Podcasts about alright with me

In this episode of Perfectly Good Podcast, hosts Jesse Jackson and Sylvan Groth explore John Hiatt's song 'It's Alright With Me' from his debut album 'Hanging Around the Observatory.' They discuss the song's straightforward blues style, the themes of early relationships, and the simplicity of the lyrics. They also touch on the song's production history, John Hiatt's early career, and the hosts' personal reflections on the song. The episode features discussions about the joy of deep-diving into Hiatt's discography, the pop and rock elements of the track, and the fantasy of time-traveling to see artists in their formative years. 00:00 Introduction and Greetings 02:51 Discussing 'It's Alright With Me' 06:21 Lyrics Breakdown and Analysis 09:13 Personal Reflections and Ratings 16:37 Fan Engagement and Closing Remarks Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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/ Resources Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

Continuing our season of specials on material outside the show's main remit, Philippa Spanos returns to help Martin and Sam consider the creative and commercial aspects of Waits's music videos. Starting with a long-overlooked animation experiment from the 70s, we chart how these films function in relation to the music, the commercial purpose of a video, as well as all the tiny tiny guitars. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Tom Waits For No-One / The One That Got Away, short film feat. Tom Waits, dir. John Lamb (1979) In The Neighbourhood, Tom Waits music video, dir. Haskell Wexler (1983) Rain Dogs Promos, dir. Chris Blum (1985) Downtown Train, Tom Waits music video, dir. Jean-Baptiste Mondino (1985) Blow Wind Blow, Tom Waits music video, and Limousine Interview promo, dir. Chris Blum (1987) Temptation, Tom Waits music video from Franks Wild Years, dir. Betzy Bromberg (1987) It's Alright With Me, Tom Waits music video from Red Hot + Blue, dir. Jim Jarmusch (1990) Going Out West, Tom Waits music video from Bone Machine, dir. Jesse Dylan (1992) I Don't Wanna Grow Up, Tom Waits music video from Bone Machine, dir. Jim Jarmusch (1992) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

Sintonía: "My Girlfriend" - Guttermouth"Olympia, WA" - NOFX; "Addicts of Communication" - Randy; "Hooray For Me" - Pulley; "God Knows" - Beatsteaks; "The Defense" - Bad Religion; "Bob" - Rancid; "Up For Sale" - The (International) Noise Conspiracy y "Heroes From Our Past" - Dropkick Murphys, extraídas de la recopilación "Punk-O-Rama Vol. 7" (Epitaph Records -Amsterdam-, 2002)"I Can´t Stop Thinking About It" - The Dirtbombs; "Trails Fears" - Lost Sounds; "Shapes of Venus" - Clone Defects; "Do You Wanna Scratch It?" - Speedball Baby; "I Wanna Be Your Favourite Pair Of Pajamas" - Andre Williams; "Shirt Jac Train #3" - The Jon Spencer Blues Explosion; "That´s Alright With Me" - Knoxville Girls y "Drag Pow Wow Drag" - The Necessary Evils, extraídas de la recopilación "Static Disaster: The U.K. In The Red Records Sampler" (In The Red Records, UK 2005)Escuchar audio

