Wilson Pickett
Information about Wilson Pickett
Wilson Pickett (March 18, 1941 – January 19, 2006) was an American R&B/Rock and Roll and soul singer. Known for his raw, raspy, passionate vocal delivery, he recorded some of the most incendiary soul music of the twentieth century. A major figure in the development of Southern soul music, his recordings between 1963 and 1973 left behind a legacy of some of the deepest, funkiest soul music ever to emerge from the South. The impact of his recordings also resulted in his 1991 induction into the Rock and Roll Hall of Fame.[1]
He was the youngest of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.
In 1955, Pickett became part of a gospel music group called the Violinaires. The group accompanied The Soul Stirrers, The Swan Silvertones, and The Davis Sisters on church tours across the country. After singing for four years in the locally popular gospel-harmony group, Pickett, lured by the success of other gospel singers of the day, including Sam Cooke, Aretha Franklin, and others who left gospel music in the late 1950s for the more lucrative secular music market, joined the Falcons in 1959.[3]
The Falcons were one of the first vocal groups to bring gospel into a popular context, thus paving the way for soul music. The Falcons also featured some notable members who went on to become major solo artists; when Pickett joined the group, Eddie Floyd and Sir Mack Rice were also members of the group. Pickett's biggest success with The Falcons came in 1962, when "I Found a Love," (co-authored by Pickett and featuring his lead vocals), peaked at #6 on the R&B charts, and at #75 on the pop charts.
Soon after recording "I Found a Love," Pickett cut his first solo recordings, including "I'm Gonna Cry," his first collaboration with Don Covay, an important figure in Southern soul music. Around this time, Pickett also recorded a demo for a song he co-wrote, called "If You Need Me." A slow-burning soul ballad featuring a spoken sermon, Pickett sent the demo to Jerry Wexler, a producer at Atlantic Records. Wexler heard the demo and liked it so much, he gave it to one of the label's own recording artists, Solomon Burke. Burke's recording of "If You Need Me" became one of his biggest hits (#2 R&B, #37 pop) and is now considered a soul standard, but Pickett was crushed when he discovered that Atlantic had given away his song. "First time I ever cried in my life," Pickett would later recall, notwithstanding the time as a child he cried for a week cited above. Pickett's version of the song was released on Double L Records, and was a moderate hit, peaking at #30 R&B, #64 pop.
Pickett's first big success as a solo artist came with "It's Too Late," an original composition (not to be confused with the Chuck Willis standard of the same name). Entering the charts on July 27, 1963, it eventually peaked at #7 on the R&B charts, and at #49 pop. This record's success convinced Wexler and Atlantic to buy his contract from Double L Records in 1964.
Pickett's voice was clearly a mixture of the excitement, passion and power of Little Richard and James Brown, replete with screams, moans, and hollers, which was destined for commercial success. His inevitable major breakthrough would come at Stax Records' recording studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965), perhaps his best-remembered hit, peaking at #1 R&B, #21 pop {US}, and #12 hit {UK}.
The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, in which producer Jerry Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald "Duck" Dunn. (Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the MG's, did not play on any of the Pickett studio sessions.) Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step. Cropper later explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here this was a thing that went 'um-chaw,' just the reverse as far as the accent goes." The song that resulted from this encounter established Pickett as a star, and also gave Atlantic Records a bona fide hit.
For his next sessions, Pickett would not return to Stax; the label's owner, Jim Stewart, banned all outside productions in December, 1965. As a result, Wexler took Pickett to Fame studios, another recording studio with an even closer association to Atlantic Records. Located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama, Fame was very influential in shaping soul music, and Pickett recorded some of his biggest hits there. This included the highest-charting version ever of the kinetic "Land of 1000 Dances", which became Pickett's third R&B #1, and his biggest ever pop hit, peaking at #6. The song had previously been a hit for the song's writer, Chris Kenner, and Mexican-American band Cannibal & the Headhunters.
Other big hits from this era in Pickett's career included two other covers: Mack Rice's "Mustang Sally," (#6 R&B, #23 pop), and Dyke & the Blazers' "Funky Broadway," (another R&B #1 for Pickett, as well as a #8 pop hit.) The band heard on almost all of Pickett's Fame recordings included keyboardist Spooner Oldham and drummer Roger Hawkins.
