Her career in a summary
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Official audio for It Hurts So Good by Millie Jackson, released on Ace Records. Subscribe to the official Ace channel for more classics, lost gems, playlists. Written-By – Carl Hampton, Homer Banks, Raymond Jackson: 3:56: A2: The Rap Written-By – Millie Jackson: 5:53: A3: If Loving You Is Wrong I Don't Want To Be Right (Reprise) Written-By – Carl Hampton, Homer Banks, Raymond Jackson: 1:14: A4: All I Want Is A Fighting Chance Written-By – K. Sterling., Millie Jackson: 2:37: A5: I'm Tired Of.
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Mildred “Millie” Jackson is an American R&B and soul singer and songwriter. She is also a comedienne of the unrestrictedly raunchy kind, and some of her songs have humorous and explicit monologues. Born in Georgia, Jackson once worked as a model and then moved on to professional singing in 1964. In the early 70s music scene she released her self-titled first LP under Spring Records, which featured songs in the Motown style. The album yielded singles such as “A Child of God (It’s Hard to Believe)” that reached #22 on the R&B hit singles list, but hit in the lower rung of the overall charts. Despite that, they remain as cherished obscure oldies music favorites. Her highest-charting single to date was “Hurts So Good” in September 1973. She now runs her own record company Weird Wreckuds (whose WeirdWreckuds.com also serves as her own official website) and continues to perform. Jackson is the mother of another R&B singer, Keisha Jackson.
Early life and career
Mildred “Millie” Jackson was born in Thomson, Georgia on July 15, 1944. After her mother died when she was younger, she and her father moved to Newark, New Jersey. Subsequently Jackson went to live in her aunt’s home in Brooklyn, New York. When she was younger, Jackson was influenced by listening to Otis Redding, Sam Cooke and the O’Jays.
According to some sources, her singing career started on a dare with a female performer that occurred at a Harlem nightclub. Hype 3 3 6 3. In turn, she rose from the audience and onto the stage, and won the dare by singing a cover of Ben E. King’s “Don’t Play It No More.”
Eventually she was hired as a professional singer at a Hoboken club. Jackson was then signed to MGM Records, where she stayed briefly. She moved to a lesser-known label Spring Records, based in New York. Jackson’s first single was “A Child of God (It’s Hard to Believe),” released in 1971. Its deceptive title led people to believe that it was a gospel song. However, due to its rather scandalous content the single was deleted, but it still managed to make dents on both pop and R&B charts (#102 and #22 respectively).
Continued success
In 1972, Jackson released a follow-up single “Ask Me What You Want,” which became her first Top 10 R&B hit at #4. It also went to #27 on the pop chart.
Curtis mayfield curtis live 1971 rar the best free software for your. Jackson continued to score a few decent hits such as “My Man Is a Sweet Man” (#42 pop, #7 R&B), “I Miss You Baby” (#95 pop, #22 R&B) and “Breakaway” (#110 pop, #16 R&B) while she was still performing at nightclubs.
In 1973, she achieved another Top 40 pop hit single “Hurts So Good” (at #24), which also reached #3 on the R&B singles chart. It was also featured as a soundtrack of the blaxploitation movie Cleopatra Jones; the single was also included in the album of the same name.
In 1974, Jackson released an LP Caught Up which introduced her trademark raunchy, racy rap style, to her audience’s delight. The album contained her version of Luther Ingram’s “If Loving You Is Wrong I Don’t Want to Be Right,” which peaked at #42 on both pop and R&B singles chart.
Where Is Millie Jackson Now
Jackson even took a stab at covering country singer Merle Haggard’s song “If We’re Not Back in Love by Monday” in 1977. Her version was successful enough, peaking at #43 pop and #5 R&B.
After Jackson’s long productive years with Spring Records which boasted several Top 100 singles, she moved to Jive label in the mid-1980s. Two of her Jive singles, “Hot! Wild! Unrestricted! Crazy Love” (1986) and “Love Is a Dangerous Game” (1987), both entered the R&B top 10.
Millie Jackson Albums
Aside from her successful singing and recording career, Jackson also hosts her own radio show, a position which she has held for many years. She also established and runs her own imprint Weird Wreckuds.
Helpful Millie Jackson links
- MILLIE JACKSON Lyrics
MILLIE JACKSON Lyrics – A selection of 19 Millie Jackson lyrics including A Little Taste Of Outside Love, Ask Me What You Want, Just When I Needed You Most, It Hurts So Good, My Man A Sweet Man …
How time flies when you’re enjoying yourself – here at Ace, we’ve now been part of the CD revolution since 1987! It seems like only yesterday that our pioneering efforts were unleashed on a still uncertain market that, in the main, was still thinking (and perhaps hoping) that here was another big idea that would soon go away, and leave us to enjoy our big 12 inch vinyls in peace.
Well, Ace and our contemporaries in the reissue business have come a long way, since the days when we all used to proudly emblazon our tray cards with slogans like “Contains over 50 minutes of music”. However, some of our early CD releases haven’t necessarily come all the way with us, in terms of reproductions and packaging. Over the past few years, we’ve been selectively upgrading our biggest sellers to give them a 21st century look and sound. And a recent, exhaustive review of our Millie Jackson tape inventory has now given us a barely needed excuse to sonically upgrade and otherwise enhance several of Ms Millie’s biggest sellers from here original Spring catalogue. Coming soon 2 80 download free.
We start this month with her seminal CAUGHT UP album - with his ‘companion piece’ “Still Caught Up” to follow hot on this one’s heels next month. We originally released both these albums on CD back in March 1992 – surprisingly, they were not our first Millie reissues, but we got to them as soon as we could! Since then, they have sold consistently in their old skool, non-annotated, four page booklet form. To be fair, nobody’s ever complained about the packaging, but these are prestige albums that deserve better and I consider myself privileged to be the “Man at Ace” whose responsibility it is to try to make them better.
