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12 episodes with Al Bowlly
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2 episodes with Al Bowlly
3 episodes with Al Bowlly
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2 episodes with Al Bowlly
Boldly pursuing tariff-free trade in rock and roll news, nostalgia, gossip and old hokum since 2007 and, this week, featuring … … the romantic allure of life as a critic. … Sting's part in the success of ‘Adolescence'. … Mick Jagger's long engagement to Melanie Hamrick (born when Steel Wheels came out!) … "Contained within these grooves are twelve convincing arguments against the capitalist system" and other vicious reviews revisited. … when Bob Marley recorded ‘Sugar Sugar' by the Archies. … Al Bowlly's menacing ‘Midnight, The Stars And You' and how film soundtracks change your relationship with music. … what Mike Chapman had to tell Blondie to make ‘Parallel Lines' a hit. … little-known pop fact no 97: Dave Pegg was at the same school as the man who invented the internet! … "I can lose weight but you will always be the director of Brown Bunny” – cracking film review one-liners from Roger Ebert. … the Jaws film and the Jeeves musical: both came out 50 years ago, both riddled with catastrophe. One broke box office records, the other died like a louse in a Russian's beard. … Gabrielle Drake - “If you're going to be in a flop, best it be a huge one.” … why Elvis Costello and Al Stewart should hit the lecture circuit. … and David Hemmings, inconsolable, in a shower. Plus birthday guest Chuck Loncon stages a quiz.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Boldly pursuing tariff-free trade in rock and roll news, nostalgia, gossip and old hokum since 2007 and, this week, featuring … … the romantic allure of life as a critic. … Sting's part in the success of ‘Adolescence'. … Mick Jagger's long engagement to Melanie Hamrick (born when Steel Wheels came out!) … "Contained within these grooves are twelve convincing arguments against the capitalist system" and other vicious reviews revisited. … when Bob Marley recorded ‘Sugar Sugar' by the Archies. … Al Bowlly's menacing ‘Midnight, The Stars And You' and how film soundtracks change your relationship with music. … what Mike Chapman had to tell Blondie to make ‘Parallel Lines' a hit. … little-known pop fact no 97: Dave Pegg was at the same school as the man who invented the internet! … "I can lose weight but you will always be the director of Brown Bunny” – cracking film review one-liners from Roger Ebert. … the Jaws film and the Jeeves musical: both came out 50 years ago, both riddled with catastrophe. One broke box office records, the other died like a louse in a Russian's beard. … Gabrielle Drake - “If you're going to be in a flop, best it be a huge one.” … why Elvis Costello and Al Stewart should hit the lecture circuit. … and David Hemmings, inconsolable, in a shower. Plus birthday guest Chuck Loncon stages a quiz.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Boldly pursuing tariff-free trade in rock and roll news, nostalgia, gossip and old hokum since 2007 and, this week, featuring … … the romantic allure of life as a critic. … Sting's part in the success of ‘Adolescence'. … Mick Jagger's long engagement to Melanie Hamrick (born when Steel Wheels came out!) … "Contained within these grooves are twelve convincing arguments against the capitalist system" and other vicious reviews revisited. … when Bob Marley recorded ‘Sugar Sugar' by the Archies. … Al Bowlly's menacing ‘Midnight, The Stars And You' and how film soundtracks change your relationship with music. … what Mike Chapman had to tell Blondie to make ‘Parallel Lines' a hit. … little-known pop fact no 97: Dave Pegg was at the same school as the man who invented the internet! … "I can lose weight but you will always be the director of Brown Bunny” – cracking film review one-liners from Roger Ebert. … the Jaws film and the Jeeves musical: both came out 50 years ago, both riddled with catastrophe. One broke box office records, the other died like a louse in a Russian's beard. … Gabrielle Drake - “If you're going to be in a flop, best it be a huge one.” … why Elvis Costello and Al Stewart should hit the lecture circuit. … and David Hemmings, inconsolable, in a shower. Plus birthday guest Chuck Loncon stages a quiz.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Send us a textThis week, the Bad Piano Player goes for a second Ray Noble episode, with the emphasis on Ray's longtime vocalist, the great Al Bowlly. We'll be learning six songs Al recorded, five written by Ray. And the sometimes okay singer will be channeling his best voice to even approach the perfection of Al Bowlly's voice. Tune in to see how we do!
La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi • La 750 Online quedó sin audio a las 00:10, antes de arrancar el programa de los lunes. Sin embargo, se podía escuchar por la FM 96.5 de Mar Del Plata. Lo que salió al aire fue la presentación en Quilmes, 28 de junio de 2023. Segmento Inicial • Qué hacer si entra un chorro en tu casa Segmento Dispositivo • Francisco José I de Austria • "Play The Game" ♫ (Toca el TSN) Queen, The Game, 1980. Segmento Humorístico • Ideas originales para pedirle a una mina que sea tu novia Sordo Gancé / Trío Sin Nombre • "Rezo Por Vos" ♫ (Único registro del truncado proyecto Spinetta/García, 1984) Privé, 1986. Parte De La Religión, 1987. • "Tarjeta postal" ♫ (Cátulo Castillo/Sebastián Piana) Canta Tita Merello/Orquesta Carlos Figari, 1969. Alejandro Dolina, acompañan Marzán/Brebes/Rodnoi, 2003. • "Don't Let Me Down" ♫ (Toca el TSN) The Beatles, Get Back B-Side, 1969. • "La Violeta" ♫ (Cátulo Castillo/Nicolás Olivari) Canta Gardel/Guitarras de Barbieri/Aguilar/Riverol, 1930. • "Blue Suede Shoes" ♫ (Carl Perkins, 1955) Elvis, 1956. • "Blue Moon" ♫ (Richard Rodgers y Lorenz Hart, 1934) Connee Boswell, 1935. Al Bowlly, 1936. Billie, 1952. • "Hit The Road Jack" ♫ (Percy Mayfield; grabada por Ray Charles y las Raelettes, 1961) Still in peaceful dreams I see, the road leads back to you)
Starting with some music inspired by the pages of Songlines magazine with stops in Jamaica, Yunnan, Mali, Cote d'Ivoire, Vancouver, Montreal, Smithers, Denmark, Holland, Finland and Sweden. Then some new blues music and Canadian indigenous sounds, a bit of bluegrass, and a feature on The Faux Paws and Kristina Olsen. Some Francophone music, a nod to the wartime UK band leader Al Bowlly, a rare vintage track from The McGarrigles, and a big Celtic flourish at the end.
David Peters is visited in his run-down bedsit by Marie, a researcher for Severn Television, who is collecting material for a documentary about the singer Al Bowlly. David is the editor of the Al Bowlly Appreciation Society fanzine and Marie hopes to secure him as the programme advisor. David is enthusiastic about the offer but has other things on his mind; he has an appointment with an NHS psychiatrist the following day and his anxiety about the meeting, coupled with the novelty of entertaining his beautiful visitor, leads him to make an unwelcome pass at her... --- Support this podcast: https://podcasters.spotify.com/pod/show/ang189/support
Here in Top Ten Songs For Stephen King Part 2, Matt Dinan and Julia Marchese are back to help us wrap up our tribute to the man of the hour. Whether it's songs written about his works, or songs featured in his works, the music from the Stephen King universe is quite an eclectic array of styles and moods. The prevailing mood around here is a fun one, as our two favorite King-heads bring the King knowledge along with a truly unique playlist.If you missed picks 10-6 in Part 1, never fear, it's right here:https://podcasts.apple.com/us/podcast/episode-617-top-ten-songs-for-stephen-king-part-1-w/id573735994?i=1000656132742Feast your ears on what really counts - the songs. Here's the official Top Ten Songs For Stephen King Spotify playlist, featuring every song heard in parts 1 & 2:https://open.spotify.com/playlist/5Y0ZHsyognwd7MHUL6g4De?si=1259adb38bef4fbbCheck out all the fun Matt Dinan's brain can contain by visiting his LA Frankenstein Youtube page. Hilarious pop culture riff raff and horror nonsense can be viewed here:https://www.youtube.com/@LA_FrankensteinJulia is up to a million things, as she knows how to do LA right. Follow all of her hijinks over at her Istagram:https://www.instagram.com/juliacmarchese/ATTT's Patreon is back, with an exclusive Bonus Episode every month featuring our patented Emergency Pod! format. Join for just $5 a month and get Patreon Emergency Pod #3 with guest Ryan Blake, out now:https://www.patreon.com/alltimetoptenWe're chatting about music! If you're on Facebook and want to join the ATTT community, chat with us in the All Time Top Ten Podcast Music Chat group:https://www.facebook.com/groups/940749894391295
In this episode of It's All Pro Wrestling Podcast we welcome Tim and Doug, in their first show together, and let me tell you they did a bang up job! In this episode they cover the WWE vs AEW, Doug's vacation, Spiderman 2, steamed fish, It's All Pro Wrestling Wrestling Abacus, coping with Adam Copeland, Sting's retirement announcement, Elon Musk, Scheels, patriotism, and upcoming shows for Rocky Mountain Pro, CORE Pro Wrestling, IWC Legacy, Lucha Libre Utah, and WrestleRave. We invite you to listen to the new It's All Pro Wrestling Podcast! This episode is brought to you by our fine sponsors: Modelo, Snarf's and of course CUTEZ PUPPYZ PILLOWZ Songs Used In the Podcast: “...To Be Loved” by Papa Roach on The Paramour Sessions “45” by Shinedown on Leave A Whisper “Headstrong” by Trapt on Trapt “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “America” by Imagine Dragons on Night Visions Where To Find Everything Else: Website Page For The Podcast
In this episode of It's All Pro Wrestling Podcast we welcome new host and producer Tim to the microphone! Welcome Tim! Tim had the daunting task of hosting his first show all by himself, and might we say, he did a bang up job! In this episode Tim covers the Tuesday Night Wars, MCU Phase 4 Movies, NXT v AEW, focus and regimen, the beginning of the end for AEW, upcoming local shows for Rocky Mountain Pro, Duke City Championship Wrestling, Lucha Libre & Laughs, New Class Wrestling Organization, Empire Pro Wrestling, Colorado Springs Wrestling, Heartland Championship Wrestling, DIVE Pro Wrestling, Devotion Championship Wrestling, and WrestleDrag, Florence Pugh, Tony Khan's X meltdown, eating clean and so much more. We invite you to listen to the new It's All Pro Wrestling Podcast! This episode is brought to you by our fine sponsors: Modelo, Snarf's and of course CUTEZ PUPPYZ PILLOWZ Songs Used In the Podcast: “...To Be Loved” by Papa Roach on The Paramour Sessions “Use Me” by Hinder on Take It To The Limit “Awake and Alive” by Skillet on Awake “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “Amaryllis” by Shinedown on Amaryllis “Nightmare” by Avenged Sevenfold on Nightmare Where To Find Everything Else: Website Page For The Podcast
Apologies in advance for being so late. We purchased an AI editing program, to make life easier and it still has some bugs to work out, but at least it beats paying someone to do it! What an age we live in! :) This week the boys talk about: Forbidden Door, An AEW Colorado Springs collaboration, Lil' Kazu, the missing tapes from the last episode about LLL, Justin Roberts, Mark Jackson, meeting Brainbuster, New Life Church, pretty angel ladies, B Show advice, gimmicking tables, PAC, Wheeler/Chuck, all of Doug's best friends, politics in youth sports, MJF/Cole, PAC, Western Fringe Podcast, upcoming shows for RMP, Devotion, Battleground, CSW, DIVE, WrestleRave & Hit the Ropes and so much more! No wonder the AI had so many problems determining what to cut, add in, reconfigure, mix! Hey, at least it gives me more time to look at my phone! Songs Used In The Podcast: “Paranoid Android” by Radiohead on OK Computer “Robot Rock” by Daft Punk on Human After All “Colorado Springs” composed by David Julyan on “The Prestige: Original Score” “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack Where To Find Everything Else: Website Page For The Podcast
Happy Halloween! In this episode, I'm sharing one of my favorite short ghost story called "Faces at the Window" by Rose Wilder Lane. It is based, in part, on the true story of the Bloody Benders, who murdered lodgers at their residence in the 1800s. Lane is the daughter of Laura Ingalls Wilder, the author of the Little House on the Prairie book series. Lane did not publish this story before her death in 1968; it was released posthumously in 1972. Enjoy!If you like this episode, please subscribe, rate us with 5 stars on iTunes or your favorite podcatcher, and consider supporting this one-woman show at Patreon. Host: Paris BrownProduced, written, & edited by: Paris BrownCredits:Podcast artwork by: Nathalie Rattner (nathalierattnerart@gmail.com)Featured photo: The Herbert Hoover Presidential Library and Museum Social Media:FacebookInstagramTwitterYouTubeReddit discussion groupSources:Lane, Rose Wilder. "Faces at the Window." 1972. A Little House Sampler. U of Nebraska P, 1988.Music Clip:"Midnight, the Stars, and You." Performed by Al Bowlly with Ray Noble and his Orchestra. Written by Harry M. Woods, Jimmy Campbell, and Reginald Connelly. Published in 1934 by Cinephonic Music Company, LTD.
