Sublime

The Marvin Hamlisch. Who’d been accepted into the Juilliard School Pre-College Division shortly before he turned seven years old. Who’d started his incredible music career as the rehearsal pianist for Barbra Streisand in Funny Girl and written a song for Liza Minnelli’s debut album when he was a teenager. Who’d written the score for A Chorus Line

But then there were the midlevel names, the singers and groups that had a strong following but weren’t moving fast-food-franchise numbers of units. At that point, Dr. Dre intervened and told Jimmy Iovine, the head of Interscope, which acts he thought were cool and should be kept on. He pointed the fickle finger of fate at Talib Kweli, at Mos Def,

Fats Domino was the singer, whose apparently eternal and universal appeal defies musical analysis. His records were simple, convincing, memorable, and danceable. While a steady rhythm pounded from his full-chorded piano playing, a band led and arranged by his producer Dave Bartholomew played easy riffs that emphasized the dance beat, and Domino

Jackie Gleason’s,