The History Book Club discussion


Comments Showing 1-50 of 240 (240 new)    post a comment »
« previous 1 3 4 5

message 1: by Bentley, Group Founder, Leader, Chief (last edited Jan 25, 2019 05:05PM) (new)

Bentley | 44207 comments Mod
This is the thread dedicated to the discussion of R&B.

Rhythm and blues, often abbreviated to R&B, is a genre of popular African American music that originated in the 1940s.[1] The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular.

The term has subsequently had a number of shifts in meaning. In the early 1950s and beyond, the term rhythm and blues was frequently applied to blues records.[3] Starting in the 1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. By the 1970s, rhythm and blues was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as contemporary R&B.

Source: Wikipedia

message 2: by Bentley, Group Founder, Leader, Chief (last edited Sep 27, 2010 07:43AM) (new)

Bentley | 44207 comments Mod
People Get Ready - Great R&B

Here is a chance to listen to the Impressions Version on Rolling Stone:

This song was written by Curtis Mayfield.

And here is a video of Curtis Mayfield:
Curtis Mayfield in a poignant performance from Night Music. The band includes Taylor Dane, Hiram Bullock, David Lindley, David Sanborn, Omar Hakkim, Don Alias and Tom Barney.

Although considered R&B, it certainly had a gospel element to it.

Written by: Curtis Mayfield
Produced by: Johnny Pate
Released: Jan. '65 on ABC-Paramount
Charts: 8 weeks
Top spot: No. 14

"It was warrior music," said civil-rights activist Gordon Sellers. "It was music you listened to while you were preparing to go into battle." Mayfield wrote the gospel-driven R&B ballad, he said, "in a deep mood, a spiritual state of mind," just before Martin Luther King's march on the group's hometown of Chicago. Shortly after "People Get Ready" was released, Chicago churches began including their own version of it in songbooks. Mayfield had ended the song with "You don't need no ticket/You just thank the Lord," but the church version, ironically, made it less Christian and more universal: "Everybody wants freedom/This I know."

And Rod Stewart:

And Seal's Version:

Wikipedia has a write-up on the song:


message 3: by Bentley, Group Founder, Leader, Chief (last edited Sep 27, 2010 08:00AM) (new)

Bentley | 44207 comments Mod
A Little More about Curtis Mayfield:

It really is a shame that poor stage lighting techniques in the 80s contributed and probably for the most part ultimately caused his death.

Curtis Mayfield People Never Give Up by Peter Burns by Peter Burns

Goodreads Synopsis:

Over the past 40 years, since his original band, the Impressions, first achieved stardom, Curtis Mayfield's songs of love, peace and understanding have influenced millions of people. Over time, he has been looked upon as a source of inspiration to the musical careers of such luminaries as Bob Marley, Marvin Gaye and Jimi Hendrix. Complete with full discography and interviews with his contemporaries, Curtis Mayfield: People Never Give Up is the definitive account of his life and musical career.

Higher Ground Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner by Craig Werner

Synopsis from the Hardcover Edition:

In Higher Ground, one of our most insightful music writers brilliantly reinterprets the lives of three pop geniuses and the soul revolution they launched.

Soul music is one of America's greatest cultural achievements, and Stevie Wonder, Aretha Franklin, and Curtis Mayfield are three of its most inspired practitioners. In midcentury America it was soul music--particularly the dazzling stream of recordings made by these three stars--that helped bring the gospel vision of the black church into the mainstream, energizing the era’s social movements and defining a new American gospel where the sacred and the secular met. What made this gospel all the more amazing was that its most influential articulators were the sons and daughters of sharecroppers, storefront preachers, and single parents in the projects, whose genius gave voice to a new vision of American possibility.