Pickett returned to Fame Studios in late 1968 and early 1969, where he worked with a band that featured guitarist Duane Allman, as well as Muscle Shoals stalwart Hawkins and newly recruited bassist David Hood. A #16 pop hit cover of The Beatles' "Hey Jude" came from these Fame sessions, as well as the minor hits "Mini-Skirt Minnie" and "Hey Joe".
Late 1969 found Pickett at Criteria Studios in Miami. Hit covers of The Supremes' "You Keep Me Hangin' On" (#16 R&B, #92 Pop) and The Archies' "Sugar Sugar" (#4 R&B, #25 Pop), as well as the Pickett original "She Said Yes" (#20 R&B, #68 Pop) came from these sessions.
Pickett then teamed up with established Philadelphia-based hitmakers Gamble and Huff for the 1970 album Wilson Pickett In Philadelphia, which featured his next two hit singles, the funk-oriented "Get Me Back On Time, Engine Number 9" (#3 R&B, #14 Pop) and the pop number "Don't Let The Green Grass Fool You" (#2 R&B, #17 Pop).
Following these two big hits, Pickett returned to Muscle Shoals and the Muscle Shoals band, featuring Hood, Hawkins, et al (though not Allman, who had moved on to Derek & the Dominoes.) This line-up recorded Pickett's fifth and last R&B #1 hit, "Don't Knock My Love, Pt. 1", which also peaked at #13 on the pop charts in 1971. Two further hits followed in '71: "Call My Name, I'll Be There" (#10 R&B, #52 Pop) and "Fire and Water" (#2 R&B, #24 Pop), a cover of a song by Free.
Pickett recorded several tracks in 1972 for a planned new album on Atlantic, but after the single "Funk Factory" reached #11 R&B and #58 pop in June of 1972, he left Atlantic for RCA Records. His final Atlantic single, a cover of Randy Newman's "Mama Told Me Not To Come," was actually culled from Pickett's 1971 album Don't Knock My Love.
As the decade continued, the advent of disco put Pickett's soul-based musical style out of step with the then-current trends in R&B, and in pop music in general. In 1975, with Pickett's once-prominent chart career on the wane, RCA dropped Pickett from the label. 1n 1979 Wilson recorded what may be the most soulful recording of Jingle Bells ever on Christmas Soul Special. The backing band for those sessions consisted of some original members of the rock group 3-D, including Teddy Wender, Nick Stevens, and Kiev Gingsberg.
Pickett continued to record sporadically with several labels over the following decades, occasionally making the lower to mid-range of the R&B charts. However, after 1974, he never had another pop hit. His last record was issued in 1999.
Remaining fairly active into the twenty first century on the touring front until he became ill in 2004, Pickett devoted his life to embodying "the notion of soul at its ferocious, unbridled best."[4]
In 1993, Pickett was involved in an accident where he struck an 86-year-old pedestrian, Pepe Ruiz, with his car in Englewood. Ruiz, who helped organize the New York animation union, died later that year. [5] Pickett pled guilty to drunken driving charges and received a reduced sentence of one year in jail and five years probation.[6][7] Pickett had been previously convicted of various drug offenses.
Throughout the 1990s, despite his personal troubles, Pickett was continuously honoured for his contributions to music. In addition to being inducted into the Rock and Roll Hall of Fame, and his music was prominently featured in the film The Commitments, with Pickett as an off-screen character. In 1993, he was honored with a Pioneer Award by the Rhythm and Blues Foundation.
Pickett was also a popular songwriter, as songs he wrote were recorded by artists like Led Zeppelin, Van Halen, The Rolling Stones, Aerosmith, the Grateful Dead, Booker T. & the MGs, Genesis, Creedence Clearwater Revival, Hootie & the Blowfish, Echo & The Bunnymen, Roxy Music, Bruce Springsteen, Los Lobos, The Jam, Ani DiFranco, among others.
Several years after his release from jail, Pickett returned to the studio and received a Grammy nomination for the 1999 album It's Harder Now. The comeback also resulted in his being honored as Soul/Blues Male Artist of the Year by the Blues Foundation in Memphis.[1] It's Harder Now was voted Comeback Blues Album of the Year and Soul/Blues Album of the Year.
