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Biography William Harrison “Bill” Withers, Jr. (born July 4, 1938) is an American singer-songwriter and musician who performed and recorded from 1970 until 1985. Some of his best-known songs are “Lean on Me”, “Ain’t No Sunshine”, “Use Me”, “Just the Two of Us”, “Lovely Day”, and “Grandma’s Hands”. His life was recently the subject of the documentary film Still Bill. During early 1970, Withers’ demonstration tape was audited favorably by Clarence Avant of Sussex Records. Avant signed Withers to a record deal and assigned Booker T.
Angerfist wiki. Jones to produce Withers’ first album. Four three-hour studio sessions were planned to record the album, but funding caused the album to be recorded in three sessions with a six-month break between the second and final sessions. Just as I Am was released in 1971 with the tracks “Ain’t No Sunshine” and “Grandma’s Hands” as singles. The album features Stephen Stills playing lead guitar.
The album was a success and Withers began touring with a band assembled from members of The Watts 103rd Street Rhythm Band: drummer James Gadson, guitarist Benorce Blackmon, keyboardist Ray Jackson, and bassist Melvin Dunlap. At the 14th annual Grammy Awards on Tuesday, March 14, 1972, Withers won a Grammy Award for Best R&B Song for “Ain’t No Sunshine.” The track had already sold over one million copies, and was awarded a gold disc by the R.I.A.A. In September 1971. During a hiatus from touring, Withers recorded his second album, Still Bill. The single “Lean on Me” went to number one the week of July 8, 1972. It was Withers’ second gold disc awarded track with confirmed sales in excess of three million. His single “Use Me” released in August 1972, became his third million seller, with the R.I.A.A.
Gold disc award taking place on October 12, 1972. A Friday, October 6, 1972 performance on a rainy night was recorded for the live album Bill Withers, Live at Carnegie Hall released November 30, 1972. In 1974 Withers recorded the album +’Justments. But he became involved in a legal dispute with the Sussex company and was unable to record thereafter. During this time, he wrote and produced two songs on the Gladys Knight & the Pips record I Feel a Song, and in October 1974 performed in concert together with James Brown, Etta James, and B.
King at the historic Rumble in the Jungle fight between Foreman and Ali in Zaire. Footage of his performance was included in the 1996 documentary film, When We Were Kings, and he is heard on the accompanying soundtrack. Withers signed with Columbia Records in 1975. His first release with the label, Making Music, Making Friends, included the single “She’s Lonely” which was featured in the film Looking for Mr. During the next three years he released an album each year with Naked & Warm (1976), Menagerie (1977, containing the successful Lovely Day) and Bout Love (1978) and Get On Down, the latter song was also on Looking for Mr. Goodbar soundtrack.
Due to problems with Columbia, he concentrated on joint projects between 1977 and 1985, including the successful “Just the Two of Us”, with jazz saxophonist Grover Washington, Jr., which was released during June 1980. It won a Grammy on February 24, 1982. Withers next did Soul Shadows with The Crusaders, and In the Name of Love with Ralph MacDonald, the latter being nominated for a Grammy for vocal performance. In 1985 came Watching You, Watching Me, which featured the Top 40 rated Rhythm&Blues single “Oh Yeah”. Withers ended his business association with Columbia Records after this release, which as of 2010 is his last studio album. In 1988, a new version of “Lovely Day” from the 1977 Menagerie album, titled “Lovely Day (Sunshine Mix)” and remixed by Ben Liebrand, reached the Top 10 in the United Kingdom, leading to Withers’ performance on the long-running Top of the Pops that year. The original release had scored #2 in the UK in 1973, and the re-release scored to #1.
In 1987, he received his ninth Grammy award nomination and on March 2, 1988 his third Grammy for Best Rhythm and Blues Song as songwriter for the re-recording of Lean On Me by Club Nouveau on their debut album Life, Love and Pain, released in 1986 on Warner Bros. In 1996, a portion of his song “Grandma’s Hands” was sampled in the song “No Diggity” by BLACKstreet, featuring Dr. The single went to #1 on the Billboard Hot 100 chart and sold 1.6 million copies and won a Grammy in 1999 for Best R&B Performance by a Duo or Group with Vocals. Withers contributed two songs to Jimmy Buffett’s July 13, 2004 release License To Chill.
Following the reissues of Still Bill on January 28, 2003 and Just As I Am on March 8, 2005, there was speculation of previously unreleased material being issued as a new album. In 2006, Sony gave back to Withers his previously unreleased tapes. In 2007, “Lean On Me” was inducted into the Grammy Hall of Fame. Reviews European only release pressed on a Gold Disc and housed in a die-cut slipcase, exposing the gold CD. Bill Withers has written two bona fide classics (“Ain’t No Sunshine” and “Lean on Me”), recorded a slew of memorable hits, and had songs covered by everyone from Joe Cocker to Isaac Hayes to Kiss. Still, he’s underappreciated. His voice is smooth, his singing is subtle, and his songs move along over sinuous, sexy grooves.
It’s all so effortless that it’s easy to overlook how substantial Withers’s work really is. Never flashy, his best songs burn with a heat that lingers long after the last note has been played. This slender 10-track collection brings together a few songs from his remarkable early-’70s Sussex albums, including such hits and near hits as “Grandma’s Hands,” “Who Is He?
(And What Is He to You?),” and the seriously funky “Use Me,” as well as some gems from the later ’70s (including “Lovely Day”). Greatest Hits is a nice, succinct introduction to Withers’s work, but fans would be better off with the more complete Lean on Me career overview. –amazon.com Artist: Bill Withers Title: Best Of The Best Limited Gold Edition 01 – Just The Two Of Us 02 – Use Me 03 – Ain’t No Sunshine 04 – Lovely Day 05 – I Want To Spend The Night 06 – Soul Shadows 07 – Lean On Me 08 – Grandma’s Hands 09 – Hello Like Before 10 – Who Is He What Is He To You.