Higher Ground seamlessly weaves the specific and intensely personal narratives of Stevie, Aretha, and Curtis’s lives into the historical fabric of their times. The three shared many similarities: They were all children of the great migration and of the black church. But the gospel impulse manifested itself in different ways within the dramas of their individual lives and musical creations. In Stevie Wonder’s case, it was a literally color-blind universal sense of spirituality that expressed itself in his life and music as an urge toward transcendence, particularly in the mid-seventies when albums like Innervisions and Songs in the Key of Life radically revised what a pop album could be. For Aretha Franklin, the traditional gospel vision of a beloved community anchored in the strength of women comforted her through a life littered with tragedy and found expression in propulsive pop songs like "Respect" as well as in her legendary gospel albums. And for Curtis Mayfield, the gospel notion of conscious living inspired him to create songs that served the purposes of the Civil Rights movement and the radical Black Power movement alike, from the gritty street drama of Superfly to the transcendent call of "People Get Ready."

Werner doesn't just provide a narrative of three fascinating lives; he ties them together with a provocative thesis about American history and culture that compels us to reconsider both the music and the times. And aside from the personalities and the history, he writes beautifully about music itself, the nuts and bolts of its creation and performance, in a way that brings a new awareness and understanding to the most familiar music, forcing readers to listen to songs they've heard a thousand times with fresh ears. In Higher Ground, Werner illuminates the lives of three unparalleled American artists, reminding us why their music mattered then and still resonates with us today.

message 4: by Garret (new)

Garret (ggannuch) Curtis Mayfield performs one of his classics

message 5: by Alisa (last edited Oct 03, 2010 10:43AM) (new)

Alisa (mstaz) The one group that is hard to categorize is The Neville Borthers. If you walk into three different records stores and ask to find their CDs I can almost guarantee you they will be listed in three different categories. I have found them in soul, R&B, funk, and world music. They can be found regularly playing at jazz and blues festivals. A common thread that runs through much of their work, particularly that which was written in the 70's and 80's, are themes deeply rooted in life and history of Louisiana. They got their start I believe in a recording produced as The Wild Tchoupitoulas, a mardi gras indian tribe. For a long time no one seemed to know who they were, unless you were from New Orleans or had seen them live. I may be addicted to their music, and love the versatility and vitality of it. Maybe they are just their own genre.

I'm curious what genre you associate with these gentlemen? A little sampling of their live performances, which I think are always first rate!

message 6: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
Yellow Moon is still my favorite album.
Lanois' production fits the band perfectly.
I'm not a fan of Aaron's vibrato/tremolo and here it's kept in limits.

message 7: by Alisa (new)

Alisa (mstaz) Yellow Moon is hard to beat! Fiya on the Bayou the first album of theirs I owned a looooong time ago so it has a slight edge in my collection, just by a hair.

Aaron has been overdone I think, too bad. I like him on his own in small doses.

message 8: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
A nice voice - if only he'd stop using/escaping into tremolos. It's a cheap way to keep a tone.

message 9: by Alisa (new)

Alisa (mstaz) Yes I agree, and too commercial. The commercial force a little too hard at work.

message 10: by Garret (new)

Garret (ggannuch) Alisa wrote: "The one group that is hard to categorize is The Neville Borthers. If you walk into three different records stores and ask to find their CDs I can almost guarantee you they will be listed in three ..."

I love the Neville brothers, I grew up listening to them live. They cross many genres.

message 11: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
Alisa wrote: "Yes I agree, and too commercial. The commercial force a little too hard at work."

Well, that of course is also a fan/consumer's fault. As long as we are prepared to accept anything an artist/recording company thinks needs to be put out....
I for one instantly turn off any radio when I hear Aaron vibrating over those airwaves. Even my rabbits disappear into their home.

message 12: by Alisa (new)

Alisa (mstaz) Andre you make me laugh - your poor rabbits! I think you can argue that mass market commercialism is both good and bad for the music industry. One the one hand it allows for an artists work to be heard far and wide and for people to be exposed to a huge variety. One could even argue that it encourages artistic development - if there is a market support that will foster growth in the genre. On the other hand, just because it appeals to mass market (Aaron Neville's warbling, the present example) doesn't mean it is any good, at all!

Be careful Andre. Play a little Luther Vandross and you might end up with lots more rabbits!

message 13: by André, Honorary Contributor - EMERITUS - Music (last edited Oct 03, 2010 01:38PM) (new)

André (andrh) | 2849 comments Mod
That's why I love(d) Teddy Pendergrass - that's for the female rabbit. The male adores Millie Jackson.

