Bob Shad (born Abraham Shadrinsky) was one of those quiet, behind the scene music producers that time forgot. Some of the artists he worked with were Charlie Parker, Sarah Vaughan, The Platters, Lightnin' Hopkins, The Bell Notes, Janis Joplin, Maynard Ferguson, and The Amboy Dukes.
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After lending his ear to both Savoy and National Records, Bob spent the next 25 years forming several of his own record labels. “When You See Me Hurt” by Carl Lester & The Showstoppers was released in 1961 on his Brent label, and is a rocking soul number with a slight nod to Screamin' Jay Hawkins. I think it’s a wonderful song, and showcases Bob Shad’s ear for talent.  

I love this song. It’s a brash, frantic example of Thrashcore punk, and in 1985 when the pop charts were crazy for George Michael, Whitney Houston, and everything banal, D.R.I was pushing the sound barrier.
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“I’d rather be sleeping” is from their second release Dealing with it! on Metal Blade’s subsidiary Death Records, and although it never sold many copies, it’s fondly looked back upon for its production value and speed. It’s also a great transitional album from their Hardcore Punk roots to Thrash Metal.

When the opening line for a song is “Bbbbbbbbbbbbbbb” you know you have a hit, and in 1957 a CBS talent scout agreed, and quit his job to manage the pair of teenage lyricists from Spartanburg South Carolina. That year they released “Black Slacks,” and a whirlwind tour of the US to support the single followed.  
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My mother was 12 years old, and in the age of sock hops, poodle skirts, and drive in movies, this rockabilly song was one of her favorites. Happy Mother’s Day Mom!

In the basement of a 23 story German hotel hid Musicland Studios, and the work of Italian singer, songwriter, and music producer Giorgio Moroder. It was there that Led Zeppelin, The Rolling Stones, Queen, ELO, Sweet, Elton John and many others would attempt to extend their careers into the 80’s.

One such artist that greatly benefited from Moroder’s production skills and vision was Donna Summer. After signing with his newly formed Oasis label in 1974, they collaborated on a series of hits that catapulted Summers from a backup singer with Three Dog Night to the goddesses of Disco.
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Recorded in 1976 and released a year later, “I Feel Love” is now known as the song that changed the face of dance music, replacing orchestras with analog synthesizers, while connecting Kraftwerk to New Wave, Synth-Pop and all things Techno.