolific approach to songwriting, recording and touring.

Edda’s catchy, melodic rock tunes and touching power ballads initially focused on social and emotional life of youth, love, anxiety and alienation. Themes later transitioned to issues dealing with sexuality, spirituality, cultural heritage, national identity, and in general, uncertainties and predicaments of contemporary Hungarian society amidst shifting political, social and economic landscapes . The band performs more than one hundred shows annually throughout Hungary and surrounding Hungarian communities in neighbouring countries. The energetic and inventive musicianship that EDDA are known for, is best reflected through live performances.

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Band history

Formation

The band was formed in 1973 in Miskolc by Jozsef Halász. Halász was attending university at the time the city organized a large-scale, local rock festival. Inspired by the event, Halász formed his own rock group, recruiting friends as musicians. Initially performing under the name Griff, the band months later switched to Edda (taken from the title of books of prose and poetry of Old Norse mythologies). With regular performances at the campus club of the University of Miskolc, Edda’s popularity grew. To achieve a positive crowd response, the band’s set lists also featured international pop hits.

Due to the pursuit of academic studies, members often left resulting in frequent lineup changes within the band; an ongoing trend that would continue throughout the 1980s and ’90s resulting in high turnover rate in membership. Lead vocalist, Zoltán Zsiga was replaced with Attila Fodor who was eventually succeeded by current band leader, Attila Pataky. Pataky was the only member whose intent to pursue music as a full-time career, aimed to vigorously elevate the band to a professional level. Jozsef Halász decided to relocate to the city of Zalaegerszeg, granting the rights to the name “Edda” to Pataky. Halász’s position on drums was temporarily filled by József Szepcsik who unexpectedly died from a severe illness in 1977 prompting Pataky to ask Halász to rejoin the group. Misfortune struck yet again as Halász, shortly after his return, was diagnosed with terminal cancer, eventually passing away in 1980.

1977 arrived and with the intent to shape Edda Művek into a prominent rock band, Pataky recruited accomplished musicians from around Miskolc, including a new song-writing partner and lead guitarist, Istvan Slamovits. They decided to conquer the Hungarian music scene, a feat that was extremely difficult for any musical act originating outside of Budapest during the 1970s.

The classic Edda

The band’s Budapest debut performance took place in 1979. The first show was a flop (with only 178 viewers), yet their popularity grew quickly across the country. The band recorded its first single (Minden Sarkon Álltam Már / Álom) in 1979, and the eponymous debut album: “Edda Művek 1.” the following year. The release is currently a certified diamond disc in Hungary, with more than 500,000 units sold. Many of the songs on the landmark debut also became popular hits. The success continued as the band made an appearance in the movie “Ballagás”, also featuring their own soundtrack. Edda Művek continued performing and composing new music, however tensions between members were escalating. Alfonz Barta left for Switzerland never to return and there were further replacements among musicians with bass guitarist and drummer positions changing. In 1983, continuing internal conflicts within the band, differences between Pataky and Slamovits led to the disbanding of Edda Művek. The group performed an emotionally charged farewell concert in Miskolc on December 17, 1983. The performance was recorded live and would ultimately become the band’s fourth and final release.

Forming a new band

After a two-year hiatus, Pataky decided to revive Edda Művek. He left for Norway with László Fortuna (the only other band member from the original Edda lineup), Péter Csomós, and Endre Csillag in 1984. The band performed clubs in the evening, and wrote new material during the day. In 1985, Pataky and Fortuna returned to Hungary and restarted Edda Művek with hired musicians from Budapest. The comeback performance, highly anticipated by fans, turned out to be a success. Similarly to the band’s final show, this comeback event was recorded and released as the band’s 5th album, with a track list featuring entirely new material recorded live. After additional lineup changes through the years following, Edda finally formed a stable roster in 1988. Engaging in a vigorous touring schedule the band played numerous venues and some unusual places that included a steel factory and correctional facilities. In 1991, Péter Kun replaced lead guitarist István Alapi who briefly left for Canada. Sadly, after only a brief period with the band, Kun died in a tragic motorcycle accident in 1993. The band held numerous memorial concerts to the many fans overcome with shock and grief over the passing of the young, talented guitarist. At the request of Pataky, István Alapi rejoined the band.

Nowadays

The last member change occurred in 1997 with drummer, Zoltán Hetényi replacing Tibor Donászy. In 1998 the band released their first English language album, “Fire and Rain”. Presently, the band releases original studio material every three to four years, while maintaining a busy tour schedule. The band regularly holds concert events commemorating significant turning points of its career such as the release of their classic, self-titled debut album in 1980 which earned national recognition and breakthrough for Edda Művek, establishing the band as a professional musical outfit. The special anniversary events organized by the band every five years therefore, commemorate 1980 as the band’s official start. Occasionally, past members of Edda’s classic line-up (1980-1984 era) also make guest appearances and perform alongside the band, an indication of Pataky’s reconciliation with old bandmates over the years.

Band members

Old Edda (1973–1978)

  • Zoltán Zsiga (vocal) 1973
  • István Darázs (vocal) 1973-1974
  • Fodor Attila (vocal) 1974 (2006)
  • Attila Pataky (vocal) 1974-
  • József Halász (drums) 1973-1977 (1980)
  • József Szepcsik (drums) 1977-1978 (1978)
  • Zoltán Ferenczi (guitar) 1973-1977
  • Katalin Beély (bass guitar) 1973-1977
  • Zoltán Fancsik (keyboards) 1974-1975

Classic Edda (1978–1983)

1978
1978–1982
1982–1983
1983

New Edda (1984–)

1985
  • Attila Pataky – vocal
  • László Fortuna – drums
  • Tamás Mohai – guitar (temporarily)
  • János Szénich – guitar (temporarily)
  • Tibor Gellért (2016) – guitar (temporarily)
  • Endre Csillag – guitar
  • Gábor Mirkovics – bass guitar
  • Zsolt Gömöry – keyboards
  • Ferenc Béres – keyboards (temporarily)
1985–1988
  • Attila Pataky – vocal
  • Endre Csillag – guitar
  • Gábor Mirkovics – bass guitar
  • Zsolt Gömöry – keyboards
  • Bertalan Hirleman – drums (temporarily)
  • Ferenc Raus – drums (temporarily)
  • Tamás Papp – drums (temporarily)
  • Tibor Donászy – drums
1988–1991
  • Attila Pataky – vocal
  • István Alapi – guitar
  • Gábor Pethő – bass guitar
  • Zsolt Gömöry – keyboards, vocal
  • Tibor Donászy – drums
1991–1993
  • Attila Pataky – vocal
  • Péter Kun – guitar (1993)
  • László Kicska – bass guitar
  • Zsolt Gömöry – keyboards, vocal
  • Tibor Donászy – drums
1993–1997
  • Attila Pataky – vocal
  • István Alapi – guitar
  • László Kicska – bass guitar
  • Zsolt Gömöry – keyboards, vocal
  • Tibor Donászy – drums
1997-
  • Attila Pataky – vocal
  • István Alapi – guitar
  • László Kicska – bass guitar
  • Zsolt Gömöry – keyboards, vocal
  • Zoltán Hetényi – drums

In 1985, Pataky and Fortuna were the only core members of Edda Művek with the other musicians being hired personnel. Following the success of the band’s reformation, Pataky decided on hiring professional, permanent members. For a brief period in 1987, Alapi and Csillag both performed together as guitarists. Shortly after Csillag decided to go to Austria.

Lyrics


Burt Bacharach

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Burt Freeman Bacharach (/ˈbækəræk/ BAK-ə-rak; born May 12, 1928) is an American composer, songwriter, record producer, and pianist who has composed hundreds of pop songs from the late 1950s through the 1980s, many in collaboration with lyricist Hal David. A six-time Grammy Award winner and three-time Academy Award winner, Bacharach’s songs have been recorded by more than 1,000 different artists. As of 2014, he had written 73 US and 52 UK Top 40 hits. He is considered one of the most important composers of 20th-century popular music.

His music is characterized by unusual chord progressions, influenced by his background in jazz harmony, and uncommon selections of instruments for small orchestras. Most of Bacharach’s and David’s hits were written specifically for and performed by Dionne Warwick, but earlier a*sociations (from 1957 to 1963) saw the composing duo work with Marty Robbins, Perry Como, Gene McDaniels, and Jerry Butler. Following the initial success of these collaborations, Bacharach went on to write hits for Gene Pitney, Cilla Black, Dusty Springfield, Jackie DeShannon, Bobbie Gentry, Tom Jones, Herb Alpert, B. J. Thomas, the Carpenters, among numerous other artists. He arranged, conducted, and produced much of his recorded output.

Songs that he co-wrote which have topped the Billboard Hot 100 include “This Guy’s in Love with You” (1968), “Raindrops Keep Fallin’ on My Head” (1969), “(They Long to Be) Close to You” (1970), “Arthur’s Theme (Best That You Can Do)” (1981), and “That’s What Friends Are For” (1986).

A significant figure in easy listening,[2] Bacharach is described by writer William Farina as “a composer whose venerable name can be linked with just about every other prominent musical artist of his era.” In later years, his songs were newly appropriated for the soundtracks of major feature films, by which time “tributes, compilations, and revivals were to be found everywhere”. He has been noted for his influence on later musical movements such as chamber pop and Shibuya-kei. In 2015, Rolling Stone ranked Bacharach and David at number 32 for their list of the 100 Greatest Songwriters of All Time. In 2012, the duo received the Library of Congress Gershwin Prize for Popular Song, the first time the honor has been given to a songwriting team.

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Early life and education

Bacharach was born in Kansas City, Missouri, and grew up in the Kew Gardens section of New York City, graduating from Forest Hills High School in 1946. He is the son of Irma M. (née Freeman) and Mark Bertram “Bert” Bacharach, a well-known syndicated newspaper columnist. His mother was an amateur painter and songwriter who was responsible for making Bacharach learn piano during his childhood. His family was Jewish, but he says that they did not practice or give much attention to their religion. “But the kids I knew were Catholic”, he adds. “I was Jewish but I didn’t want anybody to know about it.”

Bacharach showed a keen interest in jazz as a teenager, disliking his classical piano lessons, and often used a fake ID to gain admission into 52nd Street nightclubs. He got to hear bebop musicians such as Dizzy Gillespie and Count Basie, whose style would later influence his songwriting.

Bacharach studied music (Bachelor of Music, 1948) at Montreal’s McGill University, under Helmut Blume, at the Mannes School of Music, and at the Music Academy of the West in Montecito, California. During this period he studied a range of music, including jazz harmony, which has since been important to songs which are generally considered pop music. His composition teachers included Darius Milhaud, Henry Cowell, and Bohuslav Martinů. Bacharach cites Milhaud as his biggest influence, under whose guidance he wrote a “Sonatina for Violin, Oboe and Piano.”

Beginning work as a musician

Following his tour of duty in the United States Army,[when?] Bacharach spent the next three years as a pianist and conductor for popular singer Vic Damone. Damone recalls: “Burt was clearly bound to go out on his own. He was an exceptionally talented, classically trained pianist, with very clear ideas on the musicality of songs, how they should be played, and what they should sound like. I appreciated his musical gifts.” He later worked in similar capacity for various other singers, including Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). When he was unable to find better jobs, Bacharach worked at resorts in the Catskill Mountains of New York, where he accompanied singers such as Joel Grey.

In 1956, at the age of 28, Bacharach’s productivity increased when composer Peter Matz recommended him to Marlene Dietrich, who needed an arranger and conductor for her nightclub shows. He then became part-time music director for Dietrich, the actress and singer who had been an international screen star in the 1930s. They toured worldwide off and on until the early 1960s; when they were not touring, he wrote songs.  As a result of his collaboration with Dietrich, he gained his first major recognition as a conductor and arranger.

In her autobiography, Dietrich wrote that Bacharach loved touring in Russia and Poland because the violinists were “extraordinary”, and musicians were greatly appreciated by the public. He liked Edinburgh and Paris, along with the Scandinavian countries, and “he also felt at home in Israel”, she wrote, where music was similarly “much revered”. Their working relationship ceased by the early 1960s, after about five years with Dietrich, with Bacharach telling her that he wanted to devote himself full-time to songwriting. She thought of her time with him as “seventh heaven … As a man, he embodied everything a woman could wish for. … How many such men are there? For me he was the only one.”

Songwriting career

1950s and 1960s

In 1957, Bacharach and lyricist Hal David met while at the Brill Building in New York City, and began their writing partnership. They received a career breakthrough when their song “The Story of My Life” was recorded by Marty Robbins, becoming a number 1 hit on the U.S. Country Chart in 1957.

Soon afterwards, “Magic Moments” was recorded by Perry Como for RCA Records, and reached #4 in the U.S. These two songs were back-to-back No. 1 singles in the UK (the British chart-topping “The Story of My Life” version was sung by Michael Holliday), giving Bacharach and David the honor of being the first songwriters to have written consecutive No. 1 UK singles.