I guess you Alisa know, but for the others who don't, both did women/men only concerts (respectively) back in the days.

message 14: by Garret (new)

Garret (ggannuch) Louis Jordan is described by the Rock and Roll Hall of Fame as “the Father of Rhythm & Blues” and “the Grandfather of Rock ‘n’ Roll.”

The Broadway show, Five Guys Named Moe , was devoted to Jordan's music and this title is given to both soundtrack (tribute) and original music collections.

message 15: by André, Honorary Contributor - EMERITUS - Music (last edited Oct 17, 2010 11:19AM) (new)

André (andrh) | 2849 comments Mod
As much as I like R&B/R&R I always have to think of a scene in Eastwood's Bird where Charlie Parker is angry and disillusioned about the - as he sees it - simplistic "new" way of playing.

message 16: by André, Honorary Contributor - EMERITUS - Music (last edited Aug 24, 2011 05:08AM) (new)

André (andrh) | 2849 comments Mod
Ike and Tina Turner:
I Better Get Ta Steppin'

message 17: by Jill (new)

Jill Hutchinson (bucs1960) Are we considering doo-wop music as R&B....or is it a genre unto itself? It is my weakness; love the harmonies and the wonderful tenor/falsetto voices of the great groups. The songs were simple but linger in your mind long after you have heard them. The ultimate reference book for this music is:

The Complete Book of Doo-Wop by Anthony J. Gribin by Anthony J. Gribin(no photo).

message 18: by Alisa (last edited Aug 23, 2011 02:09PM) (new)

Alisa (mstaz) Nick Ashford, legendary songwriter, passed today at thye age of 70 in a NYC hospital. He had been suffereing from throat cancer. He and his wife collaborated on songwriting hits, many of them R&B, Motown, and soul hits spanning decades.

message 19: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
Check out the Soul thread for some videos.

message 21: by Jill (new)

Jill Hutchinson (bucs1960) A great blues and R&B singer. She is a loss to the music world.

message 22: by Alisa (new)

Alisa (mstaz) Love her music, what a great talent.

message 23: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44207 comments Mod
Walking to New Orleans is a 1960 song by Bobby Charles, written for and recorded by Fats Domino.

Domino was a hero of Charles. Domino had previously recorded the Charles tune "Before I Grow Too Old". When Domino stopped on tour in Lafayette, Louisiana he invited Charles into his dressing room, and regretted he didn't have a copy of his new record to give to Charles, but invited Charles to come visit him in Domino's home of New Orleans. Charles replied, "I don't have a car. If I'd go, I'd have to walk." Afterwards, the thought remained on Charles's mind, and he said he wrote the song for Domino in some 15 minutes.

After he got to New Orleans to accept Domino's invitation, Charles sang "Walking to New Orleans" for Domino. Domino was enthusiastic about the number and made a few modifications to it, including adding a quote from his earlier hit, "Ain't That A Shame". Dave Bartholomew made an orchestration for the backup band, and Domino with Bartholomew and band recorded it in Cosimo Matassa's studio on Rampart Street.

After the recording was made, Bartholomew decided to overdub a string section from the New Orleans Symphony. Use of classical strings was unusual for early rock and roll. Domino was at first somewhat surprised when Bartholomew played back the new version with strings, but warmed to the distinctive sweet melancholy sound it added.

The record was a hit, released on Imperial Records, reaching #6 on the pop chart and #2 on the R&B chart.

Antoine "Fats" Domino was born in New Orleans, Louisiana, USA, on the 26th of February 1928. When he was a 7 year old kid, he learned piano from his ,much older, brother-in-law Harrison Verrett. His piano playing was influenced by boogie woogie pianists like Albert Ammons, Meade Lux Lewis and his triplet piano style came from Little Willie Littlefield, who,by the way,lives in the Netherlands.

