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Play Episode Listen Later Apr 3, 2023

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. 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/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

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WILLIAM BELL LEGENDARY SOUL SINGER/SONGWRITER WROTE “BORN UNDER A BAD SIGN”

Play Episode Listen Later Mar 16, 2023 81:26

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. In a distinguished career as a singer, songwriter and producer, William Bell has come to define the essence of “soul.” Born in Memphis but based in Atlanta since 1970, William Bell was one of the pioneers of the classic Stax/Volt sound, joining such other illustrious musical forces at that label as Otis Redding, Sam and Dave, Isaac Hayes, Booker T. & the MG's, Albert King, Eddie Floyd, Carla and Rufus Thomas, The Staple Singers and the Bar-Kays, among others. After a two-year stint in the Armed Forces, William released his first full-length album in 1967, the classic The Soul of a Bell, which included the Top 20 hit single, “Everybody Loves a Winner.” That same year, blues great Albert King recorded what came to be his signature tune, “Born Under a Bad Sign,” also written by Bell, which has since become one of the most-recorded blues songs of all-time. Among his other classic hits at Stax were “Any Other Way,” “Never Like This Before,” “A Tribute to a King” (William's personal tribute to Stax legend Otis Redding), “I Forgot to be Your Lover,” his internationally acclaimed duet with Judy Clay, “Private Number,” and the perennial Christmas music favorite, “Every Day Will Be Like a Holiday.” As a songwriter, William Bell's compositions have also been recorded by such diverse stars as Otis Redding, Eric Clapton, Billy Idol, Lou Rawls and Rod Stewart, among many others. In February 2017 William received a Grammy for his latest CD on STAX/Concord Records “This Is Where I Live” for Americana Album of the Year and performed on the live TV presentation with Gary Clark, Jr.! On April 14th, 2023, William Bell will release an Album titled “One Day Closer To Home” with 12 NEW songs. William Bell continues to be a major force in the music industry! Please welcome Singer - Songwriter - Entertainer – Record Producer- Business Man- the legendary William Bell to Interviewing the Legends … Legendary Soul Singer William Bell Releasing New Album ‘One Day Closer To Home' PURCHASE THE LATEST ALBUM BY WILLIAM BELL entitled ‘ONE DAY CLOSER TO HOME' Available at https://williambellmusic.com/shop-download-music “One Day Closer To Home” is a master class on how to put down the deepest kind of blues from a lifetime achiever. With tremendous groove, the song leans into his signature, soulful sound. Bell doesn't waste a note, word, or bar telling this story of trying to get back to freedom and he makes you believe every bit of it. His vocal delivery is heart-wrenching, loaded with hope and despair all at once. Both the instrumentation and the track's music video are austere and minimal, which keeps the focus on Bell, where it belongs. It's an outstanding song that will catch you and keep you. OFFICIALLY RELEASED APRIL 14TH 2023 FOR MORE INFORMATION ABOUT WILLIAM BELL VISIT www.williambellmusic.com Official website www.facebook.com/TheRealWilliamBell Facebook www.youtube.com/@WilliamBellmusic You Tube https://music.apple.com/us/artist/william-bell/1198111 iTunes Discography Studio albums Year Album 1967 The Soul of a Bell 1969 Bound to Happen 1971 Wow ...William Bell 1972 Phases of Reality 1973 Waiting for William Bell 1974 Relating 1977 Coming Back for More It's Time You Took Another Listen 1983 Survivor 1985 Passion 1989 On a Roll 1992 Bedtime Stories 1999 A Portrait Is Forever 2006 New Lease on Life 2016 This Is Where I Live One Day Closer To Home (2023) Compilation albums The Best of William Bell (1988) The Very Best of William Bell (2007) Singles 1961 "You Don't Miss Your Water" 1962 "Any Other Way" 1963 "I Told You So" "Just as I Thought" "Somebody Mentioned Your Name" "I'll Show You" 1964 “Who Will It Be Tomorrow" 1965 "Crying All by Myself" 1966 "Share What You Got (But Keep What You Need)" "Never Like This Before" 1967 "Everybody Loves a Winner" "Eloise (Hang on in There)" "Everyday Will Be Like a Holiday" 1968 "Every Man Ought to Have a Woman” "A Tribute to a King" "Private Number" (with Judy Clay) "I Forgot to Be Your Lover" "My Baby Specializes" (with Judy Clay) 1969 "My Whole World Is Falling Down" "Happy" "Soul-A-Lujah" (with Johnnie Taylor, Eddie Floyd, Pervis Staples, Carla Thomas, Mavis Staples and Cleotha Staples) "Love's Sweet Sensation" (with Mavis Staples) "I Can't Stop" (with Carla Thomas) "Born Under a Bad Sign" 1970 "All I Have to Do Is Dream" (with Carla Thomas) "Lonely Soldier" 1971 "A Penny for Your Thoughts" "All for the Love of a Woman" 1972 "Save Us" 1973 "Lovin' on Borrowed Time" "I've Got to Go on Without You" 1974 "Gettin' What You Want (Losin' What You Got)" "Get It While It's Hot" 1976 "Tryin' to Love Two" 1977 "Coming Back for More" "Easy Comin' Out (Hard Goin' In)" 1983 "Bad Time to Break Up" "Playing Hard to Get" 1985 "Lovin' on Borrowed Time" (new version) 1986 "I Don't Want to Wake Up (Feelin' Guilty)" (with Janice Bulluck) "Headline News" "Passion" "Please Come Home for Christmas" 1989 "Getting Out of Your Bed" 1990 "Need Your Love So Bad" 1992 "Bedtime Story" 1995 "Shake Hands (Come Out Lovin')" Support us!

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The N'Courage & N'Spire Podcast EP 67 - Curtis Richardson

The N'Courage & N'Spire Podcast

Play Episode Listen Later Mar 15, 2023 45:23

Episode Title: Songwriting, Early Success, & Music Education Feat. Curtis RichardsonIn this episode Durell is joined by songwriter, producer, and music publisher Curtis Richardson. Durell and Curtis begin the episode talking about how they got connected and his earliest memories of music. Curtis shares that he got a late start to his music career compared to most people being in his mid to late 20's. He shared with Durell that he had a whole different career path in corporate america and made the decision right before September 11th to go hard for one more year and if he didn't have success he would go back to his career in corporate america. Curtis and Durell talked about the opportunity he had to write his number one hit entitled “All I Have” with Jennifer Lopez & LL Cool J. Durell and Curtis talk about when he understood the power of being international and made a conscious pivot to build his international catalog working with foreign superstars in Asia such as Taemin, Kumi Koda & Tohoshinki. Curtis and Durell talk about the business of songwriting and music publishing. Curtis shares that he sees a lot of mistakes that new songwriters make. He shares that so many of them don't approach their songwriting career as a business and oftentimes put themselves in situations that don't set them up to achieve success. Durell and Curtis end the episode talking about something that they are both very passionate about and that is educating songwriters and creatives on the business of music. Curtis shares what really got him excited about education and why he thinks it's so important. For more information on Curtis Richardson, please checkout his social media profile, Instagram @curtisricha

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The N'Courage & N'Spire Podcast EP 67 - Curtis Richardson

The N'Courage & N'Spire Podcast

Play Episode Listen Later Mar 15, 2023 45:23

Episode Title: Songwriting, Early Success, & Music Education Feat. Curtis RichardsonIn this episode Durell is joined by songwriter, producer, and music publisher Curtis Richardson. Durell and Curtis begin the episode talking about how they got connected and his earliest memories of music. Curtis shares that he got a late start to his music career compared to most people being in his mid to late 20's. He shared with Durell that he had a whole different career path in corporate america and made the decision right before September 11th to go hard for one more year and if he didn't have success he would go back to his career in corporate america. Curtis and Durell talked about the opportunity he had to write his number one hit entitled “All I Have” with Jennifer Lopez & LL Cool J. Durell and Curtis talk about when he understood the power of being international and made a conscious pivot to build his international catalog working with foreign superstars in Asia such as Taemin, Kumi Koda & Tohoshinki. Curtis and Durell talk about the business of songwriting and music publishing. Curtis shares that he sees a lot of mistakes that new songwriters make. He shares that so many of them don't approach their songwriting career as a business and oftentimes put themselves in situations that don't set them up to achieve success. Durell and Curtis end the episode talking about something that they are both very passionate about and that is educating songwriters and creatives on the business of music. Curtis shares what really got him excited about education and why he thinks it's so important. For more information on Curtis Richardson, please checkout his social media profile, Instagram @curtisricha

music education jennifer lopez richardson ll cool j peart early success taemin durell all i have

Acts 3:6-7

Elder Marc Hester's Bible Verses

Play Episode Listen Later Feb 21, 2023 6:28

All I Have, I Give To God ♥️

acts 3 all i have

Let Not Your Hearts Be Troubled | Part 1

Calvary Baptist Church Radio Broadcast

Play Episode Listen Later Nov 23, 2022 29:00

This podcast features the song “All I Have is Christ"(The Galkin Evangelistic Team)as well as part 1 of the message called "Let Not Your Hearts Be Troubled" given by Pastor Stephen Pope from the pulpit of Calvary Baptist Church(Union Grove, NC)

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S3E27 - Toxic Songs You Gotta Love

A Sip and A Shot

Play Episode Listen Later Oct 7, 2022 50:23

Growing up in the 90s, we were able to be raised with some of the best R&B songs ever. Now that we are in our 30s we can reeeaaalllllyy listen to and UNDERSTAND these songs. Some of them are TOXIC as hell! The songs we sang with our whole heart like “All I Have” that told us to drop our pride to deal with a ‘bad guy' and ‘Can We Talk' that encourages accepting some stalker ish! Dissecting them and analyzing from this point of view to determine whether they were toxic or real love was a fun discussion… maybe argument LOL. We had so much fun with this because these are some of favorite songs. What were some toxic songs we may have missed?? Cheers!The Sip: Popsicle Spritz and The Shot: Miami Vice

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The Old Songs Podcast: Se2Ep3 – ‘The Brisk Lad', ft. Jimmy Aldridge & Sid Goldsmith

The Old Songs Podcast

Play Episode Listen Later Sep 20, 2022 56:01

'The Brisk Lad' [Roud 1667] was collected from Edith Sartin by the Hammond brothers in 1906 in Corscombe, Dorset. Also known as 'The Sheepstealer' and 'All I Have is My Own', it has been performed and recorded by many traditional folk singers over the ensuing century (and a bit). Jimmy Aldridge and Sid Goldsmith chose to speak about the song here for its political content, and will be singing it at their Cecil Sharp House gig on October 5th (tickets are available here). Jimmy and Sid chat here to Jon Wilks about the history of the song, where they first heard it, and what it means to them as modern interpreters of traditional songs. This episode is dedicated to the memory of Paul Sartin.