Into the 1990s, Martin and Sam return for more unreleased Waits tracks, splitting the decade into two more manageable chunks. This first episode sees some repurposed music, a few live songs, as well as Waits delivering heart-felt advice alongside Thelonius Monster. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Serrano, flexi-disc insert for the book 'Sylvia Plachy's Unguided Tour', Tom Waits (1990) I Left My Heart In San Francisco, live recording, Orpheum Theatre, San Francisco CA, w. George Corey / Douglass Cross (31 December 1990) Auld Lang Syne, live recording, Orpheum Theatre, San Francisco CA (31 December 1990/1 January 1991) It's Alright With Me, Red Hot + Blue, Tom Waits / w. Cole Porter - music video dir. Jim Jarmusch (1990) Thousand Bing Bangs, Devout Catalyst, Ken Nordine / Tom Waits (1991) The Movie, Devout Catalyst, Ken Nordine / Tom Waits (1991) I'm Not Your Fool Anymore, Mississippi Lad, Teddy Edwards / Tom Waits (1991) Adios Lounge, Beautiful Mess, Thelonius Monster / Tom Waits (1992) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, September 27, 2023, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 4:35 - "Arrogant Al" Entered the Fray! 6:05 - Al's Question for Paul - About Coaching! 10:31 - LIVE SINGING Segment, wherein "Paranoid Pete" came in to sing, "It's Alright With Me", by Frank Sinatra. As Al always says, what could possibly go wrong? 32:54 - Part 1 of Paul's Interview With JODEE GIBSON 1:09:40 - NAME THAT TUNE Segment, helped along by "Hicksville Harry", with three songs by DIANA ROSS. 1:17:14- Part 2 of Paul's Interview With JODEE GIBSON 1:44:39 - LIVE SINGING Segment, wherein wherein "Elvis Presley", "Hicksville Harry", and "Cannabis Carl" came in to sing, "Stuck On You", by Elvis Presley. As Al always says, what could possibly go wrong? 1:56:58 - Learning and Being Nice? As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, September 27, 2023, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 4:35 - "Arrogant Al" Entered the Fray! 6:05 - Al's Question for Paul - About Coaching! 10:31 - LIVE SINGING Segment, wherein "Paranoid Pete" came in to sing, "It's Alright With Me", by Frank Sinatra. As Al always says, what could possibly go wrong? 32:54 - Part 1 of Paul's Interview With JODEE GIBSON 1:09:40 - NAME THAT TUNE Segment, helped along by "Hicksville Harry", with three songs by DIANA ROSS. 1:17:14- Part 2 of Paul's Interview With JODEE GIBSON 1:44:39 - LIVE SINGING Segment, wherein wherein "Elvis Presley", "Hicksville Harry", and "Cannabis Carl" came in to sing, "Stuck On You", by Elvis Presley. As Al always says, what could possibly go wrong? 1:56:58 - Learning and Being Nice? As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Paranoid Pete" came in to sing, "It's Alright With Me", by Frank Sinatra. As Al often says, what could POSSIBLY go wrong???

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Paranoid Pete" came in to sing, "It's Alright With Me", by Frank Sinatra. As Al often says, what could POSSIBLY go wrong???

BOOTS & SADDLE - May 24, 2022 1. I Run For My Life - Jim Ed Brown (Bottle, Bottle - 1968) 2. Nothin' But Net - Carter Felker (Even The Happy Ones Are Sad - 2022) 3. Lonely Street - Sammi Smith (Help Me Make It Through The Night - 1971) 4. That's Why I Sing In A Honky Tonk - Billy Mize (You're Alright With Me - 1971) 5. The Keeper of the Key - Rose Lee Maphis (Rose Lee Maphis - 1961) 6. Parking lot Whiskey - Anthony Ray Wright (Single - 2022) 7. Down Home - David Quinn (Country Fresh - 2022) 8. You're Doing It Wrong (feat. Asleep At The Wheel) - Brennen Leigh (Obsessed with the West (feat. Asleep At the Wheel) - 2022) 9. Honey Bee Bop - Slink Moss Explosion (Floating Ghost Hotel - 2022) 10. Climbing the Ladder - Zach Willdee (Heart That Ain't Tame - 2022) 11. Three Acres of Heaven - Chef Adams (Singer / Songwriter  - 1969) 12. Alberta Skyline - Dick Damron (A Thousand Songs Of Glory - 1978) 13. Smiling Wine - Great Speckled Bird (Great Speckled Bird - 1970) 14. Nothing On My Mind - Roy Payne (Roy Payne No. 2 - 1970) 15. Rose of San Antone [instrumental] - Roy Penney (Twistin' The Pick - 1965) 16. For the Good Times - Cindi Cain (Single - 1988) 17. I Hope My Wife Don't Find Out - Red Sovine (Single - 1967) 18. Yesterday All Day Long Today - Jeannie C. Riley (Single - 1968)  19. The Doors of Love - Ray Pillow (People Music - 1970) 20. Ma Tante Philomène - Jeannine Perreault (Mon Coeur Est Vagabond - 1975) 21. Mississippi Delta Blues - Jimmie Rodgers (Single - 1933) 22. You Don't Have Very Far to Go - Rosanne Cash (Seven Year Ache - 1981) 23. Years Ago - Jimmie Rodgers (Single - 1933) 24. Girl from the North Country - Rosanne Cash (The List - 2009) 25. I'm Shakin' - The Blasters (The Blasters - 1981) 26. Brenda's New Stepfather - Robbie Fulks (Couples in Trouble - 2001) 27. Frank's Wild Years - Tom Waits (Swordfishtrombones - 1983) 28. Los Tres Gallos - Los Tigres del Norte (Corridos Prohibidos - 1989) 29. Leah - Roy Orbison (Single - 1961) 30. Old Town Tavern - Mike Lynch (Songs from the Tub [Part 1] - 2021) 31. Small Motors - Fred Eaglesmith (Balin - 2003) 32. I Don't Wanna Live Anymore - The Local Group (The Local Group Sings and Plays Songs and Also Tunes - 2020) 33. Serene Lee [instrumental] - Dale Watson (Dale Watson Presents: The Memphians - 2021) 34. Barbara Jean - Lauren Morrow (Lauren Morrow - EP - 2018)

