Saturday, July 18, 2015

Ricky Nelson~ "It's Late"





Eric Hilliard Nelson (May 8, 1940 – December 31, 1985) – known as Ricky Nelson, later also as Rick Nelson – was an American actor, musician and singer-songwriter.


He starred alongside his family in the television series, The Adventures of Ozzie and Harriet (1952–66), as well as co-starring alongside John Wayne and Dean Martin in Howard Hawks's western feature film, Rio Bravo (1959).

He placed 53 songs on the Billboard Hot 100 between 1957 and 1973 including "Poor Little Fool" which holds the distinction of being the first #1 song on Billboard magazine's then-newly created Hot 100 chart. 
He recorded 19 additional Top 10 hits and was inducted into the Rock and Roll Hall of Fame on January 21, 1987.[1][2] In 1996, he was ranked #49 on TV Guide's 50 Greatest TV Stars of All Time.[3]
Nelson began his entertainment career in 1949 playing himself in the radio sitcom series, The Adventures of Ozzie and Harriet.

In 1952, he appeared in his first feature film, Here Come the Nelsons. In 1957, he recorded his first single, debuted as a singer on the television version of the sitcom, and released the #1 album entitled Ricky.

In 1958, Nelson released his first #1 single, "Poor Little Fool", and in 1959 received a Golden Globe nomination for "Most Promising Male Newcomer" after starring in Rio Bravo.

A few films followed, and when the television series was cancelled in 1966, Nelson made occasional appearances as a guest star on various television programs.

Nelson and Sharon Kristin Harmon were married on April 20, 1963, and divorced in December 1982.
They had four children: Tracy Kristine, twin sons Gunnar Eric and Matthew Gray, and Sam Hilliard.

On February 14, 1981, a son (Eric Crewe) was born to Nelson and Georgeann Crewe. 
A blood test in 1985 confirmed that Nelson was the child's father. Nelson was engaged to Helen Blair when both were killed in an airplane crash on December 31, 1985.


Rick Nelson
A young man in profile playing a guitar and standing before a microphone.
Nelson in concert in Lawton, Oklahoma
Background information
Birth nameEric Hilliard Nelson
BornMay 8, 1940
Teaneck, New Jersey, US
DiedDecember 31, 1985 (aged 45)
De Kalb, Texas, US
GenresRockabilly, Rock 'n' roll, Pop,Folk, Country
Occupation(s)Actor, musician, singer-songwriter
Years active1949–1985
LabelsImperial, Decca/MCA, Epic
Associated actsElvis Presley, The Everly Brothers, Fats Domino, Connie Francis, Carl Perkins, James Burton
Websiterickynelson.com

Early life[edit]

Ricky Nelson was born on May 8, 1940, at 1:25 p.m. at Holy Name Hospital in Teaneck, New Jersey.[4][5][6]
He was the second son of big band leader Ozzie Nelson, who was of half Swedish descent, and his wife, big band vocalist Harriet Hilliard Nelson (née Peggy Louise Snyder).

Harriett remained in Englewood, New Jersey, with her newborn and her older son David while Ozzie toured the nation with the Nelson orchestra.[7]
The Nelsons bought a two-story colonial house in Tenafly, New Jersey,[7][8] and, six months after the purchase, moved with son David to Hollywood, where Ozzie and Harriet were slated to appear in the 1941–42 season of Red Skelton's The Raleigh Cigarette Hour; Ricky remained in Tenafly in the care of his paternal grandmother.[9]
In November 1941, the Nelsons bought what would become their permanent home: a green and white, two-story, Cape Cod colonial home at 1822 Camino Palmero in Los Angeles.[10][11]
Ricky joined his parents and brother in Los Angeles in 1942.[10]
Ricky was a small and insecure child who suffered from severe asthma. At night, his sleep was eased with a vaporizer emitting tincture of evergreen.[12]
He was described by Red Skelton's producer John Guedel as "an odd little kid," likable, shy, introspective, mysterious, and inscrutable.[13]
When Skelton was drafted in 1944, Guedel crafted the radio sitcom The Adventures of Ozzie and Harriet for Ricky's parents.[13][14]
The show debuted on Sunday, October 8, 1944, to favorable reviews.[15][16]
Ozzie eventually became head writer for the show and based episodes on the fraternal exploits and enmity of his sons.[17]
The Nelson boys were first played in the radio series by professional child actors until twelve-year-old Dave and eight-year-old Ricky joined the show on February 20, 1949, in the episode "Invitation to Dinner."[18][19]