In 2003, he co-starred in the D.A. Pennebaker-directed documentary "Only the Strong Survive," a selection of both the 2002 Cannes and Sundance Film Festivals.
Pickett spent the twilight of his career playing dozens of concert dates a year until 2004, when he began suffering from health problems. While in the hospital, he returned to his spiritual roots and told his sister that he wanted to record a gospel album. But, sadly, he never recovered.
Pickett died of a heart attack January 19, 2006 in the hospital near his Ashburn, Virginia home and was buried next to his mother in Louisville, Kentucky. Pickett's long-time friend, Little Richard, gave the eulogy and preached briefly at the funeral. Wilson spent many years in Louisville when his mother moved there from Alabama. He is considered an honorary son of the city. His funeral procession was flanked by well wishers welcoming him home.
He was remembered on March 20, 2006, at NYC's B.B. King Blues Club with performances by the Commitments, his long-term backing band the Midnight Movers, Big Daddy Bruce Wanye and others including vocalist Southside Johnny Lyons in front of an audience that included many members of his family, including two brothers.
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2nd millennium
Centuries: 19th century - 20th century - 21st century
1920s 1930s 1940s - 1950s - 1960s 1970s 1980s
1950 1951 1952 1953 1954
1955 1956 1957 1958 1959
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- The 1950s
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Biography
Early life
Pickett was born March 18, 1941 in Prattville, Alabama, and grew up singing in Baptist church choirs.He was the youngest of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.
Early musical career (1955-1964)
Pickett's forceful, passionate style of singing was developed in the church and on the streets of Detroit.[2]In 1955, Pickett became part of a gospel music group called the Violinaires. The group accompanied The Soul Stirrers, The Swan Silvertones, and The Davis Sisters on church tours across the country. After singing for four years in the locally popular gospel-harmony group, Pickett, lured by the success of other gospel singers of the day, including Sam Cooke, Aretha Franklin, and others who left gospel music in the late 1950s for the more lucrative secular music market, joined the Falcons in 1959.[3]
The Falcons were one of the first vocal groups to bring gospel into a popular context, thus paving the way for soul music. The Falcons also featured some notable members who went on to become major solo artists; when Pickett joined the group, Eddie Floyd and Sir Mack Rice were also members of the group. Pickett's biggest success with The Falcons came in 1962, when "I Found a Love," (co-authored by Pickett and featuring his lead vocals), peaked at #6 on the R&B charts, and at #75 on the pop charts.
Soon after recording "I Found a Love," Pickett cut his first solo recordings, including "I'm Gonna Cry," his first collaboration with Don Covay, an important figure in Southern soul music. Around this time, Pickett also recorded a demo for a song he co-wrote, called "If You Need Me." A slow-burning soul ballad featuring a spoken sermon, Pickett sent the demo to Jerry Wexler, a producer at Atlantic Records. Wexler heard the demo and liked it so much, he gave it to one of the label's own recording artists, Solomon Burke. Burke's recording of "If You Need Me" became one of his biggest hits (#2 R&B, #37 pop) and is now considered a soul standard, but Pickett was crushed when he discovered that Atlantic had given away his song. "First time I ever cried in my life," Pickett would later recall, notwithstanding the time as a child he cried for a week cited above. Pickett's version of the song was released on Double L Records, and was a moderate hit, peaking at #30 R&B, #64 pop.
Pickett's first big success as a solo artist came with "It's Too Late," an original composition (not to be confused with the Chuck Willis standard of the same name). Entering the charts on July 27, 1963, it eventually peaked at #7 on the R&B charts, and at #49 pop. This record's success convinced Wexler and Atlantic to buy his contract from Double L Records in 1964.
Rise To Stardom: In The Midnight Hour (1965)
Pickett's Atlantic career began with a self-produced single, "I'm Gonna Cry", which stalled at a lowly #124 on the national charts. Looking to boost Pickett's chart chances, Atlantic next paired him with famed producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, Pickett recorded "Come Home Baby," a pop duet with New Orleans singer Tammi Lynn, but this single failed to chart completely.Pickett's voice was clearly a mixture of the excitement, passion and power of Little Richard and James Brown, replete with screams, moans, and hollers, which was destined for commercial success. His inevitable major breakthrough would come at Stax Records' recording studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965), perhaps his best-remembered hit, peaking at #1 R&B, #21 pop {US}, and #12 hit {UK}.
