Everybody Loves The Sunshine: The Classic Album by Roy Ayers Ubiquity
Everybody Loves The Sunshine is a studio album by Roy Ayers released under the Roy Ayers Ubiquity umbrella. It was released through Polydor Records in 1976 and peaked at number 51 on the Billboard 200 chart. [^4^] [^5^]

Roy Ayers Everybody Loves The Sunshine Zip
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The album is widely regarded as a masterpiece of soul jazz and one of Ayers' best works. The title track, \"Everybody Loves The Sunshine,\" is a quintessential song from the mid-'70s that evokes the feeling of sweltering summer days in Brooklyn. It
features a choir repeating the same lines throughout, a laid-back groove, and a drone synth note that creates a hypnotic effect. The song has been covered by artists such as D'Angelo, Takuya Kuroda, and Robert Glasper Experiment, and has been sampled by
countless hip-hop producers. [^4^] [^6^]

The rest of the album showcases Ayers' versatility and creativity as a vibraphonist, singer, songwriter, and producer. He blends funk, disco, Latin, and psychedelic influences to create a unique sound that is both timeless and ahead of its time. Some of
the highlights include \"Hey Uh What You Say Come On,\" a funky opener with catchy vocals and horns; \"The Golden Rod,\" a mellow instrumental with a smooth vibe; \"Keep On Walking,\" a cover of Gino Vannelli's pop song with a soulful twist; \"You and Me
My Love,\" a romantic duet with Chano O'Ferral; \"The Third Eye,\" a cosmic exploration of spirituality and consciousness; \"It Ain't Your Sign It's Your Mind,\" a funky message song about astrology and personality; \"People and the World,\" a disco-
infused track with social commentary; \"Tongue Power,\" a fun and funky tune with playful lyrics; and \"Lonesome Cowboy,\" a country-inspired closer with a twangy guitar.

Everybody Loves The Sunshine is an album that deserves to be heard by every music lover. It is a testament to Roy Ayers' genius and influence as one of the most important figures in jazz, soul, and hip-hop. If you are looking for a zip file to download
this album, you can find it on various online platforms such as YouTube Music [^2^], Apple Music [^6^], or Spotify [^5^]. However, we recommend that you support the artist by purchasing the album from official sources such as Amazon or Discogs [^4^].
You won't regret it!
In this article, we will dive deeper into the history and legacy of Everybody Loves The Sunshine by Roy Ayers Ubiquity. We will explore the background of the album, the recording process, the reception and impact, and the current status of the album and
the artist.

The Background of Everybody Loves The Sunshine
Roy Ayers was born in Los Angeles in 1940 and grew up in a musical family. His father played trombone and his mother played piano. He was exposed to jazz at an early age and was inspired by musicians such as Lionel Hampton, Charlie Parker, and Miles
Davis. He started playing the vibraphone when he was five years old and soon became a prodigy on the instrument. He won a talent contest at the age of 17 and was invited to perform with Hampton's band. He later attended Los Angeles City College and
studied music theory and composition.



In the early 1960s, Ayers moved to New York and joined the jazz scene there. He played with various artists such as Herbie Mann, Curtis Amy, Jack Wilson, and Gerald Wilson. He also formed his own group called Roy Ayers Quartet and recorded several albums
for Atlantic Records. He developed his own style of playing the vibraphone that combined bebop, hard bop, soul jazz, and Latin jazz. He also experimented with different effects and techniques such as wah-wah pedals, echo chambers, and overdubbing.

In the late 1960s, Ayers became interested in the emerging genres of funk, rock, and psychedelic music. He joined a group called The Soul Vibrations and changed his name to Roy Ayers Ubiquity. He signed with Polydor Records and released his debut album
Ubiquity in 1971. The album featured a fusion of jazz, funk, rock, and soul that was innovative and influential. He followed it with several more albums such as Virgo Red (1973), Change Up The Groove (1974), Mystic Voyage (1975), and A Tear To A Smile (
1975). He also collaborated with other artists such as Fela Kuti, Rick James, Stevie Wonder, and Eddie Kendricks.

By 1976, Ayers had established himself as one of the leading figures in jazz-funk and soul-jazz. He had a loyal fan base and a reputation for being a visionary and a pioneer. He was ready to make his next masterpiece: Everybody Loves The Sunshine.

The Recording Process of Everybody Loves The Sunshine
Everybody Loves The Sunshine was recorded in two studios: Electric Lady in New York and Larrabee in West Hollywood. Ayers had a new backing band that consisted of Philip Woo on keyboards, Chano O'Ferral on congas and percussion, Ronald \"Head\" Drayton
on guitar, John \"Shaun\" Solomon on bass, Doug Rhodes on drums, and Debbie Darby on vocals. Ayers played the vibraphone, sang lead vocals, played electric piano and synthesizer (ARP and String Ensemble), and produced the album with Maurice Green.

The album was mostly composed by Ayers himself, except for \"Keep On Walking,\" which was a cover of Gino Vannelli's song from his 1974 album Powerful People. Ayers also co-wrote two songs with O'Ferral: \"You And Me My Love\" and \"Tongue Power.\" The
album had a diverse range of styles and moods that reflected Ayers' eclectic musical tastes and influences. He incorporated elements of funk, disco, Latin, country, psychedelic, and spiritual music into his soul-jazz foundation.

The title track was inspired by Ayers' childhood memories of growing up in sunny California. He wanted to capture the feeling of happiness and warmth that he associated with the sunshine. He wrote the lyrics on a napkin while he was eating at a
restaurant in New York. He then went to Electric Lady studio and recorded the basic track with his band. He added the choir vocals later at Larrabee studio with Darby and some other singers. He also added the distinctive drone synth note that gave the
song its hypnotic quality.

The other songs were also recorded in a similar fashion: Ayers would come up with an idea or a melody and then work it out with his band in the studio. He would then add some overdubs or effects to enhance the sound. He was very spontaneous and creative
in his approach to making music. He did not use any written charts or arrangements; he relied on his intuition and his communication with his bandmates.

The album was completed in about two weeks
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