The Nelson family, 1952
In 1952, the Nelsons tested the waters for a television series with the theatrically released film Here Come the Nelsons.
The film was a hit, and Ozzie was convinced the family could make the transition from radio's airwaves to television's small screen.

On October 3, 1952, The Adventures of Ozzie and Harriet made its television debut and was broadcast in first run until September 3, 1966, to become one of the longest-running sitcoms in television history.

Education

Nelson attended Gardner Street Public School,[20] Bancroft Junior High,[21] and, between 1954 and 1958, Hollywood High School, from which he graduated with a B average.[22][23][24]
He played football at Hollywood High[22][23] and represented the school in interscholastic tennis matches.[25]
Twenty-five years later, Nelson told the Los Angeles Weekly he hated school because it "smelled of pencils" and he was forced to rise early in the morning to attend.[22]
At Hollywood High, Nelson was blackballed by the Elksters, a fraternity of a dozen conservative sports-loving teens who thought him too wild.[26][27]
Many of the Elksters were family friends and spent weekends at the Nelson home playing basketball or relaxing around the pool.[27]
In retaliation, he joined the Rooks, a greaser car club of sideburned high school teens clad in leather jackets and motorcycle boots.[27][28]

He tattooed his hands, wrist, and shoulder with India ink and a sewing needle, slicked his hair with oil, and accompanied the Rooks on nocturnal forays along Hollywood Boulevard.[27][28]
Nelson was jailed twice in connection with incidents perpetrated by the Rooks and escaped punishment after sucker-punching a police officer only through the intervention of his father.[28]
  
Nelson's parents were alarmed. Their son's juvenile delinquency did little to enhance the All-American image of Ozzie and Harriet, and they quickly put an end to Ricky's involvement with the Rooks by banishing one of the most influential of the club's members from Ricky's life and their home.[25]
One of Ricky's seldom-publicized traits was his "fierce loyalty" to boyhood friends whom he regarded as trusted confidants. When young friend Bill Aken was in a crippling auto accident in New York City and confined to a hospital bed for months, Ricky would often phone Billy's mother, asking about his progress and writing short notes and letters to Billy to cheer him up.

They became lifelong friends, and Aken recorded the only family-authorized tribute record ("Gentle Friend") for the fan club after Rick's death.

Ozzie Nelson was a Rutgers alumnus and keen on college education,[29] but eighteen-year-old Ricky was already in the 93 percent income-tax bracket and saw no reason to attend.[23]
At age thirteen, Ricky was making over $100,000 per annum, and at sixteen he had a personal fortune of $500,000.[30]
Nelson's wealth was astutely managed by his parents, who channeled his earnings into trust funds. Although his parents permitted him a $50 allowance at the age of eighteen, Rick was often strapped for cash and one evening collected and redeemed empty pop bottles to gain entrance to a movie theater for himself and a date.[31]
Accustomed to affluence, Nelson had a cavalier attitude about money and never managed his finances very well.[26]