1 - Who Am I? – Al Bowlly with Savoy Hotel Orpheans – 19312 - Where Are You? - Connie Boswell with Ben Pollack and his Orchestra - 19373 – Where? - Harriet Hilliard with Ozzie Nelson and his Orchestra – 19414 - What's What? - Sully, Harry, Ish and Jack with Kay Kyser and his Orchestra – 19405 - That's What - The King Cole Trio - 19476 - So What! - Tommy Dorsey and his Sentimentalists – 19407 - Why? - Irving Kaufman with Vincent Lopez and his Orchestra – 19298 - Oh Why, Oh Why - Dan Grisson with Jimmy Lunceford and his Orchestra - 19399 - Since When? - The Broadway Syncopators – 192310 - Guess Who? - Arthur Fields with the Carolina Club Orchestra – 192911 - Who Did It? - Joseph C. Smith's Orchestra – 191912 - Who Dat Up Dere? - Woody Herman and his Orchestra – 194313 - Who Are You? - Ella Fitzgerald - 194114 - Who Are You? - Clyde Rogers with Freddy Martin and his Orchestra – 194115 - Who? - Jack Leonard with Tommy Dorsey and his Orchestra – 193716 - Who-oo? You-oo! That's Who! - Irving Kaufman – 192717 – Why is Marriage Like Taking a Bath – It Pays to Be Ignorant – 1944 (Radio Comedy)18 – What Was It? – The Weird Circle – 1943 (Radio Drama)19 – Who? - California Melodie Syncopators – 1926
Nat Gonella - the first popular British jazz artist, here on the first records under his own name. Very Louis Armstrong-inspired playing and singing with small groups including the under-recorded pianist Garland Wilson, the tenor saxophonist Don Barrigo and many players from the Roy Fox Orchestra of the period (1931-34) before Gonella went out on his own with his Georgians. --- Support this podcast: https://anchor.fm/john-clark49/support
Some comedy on budget record labels. Last chance plays for some, as they are a little ropey. We start with a right cheery number from comedian Bobby Comber- La-di-da-di-da. A popular entertainer through the 20s and 30s. I can find little about his history online. Plenty of history about Sandy Powell. Here he gives us Sandy the Doctor. Next Harry Leader and his Orchestra- Little man you've had a busy day(1934). Leader was a prolific band leader who operated under many different names and had a long career. He was particularly associated with the programme Workers Playtime. Vocals are by Dawn Davis. She sang with a few British bands in the 1930s and 40s, as well as a solo and in a duo. She notably dueted with Al Bowlly. She moved to Australia in the late 40s but returned to England in 1955. Unfortunately she was unavailable to get back into the entertainment business. She died in 1993, aged 83. Madame Nina Rae- Anne Laurie(1921) Other than being born in 1878 in Glasgow I could find nothing about her. Billy Williams, we've played before. Here he sings I'll lend you my best girl. Australian born he had a highly successful career in British Music hall. He died in 1915. Tommy Handley was another very successful comedian. Especially during WW2 in his radio programme ITMA- Its that man again. He gives us 'How many pips are there in a pomegranate'(1929). Charlie Higgins- Down in the field where the buttercups grow. Another popular comedian from the 1930s. He played the London Palladium three times. He billed himself as 'A fool if only he knew it.' Ernest Butcher- I sing as I limp along(1935). A character actor from 1930s to 1950s. Nothing really online that talks about his singing. We have two of his records in the F.S collection. This track is self penned. Savoy Havana band- Dear love, my love. They were the resident band at the Savoy Hotel in London, 1921 to 27. Started by Bert Railton, they did the British Premier of Gerswin's Rhapsody in Blue. We get all modern to end the show. Troubled Welsh diva with Dorothy Squires- I walk behind you(1953). Composed by her partner of the time Billy Reid. She was successful throughout the fifties and into the 60s but her faded away and she died in 1998. We finish with John Kirby- Undecided and the spacey Dawn on the desert-1938 and 1939. Kirby started on the trombone, switched to tuba and ended up on the double bass. He played in many band and started his own well thought of jazz ensemble and orchestra. He sadly died young in 1952.
As another Hollywood royal marriage implodes, back east another heir and heiress actually marry under favorable circumstances.The Marrying Mdivanis are making headlines – Prince Serge Mdivani freshly divorced from Pola Negri quickly married Mary McCormic, Prince David Mdivani is served divorced from his actress wife Mae Murray, and Prince Alexis Mdivani with his new bride Princess Louise Astor Van Alen returns for a wedding. Louise's brother William “Sam” Van Alen is marrying Elizabeth “Betty” Kent with a reception afterwards at a familiar family estate.Other people and subjects include: James “Henry” Van Alen, Daisy Van Alen, Atwater Kent, Frederick Vanderbilt, Louise “Lulu” Vanderbilt, “Neil” Cornelius Vanderbilt IV aka Jr, “Neily” Cornelius Vanderbilt IV, Grace Wilson Vanderbilt, Caroline Astor's great grandchildren, Bar Harbor, Maine, Sonogee estate, Great Fire of 1947, billion dollar bridal party, déjà vu and revisiting old homes--Extra Notes / Call to Action:Podcast – Proud Stutter by Maya Chupkov and Desiree Cole August 26th, 2022 episodehttps://www.proudstutter.com/https://pod.link/1588336626Desiree Cole https://www.desireetraciecole.com/Share, like, subscribe--Archival music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Love Walked In by Carroll Gibbons & The Savoy Hotel Orpheans, Album The Great Dance Bands Play Hits of the 30sSection 2 Music: I've Got A Heart (Filled With Love For You Dear) by Glenn Miller, Album Perfect Big BandsSection 3 Music: The Very Thought of You by Al Bowlly, Album More SophisticationEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bandshttps://asthemoneyburns.com/TW / IG – @asthemoneyburnsFacebook – https://www.facebook.com/asthemoneyburns/
Wrestling and youth soccer tournaments, they go together just like amphetamine and soma's and oh man do the boys want to talk about both!!! This week Doug and Bill take on Konosuke Takeshita, ghosts, dick punches, Tokyo Joshi Pro Wrestling, Eddie Kingston, Best Friends, New Era Pro Wrestling's Red, White, & Bruised, FTR, Claudio's Finishers, Masha Slamovich, CYN, the use of deadly weapons during a wrestling match, and so much more! Rest In Power Cuda. Here are a couple of questions for you after listening: What is your favorite mall food court restaurant? Can a tag team be the number one overall in the PWI Top 500? What's up with Bill's infatuation with gloves? My answers: I'm an East Coast Pizza person myself. No, rules are rules and once they are broken society will descend into madness and absolute demonic rule. Seriously, he has a lot of single gloves just kind of laying around his “office”. Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist The Hello Group Website Assignments For Next Week- December 2019- Alpha-1 Wrestling, Krush The Line Fatal 4 Way Zero Gravity Championship Match- Orange Cassidy (c.) v. Effy v. Dan the Dad v. Danhaussen YouTube April 18 1991- AJPW Triple Crown Championship Match- Jumbo Tsuruta (c.) v. Mitsuharu Misawa YouTube Check Everything Else We Do: Twitter Instagram Facebook Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Happy Birthday” by Ludvig Forssell on Metal Gear Solid V: The Phantom Pain Extended (Soundtrack) “Total Football” by Parquet Courts on Wide Awake! “Break Stuff” by Limp Bizkit on Significant Other “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “All Caps” by Madvillain on Madvillainy
Comédienne, productrice et réalisatrice, Julie Gayet a plus d'une corde à son arc. Et la voilà aussi désormais créatrice du Festival "Sœurs Jumelles" à Rochefort. C'est en direction de cette ville de Charente-Maritime qu'a été enregistré ce nouvel épisode de Covoiturage. L'occasion de parler avec elle de cinéma, de musique, de féminisme, mais aussi d'andouillette grillée ou d'un examinateur du permis de conduire vraiment très sympa. Un podcast de Francine Thomas réalisé par Romain Burgeat. Création du générique : Jean-Christophe Villain Merci à Charles Daudon pour la conduite de la voiture 107.7. Dans cet épisode, vous entendrez les musiques de : - Canned Heat - On the road again - Al Bowlly and ray Noble orchestra - Midnight, The Stars and You - Justin Hurwitz - Epilogue - Grégoire Leprince-Ringuet & Louis Garrel - As-tu déjà aimé ? - The Puppini Sisters - I Will Survive - Alberto Iglesias - Hable con Ella - Judith mowatt - Black Woman - Cheryl Freeman, LaChanze, Vaneese Thomas, Lillias White, Roz Ryan, Disney - The Gospel Truth I Main Titles - Michel Legrand, Corinne Marchand - Sans toi - Impressions - I'm So Proud - Vladimir Cosma - Rabbi Jacob
Here we go folks, this is the episode you've been wanting to hear! Doug and Bill go into the week of wrestling like only they know how. This week they talk about wrestling while injured, Patrick Mahomes, Kyle O'Reilly, #GoAvsGo, the All Atlantic Championship, Hell In A Cell, KC dining, Primos Wrestling, New Era Pro Wrestling, Under the Banner Of Heaven, Judgment Day, Dark Side of The Ring, AEW's Women's division, fishing with your kids, and of course the association of the arrow of time with entropy or a quantum mechanical system collapsing. This and all episodes moving forward are now a part of the CPP For Peace & Prosperity Network. CPPFPAPN, is a new telecommunications group that will bring forth the next great reset. Thanks CPP For Peace & Prosperity Network, being the beacon on the hill and the light in our souls. Here are a couple of questions for you after listening: If time is moving backwards does that mean that I will eventually see Mallory and my family? Who is currently your favorite female wrestler? Who is a dumb, CM Punk or Cody Rhodes? My answers: This is what I am holding out hope for. I really like Michelle McCool. Being from the mid-west this is a slam dunk, CM Punk. Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist Popular Mechanics Write Up About Time & Physics Shimmer YouTube Channel AAW YouTube Channel Assignments For Next Week- March 17, 2017- AAW Pro: Homecoming 2017: Kyle O'Reilly v. Zack Sabre Jr. YouTube December 11, 2004- CZW Cage of Death 6: Dual Dimensions: Kevin Steen & El Generico v. Excalibur & Super Dragon YouTube Check Everything Else We Do: Twitter Instagram Facebook Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Money, Money, Money” by ABBA on Gold: Greatest Hits “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “Class System” by Handsome Boy Modeling School featuring Julee Cruise, and Pharrell Williams on White People
First of all congratulations to the winner of the Double Or Nothing Ballot 2k22 contest, 2Hotty! The podcasts just keep a comin' from the boys, jeez louise! This episode goes deep and undercover to reveal their thoughts on MJF, In N Out Burger vs Whataburger, Kevin Owen/Steen, preview Hell In A Cell, The Gunn Club, Avalanche hockey, The Summer of Punk, Doug's favorite part of the podcast, PWG tropes, TK's needs, and of course AEW Dynamite! So much show, so little time, amazing! Be on the listen for a special snippet from our network sponsor CPP For Peace & Prosperity Network's flagship podcast, CPP For Peace & Prosperity Network News. This week's episode is brought to you by Scheel's, where you can see fish and a ferris wheel on HWY 34 heading towards Greeley, and near the In N Out and Whataburger in Colorado Springs! This and all episodes moving forward are now a part of the CPP For Peace & Prosperity Network. CPPFPAPN, is a new telecommunications group that will bring forth the next great reset. Thanks CPP For Peace & Prosperity Network, being the beacon on the hill and the light in our souls. Here are a couple of questions for you after listening: What is your go to burger place? If there really is a Mikey Shipwreck, where do you think they live? Can you please let my family know I am alive? My answers: I'm a big fan of Hardees. I would say down in Davey Jones' Locker :-). It is imperative that they know I am alive, please mama don't lose hope! Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist Becky Lynch Kevin Owens' Promo ROH Summer of Punk Video Assignments For Next Week- April 5, 2014- SHIMMER Women's Wrestling: SHIMMER 62- Candice LeRae v. Athena YouTube July 17, 2011- WWE Money In The Bank: WWE Championship Match- John Cena (c.) v. CM Punk WWE Network/Peacock Check Everything Else We Do: Twitter Instagram Facebooks Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “Fire Is Coming” by Flying Lotus featuring David Lynch, on Flamagra “Ric Flair” by Killer Mike, on Pl3dge “Mind Heist” by Zack Hemsey, on Mind Heist
