Word: backups
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Dates: during 1970-1979
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...Love Has Fallen On me" Khan has an assured grasp of the lyrics and tone. Her relaxed side shows her talents at their best, and distinguishes her from disco queens like Donna Summer. "Roll Me Through the Rushes" is a huskily sensitive song, healthy and rich in instrumentals and backup vocals, which Khan does wonders with...
This gathering of friends is like a celebration of a big event, when everyone around wants to make it memorable and special. The writing team of Nick Ashford and Valerie Simpson, authors of "I'm Every Woman," even sang the backup vocals with Khan on Quincy Jones's "Stuff Like That." And the event The emergence of Khan doing things her way, but not alone...
Arms flung wide, blowing kisses like confetti, Donna sashays around the stage in glittering costumes, exhorting the audience ("You are beautiful"), joshing the band, trading a little prefabricated bitchiness with her backup singers who undulate at sharp angles like clockwork Nefertitis when Donna wraps herself around a lyric. "I do not consider myself a disco artist," Donna insists, against all contrary evidence. "I consider myself a singer who does disco songs. What I like to do is expose my market to other parts of music...
While we talked, a quarterback named Jeb Blount was brought in to meet Wilkinson. A free agent, Blount was being given a tryout (which he flunked) to become Steve Pisarkiewicz's backup. The 24-year-old Blount was obviously impressed by meeting Wilkinson. When Blount left, Bud recalled that he had once coached Oklahoma against a Texas team that had Peppy Blount, Jeb's father, on its roster. That was 31 years ago, and Wilkinson laughed at the coincidence, and the passage of time, and the bonds of the game that had drawn him back to football...
...steady Kenny Edwards bass line, Ronstadt displays the power of her sharp, brassy voice in a heavily throaty verse that rises to an upbeat, bold chorus. The bright, '70s rocker contrasts strongly to "Oooh Baby Baby," a mellow Smokey Robinson tune in which Ronstadt uses two male backup vocalists who add a sweet falsetto giving the song a Motown-like sound. The song works quite well; Ronstadt's voice makes her version of the song just different enough from the original...