In 1961 Bacharach was credited as arranger and producer, for the first time on both label and sleeve, for the song Three Wheels on My Wagon, written jointly with Bob Hilliard for Dick Van Dyke.

Bacharach and David formed a writing partnership in 1963. Bacharach’s career received a boost when singer Jerry Butler asked to record “Make it Easy on Yourself,” and wanted him to direct the recording sessions. It became the first time he managed the entire recording process for one of his own songs.

In the early and mid-1960s, Bacharach wrote well over a hundred songs with David. In 1961 Bacharach discovered singer Dionne Warwick while she was a session accompanist. That year the two, along with Dionne’s sister Dee Dee Warwick, released a single “Move It on the Backbeat” under the name Burt and the Backbeats. The lyrics for this Bacharach composition were provided by Hal David’s brother Mack David. Dionne made her professional recording debut the following year with her first hit, “Don’t Make Me Over”.

Bacharach and David then wrote more songs to make use of Warwick’s singing talents, which led to one of the most successful teams in popular music history. Over the next 20 years, Warwick’s recordings of his songs sold over 12 million copies, with 38 singles making the charts and 22 in the Top 40. Among the hits were “Walk on By”, “Anyone Who Had a Heart”, “Alfie”, “I Say a Little Prayer”, “I’ll Never Fall in Love Again”, and “Do You Know the Way to San Jose?” She would eventually have more hits during her career than any other female vocalist except Aretha Franklin.[36]

Bacharach released his first solo album in 1965 on the Kapp Records label. “Hit Maker! Burt Bacharach Plays His Hits” was largely ignored in the US but rose to #3 on the UK album charts, where his version of “Trains and Boats and Planes” had become a top 5 single. In 1967, Bacharach signed as an artist with A&M Records, recording a mix of new material and re-arrangements of his best-known songs. He recorded for A&M until 1978.

Although Bacharach’s compositions are typically more complex than the average pop song, he has expressed surprise in the fact that many jazz musicians have sought inspiration from his works, saying “I’ve sometimes felt that my songs are restrictive for a jazz artist. I was excited when [Stan] Getz did a whole album of my music” (What The World Needs Now: Stan Getz Plays The Burt Bacharach Songbook, Verve, 1968).

His songs were adapted by a few jazz artists of the time, such as Stan Getz, Cal Tjader, Grant Green, and Wes Montgomery. The Bacharach/David composition “My Little Red Book”, originally recorded by Manfred Mann for the film What’s New Pussycat?, has become a rock standard.

Bacharach composed and arranged the soundtrack of the 1967 film Casino Royale, which included “The Look of Love”, performed by Dusty Springfield, and the title song, an instrumental Top 40 single for Herb Alpert and the Tijuana Brass. The resulting soundtrack album is widely considered to be one of the finest engineered vinyl recordings of all time, and is much sought after by audiophile collectors.

Bacharach and David also collaborated with Broadway producer David Merrick on the 1968 musical Promises, Promises, which yielded two hits, including the title tune and “I’ll Never Fall in Love Again.” Bacharach and David wrote the song when the producer realized the play urgently needed another before its opening the next evening. Bacharach, who had just been released from the hospital after contracting pneumonia, was still sick, but worked with David’s lyrics to write the song which was performed for the show’s opening. It was later recorded by Dionne Warwick and was on the charts for several weeks.

The year 1969 marked, perhaps, the most successful Bacharach-David collaboration, the Oscar-winning “Raindrops Keep Falling on My Head”, written for and prominently featured in the acclaimed film Butch Cassidy and the Sundance Kid. The two were awarded a Grammy for Best Cast album of the year for “Promises, Promises” and the score was also nominated for a Tony award.

Other Oscar nominations for Best Song in the latter half of the 1960s were for “The Look Of Love”, “What’s New Pussycat?” and “Alfie”.

1970s and 1980s

Throughout the late 1960s and early 1970s, Bacharach continued to write and produce for artists, compose for stage, TV, and film, and release his own albums. He enjoyed a great deal of visibility in the public spotlight, appearing frequently on TV and performing live in concert. He starred in two televised musical extravaganzas: “An Evening with Burt Bacharach” and “Another Evening with Burt Bacharach,” both broadcast nationally on NBC.Newsweek magazine gave him a lengthy cover story entitled “The Music Man 1970.”

In 1971, Barbra Streisand appeared on “The Burt Bacharach Special,” (aka “Singer Presents Burt Bacharach”) where they discussed their careers and favorite songs and performed songs together. The other guests on the television special were dancer Rudolph Nureyev and singer Tom Jones.

In 1973, Bacharach and David wrote the score for Lost Horizon, a musical version of the 1937 film. The remake was a critical and commercial disaster and a flurry of lawsuits resulted between the composer and the lyricist, as well as from Warwick. She reportedly felt abandoned when Bacharach and David refused to work together further.

Bacharach tried several solo projects, including the 1977 album Futures, but the projects failed to yield hits. He and David reunited briefly in 1975 to write and produce other records.

By the early 1980s, Bacharach’s marriage to Angie Dickinson had ended, but a new partnership with lyricist Carole Bayer Sager proved rewarding, both commercially and personally. The two married and collaborated on several major hits during the decade, including “Arthur’s Theme (Best That You Can Do)” (Christopher Cross), co-written with Cross and Peter Allen; “Heartlight” (Neil Diamond); “Making Love” (Roberta Flack); “On My Own” (Patti LaBelle with Michael McDonald.)

Another of their hits, “That’s What Friends Are For” in 1985, reunited Bacharach and Warwick. When asked about their coming together again, she explained:

We realized we were more than just friends. We were family. Time has a way of giving people the opportunity to grow and understand … Working with Burt is not a bit different from how it used to be. He expects me to deliver and I can. He knows what I’m going to do before I do it, and the same with me. That’s how intertwined we’ve been.

Other artists continued to revive Bacharach’s earlier hits in the 1980s and 1990s. Examples included Luther Vandross’ recording of “A House is Not a Home”; Naked Eyes’ 1983 pop hit version of “(There’s) Always Something There to Remind Me”, and Ronnie Milsap’s 1982 country version of “Any Day Now”. Bacharach continued a concert career, appearing at auditoriums throughout the world, often with large orchestras. He occasionally joined Warwick for sold-out concerts in Las Vegas, Los Angeles, and New York, where they performed at the Rainbow Room in 1996.

1990s and beyond

In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory, on which the compositions began to take on the sound of his earlier work. The duo later reunited for Costello’s 2018 album, Look Now, working on several tracks together.

In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley’s signature R&B style. Bacharach’s 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis Costello, Rufus Wainwright, and hip-hop producer Dr. Dre.

In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestra accompanied by guest vocalists Adele, Beth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single “Come In Ogni Ora”, which became a #4 hit.

In June 2015, Bacharach performed in the UK at the Glastonbury Festival, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch ‘What’s It All About? Bacharach Reimagined’, a 90-minute live arrangement of his hits.

In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer ). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at Capitol Studios. The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow. After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki — who had gone undiagnosed with Asperger syndrome, and who committed suicide at the age of 40. Bacharach asked Director John Asher to see the film and offered to score it. “It touched me very much,” the composer says. “I had gone through this with Nikki. Sometimes you do things that make you feel. It’s not about money or rewards.”

Though not known for political songs, Live To See Another Day was released in 2018. “Dedicated to survivors of school gun violence” proceeds for the release went to charity Sandy Hook Promise, a non-profit organization founded and led by several family members whose loved ones were killed at Sandy Hook Elementary School in 2012. A co-write with Rudy Pérez it also featured the Miami Symphony Orchestra.

On June 25, 2019, The New York Times Magazine listed Burt Bacharach among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

In July 2020, Bacharach collaborated with songwriter and multi-instrumentalist Daniel Tashian on the EP “Blue Umbrella”, Bacharach’s first new material in 15 years.

Film and television

Throughout the 1960s and 1970s, Bacharach was featured in a dozen television musical and variety specials videotaped in the UK for ITC; several were nominated for Emmy Awards for direction (by Dwight Hemion). The guests included artists such as Joel Grey, Dusty Springfield, Dionne Warwick, and Barbra Streisand. Bacharach and David did the score for an original musical for ABC-TV titled On the Flip Side, broadcast on ABC Stage 67, starring Ricky Nelson as a faded pop star trying for a comeback. While the ratings were dismal, the soundtrack showcased Bacharach’s abilities to try different kinds of musical styles, ranging from (almost) 1960s rock, to pop, ballads, and Latin-tinged dance numbers.

In 1969, Harry Betts arranged Bacharach’s instrumental composition “Nikki” (named for Bacharach’s daughter) into a new theme for the ABC Movie of the Week, a television series that ran on the U.S. network until 1976.

During the 1970s, Bacharach and then-wife Angie Dickinson appeared in several television commercials for Martini & Rossi beverages, and even penned a short jingle (“Say Yes”) for the spots. Bacharach also occasionally appeared on television/variety shows, such as The Merv Griffin Show, The Tonight Show Starring Johnny Carson, and many others.

In the 1990s and 2000s, Bacharach had cameo roles in Hollywood movies, including all three Austin Powers movies, inspired by his score for the 1967 James Bond parody film Casino Royale.

Bacharach appeared as a celebrity performer and guest vocal coach for contestants on the television show, “American Idol” during the 2006 season, during which an entire episode was dedicated to his music. In 2008, Bacharach featured in the BBC Electric Proms at The Roundhouse with the BBC Concert Orchestra. He performed similar shows in the same year at the Walt Disney Concert Hall and with the Sydney Symphony.

Musical style

Bacharach’s music is characterized by unusual chord progressions, influenced by jazz harmony, with striking syncopated rhythmic patterns, irregular phrasing, frequent modulation, and odd, changing meters. He arranged, conducted, and produced much of his recorded output. Though his style is sometimes called “easy listening”, he has expressed apprehension regarding that label. According to NJ.com contributor Mark Voger, “It may be easy on the ears, but it’s anything but easy. The precise arrangements, the on-a-dime shifts in meter, and the mouthfuls of lyrics required to service all those notes have, over the years, proven challenging to singers and musicians.” Bacharach’s selection of instruments included flugelhorns, bossa nova sidesticks, breezy flutes, molto fortissimo strings and cooing female voices.  According to editors of The Mojo Collection, it led to what became known as the “Bacharach Sound.” He explains:

I didn’t want to make the songs the same way as they’d been done, so I’d split vocals and instrumentals and try to make it interesting  … For me, it’s about the peaks and valleys of where a record can take you. You can tell a story and be able to be explosive one minute, then get quiet as kind of a satisfying resolution.

While he did not mind singing during live performances, he sought mostly to avoid it on records. When he did sing, he explains, “I [tried] to sing the songs not as a singer, but just interpreting it as a composer and interpreting a great lyric that Hal [David] wrote.”[ When performing in front of live audiences, he would often conduct while playing piano., as he did during a televised performance on The Hollywood Palace, where he played piano and conducted at the same time.

Personal life

Bacharach has been married four times. His first marriage was to Paula Stewart and lasted five years (1953–1958). His second marriage was to actress Angie Dickinson, lasting for 15 years (1965–1980). Bacharach and Dickinson had a daughter named Nikki Bacharach, who struggled with Asperger’s Syndrome and took her own life on January 4, 2007 at the age of 40.

Bacharach’s third marriage was to lyricist Carole Bayer Sager, which lasted nine years (1982–1991). Bacharach and Bayer Sager collaborated on a number of musical pieces and adopted a son named Cristopher. Bacharach married his fourth wife, Jane Hansen, in 1993; they have two children, a son named Oliver, and a daughter named Raleigh. His autobiography, Anyone Who Had a Heart, was published in 2013.

Honors and awards

  • 1969, Grammy Awards, Butch Cassidy And The Sundance Kid (1969) and Promises, Promises.
  • 1969, Academy Award, “Raindrops Keep Fallin’ On My Head.”
  • 1981, Academy Award and Golden Globe, “Arthur’s Theme (Best That You Can Do)”
  • 1997, Trustees Award from NARAS on the Grammy Awards broadcast.
  • 1997, subject of a PBS “Great Performances” biography, “Burt Bacharach: This is Now,”.
  • 1998, Grammy Award for the single “I Still Have That Other Girl,” in collaboration with Elvis Costello.
  • 2000, People magazine named him one of the “Sexiest Men Alive”, and one of the “50 Most Beautiful People” in 1999.
  • 2001, Polar Music Prize, presented in Stockholm by His Majesty King Carl XVI Gustaf of Sweden.
  • 2002, National Academy Of Recording Arts and Sciences (NARAS) New York Heroes Award.
  • 2005, GQ Magazine Inspiration Award.
  • 2006, George and Ira Gershwin Award for Musical Achievement from UCLA.
  • 2006, Thornton Legacy Award, USC; They also created the Burt Bacharach Music Scholarship at the Thornton School to support outstanding young musicians.
  • 2008, Grammy Lifetime Achievement Award, when he was proclaimed music’s “Greatest Living Composer.”
  • 2009, Bacharach received an honorary Doctorate of Music from Berklee College of Music. The award was presented to him during the Great American Songbook concert, which paid tribute to his music.
  • 2011, Gershwin Prize for Popular Song, with Hal David, awarded by the Library of Congress.

