Im So Excited karaoke key F sharp

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Im So Excited karaoke key F sharp

I’m So Excited The Pointer Sisters

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The Pointer Sisters are an American R&B singing group from Oakland, California, who achieved mainstream success during the 1970s and 1980s. Spanning over four decades, their repertoire has included such diverse genres as pop, disco, jazz, electronic music, bebop, blues, soul, funk, dance, country and rock. The Pointer Sisters have won three Grammy Awards and received a star on the Hollywood Walk of Fame in 1994. The group had 13 US top 20 hits between 1973 and 1985. Im So Excited karaoke key F sharp
The group had its origins when sisters June and Bonnie Pointer began performing in clubs in 1969 as “Pointers, a Pair”. The line-up grew to a trio when sister Anita Pointer joined them. They got a record deal with Atlantic Records and released several unsuccessful singles. The trio grew to a quartet when sister Ruth joined in December 1972. They then signed with Blue Thumb Records, recorded their debut album, and began seeing more success, winning a Grammy Award in 1975 for Best Country Vocal Performance for “Fairytale” (1974). Bonnie left the group in 1978 to commence a solo career with only modest success.
The group achieved its greatest commercial success as a trio during the 1980s consisting of the line-up of June, Ruth, and Anita, winning two more Grammys for the top 10 hits “Jump (for My Love)” (1984) and “Automatic” (1984). The group’s other U.S. top 10 hits are “Fire” (1979), “He’s So Shy” (1980), “Slow Hand” (1981), the remixed version of “I’m So Excited” (1984) and “Neutron Dance” (1985). June Pointer, the youngest sister, struggled with drug addiction for much of her career, leaving the group in April 2004 and dying from extensive cancer in April 2006, at the age of 52. She was replaced by Ruth’s daughter Issa Pointer. This trio had a number two hit in Belgium in 2005, covering “Sisters Are Doin’ It for Themselves” with Belgian singer Natalia. Since 2009, the group has consisted of Anita, Ruth, Issa, and Ruth’s granddaughter Sadako Pointer. While all four women remain in the group, they most often perform as a trio rotating the lineup as needed. Im So Excited karaoke key F sharp
In Deember 2016, Billboard magazine ranked them as the 80th most successful dance artists of all-time. In December 2017, Billboard magazine ranked them as the 93rd most successful Hot 100 Artist of all-time and as the 32nd most successful Hot 100 Women Artist of all-time.
As children in West Oakland, the Pointer sisters and brothers were encouraged to listen to and sing gospel music by their parents Reverend Elton Pointer and Sarah Pointer. However, they were told rock and roll and the blues were “the devil’s music”, and it was only when they were away from their watchful parents that they could sing these styles. They regularly sang at a local Church of God in Christ congregation in West Oakland, but as the sisters grew older their love of other styles of music began to grow. When June, the youngest sister, brought home a copy of the Elvis Presley record All Shook Up, she was surprised that her mother allowed her to play it, until discovering that her mother had been pacified by the song “Crying in the Chapel” on the “B” side of the record
The sisters graduated from Oakland Technical High School: Ruth in 1963, Anita in 1965, and Bonnie in 1968. After leaving school Ruth, the oldest sister, was already married with two children Faun (born 1965) and Malik (born 1966),[6] Anita, the second oldest sister, also was married with a child Jada. Bonnie, the third oldest sister, and June sought a show business career and they formed a duo, “Pointers, A Pair”. Later, Anita quit her job to join the group. They began touring and performing and provided backing vocals for artists such as Grace Slick, Sylvester James, Boz Scaggs and Elvin Bishop, and it was while supporting Bishop at a nightclub appearance in 1971, that the sisters were signed to a recording contract with Atlantic Records. The resulting singles that came from their Atlantic tenure failed to become hits but, nevertheless, the sisters were enjoying their newfound recording career. The temptation to join them finally overwhelmed Ruth and, in December 1972, she joined the group. The quartet signed to Blue Thumb Records and began to record their first full-fledged album.
Upon signing, they agreed that they did not want to follow the current trend of pop music but wanted to create an original sound that combined jazz music, jazz singing, and be-bop music. In search of a visual style for their act, they remembered the poverty of their childhood and their ability to improvise, and used their experience to assemble a collection of vintage 1940s clothes from thrift shops, that would comprise their costumes and give them the distinctive look they were searching for. Im So Excited karaoke key F sharp
In 1972, they were asked to record “Pinball Number Count” for a series of educational cartoons teaching kids how to count. It made its debut on Sesame Street in 1977 and was a feature on the show for many years.
They made their television debut performance at the Troubadour nightclub in Los Angeles on The Helen Reddy Show. In 1974 they joined Reddy on the track “Showbiz” which appeared on her “Free and Easy” album.
The group’s self-titled first album, featuring the backing of Bay Area stalwarts the Hoodoo Rhythm Devils, was released in 1973 and received strong reviews, with the group being lauded for their versatility and originality: its first single “Yes We Can Can” – an Allen Toussaint-penned song which had been a minor R&B hit for Lee Dorsey in 1970 – afforded the Pointer Sisters the first chart hit reaching #11 on the Billboard Hot 100, while both “Yes We Can Can” and the follow-up single: the Willie Dixon cover “Wang Dang Doodle” were major R&B hits with respective R&B chart peaks of #12 and #24. The Pointer Sisters thrift shop style also made them fan favorites, many audience members of the group’s live shows being dressed similarly to the group’s members.
