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Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: You Get What You Give by The New Radicals (1998)Song 1: Ray of Light by Madonna (1998)Song 2: Boxing Day by Blink-182 (2012)Song 3: Shotgun by Jr. Walker & the All-Stars (1965)Song 4: Round and Round by Ariel Pink's Haunted Graffiti (2010)Song 5: All She Wants to Do is Dance by Don Henley (1984)Song 6: out of sight by Run the Jewels (feat. 2 Chainz) (2020)Song 7: Twilight Zone by Golden Earring (1982)Song 8: Five to One by The Doors (1968)Song 9: Don't Be Cruel by Bobby Brown (1988)Song 10: River Runs Deep by Eric Clapton (2010)
| Royalty | Althea | Shoo Doo | Ms. Diva Soul | Something New | Jahkayla | Makin' Love (feat. Kevin "Church" Johnson) | Irv Da Phenom! | You And Me | Savaiah feat. Kaylan Arnold | Pretty Girl | Arkose | Trusting You (Instrumental) | Arkose | Don't Wanna Lose You | Sharon Jones & The Dap-Kings | For What It's Worth | Lex Deveaux | Soul Smile | Shea | Loving On Me | Toy Taha | Alone With You | WanMor | Love Is What It Does | Hasan Green | Easy | Hasan Green | The Greatest | Mely Lavin | Smooth | Aolani | Breathe Again | Imari | Come Closer | V. Cartier | Pure Intentions (Clean Edit) | Sash P | How Do You Love A Man Like Me? | Sayelah | TYT (Take Your Time) | Serayah | DAN: Nobody Knows | Judah Blakc feat. Laz Israel & Achotte Patrina | ZEBULON: Cast Your Cares | Judah Blakc feat. Laz Israel & Achotte Patrina | Too Forever | Norman Brown | Feel A Way | K.Marie | He Was Pleased | Gabby Poli | Sinseerly Yours | Thee Sinseers, Joey Quinones | I Can Do It Better (feat. Miel) | Bey Bright | Every Day I Try | Mel Day with Tito Lopez Combo | All She Wants | Prince De Leon feat. Tre Williams | Minute | Ameriejade | Zoso | Raffaella Zago
Regular listeners might remember a few years back I welcomed debut novelist Kelli Hawkins to the podcast. Kelli is a Newcastle-based author who landed a rare four-book deal with HarperCollins for two adult books and two children's books in 2020. Back then we were chatting about her bestselling gripping psychological thriller - Other People's Houses. A gritty and compelling novel I simply could not put down. Three years on, and Kelli has cemented her place amongst some of the best crime writers in this country - with follow up titles like All She Wants and Apartment 303. And recently, Kelli celebrated the release of yet another fabulously compulsive novel into the world. A fourth novel for adults called ‘The Miller Women'. And having just finished it, I can attest to its brilliance! Tightly woven, disturbing and incredibly satisfying, I read this absolute page-turner in one sitting - with an end that will leave you breathless. I was thrilled to welcome Kelli back to the podcast to chat about her new book.
Denny Tedesco has begun on the feature film documentary Immediate Family, director Denny Tedesco's follow-up to his award-winning music documentary The Wrecking Crew, which chronicled the most iconic session musicians of the 60s, playing with virtually every major American artist of the era including The Beach Boys, Frank Sinatra, Elvis Presley, Sonny & Cher and others. Immediate Family picks up where The Wrecking Crew left off, with Tedesco turning the lens toward another group of recording studio pros who first came to prominence in the early 1970s and still work constantly to this day: Danny Kortchmar, Leland Sklar, Russ Kunkel, Waddy Wachtel, and a handful of others. Kortchmar, Sklar and Kunkel made up three-quarters of The Section, best known for both their studio and live work in support of some of the top selling singer/songwriters and solo singers in the history of music, as well as their own acclaimed instrumental albums. (They were later joined by Wachtel). Collectively, The Section helped define the sound of a generation by supporting the top singer-songwriters of the last five decades: James Taylor, Carole King, Linda Ronstadt, Jackson Browne, Keith Richards, Neil Young, David Crosby, Graham Nash, Don Henley, Phil Collins, Bonnie Raitt, Warren Zevon, Stevie Nicks, Bryan Ferry, Lyle Lovett and Jimmy Buffett, and producers Lou Adler and Peter Asher – many of whom have already been filmed for the doc. In this illuminating documentary, many of these super-star artists reflect on their relationships and deep history with these legendary players, sharing why they've trusted them to shape their sound, and in many cases, extended their roles to include writing, co-writing and music producing. However, Immediate Family is not a nostalgia piece. Unlike other eras, where players fell out of fashion, this particular crew never did; their phones still ring with artists and producers looking for a piece of the magic they've come to expect from players five decades in as hit makers. But what really separates their story from the pack is their close friendships; tight bonds further bolstered by shared performances on massively influential, modern classics. In recent years, Kortchmar, Sklar, Kunkel and Wachtel have again teamed up, joined by guitarist Steve Postell (David Crosby, John Oates), to perform on stage and record as The Immediate Family. Kortchmar quips, “We're like a cover band that plays all originals,” referring to the band's repertoire of hits they either wrote or co-wrote for artists like Jackson Browne (“Tender is the Night” and “Somebody's Baby”), James Taylor (“Honey Don't Leave L.A.”), Don Henley (“Dirty Laundry” and “All She Wants to Do is Dance”), Warren Zevon (“Werewolves of London” and “Things to Do in Denver When You're Dead”), as well as a slew of others. The most exciting segments of the documentary may be the tales told by the session aces themselves, who have moved forward for so long by rarely looking back on their storied careers, but now can reflect on the major impact they've had on contemporary music. As James Taylor said to the doc's director Denny Tedesco at the end of his interview, as mics were being taken off, “This is a great thing that you're doing. It's so interesting.”
My Rock Moment sits down with the legendary Danny "Kootch" Kortchmar. Originally from New York, Danny moved to LA in the 60s, settled in Laurel Canyon and made his mark in the LA music scene. Even if you aren't familiar with his name, chances are his work has had a prominent place in your rock playlists.Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Danny is now with The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”), a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals).The Immediate Family had a new EP Live From Telefunken Soundstage come out on May 13. This is a bridge release to the band's forthcoming second full-length studio album and anticipated documentary, directed by Danny Tedesco (The Wrecking Crew). The film is expected to be released later this year. We cover quite a bit of ground in this episode, but check out their website below to learn more about this iconic band of musicians, listen to their latest work and get information on show dates later in the year:https://www.immediatefamilyband.com/Please don't forget to RATE and SUBSCRIBE anywhere you listen to podcasts. And if you're a fan of Instagram, follow me @la_woman_rocks for rarely seen classic rock photography and info on upcoming episodes!
My Rock Moment sits down with the legendary Danny "Kootch" Kortchmar. Originally from New York, Danny moved to LA in the 60s, settled in Laurel Canyon and made his mark in the LA music scene. Even if you aren't familiar with his name, chances are his work has had a prominent place in your rock playlists.Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Danny is now with The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”), a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals).The Immediate Family had a new EP Live From Telefunken Soundstage come out on May 13. This is a bridge release to the band's forthcoming second full-length studio album and anticipated documentary, directed by Danny Tedesco (The Wrecking Crew). The film is expected to be released later this year. We cover quite a bit of ground in this episode, but check out their website below to learn more about this iconic band of musicians, listen to their latest work and get information on show dates later in the year:https://www.immediatefamilyband.com/Please don't forget to RATE and SUBSCRIBE anywhere you listen to podcasts. And if you're a fan of Instagram, follow me @la_woman_rocks for rarely seen classic rock photography and info on upcoming episodes!
#157-155Intro/Outro: The Heat Is On by Glenn Frey157. Green River by Creedence Clearwater Revival (Green River & Bad Moon Rising & Commotion & Wrote a Song For Everyone & Lodi)156. Building the Perfect Beast by Don Henley (The Boys of Summer & Not Enough Love in the World & Building the Perfect Beast & All She Wants to Do is Dance)155. Electric Arguments by The Fireman (Sing the Changes & Sun is Shining & Lifelong Passion)Green River album artBuilding the Perfect Beast album artElectric Arguments album artVote on Today's Album ArtHave you voted on Week 6 Round 1 winners yet? If so, no further action needed. If not:Week 6 Round 1 Winners (episodes 326-330)Vote on Week 6 Round 2 Album Art
"All She Wants to Do is Dance" We tend to think of dance as a female-dominated field. But is it? Assistant teaching professor Sandra Parks breaks down the ways the industry keeps women out of leadership positions, and what needs to be done to bring about change.