Television and film appearances

  • Analyze This
  • An Evening with Marlene Dietrich
  • Austin Powers: International Man of Mystery
  • Austin Powers: The Spy Who Shagged Me
  • Austin Powers in Goldmember
  • Marlene Dietrich: Her Own Song
  • Nip/Tuck
  • The Nanny

Lyrics


Beyonce Knowles

Key: Ab

Genre: General

Harp Type: Diatonic

Skill: Any

Beyoncé Giselle Knowles-Carter (/bˈjɒns/ bee-YON-say; born September 4, 1981) is an American singer, actress and record producer. Born and raised in Houston, Texas, Beyoncé performed in various singing and dancing competitions as a child. She rose to fame in the late 1990s as the lead singer of Destiny’s Child, one of the best-selling girl groups of all time. Beyoncé is often cited as an influence by other artists.

During Destiny’s Child’s hiatus, Beyoncé made her theatrical film debut with a role in the US box-office number-one Austin Powers in Goldmember (2002) and began her solo music career. She became the first music act to debut at number one with their first six solo studio albums on the Billboard 200. Her debut album Dangerously in Love (2003) featured four Billboard Hot 100 top five songs, including the number-one singles “Crazy in Love” featuring rapper Jay-Z and “Baby Boy” featuring singer-rapper Sean Paul. Following the disbandment of Destiny’s Child in 2006, she released her second solo album, B’Day, which contained her first US number-one solo single “Irreplaceable”, and “Beautiful Liar”, which topped the charts in most countries. Beyoncé continued her acting career with starring roles in The Pink Panther (2006), Dreamgirls (2006), and Obsessed (2009). Her marriage to Jay-Z and her portrayal of Etta James in Cadillac Records (2008) influenced her third album, I Am… Sasha Fierce (2008), which earned a record-setting six Grammy Awards in 2010. It spawned the UK number-one single “If I Were a Boy”, the US number-one single “Single Ladies (Put a Ring on It)” and the top five single “Halo”.

After splitting from her manager and father Mathew Knowles in 2010, Beyoncé released the album 4 (2011); it was influenced by 1970s funk, 1980s pop, and 1990s soul. She achieved back-to-back widespread critical acclaim for her sonically experimental visual albums, Beyoncé (2013) and Lemonade (2016); the latter was the world’s best-selling album of 2016 and the most acclaimed album of her career, exploring themes of infidelity and womanism. In 2018, she released Everything Is Love, a collaborative album with her husband, Jay-Z, as the Carters. As a featured artist, Beyoncé topped the Billboard Hot 100 with the remixes of “Perfect” by Ed Sheeran in 2017 and “Savage” by Megan Thee Stallion in 2020. The same year, she made her directorial and screenwriting debut with the musical film and visual album Black Is King, which received widespread critical acclaim after premiering on Disney+.

Beyoncé is one of the world’s best-selling recording artists, having sold 118 million records worldwide. Her success during the 2000s was recognized with the Recording Industry Association of America’s Top Certified Artist of the Decade, as well as Billboard magazine’s Top Radio Songs Artist and the Top Female Artist of the Decade. Beyoncé is the most nominated woman in the Grammy Award’s history and has the second most wins for a woman with a total of 24. She is also the most awarded artist at the MTV Video Music Awards, with 24 wins, including the Michael Jackson Video Vanguard Award. In 2014, she became the highest-earning Black musician in history and was listed among Time’s 100 most influential people in the world for a second year in a row. Forbes ranked her as the most powerful female in entertainment on their 2015 and 2017 lists. She occupied the sixth place for Time’s Person of the Year in 2016, and in 2020, was named one of the 100 women who defined the last century by the same publication. Beyoncé was also included on Encyclopædia Britannica’s 100 Women list in 2019, for her contributions to the entertainment industry.

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Life and career

1981–1996: Early life

Beyonce Giselle Knowles was born in Houston, Texas, to Celestine “Tina” Knowles (née Beyonce), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Her younger sister Solange Knowles is also a singer and a former backup dancer for Destiny’s Child. Solange and Beyoncé are the first sisters to have both had No. 1 albums. Mathew is African American, and Tina is of Louisiana Creole descent (French, Native American, and African), and distant Jewish, Spanish, Chinese and Indonesian ancestry. Through her mother, Beyoncé is a descendant of Acadian leader Joseph Broussard,[20] as well as a descendant of Jean-Vincent d’Abbadie de Saint-Castin. In 2018, Beyoncé researched her ancestry and found out that she is descended from a slaveowner.

Beyoncé attended St. Mary’s Montessori School in Houston, where she enrolled in dance classes. Her singing talent was discovered when dance instructor Darlette Johnson began humming a song and she finished it, able to hit the high-pitched notes. Beyoncé’s interest in music and performing continued after winning a school talent show at age seven, singing John Lennon’s “Imagine” to beat 15/16-year-olds. In the fall of 1990, Beyoncé enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform with the school’s choir.  She also attended the High School for the Performing and Visual Arts[31] and later Alief Elsik High School. Beyoncé was also a member of the choir at St. John’s United Methodist Church as a soloist for two years.

When Beyoncé was eight, she and childhood friend Kelly Rowland met LaTavia Roberson while at an audition for an all-girl entertainment group. They were placed into a group called Girl’s Tyme with three other girls, and rapped and danced on the talent show circuit in Houston. After seeing the group, R&B producer Arne Frager brought them to his Northern California studio and placed them in Star Search, the largest talent show on national TV at the time. Girl’s Tyme failed to win, and Beyoncé later said the song they performed was not good. In 1995 Beyoncé’s father resigned from his job to manage the group. The move reduced Beyoncé’s family’s income by half, and her parents were forced to move into separated apartments. Mathew cut the original line-up to four and the group continued performing as an opening act for other established R&B girl groups. The girls auditioned before record labels and were finally signed to Elektra Records, moving to Atlanta Records briefly to work on their first recording, only to be cut by the company. This put further strain on the family, and Beyoncé’s parents separated. On October 5, 1995, Dwayne Wiggins’s Grass Roots Entertainment signed the group. In 1996, the girls began recording their debut album under an agreement with Sony Music, the Knowles family reunited, and shortly after, the group got a contract with Columbia Records.

1997–2002: Destiny’s Child

The group changed their name to Destiny’s Child in 1996, based upon a passage in the Book of Isaiah. In 1997, Destiny’s Child released their major label debut song “Killing Time” on the soundtrack to the 1997 film Men in Black. In November, the group released their debut single and first major hit, “No, No, No”. They released their self-titled debut album in February 1998, which established the group as a viable act in the music industry, with moderate sales and winning the group three Soul Train Lady of Soul Awards for Best R&B/Soul Album of the Year, Best R&B/Soul or Rap New Artist, and Best R&B/Soul Single for “No, No, No”. The group released their Multi-Platinum second album The Writing’s on the Wall in 1999. The record features some of the group’s most widely known songs such as “Bills, Bills, Bills”, the group’s first number-one single, “Jumpin’ Jumpin’” and “Say My Name”, which became their most successful song at the time, and would remain one of their signature songs. “Say My Name” won the Best R&B Performance by a Duo or Group with Vocals and the Best R&B Song at the 43rd Annual Grammy Awards. The Writing’s on the Wall sold more than eight million copies worldwide. During this time, Beyoncé recorded a duet with Marc Nelson, an original member of Boyz II Men, on the song “After All Is Said and Done” for the soundtrack to the 1999 film, The Best Man.

LeToya Luckett and Roberson became unhappy with Mathew’s managing of the band and eventually were replaced by Farrah Franklin and Michelle Williams. Beyoncé experienced depression following the split with Luckett and Roberson after being publicly blamed by the media, critics, and blogs for its cause. Her long-standing boyfriend left her at this time. The depression was so severe it lasted for a couple of years, during which she occasionally kept herself in her bedroom for days and refused to eat anything. Beyoncé stated that she struggled to speak about her depression because Destiny’s Child had just won their first Grammy Award, and she feared no one would take her seriously. Beyoncé would later speak of her mother as the person who helped her fight it. Franklin was then dismissed, leaving just Beyoncé, Rowland, and Williams.

The remaining band members recorded “Independent Women Part I”, which appeared on the soundtrack to the 2000 film Charlie’s Angels. It became their best-charting single, topping the U.S. Billboard Hot 100 chart for eleven consecutive weeks. In early 2001, while Destiny’s Child was completing their third album, Beyoncé landed a major role in the MTV made-for-television film, Carmen: A Hip Hopera, starring alongside American actor Mekhi Phifer. Set in Philadelphia, the film is a modern interpretation of the 19th-century opera Carmen by French composer Georges Bizet. When the third album Survivor was released in May 2001, Luckett and Roberson filed a lawsuit claiming that the songs were aimed at them. The album debuted at number one on the U.S. Billboard 200, with first-week sales of 663,000 copies sold. The album spawned other number-one hits, “Bootylicious” and the title track, “Survivor”, the latter of which earned the group a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. After releasing their holiday album 8 Days of Christmas in October 2001, the group announced a hiatus to further pursue solo careers.

In July 2002, Beyoncé made her theatrical film debut, playing Foxxy Cleopatra alongside Mike Myers in the comedy film Austin Powers in Goldmember, which spent its first weekend atop the US box office and grossed $73 million. Beyoncé released “Work It Out” as the lead single from its soundtrack album which entered the top ten in the UK, Norway, and Belgium. In 2003, Beyoncé starred opposite Cuba Gooding, Jr., in the musical comedy The Fighting Temptations as Lilly, a single mother with whom Gooding’s character falls in love. The film received mixed reviews from critics but grossed $30 million in the U.S. Beyoncé released “Fighting Temptation” as the lead single from the film’s soundtrack album, with Missy Elliott, MC Lyte, and Free which was also used to promote the film. Another of Beyoncé’s contributions to the soundtrack, “Summertime”, fared better on the US charts.

2003–2005: Dangerously in Love and Destiny Fulfilled

Beyoncé’s first solo recording was a feature on Jay-Z’s song “’03 Bonnie & Clyde” that was released in October 2002, peaking at number four on the U.S. Billboard Hot 100 chart.[58] On June 14, 2003, Beyoncé premiered songs from her first solo album Dangerously in Love during her first solo concert and the pay-per-view television special, “Ford Presents Beyoncé Knowles, Friends & Family, Live From Ford’s 100th Anniversary Celebration in Dearborn, Michigan.”[59] The album was released on June 24, 2003, after Michelle Williams and Kelly Rowland had released their solo efforts. The album sold 317,000 copies in its first week, debuted atop the Billboard 200,[61] and has since sold 11 million copies worldwide. The album’s lead single, “Crazy in Love”, featuring Jay-Z, became Beyoncé’s first number-one single as a solo artist in the US. The single “Baby Boy” also reached number one,  and singles, “Me, Myself and I” and “Naughty Girl”, both reached the top-five. The album earned Beyoncé a then record-tying five awards at the 46th Annual Grammy Awards; Best Contemporary R&B Album, Best Female R&B Vocal Performance for “Dangerously in Love 2”, Best R&B Song and Best Rap/Sung Collaboration for “Crazy in Love”, and Best R&B Performance by a Duo or Group with Vocals for “The Closer I Get to You” with Luther Vandross. During the ceremony, she performed with Prince.

In November 2003, she embarked on the Dangerously in Love Tour in Europe and later toured alongside Missy Elliott and Alicia Keys for the Verizon Ladies First Tour in North America. On February 1, 2004, Beyoncé performed the American national anthem at Super Bowl XXXVIII, at the Reliant Stadium in Houston, Texas. After the release of Dangerously in Love, Beyoncé had planned to produce a follow-up album using several of the left-over tracks. However, this was put on hold so she could concentrate on recording Destiny Fulfilled, the final studio album by Destiny’s Child.[68] Released on November 15, 2004, in the US and peaking at number two on the Billboard 200, Destiny Fulfilled included the singles “Lose My Breath” and “Soldier”, which reached the top five on the Billboard Hot 100 chart.[ Destiny’s Child embarked on a worldwide concert tour, Destiny Fulfilled… and Lovin’ It sponsored by McDonald’s Corporation, and performed hits such as “No, No, No”, “Survivor”, “Say My Name”, “Independent Women” and “Lose My Breath”. In addition to renditions of the group’s recorded material, they also performed songs from each singer’s solo careers, most notably numbers from Dangerously in Love. and during the last stop of their European tour, in Barcelona on June 11, 2005, Rowland announced that Destiny’s Child would disband following the North American leg of the tour. The group released their first compilation album Number 1’s on October 25, 2005, in the US and accepted a star on the Hollywood Walk of Fame in March 2006. The group has sold 60 million records worldwide.