Bill made a trip to Northern Colorado to witness big trucks, boats, see his ol'pal Doug! The boys actually record the podcast while staring at each other from across the table. During this time, Doug drinks a fair amount of tequila, while Bill blabbers on. During the blabbering the boys preview AEW's Double Or Nothing, Rocky Romero, Ed Begley Jr, Great-O-Khan's Vegas Vacation, Halloween Havoc 1998, Hangman and CM Punk, go home shows before PPVs, Canadian wrestlers, and Rory's birthday. There's so much in this episode I don't know why you wouldn't listen! This week's episode is brought to you by the Fort Fun of Fort Collins, Colorado. Located on Highway 14 between the intersections of Lemay and Timberline across the street for Sandy's gas station, a liquor store, and the Elks Lodge. It's fun in a fort! This and all episodes moving forward are now a part of the CPP For Peace & Prosperity Network. CPPFPAPN, is a new telecommunications group that will bring forth the next great reset. Thanks CPP For Peace & Prosperity Network, being the beacon on the hill and the light in our souls. Here are a couple of questions for you after listening: Where do you think the Native American Tatanaka is from? I fear the worst, have you heard from my sister? Where has Mallory been? My answers: My best guess would be Native America. Seriously, I haven't seen my family since Halloween of last year. I need to know this as well, I miss her scent. Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist IAPW AEW Double or Nothing 2k22 Ballot OSW Review WCW Halloween Havoc 1998- OSW 108 Assignments For Next Week- December 12, 2009- PWG One Hundred: Kenny Omega v. Bryan Danielson YouTube August 2, 2014- NorthEast Wrestling Wrestling Under the Stars 3: The Young Bucks v. The Hardy Boys YouTube Check Everything Else We Do: Twitter Instagram Facebooks Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Emily Jean Stock” by Clap Your Hands Say Yeah, on Some Loud Thunder “RPG Vice” by Rocky Romero, on Six Trees Vice “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “World Destruction” by Time Zone on World Destruction “Friends” by Whodini, on The Collection “Mind Heist” by Zack Hemsey, on Mind Heist
Folks, Doug is still under the weather. Despite his ailments he pulled himself out of bed and provided you, our very important listeners, a damn fine podcast. Both he and Bill go over Johnny Ace, AEW action figures, Mexico, Doug's birthmarks, Sasha & Naomi, the AEW Jokers, stunt granny mentality, New Era Pro Wrestling, Takeshita Konosuke, and Doug recites his favorite wrestling promo from the previous week! This and all episodes moving forward are now a part of the CPP For Peace & Prosperity Network. CPPFPAPN, is a new telecommunications group that will bring forth the next great reset. Thanks CPP For Peace & Prosperity Network, being the beacon on the hill and the light in our souls. Here are a couple of questions for you after listening: What sister podcast are you most looking forward to listening to? Who would you rather kiss, Vampiro or Konnan? What other promos should Doug act out? My answers: Well since I host “The Joys of Serfdom” I would like to say that one. I suppose Konnan. I would like Doug to do every vignette from the Cactus Jack Lost in Cleveland storyline. Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist Assignments For Next Week- March 29, 1987- Wrestlemania III: Intercontinental Championship Match- Randy Savage (c.) v. Ricky Steamboat WWE Network/Peacock April 14, 2019- WWE When Worlds Collide- Harper v. Dominik Dijakovic WWE Network/Peacock Check Everything Else We Do: Twitter Instagram Facebooks Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “Slaughterhouse” by Powermad, on Absolute Power “Blue Blood” by Heinz Kiessling, on It's Always Sunny in Philadelphia Television Soundtrack “Sing Along” by Sturgill Simpson, on Sound & Fury “Mind Heist” by Zack Hemsey, on Mind Heist
It's post Wrestlemania, and Doug is definitely a sleepy, sleepy boy. He barely made it through the recording let alone the week! However, he mustered up enough bravado to sink his teeth into wrestle talk with podcast lifemate Bill. Of course the boys go over Wrestlemania, Wrestlemania weekend, and AEW. But did you know they cover a whole lot more? Well they certainly do! They also talk about Doug's work, Cool Runnings, Samoa Joe, Culver's Chicken Sandwiches, The Art of Wrestling, Roman REIGNS' of terror, Blake Christian,, FTR,post workout meals, and of course Cody Rhodes. Man, how can you not want to listen to this?! This week's episode is brought to you by Taco Bell Sweet Tea, Live Mas! Here are a couple of questions for you after listening: Do you know when your podcast lifemate's birthday is? Do you know when your birthday is? What is your best birthday experience? My answers: My sister's birthday is March 13th, I think I missed it. Bill tells me we don't celebrate birthdays in the domicile. I remember one of my birthdays, it was my 18th I had a super soaker party with my friends. They don't write. Links from the Podcast- Google Sheet of Assignments of the Past It's All Pro Wrestling Playlist Art of Wrestling #328 With Cody Rhodes Apple Podcast Art of Wrestling #328 With Cody Rhodes Spotify Podcast Assignments For Next Week- October 7, 2016 AAW Pro: Zack Sabre Jr. v. Colt Cabana YouTube March 3, 1996 WCW Uncensored: Lord Steven Regal v. Belfast Bruiser WWE Network/Peacock Check Everything Else We Do: Twitter Instagram Facebook Merch- Threadless Store Merch- RedBubble Website Songs Used In The Podcast: Intro/Outro- “IAPW Theme?” by Pop-A-Weasel “Midnight, The Stars and You” by Al Bowlly, Ray Noble & His Orchestra on The Shining Motion Picture Soundtrack “Happy Birthday” by Ludvig Forssell on Metal Gear Solid V: The Phantom Pain Extended (Soundtrack) “Ironside” by Quincy Jones on Theme From Ironside
Demon hotels, Liam Neeson, toxic fans, goblin babies, time-traveling ghouls, Things, Things, and more Things...we saw it all this winter. But it's time to say goodbye. Our April miniseries will kick off next week. Until then, farewell, Winter Hell.Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
This week, it's John Carpenter's THE THING! At last! We have arrived at the end of our icy tour of winter horror films. Next week, we'll be wrapping up AND announcing our next miniseries
What was the original THING that came before THE THING and also before the the prequel to THE THING? It's 1951's THE THING FROM ANOTHER WORLD, where the titular Thing is basically Carrot Frankenstein...and we fucking loved it. Really, it's worth watching.References: John Carpenter on "The Thing from Another World" The Making of "The Thing from Another World" in American Cinematographer Christian Nyby on who Directed the "The Thing From Another World" Phil Harris' "The Thing" Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
It's March. The end of Winter Hell is upon us. To lead us into our THE THING finale, we're warming up a little THING miniseries first. This week, it's the (mostly forgotten) 2011 prequel film directed Matthijs van Heijningen Jr…which is also called THE THING. References: The Thing (2011) Blu-Ray The Thing Effects Tests by ADI Bloody Disgusting Set Visit Part 1 Bloody Disgusting Set Visit Part 2 Interviews in Screen Rant Interviews in Electro Shadow Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
When we decided to do a winter horror miniseries, we left one slot open fantasizing that Alex Ross Perry (director of HER SMELL, LISTEN UP PHILIP) would come school us about a forgotten gem of the genre. And he did. Renny Harlin's DEVIL'S PASS is wild.References:Devil's Pass DVDPlugs: "American Hostage" on Amazon Music "American Hostage" on Apple Podcasts "Her Smell" Collector's Edition Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
This week we are diving headfirst into the unstoppably insane monster showdown that SHOULD have started the first cinematic (dark) universe, VAN HELSING. Frankenstein. Wolfman. Jekyll. Hyde. Dracula. The gang's all here. And we're losing our minds. References:Van Helsing 4K Blu-Ray Special FeaturesCredits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
Oskar and Eli forever! It's LET THE RIGHT ONE IN this week (original Swedish version, not remake!!!) and joining us to explore child vampires and all things Hoyte Van Hoytema is co-host of The Scream! Podcast and Horror Soup, Caleb Soup!References: Hoyte van Hoytema in American Cinematographer Tomas Alfredson in Twitch Tomas Alfredson in Huffington Post Tomas Alfredson in Shock Till You Drop Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by AJ Fillari.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
This week we are joined by Alaina Urquhart-White and Ash Kelley of Morbid: A True Crime Podcast (!!!!!!!) to explore the disturbed and barbaric mind of Annie Wilkes in MISERY. Grab a mallet, hop into bed, and strap your ankles into a wooden brace for a hobblin' good time
Despite her own dire circumstances, one hostess continues her duties in supporting the arts. The show must always go on. #CobinaWright, #BillWright, #MetropolitanOpera, #DeemsTaylor, #AlgonquinRoundtable, #NoelCoward, #GeorgeduMaurier, #OwenJohnson, #LucreziaBori, #JohnBarrymore, #Svengali, #JM Barrie Supreme hostess Cobina Wright hosts a party to celebrate the Met opening of Deems Taylor's new opera and Noel Coward. It's another fabulous party, but everything seems to be an endless loop as things change while still staying the same. Date: January - February 1931; February 7th, 1931Location: the Metropolitan OperaEvent: Peter Ibbetson premiere, Cobina Wright partyCharacters: Cobina Wright, Bill Wright, Deems Taylor, Noel CowardHistorical mentions: Walter Damrosch, Arthur Toscanini, Thomas Edison, Nikola Tesla, John Barrymore, Lionel Barrymore, George du Maurier, JM Barrie, Daphne du Maurier, Alfred Hitchcock, Vaslav Nijinksy, and many more… Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Publish Date: February 03, 2022Length: 20:56Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands**Section 1 Music:**Eeny Meeny Miney Mo by Harry Roy, Albums The Great Dance Bands Play Hits of the 30s & Tea Dance 2**Section 2 Music:**The Very Thought of You by Al Bowlly, Album More Sophistication**Section 3 Music:**Eeny Meeny Miney Mo by Harry Roy, Albums The Great Dance Bands Play Hits of the 30s & Tea Dance 2End Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands
An interview with Sara Velas, founder, Velaslavasay Panorama, Los Angeles. Intro / Outro: “Heartaches,” Al Bowlly, Sid Phillips & His Melodians Discussed: Robert Barker Ruby Carlson Mush to the Movies with LAFF Magical Urbanism Unrestored Restoration Hauntology The Union Square Florist Shop: A Case of Spectral Immersion Luis Barragan Thom Andersen Mark Fisher Heinold's First and Last Chance Saloon, Oakland, CA William Andrews Clark Memorial Library, UCLA Revolutionario Taco Charles Hood
This week we're discussing a film that *should* be a fucking classic. There should be action figures. Midnight screenings. An Arrow Films box set. But this film barely exists anymore.It's not just "TAKEN with wolves." It's THE GREY. And it rules.Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by AJ Filari.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
This week we trade the Overlook Hotel for the ghoul-infested, bleeding walls of Allerdale Hall in CRIMSON PEAK.Joining us to set the record straight on all things gothic horror is SlashFilm news editor and critic Hoai-Tran Bui!References:The House is Alive - Constructing Crimson PeakCredits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
This week our frozen horror series continues with the impossible SHINING sequel that somehow succeeds not only as a continuation to the Kubrick film, but also as a powerful story in its own right, DOCTOR SLEEP.Wakey, wakey…References: From Shining to Sleep Doctor Sleep: Making Of - A New Vision Mike Flanagan in Slashfilm Inside ‘The Shining' Sequel ‘Doctor Sleep': A Spooky-as-Hell Tribute to Stanley Kubrick and Stephen King Rebecca Ferguson Joins Ewan McGregor in ‘The Shining' Sequel Mike Flanagan To Helm Stephen King's ‘The Shining' Sequel ‘Doctor Sleep' Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by AJ Filari.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