Show #945 Just Bluesing On 01. Rebecca Downes - Hold On (3:38) (Single, Mad Hat Records, 2022) 02. Grace Kuch - Got That Style (3:09) (Single, self-release, 2022) 03. Eric's Blues Band - Next Train (3:37) (Rolling Avenue, self-release, 2022) 04. Kristian Montgomery & the Winterkill Band - Secret Watering Hole (4:22) (A Heaven For Heretics, self-release, 2022) 05. Kenny Neal - Louise Ana (4:50) (Straight From The Heart, Ruf Records, 2022) 06. Hogtown Allstars - Real Good Night (4:19) (Hog Wild, Stony Plain Records, 2022) 07. Anthony Geraci - Corner Of Heartache And Pain (5:53) (Blues Called My Name, Blue Heart Records, 2022) 08. Sean Poluk - Searching (5:12) (Single, self-release, 2022) 09. Bennett Matteo Band - Shiny Creatures (5:16) (Shake The Roots, Gulf Coast Records, 2022) 10. Tim Gartland - Outta Sight Outta Mind (4:09) (Truth, Taste Good Music, 2022) 11. Albert Castiglia - Freedomland (3:58) (I Got Love, Gulf Coast Records, 2022) 12. Big Al & the Heavyweights - It's Alright With Me (3:54) (Love One Another, VizzTone Records, 2022) 13. Ann Peebles - I'm Gonna Tear Your Playhouse Down (3:23) (Live In Memphis, Memphis International Records, 2022) 14. Graham Parker & the Rumour - I'm Gonna Tear Your Playhouse Down (3:26) (Stick To Me, Mercury Records, 1977) 15. Mizz Lowe & Bobby Rush - Take My Love (5:31) (Single, Mizz Lowe Records, 2022) 16. Jim Dan Dee - The Doctor (4:29) (Real Blues, self-release, 2022) 17. Ben Hemming - Cruel World (3:37) (Marked Man, self-release, 2022) 18. Delbert McClinton - Connecticut Blues (2:26) (Outdated Emotion, Hot Shot Records, 2022) 19. Gina Sicilia - Death Don't Have No Mercy (6:18) (Unchange, VizzTone Records, 2022) 20. The Cold Stares - Mojo Hand (3:04) (Single, Mascot Label Group, 2022) 21. Walter Rossi - Malagueña (Revisited) (5:52) (Six Strings Nine Lives, Aquarius Records, 1978) 22. Stan Fisher - Malagueña (2:53) (Harmonica Classics, Epic Records, 1953) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Ep.66 | Haters vs Constructive Criticism Feat. @Slim_d (Reflections With VAL.) (Podcast) (Interview) * Welcome back to Reflections, where you take a sit with VAL., as she displays important underground music. This episode VAL takes a seat with Artist SLiM D. The pair takes deep reflections into his life and our views on constructive criticism. Is it hatin'? or has this generation turned it into hatin'? Tune in every Wednesday as we reflect and get deep! Don't be afraid… its time… face yourself and self-reflect so you can heal. More in the episode  VAL. dives into her Music Therapy segment displaying underground artist that are impactful & most should support!  *Make sure to support, stream, download, follow, like… to ALL local ARTISTS! ITs important! Thank you all who tuned in and stay tuned for more Jam Sessions with VAL.    * SLiM D, @slim_d, Song: “Never Gon Stop” & “” Prince Hill, @Princehill, Song: “What you Off” Boukhepra, @Boukhepra; Song: “Ghost"  * Lyric of the Week: “Never Gon Stop” by SLiM D * * Ep.63 | Sexual Performance Anxiety @Soulfully_val (Reflections With VAL.) (Podcast) * Welcome back to Reflections, where you take a sit with VAL., as she displays important underground music. This episode VAL. speaks on Sexual Performance Anxiety and what it means. More in the episode VAL. dives into her Music Therapy segment displaying underground artist who impact & most should support! * Make sure to support, stream, download, follow, like… to ALL local ARTISTS! ITs important! Thank you all who tuned in and stay tuned for more Jam Sessions with VAL. * Rubber Music , @rubbermusic ; Song: “Reason that You Came” Justin Love, @Justinlove ; "Feelin' in my Heart" Prince Hill, @Princehill; "Hakuna Matata . Lyric of the Week: Eric Hutchinson - "OK, its Alright With Me" . ***Follow Us on*** * * Reflections with VAL. * * *Spotify Reflections with VAL. * * *SoundCloud: https://soundcloud.com/reflectionswithval * * *YouTube: https://www.instagram.com/reflectionswithval/ * * *Facebook: https://www.facebook.com/ReflectionswithVAL . . REFLECTIONS WITH VAL. REFLECTIONS WITH VAL. REFLECTIONS WITH VAL. REFLECTIONS WITH VAL.