2006–2007: B’Day and Dreamgirls

Beyoncé’s second solo album B’Day was released on September 4, 2006, in the US, to coincide with her twenty-fifth birthday. It sold 541,000 copies in its first week and debuted atop the Billboard 200, becoming Beyoncé’s second consecutive number-one album in the United States.[80] The album’s lead single “Déjà Vu”, featuring Jay-Z, reached the top five on the Billboard Hot 100 chart. The second international single “Irreplaceable” was a commercial success worldwide, reaching number one in Australia, Hungary, Ireland, New Zealand and the United States. B’Day also produced three other singles; “Ring the Alarm”, “Get Me Bodied”, and “Green Light” (released in the United Kingdom only).

At the 49th Annual Grammy Awards (2007), B’Day was nominated for five Grammy Awards, including Best Contemporary R&B Album, Best Female R&B Vocal Performance for “Ring the Alarm” and Best R&B Song and Best Rap/Sung Collaboration”for “Déjà Vu”; the Freemasons club mix of “Déjà Vu” without the rap was put forward in the Best Remixed Recording, Non-Classical category. B’Day won the award for Best Contemporary R&B Album. The following year, B’Day received two nominations – for Record of the Year for “Irreplaceable” and Best Pop Collaboration with Vocals for “Beautiful Liar” (with Shakira), also receiving a nomination for Best Compilation Soundtrack Album for Motion Pictures, Television or Other Visual Media for her appearance on Dreamgirls: Music from the Motion Picture (2006).

Her first acting role of 2006 was in the comedy film The Pink Panther starring opposite Steve Martin, grossing $158.8 million at the box office worldwide.[88] Her second film Dreamgirls, the film version of the 1981 Broadway musical loosely based on The Supremes, received acclaim from critics and grossed $154 million internationally. In it, she starred opposite Jennifer Hudson, Jamie Foxx, and Eddie Murphy playing a pop singer based on Diana Ross. To promote the film, Beyoncé released “Listen” as the lead single from the soundtrack album. In April 2007, Beyoncé embarked on The Beyoncé Experience, her first worldwide concert tour, visiting 97 venues  and grossed over $24 million.[note 1] Beyoncé conducted pre-concert food donation drives during six major stops in conjunction with her pastor at St. John’s and America’s Second Harvest. At the same time, B’Day was re-released with five additional songs, including her duet with Shakira “Beautiful Liar”.

2008–2010: I Am… Sasha Fierce

I Am… Sasha Fierce was released on November 18, 2008, in the United States. The album formally introduces Beyoncé’s alter ego Sasha Fierce, conceived during the making of her 2003 single “Crazy in Love”. It was met with generally mediocre reviews from critics, but sold 482,000 copies in its first week, debuting atop the Billboard 200, and giving Beyoncé her third consecutive number-one album in the US. The album featured the number-one song “Single Ladies (Put a Ring on It)”  and the top-five songs “If I Were a Boy” and “Halo”. Achieving the accomplishment of becoming her longest-running Hot 100 single in her career, “Halo”‘s success in the US helped Beyoncé attain more top-ten singles on the list than any other woman during the 2000s. It also included the successful “Sweet Dreams”, and singles “Diva”, “Ego”, “Broken-Hearted Girl” and “Video Phone”. The music video for “Single Ladies” has been parodied and imitated around the world, spawning the “first major dance craze” of the Internet age according to the Toronto Star. The video has won several awards, including Best Video at the 2009 MTV Europe Music Awards, the 2009 Scottish MOBO Awards, and the 2009 BET Awards. At the 2009 MTV Video Music Awards, the video was nominated for nine awards, ultimately winning three including Video of the Year. Its failure to win the Best Female Video category, which went to American singer-songwriter Taylor Swift’s “You Belong with Me”, led to Kanye West interrupting the ceremony and Beyoncé improvising a re-presentation of Swift’s award during her own acceptance speech. In March 2009, Beyoncé embarked on the I Am… World Tour, her second headlining worldwide concert tour, consisting of 108 shows, grossing $119.5 million.

Beyoncé further expanded her acting career, starring as blues singer Etta James in the 2008 musical biopic Cadillac Records. Her performance in the film received praise from critics, and she garnered several nominations for her portrayal of James, including a Satellite Award nomination for Best Supporting Actress, and a NAACP Image Award nomination for Outstanding Supporting Actress. Beyoncé donated her entire salary from the film to Phoenix House, an organization of rehabilitation centers for heroin addicts around the country. On January 20, 2009, Beyoncé performed James’ “At Last” at First Couple Barack and Michelle Obama’s first inaugural ball. Beyoncé starred opposite Ali Larter and Idris Elba in the thriller, Obsessed. She played Sharon Charles, a mother and wife whose family is threatened by her husband’s stalker. Although the film received negative reviews from critics,  the movie did well at the US box office, grossing $68 million—$60 million more than Cadillac Records —on a budget of $20 million. The fight scene finale between Sharon and the character played by Ali Larter also won the 2010 MTV Movie Award for Best Fight.

At the 52nd Annual Grammy Awards, Beyoncé received ten nominations, including Album of the Year for I Am… Sasha Fierce, Record of the Year for “Halo”, and Song of the Year for “Single Ladies (Put a Ring on It)”, among others.  She tied with Lauryn Hill for most Grammy nominations in a single year by a female artist. Beyoncé went on to win six of those nominations, breaking a record she previously tied in 2004 for the most Grammy awards won in a single night by a female artist with six. In 2010, Beyoncé was featured on Lady Gaga’s single “Telephone” and appeared in its music video. The song topped the US Pop Songs chart, becoming the sixth number-one for both Beyoncé and Gaga, tying them with Mariah Carey for most number-ones since the Nielsen Top 40 airplay chart launched in 1992. “Telephone” received a Grammy Award nomination for Best Pop Collaboration with Vocals.

Beyoncé announced a hiatus from her music career in January 2010, heeding her mother’s advice, “to live life, to be inspired by things again”. During the break she and her father parted ways as business partners.[ Beyoncé’s musical break lasted nine months and saw her visit multiple European cities, the Great Wall of China, the Egyptian pyramids, Australia, English music festivals and various museums and ballet performances.

2011–2013: 4 and documentary film

On June 26, 2011, she became the first solo female artist to headline the main Pyramid stage at the 2011 Glastonbury Festival in over twenty years. Her fourth studio album 4 was released two days later in the US. 4 sold 310,000 copies in its first week and debuted atop the Billboard 200 chart, giving Beyoncé her fourth consecutive number-one album in the US. The album was preceded by two of its singles “Run the World (Girls)” and “Best Thing I Never Had”. The fourth single “Love on Top” spent seven consecutive weeks at number one on the Hot R&B/Hip-Hop Songs chart, while peaking at number 20 on the Billboard Hot 100, the highest peak from the album. 4 also produced four other singles; “Party”, “Countdown”, “I Care” and “End of Time”. “Eat, Play, Love”, a cover story written by Beyoncé for Essence that detailed her 2010 career break, won her a writing award from the New York Association of Black Journalists. In late 2011, she took the stage at New York’s Roseland Ballroom for four nights of special performances: the 4 Intimate Nights with Beyoncé concerts saw the performance of her 4 album to a standing room only. On August 1, 2011, the album was certified platinum by the Recording Industry Association of America (RIAA), having shipped 1 million copies to retail stores. By December 2015, it reached sales of 1.5 million copies in the US. The album reached one billion Spotify streams on February 5, 2018, making Beyoncé the first female artist to have three of their albums surpass one billion streams on the platform.

In June 2012, she performed for four nights at Revel Atlantic City’s Ovation Hall to celebrate the resort’s opening, her first performances since giving birth to her daughter.

In January 2013, Destiny’s Child released Love Songs, a compilation album of the romance-themed songs from their previous albums and a newly recorded track, “Nuclear”. Beyoncé performed the American national anthem singing along with a pre-recorded track at President Obama’s second inauguration in Washington, D.C. The following month, Beyoncé performed at the Super Bowl XLVII halftime show, held at the Mercedes-Benz Superdome in New Orleans. The performance stands as the second most tweeted about moment in history at 268,000 tweets per minute. At the 55th Annual Grammy Awards, Beyoncé won for Best Traditional R&B Performance for “Love on Top”. Her feature-length documentary film, Life Is But a Dream, first aired on HBO on February 16, 2013.  The film was co-directed by Beyoncé herself.

2013–2015: Beyoncé

Beyoncé embarked on The Mrs. Carter Show World Tour on April 15 in Belgrade, Serbia; the tour included 132 dates that ran through to March 2014. It became the most successful tour of her career and one of the most successful tours of all time. In May, Beyoncé’s cover of Amy Winehouse’s “Back to Black” with André 3000 on The Great Gatsby soundtrack was released. Beyoncé voiced Queen Tara in the 3D CGI animated film, Epic, released by 20th Century Fox on May 24,  and recorded an original song for the film, “Rise Up”, co-written with Sia.

On December 13, 2013, Beyoncé unexpectedly released her eponymous fifth studio album on the iTunes Store without any prior announcement or promotion. The album debuted atop the Billboard 200 chart, giving Beyoncé her fifth consecutive number-one album in the US. This made her the first woman in the chart’s history to have her first five studio albums debut at number one. Beyoncé received critical acclaim and commercial success, selling one million digital copies worldwide in six days; Musically an electro-R&B album, it concerns darker themes previously unexplored in her work, such as “bulimia, postnatal depression [and] the fears and insecurities of marriage and motherhood”. The single “Drunk in Love”, featuring Jay-Z, peaked at number two on the Billboard Hot 100 chart.

In April 2014, after much speculation,[162] Beyoncé and Jay-Z officially announced their On the Run Tour. It served as the couple’s first co-headlining stadium tour together. On August 24, 2014, she received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards. Beyoncé also won home three competitive awards: Best Video with a Social Message and Best Cinematography for “Pretty Hurts”, as well as best collaboration for “Drunk in Love”. In November, Forbes reported that Beyoncé was the top-earning woman in music for the second year in a row—earning $115 million in the year, more than double her earnings in 2013. Beyoncé was reissued with new material in three forms: as an extended play, a box set, as well as a full platinum edition. According to the International Federation of the Phonographic Industry (IFPI), in the last 19 days of 2013, the album sold 2.3 million units worldwide, becoming the tenth best-selling album of 2013. The album also went on to become the twentieth best-selling album of 2014. As of November 2014, Beyoncé has sold over 5 million copies worldwide and has generated over 1 billion streams, as of March 2015.

At the 57th Annual Grammy Awards in February 2015, Beyoncé was nominated for six awards, ultimately winning three: Best R&B Performance and Best R&B Song for “Drunk in Love”, and Best Surround Sound Album for Beyoncé. She was nominated for Album of the Year, but the award went to Beck for his album Morning Phase.

2016–2018: Lemonade and Everything Is Love

On February 6, 2016, Beyoncé released “Formation” and its accompanying music video exclusively on the music streaming platform Tidal; the song was made available to download for free. She performed “Formation” live for the first time during the NFL Super Bowl 50 halftime show. The appearance was considered controversial as it appeared to reference the 50th anniversary of the Black Panther Party and the NFL forbids political statements in its performances. Immediately following the performance, Beyoncé announced The Formation World Tour, which highlighted stops in both North America, and Europe. It ended on October 7, with Beyoncé bringing out her husband Jay-Z, Kendrick Lamar, and Serena Williams for the last show. The tour went on to win Tour of the Year at the 44th American Music Awards.

On April 16, 2016, Beyoncé released a teaser clip for a project called Lemonade. It turned out to be a one-hour film which aired on HBO exactly a week later; a corresponding album with the same title was released on the same day exclusively on Tidal. Lemonade debuted at number one on the US Billboard 200, making Beyoncé the first act in Billboard history to have their first six studio albums debut atop the chart; she broke a record previously tied with DMX in 2013. With all 12 tracks of Lemonade debuting on the Billboard Hot 100 chart, Beyoncé also became the first female act to chart 12 or more songs at the same time. Additionally, Lemonade was streamed 115 million times through Tidal, setting a record for the most-streamed album in a single week by a female artist in history. It was 2016’s third highest-selling album in the US with 1.554 million copies sold in that time period within the country as well as the best-selling album worldwide with global sales of 2.5 million throughout the year. In June 2019, Lemonade was certified 3× Platinum, having sold up to 3 million album-equivalent units in the United States alone.

Lemonade became her most critically acclaimed work to date, receiving universal acclaim according to Metacritic, a website collecting reviews from professional music critics. Several music publications included the album among the best of 2016, including Rolling Stone, which listed Lemonade at number one. The album’s visuals were nominated in 11 categories at the 2016 MTV Video Music Awards, the most ever received by Beyoncé in a single year, and went on to win 8 awards, including Video of the Year for “Formation”.  The eight wins made Beyoncé the most awarded artist in the history of the VMAs (24), surpassing Madonna (20). Beyoncé occupied the sixth place for Time magazine’s 2016 Person of the Year.

In January 2017, it was announced that Beyoncé would headline the Coachella Music and Arts Festival. This would make Beyoncé only the second female headliner of the festival since it was founded in 1999. It was later announced on February 23, 2017 that Beyoncé would no longer be able to perform at the festival due to doctor’s concerns regarding her pregnancy. The festival owners announced that she will instead headline the 2018 festival. Upon the announcement of Beyoncé’s departure from the festival lineup, ticket prices dropped by 12%.