Our winter miniseries about frozen ghouls and icy murderers begins today (!!) with...THE SHINING.Kubrick's seminal 1980 hedge maze of a horror film is despairingly cold, trapped indoors, and cursed with cabin fever. It's the ultimate WINTER HELL movie.References: Making The Shining: A Film by Vivian Kubrick View from the Overlook: Crafting the Shining The Visions of Stanley Kubrick Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our intro song for Winter Hell is a mish mosh of soundtracks and dialogue clips that are pulled from horror films that take place in the frozen cold. Wendy Carlos and Rachel Elkind's “Main Title” track for The Shining and Ennio Morricone's composition for The Thing are the central themes you hear. The outro music is the ominous end credits song from The Shining called “Midnight and the Stars are You” by Ray Noble and His Orchestra with vocals by Al Bowlly. Our logo was designed by Francesca Volerich, you can purchase her work at society6.com/francescavolerich.If you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.com
As broadcast October 29, 2021 with plenty of extra nightmares for you podcast trick-or-treaters. Tonight a rare occurrence went down on the air, as both guest artist selectors Freedom Fry and our seemingly faithful host Danno were possessed by different demons and rebaptized in blood. The Darkness as he is now known welcomed Phantom Fright to the show to have some REAL fun with Halloween on the air, and the guests played horror film soundtrack favorites and talked about some of their favorite moments in the movies. However, the host (or whatever vile thing The Darkness is) took it several steps too far during the first hour in committing an abduction of one of his young devotees then murdering and burying that poor soul, watching them rise from the grave as a zombie, cause depraved havoc in the night, and regret their ultimate sealed fate as a member of the undead army. Not to be missed for Halloween enthusiasts & big props to Bruce & Marie fka Freedom Fry for joining this nuthouse of a radio experience.Tracklisting:Part I (00:00)Michael Jackson – Thriller (The Reflex Halloween edit)Lyn Christopher – Take Me With YouSeals & Crofts – Sweet Green FieldsWar – Slippin Into DarknessAngela Alexander & JD Saddler – Don't Make Me Kill YouNorma Tanega – You're Dead Part II (30:03)The Revels – Midnight StrollKip Tyler – She's My WitchWillie West & The High Society Brothers – The Devil Gives Me EverythingThe Love Unlimited Orchestra – Midnight & YouLeon Haywood – I Wanna Do Something Freaky To YouGhost Funk Orchestra – MourningGhost Funk Orchestra – Step Back Wild ChildGhost Funk Orchestra – Fuzzy LogicGhost Funk Orchestra – Pause I Part III (59:07)Freedom Fry – MonsterCreedence Clearwater Revival – Midnight SpecialFlanagan & Allen – Run Rabbit RunAl Bowlly with Ray Noble & His Orchestra – Midnight, The Stars & YouHarry Belafonte – Banana Boat (Day-O)Kay Starr with Orchestra – Headless HorsemanMagnet – Willow's Song Part IV (67:09)Freedom Fry – Zombie LoveTito & Tarantula – After DarkHubert Kah – The Picture (Francois K 12” remix)Roger Bartlett – Fool For A BlondeLana Del Rey – Season Of The WitchJoy Division – Love Will Tear Us ApartNick Cave & The Bad Seeds – Red Right Hand
Sampler le podcast qui vous fait voyager en musique à travers les époques, pour vous raconter l'histoire de ces samples devenus cultes. Dans cet épisode on remonte le temps pour découvrir le solo de trompette le plus inspirant d'Angleterre. Les morceaux de l'épisode : Al Bowlly, Lew Stone & His Monseigneur Band - My Woman White Town - Your Woman Dua Lipa - Love Again https://sampler-podcast.fr
Publish Date: September 02, 2021Length: 20:51Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Did You Mean It? By Jack Hylton, Album The Great British Dance BandsSection 2 Music: Love Is The Sweetest Thing by Al Bowlly, Albums Perfect Nostalgia, It's Got Be Love, & Al Bowlly – Love Is The Sweetest ThingSection 3 Music: It's the Talk of the Town by Ambrose, Album The Great Dance Bands Play Hits of the 30sEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsPast Perfect Vintage Musicwww.pastperfect.com
In the main, tracks from albums released over the last few months (Jun-Aug) 2021. One or two older ones from Joni Mitchell, the Vapors and Al Bowlly. There you go, artists you don't often see in one sentence. Fewer and fewer vinyl releases provide a digital download these days so there are albums that might have made the cut had a download been available (like Jungle). However, what we have is the usual mix of genres and some excellent songs:Tracks:1. All I Want 3:34 Joni Mitchell The Studio Albums 1968-1979 2. Eurydice 4:38 Katherine Priddy The Eternal Rocks Beneath3. County Fair 5:09 John Grant Boy from Michigan 4. Spectre 4:28 Emma-Jean Thackray Yellow 5. Bad Kingdom (Lulu's Version) 3:57 Apparat Stay Still 6. Sanctuary 4:27 Hiss Golden Messenger Quietly Blowing It 7. Scratching at the Lid 5:01 Piroshka Love Drips And Gathers 8. La Caldera 6:31 Biosphere Dropsonde 9. Nervous 4:24 Penelope Trappes Penelope Three10. Paradise 4:34 Lump Animal11. I'm Losing You 5:24 Chrystal Für Elusion12. Magnets 6:17 Vapors Magnets – box13. Heartaches 3:30 Al Bowlly The Al Bowlly Collection Hope you hear something you like.Peter
嘉宾丨徐蓓（《九零后》《西南联大》导演）主播丨小树（豆瓣@树儿）剪辑丨大卫封面丨咩咩运营丨Ace（微博@逍遥醉梦仙THEATRE）文案丨小树（豆瓣@树儿） 本期的主题关于西南联大，一所诞生于炮火之中的联合大学。西南联大，全称是国立西南联合大学，1937年7月7日，卢沟桥事件爆发，平津陷落，为了躲避战争炮火，国内多所高校南迁至大后方，其中国立北京大学、国立清华大学和私立南开大学于1937年9月10日在长沙组建成立了国立长沙临时大学，后因为日军的轰炸，长沙临时大学的师生又于1938年2月兵分三路南迁至昆明，改称西南联大。 从1938年5月4日开课，到1946年7月31日结束，西南联大在云南办学八年，八年时间里，从入学的8000多位本科生和研究生中走出了3882名毕业生，这3000多名毕业生中又走出了2位诺贝尔奖获得者，4位国家最高科学技术获奖者、8位两弹一星功勋奖章获得者、171位两院院士及百余位人文大师。 在梅贻琦、蒋梦麟和张伯苓三位校长的带领下，西南联大在办学最艰苦、最危险的岁月里，创造了中国教育史上的高峰，这些毕业生对各自领域的贡献与影响自不必说，在八十多年的时间里，一代又一代西南联大的老师与学生，也以他们各自的生命态度和生活方式，让西南联大成了一种精神的象征，它象征着自由独立，象征着刚毅坚卓，象征着赤诚勇敢，象征着浪漫可爱，象征着很多很多。 本期节目我们邀请到5月29号即将上映的纪录片《九零后》的导演徐蓓一起聊聊与西南联大有关的故事，徐蓓老师也是豆瓣高分纪录片《西南联大》的导演，我们会结合两部影片，和徐蓓老师一起聊一聊，今天的我们如何重新理解西南联大，如何看待不同时代下年轻人的迷茫与选择，是哪些因素让这所大学人才辈出，每个人所理解的西南联大精神又如何活生生地体现在每个具体个人的生命中。 当然，这次对谈也像两部影片一样启发我们反思：我们该怎样度过自己的一生？该如何提高自己生命的志趣？当我们也进入耄耋之年，眼里是否仍然有如星的光芒？另外，联大校友马识途先生的文集《沧桑十年》《百岁拾忆》《没有硝烟的战线》《风雨人生》《中短篇小说》《清江壮歌》《夜谭十记》最近刚刚由【后浪文学】出版，有兴趣的听友可以关注后浪文学同名豆瓣、微博进一步了解。 【本期福利】感谢大象点映提供的福利。我们会在4个平台抽取6位幸运听众，送您1张《九零后》电影票（全国通兑）（开奖时间为6月2日下午14点） 一、在喜马拉雅FM本期节目下方留言（抽1人）二、在小宇宙APP本期节目下方留言（抽1人）三、转发后浪电影本期内容的相关微博（抽2人） 四、在后浪电影公众号本期文章下方留言（抽2人） 本期歌单 《未央歌》作词、作曲、演唱：黄舒骏 One Day When We Were Young作词：汉默斯顿作曲：约翰·施特劳斯演唱：Al Bowlly 【听友群】欢迎大家加入我们的听友群，一起聊与艺术有关的一切~~入群方式：1、 保存下图，用微信扫码即可加入群聊。2、在【后浪剧场】公众号右侧菜单栏“联系我们”点击“交流社群”，即可获得群二维码，扫码即可加入群聊。3、在【后浪剧场】公众号后台回复“群”“社群”“交流群”“后浪剧场听友群”，即可获得群二维码，扫码即可加入群聊。4、添加【后浪剧场】小浪浪vx（langpostwave），备注来源的播客平台，会邀请您入群。【收听方式】推荐您使用小宇宙App、喜马拉雅FM订阅收听【后浪剧场】，也可通过网易云音乐、酷狗音乐、蜻蜓FM、QQ音乐、汽水儿App等平台收听。【互动方式】公众号：后浪剧场微博：@后浪剧场
嘉宾丨徐蓓（《九零后》《西南联大》导演）主播丨小树（豆瓣@树儿）剪辑丨大卫封面丨咩咩运营丨Ace（微博@逍遥醉梦仙THEATRE）文案丨小树（豆瓣@树儿） 本期的主题关于西南联大，一所诞生于炮火之中的联合大学。西南联大，全称是国立西南联合大学，1937年7月7日，卢沟桥事件爆发，平津陷落，为了躲避战争炮火，国内多所高校南迁至大后方，其中国立北京大学、国立清华大学和私立南开大学于1937年9月10日在长沙组建成立了国立长沙临时大学，后因为日军的轰炸，长沙临时大学的师生又于1938年2月兵分三路南迁至昆明，改称西南联大。 从1938年5月4日开课，到1946年7月31日结束，西南联大在云南办学八年，八年时间里，从入学的8000多位本科生和研究生中走出了3882名毕业生，这3000多名毕业生中又走出了2位诺贝尔奖获得者，4位国家最高科学技术获奖者、8位两弹一星功勋奖章获得者、171位两院院士及百余位人文大师。 在梅贻琦、蒋梦麟和张伯苓三位校长的带领下，西南联大在办学最艰苦、最危险的岁月里，创造了中国教育史上的高峰，这些毕业生对各自领域的贡献与影响自不必说，在八十多年的时间里，一代又一代西南联大的老师与学生，也以他们各自的生命态度和生活方式，让西南联大成了一种精神的象征，它象征着自由独立，象征着刚毅坚卓，象征着赤诚勇敢，象征着浪漫可爱，象征着很多很多。 本期节目我们邀请到5月29号即将上映的纪录片《九零后》的导演徐蓓一起聊聊与西南联大有关的故事，徐蓓老师也是豆瓣高分纪录片《西南联大》的导演，我们会结合两部影片，和徐蓓老师一起聊一聊，今天的我们如何重新理解西南联大，如何看待不同时代下年轻人的迷茫与选择，是哪些因素让这所大学人才辈出，每个人所理解的西南联大精神又如何活生生地体现在每个具体个人的生命中。 当然，这次对谈也像两部影片一样启发我们反思：我们该怎样度过自己的一生？该如何提高自己生命的志趣？当我们也进入耄耋之年，眼里是否仍然有如星的光芒？另外，联大校友马识途先生的文集《沧桑十年》《百岁拾忆》《没有硝烟的战线》《风雨人生》《中短篇小说》《清江壮歌》《夜谭十记》最近刚刚由【后浪文学】出版，有兴趣的听友可以关注后浪文学同名豆瓣、微博进一步了解。 【本期福利】感谢大象点映提供的福利。我们会在4个平台抽取6位幸运听众，送您1张《九零后》电影票（全国通兑）（开奖时间为6月2日下午14点） 一、在喜马拉雅FM本期节目下方留言（抽1人）二、在小宇宙APP本期节目下方留言（抽1人）三、转发后浪电影本期内容的相关微博（抽2人） 四、在后浪电影公众号本期文章下方留言（抽2人） 本期歌单 《未央歌》作词、作曲、演唱：黄舒骏 One Day When We Were Young作词：汉默斯顿作曲：约翰·施特劳斯演唱：Al Bowlly 【听友群】欢迎大家加入我们的听友群，一起聊与艺术有关的一切~~入群方式：1、 保存下图，用微信扫码即可加入群聊。2、在【后浪剧场】公众号右侧菜单栏“联系我们”点击“交流社群”，即可获得群二维码，扫码即可加入群聊。3、在【后浪剧场】公众号后台回复“群”“社群”“交流群”“后浪剧场听友群”，即可获得群二维码，扫码即可加入群聊。4、添加【后浪剧场】小浪浪vx（langpostwave），备注来源的播客平台，会邀请您入群。【收听方式】推荐您使用小宇宙App、喜马拉雅FM订阅收听【后浪剧场】，也可通过网易云音乐、酷狗音乐、蜻蜓FM、QQ音乐、汽水儿App等平台收听。【互动方式】公众号：后浪剧场微博：@后浪剧场
A Variety Programme! - Featuring: Billie Holiday; Al Bowlly; The Goodman Quintet; Mary Martin; John Roach; The Goodman Orchestra; Gilbert O' Sullivan; And, The T Wilson Orchestra w/ Helen Ward.
An energetic start from Hoosiers Hot Shot and Ella Lou Robertson. Master Joe Peterson, Rex records own boy singer, or as described on the label: The phenomenal boy singer. Not entirely true as 'he' was Mary O' Rourke. Dressed as a boy for the majority of her career, she was still performing as a boy soprano in her 50's. Also Vic Lewis, Harry Gold and his Pieces of Eight, Harry Parry, Jimmy Bylthe's Ragamuffins and Flannagan and Allen. I have another Durium card record in the collection. Auf Wiedersehen my dear and Rain on the roof from 1934. Its Lew Stone, Al Bowlly and, I think, Nat Gonella on the second track. See if you agree. Thorley Waters was a British character actor and he sort of sings and talks his way through a song from a musical show from the 1950s called Gay's the word.' It was an Ivor Novello show and very successful at the time. Two from female US singers who didn't make it big. Don't know why. Mindy Carson gives us Barrels and barrels of roses and Cathy Carr, Please, please believe me. Both excellent tracks. A great song from Ben Malone, I don't work for a living. From the early 30s, it was recorded by Hobo Jack, Carson Robinson and Frank Crumit. Who was Frank Malone though? He's described as a light vocalist on the Decca label. I can nothing out about him. A mystery. A forgotten artist, perfect for us here. Our oldest record is, A paradise for two from 1917. It plays surprisingly well and is by the Royal Cremona Orchestra. There were a few Cremona groups and bands around at this time. I've learnt some thing new here. Not previously knowing that Cremona are a prestigious Italian maker of stringed instruments. Molly Picon career is certainly well documented. A child star in the Yiddish theatres of New York she went on to make Yiddish films in Europe and also performed back in the US on radio, Broadway and TV. Her last film role was as Roger Moore's mother in the Cannonball Run. On Forgotten Songs variety is the spice of life. Hope this episode is a good example of that. Stay safe, stay positive.
Robert rantar om Big Techs makt över opinionen, påminner om att all politisk makt växer ur en gevärspipa och manar till att låta tusen blommor blomma. Love har av en slump upptäckt det japanska bandet Photo Jenny och tar oss på en tripp genom musikaliska barndomsminnen, kantad av Soundtrack of Our Lives, Kate Bush, de två bästa Kaleidoscope och The Tiny. Robert presenterar bandledaren, kompositören, electronica- och ambientpionjären samt galenpannan Raymond Scott och bjuder på underbart smörig och vit 30-talsschlager med superkosmopoliten Al Bowlly. Holy Modal Rounders gör ett återbesök, Magnus Ugglas heder upprättas igen, Alex Jones imiteras och vi får höra världens troligen första Moog-platta samt världens första sjungande talsyntes. Slutligen de så vitt omtalade DC-Pöbeln och ett stycke 80 år gammal propagandajazz. Rättelse: "Soothing sounds for baby" gavs ut 1962 och inget annat. Ändå 16 år före "Music for airports"! Gilla, kommentera och recensera på The Facebook: https://facebook.com/musikensmaktpodcast/ Bidra till Loves fysiska överlevnad och få lite bonusmaterial: https://www.patreon.com/musikensmakt
Robert rantar om Big Techs makt över opinionen, påminner om att all politisk makt växer ur en gevärspipa och manar till att låta tusen blommor blomma. Love har av en slump upptäckt det japanska bandet Photo Jenny och tar oss på en tripp genom musikaliska barndomsminnen, kantad av Soundtrack of Our Lives, Kate Bush, de två bästa Kaleidoscope och The Tiny. Robert presenterar bandledaren, kompositören, electronica- och ambientpionjären samt galenpannan Raymond Scott och bjuder på underbart smörig och vit 30-talsschlager med superkosmopoliten Al Bowlly. Holy Modal Rounders gör ett återbesök, Magnus Ugglas heder upprättas igen, Alex Jones imiteras och vi får höra världens troligen första Moog-platta samt världens första sjungande talsyntes. Slutligen de så vitt omtalade DC-Pöbeln och ett stycke 80 år gammal propagandajazz. Rättelse: "Soothing sounds for baby" gavs ut 1962 och inget annat. Ändå 16 år före "Music for airports"!
