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The Lone Ranger 4:06 °° 02. Under The Sun 3:49 °° 03. The Joneses 4:09 °° 04. If You Come Back 3:55 °° 05. Separate Ways 3:21 °° 06. Brother Where Are You 3:30 °° 07. I Love San Francisco 3:25 °° 08. Who Knows What Goes When The Doors Close? 2:42 °° 09. Memory Lane 2:58 °° 10. From My Window 3:44 °° 11. Like A Flower 3:56 °° °° °° °° ÉÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ» °° º N O T E S º°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °° ÈÍÍÍÍÍÍÍÍÍÍÍÍÍÍͼßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßß °° °° Although rooted in jazz, singer, poet, and activist Oscar Brown, Jr. °° defied musical categorization throughout his long and eclectic career -- °° a forerunner of the political consciousness that would become predominant °° in soul, funk, and hip-hop in the decades to follow, his efforts to exact °° social change spread across the arts and even into government, spurring °° two unsuccessful but memorable campaigns for office. Born on Chicago's °° South Side on October 10, 1926, Brown was the son of a successful °° attorney and property broker who wanted his firstborn someday to assume °° control of the family business; instead, Brown was drawn to writing and °° performing, and by 15 was a regular on writer Studs Terkel's radio °° program Secret City. After skipping two grades, he entered the University °° of Wisconsin at 16, but finding the world of academia little to his °° liking, Brown returned to broadcasting, and in 1944 was tapped to host °° Negro Newsfront, the nation's first black news radio broadcast. Dubbed °° "America's first Negro newscaster," he relinquished the gig in 1948 to °° run for the Illinois state legislature on the Progressive Party ticket -- °° he did not win, and spent the remainder of the decade working on °° writer/producer Richard Durham's Black Radio Days series, followed by a °° two-year stint in the U.S. Army. °° °° Though a card-carrying Communist, in 1952 Brown mounted an unsuccessful °° campaign for U.S. Congress on the Republican ticket, aligning himself °° with the right wing solely to get his name on the ballot. (He resigned °° from the Communist Party in 1956, declaring himself "just too black to be °° red.") Through all this time, singing and songwriting remained little °° more than sidelines, but that all changed in 1958, when Brown attended °° the opening of Lorraine Hansberry's landmark play A Raisin in the Sun -- °° there he met Hansberry's husband, the New York City music publisher °° Robert Nemiroff, and their fledgling friendship soon yielded a record °° deal with Columbia. In 1960, Brown collaborated with Max Roach on the °° legendary bop drummer's trenchant civil rights project We Insist! Freedom °° Now Suite, soon followed by his solo debut, Sin & Soul -- launched via an °° extended residency at the famed Village Vanguard, the record featured °° readings of popular jazz instrumentals like Nat Adderley's "Work Song" °° and Mongo Santamaria's "Afro Blue" with new, socially charged lyrics °° penned by Brown himself. "Brown Baby," a lullaby written for his newborn °° son, went on to emerge as something of a modern standard, with covers by °° vocalists including Mahalia Jackson and Lena Horne. °° °° The creative and commercial success of Sin & Soul made Brown a star, and °° after writing lyrics for Miles Davis' classic "All Blues," he reunited °° with Hansberry and Nemiroff for Kicks & Co., a stage musical that earned °° Brown an unheard-of two-hour appearance on NBC television's Today Show. °° The show