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Background singers named William Moore can almost be considered a constant in the music business This one, who worked on soul music sessions in the ’70s, should not be confused with the William Moore who sings background on obscure recordings from the ’20s, or the Billy More who hit it big in Euro-disco circa the new millennium
If you’re looking for the all-time number-one purveyor of mainstream romantic soul, Smokey Robinson may well be the man, in the face of some towering competition With the Miracles in the 1960s, he paced dozens of tuneful Motown hits with his beautiful high tenor
One of the flock of people named William Shepherd with recording credits, this one earned the vague but sometimes essential executive production status on a compilation of gospel , R&B, and soul material entitled The Memphis Belles: Past, Present and Future on the Inside Sounds label
If the name Walker’s Corbin Ramblers sounds more like some kind of a country militia than an old-time music string band, it can hardly be blamed on the plural noun “ramblers,” which is of such common currency as a band name in the Appalachian scene that it is hardly like having a name at all
Songwriter and producer William “Mickey” Stevenson was one of the unsung heroes behind the extraordinary success of the Motown sound As the label’s first A&R director, he not only recruited major stars like Martha Reeves, but also assembled the company’s legendary roster of studio musicians, additionally authoring a number of perennial hits for acts including Marvin Gaye and wife Kim Weston
This tenor saxophonist and vocalist, performing and recording with contemporary gospel outfit Denver A Wright & the Collective, should not be confused with the earlier William Taylor who played reeds with classic jazz and dance bands
William Taylor was the first baritone singer in the Castelles, a doo wop combo from Philadelphia that recorded about a dozen songs during the first half of the ’50s Despite his involvement with the formation of the group, Taylor being among the original clique of 12- and 13-year-olds who began harmonizing at their gym, the sound of the Castelles seems even more associated with the baritone who replaced Taylor circa 1954, Walt Miller
Trumpeter William Taylor was present when maestro Isaac Hayes smeared hot buttered soul all over the stage at the Sahara Tahoe, an event commemorated by a messy live album originally released in 1973
William Henry Weatherspoon was half of Motown’s songwriting and production team — (James) Dean and Weatherspoon, who went solid gold via Jimmy Ruffin’s recording of “What’s Become of the Brokenhearted,” co-written with arranger Paul Riser
William White designed the artwork for several new and reissue releases in the electric blues genre, at times making use of stark contrast in black-and-white photography ~ Eugene Chadbourne, All Music Guide