Dennis Potter's seminal TV 1978 drama was choc full of great music and songs from the 1930s, largely from British dance bands and orchestras. Bob Hoskins, Cheryl Campbell and Gemma Craven starred and did a great job of lip syncing to the likes of Al Bowlly, Roy Fox , Lew Stone, Bert Ambrose, Arthur Tracey, Maurice Winnick, Jack Paine, Jack Hylton, Billy Cotton and Henry Hall. They all feature in this episode, as does George Hall, with Roll along Prairie Moon and Flannigan and Allen with Shine on harvest moon. Other songs are Goodnight Vienna, We'll all go riding on a rainbow, Wednesday night hop, Stage coach, Man of my dreams, Home of the range, The waltz you saved for me, In the valley of the moon, Night and day, Life is empty without love, My Wild Oat, Its only a paper moon, Moon over Miami and You rascal you.
A Variety Programme! Featuring: Nat King Cole; The Ambrose Orchestra w/ Helen Forrest; Michael Holiday; The Pasadena Roof Orchestra; Jack Hulbert; Vic Young Orchestra w/ Al Bowlly; Matt Monro; And, The Ted Easton Band
Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1330267353590935552 CW: Suicide, Infant/Child Pain and Death, Domestic Abuse, Overdose, Addiction It’s Stephen King Sequels Week on Pod Sematary! Chris & Kelsey shine on in a field of nothing but stupid, old corn. The Classic Film: Children of the Corn II: The Final Sacrifice (1992) "A journalist and his son travel to Nebraska to investigate the mysterious town of Gatlin where, unbeknownst to them, a murderous cult of children are still waiting in the cornfields” (IMDb.com). This is not a good sequel, but we were surprised by just how much fun we had watching it. The Modern Film: Doctor Sleep (2019) "Years following the events of The Shining, a now-adult Dan Torrance must protect a young girl with similar powers from a cult known as The True Knot, who prey on children with powers to remain immortal” (IMDb.com). Doctor Sleep has the unenviable job of walking the tightrope between following on from Kubrick's version of The Shining and staying faithful to the King books, but it manages to pull it off with aplomb. Audio Sources: "Bill & Ted's Excellent Adventure" produced by De Laurentiis Entertainment Group, et al. "Children of the Corn II: Final Sacrifice" produced by Fifth Avenue Entertainment, et al. "Doctor Sleep" produced by Warner Bros., et al. "Friday the 13th" (1980) produced by Sean S. Cunningham Films, et al. "Homer vs. the 18th Amendment" (The Simpsons S08E18) produced by Gracie Films & 20th Century Fox Television "Instant Karma! (We All Shine On)" written and performed by John Lennon "Midnight, the Stars and You" written by Harry M. Woods, Jimmy Campbell, & Reg Connelly and performed by Ray Noble and his Orchestra & Al Bowlly "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Pokémon Theme" written by John Siegler & John Loeffler and performed by Jason Paige
Shellac Stack No. 201 rides a trolley — by golly — with Molly! We take a trip to New Orleans to hear the New Orleans Owls, the Jones and Collins Astoria Hot Eight, and Charlie Barnet. We also hear from vocalists Al Bowlly, Doris Day, and Nick Lucas. Lots more too! If you'd like to … Continue reading »
It’s all play and no work on this week’s Extra Milestone, because Jason Read has returned to the show to discuss a trio of very different movies. We begin with a detailed exploration of Stanley Kubrick’s Horror masterpiece The Shining, complete with reflections on why the terror of it is so effective, analyses of the movie’s themes and mysteries, a discussion of why method acting is a flawed and unnecessary process, and even a few personal stories that relate to the movie. Afterward, we take on Joe Dante’s Gremlins, stopping along the way to discuss its implementation of cinematic language, its historical significance, and all of the darkly comedic chaos that comes with it. Finally, we cap off the show with a fittingly sporadic look at Dante’s oft-overlooked sequel Gremlins 2: The New Batch, which is one of the most entertaining movies either of us have ever seen, as well as being a knowing satire of culture stuffed with enough cameos and mania to last a lifetime. It’s a jam-packed Extra Milestone to continue the jam-packed month of June, and we hope it’s even more fun to listen to than it was to record. SHOW NOTES: 00:02:35 – The Shining 01:07:05 – Gremlins 01:31:30 – Gremlins 2: The New Batch NEXT WEEK: In what may be the most culturally significant pair of films discussed on Extra Milestone yet, I will be reuniting with Anthony Battaglia of Anyway, That’s All I Got to discuss Steven Spielberg’s Jaws and Irvin Kershner’s The Empire Strikes Back! Music in this Episode: Theme from Gremlins composed by Jerry Goldsmith, and “Midnight, the Stars and You” performed by Ray Noble and his Orchestra, with vocals by Al Bowlly. Cinemaholics in this Episode: Sam Noland and Jason Read Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/policies/listener for privacy information.
Some records from the back of the forgotten Songs shelves! The Happy Wanderer and my mash up pronouncing Oberkirkchen starts us off. Hopefully the tune doesn't remain in your head for the rest of the day! Five bands/ big band records in a row. Ambrose, Frankie Carle, two from Lew Stone (vocals by Nat Gonella and an uncredited Al Bowlly,) from the Tower Blackpool Bertini and his band and Percival Mackay. What a back story he has. George Cates plays 'Nightfall and Mayer Gordon some San Saene. Three singers who were on various BBC Scottish radio stations in the 1920s and 30s: Neil Mclean, Ian Ferguson and Alex MacGregor. Irving Gillette sings the Sankey hymn, 'There were ninety and nine.' Its a 1909 recording. Gillette's real name was Harry Haley McClasky , he sang under numerous different names. Also up Teddy Johnson, Phil Cardrew and his Corn huskers and Jimmy Lurchford. Lester Ferguson sings us out with the lullaby 'Sleepy Eyes.' So all that remains for me to say is 'goodnight.'
Uur 1 1. Smoke gets in your eyes – Dinah Shore 2. La Califfa – Milva 3. The beauty of everyday things – Luka Bloom 4. Excuses en pardon – Zazi 5. A change is gonna come – Sam Cooke 6. Cold comfort – Glen Hansard 7. Menina – Waldemar Bastos 8. Geweldig bestaan – Clean Pete 9. J’ai rendez-vous avec vous – Georges Brassens 10. Pauvre Martin – Barbara 11. A love like that – Katie Melua 12. JOS Days – Nits 13. Zon in Scheveningen – Willem Nijholt 14. All my trials – Bedouine 15. Sara – Fleetwood Mac Uur 2 1. My name is Emmett Till – Emmylou Harris 2. Black and white – Pete Seeger 3. C’est si bon – Thomas Dutronc & Iggy Pop & Diana Krall 4. Propere ruiten – Yevgunei & Sarah Bettens 5. What is success – Bonnie Raitt 6. The most beautiful thing – Bruno Major 7. Mi nina Lola – Buika 8. Ik ben een Drent – Martin van Dijk 9. It’s a lovely day today – Astrud Gilberto 10. It’s a lovely day tomorrow – Al Bowlly 11. Perfect way to die – Alicia Keys 12. Bisso baba – Richard Bona 13. Oh meisje – Essther Groenenberg 14. All of me – Metropole Orkest
A great English band from 1931-34 also featuring jazz players like Nat Gonella, Lew Davis, Freddy Gardner, Laurie Payne, Max Goldberg. Noble's arrangements were very much ahead of their time and influenced later big band writers like Glenn Miller and Claude Thornhill. In addition to that, Bowlly was one of the most underrated singers of the period - very much in Bing Crosby's class. --- Support this podcast: https://anchor.fm/john-clark49/support
Dans ce premier épisode on ressort le CD 2 Titres de Your Woman de l'anglais White Town, tube surprise de l'hiver 1997 et one-hit wonder absolu.Comment cette chanson et son mystérieux auteur ont-ils réussi à s'imposer dans les charts dominés à l'époque par des styles bien différents ?Suivez-moi, on appuie sur play et c'est parti.Crédits Your Woman une chanson écrite et composée par Max Wartell, Jyoti Mishra, Irving Wallman & Bing Crosby.1997, The Echo Label, a BMG CompanyLiens et références Pour écouter Your Woman en streaming : SPOTIFY / APPLE MUSIC / DEEZERPour regarder le clip de Your Woman : YOUTUBELove Again par Dua Lipa : lyrics video officielle sur YOUTUBE / Ecouter sur SPOTIFY / APPLE MUSIC / DEEZERCrédits : Lipa / Coffee / Kozmeniuk / Chelcee Grimes / Bing Crosby / Max Wartell / Irving Wallman2020, Dua Lipa Limited under exclusive license to Warner Records UK.My Woman par Al Bowlly : écouter sur SPOTIFY / APPLE MUSIC / DEEZERYour Woman dans les charts FRANCE / UK CD2Titres écrit et bricolé par Loïc Dumoulin Richet.Retrouvez moi sur Twitter et Instagram @CD2Titres_podN'hésitez pas à donner 5 étoiles à ce podcast s'il vous a plu !Générique et jingles composés exclusivement pour CD2Titres par Rod Thomas @brightlightx2
Its not all 78s this time round. Two vinyl pieces of magic from Eatha Kitt from the splendid 1956 LP, 'That bad Earth.' Freddy Randall, part of the post war trad jazz revival in Britain. Illinois Jacquet and his honking and screeching sax. Light classics from Bill Snyder, actually its rather good and laid back 'Chicago Blue.' Roy Fox and his band from 1934. Very brief vocals for Al Bowlly. A cheesey three, notable for the Walter Huston's September Song. Raymond Dance, Hal McIntyre and the banjo of Len Fillis from 1928. Record of the episode the rather naughty and suggestive Tiny Bradshaw. There's more of course.
Note: This is a new version because I uploaded the wrong file originally Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on "Short Shorts" by the Royal Teens, a group whose members went on to be far more important than one might expect. Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. I've also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I've used two main books on the British side of things: Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg's Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I've read on music at all, and talks about the problems between the musicians' unions. This three-CD set provides a great overview of Otis' forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. "First-wave rockabilly is *so* January through August 1956, we're into late 1958 and everything's prototype soul now, granddad!" But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that's definitely the case for Johnny Otis. While he didn't have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote "Lonely, Lonely Nights" for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We're going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It's still seen as that by some people, but it's also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it's a word that is considered acceptable and correct for white people to use when talking about people who identify that way -- which, to be clear, not all Americans of Mexican descent do, by any means -- but I'm very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when "Lonely Lonely Nights" came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, "Lonely, Lonely Nights"] But it turned out shortly afterwards that Herrera wasn't exactly what he seemed. Police came to Otis' door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera's career -- and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family -- his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller's Day Off. Katz's comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of "Sixteen Tons", making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, "Sixteen Tons"] Even though Katz's music was about as far from Otis' as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis' career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She'd been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington's record "Harbor Lights": [Excerpt: Dinah Washington, "Harbor Lights"] When she'd proved she could sing that, Robey signed her, hoping that he'd have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope -- "I'm Gonna Play the Honky Tonks" went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, "I'm Gonna Play the Honky Tonks"] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace's "My Song", which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn't do anything much commercially: [Excerpt: Marie Adams, "My Song" Like many of Peacock's artists who weren't selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn't, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace's death, "In Memory": [Excerpt: Marie Adams, "In Memory"] But that did so poorly that it's never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis -- who always had an ear for great singing -- kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I'm fat myself and absolutely fat-positive. Fat isn't a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I've seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams'* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren't singing, and they remained with Otis' show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was "Ma! He's Making Eyes At Me", a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, "Ma! She's Making Eyes at Me"] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams' pronunciation of "mama") than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: "Ma, He's Making Eyes At Me"] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I've not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians' Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble's band wasn't, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he'd had to employ British musicians, and when Lonnie Donegan had toured the US on the back of "Rock Island Line"'s success, he was backed by Johnny Burnette and the Rock and Roll Trio -- Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton's band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I'm sure you can see the basic idea. The union was making sure that Armstrong wasn't taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis' manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis' band. They came back to the US, and cut a follow-up to "Ma, He's Making Eyes at Me", with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, "Bye Bye Baby"] That's an example of what Johnny Otis meant when he said later that he didn't like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on "Ma! He's Making Eyes At Me" -- it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, "What Do You Want To Make Those Eyes At Me For?"] Sadly, it sank without a trace -- at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, "What Do You Want To Make Those Eyes At Me For?"] We'll be hearing more from Ford's co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat's Whisker, where they were popular enough that the audience were packed in like sardines -- the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn't dance properly, and so a new dance developed among the customers, and spread -- a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released "Six-Five Hand Jive" in March 1958: [Excerpt: Don Lang and His Frantic Five, "Six-Five Hand Jive"] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he'd just had a big hit -- and namechecking those other dances, like the Walk and the Stroll -- could lead to a hit followup to "Ma He's Making Eyes At Me". The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing "Hambone", the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley's song "Bo Didlley". Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm -- though he would always claim, for the rest of his life, that he'd heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of "Willie and the Hand Jive" in 1959: [Excerpt: Cliff Richard and the Shadows, "Willie and the Hand Jive"] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous -- or infamous -- Shadows Walk had developed. But while "Willie and the Hand Jive" didn't have any success in the UK, in the US it became Otis' only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the "hand jive" was a reference to masturbation -- even though on Otis' TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether "Willie and the Hand Jive" had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like "Willie Did The Cha-Cha": [Excerpt: Johnny Otis, "Willie Did The Cha-Cha"] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made -- as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family -- while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we'll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn't so much social integration, which he believed impossible in the short term due to white racism, as economic equality -- he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I'll quote from the book here: "A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference". Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness -- Otis gives over thirty pages of the book to the voices of black witnesses of the riots -- talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they'd been shooting tin cans. Some is, more than fifty years later, out of date or "of its time", but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis' main occupation, he hadn't stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don "Sugarcane" Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like "Holiday in Berlin": [Excerpt: The Mothers of Invention, "Holiday in Berlin, Full Blown"] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn't like it at all. Given what I know of Estrada that's a good thing. Otis' teenage son Shuggie also played with Zappa, playing bass on "Son of Mr. Green Genes" from Zappa's Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. "Cold Shot" by the New Johnny Otis Show featured a core band of just three people -- Otis himself on piano and drums, Delmar "Mighty Mouth" Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father's band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since "Willie and the Hand Jive", more than a decade earlier, "Country Girl": [Excerpt: The Johnny Otis Show, "Country Girl"] Around the same time, that trio also recorded another album, called "For Adults Only", under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won't be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour -- Otis wanted to preserve bits of black folklore. Songs like "The Signifying Monkey" had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they'd always stripped out the sexual insults that make up much of the piece's appeal. Otis would in later years laugh that he'd received accusations of obscenity for "Roll With Me Henry" and for "Willie and the Hand Jive", but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. "Cold Shot" caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis' later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie "Cleanhead" Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, "Good Rocking Tonight"] That performance was released as a live album, and Clint Eastwood featured footage of that show -- the band performing "Willie and the Hand Jive" -- in his classic film Play Misty For Me. It was probably the greatest example of Otis' belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible -- Marie Adams, for example, rejoined the band in 1972 -- with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church -- but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.