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353. All I Have - Angel Boateng

End Time Message Tabernacle Specials

Play Episode Listen Later Sep 1, 2022 6:29

All I Have by Angel Boateng - August 28, 2022

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Gets to know....Eleanor McEvoy

Collective Whisper podcast

Play Episode Listen Later Aug 30, 2022 93:50

In this episode Simon K speaks to singer songwriter and musical artist Eleanor McEvoy.Simon & Eleanor speak about her beginnings in music,when success came and how she has evolved in the music industry.Eleanor also sings a beautiful song on the show.Eleanor McEvoy (born 22 January 1967) is one of Ireland's most accomplished contemporary singer/songwriters. McEvoy composed the song "Only A Woman's Heart", the title track of "A Woman's Heart", the best-selling Irish album in Irish history.In a world where the word star and the gift of talent are often devalued, McEvoy is neither an overnight success nor a four week wonder. A musician and songwriter of note, the real deal, possessing all of the qualities that go to make up the complete artist. Her career began at the age of four when she took piano lessons, taking up violin at the age of eight. Upon finishing school she attended Trinity College in Dublin where she studied music by day and worked in pit orchestras and music clubs by night.McEvoy graduated from Trinity and was accepted into the National Symphony Orchestra of Ireland where she worked four years before finally taking the plunge to concentrate on her passion for songwriting. After a long hard slog, the girl who spent the year of 1988 busking in Union Square, New York had come a long way, a route that took her through the disciplines of classical music, Irish traditional music and contemporary music to a point where she finally found success in 1992.It happened when one of her songs "Only a Woman's Heart" inspired the title for, and appeared on, the "A Woman's Heart" anthology album. It has since gone on to become the best selling album in Irish history, staying in the Irish Top 10 for over a year. Since then McEvoy has gone on to become an artist and performer known throughout the world. Her critically-acclaimed canon of work spans six albums, several singles and appearances on numerous compilation albums and is today recognised as Ireland's most successful female singer songwriter having enjoyed personal chart success and numerous cover versions of her songs. (Emmylou Harris, Mary Black, Phil Coulter, amongst others). Her song “All I Have” features in the HBO cult series “Six Feet Under”Her co-writing song credits have seen her published with fellow writers and performers such as Rodney Crowell, Lloyd Cole, Johnny Rivers, Brad Parker, Henry Priestman and Dave Rotheray.Web: www.eleanormcevoy.comYoutube:https://www.youtube.com/channel/UCUP-j9-iab4DOFzFxbHrHigTwitter: http://twitter.com/eleanormcevoyFacebook: http://www.facebook.com/eleanormcevoyInstagram: http://instagram.com/eleanormcevoy

EP. 61 - Beyonce's ‘Renaissance' Album / Jesy Nelson Dropped (Feat. Hadley O'Garro)

THE CLASSIC MANNY SHOW

Play Episode Listen Later Aug 10, 2022 100:59

Thank you for listening to episode 61 of The Classic Manny Show, hosted by yours truly. I am joined with our favourite foodfluencer Hadley O'Garro. Make sure to subscribe, rate the podcast and use #TCMSHOW to join the conversation. CLASSIC FAVE: Amerie's ‘All I Have' album {2002} LATEST RELEASES: Beyonce's ‘Renaissance' [album] Calvin Harris' ‘Funk Wav Bounces Vol. 2 [album] Odeal's ‘Kainji Dam' [single] Ms Banks' ‘Bank Statement' [ep] SiR's ‘Life Is Good' (feat. Scribz Riley) [single] Doechii's ‘Persuasive' (feat. SZA) [single] TRENDING TOPICS: Ekin Su and Davide win Love Island 2022 Big Brother coming back in 2023 Jesy Nelson parts ways with label Neyo cheats on his wife Crystal Smith again ‘THE CLASSIC MANNY SHOW' MUSIC PLAYLISTS: https://linktr.ee/theclassicmanny FOLLOW/SUPPORT HADLEY ON SOCIAL MEDIA: Twitter – https://twitter.com/hadleyogarro Instagram – https://www.instagram.com/hadleyogarro TikTok – https://www.tiktok.com/@hadley.ogarro FOLLOW ME ON SOCIAL MEDIA THE CLASSIC MANNY / @TCMANNYHQ Twitter – https://twitter.com/THEECLASSICMAN https://twitter.com/tcmannyhq Instagram – https://www.instagram.com/theclassicmanny https://www.instagram.com/tcmannyhq/ Photography in artwork by Shots By Gracie - https://www.shotsbygracie.com/ For enquires – theclassicmanny@yahoo.com To send questions, dilemmas or inspiring stories - https://curiouscat.me/TCMANNYHQ

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“Why Don't We Fall In Love”

R&B Song Relationships Podcast

Play Episode Listen Later Jul 30, 2022 54:44

Today on episode 3 we are celebrating the 20th Anniversary of Amerie's debut album “All I Have”was released. On this album we are dissecting the lyrics to the 1st single “Why Don't We Fall In Love”. My special guest for this episode Entrepreneur, Host of “Play The BoomBox” and Owner of KWJ Productions Ms. KelloWithDaJello. Our QOTD- “Why Are People So Invested In Being Love?” --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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June 13, 2022 - Rolling Stone Best Songs 325 to 321

The List of Lists

Play Episode Listen Later Jun 14, 2022 54:54

Helen and Gavin chat about Fire Island, The Baby, and Crimes of the Future, and it's Week 36 from the list of Rolling Stone's 500 Best Songs Ever, numbers 325 to 321; Lust for Life by Iggy Pop, Scenes From an Italian Restaurant by Billy Joel, All I Have to Do is Dream by The Everly Brothers, After the Gold Rush by Neil Young, and I Still Haven't Found What I'm Looking For by U2.

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Exile on Main St. 50th Anniversary

Sound Opinions

Play Episode Listen Later May 27, 2022 48:09 Very Popular

For the 50th anniversary of Exile on Main St., hosts Jim DeRogatis and Greg Kot do a classic album dissection of the iconic Rolling Stones record. They tell the story of the album's recording, analyze the songs and reflect on its lasting musical impact. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Rolling Stones, "Soul Survivor," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "All Down the Line," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Wild Horses," Sticky Fingers, Rolling Stones, 1971The Rolling Stones, "Ventilator Blues," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Rocks Off," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Rip This Joint," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Tumbling Dice," Exile on Main St., Rolling Stones, 1972The Flying Burrito Brothers, "Sin City," The Gilded Palace of Sin, A&M, 1969The Byrds, "You Ain't Goin Nowhere," Sweetheart of the Rodeo, Columbia, 1968The Everly Brothers, "All I Have to Do is Dream," All I Have to Do is Dream (Single), Cadence, 1958The Rolling Stones, "Torn and Frayed," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Happy," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Title 5," Exile on Main St. (Deluxe Edition), Universal, 2010The Rolling Stones, "Sympathy For The Devil (Live)," Beggars Banquet, Rolling Stones, 1968The Rolling Stones, "I Just Want To See His Face," Exile on Main St., Rolling Stones, 1972James Cleveland & the Angelic Choir, "Peace Be Still," Peace Be Still , Savoy, 1963The Rolling Stones, "Let It Loose," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Sweet Black Angel," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Shine A Light," Exile on Main St., Rolling Stones, 1972The Rolling Stones, "Loving Cup," Exile on Main St., Rolling Stones, 1972The Band, "In a Station," Music From Big Pink, Capitol, 1968The Rolling Stones, "Stop Breaking Down," Exile on Main St., Rolling Stones, 1972Pussy Galore, "Loving Cup," Exile on Main St., Shove, 1986White Stripes, "Rag & Bone," Icky Thump, Warner Bros., 2007Liz Phair, "Johnny Sunshine," Exile in Guyville, Matador, 1993Red Red Meat, "Rusted Water," Jimmywine Majestic, Sub Pop, 1993New York Dolls, "Trash," New York Dolls, Mercury, 1973The Clash, "Death or Glory," London Calling, CBS, 1979Wilco, "Monday," Being There, Reprise, 1996Kings of Leon, "Taper Jean Girl," Aha Shake Heartbreak, Columbia, 2004The Black Keys, "Do the Rump," The Big Come Up, Alive , 2002The Rolling Stones, "Shake Your Hips," Exile on Main St., Rolling Stones, 1972The Lovin' Spoonful, "Do You Believe in Magic," Do You Believe in Magic, Kama Sutra, 1965

Season 2 - Episode 24 - All I Have is Christ

The Preacher's Devo Podcast

Play Episode Listen Later May 26, 2022 19:01

In this podcast I explore the song All I Have is Christ composed by Jordan and Bob Kauflin – for more information about the hymn visit: https://www.desiringgod.org/articles/all-i-have-is-christ

jesus christ bob kauflin all i have

Michael "Spiderman" Robinson

The Kimball Hooker Show

Play Episode Listen Later May 24, 2022 33:16

Legend Michael "Spiderman" Robinson is a multi-platinum keyboardist, writer, arranger, producer, and band leader. He played keyboards on the R&B Classic "Very Special" by Debra Laws, which is now sampled by a host of artists on millions of recordings including the Multi platinum hit "All I Have" by Jennifer Lopez and LL Cool J. Find out more about Michael "Spiderman" Robinson at http://www.mikespidermanrobinson.com/.

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Doctor Strange in the Multiverse of Madness

Wednesday Comics

Play Episode Listen Later May 11, 2022 69:16

6.26 - This is the end! Here about Doctor Strange, new comics, and we the boys go in for a second round! All I Have to Do is Dream by Everly Brothers Waterfalls by TLC Twitter: @wednesdaycomics @TheAPKeaton @garot2188 @marvin_salguero Email: wednesdaycomics605@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wednesday-comics-podcast/message

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The Drive PODCAST HR 2 "All I Have to Do is Dream" 4/21/22

FOX Sports Knoxville

Play Episode Listen Later Apr 21, 2022 49:43

The Drive PODCAST HR 2 "All I Have to Do is Dream" 4/21/22 by FOX Sports Knoxville

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The Greatest Songs of the 50's: Episode 14 [featuring special guest Clarence]

Andrew's Daily Five

Play Episode Listen Later Mar 17, 2022 12:57

#35-31Intro/Outro: Rip It Up by Little Richard35. Folsom Prison Blues by Johnny Cash34. All I Have to Do is Dream by The Everly Brothers33. Only You by The Platters32. Bo Diddley by Bo Diddley31. Roll Over Beethoven by Chuck BerryVote on your favorite song from today's episodeVote on your favorite song from Week 2

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Ian Donaldson - H2O and Skroo

C86 Show - Indie Pop

Play Episode Listen Later Jan 31, 2022 75:23

Ian Donaldson in conversation with David Eastaugh Ian Donaldson is a Scottish singer, songwriter, composer, record producer and writer - with a new single, All I Have is Forever, coming out spring 2022. Donaldson's music career spans more than 40 years. He came to prominence in the early 1980s as co-founder and lead singer of new wave band H2O, which released two UK Top 40 hits in 1983 with the singles "I Dream to Sleep" and "Just Outside of Heaven". After the band's break-up, he pursued a solo career and played in a band called FourGoodMen. Donaldson released his debut novel, A Rainbow in the Basement, in 2016.

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SONG: And Must I Part With All I Have

Hymn Stories

Play Episode Listen Later Jan 20, 2022 2:05

"And Must I Part with All I Have" by Benjamin Beddome (1717-1795) Hymn Stories is a part of the Media Gratiae podcast network.

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Wake up Little Susie; Time to Practice!