His first record was "The Fat man", recorded in 1949 and became a R & B hit in 1950 and a gold record in 1953. His cooperation with the bandleader Dave Bartholomew resulted in an almost endless chain of R & B and Top 100 hit records. He also played the piano on Lloyd Price's millionseller "Lawdy miss clawdy." Fats performed in 4 Rock & Roll movies, "The girl can't help it, "Shake rattle and rock", "Jamboree" and "The Big beat." This ended in 1963 with "Red sails in the sunset," by than Fats recorded for ABC-Paramount and the cooperation with Dave had ended. In the period 1949-1960 he had 23 million sellers, not less than 17 were co-written with Dave Bartholomew.

In 1955, with the arrival of Rock & Roll, Fats became also popular with the white audience starting with "Ain't that a shame." Lew Chudd, the owner of Imperial Records sold his record company to LIBERTY in 1963. At that time success faded a little and Fats signed a contract with ABC-Paramount, were he had a couple of hits. Later, in 1965, he had a very good live album on MERCURY and a couple of albums on REPRISE and SONET.

Source: You tube

Bea wrote: "We might as well prepare for Fat Tuesday in New Orleans..."

and you're not adding Fats Domino?

Complements of Andre.

message 24: by Alisa (new)

Alisa (mstaz) Great post and info. For those of us who love "New Orleans" music and musicians they defy easy categorization because of these multiple influnces from different genres, which somehow all come through when listening to the music. Commercially the music industry labels this as R&B or pop, and who ends up on those charts changes over time. I love this historical perspective. It's sometimes hard to keep track of who influenced who, but interesting nonetheless. Great info.

message 25: by Bentley, Group Founder, Leader, Chief (last edited Feb 22, 2012 05:19AM) (new)

Bentley | 44207 comments Mod
Yes, and for those who get confused we have a thread called New Orleans music and R&B as well as some of the other variations.

Glad you liked it.

And even boogie boogie could get its own thread if you go too granular.

message 26: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
Thanks Bentley for the great post on Fats!

Fats Domino

message 27: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44207 comments Mod
Thanks for adding the author link; I did not know that he was one as well as a great musician.

Fats Domino

message 28: by Danna (new)

Danna Usually, singers of Rhythm and Blues are not only singers of R&B, and this genre also includes elements of soul, jazz, blues and maybe gospel music, as well.
Nonetheless, I adore the "older" R&B artists like Aretha Franklin - which is the best example of this genre, I assume, and definitely one of the most popular artists.

I love Al Green, as well!

message 29: by Chrissie (last edited May 27, 2013 09:12PM) (new)

Chrissie There is a lot about R&B in the book "Some Sing, Some Cry". Basically it covers Black-American singing from slavery all the way up through to the 21st Century. I would recommend the audiobook format since the narrator sings different songs throughout the story. Robin Miles is good, except when she has to sing Edith Piaf or classical music. I personally felt the book tries to do too much.

Some Sing, Some Cry A Novel by Ntozake Shange by Ntozake Shange Ntozake Shange

message 30: by Alisa (new)

Alisa (mstaz) Chrissie wrote: "There is a lot about R&B in the book "Some Sing, Some Cry". Basically it covers Black-American singing from slavery all the way up through to the 21st Century. I would recommend the audiobook forma..."

Chrissie we think this may be a recent goodreads software problem. I too tried to pull this book up and it would not appear but I could get the authors. Check back in a day or two. Thanks for the effort. Hopefully this will fix soon!

message 31: by Bentley, Group Founder, Leader, Chief (last edited May 27, 2013 02:54PM) (new)

Bentley | 44207 comments Mod
Some Sing, Some Cry A Novel by Ntozake Shange by Ntozake Shange Ntozake Shange

Chrissie this appears to be an intermittent bug; one of the assisting moderators noticed this late last night when we were working on glossaries. I noticed it and reported it today and let the other mods know about it.

It does not happen all of the time and not with all of the books - but a workaround is to look up the isbn number and put that in - in place of the book title - that is how I got it to work and how I got the books last night to load and to be found using the add book/author feature.

Try it now putting in the isbn number for the book above and you will see that this workaround works - the isbn number for this book is 0312552718

You can then add the book cover, author's photo and author's link just like you would do normally. Enough folks have brought this to goodreads attention so you would think that they would notice.

