Fats Domino

Antoine "Fats" Domino was born in New Orleans, Louisiana, USA, on the 26th of February 1928. When he was a 7 year old kid, he learned piano from his ,much older, brother-in-law Harrison Verrett. His piano playing was influenced by boogie woogie pianists like Albert Ammons, Meade Lux Lewis and his triplet piano style came from Little Willie Littlefield, who,by the way,lives in the Netherlands.His first record was "The Fat man", recorded in 1949 and became a R & B hit in 1950 and a gold record in 1953.His cooperation with the bandleader Dave Bartholomew resulted in an almost endless chain of R & B and Top 100 hit records.He also played the piano on Lloyd Price's millionseller "Lawdy miss clawdy".Fats performed in 4 Rock & Roll movies, "The girl can't help it, "Shake rattle and rock", "Jamboree" and "The Big beat".This ended in 1963 with "Red sails in the sunset", by than Fats recorded for ABC-Paramount and the cooperation with Dave had ended.In the period 1949-1960 he had 23 million sellers, not less than 17 were co-written with Dave Bartholomew.

In 1955, with the arrival of Rock & Roll, Fats became also popular with the white audience starting with "Ain't that a shame".Lew Chudd, the owner of Imperial Records sold his record company to LIBERTY in 1963.At that time success faded a little and Fats signed a contract with ABC-Paramount, were he had a couple of hits. Later, in 1965, he had a very good live album on MERCURY and a couple of albums on REPRISE and SONET.If you want more information I recommand this book written by John Broven, "Rhythm & Blues in New Orleans" (also published as "Walking to New Orleans"), Pelican Publishing Company, ISBN 0-88289-433-1.

Also recommanded: " I hear you knockin' (The Sound of New Orleans Rhythm and Blues) " by Jeff Hannusch , Swallow Publications, and his latest book,"The Soul of New Orleans (A Legacy of Rhythm and Blues)", published in 2001, and it has a chapter on Fats, the publisher is Swallow Publications, the ISBN is 0-9614245-8-3.

The long awaited first-ever biography of Fats Domino is published in May 2006. It is called "Blue Monday - Fats Domino and the Lost Dawn Of Rock 'n' Roll",written by Rick Coleman. The publisher is Da Capo Press , ISBN no. 13 978-0-306-81491-4. $ 26.95. 364 pages and lots of photos. If you are a fan of New Orleans music, then you have to buy it.

Millie Small

Real Name: Millicent Smith - also known as Millicent "Dolly May"
Birth Date: 6th October 1946
Birth Place: Clarendon Jamaica

Millie's singing career began at around the time she entered her teens. She rapidly became a popular artist in the West Indies and was one of the few female performers to be involved in the branch of R&B music that grew in those islands- 'Ska'. In fact her early local successes were made as half of a duet called 'Roy And Millie'- the other half was Roy Panton. She also recorded as half of 'Owen & Millie' (Owen Gray) and 'Jackie & Millie' (Jackie Edwards). These record releases were on labels like 'Studio One', 'Island' and the legendary 'Blue Beat'. In fact she was to become known in the West Indies as the 'Blue Beat Girl' and 'Ska' is still known by many people as 'blue beat'. There were so many parallel releases on these labels in the West Indies and the UK that it is difficult to unravel a true UK discography for many West Indian artists, Millie is no exception.

Millie Small was brought to Britain during 1963 by Chris Blackwell, who later did much to promote Reggae in the UK. Her first UK release 'Don't You Know' owed rather less to her Ska background, being accompanied by an orchestra conducted by Lord Rockingham's Harry Robinson. It didn't sell too badly but Millie's unique high pitched style wasn't enough to get it into the chart. However, her second release was a stronger song and was based more closely to the West Indian rhythms she was accustomed to. It became a massive hit on both sides of the Atlantic reaching #2 in the U.S. chart as well as in Britain. Sadly, despite the great success of the record, it did not set a new musical style in people's awareness. 'My Boy Lollipop' was simply regarded by most record buyers at the time as an item of delightful, but lightweight, 'pop' . (Incidentally the record is alleged by some to have a young 'Rod Stewart' on harmonica). Although she had a couple of further minor hits, she never managed to consolidate her famous smash. She remained in the public conscience for a long time and was also regarded by many as a role model; something with which the charming lady was never entirely comfortable.
Ska became popular on both sides of the Atlantic, reaching its peak in the UK during the late 1960s. Its popularity was more enduring in the UK than in the US, probably because of West Indian emigrees that went to Britain taking their musical enthusiasm with them. Ska gradually evolved into reggae, but was revived during the 1970s and 1980s by UK groups like the 'Specials'.