At the 59th Grammy Awards in February 2017, Lemonade led the nominations with nine, including Album, Record, and Song of the Year for Lemonade and “Formation” respectively. and ultimately won two, Best Urban Contemporary Album for Lemonade and Best Music Video for “Formation”.[196] Adele, upon winning her Grammy for Album of the Year, stated Lemonade was monumental and more deserving.

In September 2017, Beyoncé collaborated with J Balvin and Willy William, to release a remix of the song “Mi Gente”. Beyoncé donated all proceeds from the song to hurricane charities for those affected by Hurricane Harvey and Hurricane Irma in Texas, Mexico, Puerto Rico, and other Caribbean Islands.

On November 10, Eminem released “Walk on Water” featuring Beyoncé as the lead single from his album Revival. On November 30, Ed Sheeran announced that Beyoncé would feature on the remix to his song “Perfect”. “Perfect Duet” was released on December 1, 2017. The song reached number-one in the United States, becoming Beyoncé’s sixth song of her solo career to do so.

On January 4, 2018, the music video of Beyoncé and Jay-Z’s 4:44 collaboration, “Family Feud” was released. It was directed by Ava DuVernay. On March 1, 2018, DJ Khaled released “Top Off” as the first single from his forthcoming album Father of Asahd featuring Beyoncé, husband Jay-Z, and Future. On March 5, 2018, a joint tour with Knowles’ husband Jay-Z, was leaked on Facebook. Information about the tour was later taken down. The couple announced the joint tour officially as On the Run II Tour on March 12 and simultaneously released a trailer for the tour on YouTube. On March 20, 2018, the couple traveled to Jamaica to film a music video directed by Melina Matsoukas.

On April 14, 2018, Beyoncé played the first of two weekends as the headlining act of the Coachella Music Festival. Her performance of April 14, attended by 125,000 festival-goers, was immediately praised, with multiple media outlets describing it as historic. The performance became the most-tweeted-about performance of weekend one, as well as the most-watched live Coachella performance and the most-watched live performance on YouTube of all time. The show paid tribute to black culture, specifically historically black colleges and universities and featured a live band with over 100 dancers. Destiny’s Child also reunited during the show.

On June 6, 2018, Beyoncé and husband Jay-Z kicked-off the On the Run II Tour in Cardiff, United Kingdom. Ten days later, at their final London performance, the pair unveiled Everything Is Love, their joint studio album, credited under the name The Carters, and initially available exclusively on Tidal. The pair also released the video for the album’s lead single, “Apeshit”, on Beyoncé’s official YouTube channel. Everything Is Love received generally positive reviews, and debuted at number two on the US Billboard 200, with 123,000 album-equivalent units, of which 70,000 were pure album sales. On December 2, 2018, Beyoncé alongside Jay-Z headlined the Global Citizen Festival: Mandela 100 which was held at FNB Stadium in Johannesburg, South Africa. Their 2-hour performance had concepts similar to the On the Run II Tour and Beyoncé was praised for her outfits, which paid tribute to Africa’s diversity.

2019–present: Homecoming, The Lion King and Black Is King

 

Homecoming, a documentary and concert film focusing on Beyoncé’s historic 2018 Coachella performances, was released by Netflix on April 17, 2019. The film was accompanied by the surprise live album Homecoming: The Live Album. It was later reported that Beyoncé and Netflix had signed a $60 million deal to produce three different projects, one of which is Homecoming. Homecoming received six nominations at the 71st Primetime Creative Arts Emmy Awards.

Beyoncé starred as the voice of Nala in the remake The Lion King, which was released on July 19, 2019. Beyoncé is featured on the film’s soundtrack, released on July 11, 2019, with a remake of the song “Can You Feel the Love Tonight” alongside Donald Glover, Billy Eichner and Seth Rogen, which was originally composed by Elton John. Additionally, an original song from the film by Beyoncé, “Spirit”, was released as the lead single from both the soundtrack and The Lion King: The Gift – a companion album released alongside the film, produced and curated by Beyoncé. Beyoncé called The Lion King: The Gift a “sonic cinema.” She also stated that the album is influenced by everything from R&B, pop, hip hop and Afro Beat. The songs were additionally produced by African producers, which Beyoncé said was because “authenticity and heart were important to [her],” since the film is set in Africa. In September of the same year, a documentary chronicling the development, production and early music video filming of The Lion King: The Gift entitled “Beyoncé Presents: Making The Gift” was aired on ABC.

During an interview for The Wall Street Journal, published in February 2020, Beyoncé’s mother, Tina Knowles, revealed that the singer had borrowed some of her art pieces for a new project already in development. On April 29, 2020, Beyoncé was featured on the remix of Megan Thee Stallion’s song “Savage”, marking her first material of music for the year, the song peaked at number one on the Billboard Hot 100, marking Beyoncé’s eleventh song to do so across all acts.  On June 19, 2020, Beyoncé released the nonprofit charity single “Black Parade”. On June 23, she followed up the release of its studio version with an a capella version exclusively on Tidal.  Black Is King, a visual album based on the music of The Lion King: The Gift, premiered globally on Disney+ on July 31, 2020. Produced by Disney and Parkwood Entertainment, the film was written, directed and executive produced by Beyoncé. The film was described by Disney as “a celebratory memoir for the world on the Black experience”.

Artistry

Voice and musical style

Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as “one of the most compelling instruments in popular music”. Her vocal abilities mean she is identified as the centerpiece of Destiny’s Child. Jon Pareles of The New York Times commented that her voice is “velvety yet tart, with an insistent flutter and reserves of soul belting”. Rosen notes that the hip hop era highly influenced Beyoncé’s unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was “capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars.”

Beyoncé’s music is generally R&B,[ and hip hop but she also incorporates soul and funk into her songs. 4 demonstrated Beyoncé’s exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyoncé recorded several Spanish songs for Irreemplazable (re-recordings of songs from B’Day for a Spanish-language audience), and the re-release of B’Day. To record these, Beyoncé was coached phonetically by American record producer Rudy Perez.

Songwriting credits

Beyoncé has received co-writing credits for most of the songs recorded with Destiny’s Child and nearly all the original songs she has recorded solo, but no sole writing credit. Her early songs were personally driven and female-empowerment themed compositions like “Independent Women” and “Survivor”, but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as “Cater 2 U”. Beyoncé also received co-producing credits for Dangerously in Love, although she did not formulate beats herself and instead came up with melodies and ideas during production, sharing them with producers.

In 2001, she became the first Black woman and second female lyricist to win the Pop Songwriter of the Year award at the ASCAP Pop Music Awards. Beyoncé was the third woman to have writing credits on three number-one songs (“Irreplaceable”, “Grillz” and “Check on It”) in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine songwriting credits on number-one singles. (The latter wrote her 9/11-motivated song “I Was Here” for 4. ) In May 2011, Billboard magazine listed Beyoncé at number 17 on their list of the Top 20 Hot 100 Songwriters for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.

Beyoncé has long received criticism, including from journalists and musicians, for the extensive writing credits on her songs. The controversy surrounding her songwriting credits began with interviews in which she attributed herself as the songwriter for songs in which she was a co-writer or for which her contributions were marginal. In a cover story for Vanity Fair in 2005, she claimed to have “written” several number-one songs for Destiny’s Child, contrary to the credits, which list her as a co-writer among others. In a 2007 interview with Barbara Walters, she claimed to have conceived the musical idea for the Destiny’s Child hit “Bootylicious”, which provoked the song’s producer Rob Fusari to call her father and then-manager Mathew Knowles in protest over the claim. As Fusari tells Billboard, “[Knowles] explained to me, in a nice way, he said, ‘People don’t want to hear about Rob Fusari, producer from Livingston, N.J. No offense, but that’s not what sells records. What sells records is people believing that the artist is everything.’” However, in an interview for Entertainment Weekly in 2016, Fusari said Beyoncé “had the ‘Bootylicious’ concept in her head. That was totally her. She knew what she wanted to say. It was very urban pop angle that they were taking on the record.”

In 2007, the Academy of Motion Picture Arts and Sciences ruled out Beyoncé as a songwriter on “Listen” (from Dreamgirls) for its Oscar nomination in the Best Original Song category. Responding to a then-new three-writer limit, the Academy deemed her contribution the least significant for inclusion. In 2009, Ryan Tedder’s original demo for “Halo” leaked on the Internet, revealing an identical resemblance to Beyoncé’s recording, for which she received a writing credit. When interviewed by The Guardian, Tedder explained that Beyoncé had edited the bridge of the song vocally and thus earned the credit, although he vaguely questioned the ethics of her possible “demand” for a writing credit in other instances. Tedder elaborated when speaking to Gigwise that “She does stuff on any given song that, when you go from the demo to the final version, takes it to another level that you never would have thought of as the writer. For instance, on ‘Halo,’ that bridge on her version is completely different to my original one. Basically, she came in, ditched that, edited it, did her vocal thing on it, and now it’s become one of my favorite parts of the song. The whole melody, she wrote it spontaneously in the studio. So her credit on that song stems from that.”  In 2014, the popular industry songwriter Linda Perry responded to a question about Beyoncé receiving a co-writing credit for changing one lyric to a song: “Well haha um that’s not songwriting but some of these artists believe if it wasn’t for them your song would never get out there so they take a cut just because they are who they are. But everyone knows the real truth about Beyoncé. She is talented but in a completely different way.” Perry’s remarks were echoed by Frank Ocean, who acknowledged the trend of recording artists forcing writing credits while jokingly suggesting Beyoncé had an exceptional status.

Reflecting on the controversy, Sunday Independent columnist Alexis Kritselis wrote in 2014, “It seems as though our love for all things Beyoncé has blinded us to the very real claims of theft and plagiarism that have plagued her career for years”, and that, “because of her power and influence in the music industry, it may be hard for some songwriters to ‘just say no’ to Beyoncé.” While reporting on her controversial writing record, pop culture critics such as Roger Friedman and The Daily Beast’s Kevin Fallon said the trend has redefined popular conceptions of songwriting, with Fallon saying, “the village of authors and composers that populate Lemonade, [Kanye West’]s Life of Pablo, [Rihanna’s] Anti, or [Drake’s] Views—all of which are still reflective of an artist’s voice and vision … speaks to the truth of the way the industry’s top artists create their music today: by committee.” James S. Murphy of Vanity Fair suggests Beyoncé is among the major artists like Frank Sinatra and Billie Holiday who are “celebrated [not] because [they] write such good parts, but because [they] create them out of the words that are given”.

Meanwhile, Everything Is Love producers Cool & Dre stated that Beyoncé is “100 percent involved” in writing her own songs, with Dre saying that “She put her mind to the music and did her thing. If she had a melody idea, she came up with the words. If we had the words, she came up with the melody. She’s a beast,” when speaking on the writing process of Everything Is Love. Ne-Yo, when asked about his collaborative writing experience with Beyoncé on “Irreplaceable,” said that they both wrote “two damn totally different songs […] So, yeah, I gave her writer’s credit. Because that counts. That’s writing…. She put her spin on it.”

Influences

Beyoncé names Michael Jackson as her major musical influence.  Aged five, Beyoncé attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyoncé said, “if it wasn’t for Michael Jackson, I would never ever have performed.” She admires Diana Ross as an “all-around entertainer”. Beyoncé was heavily influenced by Tina Turner, who she said “Tina Turner is someone that I admire, because she made her strength feminine and sexy”. and Whitney Houston, who she said “inspired me to get up there and do what she did.” She credits Mariah Carey’s singing and her song “Vision of Love” as influencing her to begin practicing vocal runs as a child. Her other musical influences include Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Anita Baker, and Rachelle Ferrell.

The feminism and female empowerment themes on Beyoncé’s second solo album B’Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyoncé paid homage to Baker by performing “Déjà Vu” at the 2006 Fashion Rocks concert wearing Baker’s trademark mini-hula skirt embellished with fake bananas. Beyoncé’s third solo album, I Am… Sasha Fierce, was inspired by Jay-Z and especially by Etta James, whose “boldness” inspired Beyoncé to explore other musical genres and styles.  Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince.

Beyoncé has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying “she proves you can do it all,” and has described Oprah Winfrey as “the definition of inspiration and a strong woman.” She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyoncé has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter “what I find in the work of Jean-Michel Basquiat, I search for in every day in music … he is lyrical and raw”. In February 2013, Beyoncé said that Madonna inspired her to take control of her own career. She commented, “I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.” Beyoncé also cited Cher as a fashion inspiration.

Music videos and stage

In 2006, Beyoncé introduced her all-female tour band Suga Mama (also the name of a song on B’Day) which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. Her background singers, The Mamas, consist of Montina Cooper-Donnell, Crystal Collins and Tiffany Moniqué Riddick. They made their debut appearance at the 2006 BET Awards and re-appeared in the music videos for “Irreplaceable” and “Green Light”. The band have supported Beyoncé in most subsequent live performances, including her 2007 concert tour The Beyoncé Experience, I Am… World Tour (2009–2010), The Mrs. Carter Show World Tour (2013–2014) and The Formation World Tour (2016).