Ep.63 | Sexual Performance Anxiety @Soulfully_val (Reflections With VAL.) (Podcast) * Welcome back to Reflections, where you take a sit with VAL., as she displays important underground music. This episode VAL. speaks on Sexual Performance Anxiety and what it means. More in the episode VAL. dives into her Music Therapy segment displaying underground artist that are impactful & most should support! * Make sure to support, stream, download, follow, like… to ALL local ARTISTS! ITs important! Thank you all who tuned in and stay tuned for more Jam Sessions with VAL. * Rubber Music , @rubbermusic ; Song: “Reason that You Came” Justin Love, @Justin Love ; "Feelin' in my Heart" . Lyric of the Week: Eric Hutchinson - "OK, its Alright With Me" . . ***Follow Us on*** * * Reflections with VAL. * * *Spotify Reflections with VAL. * * *SoundCloud: https://soundcloud.com/reflectionswithval * * *YouTube: https://www.instagram.com/reflectionswithval/ * * *Facebook: https://www.facebook.com/ReflectionswithVAL . . REFLECTIONS WITH VAL.

Radio Show with your host Mitch-Reviving that honest sound from the Roots of the Earth Thursday Nights at 7:30 PM EST On Cowboy’s Juke Joint Online Radio Station We SPIN the real stuff!! 1. Hard Stairs Blues Band - Horston Blues Diddy 2. Max Tovstyi and Friends - Dust My Broom 3. Dustin Arbuckle & Matt Woods - Always Gone 4. Voo Davis - Howlin' out Your Name 5. Crazywater - Bootlegger's Son 6. Harlis Sweetwater Band - Muddy Water 7. Larry Griffith - I Know 8. Deep Sea Gypsies - Blues To My Grave 9. Philip Sayce - Blues Ain't Nothing but a Good Woman on Your Mind (Live) 10. Cache Creek - Rebel Never Dies 11. Dustin Arbuckle and The Damnations - Friday Evenin' 12. Scooter Brown Band - Midnight Train to Memphis 13. JJ and The Mystics - Walk Straight 14. The Joe Davis Band - It Don't Matter 15. The Jefferson Coker Band - Gone 16. AJ Crawdaddy Band - Lose It All 17. The Damned and Dirty - Hoodoo Down 18. The Damned and Dirty - Walking Stereotype 19. Bad Day Blues Band - Bad's My Middle Name 20. The Dirty Guv'nahs - Baby We Were Young 21. The Joe Stanley Trio - Off the handle 22. Natty Fox - Feel so Alive 23. The Doc Robin Band - Flyin' Blind 24. Jordan Patterson Band - Play My Song (Revisited) 25. Johnny Sansone - Trouble Have Doubled 26. Beards & Whiskey - Movin' Moonshine 27. Jamie Krueger Group - Nothing 28. Bad Bob Bates - The 27 29. The Josh Garrett Band - Dat's Alright With Me