Dandy Livingstone

Born Robert Livingstone Thompson on December 14, 1943 (1944 by some accounts), in Jamaica.

Answering the call from Carnival Records in 1964 for a reggae vocal duo, Dandy Livingstone double-tracked his own voice on a demo single "What a Life," and the track sold 25,000 units. A series of rude boy hits followed for Trojan Records in the late 1960s and the early 1970s. Livingstone later altered course, becoming a record producer. Decades later Livingstone's "Rudy A Message to You," "Reggae in Your Jeggae," "I'm Your Puppet," and other hits have survived as popular classics of early British reggae and ska.
Dandy Livingstone, a cousin of singer Ansel Collins, was born Robert Livingstone Thompson in Kingston, Jamaica, on December 14, 1943 (1944 by some accounts). Raised in St. Andrews, he left the island in 1959 at age 15, emigrating to England to join his parents in London. After completing his secondary education in Britain, Livingstone enrolled at an engineering college, in an apprenticeship program for toolmaking.
Livingstone had a piano-playing friend, Floyd, who sparked Livingstone's interest in music in 1963. Honing his talent as a singer, he jammed to Floyd's music in a West London studio most nights after school. Another tenant in their building recorded some of Livingstone's vocals and later released the songs on Planetone, unbeknownst to Livingstone. The owner of the building was Lee Gopthal, an executive at Trojan Records. In 1964 Gopthal referred Livingstone to Carnival Records, a startup label being launched by Cross-Bow.
Carnival, in search of West Indian acts, had expressed a desire to record a duo, which Livingstone accommodated easily by tracking over his own voice on tape, for a two-record deal. The tracks were released, and credited to an imaginary pair called Sugar and Dandy, their names chosen to capture the persona of Livingstone's sweet voice and impeccable dress. Radio Caroline, a popular offshore radio station, picked up one of the sides, a song called "What a Life," and aired the track, providing generous endorsements and play time. The record sold 25,000 copies and became a respectable hit for the unknown Livingstone. In keeping with the notion that the recordings had been taped by two singers, Livingstone shared the stage for live performances with a singer named Roy Smith, but the partnership was brief. Livingstone later teamed for public appearances with Tito "Sugar" Simone, and this collaboration proved more stable. Simone was a soloist in his own right, and when he recorded a single track, "Oh Lawdy Miss Clawdy," in 1964, it was released as the B side of Livingstone's Carnival single "Vipers." Simone later established a career on his own.
While still attending school Livingstone continued his singing career, and in 1967 signed with Ska Beat Records. Soon after making the deal, Livingstone released a long-playing vinyl disc for Ska Beat, Rocksteady with Dandy, calling himself Dandy & His Group. In good company at Ska Beat---where other artists included the Wailers, Don Drummond, and Baba Brooks---Livingstone contributed to the label's growth. Founded in North London's Stamford Hill district, Ska Beat Records grew into one of the top three ska labels in Britain, surpassed only by Melodisc and Island Records. His 1967 release, "Rudy A Message to You," entered the top 50 and realized total sales of 30,000 units.
In 1968 Livingstone moved behind the scenes and began producing songs for Audrey Hall. He also joined his client on a duo billing called Dandy and Audrey. In addition to releasing several singles as Dandy and Audrey, the pair recorded an album, I Need You, which appeared in 1969, with a follow-up album in 1970. Other Livingstone productions of that era included The Marvels' self-titled debut album; a Nicky Thomas hit, "Suzanne Beware of the Devil"; and "Red Red Wine," which was a 1969 chart hit for Tony Tribe.
In the wake of Livingstone's popularity, Trojan Records signed the singer in 1968 and used two Livingstone albums to launch its first-ever album catalog. The albums, Follow That Donkey and Dandy Returns, were credited to yet another Livingstone pseudo-group, called Dandy & The Brother Dan All Stars. Soon afterward Trojan authorized Gopthal to establish Down Town Records, a new label created for the purpose of spotlighting Livingstone, both as a solo artist and as a producer. Among Livingstone's early Down Town hits was a 1968 single named for a traditional Jamaican adage, "Move Your Mule." He gained attention with "Reggae in Your Jeggae" in 1969 and followed in 1970 with the hit "Raining in My Heart," which sold more than 130,0000 units. Also popular in 1969 was the Down Town single track "I'm Your Puppet." The single "Take a Letter Maria," however, failed to chart in 1970. Likewise the second Dandy and Audrey album, Morning Side of the Mountain, proved disappointing, causing Livingstone to return to Jamaica on sabbatical.
With well over five dozen double-sided singles to his credit and a handful of albums by that time, Livingstone's incentive waned, as did his sense of fulfillment, despite a collection of published compositions and hundreds of thousands of records sold. Still on hiatus in 1972, he recorded "Big City" and his own version of "Suzanne Beware of the Devil," before returning to England. He scored a major hit with "Suzanne Beware of the Devil," which was released as a single on Horse in 1972 and later served as the title track on a Trojan compilation album in 2002. "Big City" appeared on Horse in 1973, and the record charted, climbing to a respectable number 27.
After aligning with Mooncrest Records in 1973, Livingstone released a very personal composition called "Black Star," as a double-sided single with "All Strung Out On You." He also recorded the full-length album Conscious, which reflected his perception of the status of black men in society, particularly those from the West Indies. Both "Black Star" and the Mooncrest debut album are considered to be among his finest works. Back in Britain he recorded eleven tracks at Byron Lee's Dynamic studio, releasing a self-titled album in 1973. A reprise of "Suzanne Beware Of The Devil" broke into the British charts at number 14 in 1972. "Big City," released as a single in 1973, made strides as well.
Regarded as a so-called rude boy singer, Livingstone attracted a diverse fan base, appealing to ska enthusiasts as well as the punk-fused 2-tone ska revivalists of the 1980s. And the skinhead movement raised "Suzanne Beware of the Devil" to anthemic status.
In discussing his art and his career in the Hamlyn compilation Black Music, Livingstone cited the critical successes of Conscious and "Black Star." He commented, "When I sat down to write the song ["Black Star"] I realised that many black artists should be earning much more bread than they are at present. Even in America ... the white artist still earns more! A black artist is just as good as a white artist if not better, right! So we shouldn't still be struggling to get an equal share." Indeed, Livingstone achieved immense popularity among British reggae pioneers and others of his genre, but remained largely unknown among media pundits of that era and beyond.