The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, in which producer Jerry Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald "Duck" Dunn. (Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the MG's, did not play on any of the Pickett studio sessions.) Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step. Cropper later explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here this was a thing that went 'um-chaw,' just the reverse as far as the accent goes." The song that resulted from this encounter established Pickett as a star, and also gave Atlantic Records a bona fide hit.
The Stax/Fame Years (1965-67)
Pickett recorded three sessions at Stax in May and October of 1965, and was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," Pickett's 1965 recordings included the singles "Don't Fight It," (#4 R&B, #53 pop) "634-5789 (Soulsville, U.S.A,)" (#1 R&B, #13 pop) and "Ninety-Nine and A Half (Won't Do)" (#13 R&B, #53 pop). All but "634-5789" were original compositions Pickett co-wrote with Eddie Floyd and/or Steve Cropper; "634-5789" was credited to Cropper and Floyd alone. All of these recordings are considered soul classics, and show a range of different styles, from the hard-driving "Midnight Hour" and "Don't Fight It," to the more overtly gospel-influenced "Ninety-Nine and A Half" (which borrowed its title from a gospel standard recorded by The Ward Singers) and the pop-soul of "634-5789".For his next sessions, Pickett would not return to Stax; the label's owner, Jim Stewart, banned all outside productions in December, 1965. As a result, Wexler took Pickett to Fame studios, another recording studio with an even closer association to Atlantic Records. Located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama, Fame was very influential in shaping soul music, and Pickett recorded some of his biggest hits there. This included the highest-charting version ever of the kinetic "Land of 1000 Dances", which became Pickett's third R&B #1, and his biggest ever pop hit, peaking at #6. The song had previously been a hit for the song's writer, Chris Kenner, and Mexican-American band Cannibal & the Headhunters.
Other big hits from this era in Pickett's career included two other covers: Mack Rice's "Mustang Sally," (#6 R&B, #23 pop), and Dyke & the Blazers' "Funky Broadway," (another R&B #1 for Pickett, as well as a #8 pop hit.) The band heard on almost all of Pickett's Fame recordings included keyboardist Spooner Oldham and drummer Roger Hawkins.
Later Atlantic Years (1967-1972)
Towards the end of 1967, Pickett began recording at American Studios in Memphis with producers Tom Dowd and Tommy Cogbill, and also began recording numerous songs by Bobby Womack. The songs "I'm In Love," "Jealous Love," "I've Come A Long Way," "I'm A Midnight Mover," (a Pickett/Womack co-write), and "I Found A True Love" were all Womack-penned hits for Pickett in 1967 and 1968. "I'm In Love" was also a return to the soul ballad genre for Pickett; he would continue to record a mixture of ballads, soul and funk for the rest of his career. Pickett also recorded work by other writers during this era; Rodger Collins' "She's Looking Good" and a cover of the traditional blues standard "Stagger Lee" were also top 40 Pickett hits recorded at American in 1967/68. Womack was the guitarist on all these recordings.Pickett returned to Fame Studios in late 1968 and early 1969, where he worked with a band that featured guitarist Duane Allman, as well as Muscle Shoals stalwart Hawkins and newly recruited bassist David Hood. A #16 pop hit cover of The Beatles' "Hey Jude" came from these Fame sessions, as well as the minor hits "Mini-Skirt Minnie" and "Hey Joe".
Late 1969 found Pickett at Criteria Studios in Miami. Hit covers of The Supremes' "You Keep Me Hangin' On" (#16 R&B, #92 Pop) and The Archies' "Sugar Sugar" (#4 R&B, #25 Pop), as well as the Pickett original "She Said Yes" (#20 R&B, #68 Pop) came from these sessions.
Pickett then teamed up with established Philadelphia-based hitmakers Gamble and Huff for the 1970 album Wilson Pickett In Philadelphia, which featured his next two hit singles, the funk-oriented "Get Me Back On Time, Engine Number 9" (#3 R&B, #14 Pop) and the pop number "Don't Let The Green Grass Fool You" (#2 R&B, #17 Pop).