Music career

Debut

Nelson played clarinet and drums in his tweens and early teens, learned the rudimentary guitar chords, and vocally imitated his favorite Sun Records rockabillyartists in the bathroom at home or in the showers at the Los Angeles Tennis Club.[32][33][34]
He was strongly influenced by the music of Carl Perkins and once said he tried to emulate the sound and the tone of the guitar break in Perkins's March 1956 Top Ten hit "Blue Suede Shoes."[33][34]
At age sixteen, he wanted to impress a girl friend who was an Elvis Presley fan and, although he had no record contract at the time, told her that he, too, was going to make a record.[32][35][36][37]
With his father's help, he secured a one-record deal with Verve Records, an important jazz label looking for a young and popular personality who could sing or be taught to sing.[36][37][38][39]
On March 26, 1957, he recorded the Fats Domino standard "I'm Walkin'" and "A Teenager's Romance" (released in late April 1957 as his first single),[40] and "You're My One and Only Love".[39][41]
Before the single was released, he made his television rock-and-roll debut on April 10, 1957, lip-synching "I'm Walkin'" in the Ozzie and Harriet episode "Ricky, the Drummer".[42][43]
About the same time, he made an unpaid public appearance, singing "Blue Moon of Kentucky" with the Four Preps at a Hamilton High School lunch hour assembly[40] in Los Angeles and was greeted by hordes of screaming teens who had seen the television episode.[44][45]
"I'm Walkin'" reached #4 on Billboard's Best Sellers in Stores chart, and its flip side, "A Teenager's Romance", hit #2.[36][45]

When the television series went on summer break in 1957, Nelson made his first road trip and played four state and county fairs in Ohio and Wisconsin with the Four Preps, who opened and closed for him.[46]


Source: Wikipedia.org

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Wednesday, July 8, 2015

Mary Wells~ "The One Who Really Loves You"



Mary Esther Wells (May 13, 1943 – July 26, 1992) was an American singer who helped to define the emerging sound of Motown in the early 1960s.

Along with the Supremes, the Miracles, the Temptations, and the Four Tops, Wells was said to have been part of the charge in black music onto radio stations and record shelves of mainstream America, "bridging the color lines in music at the time."[1]

With a string of hit singles composed mainly by Smokey Robinson, including "The One Who Really Loves You"", "Two Lovers" (1962), the Grammy-nominated "You Beat Me to the Punch" (1962) and her signature hit, "My Guy" (1964), she became recognized as "The Queen of Motown" until her departure from the company in 1964, at the height of her popularity. She was one of Motown's first singing superstars.


Google Image Search: Mary Wells~


Mary Wells
Mary Wells 1965.jpg
Background information
Birth name Mary Esther Wells
Also known as Mary Wells Womack
Born May 13, 1943
Detroit, Michigan
Origin Detroit, Michigan, United States
Died July 26, 1992 (aged 49)
Los Angeles, California
Genres R&B, pop, soul, Motown, disco
Occupation(s) Singer-songwriter
Years active 1960–1990
Labels Motown, 20th Century Fox, Atco, Jubilee, Reprise, Epic, Motorcity
Associated acts Smokey Robinson, Marvin Gaye, Cecil Womack, Bobby Womack


Biography

Early life and initial recordings

Mary Esther Wells was born near Detroit's Wayne State University on May 13, 1943, to a mother who worked as a domestic, and an absentee father. One of three children, she contracted spinal meningitis at the age of two and struggled with partial blindness, deafness in one ear and temporary paralysis.

During her early years, Wells lived in a poor residential Detroit district. By age 12, she was helping her mother with house cleaning work.[2] She described the ordeal years later:

"Daywork they called it, and it was damn cold on hallway linoleum. Misery is Detroit linoleum in January—with a half-froze bucket of Spic-and-Span."[2]
—Mary Wells

Wells used singing as her comfort from her pain and by age 10 had graduated from church choirs to performing at local nightclubs in the Detroit area. Wells graduated from Detroit's Northwestern High School at the age of 17 and set her sights on becoming a scientist, but after hearing about the success of Detroit musicians such as Jackie Wilson and the Miracles, she decided to try her hand at music as a singer-songwriter.

In 1960, 17-year-old Wells approached Tamla Records founder Berry Gordy at Detroit's Twenty Grand club with a song she had intended for Jackie Wilson to record, since Wells knew of Gordy's collaboration with Wilson. However, a tired Gordy insisted Wells sing the song in front of him.

Impressed, Gordy had Wells enter Detroit's United Sound Studios to record the single, titled "Bye Bye Baby". After a reported 22 takes, Gordy signed Wells to the Motown subsidiary of his expanding record label and released the song as a single in September 1960; it peaked at No 8 on the R&B chart in 1961, and later crossed over to the pop singles chart, where it peaked at number 45.