The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”) is a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals). Frequent collaborators both in the studio and on-stage, their work can be heard on albums from Jackson Browne, James Taylor, Linda Ronstadt, Stevie Nicks, Keith Richards, Warren Zevon, Graham Nash, Neil Young, David Crosby and many, many, many more. Kortchmar, Sklar and Kunkel have worked together since the early 70s and made up three-quarters of The Section, best known for both their studio and live work in support of some of the top selling singer/songwriters and solo singers in the history of music, as well as their own acclaimed instrumental albums. (By mid 70s, they were later joined by Wachtel). Collectively, these musicians helped define the sound of a generation. Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Legendary guitarist, producer and songwriter Waddy Wachtel has worked with many of the same artists as Kortchmar, as well as artists like the Rolling Stones, Keith Richards, Stevie Nicks, Randy Newman, Bryan Ferry and the late Warren Zevon, with whom he co-wrote and produced a number of hit songs including “Werewolves of London,” which The Immediate Family has included in their set list. Wachtel's production work includes Keith Richards, Bryan Ferry, George Thorogood and The Church, and he has composed numerous scores for feature films. Leland Sklar has performed in the studio and on tour with Phil Collins, James Taylor, Toto and Billy Cobham, to name a few. Actually, Sklar has the most credits of any of the members of The Immediate Family, having worked on over 2,600 albums. Episode NotesThanks to DCU & Jumptown Skydiving for sponsoring this episode.Check out the custom playlist for Episode #57 hereFind The Immediate Family OnlineWebsiteFacebookInstagramTwitterYoutubeFind Mistress Carrie online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramYouTubeCameoPantheon Podcast Network
The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”) is a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals). Frequent collaborators both in the studio and on-stage, their work can be heard on albums from Jackson Browne, James Taylor, Linda Ronstadt, Stevie Nicks, Keith Richards, Warren Zevon, Graham Nash, Neil Young, David Crosby and many, many, many more. Kortchmar, Sklar and Kunkel have worked together since the early 70s and made up three-quarters of The Section, best known for both their studio and live work in support of some of the top selling singer/songwriters and solo singers in the history of music, as well as their own acclaimed instrumental albums. (By mid 70s, they were later joined by Wachtel). Collectively, these musicians helped define the sound of a generation. Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Legendary guitarist, producer and songwriter Waddy Wachtel has worked with many of the same artists as Kortchmar, as well as artists like the Rolling Stones, Keith Richards, Stevie Nicks, Randy Newman, Bryan Ferry and the late Warren Zevon, with whom he co-wrote and produced a number of hit songs including “Werewolves of London,” which The Immediate Family has included in their set list. Wachtel's production work includes Keith Richards, Bryan Ferry, George Thorogood and The Church, and he has composed numerous scores for feature films. Leland Sklar has performed in the studio and on tour with Phil Collins, James Taylor, Toto and Billy Cobham, to name a few. Actually, Sklar has the most credits of any of the members of The Immediate Family, having worked on over 2,600 albums. Episode Notes Thanks to DCU & Jumptown Skydiving for sponsoring this episode. Check out the custom playlist for Episode #57 here Find The Immediate Family Online Website Facebook Instagram Twitter Youtube Find Mistress Carrie online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram YouTube Cameo Pantheon Podcast Network
Episode #56 About The Immediate FamilyThe Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”) is a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals). Frequent collaborators both in the studio and on-stage, their work can be heard on albums from Jackson Browne, James Taylor, Linda Ronstadt, Stevie Nicks, Keith Richards, Warren Zevon, Graham Nash, Neil Young, David Crosby and many, many, many more. Kortchmar, Sklar and Kunkel have worked together since the early 70s and made up three-quarters of The Section, best known for both their studio and live work in support of some of the top selling singer/songwriters and solo singers in the history of music, as well as their own acclaimed instrumental albums. (By mid 70s, they were later joined by Wachtel). Collectively, these musicians helped define the sound of a generation. Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Legendary guitarist, producer and songwriter Waddy Wachtel has worked with many of the same artists as Kortchmar, as well as artists like the Rolling Stones, Keith Richards, Stevie Nicks, Randy Newman, Bryan Ferry and the late Warren Zevon, with whom he co-wrote and produced a number of hit songs including “Werewolves of London,” which The Immediate Family has included in their set list. Wachtel's production work includes Keith Richards, Bryan Ferry, George Thorogood and The Church, and he has composed numerous scores for feature films. Leland Sklar has performed in the studio and on tour with Phil Collins, James Taylor, Toto and Billy Cobham, to name a few. Actually, Sklar has the most credits of any of the members of The Immediate Family, having worked on over 2,600 albums. Episode NotesThanks to DCU & Jumptown Skydiving for sponsoring this episode.Check out the custom playlist for Episode #57 hereFind The Immediate Family OnlineWebsiteFacebookInstagramTwitterYoutubeFind Mistress Carrie online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramYouTubeCameoPantheon Podcast Network
Episode #56 About The Immediate Family The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”) is a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals). Frequent collaborators both in the studio and on-stage, their work can be heard on albums from Jackson Browne, James Taylor, Linda Ronstadt, Stevie Nicks, Keith Richards, Warren Zevon, Graham Nash, Neil Young, David Crosby and many, many, many more. Kortchmar, Sklar and Kunkel have worked together since the early 70s and made up three-quarters of The Section, best known for both their studio and live work in support of some of the top selling singer/songwriters and solo singers in the history of music, as well as their own acclaimed instrumental albums. (By mid 70s, they were later joined by Wachtel). Collectively, these musicians helped define the sound of a generation. Danny Kortchmar's credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley's “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne's “Somebody's Baby” and “Shaky Town,” to name a few. Legendary guitarist, producer and songwriter Waddy Wachtel has worked with many of the same artists as Kortchmar, as well as artists like the Rolling Stones, Keith Richards, Stevie Nicks, Randy Newman, Bryan Ferry and the late Warren Zevon, with whom he co-wrote and produced a number of hit songs including “Werewolves of London,” which The Immediate Family has included in their set list. Wachtel's production work includes Keith Richards, Bryan Ferry, George Thorogood and The Church, and he has composed numerous scores for feature films. Leland Sklar has performed in the studio and on tour with Phil Collins, James Taylor, Toto and Billy Cobham, to name a few. Actually, Sklar has the most credits of any of the members of The Immediate Family, having worked on over 2,600 albums. Episode Notes Thanks to DCU & Jumptown Skydiving for sponsoring this episode. Check out the custom playlist for Episode #57 here Find The Immediate Family Online Website Facebook Instagram Twitter Youtube Find Mistress Carrie online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram YouTube Cameo Pantheon Podcast Network
Everyone Dies In Sunderland: A podcast about growing up terrified in the eighties and nineties
The gang returns to 1993 to explore the unsolved murder which took place at the end of John's road, the killing of takeaway delivery driver Paul Logan. John writes to the Queen. Claire explains where baby foxes come from. Gareth loses 52% of the audience. The IRA fail to stop Mr Blobby. Digressions in this episode include: The Animals of Farthing Wood, the varied career of composer Hans Zimmer, the alarming pre-“All She Wants” career of one of Ace of Bass, floating candles, children getting lost while potholing and seduction tips from both Shane Richie and a “love guru and Chris de Burgh lookalike”. Everyone Dies in Sunderland explores some of the darkest moments of North East history, and includes jokes. These jokes will never be at the expense of victims or their families and will always be at the expense of people who deserve to be mocked, robbed of their power and shown up for the idiots they really are. If you're easily offended or personally connected to the events we're discussing though,you probably shouldn't listen. For all our snark and irreverence we do really hope that bringing this case to a wider audience helps get Paul justice and his family closure. If you have any information about the Paul Logan case, please please please Crimestoppers anonymously on 0800 555 111 or use their anonymous online form at Crimestoppers-uk.org Here is a recent Northumbria Police appeal on the case: https://beta.northumbria.police.uk/latest-news/2018/december/daughter-of-man-killed-25-years-ago-issues-heartfelt-appeal-on-25th-anniversary/ Here is a similar appeal from Durham Police: https://www.durham.police.uk/news-and-events/Pages/Reward-offered-to-solve-.aspx Our theme music is the song “Steady Away” by Pete Dilley and can be found on his album Half-truths and Hearsay which you can/should buy/stream here: https://petedilley.bandcamp.com/album/half-truths-and-hearsay You can reach us on email everyonediesinsunderland@gmail.com, on Twitter at @everyonediespod, on Facebook and Instagram. Of all of Clive Worth's books, this one has the best cover - https://www.amazon.co.uk/Internet-Dating-Kings-Diaries-Life/dp/1902578406/ref=sr_1_2?dchild=1&qid=1615504438&refinements=p_27%3AClive+Worth&s=books&sr=1-2 John didn't make that song up - https://www.youtube.com/watch?v=Aq2r6MwD0o4
Polo G has only been rapping for a short time, but he’s already reached heights in the game that not many ever attain. And if you don’t know yet, you will soon because he recently landed on the Billboard Hot 100 chart for the first time with his song “Pop Out” and followed it up with “The Come Up," “All She Wants," “Finer Things” and “Hollywood”. Polo G grew up in Chicago around difficult circumstances and really didn’t take rap seriously until he was almost 18. But it was when he started shooting music videos and releasing music videos onto his YouTube page that he would gain the attention of the right people. And he was putting out a lot of content. Can you guess how many videos Polo dropped on YouTube in one day on May 28, 2018?
