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Lee Oskar (born 24 March 1948) [1] is a Danish harmonica player, [2] notable for his contributions to the sound of the rock-funk fusion group War, which was formed by Howard E. Scott and Harold Brown, [3] his solo work, and as a harmonica manufacturer. [4]
Linda Hamilton of Deseret News praised Oskar's performances, noting that it had "retained much of War's sound". [4] SleepyJack praised the album's sound design, stating that it was "straight-forward and stripped-down" and "put the harmonica in a role typically reserved for sax sounded fresh. [5]
Lee Oskar and Papa Dee Allen later joined as well. They all shared a love of diverse styles of music, which they had absorbed living in the racially mixed Los Angeles ghettos. The Creators recorded several singles on Dore Records while working with Tjay Contrelli, a saxophonist from the band Love.
On the instrumental album “She Said Mahalo,” Lee Oskar plays funk, reggae, a lullaby and more, all while using less than a dozen harmonicas. “She Said Mahalo,” serves up sunny music for ...
"The Cisco Kid" is a song performed by War, and written by Thomas Allen, Harold Brown, Morris "BB" Dickerson, Charles Miller, Howard Scott, Lee Oskar and Lonnie Jordan, all members of War at the time. It is the first song on their 1972 album The World Is a Ghetto, and is the group's highest-charting song on the Billbo
The Lowrider Band consists of three of the four surviving original core group members of the multi-platinum selling band War: Howard E. Scott, Lee Oskar, and Harold Brown. These members lost the right in federal court to use and tour under the name "War" in the mid-1990s to Far Out Productions (producer and manager Jerry Goldstein).
Coco Lee has died. The Hong Kong-born singer died on Wednesday, three days after she was placed in a coma following a suicide attempt, her sisters, Carol and Nancy Lee, said on Facebook. She was ...
As of 2019, the Academy's rules stipulate that "an original song consists of words and music, both of which are original and written specifically for the motion picture.. It must be clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credit
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