Following these two big hits, Pickett returned to Muscle Shoals and the Muscle Shoals band, featuring Hood, Hawkins, et al (though not Allman, who had moved on to Derek & the Dominoes.) This line-up recorded Pickett's fifth and last R&B #1 hit, "Don't Knock My Love, Pt. 1", which also peaked at #13 on the pop charts in 1971. Two further hits followed in '71: "Call My Name, I'll Be There" (#10 R&B, #52 Pop) and "Fire and Water" (#2 R&B, #24 Pop), a cover of a song by Free.
Pickett recorded several tracks in 1972 for a planned new album on Atlantic, but after the single "Funk Factory" reached #11 R&B and #58 pop in June of 1972, he left Atlantic for RCA Records. His final Atlantic single, a cover of Randy Newman's "Mama Told Me Not To Come," was actually culled from Pickett's 1971 album Don't Knock My Love.
Post-Atlantic recording career
Pickett continued to record with some success on the R&B charts for RCA in 1973 and 1974, scoring four top 30 R&B hits with "Mr. Magic Man", "Take a Closer Look at the Woman You're With", "International Playboy" and "Soft Soul Boogie Woogie". However, he was no longer crossing over to the pop charts with any regularity, as none of these songs hit higher than #90 on the Billboard Hot 100.As the decade continued, the advent of disco put Pickett's soul-based musical style out of step with the then-current trends in R&B, and in pop music in general. In 1975, with Pickett's once-prominent chart career on the wane, RCA dropped Pickett from the label. 1n 1979 Wilson recorded what may be the most soulful recording of Jingle Bells ever on Christmas Soul Special. The backing band for those sessions consisted of some original members of the rock group 3-D, including Teddy Wender, Nick Stevens, and Kiev Gingsberg.
Pickett continued to record sporadically with several labels over the following decades, occasionally making the lower to mid-range of the R&B charts. However, after 1974, he never had another pop hit. His last record was issued in 1999.
Remaining fairly active into the twenty first century on the touring front until he became ill in 2004, Pickett devoted his life to embodying "the notion of soul at its ferocious, unbridled best."[4]
Personal life and honors
Outside of music, Pickett's personal life was troubled. Even in his 1960s heyday, Pickett's friends found him to be temperamental and preoccupied with guns; Don Covay described him as "young and wild". Then in 1987, as his recording career was drying up, Pickett was given two years' probation and fined $1,000 for carrying a loaded shotgun in his car. In 1991, he was arrested for allegedly yelling death threats while driving a car over the mayor's front lawn in Englewood, New Jersey. The following year, he was charged with assaulting his girlfriend.In 1993, Pickett was involved in an accident where he struck an 86-year-old pedestrian, Pepe Ruiz, with his car in Englewood. Ruiz, who helped organize the New York animation union, died later that year. [5] Pickett pled guilty to drunken driving charges and received a reduced sentence of one year in jail and five years probation.[6][7] Pickett had been previously convicted of various drug offenses.
Throughout the 1990s, despite his personal troubles, Pickett was continuously honoured for his contributions to music. In addition to being inducted into the Rock and Roll Hall of Fame, and his music was prominently featured in the film The Commitments, with Pickett as an off-screen character. In 1993, he was honored with a Pioneer Award by the Rhythm and Blues Foundation.
Pickett was also a popular songwriter, as songs he wrote were recorded by artists like Led Zeppelin, Van Halen, The Rolling Stones, Aerosmith, the Grateful Dead, Booker T. & the MGs, Genesis, Creedence Clearwater Revival, Hootie & the Blowfish, Echo & The Bunnymen, Roxy Music, Bruce Springsteen, Los Lobos, The Jam, Ani DiFranco, among others.
Several years after his release from jail, Pickett returned to the studio and received a Grammy nomination for the 1999 album It's Harder Now. The comeback also resulted in his being honored as Soul/Blues Male Artist of the Year by the Blues Foundation in Memphis.[1] It's Harder Now was voted Comeback Blues Album of the Year and Soul/Blues Album of the Year.