Whitney is back with her new EP- Heartbreaker! Her first EP in almost a decade and she tells why she decided to do another solo project. Whitney tells us how long this has been in the works and what tracks she wrote herself. What does the title track- Heartbreaker mean to her? The blood, sweat, tears she has poured into this project along with some insight into the tracks of: Homesick, All She Wants, and Damn I Do. Whitney tells us her plans for 2021 and beyond! Links:Official Website: https://www.whitneyduncan.com/Heartbreaker EP: https://smarturl.it/heartbreakerepBefore the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/BTL Merchandise: https://www.beforethelightspod.com/merch Become a BTL Crew Member: https://www.patreon.com/beforethelights Support the show (https://www.beforethelightspod.com/member-areas)
Whitney is back with her new EP- Heartbreaker! Her first EP in almost a decade and she tells why she decided to do another solo project. Whitney tells us how long this has been in the works and what tracks she wrote herself. What does the title track- Heartbreaker mean to her? The blood, sweat, tears she has poured into this project along with some insight into the tracks of: Homesick, All She Wants, and Damn I Do. Whitney tells us her plans for 2021 and beyond! Links:Official Website: https://www.whitneyduncan.com/Heartbreaker EP: https://smarturl.it/heartbreakerepBefore the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/BTL Merchandise: https://www.beforethelightspod.com/merch Become a BTL Crew Member: https://www.patreon.com/beforethelights Support the show (https://www.patreon.com/beforethelights)
The show starts with Whitney talking being from a small town of 900 people in Tennessee called Scotts Hill. She talks about how her Grandfather was the one who introduced her to music and starting to sing at age 3. At age 12-13 she was offered a record deal that led to her connection today that helped pave the way for her music career. Performing at Tootsie's in downtown Nashville and collaborating with Kenny Rogers on his single “My World Over” that is on his 42 Ultimate Hits LP. How she got on Nashville Star that led to a deal with Warner Brothers. We talk about the singles “Skinny Dippin” & “When I Said I Would” off her Right Road Now LP in 2010 that also included “So Sorry Mama” that was a single in the movie Footloose. Learn how she was casted for Survivor South Pacific, how much down time they have, her weight loss, recovery time, and being on Ponderosa. Whitney and her husband were on the 25th season on Amazing Race as she talks about the experience. I bring up her EP One Shot that has been forgotten, the story behind the song “Homesick” and the band she was in called Post Monroe Band that toured with Martina McBride. We then talk about her new music “Lightweight” and “All She Wants”. The challenges for Whitney in the music business, how to connect with her and what is on her playlist these days. Links:Official Website Whitney Duncan: https://www.whitneyduncan.com/Skinny Dippin Video: https://www.youtube.com/watch?v=3vyzHkv42W8Official Video Lightweight: https://www.youtube.com/watch?v=rgnhXWtX9hoAll She Wants Official Video: https://www.youtube.com/watch?v=qYfxNKtYqXIFollow us on IG: https://www.instagram.com/beforethelightspodcast/Support the show: https://www.patreon.com/beforethelightsBuy your Merch! https://www.beforethelightspod.com/merch Extra 5:Whitney's hobbiesBeing on Say yes to the DressSlow drivers pet peeve… Great stuff hereSinging the National Anthem for the 2006 CMA Music FestivalSupport the show: https://www.patreon.com/beforethelights Support the show (https://www.beforethelightspod.com/member-areas)
The show starts with Whitney talking being from a small town of 900 people in Tennessee called Scotts Hill. She talks about how her Grandfather was the one who introduced her to music and starting to sing at age 3. At age 12-13 she was offered a record deal that led to her connection today that helped pave the way for her music career. Performing at Tootsie’s in downtown Nashville and collaborating with Kenny Rogers on his single “My World Over” that is on his 42 Ultimate Hits LP. How she got on Nashville Star that led to a deal with Warner Brothers. We talk about the singles “Skinny Dippin” & “When I Said I Would” off her Right Road Now LP in 2010 that also included “So Sorry Mama” that was a single in the movie Footloose. Learn how she was casted for Survivor South Pacific, how much down time they have, her weight loss, recovery time, and being on Ponderosa. Whitney and her husband were on the 25th season on Amazing Race as she talks about the experience. I bring up her EP One Shot that has been forgotten, the story behind the song “Homesick” and the band she was in called Post Monroe Band that toured with Martina McBride. We then talk about her new music “Lightweight” and “All She Wants”. The challenges for Whitney in the music business, how to connect with her and what is on her playlist these days. Links:Official Website Whitney Duncan: https://www.whitneyduncan.com/Skinny Dippin Video: https://www.youtube.com/watch?v=3vyzHkv42W8Official Video Lightweight: https://www.youtube.com/watch?v=rgnhXWtX9hoAll She Wants Official Video: https://www.youtube.com/watch?v=qYfxNKtYqXIFollow us on IG: https://www.instagram.com/beforethelightspodcast/Support the show: https://www.patreon.com/beforethelightsBuy your Merch! https://www.beforethelightspod.com/merch
All She Wants to Do is Dance the perfect 80s tune and name for the Mixed-ish episode that navigates the tightrope above race and dating. In this installment of the podcast, we follow Bow to her first dance, as she confronts others’ expectations of WHO should be on her arm. We also dissect the delicate dance of choosing a romantic partner as a biracial individual. Personal preference or political statement? For our Mixed Message we're asking you to share anecdotes about dating someone who was or is a different race than you. What did people around you say? Find our Blog with all the show resources here Mixed Life ATL is produced by SDB-360, LLC Listen to the full episode and subscribe at www.mixedlifeatl.com Podcast link: https://anchor.fm/mixedlifeatl YOUTUBE: https://youtu.be/ylMVQUqwQ4k Instagram: @MixedLifeATL Twitter: @mixedlifeatl Facebook: https://www.facebook.com/MixedLifeATL/ Official Hashtag: #mixedlifeatl --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mixedlifeatl/support
All we want to do is tell you about this episode of THE STORY SONG PODCAST. Join your hosts for their review of “All She Wants to Do Is Dance,” a 1985 hit solo single by Don Henley. It’s Spy vs legendary Eagles drummer in this 80s pop-rock hit. You’ll learn how a Yankee can become a kingpin and how to barely escape a revolution! So, grab a cocktail (preferably not molotov), and join us in the disco lounge for this episode of THE STORY SONG PODCAST! “All She Wants to Do Is Dance” by Don Henley (from the album Building the Perfect Beast) is available on Apple Music, Google Play Music, Amazon Music, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast). THE STORY SONG PODCAST is a member of the Forge Audio Network.
Don Henley has been a major part of the Eagles, but the singer songwriter drummer has certainly also had a reputable solo career worth noticing. But how did Don get to be such an epic drummer and musician? In 1963, his mother reportedly purchased a drum set for him after he pulled a childhood stunt in which he blew up the family washing machine with a cherry bomb. Yes, that’s right, she rewarded him for blowing up a washing machine. 1982 must have been a popular year for the Eagles band members producing solo albums, as Henley’s solo debut just so happened to debut at the same time as Eagles bandmate Glenn Frey. Danny Kortchmar, who co-wrote songs like “Dirty Laundry” with Henley, said Don would drive around in his car and listen to the music, formulating lyrics for the song in his head. He’d come back to the studio with lots of ideas. His solo hits include "Dirty Laundry", "The Boys of Summer", "All She Wants to Do Is Dance", "The Heart of the Matter", "The Last Worthless Evening", "Sunset Grill", "Not Enough Love in the World", and "The End of the Innocence". While Don’s debut album was a smash success, the length of time before he could produce another set of records was quite long into the 90s. Record company Geffen had a dispute with Henley that prevented him from making any new solo releases for nearly 11 years. In addition to his squabbles with his record company, Mr. Henley has also been no stranger to run-ins with the law. He was arrested in 1980 in LA and charged with contributing to the delinquency of a minor when paramedics were called to his home to save a naked 16 year old girl overdosing on cocaine and Quaaludes. He went to drug counseling, paid a fine, and ended up on two years probation. Don is still actively creating solo material, while also continuing to tour in 2020 with the remaining members of the Eagles.
En este podcast revisaremos un playlist de 6 temas con los mejores éxitos que nos dejó el ex integrante de la banda folk rock The Eagles, hablamos del baterista Don Henley. Repasaremos sus temas como solista durante la década del 80': Johnny Can't Read, Dirty Laundry, I Can't Stand Still, The Boys of Summer, All She Wants to Do Is Dance y The End Of The Innocence.