Wells' early Motown recordings reflected a rougher R&B sound than the smoother style of her biggest hits. Wells became the first Motown female artist to have a Top 40 pop single after the Mickey Stevenson-penned doo-wop song, "I Don't Want to Take a Chance", hit No. 33 in June,1961.

In the fall of that year, Motown issued her first album and released a third single, the bluesy ballad "Strange Love". When that record bombed, Gordy set Wells up with the Miracles' lead singer Smokey Robinson.

Though she was hailed as "the first lady of Motown", Wells was technically Motown's third female signed act: Claudette Rogers, of Motown's first star group the Miracles, has been referred to by Berry Gordy as "the first lady of Motown Records" due to her being signed as a member of the group, and in late 1959 Detroit blues-gospel singer Mable John had signed to the then-fledging label a year prior to Wells' arrival.

Nevertheless, Wells' early hits as one of the label's few female solo acts did make her the label's first female star and its first fully successful solo artist.

Success

 

Wells' teaming with Robinson led to a succession of hit singles over the following two years. Their first collaboration, 1962's "The One Who Really Loves You", was Wells' first smash hit, peaking at No. 2 on the R&B chart and No. 8 on the Hot 100.

The song featured a calypso-styled soul production that defined Wells' early hits. Motown released the similar-sounding "You Beat Me to the Punch" a few months later. The song became her first R&B No. 1 single and peaked at No. 9 on the pop chart.

The success of "You Beat Me to the Punch" helped to make Wells the first Motown star to be nominated for a Grammy Award when the song received a nod in the Best Rhythm & Blues Recording category.

In late 1962, "Two Lovers"[3] became Wells' third consecutive single to hit the Top 10 of Billboard's Hot 100, peaking at No. 7 and becoming her second No. 1 hit on the R&B charts. This helped to make Wells the first female solo artist to have three consecutive Top 10 singles on the pop chart. The track sold over one million copies, and was awarded a gold disc.[4]

Wells' second album, also titled The One Who Really Loves You, was released in 1962 and peaked at No. 8 on the pop albums chart, making the teenage singer a breakthrough star and giving her clout at Motown. Wells' success at the label was recognized when she became a headliner during the first string of Motortown Revue concerts, starting in the fall of 1962. The singer showcased a rawer stage presence that contrasted with her softer R&B recordings.

Wells' success continued in 1963 when she hit the Top 20 with the doo-wop ballad "Laughing Boy" and scored three additional Top 40 singles, "Your Old Standby", "You Lost the Sweetest Boy", and its B-side, "What's Easy for Two Is So Hard for One". "You Lost the Sweetest Boy" was one of the first hit singles composed by the successful Motown songwriting and producing trio of Holland–Dozier–Holland, though Robinson remained Wells' primary producer.

Also in 1963, Wells recorded a session of successful B-sides that arguably became as well known as her hits, including "Operator", "What Love Has Joined Together", "Two Wrongs Don't Make a Right" and "Old Love (Let's Try It Again)". Wells and Robinson also recorded a duet titled "I Want You 'Round", which would be re-recorded by Marvin Gaye and Kim Weston.

In 1964, Wells recorded "My Guy". The Smokey Robinson song became her trademark single, reaching No. 1 on the Cashbox R&B chart for seven weeks and becoming the No. 1 R&B single of the year. The song successfully crossed over to the Billboard Hot 100, where it eventually replaced Louis Armstrong's "Hello, Dolly!" at No. 1, remaining there for two weeks. The song became Wells' second million-selling single.[4]

To build on the song's success, Motown released a duet album recorded with fellow Motown singing star Marvin Gaye, Together. The album peaked at No. 1 on the R&B album chart and No. 42 on the pop album chart, and yielded the double-sided hits "Once Upon a Time" and "What's the Matter With You Baby".

"My Guy" was one of the first Motown songs to break on the other side of the Atlantic, eventually peaking at No. 5 on the UK chart and making Wells an international star. Around this time, the Beatles stated that Wells was their favorite American singer, and soon she was given an invitation to open for the group during their tour of the United Kingdom, thus making her the first Motown star to perform in the UK.

