Inspired by the book The Hollow Earth by Raymond Bernard, Tadanori Yokoo created the rare Japanese cover of Miles Davis‘ 1975 set, Agharta.
“My work is a combination of collage, airbrushing and painting,” artist Tadanori Yokoo is quoted as saying in Storm Thorgerson’s book 100 Best Album Covers. “I like collecting postcards, and on this cover for Miles Davis I used some that I had brought back from New York and Tahiti.”
“At the time I was into meditation and yoga,” Yokoo continued. “I listened to Miles Davis’ tape and thought about…The Hollow Earth. It is a legend about a land called Agharta, which exists in a huge cavern in the center of the earth.”
“I am a very good friend of Carlos Santana (for who Yokoo designed two covers) but with Miles Davis I never met him. I named the picture Agharta and he accepted that as the title of the album.”
A mix of hip-hop, Motown and gospel, The Miseducation of Lauryn Hill was a massively popular Best Seller from the ’90?s.
Taking cues from her band, the Fugees, 23-year old Lauryn Hill bust onto the music scene as a solo artist with the release of The Miseducation of Lauryn Hill in 1998.
The centerpiece of the record is “Doo Wop (That Thing),” a cut that exemplified the album’s genre-spanning mix of gospel-like choirs, rapped verses and classic R&B horn licks. It was the first single from the set and topped the charts in both the US and the UK.
Five Grammys went to Hill for this 16-song set, including two for the aforementioned “Doo Wop (That Thing)” plus nods for Album of the Year and Best R&B album.
Released in August 1988 by Ruffhouse, Miseducation has sold more than 8 million copies.
It’s the opening notes — the two-part harmony over a simple Fender Rhodes chord progression — that makes me think of Stevie when I listen to “Missing You.”
The harmonies become more complex, the string parts begin to weave in and out and we’re feeling all full of Philly soul, like Gamble and Huff are back at the desk working their magic.
Along with my girl Ayah and Boyz II Men kick we dropped yesterday, I’m putting together a little “midnight magic” mix tape. All I need is a little wine, a medium size fire and a big desire for a little one-on-one time.
“I guess that after 22 gold singles, two platinum albums and two Grammy awards (writing for others), we simply felt we wanted to do something for ourselves.” So said John Whitehead about the hit, “Ain’t No Stoppin’ Us Now.”
After Redding died, McFadden and Whitehead went to work with James Knight under the name Talk of The Town. When no one talked about Talk of the Town, the pair’s music career looked to be over.
Then, one night while sitting at a kitchen table, the songwriters came up with “Back Stabbers,” one of the biggest selling records of all time for the O’Jays. McFadden and Whitehad-penned hits for Melba Moore and Teddy Pendergrass followed before the duo released their first album in 1979.
Within months, “Ain’t No Stoppin’ Us Now” had climbed to the top of the charts, landing at #12 on the pop roster, #1 on the R&B charts and selling 8 million copies.