Welcome to episode seven of A History of Rock Music in Five Hundred Songs. Today we’re looking at Wynonie Harris and “Good Rockin’ Tonight” —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. All the music I talk about here is now in the public domain, and there are a lot of good cheap compilations available. This four-CD set of Wynonie Harris is probably the definitive one. This two-CD set of Roy Brown material has all his big hits, as well as the magnificently disturbing “Butcher Pete Parts 1 & 2”, my personal favourite of his. Lucky Millinder isn’t as well served by compilations, but this one has all the songs I talk about here, plus a couple I talked about in the Sister Rosetta Tharpe episode. There is only one biography of Wynonie Harris that I know of — Rock Mr Blues by Tony Collins — and that is out of print, though you can pick up expensive second-hand copies here. Some of the information on Lucky Millinder comes from Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald, which I also used for the episode on Rosetta Tharpe. There are articles on Wynonie Harris, Roy Brown, and Cecil Gant in Unsung Heroes of Rock ‘n’ Roll by Nick Tosches. This book is considered a classic, and will probably be of interest to anyone who finds this episode and the next few interesting, but a word of caution — it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he’s a bit of an edgelord who’ll be needlessly offensive to get a laugh. The quotes from Harris I use here are from an article in Tan magazine, which Tosches quotes. Before Elvis, a book I’ve mentioned many times before, covers all the artists I talk about here. And again, archive.org’s collection of digitised 78 records was very useful. Patreon Admin Note I have updated the details on my Patreon to better reflect the fact that it backs this podcast as well as my other work, and to offer podcast-related rewards. I’ll be doing ebooks for Patreons based on the scripts for the podcasts (the first of those, Savoy Stompers and Kings of Swing should be up in a week or so), and if the Patreon hits $500 a month I’ll start doing monthly bonus episodes for backers only. Those episodes won’t be needed to follow the story in the main show, but I think they’d be fun to do. To find out more, check out my Patreon. Transcript There’s a comic called Phonogram, and in it there are people called “phonomancers”. These are people who aren’t musicians, but who can tap into the power of music other people have made, and use it to do magic. I think “phonomancers” is actually a very useful concept for dealing with the real world as well. There are people in the music industry who don’t themselves play an instrument or sing or any of the normal musician things, but who manage to get great records made — records which are their creative work — by moulding and shaping the work of others. Sometimes they’re record producers, sometimes they’re managers, sometimes they’re DJs or journalists. But there are a lot of people out there who’ve shaped music enormously without being musicians in the normal sense. Brian Eno, Sam Phillips, Joe Meek, Phil Spector, Malcolm McLaren, Simon Napier-Bell… I’m sure you can add more to the list yourself. People — almost always men, to be honest — who have a vision, and a flair for self-publicity, and an idea of how to get musicians to turn that idea into a reality. Men who have the power to take some spotty teenager with a guitar and turn him into a god, at least for the course of a three minute pop song. And there have always been spaces in the music industry for this sort of person. And in the thirties and forties, that place was often in front of the band. Most of the big band leaders we remember now were themselves excellent musicians — Count Basie, Duke Ellington, Benny Goodman, you could put those people up against most others on their instruments. They might not have been the best, but they could hold their own. But plenty of other band leaders were mediocre musicians or couldn’t play at all. Glenn Miller was a competent enough trombone player, but no-one listens to the Glenn Miller band and thinks “wow, one of those four trombone players is fantastic!” And other band leaders were much less involved in the music. Kay Kyser — the most successful bandleader of the period, who had eleven number one records and thirty-five in the top ten — never played an instrument, didn’t write songs, didn’t sing. He acted as onstage MC, told jokes, and was the man at the front of the stage. And there were many other bandleaders like that — people who didn’t have any active involvement in the music they were credited with. Bob Crosby, Bing’s brother, for example, was a bandleader and would sing on some tracks, but his band performed plenty of instrumentals without him having anything to do with them. Most non-playing bandleaders would sing, like Bob Crosby, but even then they often did so rarely. And yet some of them had an immense influence on the music world. Because a good bandleader’s talent wasn’t in playing an instrument or writing songs. It was having an idea for a sound, and getting together the right people who could make that sound, and creating a work environment in which they could make that sound well. It was a management role, or an editorial one. But those roles can be important. And one of the most important people to do that job was Lucky Millinder, who we’ve talked about a couple of times already in passing. Lucky Millinder is a largely forgotten figure now, but he was one of the most important figures in black music in the 1940s. He was a fascinating figure — one story about how he got his name is that Al Capone was down ten thousand dollars playing dice, Millinder offered to rub the dice for luck, and Capone ended the night fifty thousand dollars up and called him Lucky from then on. (I think it’s more likely that Lucky was short for his birth name, Lucius, but I think the story shows the kind of people Millinder was hanging around with). He didn’t play an instrument or read music or sing much. What Millinder could definitely do was recognise talent. He’d worked with Bill Doggett, before Doggett went off to join the Ink Spots’ backing band, and the trumpet player on his first hit was Dizzy Gillespie, who Millinder had hired after Gillespie had been sacked from Cab Calloway’s band after stabbing Calloway in the leg. He had Rosetta Tharpe as his female singer at the beginning of the forties, and Ruth Brown — who we’ll talk about later — later on. He’d started out as the leader of the Mills Blue Rhythm Band, the house band in the Cotton Club, before moving on to lead, as his own band, one of the main bands in residence at the Savoy, along with occasionally touring the chitlin circuit — the rather derogatory name for the clubs and theatres that were regular tour stops for almost all major black artists at the time. Slowly, during the 1940s, Millinder transitioned his band from the kind of swing music that had been popular in the thirties, to the jump band style that was becoming more popular. And if you want to point to one band that you can call the first rhythm and blues band, you probably want to look at Millinder’s band, who more than any other band of the era were able to combine all the boogie, jump, and jive sounds with a strong blues feeling and get people dancing. Listen, for example, to “Savoy” from 1943: [Excerpt: “Savoy” by Lucky Millinder] In 1944, after Rosetta Tharpe had left his band, Millinder needed a new second singer, to take the occasional lead as Tharpe had. And he found one — one who later became the most successful rhythm and blues artist of the late 1940s. Wynonie Harris. Harris was already known as “Mr. Blues” when Millinder first saw him playing in Chicago and invited him to join the band. He was primarily a blues shouter, inspired by people like Big Joe Turner and Jimmy Rushing, but he could also perform in a subtler style, close to the jive singing of a Cab Calloway or Louis Jordan. Harris joined the Millinder band and started performing with them in their residency at the Savoy. Shortly after this, the band went into the studio to record “Who Threw The Whiskey In The Well?” [excerpt “Who Threw The Whiskey in the Well?”] You’ll note that that song has a backbeat. One of the things we talked about right back in episode two was that the combination of the backbeat and the boogie bass is what really makes rock and roll, and we’re now getting to the point that that combination was turning up more and more. That was recorded in May 1944, almost straight after the end of the musicians union strike, but it wasn’t released straight away. Records, at that time, were released on discs made out of shellac, which is a resin made from insect secretions. Unfortunately, the insects in question were native to Vietnam, which was occupied by Japan, and India, which was going through its own problems at the time, so shellac was strictly rationed. There was a new product, vinylite, being made which seemed promising for making records, but that was also used for lifejackets, which were obviously given a higher priority during a war than making records was. So the record wasn’t released until nearly a year after it was recorded. And during that time, Wynonie Harris had become a much more important part of Millinder’s band, and was starting to believe that maybe he deserved a bit more credit. Harris, you see, was an absolutely astonishing stage presence. Lots of people who spoke about Elvis Presley in later years said that his performances, hip thrusts and leg shaking and all, were just a watered-down version of what Wynonie Harris had been doing. Harris thought of himself as a big star straight away, This belief was made stronger when “Who Threw The Whiskey In The Well” was finally released. It became a massive hit, and the only money Harris saw from it was a flat $37.50 session fee. Millinder, on the other hand, was getting the royalties. Harris decided that it was his vocal, not anything to do with the rest of the band, that had made the record a success, and that he could make more money on his own. (In case you hadn’t realised, yet, Wynonie Harris was never known as the most self-effacing of people, and that confidence gave him a huge amount of success on stage, but didn’t win him many friends in his personal life). Harris went solo, and Lucky Millinder replaced him with a trumpet player and singer called Henry Glover. Harris started making records for various small labels. His first record as a solo artist was “Around the Clock Blues”, one of the most influential records ever made: [Excerpt “Around the Clock Blues” by Wynonie Harris] If that sounds familiar, maybe it’s because you’ve heard this song by Arthur Crudup that Elvis later covered: [excerpt of “So Glad You’re Mine” by Arthur Crudup, showing it’s more or less identical] Or maybe you know “Reelin’ and Rockin'” by Chuck Berry… [excerpt of “Reelin’ and Rockin'” by Chuck Berry, showing it’s also more or less identical] And of course there was another song with “Around the Clock” in the title, and we’ll get to that pretty soon… The band on “Around the Clock”, incidentally, was led by a session drummer called Johnny Otis. That record, in fact, is one of the milestones in the development of rock and