 1.  Mrs. Magician - There Is No God  2.  Teen Runnings - Make It Better  3.  Oscar Lang - Antidote to Being Bored  4.  Dead Ghosts - Summer With Phil  5.  Drab City - Just Me & You  6.  Vlad Holiday - I'll Probably Never Be Somebody  7.  Elvis Perkins - I Know You Know  8.  Shelly - Steeeam  9.  Dehd - Flood  10.  Pretty Sick - Superstar  11.  TOLEDO - Challenger  12.  The Money War - Beautiful You  13.  Ekora - It's Alright With Me  14.  Ghost Woman - Interview Pt.1  15.  Ghost Woman - Broke  16.  Ghost Woman - Interview Pt.2  17.  Ghost Woman - Down Again  18.  Ghost Woman - Interview Pt.3  19.  Ghost Woman - The End of a Gun  20.  Widowspeak - Wicked Game  21.  The Cowboys - The Bell Rings Less  22.  Flaural - Broken Frame  23.  Haunted Hearts - Something That Feels Bad Is Something That Feels Good  24.  ACTORS - Love U More  25.  The Sounds - Rock n Roll  26.  The Vacant Lots - Bells 

This is episode 221! We're playing with TNT this week, this show is full of pish and vinegar, sneaking around and a white hot third rail. Stand back, it's gonna blow!! Get into it! #45rpm #Rekkidz #NorthernSoul #60sSoul #RareSoul #RandB #60sGarage #wearethemods #blackcrack #OnTargetPodcast Please like the Facebook page here: face​book​.com/​o​n​t​a​r​g​e​t​p​o​d​cast/ ------------------------------------------------- The Playlist Is: "Sneakin' Around" The Strato-Tones - Hawk "Shake With Me Baby" J.C. Davis - Chess "Gilee" Sonny Spencer - Memo "Club A-Go-Go" Barbara Lynn - Tribe "I'm So Confused" The Mighty Marvelows - ABC "Down Is Up, Up Is Down" The Delfonics - Philly-Groove "(Come 'round Here) I'm The One You Need" The Miracles - Tamla-Motown "Walk The Walk" David Clayton Thomas & The Shays - Red Leaf "That's Cool, That's Trash" The Street Cleaners - Amy "Oo Poo Pah Doo" The Senators - Rush "Mercy, Mercy, Mercy" Larry Williams & Johnny 'Guitar' Watson - Okeh "Don't Be Sore At Me" The Parliaments - Revilot "The Girl's Alright With Me" Joe Simon - Sound Stage 7 "Stop Sneaking Around" Brenda & The Tabulations - Top & Bottom "Let's Copp A Groove" Bobby Wells - Romur "What Can A Man Do" The Show Stoppers -Showtime "Elevator" Grapefruit - RCA "Connection" Danny & Jerry - Ronn "Count Me In" Gery Lewis & The Playboys - Liberty "A Little Bit Hurt" Julien Covey & The Machine - Island "Sweet Bacon" Julien Covey & The Machine - Island "Shades Of Brown" James Brown - Delta

Nourishing your soul with cracker jack tunes and filling you with warmth and harmony as we share an hour vibrating at the same frequency as the grooves that shake the needle. Join us this week as we visit some of your old friends and introduce you to new ones for the first time. Please like us on Facebook here: facebook.com/ontargetpodcast Go to the On Target Underground event here: https://www.facebook.com/events/322799891666823/ ------------------------------------------------- The Playlist Is: "Soul Food" Johnny Watson - Epic "The Slop" The Olympics - Arvee "Daddy Woo-Woo" The Vibrations - Atlantic "Ain't That Peculiar" Marvin Gaye - Tamla-Motown "It's A Man Down There" Junior Wells - Blue Rock "Backfield In Motion" Mel & Tim - Bamboo "Don't Look Back" The Remains - Epic "Mr. Pharmacist" The Other Half - GNP Crescendo "She's About A Mover" Sir Douglas Quintet - Tribe "Stop Her On Sight (SOS)" Edwin Starr - Ric-Tic "I've Been Done Wrong" Jimmy Holiday - Diplomacy "I Know What I Want" Tommy G & The Charms - Hollywood "Count On That" Shirley Matthews - Tamarac "The Hand of Fate" The Babies - RCA Victor "He's Alright With Me" The Mirettes - Mirwood "I Can See for Miles" Lord Sitar - Lord Sitar (LP Only) "I Can Hear The Grass Grow" The Move - Deram "High Time Baby" The Spencer Davis Group - Atco "Were In The Middle" L.J. Reynolds - Monique "992 Arguments" The O'Jays - Philadelphia International "Beatnik Walk" Rune Öfwerman - Quality

Kvartett Charlie Haden leikur lögin Body and Soul, Passion Flower, My Foolish Heart, Hermitage, Bay City og The Blessing. Tríó Red Garland leikur lögi Second Time Around, You'd Better Go Now, On A Clear Day, It's Alright With Me, I Wish I Knew og Going Home. Hljómsveit Kaspers Villume leikur lögin Blame It On My Youth, All The Things You Are, My Man's Gone Now, The Speedmaster, Song og Bubbles.