The Pointer Sisters’ second album, the 1974 release That’s a Plenty, continued in the jazz and be-bop style of its predecessor but provided one exception that caused a great deal of interest: “Fairytale”, written by Anita and Bonnie Pointer, was a country song that reached #13 on the pop charts, and #37 on the country charts. Based on this success, the group was invited to Nashville, Tennessee where they achieved the distinction of becoming the first Afro-American group to perform at the Grand Ole Opry. In 1975, the Pointer Sisters won a Grammy Award for Best Country Performance by a Duo or Group with Vocal with Anita and Bonnie Pointer also receiving nominations for the Grammy Award for Best Country Song as songwriters of “Fairytale”. The song would later be covered by Elvis Presley.
Subsequent to the live double- album Live at the Opera House – a recording of the 21 April 1974 Pointer Sisters concert at the War Memorial Opera House in San Francisco – the group’s third studio album Steppin’ was released in 1975. Steppin’ produced their Grammy-nominated number one R&B single, “How Long (Betcha’ Got a Chick on the Side)”, which was sampled by female rap icons Salt-N-Pepa a decade later. The Pointer Sisters also scored another R&B hit from the album with “Going Down Slowly”, another Allen Toussaint cover, and in 1976 appeared in the classic blaxploitation film Car Wash with their song from the movie: “You Gotta Believe”, making the R&B top 20 in early 1977. Im So Excited karaoke key F sharp
The Pointer Sisters were featured on the 1977 album Saffo Music by Italian R&B singer Lara Saint Paul and produced by Leon Ware, with bass by Chuck Rainey, guitar by Ray Parker Jr. and mixed by Bill Conti. It was released in Italy under LASAPA records.
November 1977 saw the release of the jazz-funk oriented Having a Party which would be the final album release featuring the Pointer Sisters in their original four-woman format: in fact it was only on the title cut that all four members sang, the album’s other cuts featuring Anita, Bonnie and Ruth but not June Pointer. Recorded in 1976 the album’s release was so delayed as to cause an eighteen-month gap between Having a Party and the precedent Pointer Sisters’ album Steppin’ – the compilation album The Best of the Pointer Sisters had been issued in July 1976 – and without the impetus of a major hit single the Having a Party album itself caused scant commercial interest. One track, “Don’t It Drive You Crazy” with Bonnie Pointer on lead, would become a cult hit in the UK as part of the rare groove phenomenon.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s, deriving from rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular (and can include any style).
Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure) as well as the common employment of repeated choruses, melodic tunes, and hooks. Im So Excited karaoke key F sharp
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”. According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”.Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately.Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However, the term was in mainstream use at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with Beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.
Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently appropriated spoken passages from rap. Im So Excited karaoke key F sharp
It has also made use of technological innovation. In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’. Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”. In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home. Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music. By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.
According to several sources, MTV helped give rise to pop stars such as Michael Jackson and Madonna; and Jackson and Madonna Im So Excited karaoke key F sharp
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics. Some of these trends (for example Europop) have had a significant impact of the development of the genre.
According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”.Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA. The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of globalization. Select subgeneres of pop such as the guitar-driven “Jank” subgenre have consciously reversed the trend toward homogenization by combining elements from world and classical music into more traditional pop structures.
According to British musicologist Simon Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities. Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.[22] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse. The beat and the melodies tend to be simple, with limited harmonic accompaniment.The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.” and then to the tonic) and blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Im So Excited karaoke key F sharp
A study in 2012 that examined over 464,000 recordings of popular music recorded since 1955 found “three important trends in the evolution of musical discourse: the restriction of pitch sequences (with metrics showing less variety in pitch progressions), the homogenization of the timbral palette [tone colour] (with frequent timbres becoming more frequent), and growing average loudness levels (threatening a dynamic richness [changes in volume] that has been conserved until today).” It was reported that the study “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.