roll. And yet it’s not the most important record Wynonie Harris made in the late 1940s. Harris recorded for many labels over the next couple of years, including King Records, whose A&R man Ralph Bass we’ll also be hearing more about, and Bullet Records, whose founder Jim Bulleit went on to bigger things as well. And just as a brief diversion, we’ll take a listen to one of the singles he made around this time, “Dig this Boogie”: [excerpt “Dig This Boogie”, Wynonie Harris] I played that just because of the pianist on that record — Herman “Sonny” Blount later became rather better known as Sun Ra, and while he didn’t have enough to do with rock music for me to do an episode on him, I had to include him here when I could. Wynonie Harris became a big star within the world of rhythm and blues, and that was in large part because of the extremely sexual performances he put on, and the way he aimed them at women, not at the young girls many other singers would target. As he said himself, the reason he was making fifteen hundred dollars a week when most famous singers were getting fifty or seventy-five dollars a night was “The crooners star on the Great White Way and get swamped with Coca-Cola-drinking bobby-soxers and other ‘jail bait’. I star in Georgia, Texas, Alabama, Tennessee, and Missouri and get those who have money to buy stronger stuff and my records to play while they drink it. I like to sing to women with meat on their bones and that long green stuff in their pocketbook”. And he certainly made enough of that long green stuff, but he spent it just as fast as he made it. When he got a ten thousand dollar royalty cheque, he bought himself two Cadillacs and hired two chauffeurs, and every night at the end of his show they’d both arrive at the venue and he’d pick which one he was riding home in that night. Now, having talked about Wynonie Harris for a little bit, let’s pause for a moment and talk about one of his fans. Roy Brown was a big fan of Harris, and was a blues singer himself, in something like the same style. Brown had originally been hired as “a black singer who sounds white”, which is odd because he used a lot of melisma in his vocals, which was normally a characteristic of black singing. But other than that, Brown’s main vocal influences when he started were people like Bing Crosby and other crooners, rather than blues music. However, he soon became very fond of jump blues, and started writing songs in the style himself. In particular, one, called “Good Rockin’ Tonight”, he thought might be popular with other audiences, since it always went down so well in his own shows. Indeed, he thought it might be suitable for Wynonie Harris — and when Harris came to town, Brown suggested the song to him. And Harris wasn’t interested. But after Brown moved back to New Orleans from Galveston, Texas, where he’d been performing — there was a girl, and a club owner, and these things happen and sometimes you have to move — Brown took his song to Cecil Gant instead. Gant was another blues singer, and if Harris wasn’t up for recording the song, maybe Gant would be. Cecil Gant was riding high off his biggest hit, “I Wonder”, which was a ballad, and he might have seemed a strange choice to record “Good Rockin’ Tonight”, but while Gant’s A-sides were ballads, his B-sides were boogie rockers, and very much in the style of Brown’s song — like this one, the B-side to “I Wonder” [excerpt “Cecil Boogie” by Cecil Gant] But Gant wasn’t the best person for Brown to ask to record a song. According to Jim Bulleit, who produced Gant’s records, everything Gant recorded was improvised in one take, and he could never remember what it was he’d just done, and could never repeat a song. So Gant wasn’t really in the market for other people’s songs. But he was so impressed by Brown’s singing, as well as his song, that he phoned the head of his record company, at 2:30AM, and got Brown to sing down the phone. After hearing the song, the record company head asked to hear it a second time. And then he told Gant “give him fifty dollars and don’t let him out of your sight!” And so Roy Brown ended up recording his song, on Deluxe Records, and having a minor hit with it: [excerpt “Good Rocking Tonight” by Roy Brown] When you listen back to that, now, it doesn’t sound all that innovative at all. In fact it wears its influences on its sleeve so much that it namechecks Sweet Lorraine, Sioux City Sue, Sweet Georgia Brown, and Caldonia, all of whom were characters who’d appeared in other popular R&B songs around that time — we talked about Caldonia, in fact, in the episode about “Choo Choo Ch’Boogie” and Louis Jordan. It might also sound odd to anyone who’s familiar with later cover versions by Elvis Presley, or by Paul McCartney and others who followed the pattern of Elvis’ version. Brown only sings the opening line once, before singing “I’m gonna hold my baby as tight as I can”. Those other versions restructure the song into a fairly conventional sixteen-bar blues form by adding in a repeat of the first line and a chord change along with it. Roy Brown’s original, on the other hand, just holds the first chord, and keeps playing the same riff, for almost the entire verse and chorus — the chord changes are closer to passing chords than to anything else, and the song ends up having some of the one-chord feel that people like John Lee Hooker had, where the groove is all and harmonic change is thrown out of the window. Even though you’d think, from the melody line, that it was a twelve-bar blues, it’s something altogether different. This is something that you need to realise — the more chords something has, in general, the harder it is to dance to. And there will always, always, be a tension between music that’s all about the rhythm, and which is there for you to dance to, and music which is all about the melody line, and which treats harmonic interest as an excuse to write more interesting melodies. You can either be Burt Bacharach or you can be Bo Diddley, and the closer you get to one, the further you get from the other. And on that spectrum, “Good Rockin’ Tonight” is absolutely in the Diddley corner. But at the time, this was an absolutely phenomenal record, and it immediately started to take off in the New Orleans market. And then Wynonie Harris realised that maybe he’d made a mistake. Maybe he should have recorded that song after all. And so he did — cutting his own, almost identical, cover version of Brown’s song: [excerpt from “Good Rocking Tonight” by Wynonie Harris] There are a few differences between the two, of course. In particular, Harris introduced those “hoy hoy” vocals we just heard, which weren’t part of Roy Brown’s original. That’s a line which comes from “The Honeydripper”, another massively important R&B record. Harris also included a different instrumental introduction — playing “When the Saints Go Marchin’ In” at the start, a song whose melody bears a slight resemblance to Brown’s song. Harris also adds that backbeat again, and it’s for that reason that Wynonie Harris’ version of the song, not Roy Brown’s original, is the one that people call “the first rock and roll record”. Other than those changes, Harris’ version is a carbon copy of Roy Brown’s version. Except, of course, that Wynonie Harris was one of the biggest stars in R&B, while Roy Brown was an unknown who’d just released his first single. That makes a lot of difference, and Harris had the big hit with the song. And “Good Rocking Tonight”, in Harris’ version, became one of those records that was *everywhere*. Roy Brown’s version of the song made number thirteen on the R&B charts, and two years later it would re-enter the charts and go to number eleven – but Harris’ was a world-changing hit, at least in the R&B market. Harris’ version, in fact, started off a whole chain of soundalikes and cash-ins, records that were trying to be their own version of “Good Rockin’ Tonight”. Harris himself recorded a sequel, “All She Wants to Do is Rock”, but for the next two years everyone was recording songs with “rock” in the title. There was Roy Brown’s own sequel, “Rockin’ at Midnight”: [Excerpt “Rockin’ at Midnight” by Roy Brown] There was Cecil Gant’s “We’re Gonna Rock” [Excerpt] There was “Rock the Joint” by Jimmy Preston [Excerpt] From 1948 through about 1951, if you listened to rhythm and blues records at all you couldn’t escape this new rock craze. Record after record with “rock” in the title, with a boogie woogie bassline, with a backbeat, and with someone singing about how they were going to rock and roll. This was, in fact, the real start of the rock and roll music fad. We’re still six years away from it coming to the notice of the white mainstream audience, but all the pieces are there together, and while we’re still three years away even from the canonical “first rock and roll record”, Jackie Brenston’s “Rocket 88”, 1948 is when rock and roll first became a cohesive, unified, whole, something that was recognisable and popular, a proper movement in music rather than odd individuals making their own separate music. Of course, it was still missing some of the ingredients that would later be added. First-wave rock and roll is a music that’s based on the piano and horn sections rather than guitars, and it wouldn’t be until it merged with hillbilly boogie in the early fifties that the electric guitar started to be an important instrument in it. But… we’ve talked before and will talk again about how there’s no real “first rock and roll record”, but if you insist on looking for one then “Good Rocking Tonight” is as good a candidate as any. Neither of its creators did especially well from the rock and roll craze they initiated though. Roy Brown got a reputation for being difficult after he went to the musicians’ union to try to get some of the money the record company owed him — in the 1950s, as today, record companies thought it was unreasonable for musicians and singers to actually want them to pay the money that was written in their contract — and so after a period of success in the late forties and very early fifties he spent a couple of decades unable to get a hit. He eventually started selling encyclopaedias door to door — with the unique gimmick that when he was in black neighbourhoods he could offer the people whose doors he was knocking on an autographed photo of himself. He sold a lot of encyclopaedias that way, apparently. He continued making the occasional great R&B record, but he made more money from sales. He died in 1981. Wynonie Harris wasn’t even that lucky. He basically stopped having hits by 1953, and he more or less gave up performing by the early sixties. The new bands couldn’t play his kind of boogie, and in his last few performances, by all accounts, he cut a sad and pitiful figure. He died in 1969 after more or less drinking himself to death. The music business is never friendly towards originals, especially black originals. But we’re now finally into the rock era. We’ll be looking over the next few weeks at a few more “first rock and roll songs” as well as at some music that still doesn’t quite count as rock but was influential on it, but if you’ve ever listened to a rock and roll record and enjoyed it, a tiny part of the pleasure you got you owe to Roy Brown and Wynonie Harris.