Alisa et al mods - this is the advice we should give all persons experiencing any difficulties until this is fixed. We should try to find the isbn number for them if they do not know how to do that.

message 32: by Jill (new)

Jill Hutchinson (bucs1960) The heart of rock and roll came from the more soulful R&B scene. This book covers some of the greats.

I Hear You Knockin': The Sound of New Orleans Rhythm and Blues

I Hear You Knockin The Sound of New Orleans Rhythm and Blues by Jeff Hannusch by Jeff Hannusch (no photo)


A must for fans of Rhythm and Blues and New Orleans Music. Now in its fourth printing, Jeff Hannusch received an American Book Award in 1986 for this well written and lavishly illustrated volume of history and the stories of success and failure of more than two dozen important New Orleans Rhythm and Blues figures.

message 33: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44207 comments Mod
Thanks folks and Jill for the adds.

message 34: by Chrissie (new)

Chrissie Fixed! Thanks for advising me!

message 35: by Jill (new)

Jill Hutchinson (bucs1960) A little different look at the rhythm and blues music business and how it played a major part in race relations.

Just My Soul Responding

Just My Soul Responding Rhythm and Blues, Black Consciousness, and Race Relations by Brian Ward


One of the most innovative and ambitious books to appear on the civil rights and black power movements in America, Just My Soul Responding also offers a major challenge to conventional histories of contemporary black and popular music. Brian Ward explores in detail the previously neglected relationship between Rhythm and Blues, black consciousness, and race relations within the context of the ongoing struggle for black freedom and equality in the United States. Instead of simply seeing the world of black music as a reflection of a mass struggle raging elsewhere, Ward argues that Rhythm and Blues, and the recording and broadcasting industries with which it was linked, formed a crucial public arena for battles over civil rights, racial identities, and black economic empowerment.

This richly textured study of some of the most important music and complex political events in America since World War II challenges the belief that white consumption of black music necessarily helped eradicate racial prejudice. Indeed, Ward argues that the popularity of Rhythm and Blues among white listeners sometimes only reinforced racial stereotypes, while noting how black artists actually manipulated those stereotypes to increase their white audiences. Ultimately, Ward shows how the music both reflected and affected shifting perceptions of community, empowerment, identity, and gender relations in America during the civil rights and black power eras.

message 36: by Alisa (new)

Alisa (mstaz) Interesting. Great addition.

message 37: by Jill (new)

Jill Hutchinson (bucs1960) Here's another of those infamous lists that always cause arguments because our favorite(s) are omitted. But this one is pretty good since it goes all the way back to the 1940s. See what you think.

message 39: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
George Duke - master of keys. R&B, Blues, Samba, Fusion, Funk, Pop, you name it, George made it.

The Black Messiah part 2:

You Touch My Brain (live):

George talking about his last album, DreamWeaver:

George back in 76 with Billy Cobham in Montreux:

George DUke interview and playing his V-Piano:
part 1:
part 2:

Reach for it (live, with Marcus Miller on bass - and George doing his own little bass/keys solo):

Shine On (live - yes, with The Master, Louis Johnson on bass):

message 40: by Alisa (new)

Alisa (mstaz) Great additions Andre. He was a talented and versatile musician.

message 41: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2849 comments Mod
Yes, Alisa.
I tried finding clips from my favorite album, Follow The Rainbow - both available as an expanded version and a better sounding Japanese re-issue but sadly the videos are blocked in Germany...
Try Pluck, Funkin' for the Thrill, I am For Real, Say That You Will, Party Down - getting the entire album might be better...

message 42: by Craig (new)

Craig (twinstuff) Thanks for all those great links. I always thought of George Duke as a great Jazz musician (and probably most familiar with his Sweet Baby tune with Stanley Clarke), but these clips showed me the amazing musical range he had and I was now able to enjoy.

One more George Duke link to share - It's On (with Lee Ritenour, Marcus Miller and Vinnie Colaiuta from the Legends of Jazz TV series season one hosted by Ramsey Lewis)

message 43: by Jill (new)

Jill Hutchinson (bucs1960) RIP, George. You brought us much joy.

message 44: by André, Honorary Contributor - EMERITUS - Music (last edited Aug 06, 2013 11:41PM) (new)

André (andrh) | 2849 comments Mod
Craig wrote: "Thanks for all those great links..."