Don Drummond

Trombone master Don Drummond was among the seminal figures behind the evolution of ska -- a founding member of the legendary Skatalites, he was the genre's most prolific composer, with well over 300 songs to his name before his brief career ended in tragedy. Even prior to the birth of ska, Drummond was already regarded as something of a Jamaican legend for his jazz prowess; as a teacher at West Kingston's Alpha Boys School, he also mentored up-and-comers including Tommy McCook, Rico Rodriguez, Vernon Muller, Joe Harriott and Vincent Gordon. Beginning his studio career in 1956, he primarily cut specials, recordings originally designed strictly for sound system play; in 1959, however, these specials began receiving proper commercial release in both Jamaica and England. As a result, Drummond's star ascended even higher, and under the direction of producer Coxsone Dodd, he composed and arranged hundreds of classic ska recordings for both Studio One and Treasure Island. Drummond's genius did not come without a price, however -- a notoriously eccentric man who suffered from bouts of manic depression, his erratic behavior earned him the nickname "Don Cosmic" from Dodd, and it was a moniker he rarely failed to live up to. Still, when Studio One musical director Jackie Mittoo set about assembling the Skatalites in 1964, he did not hesitate to bring Drummond aboard, and he quickly emerged among the group's creative and spiritual leaders. The quintessential ska band of their time, the Skatalites' influence was incalculable -- their 1964 debut Ska Authentic ruled Jamaican airwaves throughout the year, and in addition to leading sessions with all of the island's top solo artists, they also helped launch the careers of newcomers including Delroy Wilson, the Wailers, Lee "Scratch" Perry and Ken Boothe. Drummond's composition "Man in the Street" earned the group a Top Ten UK hit later in 1964, and a year later his adaptation of the theme to the film The Guns of Navarone duplicated the feat. By that time, however, the Skatalites were no more, their demise brought about by the beginning of Drummond's own tragic downfall -- on New Year's Day of 1965, he was arrested for the murder of his girlfriend, exotic dancer Marguerita Mahfood. Her body was found in his home, the victim of multiple stab wounds; after a brief investigation, Drummond was deemed legally insane, and committed indefinitely to Bellevue Hospital. He died there on May 6, 1969 at the age of 37 -- although officially explained as a suicide, there was no official autopsy, and rumors about his death continue to swirl to this day. According to research uncovered by Bob Timm, Ska Guide for The Mining Co. (http://ska.miningco.com), at the memorial service Supersonics drummer Hugh Malcolm ripped up the death certificate, charging the hospital staff with murder and calling Drummond a victim of the government authorities who regularly targeted Kingston-area performers; others claimed Drummond was slain by mobsters in cahoots with the family of Marguerita Mahfood. In any case, his death was the true end of an era, but his influence lives on.

