April 20, 2002 - Ashanti started a ten week run at No.1 on the US singles chart with 'Foolish'. The video was a three-time nominee at the 2002 MTV Video Music Awards for Best Female Video, Best R&B Video, and Best New Artist. The song was nominated at the 2003 Grammy Awards for Best R&B Vocal Performance - Female, and Ashanti for Best New artist and won a Soul Train Music Award for Best R&B/Soul Single for Female.
In the same week, she became the first female performer to simultaneously hold the top two places on the Billboard Hot 100 singles chart with "Foolish", and "What's Luv" (with Fat Joe). She broke records again by having three Top Ten songs (Foolish, What's Luv, and Always on Time (with Ja Rule)) on the Billboard Hot 100 charts in the same week. Only The Beatles have achieved this.Ashanti wrote and sang background on the song "Ain't It Funny" sung by Jennifer Lopez, which was also in the top 10 charts at the same time as "Foolish", "Always on Time" (with Ja Rule), and "What's Luv" (with Fat Joe) so the singer actually had four top 10 singles in the top ten. (2009) According to Billboard.com, Ashantihas had the most top 10 songs (16 to date) on the R*B/Hip-hop charts by a female this decade.
Also on 14 April 2002, Ashanti started a three week run at No.1 on the US album chart with her self-titled album. With first-week sales of an impressive 503,000 units, it was the biggest first-week sales for a debut female artist. The album was certified triple platinum by the Recording Industry Association of America for shipments of 3,000,000 copies on December 17, 2002. It earned Ashanti three Grammy nominations for Best New Artist, Best Contemporary R&B Album, and Best Female R&B Vocal Performance. Ashanti also received two additional Grammy nominations in the same year for other projects, both in the category of Best Rap/Sung Collaboration. Ashanti took home a record 8 billboard awards, winning all the categories she was nominated for.
#ashanti#thisdayinmusic#2002#2000s#rnb#murderinc#defjam#7Aurelius#MarkDeBarge#IrvGotti#picplaypost @picplaypost @ashanti #musichistory#memorylane
April 20, 1974 - MFSB and the Three Degrees started a two week run at No.1 on the US singles chart with 'TSOP, (The Sound Of Philadelphia)', a No.22 hit in the UK.
A classic example of the Philadelphia soul genre, it was written by Kenneth Gamble and Leon Huff as the theme for the American musical television program Soul Train, which specialized in African American musical performers. The single was released on the Philadelphia International label, and it is arguably the first disco song to reach number one on the Billboard Hot 100.
The song is essentially an instrumental piece, featuring a lush blend of strings and horns in the Philadelphia soul style. There are only two vocal parts to the song: a passage close to the beginning during which The Three Degrees sing "Soul Train, Soul Train"; "People all over the world!"; and the chorus over the fadeout, "Let's get it on/It's time to get down". The words "People all over the world!" are not heard in the original version. The version heard on Soul Train also had the series title sung over the first four notes of the melody. This version was released on a 1975 Three Degrees album, International. It also topped the American R&B chart (for one week) and adult contemporary chart (for two weeks). The Three Degrees would revisit the top of the AC chart later in 1974 with their hit single, When Will I See You Again.
Don Cornelius, the creator and host of Soul Train, refused to allow any references to the name of the TV series when the single was released, requiring Gamble and Huff to adopt the alternate title for the release. Cornelius would later admit that not allowing the single to be named "Soul Train" was a major mistake on his part.
Although it was rerecorded a number of times for future versions of the show, and various different themes were used during the late 1970s and early 1980s, "TSOP" returned in the late 1980s and remained the theme song for Soul Train through the disco, 1980s R&B, new jack swing, hip-hop, and neo soul eras of black music.
Hans Sloane travelled to Jamaica in the early 18th century. In his published account of his journey, he included 2 pages of sheet music- the first transcription of African music in the Caribbean. Probably originally performed by survivors of the Middle Passage. The Musical Passage project is a collaboration between historians & musicians. Go to musicalpassage.org to hear the music & read more about its history. #caribbeanhistories#musichistory#digitalhistory#jamaica#hanssloane
2015 #TBT the amazing @markdeclivelowe @kamasiwashington @nianiaandrews & @genepeeco1 at @openhousefamily 6yr anniversary 🔥 Open House is now 9 yrs strong and we've all evolved 🎶📷 Photos @farahstop #LosAngeles#musicphotog#photographyarchive
🎯 DID YOU KNOW - 24 Years ago today @nas
released his debut album Illmatic at just 20 years of age 😰. It was Awarded 🎙🎙🎙🎙🎙 by The Source Magazine before its official release and received Universal acclaim 👌🏽. Featuring production from legends @xplargepro , @realpeterock, @djpremier and @qtiptheabstract in many ways this album was revolutionary and is widely regarded as the #GOAT Hiphop album to ever be released 👑. What was your favourite track? 🙄 #ThrowBackThursday#Illmatic#MassAppeal - #QueensBridge [Via] 👉 @hiphopedition
#RevolutionHistory: On this day in ‘86, “Kiss” peaked at #1 on @Billboard Hot 100 and stayed there for 2 weeks! 💋
"Prince handed me a cassette of him playing an acoustic guitar and he was singing, ‘You don’t have to be beautiful...’ He wanted me to have my band, Mazarati, sing this on their album that I had just completed. He felt it would add a different flare to the album. I hated it. So, I took the cassette and decided to write a new song from scratch. I started with a funky beat and a couple of hours later 'Kiss' was born. The engineer I always worked with, David, had a trick he would do by triggering an instrument off the hi-hat pattern and this gave 'Kiss' it’s signature sound. Mazarati’s vocals were added and the song was almost complete.
Then Prince entered the studio and loved it, so he wanted to add some flare to the track, but after having it in his possession for a few hours he wanted the song for himself. A bittersweet day for me because Mazarati wasn’t happy about loosing it but Prince found his hit for the 'Parade' LP."
- BrownMark (@brownmark_prince_therevolution)