In 2003, he co-starred in the D.A. Pennebaker-directed documentary "Only the Strong Survive," a selection of both the 2002 Cannes and Sundance Film Festivals.
Pickett spent the twilight of his career playing dozens of concert dates a year until 2004, when he began suffering from health problems. While in the hospital, he returned to his spiritual roots and told his sister that he wanted to record a gospel album. But, sadly, he never recovered.
Pickett died of a heart attack January 19, 2006 in the hospital near his Ashburn, Virginia home and was buried next to his mother in Louisville, Kentucky. Pickett's long-time friend, Little Richard, gave the eulogy and preached briefly at the funeral. Wilson spent many years in Louisville when his mother moved there from Alabama. He is considered an honorary son of the city. His funeral procession was flanked by well wishers welcoming him home.
He was remembered on March 20, 2006, at NYC's B.B. King Blues Club with performances by the Commitments, his long-term backing band the Midnight Movers, Big Daddy Bruce Wanye and others including vocalist Southside Johnny Lyons in front of an audience that included many members of his family, including two brothers.
Discography
Singles
| Release date | Title | Chart Positions | ||
|---|---|---|---|---|
| US Hot 100 | US R&B | UK | ||
| 1962 | "If You Need Me" | #64 | #30 | |
| 1963 | "It's Too Late" | #49 | #7 | |
| 1963 | "I'm Down to My Last Heartbreak" | #95 | #27 | |
| 1963 | "My Heart Belongs to You" (reissue charted in 1965) | #109 | ||
| 1964 | "I'm Gonna Cry" | #124 | ||
| 1964 | "Come Home Baby" | |||
| 1965 | "In the Midnight Hour" | #21 | #1 | #12 |
| 1965 | "Don't Fight It" | #53 | #4 | #29 |
| 1966 | "634-5789 (Soulsville, U.S.A.)" | #13 | #1 | #36 |
| 1966 | "Ninety Nine and a Half (Won't Do)" | #53 | #13 | |
| 1966 | "Land of 1000 Dances" | #6 | #1 | #22 |
| 1966 | "Mustang Sally" | #23 | #6 | #28 |
| 1967 | "Everybody Needs Somebody to Love" | #29 | #19 | |
| 1967 | "I Found a Love - Pt. 1" | #32 | #6 | |
| 1967 | "You Can't Stand Alone" (A-Side) | #70 | #26 | |
| 1967 | → "Soul Dance Number Three" (B-Side) | #55 | #10 | |
| 1967 | "Funky Broadway" | #8 | #1 | |
| 1967 | "I'm in Love" (A-Side) | #45 | #4 | |
| 1967 | → "Stag-O-Lee" (B-Side) | #22 | #13 | |
| 1968 | "Jealous Love" (A-Side) | #50 | #18 | |
| 1968 | → "I've Come a Long Way" (B-Side) | #101 | #46 | |
| 1968 | "She's Looking Good" | #15 | #7 | |
| 1968 | "I'm a Midnight Mover" | #24 | #6 | #38 |
| 1968 | "I Found a True Love" | #42 | #11 | |
| 1968 | "A Man and a Half" | #42 | #20 | |
| 1968 | "Hey Jude" | #23 | #13 | #16 |
| 1969 | "Mini-skirt Minnie" | #50 | #19 | |
| 1969 | "Born to Be Wild" | #64 | #41 | |
| 1969 | "Hey Joe" | #59 | #29 | |
| 1969 | "You Keep Me Hangin' On" | #92 | #16 | |
| 1970 | "Sugar, Sugar" (A-Side) | #25 | #4 | |
| 1970 | → "Cole, Cooke, and Redding" (B-Side) | #91 | #11 | |
| 1970 | "She Said Yes" | #68 | #20 | |
| 1970 | "Get Me Back On Time, Engine Number 9" | #14 | #3 | |
| 1971 | "Don't Let the Green Grass Fool You" | #17 | #2 | |
| 1971 | "Don't Knock My Love - Pt. 1" | #13 | #1 | |
| 1971 | "Call My Name, I'll Be There" | #52 | #10 | |
| 1971 | "Fire and Water" | #24 | #2 | |
| 1972 | "Funk Factory" | #58 | #11 | |
| 1972 | "Mama Told Me Not To Come" | #99 | #16 | |
| 1973 | "Mr. Magic Man" | #98 | #16 | |
| 1973 | "Take a Closer Look at the Woman You're With" | #90 | #17 | |