MusicLessons4Keyboard

Play Episode Listen Later Jan 11, 2022 2:51

By the time the Everly Brothers signed with Cadence Records in March 1957 (a deal midwifed by music publisher Wesley Rose of Acuff-Rose), they were singing teenage playlets crafted by songwriters Boudleaux and Felice Bryant overlaid with R&B rhythm patterns. They scored a string of hits, including “Bye, Bye Love,” “Wake Up, Little Susie,” “All I Have to Do Is Dream,” “Bird Dog,” and others. They became Grand Ole Opry members on June 1, 1957. In a sense, though, Don and Phil Everly were more important to Nashville. They were the first consistently successful rock & roll act to come from there. Their management and their songs came from Nashville, and they recorded there with local session musicians. In other words, they extended Nashville's sense of what was commercially possible. Learn more at the Country Music Hall of Fame/org/artist/the-everly-brothers. Lyrics Wake up, little Susie, wake up Wake up, little Susie, wake up We've both been sound asleep Wake up, little Susie and weep The movie's over, it's four o'clock And we're in trouble deep Wake up, little Susie Wake up, little Susie Well, what are we gonna tell your mama? What are we gonna tell your pa'? What are we gonna tell our friends when they say "Ooh, la, la"? Wake up, little Susie Wake up, little Susie Well, we told your mama that we'd be in by ten Well, Susie, baby, looks like we goofed again Wake up, little Susie Wake up, little Susie We gotta go home Well, what are we gonna tell your mama? What are we gonna tell your pa'? What are we gonna tell our friends when they say "Ooh, la, la"? SOURCE: COUNTRY MUSIC HALL OF FAME.org Isaac Donald Everly Born: Brownie, Kentucky, February 1, 1937 Died: August 21, 2021 Philip Everly Born: Chicago, Illinois, January 19, 1939 Died: January 3, 2014 Songwriters: Boudleaux Bryant / Felice Bryant Correction: pre·dic·a·ment; noun 1. a difficult, unpleasant, or embarrassing situation.

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Sunday Worship Service 11-14-21 (audio only)

Sports and Hip-Hop with DJ Mad Max

Play Episode Listen Later Nov 14, 2021 80:00

We hold our in-person Sunday worship services at 10:45 AM (Pacific time) and are recording them each week for folks who can't join us in person. This is the Audio-only version recorded for Sunday, November 14, 2021. It is also available in Video format through our YouTube channel. Click on the "Notes Icon" (the little image of a notepad) to get the sermon study notes for this week. ORDER OF SERVICE: We will open our service by singing “I Sing the Mighty Power of God” and “Spirit of the Living god” (on-screen lyrics in the video recording). Listen to the message titled "Origin Determines Purpose and Destiny” preached by Pastor Dave Marksbury from Genesis 1:1-2. This is message #4 in the new sermon series, “Genesis: Our firm Foundation.” Messages in the series are made available in both video and audio-only recordings; visit our website for more information. After this message, sing again with our worship team: “I Worship You, Almighty God,” “Be Thou My Vision,” and “All I Have.” Join us in prayer, listen to the church announcements and a "One Year Bible Reading" update. We will conclude the service by singing “It Took a Miracle.”

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Global Citizen Live - New York City | Full Show | Full Concert | 2021 Full Festival

UNPLUGGED Live Concerts

Play Episode Listen Later Nov 13, 2021 390:30

"Global Citizen Live in New York City kicks off from Central Park's Great Lawn with live performances from Cyndi Lauper, Jon Batiste, and the Stay Human band. Lauper performs ""True Colors"" and dedicates ""Girls Just Wanna Have Fun"" to the women and girls of Afghanistan. Padma Lakshmi and Tan France discuss poverty and hunger. Alessia Cara performs ""Scars To Your Beautiful,"" ""Best Days,"" and ""Stay."" Jon Batiste and the We Are Experience band perform ""I Need You,"" ""Tell The Truth,"" and ""Freedom."" Amber Ruffin encourages equity for women and children in the fight against global hunger. Camila Cabello gets the crowd moving with ""Havana,"" ""Never Be The Same,"" a duet of ""Señorita"" with Shawn Mendes, and ""Don't Go Yet."" Burna Boy performs ""Anybody,"" ""Kilometre,"" and more. Pianist Lang Lang performs a moving cover of ""Bohemian Rhapsody"" and Billy Porter takes the mic for a tribute to John Lennon, singing ""Imagine."" Lang Lang closes his set with ""We Are the World,"" accompanied by the Young People's Chorus of New York City. Pianist Lang Lang performs a moving cover of "Bohemian Rhapsody" and Billy Porter takes the mic for a tribute to John Lennon, singing "Imagine." Lang Lang closes his set with "We Are the World", accompanied by The Young People's Chorus of New York City. Lizzo delivers energetic, dance-filled, flute-laced performances of "Good As Hell," "Truth Hurts," and "Juice." Ice-T announces major contributions to global tree planting from P&G, Charmin, and Tide. Shawn Mendes energizes the crowd with live performances of "Wonder," "There's Nothing Holding Me Back," "Treat You Better," "In My Blood," and more. US Sen. Chuck Schumer announces commitments to address climate change and hunger. Meek Mill performs "Dreams and Nightmares" and "Ima Boss." Jennifer Lopez delivers a set full of hits from "All I Have" (featuring a special appearance from LL Cool J) to "Jenny From The Block" with Jadakiss. Global Citizen Live calls for action to halt climate change and for wealthy countries to deliver on the $100B climate pledge, $6B for famine relief, and COVID-19 vaccine justice for all. On Sept. 25, 2021, over 60M COVID-19 vaccines, 157M trees, and more than US$1.1B in commitments to climate, famine, and COVID-19 response efforts were announced as part of the partner-led campaign. The Global Citizen Live campaign continues in the lead-up to the G20 Summit and the United Nations Climate Change Conference (COP26) later this year." _____________________________________________________________________ Global Citizen is a social action platform for a global generation that aims to solve the world's biggest challenges. On our platform, you can learn about issues, take action on what matters most, and join a community committed to social change. We believe we can end extreme poverty because of the collective actions of Global Citizens across the world. Team UNPLUGGED.

Grafh talks Stop Calling Art Content, Drake, Nas, & Kanye West ”Sports and Hip-Hop with DJ Mad Max”

Play Episode Listen Later Nov 11, 2021 40:50

Big thank you to Queens, New York's own Grafh for coming on my show for an interview! Grafh talked about his new album with the late great DJ Shay called Stop Calling Art Content, recovering from Covid-19 twice, and being on tour with Benny the Butcher. He got into turning down a deal with Scarface, his quality of being loyal to a fault, and ghostwriting J. Lo & LL Cool J's All I Have. He discussed Drake publicly praising him and his Successful freestyle years ago as well as his relationship with Kanye West. Him and Kanye went to college radio stations together in the early 2000s and Kanye rapped Gold Digger on one of those stations as well as on DJ KaySlay's show before it released. Grafh also talked about his recent conversation with Nas and wanting to create a documentary on his life story. Grafh and DJ Shay's Stop Calling Art Content is available on all platforms, including Apple Music now: https://music.apple.com/us/album/stop-calling-art-content/1585263297. Follow Grafh on Instagram and Twitter: @grafh Follow me on Instagram and Twitter: @thereelmax. Website: https://maxcoughlan.com/index.html. Website live show streaming link: https://maxcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live 365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg. Grafh on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=FXhe9AFPe8g&t=1s.

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Jennifer Lopez - Live at Global Citizen Festival - New York City | JLO | Full Concert

UNPLUGGED Live Concerts

Play Episode Listen Later Nov 9, 2021 21:42

Jennifer Lopez delivers a set full of hits from "All I Have" (featuring a special appearance from LL Cool J) to "Jenny From The Block" with Jadakiss. Team UNPLUGGED.

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All I Have!

Livin Loud Outdoors - Buster Holzer

Play Episode Listen Later Oct 31, 2021 22:56

All I Have! The widow and the Oil 2 Kings 4:1-7 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/buster-holzer/support

all i have

Episode 260 - "Dream"Y Songs - The Wizard Of "O"S - Scientific Discoveries - The "A" List - Unusual Tv Characters

Instant Trivia

Play Episode Listen Later Oct 29, 2021 7:32

Welcome to the Instant Trivia podcast episode 260, where we ask the best trivia on the Internet. Round 1. Category: "Dream"Y Songs 1: 1 of 2 "dream"y Top 20 songs recorded by Cass Elliott with The Mamas and The Papas. "California Dreamin'" and "Dream a Little Dream of Me". 2: Title that follows "When I want you in my arms, when I want you and all your charms, whenever I want you...". "All I Have to Do Is Dream". 3: "Cheer up sleepy Jean, oh what can it mean to" one of these "and a homecoming queen". A daydream believer. 4: In 1959 Bobby Darin wailed, "Every night I hope and pray", she "will come my way". "Dream Lover". 5: In the 1986 film "Blue Velvet", Dean Stockwell peerforms a lip-synched rendition of this Roy Orbison hit. "In Dreams". Round 2. Category: The Wizard Of "O"S 1: Jack Ruby fatally shot him November 24, 1963. Lee Harvey Oswald. 2: It's Rhode Island's watery nickname. "The Ocean State". 3: It's the last name of NBA great Hakeem. Olajuwon. 4: These native North American people are also known as the Chippewa. Ojibwa. 5: He's best-known for his plays "Waiting for Lefty" and "Golden Boy". Clifford Odets. Round 3. Category: Scientific Discoveries 1: A new industry in Europe began in 1747 when Andreas Marggraf discovered this in beets. sugar. 2: In 1835 Jan Purkinje noted animal tissues, like plant tissues, are made from these. cells. 3: In 1834 one of the projects this German had on the back burner was finding an antidote for arsenic poisoning. (Robert) Bunsen. 4: Elso Barghoorn found the remains of these acids in 3-billion-year-old rocks, exhibiting proof of very early life. amino acids. 5: In 1986 Williams and Dubner, with too much time on their hands, found that a number formed by 1,031 ones in a row was this. prime. Round 4. Category: The "A" List 1: This largest artery carries blood away from the heart. the aorta. 2: You're this if you're from Adelaide. Australian. 3: You're this if you're from Innsbruck. Austrian. 4: Term for one who studies and collects state-of-the-art stereo equipment. an audiophile. 5: The name of this refractive defect of the eye comes from the Greek. astigmatism. Round 5. Category: Unusual Tv Characters 1: As Jonathan on "Highway To Heaven", Michael Landon was one of these beings on probation. Angel. 2: As Jeannie she could blink you back to Baghdad in, well, the blink of an eye. Barbara Eden. 3: Jamie Sommers' bionic dog was Max, short for this, from the cost of 4 new bionic legs and a jaw. Maximillion. 4: Lisa is the computer-generated woman in the USA series based on this John Hughes film. "Weird Science". 5: Like Lysette Anthony on 1991's "Dark Shadows", Corinne Bohrer on 1989's "Free Spirit" was one of these. Witch. Thanks for listening! Come back tomorrow for more exciting trivia!

Soul Kandi Radio Show 2nd Oct 2021

Soul Kandi Radio Show – SSRadio

Play Episode Listen Later Oct 2, 2021 1:01

Taking you back in time with the 1st ever Soul Kandi Special Vol.1. 2 Hours of music & no chat. Nick Power in the mix!! Omar & Stevie Wonder – “Feeling You” [White Label] Dennis Ferrer ft K T Brooks – “How Do I Let Go” [Defected] Mμ Soul – “All I Have” [Whatzat] Charles […] The post Soul Kandi Radio Show 2nd Oct 2021 appeared first on SSRadio.

