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Roberta Flack's 10 best songs remembered, from 'Killing Me Softly' to 'Where is the Love'

Roberta Flack's 10 best songs remembered, from 'Killing Me Softly' to 'Where is the Love'

USA Today24-02-2025

With a voice both smoky and silken, Roberta Flack carved a distinguished impression.
The singer behind timeless ballads "Killing Me Softly with His Song" and "The Closer I Get to You," died Monday at the age of 88. She had battled ALS, commonly known as Lou Gehrig's disease, since 2022.
From her 1969 debut album, "First Take," through a 2012 collection of Beatles covers, "Let it Be: Roberta," Flack, whether solo or with a stylistically likeminded partner, remained steadfast in her art.
Along with frequent collaborator Donny Hathaway, a fellow soul great whom she met when they were students at Howard University in Washington D.C., Flack was a regular chart presence in the '70s. The pair released two albums together: "Roberta Flack & Donny Hathaway" in 1972 and "Robert Flack Featuring Donny Hathaway" in 1980, which contained posthumous vocals from Hathaway, who died in 1979.
Their shared hits included covers of Carole King's "You've Got a Friend" and The Righteous Brothers' "You've Lost That Lovin' Feeling," as well as "Where Is the Love" and "The Closer I Get to You."
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Obituary:Roberta Flack, Grammy-winning singer of hit 'Killing Me Softly,' dies at 88
But Flack's blend of R&B, soul and gospel didn't peak in the '70s. Her '80s output earned massive radio play for "Tonight, I Celebrate My Love," a ballad with Peabo Bryson that became a ubiquitous presence at weddings, and in 1991, Flack became a regular presence on MTV with the woozily pretty "Set the Night to Music" with Maxi Priest.
Though she retired from singing after her 2022 diagnosis, here are 10 of Flack's most notable hits.
Top Roberta Flack songs, including Donny Hathaway duets and 'The First Time'
"Killing Me Softly with His Song," 1973 "The First Time Ever I Saw Your Face," 1969 "Set the Night to Music" (with Maxi Priest), 1991 "Tonight, I Celebrate My Love," 1983 "Where is the Love" (with Donny Hathaway), 1972 "The Closer I Get to You" (with Donny Hathaway), 1978 "Feel Like Makin' Love," 1974 "If Ever I See You Again," 1978 "You've Got a Friend" (Carole King cover, with Donny Hathaway), 1971 "Making Love," 1982

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Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert
Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert

Yahoo

time12 hours ago

  • Yahoo

Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert

The Beatles are one of the 20th century's most exhaustively documented bands, from television series like 'The Beatles Anthology' and feature films like Richard Lester's 'A Hard Day's Night' to documentaries by Albert and David Maysles, Ron Howard, and Peter Jackson, among others. One would think there was little left to explore, but the miracle of the Disney+ documentary 'Beatles '64' is that it manages to feel completely fresh and new — largely by giving the viewer the visceral experience of what it was like to experience The Beatles' first visit to America via the recollections of people who were there. One person who vividly remembers what it was like to first hear The Beatles' music is Martin Scorsese, who produced 'Beatles '64' in the hope that it would convey the exuberance that the band's first visit to America inspired. 'You have to understand, it was the end of the origins of rock and roll,' Scorsese told IndieWire. 'You had Motown, you had Phil Spector and the Wall of Sound — which influenced me a great deal in 'Mean Streets' and other films — you had the girl groups and Smokey Robinson and there was still a lot going on, but [rock and roll] needed something fresh. And America needed something fresh too.' More from IndieWire 'In Your Dreams' Teaser: The Search for the Sandman Powers Netflix's New Animated Sibling Fantasy Gold List TV Honors 'Squid Game,' 'Deli Boys,' 'The Studio,' and More That's because the country was, when The Beatles arrived on American shores in February 1964, still reeling from the assassination of President John F. Kennedy, a tragedy that 'Beatles '64' uses as a structuring device in order to give the band's visit context. 'The devastation was unlike anything anyone had experienced in our generation,' Scorsese said. 'The country was ready for something new.' Yet as Scorsese points out, and the documentary demonstrates, The Beatles were initially met with skepticism. 'They were touted as kind of an oddity because they had hair that was long, and the press couldn't wait to attack them,' Scorsese said. 'We didn't take them that seriously. There was an attitude we all had of, 'Yeah, show us.'' Scorsese followed the press coverage of The Beatles' arrival and assumed they were just a 'nonsense novelty' act — until he heard 'I Wanna Hold Your Hand' on the radio for the first time while getting ready to go to class at NYU film school. 'I heard the first few beats, and I just stood there. I was late for class,' Scorsese said. 'I listened and I admitted to myself, 'That's really good,' and as soon as I got to NYU I was telling everybody, 'This is not some ripoff — this is for real.' There was something joyous about it, and I don't think we can ever really describe the uplifting effect of not only their musical ability, but the writing and the lyrics. An extraordinary change occurred in the youth of the country after the disaster of the assassination.' Scorsese, frequent producing partner Margaret Bodde, and director David Tedeschi had access to extraordinary archival footage shot by Albert and David Maysles that enabled them to give the audience a sense of the immediate impact The Beatles had. Most of the Maysles' footage has barely been seen since it was shot, partly due to clearance issues and partly because United Artists didn't want the material in general release where it could dilute the appeal of 'A Hard Day's Night.' Thanks to restoration work by Peter Jackson's Park Road Post Production, most of the footage looks and sounds like it was shot yesterday. For Tedeschi, the key to utilizing the Maysles' footage was taking advantage of their talent as interviewers. As great as all the backstage and concert footage of the band itself is, what really conveys the magic of the moment is Tedeschi's use of interviews the Maysles did with the group's fans. 'I was lucky enough to work with Al Maysles on [Scorsese's Rolling Stones concert film] 'Shine a Light,'' Tedeschi told IndieWire. 'Marty hired him to shoot behind-the-scenes stuff. You'd see him disarm whoever he was with.' Tedeschi feels that the Maysles' talent for making interviewees feel at ease is what really makes the footage 'Beatles '64' had to work with special. 'It's not surprising to me that they were able to capture The Beatles,' Tedeschi said. 'What's surprising to me is how a 15-year-old girl on the street who has had no media training is somehow calm and able to project themselves and has great charisma.' Scorsese was able to witness the Maysles at work back in the 1960s when he was at NYU and looking for a job. 'They were making a changeover from black and white to color, and they always used available light,' Scorsese said. 'But you couldn't do that with color at the time, so my job was to hold the lamp. Now, the problem is that they're directing without telling you anything, so you have to anticipate where Al's going with the camera to give him a little bit of light. In a sense, it was an extraordinary master class in visual interpretation, in creating narrative when nothing is staged.' 'Beatles '64' contains not only the Maysles material and other archival footage, but new interviews conducted by Bodde, Scorsese, and Tedeschi with subjects from the two surviving Beatles (Paul McCartney and Ringo Starr) to fans who saw their first concerts — including director David Lynch in one of his final filmed interviews before he passed away earlier this year. The filmmakers were stunned to learn that, as a young art student, David Lynch attended The Beatles' first ever American concert at the Washington Coliseum — and that he had another connection to the narrative they were telling. 'One thing he said that didn't make the film was pretty fascinating,' Tedeschi said. 'As a Boy Scout, he had been an usher at Kennedy's inauguration. When it came down to it, it was extraordinary how many people were at the New York Carnegie Hall show, at the Washington Coliseum, and in Miami — many people who went on to do great things.' Interviewing McCartney and Starr was a challenge for Scorsese and Tedeschi, who didn't want to repeat old stories — no easy feat with celebrities as extensively interviewed as The Beatles. Luckily, Tedeschi was able to talk with McCartney as the rock and roller was curating a photographic exhibit dedicated to The Beatles in 1964. 'The photographs jogged his memory and created a way to have a conversation more than just an interview,' Tedeschi said. In the case of Starr, the filmmakers got him to open up by going through all of the old clothes he kept from the time. Another way that 'Beatles '64' makes enthusiasm for The Beatles infectious is through the way in which Starr himself seems not to have aged — as he goes through his old clothes and displays his old drum set, he demonstrates a youthful energy not dissimilar from the much younger man we see in the archival footage. In the brief moments Scorsese shares with Starr on camera, he seems to get younger, too — as though he's getting back in touch with that NYU film student who first fell in love with the band. 'It's almost as if you can't quite believe this amount of time has passed,' Scorsese said of his experience interviewing Starr. 'I would have been a different interviewer 30, 40 years ago. But following them and other great artists, from the Stones to Dylan to The Band to Van Morrison, you go along for this whole period of people taking these long artistic journeys, and you change. And somehow you tap into that original excitement about the joy of music, and what that music means as an observation of the life we're leading or trying to lead.' Scorsese and Tedeschi, who have worked together in various capacities for around 20 years now, are still not only passionate about music but energized by the challenge of finding a cinematic language with which to express their feelings. 'The problem is how to say it, in other words, the visual narrative,' Scorsese said, noting that he and Tedeschi are struggling with that very problem right now on their upcoming Robbie Robertson documentary. 'We shot the memorial concert, and Dave is now assembling it,' Scorsese said. 'We're smack in the middle of figuring out what this is. We know it's a concert, but there's got to be something that takes us on a trip, or gives us an experience where we can appreciate more where the music came from and how it affects people today.' According to Tedeschi, the challenge is finding a way to get the feelings he witnessed in the artists at the tribute concert onto the screen in a way that's clear. 'We shot the tribute concert along with the rehearsals, and there were tremendous artists,' Tedeschi said. 'Eric Clapton, Van Morrison, Allison Russell…and it's very interesting to see The Band's music and Robbie's music played by different artists, all of whom have been really touched by The Band and affected by it. We're working to take that excitement and the musicality and beauty of that and turn it into something more like a movie.' 'Beatles '64' is currently streaming on Disney+. Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'

Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?
Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?

Yahoo

time13 hours ago

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Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?

Brian Wilson, the musical mastermind behind the Beach Boys, died at the age of 82, his family announced Wednesday. Earlier this week came news of the passing of Sly Stone, 82, whose startling originality combining elements of gospel, rock and soul enthralled audiences and fellow artists alike in the late '60s and early '70s recordings of Sly and the Family Stone. Both men were bona fide musical giants. Though their music was similar only in being groundbreaking, Wilson and Stone's lives followed similar, tragic narrative arcs. Both reached artistic peaks achieved by few others in pop music over periods of just a few years. Both were masters of the recording studio at a time when most artists left that part of their work to producers and focused on live performance. And both suffered from the ravages of drug abuse and mental illness for much of the remainder of their lives, making their many fans mourn for what more they could have offered. But what they created in their primes served as inspiration for legions of artists to come. Prince, Public Enemy and OutKast counted Sly Stone as a major influence. Wilson's lush, deceptively sophisticated harmonies and instrumentation were foundational for too many orchestral pop artists to count, and thanks to his epic rivalry with the Beatles in the mid-'60s, they pushed each other to greater heights. The Beatles' 'Rubber Soul' stirred Wilson to create his masterpiece, the Beach Boys' 'Pet Sounds,' which then inspired the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band.' Speaking of 'Rubber Soul,' Wilson told the Tribune a little over a decade ago, 'I was so blown away by that damn album that I went and wrote ('God Only Knows.')' Paul McCartney subsequently called Wilson's work of genius possibly the greatest song ever written. Wilson set out to top the Fab Four yet again with what would have been 'Smile,' but threw in the towel on that legendary 'lost album' amid intra-band acrimony and debilitating mental health issues. Stone and Wilson both were children of California, but we choose to remember the brief but fascinating role of west suburban St. Charles in Wilson's life. Having remarried and feeling revived, Wilson moved to the suburb in the late 1990s to live near producer Joe Thomas, who worked on Wilson's 1998 comeback album, 'Imagination.' Wilson, an iconic Southern Californian, didn't learn to love Midwestern winters and in a few years' time moved back to where he once belonged. But we like to think our slightly less glamorous region played a significant role in Wilson's latter-years career resurgence that followed from what we'll call 'the St. Charles years,' topped by his 2004 celebrated re-creation with a stellar band of his vision for 'Smile.' God only knows what we'd do without the immense musical legacies Wilson and Stone left us this week. Submit a letter, of no more than 400 words, to the editor here or email letters@