nevertheless closed shortly after its preview series at °° Chicago's McCormick Place in 1961, and after reworking some of the °° material to create a one-man show, Oscar Brown Entertains, he toured the °° U.S. and Europe, in 1962 stopping long enough to host the television °° series Jazz Scene USA, during taping meeting his future wife, °° singer/dancer Jean Pace. Through his concert appearances and LPs, °° including 1963's Tells It Like It Is! and 1965's Mr. Oscar Brown, Jr. °° Goes to Washington, he kept his social and political beliefs front and °° center, refusing to accept the common wisdom that mainstream audiences °° wanted no part of such stuff -- with Pace, he wrote and directed a series °° of stage shows casting teens from Chicago's impoverished neighborhoods, °° and the most famous of the couple's collaborations, 1967's Opportunity °° Please Knock, was even produced in conjunction with the Blackstone °° Rangers youth gang. The Browns' work with underprivileged youth also °° earned a 1968 invitation from Gary, IN, mayor Richard Hatcher to helm a °° summer talent project that was a springboard for then-unknowns the °° Jackson 5 and actor/singer Avery Brooks. °° °° After relocating to San Francisco in 1969, Brown and Pace transformed the °° stage comedy Big Time Buck White into a musical that, upon making the °° leap to Broadway, starred boxing legend Muhammad Ali in the title role. °° Brown spent much of the 1970s as an artist-in-residence teaching musical °° theater at Washington, D.C.'s Howard University, New York City's Hunter °° College, and Chicago's Malcolm X College. In 1972, after a seven-year °° hiatus from the recording studio, he delivered Where Are You, followed by °° a pair of releases for Atlantic: 1973's Brother Where Are You and 1975's °° Fresh. Also in 1975, he starred in the revived Evolution of the Blues and °° starred in a Chicago television special, Oscar Brown Is Back in Town, °° which earned a pair of local Emmy Awards. Brown was next tapped to host °° the acclaimed 1980 PBS series From Jump Street: The Story of Black Music, °° and went on to appear in network series including Brewster Place and Roc. °° His first album in two decades, Then and Now, appeared on Weasel Disc in °° 1995, and in 2001 he was the subject of a documentary, Music Is My Life, °° Politics My Mistress. Brown died from complications from a blood °° infection on May 29, 2005. °° °° https://play.google.com/store/music/album?id=Bdh6726mvhukk5lyld7vfkeaube °° °°Û °°ÛÛÛ °Û °°°°ÛÛ Û²Û ÛÛÛÛ° °°°°°ÛÛ y o o v e e y o o ÛÛÛÛÛ ÛÛÛÛÛ °°°°°°ÛÛ g o t t h e ±ÛÛÛÛ° ÛÛ±±ÛÛ °°°°°°°Û ° ÛÛ²ÛÛ ²Û±ÛÛ °°°°°°°Û ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛ ±²ÛÛÛ ±ÛÛÛ °°°°°°°Û °Û Û°Û Û°Û Û°Û Û°Û °ÛÛÛÛÛÛÛ ÛÛÛÛ° °ÛÛÛ °°°°°°°Û °ÛÛÛ°ÛÛÛ°Û Û°ÛÛÛ°ÛÛÛ ÛÛÛÛÛÛÛÛÛ± ÛÛÛÛÛ ÛÛ °°°°°°°Û °Û °Û Û°Û Û°Û °°°Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛ Û °°°°°°ÛÛ °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛ² °°°°°ÛÛ °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ± °°°°ÛÛ °Û °Û Û°Û Û°Û °Û ²ÛÛÛÛÛÛ±±±±ÛÛÛÛÛÛÛ° °°°ÛÛ °Û °Û Û°Û Û°Û °Û ²ÛÛÛÛÛ±ÛÛÛÛÛÛÛÛÛÛÛ °°°Û °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛ±±°ÛÛÛÛÛÛÛÛ °°°Û °Û °Û Û°Û Û°Û °Û ÛÛ²ÛÛ±ÛÛ²ÛÛÛ± °°°Û °Û °Û Û°Û Û°Û °°°Û ÛÛÛÛÛÛÛÛÛÛ ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ °°°Û °Û °Û Û°ÛÛÛ°Û °ÛÛÛ ±ÛÛÛÛÛÛÛ /ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ\ °°°ÛÛ ÛÛÛ °| shouts 2 all the groups |° °°°°ÛÛ ÛÛÛÛ °| putting out |° °°°°°ÛÛ ÛÛÛÛÛ °| quality music |° °°°°°°ÛÛÛ ÛÛÛÛ± \ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ/ °°°°°°°²²ÛÛÛÛÛÛÛÛÛÛÛÛÛ± ßßßßßßßßßßßßßßßßßßßßßßßßß