Wells was only one of three female singers to open for the Beatles, the others being Brenda Holloway and Jackie DeShannon. Wells made friends with all four Beatles and later released a tribute album, Love Songs to the Beatles, in mid-decade.

Former Motown sales chief Barney Ales described Wells' landmark success in 1964:

"In 1964, Mary Wells was our big, big artist, I don't think there's any audience with an age of 30 through 50 that doesn't know the words to My Guy."[1]
—(1992)

Leaving Motown

 

Ironically during her most successful year, Wells was having problems with Motown over her original recording contract, which she had signed at the age of 17. She was also reportedly angry that the money made from "My Guy" was being used to promote the Supremes, who had found success with "Where Did Our Love Go".

Though Gordy reportedly tried to renegotiate with Wells, the singer still asked to be freed from her contract with Motown.

A pending lawsuit kept Wells away from the studio for several months, as she and Gordy went back and forth over the contract details, Wells fighting to gain larger royalties from earnings she had made during her tenure with Motown.

Finally, she invoked a clause that allowed her to leave the label, telling the court that her original contract was invalid since she had signed while still a minor. Wells won her lawsuit and was awarded a settlement, leaving Motown officially in early 1965, whereupon she accepted a lucrative ($200,000) contract with 20th Century Fox Records.

Part of the terms of the agreement of her release was that she could not receive any royalties from her past works with the label, including use of her likeness to promote herself.

Career struggles

 

A weary Wells worked on material for her new record label while dealing with other issues, including being bedridden for weeks suffering from tuberculosis. Wells' eponymous first 20th Century Fox release included the first single "Ain't It The Truth", its B-side "Stop Taking Me for Granted", the lone top 40 hit, "Use Your Head" and "Never, Never Leave Me".

However, the album flopped, as did the Beatles tribute album she released not too long afterwards. Rumors have hinted Motown may have threatened to sue radio stations for playing Wells' post-Motown music during this time.[5]

After a stressful period in which Wells and the label battled over various issues after her records failed to chart successfully, the singer asked to be let go in 1965 and left with a small settlement.

In 1966, Wells signed with Atlantic Records' subsidiary Atco. Working with producer Carl Davis, she scored her final Top 10 R&B hit with "Dear Lover", which also became a modestly successful pop hit, peaking at No. 51.

However, much like her tenure with 20th Century Fox, the singer struggled to come up with a follow-up hit, and in 1968 she left the label for Jubilee Records, where she scored her final pop hit, "The Doctor", a song she co-wrote with then-husband Cecil Womack, of the famed Womack family.

(Meanwhile, she had attempted a film career, but only managed a bit part in 1967's "Catalina Caper".)

In 1970, Wells left Jubilee for a short-lived deal with Warner Music subsidiary Reprise Records and released two Bobby Womack-produced singles.

In 1972, Wells scored a UK hit with a re-issue of "My Guy", which was released on the Tamla-Motown label and climbed to No. 14.[6]

Though a re-issue, Wells promoted the single heavily and appeared on the British TV show Top of the Pops for the first time. Despite this mini-revival, she decided to retire from music in 1974 to raise her family.

Comeback

 

In 1977, Wells divorced Cecil Womack and returned to performing. She was spotted by CBS Urban president Larkin Arnold in 1978 and offered a contract with the CBS subsidiary Epic Records, which released In and Out of Love in October 1981.

The album, which had been recorded in 1979, yielded Wells' biggest hit in years, the funky disco single, "Gigolo".

The song became a smash at dance clubs across the country. A six-minute mix hit No. 13 on Billboard's Hot Dance/Club Singles chart and No. 2 on the Hot Disco Songs chart. A four-minute radio version released to R&B stations in January 1982 achieved a modest showing at No. 69. It turned out to be Wells' final chart single.

After the parent album failed to chart or produce successful follow-ups, the Motown-styled These Arms was released, but it flopped and was quickly withdrawn, and Wells' Epic contract fizzled. The album's failure may have been due to light promotion.

She still had one more album in her CBS contract, and in 1982 released an album of cover songs, Easy Touch, which aimed for the adult contemporary radio format.