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Soul Kandi Radio Show 2nd Oct 2021

Shows – SSRadio

Play Episode Listen Later Oct 2, 2021 1:01

Taking you back in time with the 1st ever Soul Kandi Special Vol.1. 2 Hours of music & no chat. Nick Power in the mix!! Omar & Stevie Wonder – “Feeling You” [White Label] Dennis Ferrer ft K T Brooks – “How Do I Let Go” [Defected] Mμ Soul – “All I Have” [Whatzat] Charles […] The post Soul Kandi Radio Show 2nd Oct 2021 appeared first on SSRadio.

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El Ecualizador - Novedades #12

Podcast de El Ecualizador

Play Episode Listen Later Sep 12, 2021 27:37

Vuelvo a ponerme delante de un micrófono para traeros lo más interesante de la cosecha local y nacional. En esta entrega de novedades kilómetro cero os recomiendo lo más nuevo de Hooray for humans, We're not surfers, La Paloma, All I Have to Say, Falso Nueve, Moshbowl y Anal Hard. Enjoy!

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Everly Brothers

Bob Barry's Unearthed Interviews

Play Episode Listen Later Jul 7, 2021 6:09

Rock ‘n' Roll Hall of Fame members Don and Phil, the Everly Brothers, had a string of county rock hits in the 50s and 60s. Those many chart toppers included “Bye Bye Love,” “'Til I Kissed You,” and “All I Have to do is Dream.” We talked about how they got started, their music, their relationship with each other, and even how they met their wives. Phil was married to record producer Archie Bleyer's daughter. Their song “Bye Bye Love” had been rejected by 30 other acts and ended up being No. 2 on the pop charts behind Elvis Presley's “Teddy Bear.” The Beatles admitted they were influenced by the Everly Brothers and based their vocal arrangement of “Please Please Me” on “Cathy's Clown.”

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Sunday Worship Service 06-20-21 (audio only)

la musica puta all i have

Play Episode Listen Later Jun 20, 2021 73:00

We are recording our in-person worship service (10:45 AM on Sunday) each week for folks who can't join us in person. This is the Audio-only version recorded for Sunday, June 20, 2021. It is also available in Video format through our YouTube channel. Click on the "Notes Icon" (the little image of a notepad) to get the sermon study notes for this week. ORDER OF SERVICE: Sing our opening songs, "O Come Let Us Adore Him” and “I Love You Lord" (on-screen lyrics in the video recording). Listen to the message "The Lamb and His Bride” (Part B), preached by Pastor Dave Marksbury from Revelation 19:7-10. This message is part of the multi-week sermon series "Revelation: God's Final Call." (Prior messages in the series are available in both video and audio-only recordings). Sing: "Blessed Be the Name,” and "All I Have.” Join us in prayer, listen to the church announcements and a "One Year Bible Reading" update. Enjoy a special mini-movie for Father's Day, “The Word on Fathers.” Our closing song is "When We All Get to Heaven."

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Episode 31 - Kyle O’Neil (Fireworks)

Kellen’s Petty Talk Show

Play Episode Listen Later May 27, 2021 222:43

Kyle O'Neil is the bassist of Michigan-based pop punk band, Fireworks. He is also a multi-talented comedian, writer and all-around good dude. In episode 31 of the podcast, we talked about all sorts of shit. A smoothie arrest, koala bears, getting kicked in the nuts and more! If you like what you hear on this episode, do yourself a favor and check out Fireworks. They have a new album titled, "Higher Lonely Power" that will make its arrival soon, but in the meantime, check out their previous releases, "All I Have to Offer is My Own Confusion", "Gospel" (which celebrated its 10th anniversary the day after we recorded this podcast) and "Oh, Common Life". And if you're truly punk rock, you'll check out the "Bonfires" EP, their 7" "Adventures, Nostalgia and Robbery" and their debut EP of sappy greatness "We Are Everywhere". Follow Kyle on Instagram @kyleoneil Follow Kellen, your host, on Instagram @kellenpembleton Follow the show on Instagram @kellenspettytalkshow to stay up to date on all newly announced guests. #KellensPettyTalkShow

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Episode 16: La Musica

It Needs To Be Catchy

Play Episode Listen Later Apr 29, 2021 46:04

En este episodio, regresa Jack Tomas para hablar sobre los temas musicales de las telenovelas y que son de Puta madre.[On this episode we welcome back Jack Tomas (That’s All I Have to Say podcast) to talk about telenovelas and how bad ass the theme songs are].

Sunday Worship Service 01-03-21 (audio only)

jesus christ new song all i have pastors mike

Play Episode Listen Later Jan 3, 2021 74:00

We are recording our in-person worship service (10:45 AM on Sunday) each week for folks who can't join us in person. This is the Audio-only version recorded for Sunday, January 3, 2021. It is also available in Video format through our YouTube channel. Click on the "Notes Icon" (the little image of a notepad) to get the sermon study notes for this week. ORDER OF SERVICE: Sing our opening songs, "All Hail the Power of Jesus Name” and “Be Thou My Vision" (on-screen lyrics in the video recording). Listen to the message "The War on Earth” preached by Pastor Dave Marksbury from Revelation 12:13-17. This message is part of the multi-week sermon series "Revelation: God's Final Call." (Prior messages in the series are available in both video and audio-only recordings). Sing: "There is a Redeemer" and "All I Have.” Join us in prayer, listen to the church announcements and a "One Year Bible Reading" update. Our closing song is "When We See Christ."

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Toma Uno - Por qué pasan las cosas - 19/12/20

Toma uno

Play Episode Listen Later Dec 19, 2020 58:52

El año 2020 sigue sin dar tregua y ahora nos ha tocado perder a Charley Pride debido a complicaciones relacionadas con el Covid-19. Un artista que creció escuchando a algunos de los grandes maestros como Ernest Tubb, Eddy Arnold, Hank Williams y George Jones. Desarrolló un estilo propio partiendo de ellos e incluyó también a otros de sus favoritos como Sam Cooke, B.B. King o Brook Benton. Y es que Charley Pride siempre entendió que la música americana se construye desde el country, el gospel y el blues. “All I Have to Offer You (Is Me)” es canción de Dallas Frazier y "Doodle" Owens sobre cómo un hombre le cuenta a su novia que no es un hombre rico pero que quiere casarse con ella refleja a la perfección lo que fue el llamado Nashville Sound gracias a la producción de Jack Clement y Chet Atkins. Charley Pride hizo historia con ella al convenirse en 1969 en el primer artista negro que lograba el No.1 de las listas de música country desde que Louis Jordan lo hubiera conseguido en el 44. Es muy posible que la canción más recordada de Charley Pride sea "Is Anybody Goin' To San Antone?", que alcanzó la cima de las listas de country en Abril de 1970. A costa de un malentendido entre la editorial y los compositores -Glenn Martin y Dave Kirby-, el tema había sido grabado y publicado por Bake Turner, jugador del equipo de fútbol americano de los Jets de New York. Pride intento encontrar otros singles para sustituirlo, pero la grabación había quedado tan perfecta como acabamos de escuchar y decidieron editarla. Nacido en Sledge, en el estado de Mississippi, en 1934, nada fue fácil para él y su nombre estuvo en el centro que muchas polémicas que no buscó. Por ejemplo, dos días después del asesinato de Martin Luther King, el Grand Ole Opry canceló por primera vez en su historia un show -precisamente en el que iba a intervenir Charley Pride- alegando tensiones raciales. Casi siempre tenía que enfrentarse a los prejuicios y es que era negro. Recogió algodón, tuvo que jugar en las Negro leagues de béisbol pero no tuvo ningún problema para servir en el ejército. La calidez de la voz de Charley Pride era perfecta para las emisoras de radio de Onda Media de los 70 y RCA, el sello por el que firmó gracias a Jack D. Johnson, relaciones públicas de la editorial Cedarwood, supo aprovecharlo con creces. Incluso sus envíos promocionales no incluían la habitual biografía y mucho menos fotos. También nació en Mississippi Ben Peters, el compositor de “Kiss An Angel Good Mornin’”, una canción que se convirtió en un emblema de lo acogedor de su fraseo y de su sentido del humor. El mes pasado, Charley Pride fue galardonado con el Willie Nelson Lifetime Achievement Award y actuó en aquella gala de la CMA junto a Jimmie Allen. Con él y Darius Rucker había grabado por última vez "Why Things Happen", un tema que se publicó un mes y medio después de la muerte de George Floyd, que provocó el movimiento Black Lives Matter. Era la fusión de tres generaciones de músicos negros de la escena de la country music compartiendo un sentimiento de angustia con estrofas como "Intentas no cuestionar a Dios ni a su juicio/Pero, maldita sea, no lo entiendo". Nunca olvidamos a Willie Nelson, y la leyenda viviente del Lone Star Stage vuelve a la actualidad cuando acaban de cumplirse 105 años del nacimiento de Frank Sinatra. El artista tejano tiene prevista la edición de un nuevo álbum dedicado a su figura y su música para finales del próximo mes de febrero del esperado 2021. Será su segundo proyecto con el “viejo de los ojos azules” como protagonista tras la publicación de My Way hace dos años y con el que consiguió un Grammy. Esta vez su título será That’s Life y ha sido grabado fundamentalmente en los Capitol Studios, los mismos que utilizó el legendario artista de Hoboken, en Nueva Jersey, para dar vida a buena parte de sus piezas maestras. Una de las 11 canciones que conformarán ese disco es “Cottage For Sale”, que utiliza la metáfora de una cabaña vacía para contar el final de una relación fallida. Sinatra la incluyó en su LP No One Cares del 59, posiblemente uno de los más oscuros de su discografía, llena de melancolía y soledad. La semana pasada escuchábamos el homenaje que se rindió a Willie y que ahora se edita en CD y DVD. Uno de sus grandes amigos, Merle Haggard, fue homenajeado con motivo del que hubiera sido su cumpleaños número 80 y era, triste coincidencia, el primer aniversario de su muerte. En el Bridgestone Arena de Nashville estuvieron el propio Willie, Keith Richards, John Mellencamp, Sheryl Crow, Loretta Lynn, Billy Gibbons, Lucinda Williams, Lynyrd Skynyrd, entre otros muchos. Dierks Bentley eligió “If We Make It Through December”, que hace ya 47 años formó parte de Merle Haggard's Christmas Present (Something Old, Something New). La mitad estaba grabada con los Strangers y el resto con Billy Walker And His Orchestra. Extraída como single de aquel trabajo, "If We Make It Through December" ha pasado a formar parte de los clásicos navideños de siempre. El respeto infinito de los Avett Brothers a Merle Haggard se hace patente en su versión de “Mama Tried”, uno de los grandes clásicos del inigualable músico californiano, que junto a Buck Owens representó la más clara alternativa al monopolio de Nashville mediante el llamado Backersfield Sound. "Mama Tried" se incluyó en la banda sonora de la película Killers Three que protagonizaron Broderick Crawford, Robert Wagner, Diana Varsi y el propio Merle Haggard. En aquellas canciones había mucho de folk, pero con una exquisita elaboración y una acusada sección rítmica. Los Strangers, la formación que respaldaba a Haggard, era uno de los grupos de referencia del momento y dejaron su impronta de cara al futuro. Merle Haggard y Sturgill Simpson se hicieron buenos amigos en los últimos años de vida de la leyenda californiana y hablaban mucho por teléfono. La letra de “Hobo Cartoon” la compuso Merle estando ya en el hospital y se la envió con una nota que decía “de un ferroviario a otro”, recordando que él había crecido en un vagón convertido en casa por un padre que trabajaba para el ferrocarril y saltaba de uno a otro tren de carga siendo niño. Sturgill, que trabajó en la Union Pacific, completó la música durante las sesiones de Cuttin Grass y se la enseñó a la viuda Theresa y a su hijo Ben. Por fin, “Hobo Cartoon” se ha convertido en el tema de cierre de este nuevo álbum, el segundo de los que ha publicado en 2020. Sturgill Simpson ha guardado sus canciones más personales para Cuttin' Grass - Vol. 2 (Cowboy Arms Sessions) que ha grabado en el mítico Cowboy Arms Hotel and Recording Spa, el estudio de “Cowboy” Jack Clement en Nashville, que ha sobrevivido a la muerte de su propio mentor y al terrible incendio de hace unos años, junto al productor David Ferguson y los Hillbilly Avengers, el mismo grupo de instrumentistas del primer volumen. El disco se editará en vinilo en abril y a diferencia del anterior, el músico de Kentucky ha incluido dos canciones inéditas. Una de ellas es “Tennessee”, llena de melancolía y grabada por primera vez, aunque se conociera de algunas apariciones con Sunday Valley hace ocho años. En 1988, Guy Clark publicó en el sello Sugar Hill su álbum Old Friends, al que abría y daba título una extraordinaria composición junto a su mujer Susanna y a Richard Dobson. Steve Earle hizo una gran versión el año pasado en Guy, el disco que dedicó a su mentor, y ahora ha sido Chris Stapleton quien se ha recreado junto a su mujer Morgane en esta pieza maestra, una de las dos elegidas para formar parte de su último proyecto, Startin’ Over. Si hablamos del Dirty Old One-Man Band estamos hablando de Scott H. Biram, uno de los más apabullantes músicos tejanos, inquieto hasta límites insospechados y con una capacidad extrema para sorprendernos a cada paso. Es una especie de predicador que hace magia con sus historias, como ahora ocurre en Fever Dreams, el álbum que cumple la docena de discos publicados y que ha grabado entre 2017 y 2019 en su estudio de Austin. Como no podía ser de otra forma, el Reverendo Biram ofrece el más amplio muestrario de su visión del mundo, desnudando sus impresiones de un mundo cargado de nostalgia, amores perdidos o almas solitarias. Todo ello está envuelto en sonidos enraizados que les llevan hasta el truckin’ country de “Can’t Stay Long”. Otro de los ejemplos de la supervivencia en la escena de la country music es el de Aaron Watson, también tejano y que ha seguido trabajando en nuevos proyectos en plena pandemia. Así ha llegado "Silverado Saturday Night", donde se añoran las fiestas al aire libre y los espacios abiertos y compartidos. Será una de las canciones que formarán parte de su próximo álbum, previsto para 2021. Lo que sabemos es que, sin perder el sonido tradicional de sus grabaciones, el artista de Amarillo tiene previsto que su nuevo trabajo sea accesible a una audiencia más amplia. La última apuesta de John Prine fue Arlo McKinley y él mismo decidió que debía pasar a formar parte de su sello discográfico, Oh Boy Records. El músico de Ohio ha debutado con Die Midwestern y para ello se fue hasta Memphis y se dejó acompañar por músicos como Ken Coomer , Rick Steff y Reba Russell. El resultado es un registro equilibrado entre el country y folk para contar historias como las que siempre cantaron los grandes clásicos, aunque el arrope sonoro es mucho más cercano en el tiempo. Así ocurre con “She’s Always Been Around”, un tema de honky tonk de carretera con la jukebox encendida que hubiera interpretado George Jones con sumo gusto. Hace tres años, en su octavo álbum, Kids in the Street, Justin Townes Earle parecía dispuesto a poner al día las esencias de la música folk para que fueran más atractivas a las nuevas generaciones. Para ello trabajó con Mike Mogis e incorporando un sonido más moderno a unos textos clarividentes e imaginativos. Incluso salió de Nashville, su ciudad natal y donde había grabado hasta entonces. Abriendo aquel registro que cerraba la trilogía que anticiparon Single Mothers y Absent Fathers estaba “Champagne Corolla”, una canción enérgica que ahora, cuando su padre, Steve Earle, la ha incluido en J.T., el álbum que ha dedicado a la memoria de su hijo fallecido, goza de un ambiente más pantanoso que el original. Escuchar audio