Tracklist: Parliament "Let's Play House" The Whole Darn Family "Seven Minutes of Funk" Sylvia Striplin "You Can't Turn Me Away" Freddie Scott "You Got What I Need" The Charmels "As Long As I've Got You" The Heath Brothers "Smilin' Billy Suite Pt. II" James Brown "Funky Drummer" Leon Haywood "I Want'a Do Something Freaky To You" Ohio Players "Funky Worm" Isaac Hayes "A Few More Kisses To Go" Tarika Blue "Dreamflower" The Cyrkle "The Visit" Tom Scott & The California Dreamers "Today" Stan Getz feat. Luiz Bonfa "Saudade Vem Correndo" Labi Siffre "My Song" Esther Phillips "That's Alright With Me"

Billy Eckstine syngur lögin Love Is Just Around The Corner, I Gotta Right To Sing The Blues, Imagination, What A Little Moonlight Can Do, I Cover The Waterfront, (I Don't Stand) A Ghost Of A Chance og That's All. Tríó Red Garland leikur lögin I Wish I Knew, Going Home, The Second Time Around, On A Clear Day, It's Alright With Me og You'd Better Go Now. Lee Konitz og Warne Marsh flytja lögin Topsy, I Can't Get Started, There Will Never Be Another You, Donna Lee og Two Not One. Boulou Ferré og hljómsveit leika Ice Cream Konitz, Lennie-Bird, Avant de Mourir og La ballade de Sacco et Vanzetti.

Sonny Rollins kvartettinn leikur lögin There's No Business, Raincheck, There Are Such Things, It's Alright With Me og Paradox. Tríó Eric Reed flytur lögin Old Flame, Evergreen Frenzia, A Spoonful of Sugar, Big Dogs, The Swing and I og Ka-Boose. Jimmy Smith leikur lögin (I Can't Get No) Satisfaction, Ode To Billy Joe, Ape Woman, Funky Broadway, Burning Spear, Groove Drops og Mellow Mood.

Tracklist: Connie Laverne "Can't Live Without You" Lenny O'Henry "Across The Street" Joe Cruz & The Cruzettes "Love Song" Darondo "Didn't I" Esther Phillips "That's Alright With Me" The Marvelettes "Fovever" Samantha Sang "Emotion (feat. The BeeGees)" Prince & The Revolution "The Beautiful Ones" LCD Soundsystem "oh baby" SZA "Prom" Little Dragon "Paris (Jaded Inc. Remix)" Aeroplane "Love On Hold (Extended Instr)" Mayer Hawthorne "Her Favorite Song (Oliver Remix)" Oliver "Electrify (feat. Scott Mellis)" Depeche Mode "Policy Of Truth" Portugal, The Man "Feel It Still (Lido Remix)" Sylvester "I Need Somebody To Love Tonight" Ruby Haunt "Honey"

Franski píanóleikarinn Breli Lagréne leikur lögin Come Fly With Me, Here's That Rainy Day, Witchcraft, I've Got A Crush On You, The Lady Is A Tramp, My Kind Of Town, You Make Me Feel So Young og Lucky Be A Lady Tonight. Píanistinn Brad Meldhau leikur lögin Moon River, The Way You Look Tonight og It's Alright With Me. Saxófónleikarinn Lee Konitz og hljómsveit flytja lögin Topsy, I Can't Get Started, Don't Squawk og Two Not One.

Franski píanóleikarinn Breli Lagréne leikur lögin Come Fly With Me, Here's That Rainy Day, Witchcraft, I've Got A Crush On You, The Lady Is A Tramp, My Kind Of Town, You Make Me Feel So Young og Lucky Be A Lady Tonight. Píanistinn Brad Meldhau leikur lögin Moon River, The Way You Look Tonight og It's Alright With Me. Saxófónleikarinn Lee Konitz og hljómsveit flytja lögin Topsy, I Can't Get Started, Don't Squawk og Two Not One.