Note: This is a new version because I uploaded the wrong file originally Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect. Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things: Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.
Note: This is a new version because I uploaded the wrong file originally Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect. Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things: Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.
Cory Frye discusses "The Shining," "Doctor Sleep," carpet and the Tony Martin Black Sabbath (not exactly in that order). FEATURED MUSIC (ANCHOR ONLY): Black Sabbath, "The Shining"; Warsaw Philharmonic Orchestra, "Utrenja Part II: 'The Resurrection of Christ'"; Shelley Duvall, "He Needs Me"; The Power Station, "Some Like It Hot (7" Mix)"; The Newton Brothers, "The Shining"; and Al Bowlly, "Midnight, the Stars and You."
Lisa Monks steps in with this minisode about Al Bowlly, once described as ‘Europe’s Most Popular Crooner and Famous Radio and Record Star’. His Blue Plaque can be seen at 26 Charring Cross Rd. The book mentioned is Your 48 page pictorial story souvenir of Al Bowlly, 1975 by Ray Pallett. And the music in … Continue reading 23/52 Mozambique – Albert Alick Bowlly
W. G. Snuffy Walden - "Angela Smiled" - My So-Called Life Armin van Buuren feat. Aaelyn - "In and out of love" Bart & Baker feat. Lolly Wish - "Downloaded (Rogan remix)" W. G. Snuffy Walden - "My So-Called Life theme" - My So-Called Life [Layers] Olivia Newton-John & ELO - "Xanadu" - Xanadu [Loops] Ken - "Nobody knows, we're all alone" [Recorded on cell phone camera (live during show)] Olivia Newton-John & ELO - "Xanadu" - Xanadu [Loops] W. G. Snuffy Walden - "Angela Smiled" Live phone caller & Ken - "Possibility is possible (It's possible)" W. G. Snuffy Walden - "Angela Smiled" - My So-Called Life Ken's Last Ever Radio Extravaganza - "You Don't Have Time (this is good news)" - Show #509, from 9/15/2016 [Live on stage at Twisted Branch Tea Bazaar] Set: Michael Linnen & David Wingo - "Kissing music" - All the Real Girls Ken - "Collective faith (something good will happen)" Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops] Sharon Stone with Garry Shandling - "If you're not in your vulnerability, nothing is interesting" - Garry Shandling meets Sharon Stone [They didn't want to be in their truth or vulnerability; they wanted to be in their mask, and their whole acting out of how fabulous they were. It's only really interesting to be with people when they're in their vulnerability. It's better to be with someone when they're making mistakes and don't know what to do, than someone who's being so sure-footed and phony. That's not interesting at all.] Martin Donovan, Hal Hartley, Anatole France - "Ignorance is the necessary condition of human happiness." - Surviving Desire movie / The Gods Will Have Blood [We are almost entirely ignorant of ourselves, absolutely of others. In ignorance, we find our bliss; in illusions, our happiness.] Julia Kent - "Ebb" - Character Lou Reed - "Street Hassle" - Street Hassle [Loops] Live phone caller & Ken - "Having a great winter" Carel Struycken, Kyle MacLachlan (voices), David Lynch, Mark Frost (writers) - "Don't search for all the answers at once" - Twin Peaks: Season 2 episode 1 [Better to listen than to talk. A path is formed by laying one stone at a time.] Live phone caller & Ken - "Daytime (mossy lighthouse)" Ken - "Trembling and shaking" Live phone caller & Ken - "Transitional moment (mossy lighthouse)" Ken - "Shape and timelines" Ken - "Practice not being remembered" Explosions in the Sky - "Your Hand in Mine" - The Earth is Not a Cold Dead Place Ken - "Try to remember what you said, hope somebody was there as a witness" Charlie Kaufman - "Failure is a badge of honor, it means you risked failure" - BAFTA and BFI Screenwriters Lecture Series [Let's not worry about failure. And if you don't risk failure, you're never going to do anything that's different than what you've already done, or what somebody else has done. And just know that, that that's the choice you're making when you won't put yourself at jeopardy like that.] Martin Donovan (voice), Hal Hartley (writer) - "Intimacy list" - Surviving Desire [Kissing, caressing, holding, slapping, shouting, talking, waiting, sleeping, crying, listening, hoping, encouraging, forgiving, laughing, relenting.] Ken - "When did this happen? People speak of slipping out of time" Malcolm X - "I live like a man who is dead already. I have no fear whatsoever of anybody or anything." - Our history was destroyed by slavery [No, I don't worry. I'm a man who believed that I died 20 years ago.] Alexandre Desplat - "Closing credits music" - Birth Ken - "I remember that I wasn't sweating, moving forward in time" Spandau Ballet - "True" - True Andre Gregory (voice), Rupert Walters (writer) - "Mysteries going on all the time" - Some Girls [Right under our noses.] Ken - "Leaving one cookie over. What if I had 5 minutes? Then I'd worry that if I only had 7 minutes, I'd have enough" [How long do you need to fall in love with someone?] Explosions in the Sky - "Your Hand in Mine" - The Earth is Not a Cold Dead Place [with Spandau Ballet, David Wingo & Michael Linnen, Cowboy Junkies] Ken - "You can go back and edit. How long does it take us to unlearn everything?" [I think we already know everything. They probably already know. But it's probably time to tell them. You don't have time. This is good news.] Sawako - "White Sky Winter Chicada" - Hum Alan Watts - "Wanting what you are not divides you (from Intellectual Yoga)" - Philosophies of Asia [So long as you can be persuaded that there's something more you ought to be than you are, you've divided yourself.] Ken - "Assume their posture, see how you feel (I used to look down a lot, I feel like a child)" [Regression therapy, inner child] Andre Gregory (voice), Rupert Walters (writer) - "Mysteries going on all the time" - Some Girls [Piano loop] Pink Floyd - "Goodbye Cruel World" - The Wall [Bass loop] Al Bowlly (singer), Richard A. Whiting, Harry Akst (music), Gus Kahn (lyrics) - "Guilty" - Amelie s.t. Martin Donovan (voice), Hal Hartley (writer) - "Intimacy list" - Surviving Desire [Kissing, caressing, holding, slapping, shouting, talking, waiting, sleeping, crying, listening, hoping, encouraging, forgiving, laughing, relenting.] Ken - "You'll have a memory. I'm going to look straight at you" Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops] Ken - "Remember this moment in time. You will look back and be glad we have no more devices, no more electronics, we only look directly at each other" [Appreciations] Set: Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops, back in 2019] Ken - "We almost remember who we used to say we were, the identity we're supposed to put on" [We're not sure if it still fits] Ken's Last Ever Radio Extravaganza - "Be Who You Are Today" - Show #522, from 5/4/2017 [Live on stage at Twisted Branch Tea Bazaar ] Set: Garth Stevenson - "Dawn" Ken - "Here it comes, something is going to come together" Lionel Richie - "Stuck On You" [Loops] Noam Chomsky - "Social Policy - Welfare for the Rich" Weyes Blood [Piano loop] Bill Cosby - "Conflict" - To Russell, My Brother, Whom I Slept With [Mind and body don't get along at all] Stan Dale - "Stop trying to be a good person. If I do nice things for you, maybe you'll love me?" Bill Cosby - "Seattle" [And you get a gorilla and then the old gorilla] Jesse Rose - "Night at the Dogs" Christine and the Queens - "Christine" [Loops] Mazzy Star - "Fade Into You" War On Drugs - "In Reverse" - Lost in the Dream [Loops] Martin Luther King Jr - "I'm afraid we're integrating into a burning house" Ken - "You've walked in on the middle of a bit of an experiment" Steve Paxton - "Taking care of your partner, and this third thing, what you are together" - In a Non-Wimpy Way War On Drugs - "Burning" - Lost in the Dream [Loops] Ken - "People are looking for the good bits" Live phone caller - "Luck is when opportunity meets preparedness. Planning is great, but being open is great" [over War On Drugs-In Reverse loops] War On Drugs - "In Reverse" - Lost in the Dream [Loops in 2019] Ken - "Disasters, looking for the lessons, we need tragedy, we need television, we need preparedness" War On Drugs - "Burning" [Loops in 2019] Ken's Last Ever Radio Extravaganza - "Be Who You Are Today" - Show #522, from 5/4/2017 [Back in 2017!] Ken - "Self-indulgent. Sometimes I'm too ambitious" Elton John & Kiki Dee - "Don't Go Breaking My Heart" [Loops] Ken - "You're allowed to be a different person every day (you can be who you are today)" Timothy "Speed" Levitch - "Running from the cops, every day I feel like a fugitive" - The Cruise Kyle MacLachlan, David Lynch - "Better to listen than to talk, don't search for all the answers at once, a path is formed by laying one stone at a time" - Twin Peaks Lara Flynn-Boyle, David Lynch - "Crying" - Twin Peaks pilot episode Bill Cosby - "Seattle" [Gorilla loop] Lara Flynn-Boyle - "Crying" - Equinox - "Light and dark are equal" - Equinox Ken - "I don't like to explain, except that I love to explain, I just don't let myself do it. The crying is back. People expected crying" Lionel Richie - "Stuck On You" [Loops] Chevrolet - "The American Look (the freedom of individual choice)" Matthew Modine, Lara Flynn-Boyle - "There's always this pushing and pulling. I have my you. My whole life seems to be taking place without me in it" - Equinox Matthew Broderick - "First impulse was to demand that she admit she lied and cheated" - Election Frightened Rabbit - "The Wrestle" [Loops] Garth Stevenson - "Dawn" Ken - "None of it actually means anything, but it can mean everything" [Record them all] The Go Go's - "Our Lips Are Sealed (vocals only)" Moondog With Orchestra - "Stamping Ground" Ken - "You can look for meaning in your dreams" [Recording your dreams] John Carpenter - "Our impulses are being redirected. We are living in an artificially produced state of consciousness that resembles sleep" - They Live [The poor and the underclass are growing. Racial justice and human rights are non-existent. That is their primary objective: Keep us asleep, keep us selfish, keep us sedated.] Louis Hay - "Every thought we think and every word we speak is creating our future" Frightened Rabbit - "The Wrestle" [Loops] Steve Paxton - "The preservation of all concerned. Not injure or defeat or smash" - In a Non-Wimpy Way Steve Paxton - "If thinking is too slow, is an open state of mind useful? Seems to be" - Chute (from Contact Improv Archive 1972-1983) Steve Paxon - "A body could endure for decades (can't exclude fear)" - Chute (from Contact Improv Archive 1972-1983) Ken - "Some people are apparently transparent (start to unthink)" Ken - "There were a lot of things. I'll just name one of them: Lionel Richie" [I have to look away to think] Frightened Rabbit - "The Wrestle" [Final loops] Bill Cosby - "Seattle" Set: Elton John & Kiki Dee - "Don't Go Breaking My Heart" [Loops back in 2019] Ken - "This is the moment after. This is everything you've dreamed of. This is everything everybody has told you to want." Ken - "All the thoughts from before seem to be relevant again. We reinvent the wheel and we are the wheel and we imagine the wheel" W. G. Snuffy Walden - "My So-Called Life theme" - My So-Called Life [Layers] End of set http://www.wfmu.org/playlists/shows/83895
W. G. Snuffy Walden - "Angela Smiled" - My So-Called Life Armin van Buuren feat. Aaelyn - "In and out of love" Bart & Baker feat. Lolly Wish - "Downloaded (Rogan remix)" W. G. Snuffy Walden - "My So-Called Life theme" - My So-Called Life [Layers] Olivia Newton-John & ELO - "Xanadu" - Xanadu [Loops] Ken - "Nobody knows, we're all alone" [Recorded on cell phone camera (live during show)] Olivia Newton-John & ELO - "Xanadu" - Xanadu [Loops] W. G. Snuffy Walden - "Angela Smiled" Live phone caller & Ken - "Possibility is possible (It's possible)" W. G. Snuffy Walden - "Angela Smiled" - My So-Called Life Ken's Last Ever Radio Extravaganza - "You Don't Have Time (this is good news)" - Show #509, from 9/15/2016 [Live on stage at Twisted Branch Tea Bazaar] Set: Michael Linnen & David Wingo - "Kissing music" - All the Real Girls Ken - "Collective faith (something good will happen)" Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops] Sharon Stone with Garry Shandling - "If you're not in your vulnerability, nothing is interesting" - Garry Shandling meets Sharon Stone [They didn't want to be in their truth or vulnerability; they wanted to be in their mask, and their whole acting out of how fabulous they were. It's only really interesting to be with people when they're in their vulnerability. It's better to be with someone when they're making mistakes and don't know what to do, than someone who's being so sure-footed and phony. That's not interesting at all.] Martin Donovan, Hal Hartley, Anatole France - "Ignorance is the necessary condition of human happiness." - Surviving Desire movie / The Gods Will Have Blood [We are almost entirely ignorant of ourselves, absolutely of others. In ignorance, we find our bliss; in illusions, our happiness.] Julia Kent - "Ebb" - Character Lou Reed - "Street Hassle" - Street Hassle [Loops] Live phone caller & Ken - "Having a great winter" Carel Struycken, Kyle MacLachlan (voices), David Lynch, Mark Frost (writers) - "Don't search for all the answers at once" - Twin Peaks: Season 2 episode 1 [Better to listen than to talk. A path is formed by laying one stone at a time.] Live phone caller & Ken - "Daytime (mossy lighthouse)" Ken - "Trembling and shaking" Live phone caller & Ken - "Transitional moment (mossy lighthouse)" Ken - "Shape and timelines" Ken - "Practice not being remembered" Explosions in the Sky - "Your Hand in Mine" - The Earth is Not a Cold Dead Place Ken - "Try to remember what you said, hope somebody was there as a witness" Charlie Kaufman - "Failure is a badge of honor, it means you risked failure" - BAFTA and BFI Screenwriters Lecture Series [Let's not worry about failure. And if you don't risk failure, you're never going to do anything that's different than what you've already done, or what somebody else has done. And just know that, that that's the choice you're making when you won't put yourself at jeopardy like that.] Martin Donovan (voice), Hal Hartley (writer) - "Intimacy list" - Surviving Desire [Kissing, caressing, holding, slapping, shouting, talking, waiting, sleeping, crying, listening, hoping, encouraging, forgiving, laughing, relenting.] Ken - "When did this happen? People speak of slipping out of time" Malcolm X - "I live like a man who is dead already. I have no fear whatsoever of anybody or anything." - Our history was destroyed by slavery [No, I don't worry. I'm a man who believed that I died 20 years ago.] Alexandre Desplat - "Closing credits music" - Birth Ken - "I remember that I wasn't sweating, moving forward in time" Spandau Ballet - "True" - True Andre Gregory (voice), Rupert Walters (writer) - "Mysteries going on all the time" - Some Girls [Right under our noses.] Ken - "Leaving one cookie over. What if I had 5 minutes? Then I'd worry that if I only had 7 minutes, I'd have enough" [How long do you need to fall in love with someone?] Explosions in the Sky - "Your Hand in Mine" - The Earth is Not a Cold Dead Place [with Spandau Ballet, David Wingo & Michael Linnen, Cowboy Junkies] Ken - "You can go back and edit. How long does it take us to unlearn everything?" [I think we already know everything. They probably already know. But it's probably time to tell them. You don't have time. This is good news.] Sawako - "White Sky Winter Chicada" - Hum Alan Watts - "Wanting what you are not divides you (from Intellectual Yoga)" - Philosophies of Asia [So long as you can be persuaded that there's something more you ought to be than you are, you've divided yourself.] Ken - "Assume their posture, see how you feel (I used to look down a lot, I feel like a child)" [Regression therapy, inner child] Andre Gregory (voice), Rupert Walters (writer) - "Mysteries going on all the time" - Some Girls [Piano loop] Pink Floyd - "Goodbye Cruel World" - The Wall [Bass loop] Al Bowlly (singer), Richard A. Whiting, Harry Akst (music), Gus Kahn (lyrics) - "Guilty" - Amelie s.t. Martin Donovan (voice), Hal Hartley (writer) - "Intimacy list" - Surviving Desire [Kissing, caressing, holding, slapping, shouting, talking, waiting, sleeping, crying, listening, hoping, encouraging, forgiving, laughing, relenting.] Ken - "You'll have a memory. I'm going to look straight at you" Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops] Ken - "Remember this moment in time. You will look back and be glad we have no more devices, no more electronics, we only look directly at each other" [Appreciations] Set: Cowboy Junkies - "Ring on the Sill" - Pale Sun Crescent Moon [Loops, back in 2019] Ken - "We almost remember who we used to say we were, the identity we're supposed to put on" [We're not sure if it still fits] Ken's Last Ever Radio Extravaganza - "Be Who You Are Today" - Show #522, from 5/4/2017 [Live on stage at Twisted Branch Tea Bazaar ] Set: Garth Stevenson - "Dawn" Ken - "Here it comes, something is going to come together" Lionel Richie - "Stuck On You" [Loops] Noam Chomsky - "Social Policy - Welfare for the Rich" Weyes Blood [Piano loop] Bill Cosby - "Conflict" - To Russell, My Brother, Whom I Slept With [Mind and body don't get along at all] Stan Dale - "Stop trying to be a good person. If I do nice things for you, maybe you'll love me?" Bill Cosby - "Seattle" [And you get a gorilla and then the old gorilla] Jesse Rose - "Night at the Dogs" Christine and the Queens - "Christine" [Loops] Mazzy Star - "Fade Into You" War On Drugs - "In Reverse" - Lost in the Dream [Loops] Martin Luther King Jr - "I'm afraid we're integrating into a burning house" Ken - "You've walked in on the middle of a bit of an experiment" Steve Paxton - "Taking care of your partner, and this third thing, what you are together" - In a Non-Wimpy Way War On Drugs - "Burning" - Lost in the Dream [Loops] Ken - "People are looking for the good bits" Live phone caller - "Luck is when opportunity meets preparedness. Planning is great, but being open is great" [over War On Drugs-In Reverse loops] War On Drugs - "In Reverse" - Lost in the Dream [Loops in 2019] Ken - "Disasters, looking for the lessons, we need tragedy, we need television, we need preparedness" War On Drugs - "Burning" [Loops in 2019] Ken's Last Ever Radio Extravaganza - "Be Who You Are Today" - Show #522, from 5/4/2017 [Back in 2017!] Ken - "Self-indulgent. Sometimes I'm too ambitious" Elton John & Kiki Dee - "Don't Go Breaking My Heart" [Loops] Ken - "You're allowed to be a different person every day (you can be who you are today)" Timothy "Speed" Levitch - "Running from the cops, every day I feel like a fugitive" - The Cruise Kyle MacLachlan, David Lynch - "Better to listen than to talk, don't search for all the answers at once, a path is formed by laying one stone at a time" - Twin Peaks Lara Flynn-Boyle, David Lynch - "Crying" - Twin Peaks pilot episode Bill Cosby - "Seattle" [Gorilla loop] Lara Flynn-Boyle - "Crying" - Equinox - "Light and dark are equal" - Equinox Ken - "I don't like to explain, except that I love to explain, I just don't let myself do it. The crying is back. People expected crying" Lionel Richie - "Stuck On You" [Loops] Chevrolet - "The American Look (the freedom of individual choice)" Matthew Modine, Lara Flynn-Boyle - "There's always this pushing and pulling. I have my you. My whole life seems to be taking place without me in it" - Equinox Matthew Broderick - "First impulse was to demand that she admit she lied and cheated" - Election Frightened Rabbit - "The Wrestle" [Loops] Garth Stevenson - "Dawn" Ken - "None of it actually means anything, but it can mean everything" [Record them all] The Go Go's - "Our Lips Are Sealed (vocals only)" Moondog With Orchestra - "Stamping Ground" Ken - "You can look for meaning in your dreams" [Recording your dreams] John Carpenter - "Our impulses are being redirected. We are living in an artificially produced state of consciousness that resembles sleep" - They Live [The poor and the underclass are growing. Racial justice and human rights are non-existent. That is their primary objective: Keep us asleep, keep us selfish, keep us sedated.] Louis Hay - "Every thought we think and every word we speak is creating our future" Frightened Rabbit - "The Wrestle" [Loops] Steve Paxton - "The preservation of all concerned. Not injure or defeat or smash" - In a Non-Wimpy Way Steve Paxton - "If thinking is too slow, is an open state of mind useful? Seems to be" - Chute (from Contact Improv Archive 1972-1983) Steve Paxon - "A body could endure for decades (can't exclude fear)" - Chute (from Contact Improv Archive 1972-1983) Ken - "Some people are apparently transparent (start to unthink)" Ken - "There were a lot of things. I'll just name one of them: Lionel Richie" [I have to look away to think] Frightened Rabbit - "The Wrestle" [Final loops] Bill Cosby - "Seattle" Set: Elton John & Kiki Dee - "Don't Go Breaking My Heart" [Loops back in 2019] Ken - "This is the moment after. This is everything you've dreamed of. This is everything everybody has told you to want." Ken - "All the thoughts from before seem to be relevant again. We reinvent the wheel and we are the wheel and we imagine the wheel" W. G. Snuffy Walden - "My So-Called Life theme" - My So-Called Life [Layers] End of set https://www.wfmu.org/playlists/shows/83895
En los cielos de España aún tenemos la suerte y el privilegio de ver volar algunos de los aviones que hicieron historia a lo largo del siglo XX. Gracias al esfuerzo y la dedicación de unos pocos amantes de la aviación todavía tenemos en vuelo aviones que han estado en la Guerra Civil, Sidi Ifni o Vietnam. Hoy os contamos junto a PorTierraMaryAire (https://www.ivoox.com/podcast-portierramaryaire-podcast_sq_f1456223_1.html) la historia de este "milagro" volante que es la FIO. Listado de canciones del episodio: 1970 - Creedence Clearwater Revival - Have You Ever Seen The Rain 1967 - The Doors - Break On Through (To the Other Side) 1957 - Elvis Presley - Jailhouse Rock 1954 - Elvis Presley - Blue Moon Of Kentucky 1953 - John Lee Hooker - One Bourbon One Scotch One Beer 1952 - Jerry Leiber and Mike Stoller - Kansas City 1950 - Frank Sinatra - Luck be a Lady 1949 - Ewan MacColl - Dirty old town 1949 - Perez Prado - Mambo NO 5 1948 - Muddy Waters - Rollin Stone 1946 - Edith Piaf - La vie en rose 1945 - Frank Sinatra - Full Moon and Empty Arms 1945 - Les Brown - Sentimental Journey (por Doris Day) 1944 - Bing Crosby - Swinging On A Star 1941 - Glenn Miller - Chattanooga Choo Choo (por The Andrews Sisters) 1938 - Harry Warren y Johnny Mercer - Jeepers Creepers (Ethel Waters) 1938 - Larry Clinton - Heart And Soul (por Bea Wain) 1937 - Robert Johnson - Me and The Devil Blues 1937 - Guy Lombardo - September in the Rain 1936 - Louis Prima - Sing, Sing, Sing (With a Swing) 1935 - Carlos Gardel - Por una cabeza 1935 - Fred Astaire - Cheek To Cheek 1934 - Lew Stone & his Band - The Continental 1934 - Al Bowlly y Ray Noble - Blue Moon 1934 - Paul Whiteman y Jack Hilton - In The Valley Of The Moon 1933 - Ethel Waters - Stormy Weather 1933 - Bing Brosby - Gold Digger's Song (We're in The Money) 1932 - Phil Spitalny - Let's Have Another Cup O' Coffee 1930 - Bernie Cummins - On The Sunny Side Of The Street 1929 - Jack Miller - Singing In The Rain 1928 - Al Jolson - Sonny Boy 1928 - Chick Endor & Leonard Joy Orch. - Love Me Or Leave Me 1924 - Marion Harris - Tea For Two Contacto: motoryalairepodcast@gmail.com Facebook: facebook.com/motoryalaire Twitter: @motoryalaire Foro: www.escuadron69.net/foro/index.php?/forum/162-motor-y-al-aire/
En los cielos de España aún tenemos la suerte y el privilegio de ver volar algunos de los aviones que hicieron historia a lo largo del siglo XX. Gracias al esfuerzo y la dedicación de unos pocos amantes de la aviación todavía tenemos en vuelo aviones que han estado en la Guerra Civil, Sidi Ifni o Vietnam. Hoy os contamos junto a PorTierraMaryAire (https://www.ivoox.com/podcast-portierramaryaire-podcast_sq_f1456223_1.html) la historia de este "milagro" volante que es la FIO. Listado de canciones del episodio: 1970 - Creedence Clearwater Revival - Have You Ever Seen The Rain 1967 - The Doors - Break On Through (To the Other Side) 1957 - Elvis Presley - Jailhouse Rock 1954 - Elvis Presley - Blue Moon Of Kentucky 1953 - John Lee Hooker - One Bourbon One Scotch One Beer 1952 - Jerry Leiber and Mike Stoller - Kansas City 1950 - Frank Sinatra - Luck be a Lady 1949 - Ewan MacColl - Dirty old town 1949 - Perez Prado - Mambo NO 5 1948 - Muddy Waters - Rollin Stone 1946 - Edith Piaf - La vie en rose 1945 - Frank Sinatra - Full Moon and Empty Arms 1945 - Les Brown - Sentimental Journey (por Doris Day) 1944 - Bing Crosby - Swinging On A Star 1941 - Glenn Miller - Chattanooga Choo Choo (por The Andrews Sisters) 1938 - Harry Warren y Johnny Mercer - Jeepers Creepers (Ethel Waters) 1938 - Larry Clinton - Heart And Soul (por Bea Wain) 1937 - Robert Johnson - Me and The Devil Blues 1937 - Guy Lombardo - September in the Rain 1936 - Louis Prima - Sing, Sing, Sing (With a Swing) 1935 - Carlos Gardel - Por una cabeza 1935 - Fred Astaire - Cheek To Cheek 1934 - Lew Stone & his Band - The Continental 1934 - Al Bowlly y Ray Noble - Blue Moon 1934 - Paul Whiteman y Jack Hilton - In The Valley Of The Moon 1933 - Ethel Waters - Stormy Weather 1933 - Bing Brosby - Gold Digger's Song (We're in The Money) 1932 - Phil Spitalny - Let's Have Another Cup O' Coffee 1930 - Bernie Cummins - On The Sunny Side Of The Street 1929 - Jack Miller - Singing In The Rain 1928 - Al Jolson - Sonny Boy 1928 - Chick Endor & Leonard Joy Orch. - Love Me Or Leave Me 1924 - Marion Harris - Tea For Two Contacto: motoryalairepodcast@gmail.com Facebook: facebook.com/motoryalaire Twitter: @motoryalaire Foro: www.escuadron69.net/foro/index.php?/forum/162-motor-y-al-aire/
Episode 11 : My Life In the Movies with Derek Lyons. Actor Derek Lyons who appeared in Stanley Kubrick's 1980 movie The Shining talks to Kubrick's Universe. Derek discusses his close on-set relationship with Jack Nicholson and Scatman Crothers as well as many hilarious stories as he reminisces about his career in the movies, starting back in the mid seventies on a new film called 'The Star Wars'. Audio Clips : Life After Flash - Trailer - Vimeo Raiders of the Lost Ark - Classroom Scene excerpt - YouTube Flash by Queen excerpt - YouTube Available Space by Ry Cooder - YouTube Hong Kong Phooey Theme - YouTube Krull - Trailer - YouTube Life Force - Trailer - YouTube Music : Kubrick's Universe Theme composed, performed and produced by Jason Furlong Midnight, the Stars and You by Ray Noble and his Orchestra with vocals provided by Al Bowlly. Links : The Stanley Kubrick Appreciation Society (SKAS) - Facebook Group : https://www.facebook.com/groups/TSKAS/ The Stanley Kubrick Appreciation Society (SKAS) - YouTube Channel : https://www.youtube.com/channel/UCRdeqrFNoOrYtWbxwR_GXPA The Stanley Kubrick Appreciation Society (SKAS) - Twitter Page : https://twitter.com/KubrickAS Contact us : stephenrigg.skas@gmail.com
Neil Starr plays records of British dance band vocalists from the Pre War era. Such favorites as Al Bowlly, Chick Henderson, and Anne Lenner to name a few.