Welcome to episode seven of A History of Rock Music in Five Hundred Songs. Today we're looking at Wynonie Harris and "Good Rockin' Tonight" ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. All the music I talk about here is now in the public domain, and there are a lot of good cheap compilations available. This four-CD set of Wynonie Harris is probably the definitive one. This two-CD set of Roy Brown material has all his big hits, as well as the magnificently disturbing "Butcher Pete Parts 1 & 2", my personal favourite of his. Lucky Millinder isn't as well served by compilations, but this one has all the songs I talk about here, plus a couple I talked about in the Sister Rosetta Tharpe episode. There is only one biography of Wynonie Harris that I know of -- Rock Mr Blues by Tony Collins -- and that is out of print, though you can pick up expensive second-hand copies here. Some of the information on Lucky Millinder comes from Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald, which I also used for the episode on Rosetta Tharpe. There are articles on Wynonie Harris, Roy Brown, and Cecil Gant in Unsung Heroes of Rock 'n' Roll by Nick Tosches. This book is considered a classic, and will probably be of interest to anyone who finds this episode and the next few interesting, but a word of caution -- it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he's a bit of an edgelord who'll be needlessly offensive to get a laugh. The quotes from Harris I use here are from an article in Tan magazine, which Tosches quotes. Before Elvis, a book I've mentioned many times before, covers all the artists I talk about here. And again, archive.org's collection of digitised 78 records was very useful. Patreon Admin Note I have updated the details on my Patreon to better reflect the fact that it backs this podcast as well as my other work, and to offer podcast-related rewards. I'll be doing ebooks for Patreons based on the scripts for the podcasts (the first of those, Savoy Stompers and Kings of Swing should be up in a week or so), and if the Patreon hits $500 a month I'll start doing monthly bonus episodes for backers only. Those episodes won't be needed to follow the story in the main show, but I think they'd be fun to do. To find out more, check out my Patreon. Transcript There's a comic called Phonogram, and in it there are people called "phonomancers". These are people who aren't musicians, but who can tap into the power of music other people have made, and use it to do magic. I think "phonomancers" is actually a very useful concept for dealing with the real world as well. There are people in the music industry who don't themselves play an instrument or sing or any of the normal musician things, but who manage to get great records made -- records which are their creative work -- by moulding and shaping the work of others. Sometimes they're record producers, sometimes they're managers, sometimes they're DJs or journalists. But there are a lot of people out there who've shaped music enormously without being musicians in the normal sense. Brian Eno, Sam Phillips, Joe Meek, Phil Spector, Malcolm McLaren, Simon Napier-Bell... I'm sure you can add more to the list yourself. People -- almost always men, to be honest -- who have a vision, and a flair for self-publicity, and an idea of how to get musicians to turn that idea into a reality. Men who have the power to take some spotty teenager with a guitar and turn him into a god, at least for the course of a three minute pop song. And there have always been spaces in the music industry for this sort of person. And in the thirties and forties, that place was often in front of the band. Most of the big band leaders we remember now were themselves excellent musicians -- Count Basie, Duke Ellington, Benny Goodman, you could put those people up against most others on their instruments. They might not have been the best, but they could hold their own. But plenty of other band leaders were mediocre musicians or couldn't play at all. Glenn Miller was a competent enough trombone player, but no-one listens to the Glenn Miller band and thinks "wow, one of those four trombone players is fantastic!" And other band leaders were much less involved in the music. Kay Kyser -- the most successful bandleader of the period, who had eleven number one records and thirty-five in the top ten -- never played an instrument, didn't write songs, didn't sing. He acted as onstage MC, told jokes, and was the man at the front of the stage. And there were many other bandleaders like that -- people who didn't have any active involvement in the music they were credited with. Bob Crosby, Bing's brother, for example, was a bandleader and would sing on some tracks, but his band performed plenty of instrumentals without him having anything to do with them. Most non-playing bandleaders would sing, like Bob Crosby, but even then they often did so rarely. And yet some of them had an immense influence on the music world. Because a good bandleader's talent wasn't in playing an instrument or writing songs. It was having an idea for a sound, and getting together the right people who could make that sound, and creating a work environment in which they could make that sound well. It was a management role, or an editorial one. But those roles can be important. And one of the most important people to do that job was Lucky Millinder, who we've talked about a couple of times already in passing. Lucky Millinder is a largely forgotten figure now, but he was one of the most important figures in black music in the 1940s. He was a fascinating figure -- one story about how he got his name is that Al Capone was down ten thousand dollars playing dice, Millinder offered to rub the dice for luck, and Capone ended the night fifty thousand dollars up and called him Lucky from then on. (I think it's more likely that Lucky was short for his birth name, Lucius, but I think the story shows the kind of people Millinder was hanging around with). He didn't play an instrument or read music or sing much. What Millinder could definitely do was recognise talent. He'd worked with Bill Doggett, before Doggett went off to join the Ink Spots' backing band, and the trumpet player on his first hit was Dizzy Gillespie, who Millinder had hired after Gillespie had been sacked from Cab Calloway's band after stabbing Calloway in the leg. He had Rosetta Tharpe as his female singer at the beginning of the forties, and Ruth Brown -- who we'll talk about later -- later on. He'd started out as the leader of the Mills Blue Rhythm Band, the house band in the Cotton Club, before moving on to lead, as his own band, one of the main bands in residence at the Savoy, along with occasionally touring the chitlin circuit -- the rather derogatory name for the clubs and theatres that were regular tour stops for almost all major black artists at the time. Slowly, during the 1940s, Millinder transitioned his band from the kind of swing music that had been popular in the thirties, to the jump band style that was becoming more popular. And if you want to point to one band that you can call the first rhythm and blues band, you probably want to look at Millinder's band, who more than any other band of the era were able to combine all the boogie, jump, and jive sounds with a strong blues feeling and get people dancing. Listen, for example, to "Savoy" from 1943: [Excerpt: "Savoy" by Lucky Millinder] In 1944, after Rosetta Tharpe had left his band, Millinder needed a new second singer, to take the occasional lead as Tharpe had. And he found one -- one who later became the most successful rhythm and blues artist of the late 1940s. Wynonie Harris. Harris was already known as "Mr. Blues" when Millinder first saw him playing in Chicago and invited him to join the band. He was primarily a blues shouter, inspired by people like Big Joe Turner and Jimmy Rushing, but he could also perform in a subtler style, close to the jive singing of a Cab Calloway or Louis Jordan. Harris joined the Millinder band and started performing with them in their residency at the Savoy. Shortly after this, the band went into the studio to record "Who Threw The Whiskey In The Well?" [excerpt "Who Threw The Whiskey in the Well?"] You'll note that that song has a backbeat. One of the things we talked about right back in episode two was that the combination of the backbeat and the boogie bass is what really makes rock and roll, and we're now getting to the point that that combination was turning up more and more. That was recorded in May 1944, almost straight after the end of the musicians union strike, but it wasn't released straight away. Records, at that time, were released on discs made out of shellac, which is a resin made from insect secretions. Unfortunately, the insects in question were native to Vietnam, which was occupied by Japan, and India, which was going through its own problems at the time, so shellac was strictly rationed. There was a new product, vinylite, being made which seemed promising for making records, but that was also used for lifejackets, which were obviously given a higher priority during a war than making records was. So the record wasn't released until nearly a year after it was recorded. And during that time, Wynonie Harris had become a much more important part of Millinder's band, and was starting to believe that maybe he deserved a bit more credit. Harris, you see, was an absolutely astonishing stage presence. Lots of people who spoke about Elvis Presley in later years said that his performances, hip thrusts and leg shaking and all, were just a watered-down version of what Wynonie Harris had been doing. Harris thought of himself as a big star straight away, This belief was made stronger when "Who Threw The Whiskey In The Well" was finally released. It became a massive hit, and the only money Harris saw from it was a flat $37.50 session fee. Millinder, on the other hand, was getting the royalties. Harris decided that it was his vocal, not anything to do with the rest of the band, that had made the record a success, and that he could make more money on his own. (In case you hadn't realised, yet, Wynonie Harris was never known as the most self-effacing of people, and that confidence gave him a huge amount of success on stage, but didn't win him many friends in his personal life). Harris went solo, and Lucky Millinder replaced him with a trumpet player and singer called Henry Glover. Harris started making records for various small labels. His first record as a solo artist was "Around the Clock Blues", one of the most influential records ever made: [Excerpt "Around the Clock Blues" by Wynonie Harris] If that sounds familiar, maybe it's because you've heard this song by Arthur Crudup that Elvis later covered: [excerpt of "So Glad You're Mine" by Arthur Crudup, showing it's more or less identical] Or maybe you know "Reelin' and Rockin'" by Chuck Berry... [excerpt of "Reelin' and Rockin'" by Chuck Berry, showing it's also more or less identical] And of course there was another song with "Around the Clock" in the title, and we'll get to that pretty soon... The band on "Around the Clock", incidentally, was led by a session drummer called Johnny Otis. That record, in fact, is one of the milestones in the development of rock and