Season One trailer for About South. About South is a weekly podcast hosted by Gina Caison. Each week we talk to the folks who create, curate, and critique southern cultures. Coming soon to iTunes and Google Play. Visit us at aboutsouthpodcast.com. Co-Producers: Gina Caison & Kelly Vines Music: "Alright With Me" Brian Horton | www.brianhorton.com

iTunes: http://bit.ly/releasepodcast This week get your RELEASE with REELAX + new music from Tough Love, Armand Van Helden, Kerri Chandler, Andhim, Waifs & Strays and more! Free yourself as your host Reelax takes you on a 1hr ride through the very best of the latest clubland gems. www.djreelax.com www.facebook.com/djreelax www.twitter.com/reelax www.soundcloud.com/reelax www.youtube.com/ReleaseRadio Currently broadcasts weekly across the world on: Fridays, Fresh 92.7, 6pm (ACDT) Saturdays, WA FM, 10:30pm (AWST) Saturdays, 6pm (AEST) Switch Digital / 7pm (AEST) Switch 1197 AM Sundays, Pioneer DJ Radio / Ibiza Sonica Radio 95.2, 6am (Standard Time Zone: GMT/UTC + 01:00 hour) / Repeat: Thursdays, 2am (Standard Time Zone: GMT/UTC + 01:00 hour) Mondays, Kiss FM, 6pm (AEST) 1. Will Clarke - Turn It Up [Dirtybird] 2. Jack Ü - To Ü (Armand Van Helden Deep Remix) [Mad Decent] 3. CamelPhat - Luna [Toolroom] 4. Boston Bun - Paris Groove feat. Mayer Hawthorne (Club Mix) [Ed Banger] 5. Wretch 32 - Alright With Me feat. Anne - Marie & PRGRSHN (Sonny Fodera Remix) [Ministry of Sound] ++RELEASE OF THE WEEK++ 6. Smokin Beats - Dreams (Tough Love Remix) [Hot Source] 7. Louis The Child - It’s Strange feat K. Flay (Radio Edit) [Ultra] ++UNDERGROUND PULSE++ 8. Disclosure - Jaded (Kerri Chandler Kaoz 623 Dub) [PMR] 9. Denney - This Is Music (Waifs & Strays Remix) [ViVa MUSiC] 10. Steve Parry - Flippant [Bedrock] ++ONE LAST TUNE++ 11. Elderbrook x AndHim - How Many Times [Black Butter]

Join us: www.luchdnb.ru1. Cursa - Hydro 2. Wretch 32 - Alright With Me feat. Anne-Marie & PRGRSHN (Alix Perez Remix) 3. Break - Shipment 4. Distant Future - Hesitate 5. DBR UK - Rugged Age 6. Fracture - Makin’ Hype Tracks 7. Ivy Lab - Gettysburg 8. Electrosoul System - Outerheaven (Distant Future & NU4M Remix) 9. Document One - Run The Block 10. Prolix - Nature Of Reality 11. Gridlok & Prolix - Poisonous (Borderline Remix) 12. Dabs & Disprove - Thor 13. Mefjus feat. Zoe Klinck - Taking (Ed Rush Remix) 14. Definate - Towards The Dawn (Arp XP Remix) 15. Gran Calavera - Noted 16. Revaux - Solidify 17. Kusp - Fixate (feat. SMB) 18. Facing Jinx feat. Peta Oneir - Meet You There 1. Cursa - Hydro 2. Wretch 32 - Alright With Me feat. Anne-Marie & PRGRSHN (Alix Perez Remix) 3. Break - Shipment 4. Distant Future - Hesitate 5. DBR UK - Rugged Age 6. Fracture - Makin’ Hype Tracks 7. Ivy Lab - Gettysburg 8. Electrosoul System - Outerheaven (Distant Future & NU4M Remix) 9. Document One - Run The Block 10. Prolix - Nature Of Reality 11. Gridlok & Prolix - Poisonous (Borderline Remix) 12. Dabs & Disprove - Thor 13. Mefjus feat. Zoe Klinck - Taking (Ed Rush Remix) 14. Definate - Towards The Dawn (Arp XP Remix) 15. Gran Calavera - Noted 16. Revaux - Solidify 17. Kusp - Fixate (feat. SMB) 18. Facing Jinx feat. Peta Oneir - Meet You There