Beyoncé has received praise for her stage presence and voice during live performances. Jarett Wieselman of the New York Post placed her at number one on her list of the Five Best Singer/Dancers. According to Barbara Ellen of The Guardian Beyoncé is the most in-charge female artist she’s seen onstage,  while Alice Jones of The Independent wrote she “takes her role as entertainer so seriously she’s almost too good.” The ex-President of Def Jam L.A. Reid has described Beyoncé as the greatest entertainer alive. Jim Farber of the Daily News and Stephanie Classen of The StarPhoenix both praised her strong voice and her stage presence. Beyoncé’s stage outfits have been met with criticism from many countries, such as Malaysia, where she has postponed or cancelled performances due to the country’s strict laws banning revealing costumes.

Beyoncé has worked with numerous directors for her music videos throughout her career, including Melina Matsoukas, Jonas Åkerlund, and Jake Nava. Bill Condon, director of Beauty and the Beast, stated that the Lemonade visuals in particular served as inspiration for his film, commenting, “You look at Beyoncé’s brilliant movie Lemonade, this genre is taking on so many different forms … I do think that this very old-school break-out-into-song traditional musical is something that people understand again and really want.”

Alter ego

Described as being “sexy, seductive and provocative” when performing on stage, Beyoncé has said that she originally created the alter ego “Sasha Fierce” to keep that stage persona separate from who she really is. She described Sasha as being “too aggressive, too strong, too sassy [and] too sexy”, stating, “I’m not like her in real life at all.” Sasha was conceived during the making of “Crazy in Love”, and Beyoncé introduced her with the release of her 2008 album, I Am… Sasha Fierce. In February 2010, she announced in an interview with Allure magazine that she was comfortable enough with herself to no longer need Sasha Fierce. However, Beyoncé announced in May 2012 that she would bring her back for her Revel Presents: Beyoncé Live shows later that month.

Public image

Beyoncé has been described as having a wide-ranging sex appeal, with music journalist Touré writing that since the release of Dangerously in Love, she has “become a crossover sex symbol”. Offstage Beyoncé says that while she likes to dress sexily, her onstage dress “is absolutely for the stage.” Due to her curves and the term’s catchiness, in the 2000s (decade), the media often used the term “Bootylicious” (a portmanteau of the words booty and delicious) to describe Beyoncé,  the term popularized by Destiny’s Child’s single of the same name. In 2006, it was added to the Oxford English Dictionary.

In September 2010, Beyoncé made her runway modelling debut at Tom Ford’s Spring/Summer 2011 fashion show. She was named the “World’s Most Beautiful Woman” by People[ and the “Hottest Female Singer of All Time” by Complex in 2012.  In January 2013, GQ placed her on its cover, featuring her atop its “100 Sexiest Women of the 21st Century” list. VH1 listed her at number 1 on its 100 Sexiest Artists list. Several wax figures of Beyoncé are found at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok, Hollywood and Sydney.

According to Italian fashion designer Roberto Cavalli, Beyoncé uses different fashion styles to work with her music while performing.[304] Her mother co-wrote a book, published in 2002, titled Destiny’s Style[305] an account of how fashion affected the trio’s success. The B’Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. In 2007, Beyoncé was featured on the cover of the Sports Illustrated Swimsuit Issue, becoming the second African American woman after Tyra Banks, and People magazine recognized Beyoncé as the best-dressed celebrity.

The Beyhive is the name given to Beyoncé’s fan base. Fans were previously titled “The Beyontourage”, (a portmanteau of Beyoncé and entourage). The name Bey Hive derives from the word beehive, purposely misspelled to resemble her first name, and was penned by fans after petitions on the online social networking service Twitter and online news reports during competitions.

In 2006, the animal rights organization People for the Ethical Treatment of Animals (PETA), criticized Beyoncé for wearing and using fur in her clothing line House of Deréon. In 2011, she appeared on the cover of French fashion magazine L’Officiel, in blackface and tribal makeup that drew criticism from the media. A statement released from a spokesperson for the magazine said that Beyoncé’s look was “far from the glamorous Sasha Fierce” and that it was “a return to her African roots”.

Beyoncé’s lighter skin color and costuming has drawn criticism from some in the African-American community.  Emmett Price, a professor of music at Northeastern University, wrote in 2007 that he thinks race plays a role in many of these criticisms, saying white celebrities who dress similarly do not attract as many comments. In 2008, L’Oréal was accused of whitening her skin in their Feria hair color advertisements, responding that “it is categorically untrue”, and in 2013, Beyoncé herself criticized H&M for their proposed “retouching” of promotional images of her, and according to Vogue requested that only “natural pictures be used”.

Beyoncé has been very vocal for the Black Lives Matter movement. Her song “Formation”, which she sang at the 2016 Super Bowl halftime show, gained criticism from some politicians and police. Some police tried to get The Formation World Tour boycotted by other members. Beyoncé has said that she is against police brutality but is not anti-police.

Personal life

Marriage and children

Beyoncé started a relationship with Jay-Z after their collaboration on “’03 Bonnie & Clyde”, which appeared on his seventh album The Blueprint 2: The Gift & The Curse (2002).  Beyoncé appeared as Jay-Z’s girlfriend in the music video for the song, fuelling speculation about their relationship. On April 4, 2008, Beyoncé and Jay-Z married without publicity. As of April 2014, the couple had sold a combined 300 million records together. They are known for their private relationship, although they have appeared to become more relaxed in recent years. Both have acknowledged difficulty that arose in their marriage after Jay-Z had an affair.

Beyoncé miscarried around 2010 or 2011, describing it as “the saddest thing” she had ever endured She returned to the studio and wrote music to cope with the loss. In April 2011, Beyoncé and Jay-Z traveled to Paris to shoot the album cover for 4, and she unexpectedly became pregnant in Paris.  In August, the couple attended the 2011 MTV Video Music Awards, at which Beyoncé performed “Love on Top” and ended the performance by revealing she was pregnant. Her appearance helped that year’s MTV Video Music Awards become the most-watched broadcast in MTV history, pulling in 12.4 million viewers; the announcement was listed in Guinness World Records for “most tweets per second recorded for a single event” on Twitter, receiving 8,868 tweets per second and “Beyonce pregnant” was the most Googled phrase the week of August 29, 2011. On January 7, 2012, Beyoncé gave birth to a daughter, Blue Ivy, at Lenox Hill Hospital in New York City.

Following the release of Lemonade, which included the single “Sorry”, in 2016, speculations arose about Jay-Z’s alleged infidelity with a mistress referred to as “Becky.” Jon Pareles in The New York Times pointed out that many of the accusations were “aimed specifically and recognizably” at him. Similarly, Rob Sheffield of Rolling Stone magazine noted the lines “Suck on my balls, I’ve had enough” were an “unmistakable hint” that the lyrics revolve around Jay-Z.

On February 1, 2017, she revealed on her Instagram account that she was expecting twins. Her announcement gained over 6.3 million “likes” within eight hours, breaking the world record for the most liked image on the website at the time. On July 13, 2017, Beyoncé uploaded the first image of herself and the twins onto her Instagram account, confirming their birth date as a month prior, on June 13, 2017, with the post becoming the second most liked on Instagram, behind her own pregnancy announcement. The twins were born at Ronald Reagan UCLA Medical Center in California. She wrote of her pregnancy and its aftermath in the September 2018 issue of Vogue, in which she had full control of the cover, shot at Hammerwood Park by photographer Tyler Mitchell.

Activism

Beyoncé performed “America the Beautiful” at President Obama’s 2009 presidential inauguration, as well as “At Last” during the first inaugural dance at the Neighborhood Ball two days later. The couple held a fundraiser at Jay-Z’s 40/40 Club in Manhattan for President Obama’s 2012 presidential campaign which raised $4 million. In the 2012 presidential election, the singer voted for President Obama. She performed the American national anthem at his second inauguration in January 2013.

The Washington Post reported in May 2015, that Beyoncé attended a major celebrity fundraiser for 2016 presidential nominee Hillary Clinton.  She also headlined for Clinton in a concert held the weekend before Election Day the next year. In this performance, Beyoncé and her entourage of backup dancers wore pantsuits; a clear allusion to Clinton’s frequent dress-of-choice. The backup dancers also wore “I’m with her” tee shirts, the campaign slogan for Clinton. In a brief speech at this performance Beyoncé said, “I want my daughter to grow up seeing a woman lead our country and knowing that her possibilities are limitless.” She endorsed the bid of Beto O’Rourke during the 2018 United States Senate election in Texas.

In 2013, Beyoncé stated in an interview in Vogue that she considered herself to be “a modern-day feminist”.  She would later align herself more publicly with the movement, sampling “We should all be feminists”, a speech delivered by Nigerian author Chimamanda Ngozi Adichie at a TEDx talk in April 2013, in her song “Flawless”, released later that year. The next year she performed live at the MTV Video Awards in front a giant backdrop reading “Feminist.” Her self-identification incited a circulation of opinions and debate about whether her feminism is aligned with older, more established feminist ideals. Annie Lennox, celebrated artist and feminist advocate, referred to Beyoncé’s use of her word feminist as ‘feminist lite’. bell hooks critiqued Beyoncé, referring to her as a “terrorist” towards feminism, harmfully impacting her audience of young girls.  Adichie responded with “…her type of feminism is not mine, as it is the kind that, at the same time, gives quite a lot of space to the necessity of men. Adichie expands upon what ‘feminist lite’ means to her, referring that “more troubling is the idea, in Feminism Lite, that men are naturally superior but should be expected to “treat women well” and “we judge powerful women more harshly than we judge powerful men. And Feminism Lite enables this.” Beyoncé responded about her intent by utilizing the definition of feminist with her platform was to “give clarity to the true meaning” behind it. She says to understand what being a feminist is, “…it’s very simple. It’s someone who believes in equal rights for men and women.” She advocated to provide equal opportunities for young boys and girls, men and women must begin to understand the double standards that remain persistent in our societies and the issue must be illuminated in effort to start making changes.

She has also contributed to the Ban Bossy campaign, which uses TV and social media to encourage leadership in girls.[356] Following Beyoncé’s public identification as a feminist, the sexualized nature of her performances and the fact that she championed her marriage was questioned.

In December 2012, Beyoncé along with a variety of other celebrities teamed up and produced a video campaign for “Demand A Plan”, a bipartisan effort by a group of 950 US mayors and others designed to influence the federal government into rethinking its gun control laws, following the Sandy Hook Elementary School shooting. Beyoncé publicly endorsed same-sex marriage on March 26, 2013, after the Supreme Court debate on California’s Proposition 8.  She spoke against North Carolina’s Public Facilities Privacy & Security Act, a bill passed (and later repealed) that discriminated against the LGBT community in public places in a statement during her concert in Raleigh as part of the Formation World Tour in 2016 She has also condemned police brutality against black Americans. She and Jay-Z attended a rally in 2013 in response to the acquittal of George Zimmerman for the shooting of Trayvon Martin. The film for her sixth album Lemonade included the mothers of Trayvon Martin, Michael Brown and Eric Garner, holding pictures of their sons in the video for “Freedom” In a 2016 interview with Elle, Beyoncé responded to the controversy surrounding her song “Formation” which was perceived to be critical of the police. She clarified, “I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me”.

In February 2017, Beyoncé spoke out against the withdrawal of protections for transgender students in public schools by Donald Trump’s presidential administration. Posting a link to the 100 Days of Kindness campaign on her Facebook page, Beyoncé voiced her support for transgender youth and joined a roster of celebrities who spoke out against Trump’s decision.

In November 2017, Beyoncé presented Colin Kaepernick with the 2017 Sports Illustrated Muhammad Ali Legacy Award, stating, “Thank you for your selfless heart and your conviction, thank you for your personal sacrifice,” and that “Colin took action with no fear of consequence … To change perception, to change the way we treat each other, especially people of color. We’re still waiting for the world to catch up.” Muhammad Ali was heavily penalized in his career for protesting the status quo of US civil rights through opposition to the Vietnam War, by refusing to serve in the military. 40 years later, Kaepernick had already lost one professional year due to taking a much quieter and legal stand “for people that are oppressed.”

Wealth

Forbes magazine began reporting on Beyoncé’s earnings in 2008, calculating that the $80 million earned between June 2007 to June 2008, for her music, tour, films and clothing line made her the world’s best-paid music personality at the time, above Madonna and Celine Dion. It placed her fourth on the Celebrity 100 list in 2009 and ninth on the “Most Powerful Women in the World” list in 2010. The following year, the magazine placed her eighth on the “Best-Paid Celebrities Under 30” list, having earned $35 million in the past year for her clothing line and endorsement deals. In 2012, Forbes placed Beyoncé at number 16 on the Celebrity 100 list, twelve places lower than three years ago yet still having earned $40 million in the past year for her album 4, clothing line and endorsement deals. In the same year, Beyoncé and Jay-Z placed at number one on the “World’s Highest-Paid Celebrity Couples”, for collectively earning $78 million. The couple made it into the previous year’s Guinness World Records as the “highest-earning power couple” for collectively earning $122 million in 2009. For the years 2009 to 2011, Beyoncé earned an average of $70 million per year, and earned $40 million in 2012. In 2013, Beyoncé’s endorsements of Pepsi and H&M made her and Jay-Z the world’s first billion dollar couple in the music industry. That year, Beyoncé was published as the fourth most-powerful celebrity in the Forbes rankings.