roll. And yet it's not the most important record Wynonie Harris made in the late 1940s. Harris recorded for many labels over the next couple of years, including King Records, whose A&R man Ralph Bass we'll also be hearing more about, and Bullet Records, whose founder Jim Bulleit went on to bigger things as well. And just as a brief diversion, we'll take a listen to one of the singles he made around this time, "Dig this Boogie": [excerpt "Dig This Boogie", Wynonie Harris] I played that just because of the pianist on that record -- Herman "Sonny" Blount later became rather better known as Sun Ra, and while he didn't have enough to do with rock music for me to do an episode on him, I had to include him here when I could. Wynonie Harris became a big star within the world of rhythm and blues, and that was in large part because of the extremely sexual performances he put on, and the way he aimed them at women, not at the young girls many other singers would target. As he said himself, the reason he was making fifteen hundred dollars a week when most famous singers were getting fifty or seventy-five dollars a night was "The crooners star on the Great White Way and get swamped with Coca-Cola-drinking bobby-soxers and other 'jail bait'. I star in Georgia, Texas, Alabama, Tennessee, and Missouri and get those who have money to buy stronger stuff and my records to play while they drink it. I like to sing to women with meat on their bones and that long green stuff in their pocketbook". And he certainly made enough of that long green stuff, but he spent it just as fast as he made it. When he got a ten thousand dollar royalty cheque, he bought himself two Cadillacs and hired two chauffeurs, and every night at the end of his show they'd both arrive at the venue and he'd pick which one he was riding home in that night. Now, having talked about Wynonie Harris for a little bit, let's pause for a moment and talk about one of his fans. Roy Brown was a big fan of Harris, and was a blues singer himself, in something like the same style. Brown had originally been hired as "a black singer who sounds white", which is odd because he used a lot of melisma in his vocals, which was normally a characteristic of black singing. But other than that, Brown's main vocal influences when he started were people like Bing Crosby and other crooners, rather than blues music. However, he soon became very fond of jump blues, and started writing songs in the style himself. In particular, one, called "Good Rockin' Tonight", he thought might be popular with other audiences, since it always went down so well in his own shows. Indeed, he thought it might be suitable for Wynonie Harris -- and when Harris came to town, Brown suggested the song to him. And Harris wasn't interested. But after Brown moved back to New Orleans from Galveston, Texas, where he'd been performing -- there was a girl, and a club owner, and these things happen and sometimes you have to move -- Brown took his song to Cecil Gant instead. Gant was another blues singer, and if Harris wasn't up for recording the song, maybe Gant would be. Cecil Gant was riding high off his biggest hit, "I Wonder", which was a ballad, and he might have seemed a strange choice to record "Good Rockin' Tonight", but while Gant's A-sides were ballads, his B-sides were boogie rockers, and very much in the style of Brown's song -- like this one, the B-side to "I Wonder" [excerpt "Cecil Boogie" by Cecil Gant] But Gant wasn't the best person for Brown to ask to record a song. According to Jim Bulleit, who produced Gant's records, everything Gant recorded was improvised in one take, and he could never remember what it was he'd just done, and could never repeat a song. So Gant wasn't really in the market for other people's songs. But he was so impressed by Brown's singing, as well as his song, that he phoned the head of his record company, at 2:30AM, and got Brown to sing down the phone. After hearing the song, the record company head asked to hear it a second time. And then he told Gant "give him fifty dollars and don't let him out of your sight!" And so Roy Brown ended up recording his song, on Deluxe Records, and having a minor hit with it: [excerpt "Good Rocking Tonight" by Roy Brown] When you listen back to that, now, it doesn't sound all that innovative at all. In fact it wears its influences on its sleeve so much that it namechecks Sweet Lorraine, Sioux City Sue, Sweet Georgia Brown, and Caldonia, all of whom were characters who'd appeared in other popular R&B songs around that time -- we talked about Caldonia, in fact, in the episode about "Choo Choo Ch'Boogie" and Louis Jordan. It might also sound odd to anyone who's familiar with later cover versions by Elvis Presley, or by Paul McCartney and others who followed the pattern of Elvis' version. Brown only sings the opening line once, before singing "I'm gonna hold my baby as tight as I can". Those other versions restructure the song into a fairly conventional sixteen-bar blues form by adding in a repeat of the first line and a chord change along with it. Roy Brown's original, on the other hand, just holds the first chord, and keeps playing the same riff, for almost the entire verse and chorus -- the chord changes are closer to passing chords than to anything else, and the song ends up having some of the one-chord feel that people like John Lee Hooker had, where the groove is all and harmonic change is thrown out of the window. Even though you'd think, from the melody line, that it was a twelve-bar blues, it's something altogether different. This is something that you need to realise -- the more chords something has, in general, the harder it is to dance to. And there will always, always, be a tension between music that's all about the rhythm, and which is there for you to dance to, and music which is all about the melody line, and which treats harmonic interest as an excuse to write more interesting melodies. You can either be Burt Bacharach or you can be Bo Diddley, and the closer you get to one, the further you get from the other. And on that spectrum, "Good Rockin' Tonight" is absolutely in the Diddley corner. But at the time, this was an absolutely phenomenal record, and it immediately started to take off in the New Orleans market. And then Wynonie Harris realised that maybe he'd made a mistake. Maybe he should have recorded that song after all. And so he did -- cutting his own, almost identical, cover version of Brown's song: [excerpt from "Good Rocking Tonight" by Wynonie Harris] There are a few differences between the two, of course. In particular, Harris introduced those "hoy hoy" vocals we just heard, which weren't part of Roy Brown's original. That's a line which comes from "The Honeydripper", another massively important R&B record. Harris also included a different instrumental introduction -- playing "When the Saints Go Marchin' In" at the start, a song whose melody bears a slight resemblance to Brown's song. Harris also adds that backbeat again, and it's for that reason that Wynonie Harris' version of the song, not Roy Brown's original, is the one that people call "the first rock and roll record". Other than those changes, Harris' version is a carbon copy of Roy Brown's version. Except, of course, that Wynonie Harris was one of the biggest stars in R&B, while Roy Brown was an unknown who'd just released his first single. That makes a lot of difference, and Harris had the big hit with the song. And "Good Rocking Tonight", in Harris' version, became one of those records that was *everywhere*. Roy Brown's version of the song made number thirteen on the R&B charts, and two years later it would re-enter the charts and go to number eleven – but Harris' was a world-changing hit, at least in the R&B market. Harris' version, in fact, started off a whole chain of soundalikes and cash-ins, records that were trying to be their own version of "Good Rockin' Tonight". Harris himself recorded a sequel, "All She Wants to Do is Rock", but for the next two years everyone was recording songs with “rock” in the title. There was Roy Brown's own sequel, "Rockin' at Midnight": [Excerpt "Rockin' at Midnight" by Roy Brown] There was Cecil Gant's "We're Gonna Rock" [Excerpt] There was "Rock the Joint" by Jimmy Preston [Excerpt] From 1948 through about 1951, if you listened to rhythm and blues records at all you couldn't escape this new rock craze. Record after record with "rock" in the title, with a boogie woogie bassline, with a backbeat, and with someone singing about how they were going to rock and roll. This was, in fact, the real start of the rock and roll music fad. We're still six years away from it coming to the notice of the white mainstream audience, but all the pieces are there together, and while we're still three years away even from the canonical "first rock and roll record", Jackie Brenston's "Rocket 88", 1948 is when rock and roll first became a cohesive, unified, whole, something that was recognisable and popular, a proper movement in music rather than odd individuals making their own separate music. Of course, it was still missing some of the ingredients that would later be added. First-wave rock and roll is a music that's based on the piano and horn sections rather than guitars, and it wouldn't be until it merged with hillbilly boogie in the early fifties that the electric guitar started to be an important instrument in it. But... we've talked before and will talk again about how there's no real "first rock and roll record", but if you insist on looking for one then "Good Rocking Tonight" is as good a candidate as any. Neither of its creators did especially well from the rock and roll craze they initiated though. Roy Brown got a reputation for being difficult after he went to the musicians' union to try to get some of the money the record company owed him -- in the 1950s, as today, record companies thought it was unreasonable for musicians and singers to actually want them to pay the money that was written in their contract -- and so after a period of success in the late forties and very early fifties he spent a couple of decades unable to get a hit. He eventually started selling encyclopaedias door to door -- with the unique gimmick that when he was in black neighbourhoods he could offer the people whose doors he was knocking on an autographed photo of himself. He sold a lot of encyclopaedias that way, apparently. He continued making the occasional great R&B record, but he made more money from sales. He died in 1981. Wynonie Harris wasn't even that lucky. He basically stopped having hits by 1953, and he more or less gave up performing by the early sixties. The new bands couldn't play his kind of boogie, and in his last few performances, by all accounts, he cut a sad and pitiful figure. He died in 1969 after more or less drinking himself to death. The music business is never friendly towards originals, especially black originals. But we're now finally into the rock era. We'll be looking over the next few weeks at a few more "first rock and roll songs" as well as at some music that still doesn't quite count as rock but was influential on it, but if you've ever listened to a rock and roll record and enjoyed it, a tiny part of the pleasure you got you owe to Roy Brown and Wynonie Harris.