covid-19 new york kids ohio pride radio tennessee nashville black lives matter kentucky george floyd grammy pero martin luther king jr tambi mississippi cd dvd dios era jets nunca uno strangers hace cowboy abril lp frank sinatra otro owens something new old friends escuchar willie nelson las cosas incluso doodle cma amarillo single mothers keith richards sam cooke sheryl crow rca lynyrd skynyrd nacido grand ole opry john prine pasan chris stapleton my way hoboken loretta lynn fever dreams hank williams merle haggard no one cares john mellencamp morgane darius rucker george jones sledge steve earle abriendo sturgill simpson lucinda williams sugar hill haggard dierks bentley avett brothers robert wagner billy gibbons union pacific absent fathers nueva jersey cuttin jimmie allen buck owens chet atkins charley pride guy clark bridgestone arena sturgill desarroll louis jordan programas de rne aaron watson justin townes earle startin jack d david ferguson mama tried cedarwood ernest tubb intentas scott h all i have nashville sound eddy arnold capitol studios biram ben peters glenn martin arlo mckinley brook benton jack clement dave kirby músicas del mundo

New Song Podcast - Episode 2 - All I Have is Christ

Rock Prairie Podcast

Play Episode Listen Later Nov 11, 2020 10:25

Pastors Mike and David jump back into the recording studio for Episode two of Rock Prairie's New Song Podcast. This week they talk about the song All I Have is Christ by Sovereign Worship

#20-45: Happy 50th Rounder Records, Pt.1

Sing Out! Radio Magazine

Play Episode Listen Later Nov 4, 2020 58:30

Rounder Records was founded in 1970 by three friends in Somerville Mass. This week and next on the program, we celebrate this important folk music label with a selection of classic Rounder Bluegrass recordings. We'll hear The Monroe Brothers, Flatt & Scruggs, The Nashville Bluegrass Band, Ricky Skaggs, Alison Krauss and many more. Happy 50th Birthday Rounder Records … this week on The Sing Out! Radio Magazine. Episode #20-45: Happy 50th Rounder Records Pt.1 Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Mike Compton & David Grier / “Black Mountain Rag” / Climbing the Walls / Rounder George Pegrum / “Mississippi Sawyer” / George Pegram / Rounder The Dry Brance Fire Squad / “Economical Talk” / Live at Least / Rounder The Dry Branch Fire Squad / “John Henry” / Live at Last / Rounder The Monroe Brothers / “New River Train” / What Would You Give... / Rounder J.D. Crowe and the New South / “Old Home Place” / J.D. Crowe and the New South / Rounder The Kentucky Colonels / “Nine Pound Hammer” / Appalachian Swing / Rounder Skyline with Tony Trischka / “Stranded in the Moonlight” / Ticket Back: A Retrospective / Flying Fish The Nashville Bluegrass Band / “Old Devil's Dream” / Idle Time / Rounder Mike Compton & David Grier / “Flop Eared Mule” / Climbing the Walls / Rounder Lester Flatt and Earl Scruggs / “Cora Is Gone” / The Mercury Sessions Vol.1 / Rounder Ricky Skaggs / “Lost and I'll Never Find the Way” / Family & Friends / Rounder Crowe & McLaughlin / “All I Have to Do is Dream” / Going Back / Rounder Alison Krauss & Union Station / “New Fool” / Ever Time You Say Goodbye / Rounder The Cox Family / “Cowboy's Dream” / Beyond the City / Rounder The Bluegrass Album Band / “Devil in Disguise” / The Bluegrass Compact Disc / Rounder Vassar Clements / “Beats Me” / Grass Routes / Rounder Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

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Sunday Worship Service 10-11-20 (audio only)

donald trump beans starship everly brothers rump all i have gonna stop us now

Play Episode Listen Later Oct 11, 2020 87:00

We have resumed our in-person worship service (10:45 AM on Sunday) and are recording them each week for folks who can't join us in person. This is the Audio-only version recorded for Sunday, October 11, 2020. It is also available in Video format through our YouTube channel. Click on the "Notes Icon" (the little image of a notepad) to get the sermon study notes for this week. During our Sunday worship service today, we will celebrate Communion with Jesus Christ through the bread and the cup. Persons in attendance today who have personally accepted Jesus Christ as their Lord and Savior are invited to participate in this service, which will be led by our Pastor. Christians participating in our online service are also invited to participate at home (you will want to be ready with the bread and cup (juice, wine or red beverage)). ORDER OF SERVICE: Sing along with our opening songs, "Be Thou My Vision” and “Rock of Ages" (on-screen lyrics in the video recording). Listen to the message "The Day of God's Wrath” preached by Pastor Dave Marksbury from Revelation 6:9-17. This message is part of the multi-week sermon series "Revelation: God's Final Call." (Prior messages in the series are available in both video and audio-only recordings). Sing along with our worship team: "Grace Greater Than Our Sin" and "All I Have.” Join us in prayer, listen to the church announcements and a "One Year Bible Reading" update. Then join us as we partake of the Bread and Cup in Communion (and sing a cappella, verses 1 and then 2 of “Communion Song”). Our closing song is "With All My Heart."

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The T-Rump Dig ... Days 1271 & 1275

The T-Rump Dig Podcast

Play Episode Listen Later Jul 18, 2020 13:25

This week's double-dig into classic T-Rump Traxx include: Day 1271 -- "Nothing's Gonna Stop Us Now" ... With the lack of Oval Dwelling Coronavirus activity, the Tyrumposaurus thinks he's in the clear ... and Day 1275 -- "All I Have to Do is Beans" ... Good things come to those who fawn over the T-Rump. Special dino tail wags to the Starship and the Everly Brothers.

The TTG Podcast With Trip & Travis & Jon #11: UGLY LIVES MATTER!!!!

