Portal:R&B and Soul Music

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R&B and Soul Music

Showcasing the finer articles and information on Wikipedia's R&B, soul, and funk singers, musicians, bands, songs, and record labels.

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"Déjà Vu" is a song by American R&B singer Beyoncé Knowles featuring rapper Jay-Z. The 70s-inspired funk song was produced in 2005 for Beyoncé's second solo album, B'Day, and was the album's opening track. "Déjà Vu"'s live instrumentation is varied; including bass guitar, conga, hi-hat, horn and 808. It was part of Beyoncé's vision of making records out of live instruments, parallel to Rodney Jerkins, who co-produced the song, and John Webb's aspiration during the pre-production of "Déjà Vu". The song's title and lyrics refer to a woman constantly being reminded of a past lover.

The track was released as the album's lead single in July 2006 to mostly mixed to positive reviews from music critics. While it failed to match the success of Beyonce's 2003 single, "Crazy in Love", "Déjà Vu" entered the top ten on most charts, topping many of Billboard's component charts and also reaching number one in the United Kingdom. Although the single received several award nominations, the quality of its accompanying music video displeased fans, thousands of whom petitioned for it to be re-shot.

Beyoncé had previously collaborated with producer-songwriter Rodney Jerkins on her former group Destiny's Child's 2004 single "Lose My Breath". In 2005, Jerkins and composer John Webb began working on "Déjà Vu" for Beyoncé's album B'Day. Webb said, "Rodney and I came up with the concept of doing an old-school track, a throwback with real bass and horns; that's part of why the title is 'Déjà Vu'." Beyoncé also enlisted Delisha Thomas, Keli Nicole Price and Makeba Riddick, who made her way onto the B'Day production team after co-writing the song.[2] Jerkins recorded a demo version of the song with Makeba on vocals, and presented it to Beyoncé, who later approved.[2] Jay-Z, who is featured in the song with an extended rap, originally never planned to work with her; but when Beyoncé saw his lips moving when he first heard the track, she asked him to go to the studio and record what he had done.

Selected picture

Seal Henry Olusegun Olumide Adeola Samuel
Author: SvG
Picture Notes: Funk and blues musician Seal Henry Olusegun Olumide Adeola Samuel

Selected biography

Eunice Kathleen Waymon, better known by her stage name Nina Simone (IPA: ninɐ sʌmɞnɑ) (February 21, 1933 – April 21, 2003), was a Grammy Award-nominated American singer, songwriter, pianist, arranger and civil rights activist.

Although she disliked being categorized, Simone is generally classified as a jazz musician. She preferred the term "Black Classical Music" herself. Simone originally aspired to become a classical pianist, but her work covers an eclectic variety of musical styles besides her classical basis, such as jazz, soul, folk, R&B, gospel, and pop music. Her vocal style (with a rich alto vocal range[3]) is characterized by intense passion, breathiness, and tremolo. Sometimes known as the High Priestess of Soul, she paid great attention to the musical expression of emotions. Within one album or concert she could fluctuate between exuberant happiness or tragic melancholy. These fluctuations also characterized her own personality and personal life, worsened by a bipolar disorder with which she was diagnosed in the mid-sixties, but was kept secret until 2004.[4]

Simone recorded over 40 live and studio albums, the biggest body of her work being released between 1958 (when she made her debut with Little Girl Blue) and 1974. Songs she is best known for include "My Baby Just Cares for Me", "I Put a Spell on You", "I Loves You Porgy", "Feeling Good", "Sinner Man", "To Be Young, Gifted and Black", "Strange Fruit", "Ain't Got No-I Got Life" and "I Want a Little Sugar in My Bowl". Her music and message made a strong and lasting impact on African-American culture[5], illustrated by the numerous contemporary artists who cite her as an important influence (among them Mary J. Blige, Alicia Keys, Jeff Buckley, and Lauryn Hill), as well as the extensive use of her music on soundtracks and in remixes.

Simone was born Eunice Kathleen Waymon in Tryon, North Carolina, one of eight children. She began playing piano at her local church and showed prodigious talent on this instrument. Her concert debut, a classical piano recital, was made at the age of ten. During her performance, her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. Simone refused to play until her parents were moved back.[6][7] This incident contributed to her later involvement in the civil rights movement.

Selected sound

Featured Articles

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Featured articles: "Baby Boy" · "Déjà Vu" · "Halo" · "Irreplaceable" · Janet Jackson · Michael Jackson · Mariah Carey · Sly & the Family Stone · Sons of Soul · The Supremes · Thriller · The Way I See It

Good articles: Afrodisiac · "Burn" · "Caught Up" · Christina Milian · Confessions · "Forgive Me" · FutureSex/LoveSounds · "Get Me Bodied" · "Green Light" · House of Music ·I Want You · LeToya Luckett · Let's Get It On · "Lose My Breath" · Maxwell's Urban Hang Suite · Modern Sounds in Country and Western Music · "My Boo" · My World · "Naughty Girl" · Nina Simone · Off the Wall · "Ring the Alarm" · Soul Food Taqueria · There's a Riot Goin' On · "Untitled (How Does It Feel)Voodoo · "We Belong Together" · "What Goes Around.../...Comes Around" · Winter in America · "Yeah!"

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  1. ^ Palmer, Robert (1981-05-21). Deep Blues: A Musical and Cultural History of the Mississippi Delta. Viking Adult. ISBN 978-0670495115. 
  2. ^ a b Reid, Shaheem. "Be All You Can, B.". MTV News. MTV Networks. Retrieved 2008-01-07. 
  3. ^ Brun-Lambert. Nina Simone, het tragische lot van een uitzonderlijke zangeres. p. 57. 
  4. ^ Hampton. Break Down And Let It All Out. pp. 9–13. 
  5. ^ Mark Anthony Neal (2003-06-04). "Nina Simone: She Cast a Spell—and Made a Choice". Retrieved 2007-08-14. 
  6. ^ Simone. I Put a Spell on You. p. 26. 
  7. ^ Hampton. Break Down And Let It All Out. p. 15. 
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