Uncle Jam Wants You is a concept album by American funk rock band Funkadelic. It was released by Warner Bros. Records in 1979, and was later reissued on CD by Priority Records. It was produced by George Clinton under the alias Dr. Funkenstein. It is the first Funkadelic album since America Eats Its Young in 1972 not to sport a cover illustrated by Funkadelic artist Pedro Bell, though Bell did provide artwork for the album’s back cover and interior. Uncle Jam Wants You was the second Funkadelic album to be certified gold. The album peaked at No. 18 on the Billboard 200 and No. 2 on the Billboard Top R&B/Hip-Hop Albums chart.
Robert Lockwood Jr. was an American Delta blues guitarist, who recorded for Chess Records and other Chicago labels in the 1950s and 1960s. He was the only guitarist to have learned to play directly from Robert Johnson. Robert Lockwood was one of the first professional black entertainers to appear on radio in the South, on the King Biscuit Time radio show. Lockwood is known for his longtime collaboration with Sonny Boy Williamson II and for his work in the mid-1950s with Little Walter.
Esther Phillips was an American singer, best known for her R&B vocals. She rose to prominence in 1950, scoring several major R&B hits including "Double Crossing Blues" and "Mistrustin' Blues" under the moniker "Little Esther". In the 1960s, she achieved chart success with the country song "Release Me" and recorded in the pop, jazz, blues and soul genres. Phillips received a Grammy nomination for her single "Home Is Where the Hatred Is" in 1973 and her disco recording of "What a Diff'rence a Day Makes" was a major hit in 1975. She died from liver and kidney failure due to long-term drug abuse in 1984.
The Trammps are an American disco and soul band, who were based in Philadelphia and were one of the first disco bands.
Robert Franklin Palmer Jr. was an American writer, musicologist, clarinetist, saxophonist, and blues producer. He is best known for his non-fictional writing on the field of music; his work as a music journalist for The New York Times and Rolling Stone magazine; his production work for blues recordings ; and his clarinet playing as a member of the 1960s jazz band, the Insect Trust.
Fun House is the second studio album by American rock band the Stooges. It was released on July 7, 1970, by Elektra Records. Though initially commercially unsuccessful, Fun House has since developed a strong cult following. Like its predecessor and successor, it is considered an integral work in the development of punk rock.
Aftermath is a studio album by the English rock band the Rolling Stones. The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States in late June or early July 1966 by London Records. It is the band's fourth British and sixth American studio album, and closely follows a series of international hit singles that helped bring the Stones newfound wealth and fame rivalling that of their contemporaries the Beatles.
Final Exam is an album by the American musician Loudon Wainwright III, released in 1978. He supported it with a North American tour. The album was re-released on Telarc in 2007, coupled with his 1976 album, T Shirt. In 1995, Wainwright acknowledged that it was his least favorite of his albums.
The Insect Trust was an American jazz-based rock band that formed in New York, United States, in 1967.
Luke Faust is an American folk musician. In the early 1960s he played a five-string banjo and sang Appalachian ballads, at The Gaslight Cafe in Greenwich Village, New York City. For five or six years, Faust performed with Jerry Rasmussen. One of his fellow entertainers at the Gaslight was Bob Dylan, who described Faust as "Someone closer in temperament to me."
Fiyo on the Bayou is the second studio album by the New Orleans four piece the Neville Brothers. It was released in 1981 on A&M.
Bootsy? Player of the Year is the third album by the American funk band Bootsy's Rubber Band. The album was released on Warner Bros. Records on January 20, 1978. At the height of the album's popularity, it competed head to head with Bootsy Collins' mentor George Clinton and his band Parliament, who had released the album Funkentelechy Vs. the Placebo Syndrome just two months earlier. The album was produced by Clinton and Collins and arranged by "The Player". The original vinyl version of the album contained a pair of cut out star shaped eyeglasses.
T-Bird Rhythm is the fourth studio album by Texas-based blues rock band the Fabulous Thunderbirds, released in 1982. The recording contains a mixture of covers and originals. Chrysalis dropped the band following the release of the album.
Pacific Gas & Electric was an American rock band in the late 1960s and early 1970s, led by singer Charlie Allen. Their biggest hit was the gospel-tinged "Are You Ready?" in 1970.
The Blow-Up is a live album by the American band Television, released as The Blow Up on cassette in 1982. It was reissued in 1990 and again in 1999. The songs first appeared on a bootleg titled Arrow.
Johnny Comes Marching Home is the second album by the American band the Del-Lords. It was released in 1986 on EMI America Records.
Who's Been Talkin' is the first album by the Robert Cray Band, released in 1980. It received little initial notice due to Tomato Records' bankruptcy. It has been rereleased a couple of times, including under the title Too Many Cooks.
Monkey Hips and Rice: The "5" Royales Anthology is a compilation album by the American musical group the "5" Royales, released in 1994. It collects songs from the group's King and Apollo years. The only two-disc title in Rhino Records' King Master Series, it was released the same year that group members Eugene Tanner and Obadiah Carter died.
Confessin' the Blues is an album by the American musician Esther Phillips. It was released in 1975, with an Atlantic Jazzlore reissue in 1987.
Old Enough is an album by the American musician Lou Ann Barton, released in 1982. It was a commercial disappointment that resulted in personal and music business problems for Barton. The album was reissued in 1993 and in 2007.