The TTG Podcast

Play Episode Listen Later Jul 4, 2020 85:03

R.I.P TO PFC VANESSA GULLIAN...(Sorry if i botch her name)..and All I Have to say is ULM!!!...TRIP, TRAVIS, AND JON goes at it about how ugly woman is sexable and how they not. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thettgpodcast/support

trip ugly lives matter ulm all i have

ElecSoul 2

DJ Robbie Duncan's ElecSoul

Play Episode Listen Later Jun 1, 2020 121:17

Weekly Soul music podcast hosted by Robbie Duncan Listen again to the ElecSoul show hosted by DJ Robbie Duncan First Broadcast on Stroud Lockdown Radio Sunday 31st May 2020 ElecSoul Show 002 was strong this week with a playlist of artists including Omar, Jill Scott, Attica Blues and including some new music from Nuff Pedals, Izo FitzRoy, Zero 7 and many more! Local shout outs to Rodborough, Graz and Brasil! Tune in every Sunday between 5pm-7pm UK time on Stroud Lockdown Radio. https://www.facebook.com/stroudlockdownradio/ Tracklist: 1. Got To Give It Up - Marvin Gaye 2. Only - Fatima 3. Golden - Jill Scott 4. Usher - Good Kisser (Daniel Crawford Remix) Daniel Crawford 5. Gotta B Everything - Vanessa Rubin 6. The Man - Omar 7. What Do You Want? - Attica Blues 8. Something - Phonte & Eric Roberson 9. Notice Me Not (feat. Breezy Lee) - Nuff Pedals 10. There is a Way - Amerigo Gazaway 11. Do It (Featuring Unforscene)- Alice Russell 12. Move On - Young Disciples 13. Symmetry (Zero 7 Remix)- SYML 14. Twisted - Ultra Nate 15. Blind Faith (Art of Tones Extended Remix)- Izo FitzRoy 16. Back of My Heart - Crackazat 17. Make You Move (Lil' Dave Remix) - Lady Alma 18. Heard This One Before (feat. BOSCO & KAYTRANADA)- Phonte 19. All I Have (feat. Danielle Moore) - D-Pulse 20. 20th Century Fix (Warm Weather)- Mirror Signal 21. Lost Baggage - Kinny 22. Inside Out - American Gypsy 23. I Want You Back - Raphael Saadiq 24. Think Better Slow - Motion Replay 25. Take a Chance (feat. Courtney John) - Soul Sugar 26. Highest - The Detroit Experiment

uk local brasil tracklist bosco jill scott graz what do you want all i have izo fitzroy attica blues heard this one before

Commentary on LL Cool J and Q-Tip

Demetrius

Play Episode Listen Later Mar 14, 2020 10:35

Today. I will be discussing about the rap artists LL Cool J and Q-Tip.- Music can change the world. Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.·Let's give it up to LL Cool J and Q-Tip.·Now introducing LL Cool J. James Todd Smith professionally known as LL Cool J that is short for Ladies Love Cool James. He is an American rapper, record producer, actor, author, and entrepreneur from Queens, New York. LL Cool J has released 13 studio albums. He is known for these such hip-hop and R+B hits. They are Going Back to Cali, I'm Bad, The Boomin System, Rock the Bells, Mama Said Knock You Out, Doin It, I Need Love, All I Have, Around The Way Girl, Hey Lover and Exit 13.·LL Cool J appeared in various films and shows. They are In Too Deep, Any Given Sunday, SWAT, Deep Blue Sea, Mindhunters, Edison and NCIS Los Angeles.·LL Cool J's popularity began from his appearance on American Bandstand as the first hip hop act on the show, as well as his appearance on Diana Ross 1987 television special, Red Hot Rhythm and Blues.·He has been a two-time Grammy Award winner.·And lastly, LL Cool J became the first rapper to receive the Kennedy Center of Honors.·A quote made from LL Cool J. "As a black man, my hope is that I can touch more and more people all over the world of different races and different colours.·Now introducing Q-Tip. Kamaal Ibn John Fareed born in Harlem, New York as Johnathan William Davis is better known by his stage name Q-Tip. He is an American rapper, record producer, singer, actor and DJ.·Q-Tip appeared in such films as Poetic Justice, She Hates Me and Prison Song.·In 2016, Johnathan Davis was given artistic director for hip-hop culture at the Kennedy Center.·And in 2018 he became an instructor of a jazz and hip-hop course at New York University's Clive Davis Institute of Recorded Music.·Afrika Baby Bam from the hip-hop group Jungle Brothers gave him the nickname Q-Tip. This nickname became popular for him in high school. Which later became his stage name.·In 1988, Q-Tip was featured on the Jungle Brothers songs titled The Promo and Black Is Black. The Promo and Black Is Black both were on the album Straight out the Jungle.·Later. Q-Tip renamed his hip hop group A Tribe Called Quest. The rename of his hip-hop group was given to him by Afrika Baby Bam. All three groups, Jungle Brothers, De La Soul and A Tribe Called Quest formed their positive minded and good natured Afrocentric lyrics.·In 1991, A Tribe Called Quest released a second album The Low End Theory.·The summer of 1996, A Tribe Called Quest released a fourth album Beats, Rhymes and Life.·In 1999, after the break up of his group, Q-Tip began pursuing his solo career. He released his solo album Amplified and then he released his second solo album in 2008 titled The Renaissance.·Johnathan Davis, Q-Tip is an outstanding producer in jazz-based hip hop. He is known as a perfectionist on these instruments: vocals, keyboards, drums, bass guitar, guitar, glockenspiel, turntables and sampler.·A quote made by Q-Tip reads "The thing that men and women need to do is stick together. Progressions can't be made if we're separate forever."·Bravo for LL Cool J and Q-Tip.·Recently. LL Cool J says on Twitter that he and Q-Tip are working together on a new album.·LL Cool J says on Twitter "I just started recording new music produced by my lil bro."·After Q-Tip Twitter response LL Cool J further says "I'm putting this new music out on defjam." And ending. Congratulations to LL Cool J and Q-Tip on their new album. I'm saying keep up with your excellent music careers. One good thing about music, when it hits you, you feel no pain. By Bob Marley. Good- bye.

Lontalius on his LA-produced second album All I Have

RNZ: Music 101

Play Episode Listen Later Nov 29, 2019 11:02

Eddie Johnson tells us about spending two years in Los Angeles recording his second album All I Have with some heavyweight producers.

music los angeles eddie johnson second album all i have

Episode 56: "Bye Bye Love" by the Everly Brothers

Play Episode Listen Later Nov 11, 2019 36:36

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at "Bye Bye Love" by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Short Fat Fannie" by Larry Williams. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there's a decent one in French, but I don't speak French well enough for that). Ike's Boys by Phyllis Karp is the only full-length bio, and I relied on that in the absence of anything else, but it's been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers' early material available. I'd recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Ike Everly introducing the Everly Brothers] We've talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we've not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we've already seen, is the vocal group sound -- the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It's the sound of a collection of individual personalities, working together but to their own agendas. Another style which we're going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus -- it's the sound of a couple of friends providing support for someone who's in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there's the style which Elvis used -- a single lead vocalist over a group of backing vocalists, mostly providing "oohs" and "aahs". The backing vocals here just work as another instrumental texture. But there's one style which would be as influential as any of these, and which was brought into rock and roll by a single act -- a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, "Bye Bye Love"] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn't ever going to go through that a third time. He had learned a particular guitar style, which would later become known as "Travis picking" after its most famous exponent, Merle Travis -- though Travis himself usually referred to it as "Muhlenberg picking". Travis and Ike Everly knew each other, and it was Ike Everly, and Ike's friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, "Blue Smoke"] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his "Ike Everly's Rag" was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, "Ike Everly's Rag"] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn't just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like "Who's Going to Shoe Your Pretty Little Feet?", which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, "Who's Gonna Shoe Your Pretty Little Feet?"] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as "Little Donnie", as well as performing with his family. The Everly family would perform their show live, first thing in the morning -- they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I've not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show -- Ford, of course, being someone whose biggest hit had been written by Ike Everly's old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, "Rattlesnake Daddy"] That kind of trick was fairly common among country acts at the time -- Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing "bluegrass harmonies". This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as "Mac and Bob" -- Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys' style in their harmonies: [Excerpt: McFarland and Gardner, "That Silver Haired Daddy of Mine"] The style is known as "close harmony" because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices -- and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, "Oh So Many Years"] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style -- the Louvin Brothers: [Excerpt: The Louvin Brothers, "Midnight Special"] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose "Sittin' in the Balcony" we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album "Satan is Real", which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone -- they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said "We've only ever had one argument. It's lasted twenty-five years", and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father's favourite, to Don resenting Phil's sweeter voice upstaging him -- he was once quoted as saying "I've been a has-been since I was ten". But fundamentally the two brothers were just too different in everything from temperament to politics -- Don is a liberal Democrat, while Phil was a conservative Republican -- and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that's possible. But talent on its own doesn't necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio -- it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family's radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly's guitar playing, but of his barbering skills as well -- according to at least one account I've read, Atkins was a regular customer of Ike's. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer -- he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don's songs, "Thou Shalt Not Steal", when Don was only sixteen: [Excerpt: Kitty Wells, "Thou Shalt Not Steal"] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, "Here We Are Again", was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, "Here We Are Again"] But Margaret Everly, the Everlys' mother and the person who seemed to have the ambition that drove them, didn't want Don to be a solo star -- she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don's royalties from songwriting, and used them to get both brothers Musicians' union cards -- in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly's future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, "Keep A-Lovin' Me", written by Don: [Excerpt: The Everly Brothers, "Keep A-Lovin' Me"] That record flopped, and the Everlys were later very dismissive of it -- Phil said of the two songs on that single "they were stinko, boy! Really stinko!" Columbia weren't interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular -- who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records -- wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers' lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they'd agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. "Bye Bye Love" was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with "Country Boy", a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, "Country Boy"] But they had not had much chart success after that, though they'd placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, "Bye Bye Love", had been written for a duo called Johnny and Jack. They hadn't been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like "Tryin' to Forget the Blues": [Excerpt: Porter Wagoner, "Tryin' to Forget the Blues"] But when Atkins took the song into the studio, he decided it wasn't strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn't strong enough as it was, he just shouldn't record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins' new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant's barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this -- around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers' harmonies. They had by this point developed an intuitive understanding of each other's voices, and a superb musicality. It's interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, "Bye Bye Love (take 1)"] That's Don singing the low lead and Phil taking the high harmony. Now, if you're familiar with the finished record, you can tell that what Phil's singing there isn't the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It's not the harmony part that would become famous, but it's a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called "Give Me a Future", which he'd intended to be in the Bo Diddley style, and one can hear something of Diddley's rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, "Give Me a Future"] Don took that guitar part, and attached it to the Bryants' song, and with the help of Chet Atkins' lead guitar fills turned it into something quite new -- a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, "Bye Bye Love"] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, "Bye Bye Love"] But they were surprised to discover that while Pierce's version did chart -- reaching the top ten in the country charts -- it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with "Wake Up Little Suzie", a song which was banned on many stations because it suggested impropriety -- even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] These records would usually incorporate some of Don's Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like "Devoted to You" and "All I Have to Do is Dream", which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them -- Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that's very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it's just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell -- probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money -- and he'd often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice -- but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants' son, Dane, and at one point in that interview he says "Now, lots of times I will say, 'My father.' I mean Dad and Mom". As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants' songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like "All I Have to Do is Dream", wasn't so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves -- though still immature, as one would expect from people who were still in their teens at the start of their career -- was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that's certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don's repeated claims that the brothers were as interested in R&B and blues as in country -- apart from a version of "Be-Bop-A-Lula", all the covers are of R&B hits of the time -- two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, "I Wonder if I Care as Much", is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, "I Wonder If I Care As Much"] Don's songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they're often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers' artistic reputation rests. It's been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don't think so -- and if it was, it was a gesture that backfired magnificently, as it's still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like -- an album consisting of songs the brothers had been taught by their father. It's a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don's acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who's Gonna Shoe Your Pretty Little Feet?”] It's quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it's had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that's just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who's Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They'd had a run of classic singles, and they'd just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we'll see exactly how wrong things could go for them.