| 1973 | "International Playboy" | #104 | #30 | |
| 1974 | "Soft Soul Boogie Woogie" | #103 | #20 | |
| 1974 | "Take Your Pleasure Where You Find It" | #68 | ||
| 1975 | "The Best Part of A Man" | #26 | ||
| 1976 | "Love Will Keep Us Together" | #69 | ||
| 1978 | "Who Turned You On" | #59 | ||
| 1978 | "Groovin'" | #94 | ||
| 1979 | "I Want You" | #41 | ||
| 1980 | "Live With Me" | #95 | ||
| 1987 | "Don't Turn Away" | #74 | ||
| 1987 | "In the Midnight Hour" (re-recording) | #62 | ||
| 1988 | "Love Never Let Me Down" | |||
Albums
- In the Midnight Hour (1965, Atlantic) US: #107
- The Exciting Wilson Pickett (1966) US: #21
- The Best of Wilson Pickett (1967) US: #35
- The Wicked Pickett (1967) US: #42
- The Sound of Wilson Pickett (1967) US: #54
- I'm In Love (1967) US: #70
- The Midnight Mover (1968) US: #91
- Hey Jude (1968) US: #97
- Wilson Pickett in Philadelphia (1970) US: #64
- Right On (1970) US: #197
- The Best of Wilson Pickett, Vol. II (1971) US: #73
- Don't Knock My Love (1972) US: #132
- Mr. Magic Man (1973) US: #187
- Wilson Pickett's Greatest Hits (1973) US: #178
- Miz Lena's Boy (1973) (RCA Victor)
- Pickett in the Pocket (1974)
- Funky Situation (1978)
- I Want You (1980)
- American Soul Man (1987)
- A Man and a Half: The Best of Wilson Pickett (1992)
- It's Harder Now (1999)
References
Bibliography
- Ross, Andrew and Rose, Tricia (Ed.). (1994). Microphone fiends: Youth music and youth culture. Routledge: New York. ISBN 0-415-90908-2
- Hirshey, Gerri. Nowhere to Run: The Story of Soul Music. Da Capo Press; Reprint edition (September 1, 1994) ISBN 0-306-80581-2
- Hirshey, Gerri (February 9, 2006). Wilson Pickett, 1941-2006. Rolling Stone #933.
- Sacks, Leo. Liner notes to "A Man And A Half: The Best of Wilson Pickett" (1992, Rhino).
External links
- Unterberger, Richie. Wilson Picket 1999 induction profile via Alabama Music Hall of Fame
- Wilson Pickett via classicbands.com
- Escott, Colin. The Wicked Wilson Pickett.
- Boone, Mike. In The Midnight Hour. via soul-patrol.com
- Associated Press (19 January 2006). Soul Singer Wilson Pickett Dies at 64
- Muskal, Michael (19 January 2006). Soul Pioneer Wilson Pickett Dies at 64. Los Angeles Times
- Epstein, Dan (19 January 2006). Soul Legend Wilson Pickett Dies. Rolling Stone
- Leeds, Jeff (19 January 2006). Wilson Pickett, 64, Soul Singer of Great Passion, Dies. New York Times
- Jansen, Lex (19 January 2006). Wilson Pickett at the Heart of Rock and Soul
- http://www.geocities.com/shakin_stacks/wilsonpickett.txt
- Article About Wilson Pickett - by Dr. Frank Hoffmann
- Wilson Pickett at Rolling Stone
March 18 is the 1st day of the year (2nd in leap years) in the Gregorian calendar. There are 0 days remaining.
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Events
- 3952 BC - According to the Venerable Bede, the world was created.
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January 19 is the 1st day of the year (2nd in leap years) in the Gregorian calendar. There are 0 days remaining.
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Motto
"In God We Trust" (since 1956)
"E Pluribus Unum" ("From Many, One"; Latin, traditional)
Anthem
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"In God We Trust" (since 1956)
"E Pluribus Unum" ("From Many, One"; Latin, traditional)
Anthem
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Rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.