Dandy Livingstone

Judge Dread

Real name Alex Hughes, Kent-born Judge Dread was a bouncer in London
clubs at the end of the '60s and became familiar with reggae through his work,
where he had run into (not literally) the likes of Derrick Morgan and Prince
Buster. In 1969 Buster had a huge underground hit with the obscene Big 5,
a version of Brook Benton's Rainy Night In Georgia. It was clear there was
a yawning gap waiting to be filled when Buster failed to effectively follow his
hit, so Alex Hughes, aka Judge Dread (a name borrowed from a Prince
Buster character) plunged in. His first single, Big Six went to number 11 in
1972, and spent more than half the year in the charts. No-one heard it on
air: it was a filthy nursery rhyme. Big Seven did better than Big Six, and
from this point on Dread scored hits with Big Eight, a ridiculous version
of Je T'Aime, and a string of other novelty reggae records, often co-penned
by his friend, Fred Lemon. Incidentally, Big Six was also a hit in Jamaica.
Five years and eleven hits later (including such musical delicacies as Y Viva
Suspenders and Up With The Cock), the good-natured Hughes, one of
just two acts to successfully combine music hall with reggae (the other was
Count Prince Miller, whose Mule Train rivalled Dread for sheer chutzpah)
had finally ground to a halt in chart terms. He can still be found occasionally
working the clubs, and has also sought employment as a local newspaper
columnist in Snodland, Kent.

Martha Reeves and The Vandellas

One of Motown Records' earliest and most exciting vocal groups, Martha and The Vandellas achieved two Top Ten hits before the ascendancy of The Supremes. Driven by Martha Reeves' soulful, brassy lead vocals, the Vandellas became Motown's earthier, more aggressive "girl group" alternative to the Supremes.