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Don Henley anchored the Eagles as the band's drummer, frequent frontman, and co-leader. He wrote and sang many of their biggest songs -- "Hotel California," "Desperado," "The Long Run," "Best of My Love," "Life in the Fast Lane," "One of These Nights" were among his signatures, classic rock staples all -- but he also found considerable success on his own in the '80s following the group's disbandment. He established a distinctive, flinty voice right out the gate with "Dirty Laundry," the Top 10 hit from his 1982 solo debut I Can't Stand Still, but 1984's Building the Perfect Beast was a blockbuster, aided by the chilly, stylish MTV hit "Boys of Summer." Three other singles were pulled from the record -- the Top 10 "All She Wants to Do Is Dance," followed by the Top 40 "Not Enough Love in the World" and "Sunset Grill," all arriving in 1985 -- and he then labored on his third record, 1989's The End of the Innocence. Although this didn't have as many Top 40 hits -- the title track reached eight, followed by "The Last Worthless Evening" and "The Heart of the Matter," both peaking at 21 -- it was a bigger hit, going platinum six times, but after it ran its cycle, Henley decided to turn his attention to reuniting the Eagles in 1994, a project that kept him busy off and on for the next two years. His solo albums slowed -- he released Inside Job in 2000, 11 years after The End of the Innocence, and then took 15 years to record Cass County, his return to country-rock roots -- but he was never out of the spotlight thanks to ongoing work from the Eagles. He is out this Summer touring Solo and two weekends in July, with the Eagles adding Glen's son, Deacon to the band line up! #Eagles #DonHenley #EaglesFans #SlackerMorningShow101theFox #CassCounty
Всем привет! Продолжаю серию миксов, состоящих из танцевальных ремиксов на старые добрые 80-90-2000х годов! Приятного прослушивания. DJ Hot Maker. New Electro House 2014 & New Disco House 2014 Ace Of Base & Switch off - All She Wants 2014 (D' Luxe Booty Mash Up) Shakira - Whenever, wherever (Slash Junior Remix) Celine Dion - My Heart Will Go On (Eddi Royal & DJ DimixeR remix) Иракли & ST1M - Я Это Ты (DJ Nejtrino & DJ Baur Remix) Mr President - Coco Jambo (KAVADA & ALEX SEROV Remix) DJ TARANTINO – Ирина Аллегрова – Младший лейтенант Britney Spears - Gimme More (Tom Rise & Alex Shik Remix) DiGo & Mack Di Evanescence - Bring Me To Life (Dj Bandy Mash Up) Misha Pioner feat Annet - Солнце (Терлеева Cover) (Original Mix) Robertino Loretti - Jamaica (Dj Konstantin Ozeroff & Dj Sky Remix) Anton Pavlovsky ft.Trinity - Ночь (Cover А.Губин) The Rumbar vs. Adrian Bood – Rollin Timbal (Relanium Bootleg) Алена Апина – Ксюша ( TARANTINO ReFresh) Mishelle feat. Randi - Only you (Alexx Slam & Mickey Martini Sax Remix) Desaparecidos vs. Mueox & Marquez - Cada Vez (Andrey S.p.l.a.s.h. & Jen Mo bootleg) Mory Kante vs Loverush UK - Yeke Yeke (Artem Onyx & Vadim Smile Bootleg) Sonia and Selena – Deja Gue Mueva (DMC Mikael Remix) Ian Carey feat. Michelle Shellers - Keep On Rising (Artem Onyx & Vadim Smile Remix) Ice MC - Think about the way (FILATOV & KARAS remix) Masters At Work - Work (Loud Bit Project & Dj Max-Wave Remix) INGO & MICAELE - No Good For Me (Original Mix)
Всем привет! Продолжаю серию миксов, состоящих из танцевальных ремиксов на старые добрые 80-90-2000х годов! Приятного прослушивания. DJ Hot Maker. New Electro House 2014 & New Disco House 2014 Ace Of Base & Switch off - All She Wants 2014 (D' Luxe Booty Mash Up) Shakira - Whenever, wherever (Slash Junior Remix) Celine Dion - My Heart Will Go On (Eddi Royal & DJ DimixeR remix) Иракли & ST1M - Я Это Ты (DJ Nejtrino & DJ Baur Remix) Mr President - Coco Jambo (KAVADA & ALEX SEROV Remix) DJ TARANTINO – Ирина Аллегрова – Младший лейтенант Britney Spears - Gimme More (Tom Rise & Alex Shik Remix) DiGo & Mack Di Evanescence - Bring Me To Life (Dj Bandy Mash Up) Misha Pioner feat Annet - Солнце (Терлеева Cover) (Original Mix) Robertino Loretti - Jamaica (Dj Konstantin Ozeroff & Dj Sky Remix) Anton Pavlovsky ft.Trinity - Ночь (Cover А.Губин) The Rumbar vs. Adrian Bood – Rollin Timbal (Relanium Bootleg) Алена Апина – Ксюша ( TARANTINO ReFresh) Mishelle feat. Randi - Only you (Alexx Slam & Mickey Martini Sax Remix) Desaparecidos vs. Mueox & Marquez - Cada Vez (Andrey S.p.l.a.s.h. & Jen Mo bootleg) Mory Kante vs Loverush UK - Yeke Yeke (Artem Onyx & Vadim Smile Bootleg) Sonia and Selena – Deja Gue Mueva (DMC Mikael Remix) Ian Carey feat. Michelle Shellers - Keep On Rising (Artem Onyx & Vadim Smile Remix) Ice MC - Think about the way (FILATOV & KARAS remix) Masters At Work - Work (Loud Bit Project & Dj Max-Wave Remix) INGO & MICAELE - No Good For Me (Original Mix)
80's (seperated into iPod chapters) 0:00 Intro + "Love Me or Hate Me" Scene Mash 1:39 "The Promise" When In Rome 2:33 "Out Of Touch" Hall & Oates 4:01 West End Girls - Pet Shop Boys 5:16 "Promiscuous Promise" Scene Mash 7:52 "Enjoy the Silence" Depeche Mode 8:28 "Jiggle it Baby" Scene Mash 9:42 "Kiss" Prince 10:08 "Automatic" The Pointer Sisters 11:31 "Break My Stride" Matthew Wilder 12:05 "Tell Me No Go" Scene Mash 13:16 "She Drives Me Crazy" Fine Young Cannibals 14:06 "Hold Me Now" Thompson Twins 14:58 "Things Can Only Get Better" Howard Jones 15:55 "Self Control" Laura Branigan 17:00 "1st Booty in Control" Scene Mash 19:21 "Crazy Wishing Well" Scene Mash 21:57 "Jack and Diane" John Mellencamp 22:31 "Burning Down The House" Talking Heads 23:44 "Hanging on a String" Loose Ends 25:51 "Don't Be a Freak" Scene Mash 27:30 "Don't Be Cruel" Bobby Brown 28:05 "Genius Like That" Scene Mash 30:34 "Down Under" Men at Work 31:20 "Rapture" Blondie 32:23 "Rapture Encore" Scene Mash 34:38 "Edge of Seventeen" Stevie Nicks Scene mash 36:12 "Don't You Forget About Me" Simple Minds 38:12 "All She Wants to Do is Dance" Don Henley 40:08 "Back on the Chain Gang" The Pretenders Scene mash 41:13 "We Got The Beat" Go Gos 41:45 "Push it to the Limit" Paul Engemann 43:04 "She's a Maniac" Hall & Oats 44:19 "Steppin Out" Joe Jackson 45:51 "Take On Me" Ah Ha 47:56 "Listen to Shout" Scene Mash 50:31 "I'm Sprung on Human" Scene Mash 52:26 "Human" Human League 54:04 "Dance Hall Days" Wang Chung 55:11 "Blind Seven" Scene Mash 56:26 "Beverly Hills Get Up" Scene Mash 58:47 "Feel That Smack" Scene Mash 1:00:16 "I Feel For You" Chaha Khan 1:01:19 "Valerie" Steve Winwood 1:02:41 "Don't You Want Me" Human League 1:04:09 "People Don't Stop Believing" Scene Mash 1:06:31 "Run To You" Bryan Adams 1:07:32 "Run To Billie Jean" Scene Mash 1:08:12 "Lets Hear It For The Boy" Deniece Williams 1:09:18 "Cars" Gary Numan 1:11:11 Bonus: "Scarface Made You Look" Scene Mash
A scant week later, it's time for Live and Direct, episode #7. This week I've assembled a hypothetical soundtrack to the 80's comedy Real Genius, starring Val Kilmer. I say "hypothetical" because there was never an official soundtrack, however many fans have compiled their own lists of songs heard in the movie. This week's show is 44.5MB and runs for 50:36.The playlist for the show is below, along with the point in time at which each song starts (minutes:seconds). The only song played in the movie that is not included is Tonio K's "The Tuff Do What", as it is unreleased and apparently unavailable in the wild. (however, if you have it, please, please send me a copy?)You Took Advantage of Me - Carmen McRae, 01:31I'm Falling - The Comsat Angels, 03:32Number One - Chaz Jankel, 08:01All She Wants to Do Is Dance - Don Henley, 11:50One Night Love Affair - Bryan Adams, 17:01The Walls Came Down - The Call, 21:26Pleasure Seekers - The System, 25:47Standing in the Line - The Textones, 30:25Summertime Girls - Yesterday & Today, 34:51You're the Only Love - Paul Hyde and the Payola$, 38:25Everybody Wants to Rule the World - Tears for Fears, 44:16a Real Genius sequel? What you say? That's right, at the end of last year multiple news sites, wikipedia, and blogs were reporting that Val Kilmer has announced a desire to reprise his role as Chris Knight in a sequel to the original Real Genius. A fan has started a site dedicated to this hypothetical sequel. We'll see how that pans out. I suppose it could work, though I'm leery of sequels by default.If you haven't seen the movie, you should. In the immortal words of Chris Knight, it's a moral imperative!Enjoy this "what if" soundtrack, and as always, please let me know what you think.
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