Everybody Loves The Sunshine Midi

1. Everybody Loves The Sunshine Midi File
2. Everybody Loves The Sunshine Midi Download

• Brand new site with 1600+ Professional MIDI files, all with demos! Now accepting Pay Pal! Budget rates for Special Orders! Quantity discounts!
• Roy Ayers - Everybody Loves The Sunshine Midi File. Starting from: $4.99 Buy now 1 file (5.5KB) More products from CheapMidiFiles Marvin Gaye - 'Inner City Blues' $2. Buy now Jazz Standard - Billy Strayhorn 'Take the A Train' $5. Buy now Jazz Standard - Morgan Lewis 'How high the Moon'.

The title track, 'Everybody Loves the Sunshine,' is a quintessential song from the mid-'70s. The rest of the album contains Ayers classics such as the burning percussive funk of 'It Ain't Your Sign It's Your Mind,' the spacey cosmic soul of 'The Third Eye,' the bumping rubbery disco in 'People and the World,' and the two horn-scorched closers.

Everybody Loves The Sunshine Midi File

Everybody Loves the Sunshine is a studio album by Roy Ayers released under the Roy Ayers Ubiquity umbrella. It was released through Polydor Records in 1976. It peaked at number 51 on the Billboard 200 chart.^[2] In 2016, Pitchfork placed the title track at number 72 on the '200 Best Songs of the 1970s' list.^[3]

In 2021, AT&T featured the title track in a spot for mobile telephone service.

Track listing[edit]

Personnel[edit]

Credits adapted from liner notes.

• Roy Ayers – vibraphone, lead vocals, electric piano, synthesizer (ARP, String Ensemble), percussion, background vocals
• Philip Woo – piano, electric piano, synthesizer (ARP, String Ensemble)
• Chano O'Ferral – congas, percussion, lead vocals
• Ronald 'Head' Drayton – guitar
• John 'Shaun' Solomon – electric bass
• Doug Rhodes – drums
• Chicas (Debbie Darby)^[4] – lead vocals, background vocals

Charts[edit]

References[edit]

Everybody Loves The Sunshine Midi Download

1. ^Samuelson, Sam. 'Everybody Loves the Sunshine - Roy Ayers, Roy Ayers'. AllMusic. Retrieved December 27, 2017.
2. ^ ^ab'Roy Ayers - Billboard 200'. Billboard. Retrieved December 27, 2017.
3. ^'The 200 Best Songs of the 1970s (7/10)'. Pitchfork. August 22, 2016. Retrieved December 27, 2017.
4. ^Roy Ayers, Dave Simpson (interviewer), 'How we made Roy Ayers' Everybody Loves the Sunshine', The GuardianJune 19, 2017
5. ^'Roy Ayers - Top R&B/Hip-Hop Albums'. Billboard. Retrieved December 27, 2017.

External links[edit]

• Everybody Loves the Sunshine at Discogs (list of releases)

Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and ’80s, Roy Ayers’ reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972’s “Move to Groove” by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song “Everybody Loves the Sunshine” has been frequently sampled. Yet Ayers’ own playing has always been rooted in hard bop: crisp, lyrical, rhythmically resilient. His own reaction to being canonized by the hip-hop crowd as the “Icon Man” is tempered with the detachment of a survivor in a rough business. “I’m having fun laughing with it,” he has said. “I don’t mind what they call me, that’s what people do in this industry.”

Growing up in a musical family — his father played trombone, his mother taught him the piano — the five-year-old Ayers was given a set of vibe mallets by Lionel Hampton, but didn’t start on the instrument until he was 17. He got involved in the West Coast jazz scene in his early 20s, recording with Curtis Amy (1962), Jack Wilson (1963-1967), and the Gerald Wilson Orchestra (1965-1966); and playing with Teddy Edwards, Chico Hamilton, Hampton Hawes and Phineas Newborn. A session with Herbie Mann at the Lighthouse in Hermosa Beach led to a four-year gig with the versatile flutist (1966-1970), an experience that gave Ayers tremendous exposure and opened his ears to styles of music other than the bebop that he had grown up with.

Memphis Underground
After being featured prominently on Mann’s hit Memphis Underground album and recording three solo albums for Atlantic under Mann’s supervision, Ayers left the group in 1970 to form the Roy Ayers Ubiquity, which recorded several albums for Polydor and featured such players as Sonny Fortune, Billy Cobham, Omar Hakim, and Alphonse Mouzon. An R&B-jazz-rock band influenced by electric Miles Davis and the Herbie Hancock Sextet at first, the Ubiquity gradually shed its jazz component in favor of R&B/funk and disco. Though Ayers’ pop records were commercially successful, with several charted singles on the R&B charts for Polydor and Columbia, they became increasingly, perhaps correspondingly, devoid of musical interest.

Jazzmatazz, Vol. 1
In the 1980s, besides leading his bands and recording, Ayers collaborated with Nigerian musician Fela Anikulapo-Kuti, formed Uno Melodic Records, and produced and/or co-wrote several recordings for various artists. As the merger of hip-hop and jazz took hold in the early ’90s, Ayers made a guest appearance on Guru’s seminal Jazzmatazz album in 1993 and played at New York clubs with Guru and Donald Byrd. Though most of his solo records had been out of print for years, Verve issued a two-CD anthology of his work with Ubiquity and the first U.S. release of a live gig at the 1972 Montreux Jazz Festival; the latter finds the group playing excellent straight-ahead jazz, as well as jazz-rock and R&B.

allmusic.com