MTV estimated that by the end of 2014, Beyoncé would become the highest-paid Black musician in history;  this became the case in April 2014. In June 2014, Beyoncé ranked at number one on the Forbes Celebrity 100 list, earning an estimated $115 million throughout June 2013 – June 2014. This in turn was the first time she had topped the Celebrity 100 list as well as being her highest yearly earnings to date.[380] In 2016, Beyoncé ranked at number 34 on the Celebrity 100 list with earnings of $54 million. Herself and Jay-Z also topped the highest paid celebrity couple list, with combined earnings of $107.5 million. As of 2018, Forbes calculated her net worth to be $355 million, and in June of the same year, ranked her as the 35th highest earning celebrity with annual earnings of $60 million. This tied Beyoncé with Madonna as the only two female artists to earn more than $100 million within a single year twice. As a couple with Jay-Z, they have a combined net worth of $1.16 billion. In July 2017, Billboard announced that Beyoncé was the highest paid musician of 2016, with an estimated total of $62.1 million.

Legacy

Beyoncé’s success has led to her becoming a cultural icon and earning her the nickname “Queen Bey”. In The New Yorker, music critic Jody Rosen described Beyoncé as “the most important and compelling popular musician of the twenty-first century … the result, the logical end point, of a century-plus of pop.” Author James Clear, in his book Atomic Habits (2018), draws a parallel between the singer’s success and the dramatic transformations in modern society: “In the last one hundred years, we have seen the rise of the car, the airplane, the television, the personal computer, the internet, the smartphone, and Beyoncé.” When The Observer named her Artist of the Decade in 2009, Llewyn-Smith wrote:

Why Beyoncé? … Because she made not one but two of the decade’s greatest singles, with ‘Crazy in Love’ and ‘Single Ladies (Put a Ring on It)’, not to mention her hits with Destiny’s Child; and this was the decade when singles – particularly R&B singles – regained their status as pop’s favourite medium. … [She] and not any superannuated rock star was arguably the greatest live performer of the past 10 years.”

Writing for Entertainment Weekly, Alex Suskind noticed how Beyoncé was the decade’s (2010s) defining pop star, stating that “no one dominated music in the 2010s like Queen Bey”, explaining that her “songs, album rollouts, stage presence, social justice initiatives, and disruptive public relations strategy have influenced the way we’ve viewed music since 2010.” British publication NME also shared similar thoughts on her impact in the 2010s, including Beyoncé on their list of the “10 Artists Who Defined The Decade”, explaining: “So much more than a popstar, Beyonce has become an outspoken advocate for civil rights, feminism and self-expression, proving that it’s possible to be politically engaged and still hold down an extremely successful career in mainstream entertainment.”

In 2013, Beyoncé made the Time 100 list, with Baz Luhrmann writing:

“No one has that voice, no one moves the way she moves, no one can hold an audience the way she does … When Beyoncé does an album, when Beyoncé sings a song, when Beyoncé does anything, it’s an event, and it’s broadly influential. Right now, she is the heir-apparent diva of the USA – the reigning national voice.”

In 2014, Beyoncé was listed again on the Time 100 and also featured on the cover of the issue. In 2018, Rolling Stone included her on its Millennial 100 list and Brittany Spanos wrote: “For 20 years, she’s been a stately pop and R&B presence: Destiny’s Child countered the glaringly white bubblegum of the time with unmatchable vocals and choreography, and their success made her solo career fail-proof. It’s one reason Beyoncé may be the most universally beloved artist of the Gen Y. A figure of talent, beauty and grace, Queen Bey has developed into the most exciting artist of the millennium as well as a political figure, setting the tone for how other major stars speak about feminism and the Black Lives Matter movement with the release of her landmark Lemonade album in 2016.”

She is often credited for the cultural shift towards female pop singers rapping and for creating the staccato style of ‘rap-singing’ she used in songs like “Bug a Boo” and “Say My Name”. Uproxx stated that Beyoncé is the primary pioneer of the singsong style that dominates Hip-Hop currently, while Sheldon Pearce of Pitchfork noticed her contribution in changing the sound of pop music radio with her hip-hop a*sisted style, writing:

Her hip-hop fluency gave her an advantage in the pop-star arms race, helping her to become the presiding voice in an increasingly rap-dominated musical landscape. Her evolution, from rap-adjacent R&B star (appearing as early as 1998 in a Geto Boys video) to reluctant hip-hop shareholder to full-blown rapper, played a role in slowly shifting the sound of pop radio.”

Beyoncé’s releases of Beyoncé in 2013 and Lemonade in 2016, which are both concept albums and visual albums, have been credited with revolutionizing the music industry, reinventing the album and transforming how people consume music. In 2020, Billboard named her with Destiny’s Child the third Greatest Music Video artists of all time, behind Madonna and Michael Jackson

Beyoncé’s work has influenced numerous artists including Adele, Alexis Jordan, Ariana Grande,  Azealia Banks. Paul McCartney, Bebe Rexha, Bridgit Mendler, Camila Cabello, Lizzo, Cheryl,  Demi Lovato, Dua Lipa, Ellie Goulding, Ed Sheeran, Fifth Harmony, Florence Welch, Grimes, Hwasa, Iggy Azalea, Jessica Sanchez, Jessie J, JoJo, Kelly Rowland, Kendrick Lamar, Lady Gaga, Little Mix, Meghan Trainor, Nicole Scherzinger, Normani, Millie Bobby Brown, Rihanna, Rita Ora,  Ryan Destiny SZA, Sam Smith, Tinashe, and Zendaya.

American indie rock band White Rabbits also cited her an inspiration for their third album Milk Famous (2012), and Irish singer Sinéad O’Connor cited her as the inspiration for the title of her tenth album I’m Not Bossy, I’m the Boss. Friend Gwyneth Paltrow studied Beyoncé at her live concerts while learning to become a musical performer for the 2010 film Country Strong.

Beyoncé is known for coining popular phrases such as ‘put a ring on it,’ a euphemism for marriage proposal, ‘I woke up like this, which started a trend of posting morning selfies with the hashtag #iwokeuplikethis, and ‘boy, bye,’ which was used as part of the Democratic National Committee’s campaign for the 2020 election. Similarly, she also came up with the phrase “visual album” following the release of her fifth studio album, which had a video for every song. This has been recreated by many other artists since, such as Frank Ocean and Melanie Martinez. The album also popularized surprise releases, with many artists releasing songs, videos or albums with no prior announcement, such as Nicki Minaj, Eminem, Frank Ocean, Jay-Z and Drake.

The lead single of her debut album, “Crazy in Love” was named VH1’s “Greatest Song of the 2000s”, NME’s “Best Track of the 00s” and “Pop Song of the Century”,  considered by Rolling Stone to be one of the 500 greatest songs of all time, earned two Grammy Awards and is one of the best-selling singles of all time at around 8 million copies. The music video for “Single Ladies (Put a Ring on It)”, which achieved fame for its intricate choreography  and its deployment of jazz hands, was credited by the Toronto Star as having started the “first major dance craze of both the new millennium and the Internet”,[106] triggering a number of parodies of the dance choreography  and a legion of amateur imitators on YouTube. In 2013, Drake released a single titled “Girls Love Beyoncé”, which featured an interpolation from Destiny Child’s “Say My Name” and discussed his relationship with women. In January 2012, research scientist Bryan Lessard named Scaptia beyonceae, a species of horse fly found in Northern Queensland, Australia after Beyoncé due to the fly’s unique golden hairs on its abdomen. In July 2014, a Beyoncé exhibit was introduced into the “Legends of Rock” section of the Rock and Roll Hall of Fame. The black leotard from the “Single Ladies” video and her outfit from the Super Bowl half time performance are among several pieces housed at the museum. Architects credit Beyoncé’s look in her “Ghost” music video as the inspiration of the design of the Premier Tower under construction in Australia.

The City of Minneapolis, Minnesota declared May 23 Beyoncé Day in the city in 2016.  In 2018, the City of Columbia, South Carolina declared August 21 Beyoncé Knowles-Carter Day in the city after presenting her with the keys to Columbia.

Beyoncé inspired the character of Catherine of Aragon in the British musical Six, a modern retelling of the lives of the six wives of Henry VIII presented as a pop concert, with the character’s outfit bearing resemblance to Beyoncé’s from her performance at the 59th Annual Grammy Awards Additionally, Beyoncé is featured alongside other R&B and pop divas as a primary character on the popular web parody Got 2B Real.

For their first match of March 2019, the players of the United States women’s national soccer team each wore a jersey with the name of a woman they were honoring on the back; Mallory Pugh chose the name of Beyoncé.

Achievements

Beyoncé has received numerous awards. As a solo artist she has sold over 17 million albums in the US, and over 75 million worldwide (as of February 2013). Having sold over 100 million records worldwide (a further 60 million additionally with Destiny’s Child), Beyoncé is one of the best-selling music artists of all time. The Recording Industry Association of America (RIAA) listed Beyoncé as the top certified artist of the 2000s decade, with a total of 64 certifications. Her songs “Single Ladies (Put a Ring on It)”, “Halo”, and “Irreplaceable” are some of the best-selling singles of all time worldwide. In 2009, The Observer named her the Artist of the Decade and Billboard named her the Top Female Artist and Top Radio Songs Artist of the Decade. In 2010, Billboard named her in their Top 50 R&B/Hip-Hop Artists of the Past 25 Years list at number 15. In 2012 VH1 ranked her third on their list of the “100 Greatest Women in Music”, behind Mariah Carey and Madonna. In 2002, she received Songwriter of the Year from American Society of Composers, Authors and Publishers becoming the First African American woman to win the award. In 2004 and 2019, she received NAACP Image Award for Entertainer of the Year and the Soul Train Music Award for Sammy Davis Jr. – Entertainer of the Year. In 2005, she also received APEX Award at the Trumpet Award honoring achievements of Black African Americans. In 2007, Beyoncé received the International Artist of Excellence award by the American Music Awards. She also received Honorary Otto at the Bravo Otto. The following year, she received the Legend Award for Outstanding Contribution to the Arts at the World Music Awards and Career Achievement Award at the LOS40 Music Awards. In 2010, she received Award of Honor for Artist of the Decade at the NRJ Music Award and at the 2011 Billboard Music Awards, Beyoncé received the inaugural Billboard Millennium Award. Beyoncé received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards and was honored as Honorary Mother of the Year at the Australian Mother of the Year Award in Barnardo’s Australia for her Humanitarian Effort in the region and the Council of Fashion Designers of America Fashion Icon Award in 2016. In 2019, alongside Jay Z, they received GLAAD Vanguard Award that is presented to a member of the entertainment community who does not identify as LGBT but who has made a significant difference in promoting equal rights for LGBT people. In 2020, she was awarded the BET Humanitarian Award.

Beyoncé has won 24 Grammy Awards, both as a solo artist and member of Destiny’s Child and The Carters, making her the second most honored female artist by the Grammys, behind Alison Krauss She is also the most nominated artist in Grammy Award history with a total of 79 nominations. “Single Ladies (Put a Ring on It)” won Song of the Year in 2010 while “Say My Name”, “Crazy in Love” and “Drunk in Love” have each won Best R&B Song. Dangerously in Love, B’Day and I Am … Sasha Fierce have all won Best Contemporary R&B Album, while Lemonade has won Best Urban Contemporary Album. Beyoncé set the record for the most Grammy awards won by a female artist in one night in 2010 when she won six awards, breaking the tie she previously held with Alicia Keys, Norah Jones, Alison Krauss, and Amy Winehouse, with Adele equaling this in 2012.

Beyoncé has also won 24 MTV Video Music Awards, making her the most-awarded artist in Video Music Award history. She won two awards each with The Carters and Destiny’s Child making her lifetime total of 28 VMAs. “Single Ladies (Put a Ring on It)” and “Formation” won Video of the Year in 2009 and 2016 respectively. Beyoncé tied the record set by Lady Gaga in 2010 for the most VMAs won in one night for a female artist with eight in 2016. She is also the most awarded and nominated artist in BET Award history, winning 29 awards from a total of 60 nominations. and most awarded person in Soul Train Music Awards with over fifteen awards as a solo artist.