LMG Soul Eclectics: “Soulful Summer, Vol. 1: Daylight” Playlist Party: Soulful House Meets Acid Jazz (starts: 00:49) 1) Karma (ft. Terrance Downs - Soul Love Edit) – Urban Sound Lab 2) Soul Glow (Extended House Mix) – Paul Vincent 3) Smoking Mirrors (ft. Karma Stewart) – PPP 4) Prism of Light – Katie Leone 5) Always There (The Apple Scruffs Edit) - Incognito 6) Mighty Real 2011 – BSlade 7) Lovin’ Is Really My Game (Silk Mix) – Ann Nesby 8) Henry’s Roller Disco Mix – Various Artists/Henry Greenwood 9) Ride Like The Wind (Henry’s Lost Disco Mix) – Christopher Cross 10) This Place Hotel (The Apple Scruffs Edit) – Michael Jackson 11) Thriller (The Reflex Halloween Disco Edit) – Michael Jackson 12) Runnin’ Away (ft. Martin Luther) – Miguel Migs 13) Spaces & Places (ft. Fertile Ground) – Mitchell and Dewbury 14) Hi5: Taking Me Higher (ft. Lisa Taylor) – Kejam 15) Got To Let It Go – Angela Johnson 16) Do What I Do (ft. Omar – Renegades of Jazz Remix) – Positive Flow 17) Let It Go (Tall Black Guy Remix) – Temika Moore Hip Hop Soul Meets Old School Soul (1:44:11) 18) Never Knew – Sampson for President 19) Not My Day – Keith James 20) Be Your Baby – Honey LaRochelle 21) Touch (ft. Monet & Eric Roberson) – Collette 22) By Your Side — Melanie Durrant 23) Here – Alessia Cara 24) Tainted (ft. Dwele) — Slum Village 25) Love & Appreciate — Murs 26) Untitled (ft. Musiq Soulchild) – Driis 27) Ethiopia (ft. Sid Sriram) – Damani Nkosi 28) Love and Friendship – Malice and Mario Sweet Old vs. New UAC Soul (2:08:19) 29) Taboo – ConFunkShun 30) It’s A Shame (cover) – Raphael Saadiq 31) Wait – Laurone Mclendon 32) Always Be – PJ Morton 33) Figure It Out (Live) – Allen Stone 34) Prior To You (ft. Tank) – Tyrese 35) That’s Alright With Me – Andreya Triana 36) Surrender the Pretender – The Rebirth 37) Pots of Gold – Mamas Gun 38) Really Love – D’Angelo

Angel Baby and her man Dick Blackburn blast out with hot biscuits of desirable and dangerous dames, flipped foreign covers, righteous rockers, jungle wild men, guys declaring where they're at and one down home animal dancer. Every spin a certified win! Wild, Wild Woman – Steve Wright and The Lin-Airs – Lin / Little Woman–Twist – Ricky Morvan and The Fens – Luna / Pretty Little Woman – Frank Triolo with The Shipmates Orch. – Flagship / Warning – The Humans – Audition / Tiger – Little Joe Allen and The Off Beats – MCM / Help – Paul Clifton – Combo / Twenty Flight Rock – Vince Taylor et ses Play-Boys – Barclay / Jenny Jenny – Dickie Loader and The Blue Jeans – Parlophone / He, Pssst…! (Jack the Ripper) – Aart Brouwer met Johnny and His Cellar Rockers – Philips / That’s Allright – Billy Lyons – Candix / That’s Alright With Me – Louis Payne Orchestra, Vocal by Bonnie Buckner & Danny (Run Joe) Taylor) – Saxony / Well It’s Alright – The Impossibles – Pellegrino / Wild Man – The Three G’s – Columbia / She Drives Me Ape – The Play-Mates (Recorded live at Westcotts Club) – Century / Wild Boy – Rocky Holman, Mort Wise & The Wisemen – Sierra / I’m Ready – Rudy Ray Moore with The Raytones – Cash / I’m Grounded – The Minimum Daily Requirements – Tower / I’m Satisfied – Sidney Barnes – Gemini / See The Monkey Ride The Mule – The Nite-Caps – Way Out