There should be more George Duke in the other threads. I can't exactly recall where I posted them but since I'm a fan I'm sure I posted some.
Craig, a nice clip there. It's a joy to watch George have fun.
Yes, George was a master chameleon, anything with keys, he did it - except classical I believe (smile).

Checked the Funk thread: post 96

message 45: by Jill (new)

Jill Hutchinson (bucs1960) I have no idea where to put this post on the music thread but it fits closest in R&B. One of the strangest performers of all times, Screamin' Jay Hawkins had this hit but don't ask me why.

I Put A Spell On You - Screamin' Jay Hawkins

message 46: by Jill (new)

Jill Hutchinson (bucs1960) This book is heaven for the R&B fan.

The Real Rhythm and Blues

The Real Rhythm And Blues by Hugh Gregory by Hugh Gregory(no photo)


Mose Allison, Chuck Berry, Bo Diddley, Tina Turner, Muddy Waters, John Lee Hooker: these and other rhythm and blues artists created the style, the riffs, and the attitude that rock 'n' rollers just couldn't resist. But what exactly is R&B, and how does it differ from the blues, or from soul? Go back to the roots of this powerfully influential music, and see how it synthesized gospel, blues, and jazz to create a brand-new sound; how stage showmanship became crucial to its success; and how it crossed over from an exclusively black to an integrated audience. You'll meet early artists, such as Mamie Smith and Louis Jordan, who paved the way for R&B, and look into the important role played by radio disk jockeys, as well as the independent labels that recorded these musicians. Take a tour through R&B styles--the vocal groups, shouters and screamers, guitar men, "divas," and avatars of soul. And finally, rejoice in R&B resurgent, as musicians like Robert Cray made sure the style would never die.

message 47: by Jill (new)

Jill Hutchinson (bucs1960) This rise of R&B in the deep South. An extension of cajun/zydeco music, swamp pop utilized instruments used by rock and rollers and came up with a brand new sound.

Swamp Pop: Cajun and Creole Rhythm and Blues

Swamp Pop Cajun and Creole Rhythm and Blues by Shane K. Bernard by Shane K. Bernard Shane K. Bernard


Here is the exciting story of swamp pop, a form of Louisiana music more recognized by its practitioners and their hits than by a definition. Drawing on more than fifty interviews with swamp-pop musicians in south Louisiana and southeast Texas, Swamp Pop: Cajun and Creole Rhythm and Blues finds the roots of this often overlooked, sometimes derided sister genre of the wildly popular Cajun and zydeco music. In this first book to be devoted entirely to swamp pop, Shane K. Bernard, son of the notable swamp-pop musician Rod Bernard, uncovers the history of this hybrid form invented in the 1950s by teenage Cajuns and black Creoles. Putting aside the fiddle and accordion of their parents' traditional French music to learn the electric guitar and bass, saxophone, upright piano, and modern drumming trap sets of big-city rhythm-and-blues, they created a spicy new music that arises from the bayou country.

message 48: by Jill (last edited Mar 08, 2014 06:45PM) (new)

Jill Hutchinson (bucs1960) Honkers and Shouters: The Golden Years of Rhythm and Blues

Honkers and Shouters The Golden Years of Rhythm and Blues by Arnold Shaw by Arnold Shaw (no photo)


Early R&B had some of the great "honkers" (saxaphone players) and "shouters" (gospel inspired singers) and they were the founders of what we now call Rhythm and Blues. These were the days before the guitar was the lead instrument in a rock band and the sax held center stage with such greats as Bill Dogget and Big Jay McNeely. Louis Jordan and Wynonie Harris were two of the "shouters" who had great success. A good history of the rise of this iconic music which set the stage for rock and roll.

message 49: by Jerome, Assisting Moderator - Upcoming Books and Releases (new)

Jerome | 4375 comments Mod
Stevie Wonder remains a personal favorite:

"I Wish":

message 50: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44207 comments Mod
Very much agree Jerome.

« previous 1 3 4 5
back to top