The Beach Boys' Al Jardine remembers Brian Wilson: ‘I'm still learning from him after all these years'
The Beach Boys' Al Jardine remembers Brian Wilson: ‘I'm still learning from him after all these years'

Los Angeles Times

time16 hours ago

  • Los Angeles Times

The Beach Boys' Al Jardine remembers Brian Wilson: ‘I'm still learning from him after all these years'

The death of Beach Boys founder Brian Wilson is an immeasurable loss for music and for California, both the place and the dream of it that Wilson conjured with his regal and tender compositions. Wilson was the visionary of the defining American rock band, one who competed with the Beatles to move pop music into new realms of sophistication and invention, while writing songs capturing the longing of an ascendant youth culture. His death leaves only two surviving members of the original lineup — Mike Love and Al Jardine, Wilson's high school friend who sang lead on early hits like 'Help Me Rhonda' and wrote songs for beloved later-period albums like 'Surf's Up' and 'Sunflower.' On the day the world learned of Wilson's death, Jardine briefly spoke to The Times to remember his lifelong friend and bandmate. The guitarist, vocalist and songwriter — now on tour with his Pet Sounds Band playing Beach Boys hits with a focus on their 1970s output — looked back on six decades of writing and performing with one of the greatest minds of popular music. Jardine's conversation was edited for length and clarity. I just lost my best friend and mentor. It's not a good feeling, but I'm going to carry on and continue to play our music and perform with the Pet Sounds Band. Brian was a great friend. We grew up together, we went to high school together. We were both dropouts, which is not a bad thing as long as you have a vision of the future. His and mine was to make music. We were very good friends and very successful in part because of his great talent. He had an amazing ability to compose, very simple things and very complex things, all at the same time. He was a visionary. We all grew up together musically, but he grew exponentially. He became a leader, and formed new ways of chord construction, things no one had heard before, and we rose to the challenge with him. It's been said that Brian invented the state of California, the state of mind. That's a cute way of saying it, but he really invented a new form of music in the '60s and '70s. It was very sophisticated, but went way beyond that. He was a humble giant, a great American composer. I don't think anyone else could walk in his shoes, given all that he went through. I did write some songs he liked, and did help him get through treacherous times. It must be so frightening to be left in the wilderness by yourself and not know how to get home. He said one song I wrote helped him get through that, which is quite a compliment from the great Brian Wilson, who had his own demons to deal with. Brian Wilson's band was a reawakening of his professional life. He never enjoyed touring, so this band was a whole new life for him, to experience his own music and an adulation that he never had before. His legacy is of course in the music, and any interpreter of that legacy has to be sharp and devoted to it. We have the most devoted people that could be there to do that, so many original members of his band. My son Matthew, he's Brian's voice, and the DNA is there. With his arranger, Darian, arranging all vocals, we have all the muscle and genius to pull it off. When Carl Wilson and I were singing those parts back then, we'd abbreviate things — you can't do everything you did in the studio with only five of us. Now we've got 10 people onstage and I just heard some background parts yesterday that sounded just like we used to — you can hear Carl and Dennis in there. When we take the band out, I have a little white piano onstage, like the one he played in the past. It's a symbolic moment, the empty piano. While the Beach Boys tour was a hit-based performance, with this iteration, we're more introspective, deeper cuts, performing much of the 1970s catalog. There's quite a few numbers the public hasn't heard, exploring the heart and soul of those albums. I was hoping Brian would have been able to join us. But it's wonderful, we're hoping this music should last forever, and be felt at the deep levels that Brian experienced it. It sure is a great responsibility to play it, but it just feels natural to me. I've been doing it for so long, It doesn't feel weighty. I'm confident, especially with this band being so remarkable. I'm still learning from Brian after all these years.

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