Martha Reeves, one of eleven children, was born in Eufaula Alabama on July 18, 1941. She moved with her parents Ruby and Elijah to Detroit, Michigan before her first birthday. Reeves spent most of her childhood singing and working in her grandfather's church. She attended Russell Elementary on Detroit's eastside and was taught vocals by Emily Wagstaff. Northeastern High School was where she studied voice under the direction of Abraham Silver, who also coached Florence Ballard and Mary Wilson of the Supremes, Bobby Rogers of the Miracles.First Martha and the Vandellas group photo(From L-R Martha Reeves, Annette Beard and Rosalind Ashford)After graduating from high school in 1959, Reeves joined the girl group called the Fascinations. They recorded their first record about 1960, backing Mike Hanks on "The Hawk" on Mah's Records. They also backed Leon Peterson on "I Know You Know" on the Bobbin label in 1962. Their first big break was working with local singer J.J. Barnes on "Won't You Let Me Know." The 1962 single on Rich Records credited both Barnes and the Del-Phis and led to the answer record "Ill Let You Know" on Check-Mate. In the late summer of 1960 Reeves met Rosalind Ashford and they were invited to join Annette Sterling and Gloria Williamson in the Del-Phis. After doing some local talent shows and jobs they recorded a single on Chess-Mate Records, a subsidiary of Chess Records in 1961. The Del-Phi"s recording that didn't make the charts was "My Baby Won't Come Back".Reeves as a solo entered and won a talent contest. The prize was a three day engagement at the Twenty Grand, a local nightclub where she sang as Martha LaVaille. On her last night, William "Mickey" Stevenson, an A&R and Berry Gordy's right-hand man at Motown Records, approached Reeves, after hearing her sing, and gave her his card. In 1961 Reeves was hired as his secretary. One day Motown head Berry Gordy needed background singers in short order for a session; Reeves and her friends, Ashford and Beard, were called in. They sang behind Marvin Gaye on "Stubborn Kind of Fellow," his first hit in 1962 and "Hitch Hike."A couple months later, Reeves again found her self in the right place at the right time. Stevenson had called over to the studio, where a union rep was checking to make sure the label was following the rule that a singer had to be on a mic when tracks were recorded. In Mary Well's absence, Reeves sang "I'll Have To Let Him Go, impressing Stevenson enough ask the Del-Phis to record "You'll Never Cherish A Love So True ('Til You Lose It)." The session was a success, but Gloria decided she didn't want to leave her job and left the group. The single was issued anyway on Mel-O-Dy as by the Vells.The rest of the group convinced Gordy that they were staying as a trio. Gordy then asked the girls to come up with a new name. They then called themselves Martha and the Vandellas, taking their name from Detroit street Van Dyke and Reeve's favorite singer Della Reese before recording "I'll Have to Let Him Go."Come Get These MemoriesSigned to the newly formed Gordy label in September 1962 as Martha and The Vandellas, the group's first hit was their second release, a beat ballad "Come Get These Memories" (#29 pop, #3 R&B 1963) and was Holland-Dozier-Holland's first collaboration as a songwriting team. "Memories" was followed by two explosive Holland-Dozier-Holland dance records: "Heat Wave" (#4 pop, #1 R&B, 1963) and "Quicksand" (#8 1963). After being turned down by Kim Weston, a Mickey Stevenson and Marvin Gaye composition,"Dancing in the Street" was given to Martha and the Vandellas; who turned it into their biggest hit (#2, 1964). Their other big hits included "Nowhere to Run" (#8, pop, #5 R&B, 1965) and "I'm Ready for Love" (#9 pop, #2 R&B, 1966), "Jimmy Mack" (#10 pop, #1 R&B, 1967) and "Honey Chile"(#11 pop,, #5 R&B, 1967) were the last Holland-Dozier-Holland compositions they recorded, and were their last big hits.Rosalyn Ashford, Betty Kelly, and Martha ReevesThe Vandellas 1963-1968By 1967, the group was billed as Martha Reeves and the Vandellas, as she was featured solely as lead for the group. Beard retired in 1963 and was replaced by former Velvelette Betty Kelly; when Kelly left four years later she was replaced by Reeve's younger sister Lois. Ashford quit in 1969 and was replaced by another ex-Velvelette Sandra Tilley. Tilley died during surgery for a brain tumor in 1981. The group disbanded in 1973 after giving a farewell concert on December 21, 1972, at Detroit's Cobo Hall. Lois Reeves went to work for Al Green.Martha Reeves launched a solo career, but her recordings for MCA, Arista, and Fantasy through 1980 failed to sell well.As recounted in her 1994 autobiography Dancing in the Street, Reeves believes that the groups succession was undermined by Motown and Berry Gordy JR's. obsession with the Supremes. An example being "Jimmy Mack which was held from release for two years because it sounded too much like the Supremes then current singles. A strong personality Reeves clashed with Gordy demanding answers to business questions that most other Motown artist didn't ask until years after they left the label. Struggling to maintain a hectic schedule of recording and performing, Reeves became addicted to prescription drugs, exacerbating emotional problems that led to nervous breakdowns and a period of institutionalization. Reeves has been drug free since 1977. In 1989 she, Ashford and Beard sued Motown for back royalties.In 1974 Reeves signed with MCA Records, Her debut solo album, Martha Reeves produced by Richard Perry, had a minor hit "Power of Love". Other solo albums were We Meet Again, and Got To Keep Movin on Fantasy Records, and The Rest of My Life for Arista Records. Though her solo records have been critically acclaimed, Reeves has never achieved the success that she had enjoyed with the Vandellas.Reeves currently resides in Downtown Detroit after living twelve years in Los Angeles. She continues to tour and record; sometimes the Vandellas consists of her sisters Lois and Delphine. On special occasions, she performs with Beard and Ashford.Rosalind Ashford has just retired from Ameritech and Annette Sterling has worked at St. John's Hospital as a phlebotomist for the last forty years.The Vandellas were inducted into the Rock and Roll Hall of Fame in 1995.