Following her role in Dreamgirls, Beyoncé was nominated for Best Original Song for “Listen” and Best Actress at the Golden Globe Awards, and Outstanding Actress in a Motion Picture at the NAACP Image Awards. Beyoncé won two awards at the Broadcast Film Critics Association Awards 2006; Best Song for “Listen” and Best Original Soundtrack for Dreamgirls: Music from the Motion Picture. According to Fuse in 2014, Beyoncé is the second most award-winning artist of all time, after Michael Jackson. Lemonade won a Peabody Award stating “Lemonade draws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation. Defying genre and convention, Lemonade immerses viewers in the sublime worlds of black women, family, and community where we experience poignant and compelling stories about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”

She was named on the 2016 BBC Radio 4 Woman’s Hour Power List as one of seven women judged to have had the biggest impact on women’s lives over the past 70 years, alongside Margaret Thatcher, Barbara Castle, Helen Brook, Germaine Greer, Jayaben Desai and Bridget Jones, She was named the Most Powerful Woman in Music on the same list in 2020.

Business and ventures

In 2010, Beyoncé founded her own entertainment company Parkwood Entertainment which formed as an imprint based from Columbia Records, the company began as a production unit for videos and films in 2008. Parkwood Entertainment is named after a street in Houston, Texas where Beyoncé once lived. With headquarters in New York City, the company serves as an umbrella for the entertainer’s various brands in music, movies, videos, and fashion. The staff of Parkwood Entertainment have experiences in arts and entertainment, from filmmaking and video production to web and fashion design. In addition to departments in marketing, digital, creative, publicity, fashion design and merchandising, the company houses a state-of-the-art editing suite, where Beyoncé works on content for her worldwide tours, music videos, and television specials. Parkwood Entertainment’s first production was the musical biopic Cadillac Records (2008), in which Beyoncé starred and co-produced. The company has also distributed Beyoncé’s albums such as her self-titled fifth studio album (2013), Lemonade (2016) and The Carters, Everything is Love (2018). Beyoncé has also signed other artists to Parkwood such as Chloe x Halle, who performed at Super Bowl LIII in February 2019.

Endorsements

Beyoncé has worked with Pepsi since 2002, and in 2004 appeared in a Gladiator-themed commercial with Britney Spears, Pink, and Enrique Iglesias. In 2012, Beyoncé signed a $50 million deal to endorse Pepsi. The Center for Science in the Public Interest (CSPINET) wrote Beyoncé an open letter asking her to reconsider the deal because of the unhealthiness of the product and to donate the proceeds to a medical organisation. Nevertheless, NetBase found that Beyoncé’s campaign was the most talked about endorsement in April 2013, with a 70 percent positive audience response to the commercial and print ads.

Beyoncé has worked with Tommy Hilfiger for the fragrances True Star (singing a cover version of “Wishing on a Star”) and True Star Gold; she also promoted Emporio Armani’s Diamonds fragrance in 2007. Beyoncé launched her first official fragrance, Heat, in 2010. The commercial, which featured the 1956 song “Fever”, was shown after the water shed in the United Kingdom as it begins with an image of Beyoncé appearing to lie naked in a room. In February 2011, Beyoncé launched her second fragrance, Heat Rush. Beyoncé’s third fragrance, Pulse, was launched in September 2011. In 2013, The Mrs. Carter Show Limited Edition version of Heat was released. The six editions of Heat are the world’s best-selling celebrity fragrance line,  with sales of over $400 million.

The release of a video-game Starpower: Beyoncé was cancelled after Beyoncé pulled out of a $100 million with GateFive who alleged the cancellation meant the sacking of 70 staff and millions of pounds lost in development. It was settled out of court by her lawyers in June 2013 who said that they had cancelled because GateFive had lost its financial backers. Beyoncé also has had deals with American Express, Nintendo DS and L’Oréal since the age of 18.

In March 2015, Beyoncé became a co-owner, with other artists, of the music streaming service Tidal. The service specializes in lossless audio and high definition music videos. Beyoncé’s husband Jay-Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Rihanna, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake The idea of having an all artist owned streaming service was created by those involved to adapt to the increased demand for streaming within the current music industry.

Fashion lines

Beyoncé and her mother introduced House of Deréon, a contemporary women’s fashion line, in 2005. The concept is inspired by three generations of women in their family, with the name paying tribute to Beyoncé’s grandmother, Agnèz Deréon, a respected seamstress. According to Tina, the overall style of the line best reflects her and Beyoncé’s taste and style. Beyoncé and her mother founded their family’s company Beyond Productions, which provides the licensing and brand management for House of Deréon, and its junior collection, Deréon. House of Deréon pieces were exhibited in Destiny’s Child’s shows and tours, during their Destiny Fulfilled era. The collection features sportswear, denim offerings with fur, outerwear and accessories that include handbags and footwear, and are available at department and specialty stores across the US and Canada.

In 2005, Beyoncé teamed up with House of Brands, a shoe company, to produce a range of footwear for House of Deréon. In January 2008, Starwave Mobile launched Beyoncé Fashion Diva, a “high-style” mobile game with a social networking component, featuring the House of Deréon collection. In July 2009, Beyoncé and her mother launched a new junior apparel label, Sasha Fierce for Deréon, for back-to-school selling. The collection included sportswear, outerwear, handbags, footwear, eyewear, lingerie and jewelry. It was available at department stores including Macy’s and Dillard’s, and specialty stores Jimmy Jazz and Against All Odds. On May 27, 2010, Beyoncé teamed up with clothing store C&A to launch Deréon by Beyoncé at their stores in Brazil. The collection included tailored blazers with padded shoulders, little black dresses, embroidered tops and shirts and bandage dresses.

In October 2014, Beyoncé signed a deal to launch an activewear line of clothing with British fashion retailer Topshop. The 50–50 venture is called Ivy Park and was launched in April 2016. The brand’s name is a nod to Beyoncé’s daughter and her favourite number four (IV in roman numerals), and also references the park where she used to run in Texas. She has since bought out Topshop owner Philip Green from his 50% share after he was alleged to have sexually harassed, bullied and racially abused employees. She now owns the brand herself. On April 4, 2019, it was announced that Beyoncé would become a creative partner with Adidas and further develop her athletic brand Ivy Park with the company. Knowles will also develop new clothes and footwear for Adidas. Shares for the company rose 1.3% upon the news release. In December, 9, 2019, they announced a launch date which will be on January 18, 2020. Beyoncé uploaded a teaser on her website and Instagram. The collection was also previewed on the upcoming Elle Magazine: January 2020 issue, where Beyoncé is seen wearing several garments, accessories and footwear from the first collection.

Philanthropy

In 2002, Beyoncé, Kelly Rowland and Tina Knowles built the Knowles-Rowland Center for Youth, a community center in Downtown Houston. After Hurricane Katrina in 2005, Beyoncé and Rowland founded the Survivor Foundation to provide transitional housing to displaced families and provide means for new building construction, to which Beyoncé contributed an initial $250,000. The foundation has since expanded to work with other charities in the city, and also provided relief following Hurricane Ike three years later. Beyoncé also donated $100,000 to the Gulf Coast Ike Relief Fund. In 2007, Beyoncé founded the Knowles-Temenos Place Apartments, a housing complex offering living space for 43 displaced individuals. As of 2016, Beyoncé had donated $7 million for the maintenance of the complex.

After starring in Cadillac Records in 2009 and learning about Phoenix House, a non-profit drug and alcohol rehabilitation organization, Beyoncé donated her full $4 million salary from the film to the organization. Beyoncé and her mother subsequently established the Beyoncé Cosmetology Center, which offers a seven-month cosmetology training course helping Phoenix House’s clients gain career skills during their recovery.

In January 2010, Beyoncé participated in George Clooney and Wyclef Jean’s Hope for Haiti Now: A Global Benefit for Earthquake Relief telethon donated a large sum to the organization, and was named the official face of the limited edition CFDA “Fashion For Haiti” T-shirt, made by Theory which raised a total of $1 million. In April 2011, Beyoncé joined forces with US First Lady Michelle Obama and the National Association of Broadcasters Education Foundation, to help boost the latter’s campaign against child obesity by reworking her single “Get Me Bodied”.  Following the death of Osama bin Laden, Beyoncé released her cover of the Lee Greenwood song “God Bless the USA”, as a charity single to help raise funds for the New York Police and Fire Widows’ and Children’s Benefit Fund.

Beyoncé became an ambassador for the 2012 World Humanitarian Day campaign donating her song “I Was Here” and its music video, shot in the UN, to the campaign. In 2013, it was announced that Beyoncé would work with Salma Hayek and Frida Giannini on a Gucci “Chime for Change” campaign that aims to spread female empowerment. The campaign, which aired on February 28, was set to her new music. A concert for the cause took place on June 1, 2013 in London  and included other acts like Ellie Goulding, Florence and the Machine, and Rita Ora.  In advance of the concert, she appeared in a campaign video released on May 15, 2013, where she, along with Cameron Diaz, John Legend and Kylie Minogue, described inspiration from their mothers, while a number of other artists celebrated personal inspiration from other women, leading to a call for submission of photos of women of viewers’ inspiration from which a selection was shown at the concert. Beyoncé said about her mother Tina Knowles that her gift was “finding the best qualities in every human being.” With help of the crowdfunding platform Catapult, visitors of the concert could choose between several projects promoting education of women and girls. Beyoncé also took part in “Miss a Meal”, a food-donation campaign, and supported Goodwill Industries through online charity auctions at Charitybuzz that support job creation throughout Europe and the U.S.

Beyoncé and Jay-Z secretly donated tens of thousands of dollars to bail out Black Lives Matter protesters in Baltimore and Ferguson, as well as funded infrastructure for the establishment of Black Lives Matter chapters across the US. Before Beyoncé’s Formation World Tour show in Tampa, her team held a private luncheon for more than 20 community leaders to discuss how Beyoncé could support local charitable initiatives, including pledging on the spot to fund 10 scholarships to provide students with financial aid. Tampa Sports Authority board member Thomas Scott said: “I don’t know of a prior artist meeting with the community, seeing what their needs are, seeing how they can invest in the community. It says a lot to me about Beyoncé. She not only goes into a community and walks away with (money), but she also gives money back to that community.” In June 2016, Beyoncé donated over $82,000 to the United Way of Genesee County to support victims of the Flint water crisis. Beyoncé additionally donated money to support 14 students in Michigan with their college expenses. In August 2016, Beyoncé and Jay-Z donated $1.5 million to civil rights groups including Black Lives Matter, Hands Up United and Dream Defenders. After Hurricane Matthew, Beyoncé and Jay-Z donated $15 million to the Usain Bolt Foundation to support its efforts in rebuilding homes in Haiti. In December 2016, Beyoncé was named the Most Charitable Celebrity of the year.

During Hurricane Harvey in August 2017, Beyoncé launched BeyGOOD Houston to support those affected by the hurricane in Houston. The organization donated necessities such as cots, blankets, pillows, baby products, feminine products and wheelchairs, and funded long-term revitalization projects. On September 8, Beyoncé visited Houston, where she sponsored a lunch for 400 survivors at her local church, visited the George R Brown Convention Center to discuss with people displaced by the flooding about their needs, served meals to those who lost their homes, and made a significant donation to local causes. Beyoncé additionally donated $75,000 worth of new mattresses to survivors of the hurricane. Later that month, Beyoncé released a remix of J Balvin and Willy William’s “Mi Gente”, with all of her proceeds being donated to disaster relief charities in Puerto Rico, Mexico, the US and the Caribbean after hurricanes Harvey, Irma and Maria, and the Chiapas and Puebla earthquakes.

In April 2020, Beyoncé donated $6 million to the National Alliance in Mental Health, UCLA and local community-based organizations in order to provide mental health and personal wellness services to essential workers during the COVID-19 pandemic. BeyGOOD also teamed up with local organizations to help provide resources to communities of color, including food, water, cleaning supplies, medicines and face masks. The same month Beyoncé released a remix of Megan Thee Stallion’s “Savage”, with all proceeds benefiting Bread of Life Houston’s COVID-19 relief efforts, which includes providing over 14 tons of food and supplies to 500 families and 100 senior citizens in Houston weekly. In May 2020, Beyoncé provided 1,000 free COVID-19 tests in Houston as part of her and her mother’s #IDidMyPart initiative, which was established due to the disproportionate deaths in African-American communities. Additionally, 1,000 gloves, masks, hot meals, essential vitamins, grocery vouchers and household items were provided. In July 2020, Beyoncé established the Black-Owned Small Business Impact Fund in partnership with the NAACP, which offers $10,000 grants to black-owned small businesses in need following the George Floyd protests. All proceeds from Beyoncé’s single “Black Parade” were donated to the fund. In September 2020, Beyoncé announced that she had donated an additional $1 million to the fund. In October 2020, Beyoncé released a statement that she has been working with the Feminist Coalition to a*sist supporters of the End Sars movement in Nigeria, including covering medical costs for injured protestors, covering legal fees for arrested protestors, and providing food, emergency shelter, transportation and telecommunication means to those in need. Beyoncé also showed support for those fighting against other issues in Africa, such as the Anglophone Crisis in Cameroon, ShutItAllDown in Namibia, Zimbabwean Lives Matter in Zimbabwe and the Rape National Emergency in Liberia.

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