In the course of doing so, I’m happy to say that all the albums in this short, ongoing series are being remastered from the original ¼ inch production tapes that were used to create the stampers for the original Spring issues. All the mastering is coming from brand new transfers of these original tapes, rather than from the transfers that were used to create our first CD issues. We’ve also reviewed all the surviving Spring multitrack tapes to seek out any unissued tracks or alternate takes that we feel will enhance the original vision of these albums. Millie told me when we started to work up these projects that, by the time she started to produce her own records (a sequence which commenced with “Caught Up”), she pretty much went into the studio with a firm idea of what she was going to record and that few, if any, unreleased songs would be found on the multitrack reels. However, she also told me that – again, in many cases – she would sing a live vocal with the Muscle Shoals Swampers (as they were billed on the original albums) to get the feel of the song, and then go back and refine her performance for the actual release. Those original live vocals, she believed, should still be on the multitracks – and she was right. She had no objections to our using these ‘first takes’ as bonus tracks, and so on every CD, after some sympathetic mixing from our friend and regular collaborator Rob Keyloch, we are able to present Millie in a way that you’ve never heard her before. Incidentally, Rob and I did also find a considerable number of previously unissued songs. While none of them pertain to this album, you’ll be hearing them all during the course of subsequent releases in this series.
“Caught Up” was a landmark album for Millie and for black American music. She had total artistic control on this album for the first time. It was also her first album to be recorded exclusively in the town that is akin to Mecca for all devotees of Southern Soul, Muscle Shoals. And more importantly, while it wasn’t soul music’s first ever concept album, it was inarguably the first one to look at three sides of a romantic triangle and put its main viewpoints across in such a frank and unexpurgated manner. It may also have been the first album to spawn a hit R&B “rap” when the six minute spoken section of Millie’s killer version of (If Loving You Is Wrong) I Don’t Want To Be Right introduced the listening public to Funky Drawers and breached the R&B Top 40 when issued as a “public demand” 45 after the album reached the Top 5.
Above all, it consolidated Millie Jackson’s already pretty solid reputation as a first tier soulstress, and provided a benchmark for all subsequent endeavours of its kind to live up to. Millie is still very proud of “Caught Up” as she has every right to be. This refreshed, remastered and newly expanded version will appeal to those who have appreciated its brilliance for a long time and we’re confident that it will also bring a whole lot of new converts to Millie’s substantial fan army.
(Oh yes, and let’s not forget the special bonus for all Northern Soul fans, Rob K’s specially mixed, vocal-less version of Millie’s perennial floorfiller A House For Sale.)
By Tony Rounce
We start this month with her seminal CAUGHT UP album - with his ‘companion piece’ “Still Caught Up” to follow hot on this one’s heels next month. We originally released both these albums on CD back in March 1992 – surprisingly, they were not our first Millie reissues, but we got to them as soon as we could! Since then, they have sold consistently in their old skool, non-annotated, four page booklet form. To be fair, nobody’s ever complained about the packaging, but these are prestige albums that deserve better and I consider myself privileged to be the “Man at Ace” whose responsibility it is to try to make them better.
In the course of doing so, I’m happy to say that all the albums in this short, ongoing series are being remastered from the original ¼ inch production tapes that were used to create the stampers for the original Spring issues. All the mastering is coming from brand new transfers of these original tapes, rather than from the transfers that were used to create our first CD issues. We’ve also reviewed all the surviving Spring multitrack tapes to seek out any unissued tracks or alternate takes that we feel will enhance the original vision of these albums. Millie told me when we started to work up these projects that, by the time she started to produce her own records (a sequence which commenced with “Caught Up”), she pretty much went into the studio with a firm idea of what she was going to record and that few, if any, unreleased songs would be found on the multitrack reels. However, she also told me that – again, in many cases – she would sing a live vocal with the Muscle Shoals Swampers (as they were billed on the original albums) to get the feel of the song, and then go back and refine her performance for the actual release. Those original live vocals, she believed, should still be on the multitracks – and she was right. She had no objections to our using these ‘first takes’ as bonus tracks, and so on every CD, after some sympathetic mixing from our friend and regular collaborator Rob Keyloch, we are able to present Millie in a way that you’ve never heard her before. Incidentally, Rob and I did also find a considerable number of previously unissued songs. While none of them pertain to this album, you’ll be hearing them all during the course of subsequent releases in this series.
“Caught Up” was a landmark album for Millie and for black American music. She had total artistic control on this album for the first time. It was also her first album to be recorded exclusively in the town that is akin to Mecca for all devotees of Southern Soul, Muscle Shoals. And more importantly, while it wasn’t soul music’s first ever concept album, it was inarguably the first one to look at three sides of a romantic triangle and put its main viewpoints across in such a frank and unexpurgated manner. It may also have been the first album to spawn a hit R&B “rap” when the six minute spoken section of Millie’s killer version of (If Loving You Is Wrong) I Don’t Want To Be Right introduced the listening public to Funky Drawers and breached the R&B Top 40 when issued as a “public demand” 45 after the album reached the Top 5.
Above all, it consolidated Millie Jackson’s already pretty solid reputation as a first tier soulstress, and provided a benchmark for all subsequent endeavours of its kind to live up to. Millie is still very proud of “Caught Up” as she has every right to be. This refreshed, remastered and newly expanded version will appeal to those who have appreciated its brilliance for a long time and we’re confident that it will also bring a whole lot of new converts to Millie’s substantial fan army.
(Oh yes, and let’s not forget the special bonus for all Northern Soul fans, Rob K’s specially mixed, vocal-less version of Millie’s perennial floorfiller A House For Sale.)
By Tony Rounce