Mobile Fidelity Sound Lab (MFSL, or 'MoFi') is a company that produces audiophile releases of classic CDs and vinyl records. Many commercial CDs undergo dynamic range compression in order to sound 'louder' when played on radio or low-end systems. Some consider this detrimental to the sound quality when reproduced on high-quality equipment. Mobile Fidelity Sound Lab releases are highly desirable due to their attention to detail concerning the audio mastering process.
Some of the techniques used are half-speed mastering and pressing gold-plated CDs. MFSL also releases record albums meant to be played at 45 RPM instead of the standard 33? RPM, for better sound quality. These albums must be released on two or three discs, as less music can be held at increased speed.
MFSL only acquires the license to reproduce releases for a specific time period, and because of the limited quantities produced, they are highly sought after. The Mobile Fidelity Sound Lab Philosophy Mobile Fidelity Sound Lab's ongoing quest is to deliver the foremost sounding audio entertainment software that technological innovation can provide. From our first UHQR™ vinyl LP to our latest Ultradisc UHR™ SACD, we have been and will remain a steadfast innovator in the audiophile frontier.
We further believe that technological development serves best when accompanied by a profound awareness and appreciation for the elusive magic and mystery that comprises music itself. Our greatest hope is that our products will serve as conduits for ears ands souls to experience premium, pure, natural sound reproduction of diverse, pre-eminent original master recordings across the entire musical spectrum. High Definition Compatible Digital, or HDCD (also known as High Definition Compact Disc) is a patented encode-decode process that endeavors to improve the sound quality of standard audio CDs. A HDCD -encoded CD usually, but not always, has the HDCD logo printed somewhere on the back cover.
A relatively high-quality sound-system is required in order to take advantage of the subtle improvement that HDCD is intended to accomplish. HDCD was an early attempt by audiophiles to improve the sound-quality of CDs, while retaining backward compatibility with existing players. Although new HDCD -encoded CDs are still occasionally added to various catalogs, the format has been largely superseded by newer and more sophisticated digital audio technologies such as Super Audio CD ( SACD ) and DVD-Audio. HDCD® stands for High Definition Compatible Digital. It is an enhancement to regular audio CDs to effectively increase the dynamic range, resulting in better and more natural reproduction of music (both vocals and instrumental timbre). The additional dynamic range allows more low-level details to be captured in the digital recording. Regular audio CDs are based on 16-bit data word length, while those enhanced with HDCD have been encoded with effectively 20-bit data word length.
Longer data word lengths provide more resolution in which to capture the nuances of intricate musical passages. The HDCD enhancement algorithm is invented and licensed by Pacific Microsonics. HDCD enhanced CDs are identified by the HDCD logo on the front and/or back cover, and are backwards compatible with non- HDCD enhanced playback equipment (you simply hear the quality of regular audio CD). As of early 2001, there are over 5,000 CD titles available with HDCD enhancement.
To take advantage of HDCD enhanced audio CDs, you need a HDCD compatible DVD player or CD player. These models are identified with the same HDCD logo on their faceplate. PMI's High Definition Compatible Digital® (HDCD®) technology is a patented process used in top-end recording studios to correct the distortions found in current digital recording technology, delivering the full richness and detail of the original performance to compact disc and DVD audio. HDCD has been used in the recording of more than 5,000 CD titles, which include more than 225 Billboard Top 200 recordings and that account for more than 300 million CDs sold. PMI also licenses the HDCD decoder and filter technology to most of the world's leading audio IC manufacturers. Major consumer electronics makers employing HDCD technology include A & R Cambridge (Arcam), Denon Nippon Columbia Co.
Ltd., Harman Kardon Inc., Kenwood Corp., Linn Products Ltd., Madrigal Audio Laboratories Inc., Marantz Japan Inc., Rotel, Sansui Electric Co. And Toshiba Corp. HDCD -mastered CDs offer improved sound in standard CD players, and audio quality is improved even more in CD players equipped with HDCD playback technology. A Hybrid SA-CD is an SA-CD disc that can be played on regular CD players. The sound quality in that case will, in principle, not be better than that of a regular CD (though the CD-compatible layer is usually derived from the high resolution signal with SBM for better sound. Or similar words). The obvious benefit of a hybrid disc is that you don't need to replace all your CD players by SA-CD players at once.
In fact you could even start collecting SA-CDs before you own an SA-CD player. Hybrid SA-CD works in a different way. Both the CD layer and the high-density layer are 'read' from the same side. The other side has a printed label, so it is easy to recognize the disc and place it correctly in the tray of the CD player. How it works? Free workstation virtualization.
The high-density layer is partly reflective, partly transparent. At the wavelength used by regular CD layers (780 nm) the SA-CD layer is invisible so a CD player will just 'see' the CD layer. At the wavelength used for DVD and SA-CD (650 nm), the SA-CD layer is reflective.
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A highlight within Sony's already impressive reissue campaign was this, a 20-track collection that spanned the singer's full Sussex and Columbia careers, to illustrate just what a broad range of material he was producing in his prime. The big hits ('Lean on Me,' 'Ain't No Sunshine,' 'Use Me,' 'Lovely Day') are dispensed with very early on. From there, the album ranges through the full range of ' catalog, hitting all the expected highlights - and if the lion's share of material comes from the first two albums and 1977's, then that's only to be expected. But 1985's generally overlooked at least turns in its excellent title track, and there are some fine moments from as well. Of course, a mere 'best-of' is no substitute for the full experience, but anyone seeking a well-rounded introduction to the man, or fans who just want something to spin in the car, will find an indispensable summary.
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