This episode was pre-recorded for airing on KWTF Sonoma County Radio for October 10, 2017. In this episode, I take you on a dizzying ride into my newly diagnosed vertigo! Wheee!Songs Played in this episode:- “The Sky is Fallin’†by Queens of the Stone Age- “Fallin’ Down (Live)†by Men at Work- “Autumn’s Child†by Captain Beefheart & His Magic Band - “Mabon (Acoustic)†by Sowulo- “Mountains Falling†by David Lynch & John Neff- “I Fall to Pieces†by Wanda Jackson- “When You’ve Fallen in Love†by Al Bowlly with Lew Stone & His Band- “Fall in Love with Me†by Iggy Pop- “Fall Down†by Cake Like- “No Side to Fall In (Live)†by The Raincoats- “Dizzy†by Siouxsie & The BansheesPlease subscribe and rate! Thank you. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; min-height: 16.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; color: #323333} span.s1 {color: #323333}
This episode was pre-recorded for airing on KWTF Sonoma County Radio for October 10, 2017. In this episode, I take you on a dizzying ride into my newly diagnosed vertigo! Wheee!Songs Played in this episode:- “The Sky is Fallin’†by Queens of the Stone Age- “Fallin’ Down (Live)†by Men at Work- “Autumn’s Child†by Captain Beefheart & His Magic Band - “Mabon (Acoustic)†by Sowulo- “Mountains Falling†by David Lynch & John Neff- “I Fall to Pieces†by Wanda Jackson- “When You’ve Fallen in Love†by Al Bowlly with Lew Stone & His Band- “Fall in Love with Me†by Iggy Pop- “Fall Down†by Cake Like- “No Side to Fall In (Live)†by The Raincoats- “Dizzy†by Siouxsie & The BansheesPlease subscribe and rate! Thank you. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; min-height: 16.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; color: #323333} span.s1 {color: #323333}
Happy bonus horror treat! Here's the full, uninterrupted chat with film musician / composer / historian Neil Brand about a history of horror scores. From Nosferatu through to Under The Skin, we cover the trends, the traits and the evolution of the horror score over the last one hundred years. ENJOY! Neil Brand is a film historian, musician and composer. You can find details of his upcoming events at http://www.neilbrand.com/ or follow him on twitter: @NeilKBrand Mike Muncer is a TV & Podcast Producer and Film Journalist. You can find him on twitter: @TheMovieMike He also produces and co-presents another film podcast with Rhianna Dhillon called Back Row: https://backrowpodcast.net Thanks for listening, tune in next week for our GIALLO special. Mike will be joined by Dan Martin from the Arrow Video Podcast, as well as special guest ALAN JONES. Until next time... Dracula (1958) Dir: Terence Fisher Music by James Bernard Courtesy of Hammer Films Psycho (1960) Dir: Alfred Hitchcock Score by Bernard Herrmann Courtesy of Shamley Productions The Birds (1963) Dir: Alfred Hitchcock Score by Bernard Herrmann Courtesy of Alfred J. HItchcock Productions The Innocents (1961) Dir: Jack Clayton Courtesy of Achilles / Twentieth Century Fox Halloween (1978) Dir: John Carpenter Music by John Carpenter Courtesy of Falcon International Productions & Compass International Pictures The Shining (1980) Dir: Stanley Kubrick Music and the Stars and You performed by Al Bowlly Courtesy of Warner Bros. Hawk Films, Peregrine, Producers Circle Deep Red (1975) Dir: Dario Argento Score by Goblin Courtesy of Rizzoli Films & Seda Spettacoli Suspiria (1977) Dir: Dario Argento Score by Goblin Courtesy of Seda Spettacoli Assault on Precinct 13 (1976) Dir: John Carpenter Score by John Carpenter Courtesy of The CKK Corporation Under The Skin (2014) Dir: Jonathan Glazier Score by Mica Levi Courtesy of Film4, BFI, Silver Reel, Creative Scotland, Sigma Films, FilmNation Entertainment, Nick Wechsler Productions, JW Films, Canal+, Scottish Screen & UK Film Council Star Wars: The Force Awakens (2015) Dir: JJ Abrams Score by John Williams Courtesy of Walt Disney Studios / LucasFilm / Bad Robot Jurassic Park (1993) Dir: Steven Spielberg Score by John Williams Courtesy of Universal Pictures / Amblin Entertainment
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; min-height: 16.0px} This episode was pre-recorded for airing on KWTF Sonoma County Radio for January 10, 2017. In this episode, we find the rainbow in the storm… Songs Played in this episode: - The Rain on the Roof by The Lovin’ Spoonful - It’s Raining by Irma Thomas - Buckets of Rain by Neko Case - Rains on Me by Tom Waits - Stormy, Stormy, Stormy by The Busy Signals - Green Rain by Shugo Tokumaru - Rain on Tin by Sonic Youth - I See the Rain by The Marmalade - Over the Rainbow by Helen Forrest with Artie Shaw & His Orchestra - Rain, Rain, Go Away by Al Bowlly with Lew Stone & His Band - I Think It’s Going to Rain Today by Nina Simone - Red Angel Dragnet by The Clash - Oh the Wind & Rain by Helium - Shadows in the Rain by The Police Please subscribe and rate! Thank you.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; min-height: 16.0px} This episode was pre-recorded for airing on KWTF Sonoma County Radio for January 10, 2017. In this episode, we find the rainbow in the storm… Songs Played in this episode: - The Rain on the Roof by The Lovin’ Spoonful - It’s Raining by Irma Thomas - Buckets of Rain by Neko Case - Rains on Me by Tom Waits - Stormy, Stormy, Stormy by The Busy Signals - Green Rain by Shugo Tokumaru - Rain on Tin by Sonic Youth - I See the Rain by The Marmalade - Over the Rainbow by Helen Forrest with Artie Shaw & His Orchestra - Rain, Rain, Go Away by Al Bowlly with Lew Stone & His Band - I Think It’s Going to Rain Today by Nina Simone - Red Angel Dragnet by The Clash - Oh the Wind & Rain by Helium - Shadows in the Rain by The Police Please subscribe and rate! Thank you.
In this episode, I have a couple of old songs and three newer songs about death. While that sounds really depressing, I promise that some are funny, some are sweet, and some are touching. The songs are "Some Little Bug Is Going To Find You" by Billy Murray, "When That Man Is Dead And Gone" sung by Al Bowlly and Jimmy Messene, "No Taxes" by Jacob Acosta, "One Day At One Moment" by Lovers Turn To Monsters, and "Suckin' on the Wind" by HUNGR.
The history of HIV/AIDS, 'slow puncture' in South African prison gangs, possible cure and pop culture! Part 2 of 2 with special guest BJ Allan. Music: "Close Your Eyes" by Al Bowlly with Ray Noble and His Orchestra Images
Voici le deuxième volume de ma série de compilations à vocation thérapeutique.Il est destiné aux esthètes de l'accord parfait et aux fans de Rudolf Steiner.En partenariat exclusif avec le magnifique blog d'Aurore Bagarry, "Pharmacie et photographie".Écouter Liste des morceaux : 01. Neil Ardley, Ian Carr & Don Rendell - Orpheus02. Serge Gainsbourg - Black march03. Carla Bley - Song Sung Long04. Enrico Rava - Pupa O Crisalide05. Can - She Brings The Rain06. Ian Carr - Summer Rain07. Kevin Ayers - Puis-je ?08. Paul Giovanni - Procession09. Armando Trovajoli - L'attesa10. David McNeil - Cynthia, sa tour et le satyre centaure11. Yves Simon - Au pays des merveilles de Juliet12. Cortex - Sans toi13. Colette Magny - Les Tuileries14. Wim Mertens - Struggle For Pleasure15. Rhye - One Of Those Summer Days16. Mermonte - Été17. Caravan - In The Land Of Grey & Pink18. Charlie Haden & Carla Bley - The Ballad Of The Fallen19. Al Bowlly with Lew Stone and His Monseigneur Band - My WomanPhoto : Aurore (http://pharmacieetphotographie.over-blog.com/)Graphisme : Christine (http://wwww.solanacee.com)Télécharger :- le mix (clic-droit "Enregistrer sous")- l'archive complète - les mp3 un par un Photo : AuroreGraphisme : Christine
Big Band Serenade presents Ray Nobel and His Orchestra 1933-1937. Most vocals are Al Bowlly The music in this program is listed in order of play;1) "The Very Thought Of You" 19412) "Butterflies In The Rain" 19333) "Big Chief De Sota" 19364) "Linda" 5) "Dinner For One, Please James" 19356) "Love Is The Sweetest Thing" 19327) "Experiment" 19338) "Got A Date With An Angel" 19319) "The Moment I Met You" 193310) "If You'll Say Yes, Cherie" 193311) "Paris In The Spring" 193512) "Where Am I?" 193513) "Who Walks In When I Walk Out" 193414) "The Touch Of Your Lips" 1936
Big Band Serenade presents the most popular Vocalist in Britain during the 1930s, Al Bowlly.Songs used in this episode in order of play,1)"Blue Moon"w/Ray Nobel and his Orchestra-1935,2)"Isn't It Heavenly"w/Les Stone and his Orchestra-1933,3)"Close Your Eyes"-1933,4)"Day You Came Along"-1933,5)"How Could We Be Wrong"-1933,6)"What A Little Moonlight Can Do"-1934,7)"Riptide"-1934,8)"If I Had A Million Dollars"1934,9)"You Couldn't Be Cuter"-1938,10)"Bei Mir Bist Du Schoen"-1938,11)"Georgia's Gotta Moon"-1938,12)"Every Day's A Holliday"w/Al Bowlly and his Orchestra-1937,13)"Junk Man Blues"-1932,14)"I Won't Tell A Soul"-1938,15)"Just Let Me Look At You"-1938 Next week is 1 year for Big Band Serenade. Send Comments to rmcomments@gmail.com or audio comments at 214-224-0834 to be used for next week program.
Roy Plomley's castaway is thriller writer Ted Allbeury.Favourite track: Love Is The Sweetest Thing by Al Bowlly, Ray Noble and his Orchestra Book: The Unquiet Grave by Cyril Connolly Luxury: Writing paper and pencils
Roy Plomley's castaway is thriller writer Ted Allbeury. Favourite track: Love Is The Sweetest Thing by Al Bowlly, Ray Noble and his Orchestra Book: The Unquiet Grave by Cyril Connolly Luxury: Writing paper and pencils
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