Leaving CBS in 1983, she continued recording for smaller labels, gaining new success as a touring performer.

On the 21 April 1984 edition of American Top 40, Casey Kasem reported that Wells was attempting to establish a hot dog chain.

In 1989 Wells was celebrated with a Pioneer Award from the Rhythm and Blues Foundation during its inaugural year.

Final years

 

In 1990, Wells recorded an album for Ian Levine's Motorcity Records, but her voice began to fail, causing the singer to visit a local hospital. Doctors diagnosed Wells with laryngeal cancer. Treatments for the disease ravaged her voice, forcing her to quit her music career.

Since she had no health insurance, her illness wiped out her finances, forcing her to sell her home. As she struggled to continue treatment, old Motown friends, including Diana Ross, Mary Wilson, members of the Temptations and Martha Reeves, made donations to support her, along with the help of admirers such as Dionne Warwick, Rod Stewart, Bruce Springsteen, Aretha Franklin and Bonnie Raitt.[7]

That same year, a benefit concert was held by fellow fan and Detroit R&B singer Anita Baker. Wells was also given a tribute by friends such as Stevie Wonder and Little Richard on The Joan Rivers Show.

In 1991, Wells brought a multi-million dollar lawsuit against Motown for royalties she felt she had not received upon leaving Motown Records in 1964 and for loss of royalties for not promoting her songs as the company should have.

Motown eventually settled the lawsuit by giving her a six-figure sum. That same year, she testified before the United States Congress to encourage government funding for cancer research:

"I'm here today to urge you to keep the faith. I can't cheer you on with all my voice, but I can encourage, and I pray to motivate you with all my heart and soul and whispers."[5]
—Mary Wells

Death

 

In the summer of 1992, Wells' cancer returned and she was rushed to the Kenneth Norris Jr. Cancer Hospital in Los Angeles with pneumonia. With the effects of her unsuccessful treatments and a weakened immune system, Wells died on July 26, 1992, at the age of 49.

After her funeral, which included a eulogy given by her old friend and former collaborator Smokey Robinson, Wells was laid to rest in Glendale's Forest Lawn Memorial Park.

Personal life

 

Wells married twice: first, in 1960, to Detroit singer Herman Griffin. The marriage of the teenage couple was troubled from the start due to their age and Griffin's unhealthy control of Wells. They divorced in 1963.

Despite rumors, she never dated fellow Motown singer Marvin Gaye, who would go on to have successful duet partnerships with Kim Weston, Tammi Terrell and Diana Ross after Wells had left Motown.

In 1966, Wells married singer-songwriter Cecil Womack, formerly of the Valentinos and the younger brother of musician Bobby Womack.

The marriage lasted until 1977 and produced three children. Wells began an affair with another Womack brother, Curtis, during her marriage to Cecil.

Her relationship with Curtis Womack was reportedly abusive. Wells was a notorious chain smoker and went through bouts of depression during her marriages.

Prior to divorcing Cecil and while dating Curtis, she tried committing suicide after word had leaked of her relationship with Curtis.

After the botched suicide attempt, Wells sought other methods of what she called "meditating", including using cocaine.

Over time, she developed a heroin habit.[8] Her drug habit ceased after she became pregnant with Curtis' child. After splitting from Curtis in 1990, Wells focused on raising her youngest daughter until her cancer appeared.

Mary had four children: sons Cecil, Jr. and Harry, and daughters Stacy and Sugar.

Awards and accolades

 

Though Wells has been eligible for induction to the Rock & Roll Hall of Fame, being nominated twice in 1986 and 1987, she has yet to achieve it.

She earned one Grammy Award nomination during her career, and in 1999 the Grammy committee inducted "My Guy" into the Grammy Hall of Fame, assuring the song's importance.

Wells was given one of the first Pioneer Awards by the Rhythm and Blues Foundation in 1989.

A year later, the foundation raised more than $50,000 to help with her treatment after her illness had wiped out all of her finances.

Source: Wikipedia.org


Somebody Come and Play in Traffic with Me! Earn as You Learn, Grow as You Go!

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