Beyonce & Jay-Z Row Over Babies

...more Beyonce Knowles �

Beyonce and Jay-Z have reportedly hit a rocky patch in their four-month marriage � because the Bootylicious star wants to put her vocation before starting a family.


The couple tied the knot in a hush-hush ceremonial occasion on April 4, amid rumours that Beyonce was already expecting.


"Jay Z is ready to have children. He [and Beyonce] dated for age, now they're married...and for him - it's time for children," a source close up Jay-Z knocker told MediaTakeOut.


But it seems that maternity isn't parting of the singer's immediate plans.


"Beyonce is very vocation focused. She has another album due this year and a couple of major film projects in the works," the author continues.


"Her career is moving at 90 miles per hour and she's not trying to have it slowed down by a baby.


"[Jay Z and Beyonce] ar best friends so it's not like they're fighting over it...but they both feel very strongly about [their positions] - if one of them doesn't yield, I think it could be a big problem."

Clarence Carter

   
Artist: Clarence Carter

   Genre(s): 
R&B: Soul
   Miscellaneous
   

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Discography:


   
 The Platinum Collection

   Year: 2007   
Tracks: 20


   
 Slip Away and Other Hits

   Year: 2003   
Tracks: 10


   
 This Is

   Year: 1968   
Tracks: 15


   
 Best siva

   Year:    
Tracks: 23

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Singer Clarence Carter exemplified the grainy, down-to-earth good of Muscle Shoals R&B, fusing the annihilating pathos of the blues with a arch, lewd encyclopaedism ability to create profoundly soulful music stock-still in the American South of the past and the demonstrate. Born January 14, 1936, in Montgomery, AL, Carter was screen from birth. He immediately gravitated to medicine, instruction himself guitar by hearing to the blues classics of John Lee Hooker, Lightnin' Hopkins, and Jimmy Reed. He majored in euphony at Alabama State University, acquisition to transcribe charts and arrangements in Braille.


With screen schoolmate Calvin Scott, Carter in 1960 formed the duette Clarence & Calvin, signing to the Fairlane mark to press release "I Wanna Dance But I Don't Know How" the following class. After the 1962 discharge of "I Don't Know (School day Girl)," Clarence & Calvin left wing Fairlane for the Duke imprint, renaming themselves the C & C Boys for their mark debut, "Hey Marvin." In all, the duette cut quadruplet Duke singles, none of them generating more than a shrug at wireless -- ultimately, in 1965 they travelled to Rick Hall's Fame Studio in Muscle Shoals, AL, paying $85 to criminal record the racking lay "Step by Step" and its twitch side, "Cock Knees and Rice." Atlanta wireless personality Zenas Sears recommended Clarence & Calvin to Atlantic producer Jerry Wexler, and the mark issued "Footstep by Step" on its Atco subsidiary -- the criminal record failed to chart, and the twosome was once again looking for for a label.


Backed by a four-piece combo dubbed the Mello Men, Clarence & Calvin spent the first base half of 1966 headlining Birmingham's 2728 Club. One Friday night in June piece returning home from the club, the chemical group suffered an car chance event that left Scott critically injured, initiating an ugly severance with Carter over the resulting medical bill. In the meantime, Carter continued as a solo play, signing to Hall's Fame mark for 1967's "Tell Daddy," which inspired Etta James' response criminal record, "Recount Mama." The superb popcorn-soul movement "Thread the Needle" proven a pocket-size crossover hit, and later on one additional Fame discharge, "The Road of Love," Carter returned to Atlantic with "Looking at for a Fox," issued in early 1968. "Looking for a Fox" proven the first base of many singles to trickily cite the singer's visual impairment, non to mention showcasing the lascivious impulses that eclipse many of his most popular records.


Just few performances better typified the rising Carter esthetic than "Slip Away," a superior unsportsmanlike ballad spotlighting his anguished, monumental baritone alongside the outstandingly sinuous backing of Fame's typic backing band. The record was a Top Ten hit, and its follow-up, "To a fault Weak to Fight," also went gold, hardening Carter's newfound commercial invoke. He terminated 1968 with a wonderfully funky Christmas single, the raunchy "Back Door Santa," in addition to mounting a national circuit featuring mount singer Candi Staton, wHO after became Carter's wife as well as a soul asterisk in her possess right.


The percolating "Snatching It Back" was Carter's low gear Atlantic expiration of 1969 -- its B-side, a remake of James Carr's deep soul classic "The Dark End of the Street," corpse one of the singer's most strong efforts, drafting on traditional blues and gospel truth to explore both the ridiculousness and anguish of unfaithfulness. Subsequent singles including "The Feeling Is Right," "Doing Our Thing," and "Fill It Off Him and Put It on Me" were only marginally successful, but in 1970 Carter returned to the Top Ten with the mawkish "Patches," his biggest hit to date. He even so stumbled once more with a run of 1971 releases like "Getting the Bills" and "Slipped, Tripped and Fell in Love," and in the wake of "If You Can't Beat 'Em" -- a duet with Staton -- Carter left field Atlantic in 1972, returning to Fame with "Back in Your Arms Again."


Released in 1973, the leering "Sixty Minute Man" proved a novelty hit, but in 1975 he attempted to reignite his career at ABC, cathartic "Take It All Off" and "Dear Abby" to little notice. By the end of the x Carter was relegated to small self-governing labels like Future Stars and Ronn, and in 1980 signed to Venture for the ill-advised "Jimmy's Disco" and "John We Slip Away Again?" In 1985 he resurfaced on the fledgling Ichiban label, returning to the ribald mysterious soulfulness of his prime -- the LP Dr. C.C. earned incontrovertible reviews and spawned the hilariously lewd "Strokin'," a major pipeline hit. (A continuation, "Still Strokin'," followed in 1989.) Carter continued recording and touring regularly into the twenty-first century, maintaining a inviolable fan base passim the South.





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