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Rock 'n' Roll (short for Rock and Roll), is a genre of music that evolved in the United States in the late 1940s and early 1950s, and quickly spread to the rest of the world. It later spawned the various sub-genres of what is now called simply 'rock music'.
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Soul Music is the sixteenth Discworld novel by Terry Pratchett, first published in 1994. Like many of Pratchett's novels it introduces an element of modern society into the magical and vaguely late medieval, early modern world of the Disc, in this case Rock and Roll
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twentieth century of the Common Era began on January 1, 1901 and ended on December 31, 2000, according to the Gregorian calendar. Some historians consider the era from about 1914 to 1991 to be the Short Twentieth Century.
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Southern soul is the term applied to a particular type of deep soul music that emerged from the southern region of the United States. There were also southern-born artists who brought their influences to northern U.S. cities as well.
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For the song by James Blunt, see .
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For other uses, including related musical genres, see .
Funk is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music...... Click the link for more information.
Southern States may refer to:
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- The Southern United States or, more broadly, those U.S. states comprising the Sun Belt.
- The Southern States Cooperative.
- The independent states of the South in the North-South divide.
- The independent states of the Southern hemisphere.
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Rock and Roll Hall of Fame and Museum is a museum in Cleveland, Ohio, United States, dedicated to recording the history of some of the best-known and most influential artists, producers, and other people who have in some major way influenced the music industry, particularly in the
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Prattville, AL
Seal
Nickname: The Preferred Community, The Fountain City
Location in the state of Alabama
Coordinates:
Country United States
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Seal
Nickname: The Preferred Community, The Fountain City
Location in the state of Alabama
Coordinates:
Country United States
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State of Alabama
Flag of Alabama Seal
Nickname(s): Yellowhammer State, Heart of Dixie
Motto(s): Audemus jura nostra defendere
Official language(s) English
Spoken language(s) English 96.
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Flag of Alabama Seal
Nickname(s): Yellowhammer State, Heart of Dixie
Motto(s): Audemus jura nostra defendere
Official language(s) English
Spoken language(s) English 96.
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Christianity
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Foundations
Jesus Christ
Church Theology
New Covenant Supersessionism
Dispensationalism
Apostles Kingdom Gospel
History of Christianity Timeline
Bible
Old Testament New Testament
Books Canon Apocrypha
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City of Detroit
Flag
Seal
Nickname: Motor City, Motown, Rock City, The D
Motto: "Speramus Meliora; Resurget Cineribus"
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Flag
Seal
Nickname: Motor City, Motown, Rock City, The D
Motto: "Speramus Meliora; Resurget Cineribus"
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Gospel music is a musical genre characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"), and
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One of the most popular and influential gospel groups of the 20th century, The Soul Stirrers were pioneers in the development of the quartet style of gospel and, without intending it, in the creation of soul music, the secular music that owed much to gospel.
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The Swan Silvertones were a gospel group that achieved great popularity in the 1940s and 1950s while led by Claude Jeter, who formed the group in 1938 as the "Four Harmony Kings" while working as a coal miner in West Virginia.
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The Davis Sisters was a gospel group founded by Ruth ("Baby Sis") Davis and featuring her sisters Thelma, Audrey and Alfreda. Imogene Greene joined the group in 1950, and was later replaced by Jackie Verdell when Greene left to join the Caravans.
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Sam Cooke (January 22, 1931 – December 11, 1964) was a popular and influential American gospel, R&B, soul, pop singer, songwriter, and entrepreneur. Musicians and critics today recognize him as one of the founders of soul music, and as one of the most important singers in
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Aretha Louise Franklin (born March 25, 1942) is an American singer, songwriter, and pianist. She has been called for many years "The Queen of Soul", but many also call her "Lady Soul," as well as the more affectionate "Sister Ree.
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worldwide view.
2nd millennium
Centuries: 19th century - 20th century - 21st century
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1950 1951 1952 1953 1954
1955 1956 1957 1958 1959
- -
- The 1950s
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Secularity (adjective form secular) is the state of being separate from religion.[1] For instance, eating and bathing may be regarded as examples of secular activities, because there is nothing inherently religious about them.
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