tv history english internet future real french boys nashville south dad satan mom kentucky republicans blind democrats midwest mac columbia elvis rock and roll djs musicians devoted gardner knoxville green day appalachian excerpt atkins ike ray charles pdfs mixcloud little richard rock music balcony rag grand ole opry norah jones hank williams columbia records sittin andy williams bo diddley everly brothers icare tryin country boy billie joe armstrong wagoner bill monroe buck owens chet atkins loudermilk larry williams eddie cochran carl smith thou shalt not steal porter wagoner muhlenberg all i have kitty wells merle travis tennessee ernie ford bryants bye bye love lefty frizzell robert gardner kentucky school phil everly diddley webb pierce don rich everlys moon mullican boudleaux bryant john d loudermilk kennedy jones anita carter that silver haired daddy

Episode 56: “Bye Bye Love” by the Everly Brothers

Play Episode Listen Later Nov 11, 2019

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at “Bye Bye Love” by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Short Fat Fannie” by Larry Williams. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio, and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers’ early material available. I’d recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Ike Everly introducing the Everly Brothers] We’ve talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we’ve not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we’ve already seen, is the vocal group sound — the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It’s the sound of a collection of individual personalities, working together but to their own agendas. Another style which we’re going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus — it’s the sound of a couple of friends providing support for someone who’s in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there’s the style which Elvis used — a single lead vocalist over a group of backing vocalists, mostly providing “oohs” and “aahs”. The backing vocals here just work as another instrumental texture. But there’s one style which would be as influential as any of these, and which was brought into rock and roll by a single act — a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, “Bye Bye Love”] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn’t ever going to go through that a third time. He had learned a particular guitar style, which would later become known as “Travis picking” after its most famous exponent, Merle Travis — though Travis himself usually referred to it as “Muhlenberg picking”. Travis and Ike Everly knew each other, and it was Ike Everly, and Ike’s friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, “Blue Smoke”] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his “Ike Everly’s Rag” was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, “Ike Everly’s Rag”] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn’t just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like “Who’s Going to Shoe Your Pretty Little Feet?”, which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, “Who’s Gonna Shoe Your Pretty Little Feet?”] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as “Little Donnie”, as well as performing with his family. The Everly family would perform their show live, first thing in the morning — they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I’ve not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show — Ford, of course, being someone whose biggest hit had been written by Ike Everly’s old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, “Rattlesnake Daddy”] That kind of trick was fairly common among country acts at the time — Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing “bluegrass harmonies”. This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as “Mac and Bob” — Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys’ style in their harmonies: [Excerpt: McFarland and Gardner, “That Silver Haired Daddy of Mine”] The style is known as “close harmony” because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices — and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, “Oh So Many Years”] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style — the Louvin Brothers: [Excerpt: The Louvin Brothers, “Midnight Special”] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose “Sittin’ in the Balcony” we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album “Satan is Real”, which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone — they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said “We’ve only ever had one argument. It’s lasted twenty-five years”, and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father’s favourite, to Don resenting Phil’s sweeter voice upstaging him — he was once quoted as saying “I’ve been a has-been since I was ten”. But fundamentally the two brothers were just too different in everything from temperament to politics — Don is a liberal Democrat, while Phil was a conservative Republican — and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that’s possible. But talent on its own doesn’t necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio — it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family’s radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly’s guitar playing, but of his barbering skills as well — according to at least one account I’ve read, Atkins was a regular customer of Ike’s. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer — he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don’s songs, “Thou Shalt Not Steal”, when Don was only sixteen: [Excerpt: Kitty Wells, “Thou Shalt Not Steal”] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, “Here We Are Again”, was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, “Here We Are Again”] But Margaret Everly, the Everlys’ mother and the person who seemed to have the ambition that drove them, didn’t want Don to be a solo star — she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don’s royalties from songwriting, and used them to get both brothers Musicians’ union cards — in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly’s future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, “Keep A-Lovin’ Me”, written by Don: [Excerpt: The Everly Brothers, “Keep A-Lovin’ Me”] That record flopped, and the Everlys were later very dismissive of it — Phil said of the two songs on that single “they were stinko, boy! Really stinko!” Columbia weren’t interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular — who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records — wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers’ lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they’d agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. “Bye Bye Love” was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with “Country Boy”, a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, “Country Boy”] But they had not had much chart success after that, though they’d placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, “Bye Bye Love”, had been written for a duo called Johnny and Jack. They hadn’t been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like “Tryin’ to Forget the Blues”: [Excerpt: Porter Wagoner, “Tryin’ to Forget the Blues”] But when Atkins took the song into the studio, he decided it wasn’t strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn’t strong enough as it was, he just shouldn’t record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins’ new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant’s barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this — around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers’ harmonies. They had by this point developed an intuitive understanding of each other’s voices, and a superb musicality. It’s interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, “Bye Bye Love (take 1)”] That’s Don singing the low lead and Phil taking the high harmony. Now, if you’re familiar with the finished record, you can tell that what Phil’s singing there isn’t the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It’s not the harmony part that would become famous, but it’s a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called “Give Me a Future”, which he’d intended to be in the Bo Diddley style, and one can hear something of Diddley’s rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, “Give Me a Future”] Don took that guitar part, and attached it to the Bryants’ song, and with the help of Chet Atkins’ lead guitar fills turned it into something quite new — a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, “Bye Bye Love”] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, “Bye Bye Love”] But they were surprised to discover that while Pierce’s version did chart — reaching the top ten in the country charts — it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with “Wake Up Little Suzie”, a song which was banned on many stations because it suggested impropriety — even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, “Wake Up Little Suzie”] These records would usually incorporate some of Don’s Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like “Devoted to You” and “All I Have to Do is Dream”, which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them — Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that’s very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it’s just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell — probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money — and he’d often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice — but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants’ son, Dane, and at one point in that interview he says “Now, lots of times I will say, ‘My father.’ I mean Dad and Mom”. As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants’ songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like “All I Have to Do is Dream”, wasn’t so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves — though still immature, as one would expect from people who were still in their teens at the start of their career — was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that’s certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don’s repeated claims that the brothers were as interested in R&B and blues as in country — apart from a version of “Be-Bop-A-Lula”, all the covers are of R&B hits of the time — two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, “I Wonder if I Care as Much”, is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, “I Wonder If I Care As Much”] Don’s songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they’re often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers’ artistic reputation rests. It’s been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don’t think so — and if it was, it was a gesture that backfired magnificently, as it’s still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like — an album consisting of songs the brothers had been taught by their father. It’s a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don’s acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who’s Gonna Shoe Your Pretty Little Feet?”] It’s quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it’s had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that’s just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who’s Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They’d had a run of classic singles, and they’d just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we’ll see exactly how wrong things could go for them.

tv history english internet future real french boys nashville south dad satan mom kentucky blues republicans blind democrats mine midwest mac columbia elvis rock and roll bob dylan djs musicians elvis presley devoted gardner knoxville green day appalachian excerpt tom petty atkins george harrison ike ray charles pdfs mixcloud little richard rock music balcony rag grand ole opry roy orbison norah jones hank williams columbia records sittin midnight special andy williams bo diddley everly brothers icare tryin weavers jeff lynne country boy billie joe armstrong sam phillips wagoner bill monroe buck owens chet atkins loudermilk larry williams eddie cochran carl smith thou shalt not steal bob moore porter wagoner muhlenberg blue smoke louvin brothers all i have kitty wells merle travis tennessee ernie ford bryants bye bye love lefty frizzell robert gardner kentucky school phil everly diddley monument records webb pierce don rich fred foster everlys moon mullican boudleaux bryant john d loudermilk kennedy jones be bop a lula anita carter nashville a team that silver haired daddy

Episode 56: “Bye Bye Love” by the Everly Brothers

Meadowlark Church of Christ - Sermons

Play Episode Listen Later Nov 11, 2019

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at “Bye Bye Love” by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Short Fat Fannie” by Larry Williams. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio, and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers’ early material available. I’d recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Ike Everly introducing the Everly Brothers] We’ve talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we’ve not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we’ve already seen, is the vocal group sound — the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It’s the sound of a collection of individual personalities, working together but to their own agendas. Another style which we’re going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus — it’s the sound of a couple of friends providing support for someone who’s in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there’s the style which Elvis used — a single lead vocalist over a group of backing vocalists, mostly providing “oohs” and “aahs”. The backing vocals here just work as another instrumental texture. But there’s one style which would be as influential as any of these, and which was brought into rock and roll by a single act — a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, “Bye Bye Love”] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn’t ever going to go through that a third time. He had learned a particular guitar style, which would later become known as “Travis picking” after its most famous exponent, Merle Travis — though Travis himself usually referred to it as “Muhlenberg picking”. Travis and Ike Everly knew each other, and it was Ike Everly, and Ike’s friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, “Blue Smoke”] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his “Ike Everly’s Rag” was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, “Ike Everly’s Rag”] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn’t just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like “Who’s Going to Shoe Your Pretty Little Feet?”, which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, “Who’s Gonna Shoe Your Pretty Little Feet?”] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as “Little Donnie”, as well as performing with his family. The Everly family would perform their show live, first thing in the morning — they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I’ve not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show — Ford, of course, being someone whose biggest hit had been written by Ike Everly’s old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, “Rattlesnake Daddy”] That kind of trick was fairly common among country acts at the time — Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing “bluegrass harmonies”. This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as “Mac and Bob” — Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys’ style in their harmonies: [Excerpt: McFarland and Gardner, “That Silver Haired Daddy of Mine”] The style is known as “close harmony” because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices — and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, “Oh So Many Years”] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style — the Louvin Brothers: [Excerpt: The Louvin Brothers, “Midnight Special”] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose “Sittin’ in the Balcony” we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album “Satan is Real”, which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone — they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said “We’ve only ever had one argument. It’s lasted twenty-five years”, and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father’s favourite, to Don resenting Phil’s sweeter voice upstaging him — he was once quoted as saying “I’ve been a has-been since I was ten”. But fundamentally the two brothers were just too different in everything from temperament to politics — Don is a liberal Democrat, while Phil was a conservative Republican — and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that’s possible. But talent on its own doesn’t necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio — it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family’s radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly’s guitar playing, but of his barbering skills as well — according to at least one account I’ve read, Atkins was a regular customer of Ike’s. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer — he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don’s songs, “Thou Shalt Not Steal”, when Don was only sixteen: [Excerpt: Kitty Wells, “Thou Shalt Not Steal”] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, “Here We Are Again”, was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, “Here We Are Again”] But Margaret Everly, the Everlys’ mother and the person who seemed to have the ambition that drove them, didn’t want Don to be a solo star — she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don’s royalties from songwriting, and used them to get both brothers Musicians’ union cards — in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly’s future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, “Keep A-Lovin’ Me”, written by Don: [Excerpt: The Everly Brothers, “Keep A-Lovin’ Me”] That record flopped, and the Everlys were later very dismissive of it — Phil said of the two songs on that single “they were stinko, boy! Really stinko!” Columbia weren’t interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular — who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records — wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers’ lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they’d agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. “Bye Bye Love” was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with “Country Boy”, a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, “Country Boy”] But they had not had much chart success after that, though they’d placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, “Bye Bye Love”, had been written for a duo called Johnny and Jack. They hadn’t been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like “Tryin’ to Forget the Blues”: [Excerpt: Porter Wagoner, “Tryin’ to Forget the Blues”] But when Atkins took the song into the studio, he decided it wasn’t strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn’t strong enough as it was, he just shouldn’t record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins’ new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant’s barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this — around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers’ harmonies. They had by this point developed an intuitive understanding of each other’s voices, and a superb musicality. It’s interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, “Bye Bye Love (take 1)”] That’s Don singing the low lead and Phil taking the high harmony. Now, if you’re familiar with the finished record, you can tell that what Phil’s singing there isn’t the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It’s not the harmony part that would become famous, but it’s a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called “Give Me a Future”, which he’d intended to be in the Bo Diddley style, and one can hear something of Diddley’s rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, “Give Me a Future”] Don took that guitar part, and attached it to the Bryants’ song, and with the help of Chet Atkins’ lead guitar fills turned it into something quite new — a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, “Bye Bye Love”] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, “Bye Bye Love”] But they were surprised to discover that while Pierce’s version did chart — reaching the top ten in the country charts — it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with “Wake Up Little Suzie”, a song which was banned on many stations because it suggested impropriety — even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, “Wake Up Little Suzie”] These records would usually incorporate some of Don’s Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like “Devoted to You” and “All I Have to Do is Dream”, which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them — Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that’s very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it’s just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell — probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money — and he’d often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice — but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants’ son, Dane, and at one point in that interview he says “Now, lots of times I will say, ‘My father.’ I mean Dad and Mom”. As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants’ songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like “All I Have to Do is Dream”, wasn’t so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves — though still immature, as one would expect from people who were still in their teens at the start of their career — was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that’s certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don’s repeated claims that the brothers were as interested in R&B and blues as in country — apart from a version of “Be-Bop-A-Lula”, all the covers are of R&B hits of the time — two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, “I Wonder if I Care as Much”, is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, “I Wonder If I Care As Much”] Don’s songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they’re often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers’ artistic reputation rests. It’s been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don’t think so — and if it was, it was a gesture that backfired magnificently, as it’s still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like — an album consisting of songs the brothers had been taught by their father. It’s a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don’s acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who’s Gonna Shoe Your Pretty Little Feet?”] It’s quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it’s had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that’s just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who’s Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They’d had a run of classic singles, and they’d just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we’ll see exactly how wrong things could go for them.

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The Family Life Of Nashville Songwriting Greats, Felice and Boudleaux Bryant

On Second Thought

Play Episode Listen Later Oct 4, 2019 16:59

Boudleaux and Felice Bryant had a deep impact in Nashville, with notable hits like "Bye Bye Love" and “All I Have to Do Is Dream.” Their music has been recorded by artists like The Beatles, Bob Dylan, Dolly Parton and Simon & Garfunkel. The hit-making couple is the subject of a new exhibit at The Country Music Hall of Fame and Museum in Nashville, Tenn.

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The Gospel of Luke: All I Have is Yours (24)

Play Episode Listen Later Aug 18, 2019

Download Slides

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BONUS - STRUM (Seattle's Totally Relaxed Ukulele Musicians)

Ukulele Is The New Black

Play Episode Listen Later Jun 30, 2019 36:01

I went to an impromptu meetup with STRUM, Seattle’s Totally Relaxed Ukulele Musicians, on a recent visit to Seattle. I recorded some of the songs we played, and asked some of the members how ukulele has changed their lives. If you’re passing through Seattle I would highly recommend dropping in for a strum! This episode features a whole lot of songs: Blue Moon (Rodgers & Hart, 1934) Diana (Anka & Sherman, 1957) Smile (Chaplin, Turner & Parsons, 1954) Down by the Riverside (Traditional) ‘A’ You’re Adorable (Lippman, 1948) Singin’ in The Rain (Freed & Brown, 1929) Sway (Demetrio & Gimbel, 1954) Sweet Georgia Brown (Bernie, Pinkard & Casey, 1925) South of the Border (Kennedy & Carr, 1939) I only want to be with you (Hawker & Raymonde, 1963) All I Have to do is Dream (Bryant, 1958) All My Loving (Lennon & McCartney, 1963) The Lion Sleeps Tonight (Linda, Peretti, Creatore, Weiss & Stanton, 1961) Hawaiian Lullaby (Reichel, 1997) Ka Pua Ē (Traditional) To You Sweetheart, Aloha (Harry Owens, 1951) / Aloha Oe (Queen Liliuokalani) STRUM a Ukulele when you’re feeling Blue (Uncle Rod Higuchi) Go to the Ukulele Is The New Black YouTube channel for a playlist to hear these songs as well as others mentioned in the episode. Please support me on Patreon and get an exclusive Ukulele Is The New Black decal for your ukulele case! Give a little more and you will get your name in the show notes every week, like: Ukulele Champion: Debbie Hoad Ukulele Legend: Linda Dodwell. The music played in this episode is licenced under a Podcasts (Featured Music) agreement with APRA AMCOS.

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All I Have 2 Say - Take 1 - 6-27-19

Nomada Beastrada

Play Episode Listen Later Jun 27, 2019 5:39

All I Have 2 Say is a update statement. https:://bruhbroward.com look It up Please.

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Fellowship

3:16

Play Episode Listen Later Apr 3, 2019 25:14

Tune in to hear lessons on Psalm 73 and Fellowship as well as reviews of the songs “Love Divine, All Loves Excelling” by Charles Wesley and “All I Have is Christ” by Jordan Kauflin.

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Bluetown Electronica (10.23.18)

Bombshell Radio

Play Episode Listen Later Oct 23, 2018 124:46

Tuesdays 12pm-2pm EST 9am-11pm PDT 5pm-8pm BST bombshellradio.com Bluetown Electronica Today's Bombshell (Bombshell Radio) Bombshell Radio & Artefaktor Radio Join Forces! #electronicadance #synthpop #electropop #electronic #deeptechno #Nowplaying #Radio #BombshellRadio #BluetownElecrtonica #Synthwave #Alternative #Chill #electro #electronica #MobileAppplaylist 23.10.18Sol Flare – KuddelmuddelMadmoizel – ComeAdult. – Perversions of MankindBarbara Morgenstein – Was du nicht SiehstFactory Acts - Are you the singer? Radio editDelphic - This Momentary ( La Matos remix )Blancmange- Distant stormMicrochip Junky- SchwerindustrieNu Shooz – I Can’t WaitJohn Foxx – Miss MachineryMidge Ure & Mick Karn – After a Fashion (Extended)Midge Ure – That Certain SmileHoward Jones – China DanceKloq- DriveAlqa- The Witch Curse ( Poison Rouge remix )Nine Inch Nails - Head like a hole ( Copper )Soldout - FallenKevin Lux – Clock LawVNV Nation – a MillionRoom of Wires – CassiteriteEmT - A Thousand armsKomputer - International Space StationCult with no name - All I Have is Yours - ( including You )Modal Plane - Sub - TropicPolygon Window - If it really is me

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DefCon Jive Episode 116 - 6 Stars Pt. 1

Play Episode Listen Later Sep 13, 2018 58:31

Not this week, my friend... Black Business of the Week: William + James | http://williamplusjames.com | https://www.instagram.com/williamandjames In this episode: - RIP Mac Miller (Part 1) - Nicki vs Cardi (Part 1) - Serena Da Gawd (Part 2) WYBLT: Remy - Mac Miller, "Swimming" https://open.spotify.com/album/5wtE5aLX5r7jOosmPhJhhk - Roc Marciano, "Warm Hennessey" https://open.spotify.com/album/50ni8DeEHYj3A5PQwnyJrx - Kanye West x Lil Pump https://open.spotify.com/track/4S8d14HvHb70ImctNgVzQQ - Chance The Rapper, "No Problems" Sample https://youtu.be/NW3QVXxHUVM Boom - Russ, "ZOO" https://open.spotify.com/album/48Kac3ieDtt9OSp9Fm4g9e - Lebron James x Kevin Durant https://youtu.be/UPKiag-TABk - Valee, "Womp Womp" https://open.spotify.com/album/7o66H14uvkdLb6dI866lOW Cannon - Amerie, "All I Have" https://open.spotify.com/album/3KUaoEXmzVovDKWionaofI - The Firm, "The Album" https://open.spotify.com/album/7ulHRBCAipnGUHvnIEt59Z Email: podcast@defconjive.com | Twitter: https://twitter.com/dcjpodcast | Patreon: https://patreon.com/defconjive

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DefCon Jive Episode 116 - 6 Stars Pt. 2

Play Episode Listen Later Sep 13, 2018 57:37

Not this week, my friend... Black Business of the Week: William + James | http://williamplusjames.com | https://www.instagram.com/williamandjames In this episode: - RIP Mac Miller (Part 1) - Nicki vs Cardi (Part 1) - Serena Da Gawd (Part 2) WYBLT: Remy - Mac Miller, "Swimming" https://open.spotify.com/album/5wtE5aLX5r7jOosmPhJhhk - Roc Marciano, "Warm Hennessey" https://open.spotify.com/album/50ni8DeEHYj3A5PQwnyJrx - Kanye West x Lil Pump https://open.spotify.com/track/4S8d14HvHb70ImctNgVzQQ - Chance The Rapper, "No Problems" Sample https://youtu.be/NW3QVXxHUVM Boom - Russ, "ZOO" https://open.spotify.com/album/48Kac3ieDtt9OSp9Fm4g9e - Lebron James x Kevin Durant https://youtu.be/UPKiag-TABk - Valee, "Womp Womp" https://open.spotify.com/album/7o66H14uvkdLb6dI866lOW Cannon - Amerie, "All I Have" https://open.spotify.com/album/3KUaoEXmzVovDKWionaofI - The Firm, "The Album" https://open.spotify.com/album/7ulHRBCAipnGUHvnIEt59Z Email: podcast@defconjive.com | Twitter: https://twitter.com/dcjpodcast | Patreon: https://patreon.com/defconjive

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DefCon Jive Episode 116 - 6 Stars Pt. 1

Play Episode Listen Later Sep 13, 2018 58:31

Not this week, my friend... Black Business of the Week: William + James | http://williamplusjames.com | https://www.instagram.com/williamandjames In this episode: - RIP Mac Miller (Part 1) - Nicki vs Cardi (Part 1) - Serena Da Gawd (Part 2) WYBLT: Remy - Mac Miller, "Swimming" https://open.spotify.com/album/5wtE5aLX5r7jOosmPhJhhk - Roc Marciano, "Warm Hennessey" https://open.spotify.com/album/50ni8DeEHYj3A5PQwnyJrx - Kanye West x Lil Pump https://open.spotify.com/track/4S8d14HvHb70ImctNgVzQQ - Chance The Rapper, "No Problems" Sample https://youtu.be/NW3QVXxHUVM Boom - Russ, "ZOO" https://open.spotify.com/album/48Kac3ieDtt9OSp9Fm4g9e - Lebron James x Kevin Durant https://youtu.be/UPKiag-TABk - Valee, "Womp Womp" https://open.spotify.com/album/7o66H14uvkdLb6dI866lOW Cannon - Amerie, "All I Have" https://open.spotify.com/album/3KUaoEXmzVovDKWionaofI - The Firm, "The Album" https://open.spotify.com/album/7ulHRBCAipnGUHvnIEt59Z Email: podcast@defconjive.com | Twitter: https://twitter.com/dcjpodcast | Patreon: https://patreon.com/defconjive

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DefCon Jive Episode 116 - 6 Stars Pt. 2