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The Epistle of 1 John: Light, Life, Love | Part 5: 1 John 4Today we examine the question: What is Love? In a message titled Baby Don't Hurt Me... Ps Matt takes a dive into 1 John 4 to see the portrait of true love!
Sintonía: "Kahuna Sunset" - Buffalo Springfield"On The Way Home" - "Pretty Girl Why" - "Carefree Country Day" - "Special Care" - "Questions" - "I Am A Child" - "Merry-Go-Round" - "Uno Mundo". 8 canciones de las 12 que comprende el tercer y último álbum de la banda californiana, titulado "Last Time Around" (ATCO Records, 1968)Bonus tracks: "Neighbor Don´t You Worry" - "We´ll See" - "My Kind Of Love" - "No Sun Today" - "Down To The Wire" - "Whatever Happened To Saturday Night" (remix) - "What A Day" - "Baby Don´t Scold Me" - "Buffalo Stomp" - "Falcon Lake" - "Ash On The Floor"Todas las músicas compuestas e interpretadas por Buffalo SpringfieldEscuchar audio
Tracklist Earth,Wind & Fire - Let's Groove Ivan – Fotonovela Eddy Huntington - Up And Down Alan Cook - Do You Want To Stay Fred Ventura - Never Too Late P.Lion - Happy Children Argentina – Baby Don´t You Break My Heart Bandolero - Paris Latino Albert One - For Your Love Duke Lake - Dance Tonight Captain Hook - Bomber Image - Love Emotion Maskio (Roller Force) – Subway Yazzo - Don't Go Nick Jhon - Lost In A Dream Baccara - Vamos Al Cielo Paul Rein - Lady O Shanghai - Ballerina Dolmann - High Sex Drive Atrium - Doctor Jekyll Camaro´s Gang - Ali Shuffle Perickko´s Gang Big In Japan
Hello Metal Hedzzz....Here'z another rockin' show for all your eeerzzz.This rap we have songz from: Dog Soldier / Zebra / Def Leppard and Bengal Tiger and more...Let'z git in onnnn....Intro: Xanadu-Rush1. Break & Bend-Bengal Tiger2. The Wonder Of It All-Gulliver3. SOS Emergency-Def Leppard4. About To Make The Time-Zebra5. Silver & Gold-U26. What's Eating You-Airborne 7. Piller To Post-Dog Soldier8. Best Thing-Styx9. Leave It Behind-Hacksaw10. Reasons love-UFO11. Fist Fighting Son Of A Gun-Ted Nugent12. Easy-Doobie Brothers13. Baby Don't You Do It-The Who14. Let Everything Hath Breath-Petra15. Cruser-The CarsOutro: Nightingale & Bombers-Manfred Mann
Welcome back to Rinse And Repeat Radio! On this week's guest mix we have a very special guest - Eddie RecklessYou can catch Eddie rocking all around Milwaukee at some of the best spots in the city.He took over the first half of the episode and put together a mix of some of his favorite current house records, edits, remixes, & more.Episode 216, turn it up! **Tracklisting****Eddie Reckless Guest Mix**1.) Sabrina Carpenter Vs Martin Solvieg - Intoxicated Espresso (Frank Williams Vip Mashup)2.) John Summit Vs Axwell & Feenixpawl & Ivan Gough - Where You Are (Rivas 'In My Mind' Edit)3.) Swedish House Mafia V.s Bingo Players & Felguk - Miami 2 Ibiza X Devotion (Adam B Edit) 4.) James Hype, Tiesto, Benny Benassi Vs Sean Paul - Temperature X Satisfaction (Dj Arman Aveiru & Deville 'Drums' Edit)5.) Girl On Couch & Billen Ted Vs. Pickle - Man In Finance (G6 Trust Fund) (Cazes 'What Is Love' Edit)6.) Post Malone Feat. Morgan Wallen - I Had Some Help (Smassh 'Reload' Edit)7.) Kanye And The Boys, Yeah Yeah Yeahs, A-trak, Gin And Sonic - Mercy Vs. Heads Will Roll Vs. Shake It (Gin And Sonic Mashup)8.) Abba Vs Syzz Vs Toby Green - Gimmie! Gimmie! Gimmie! (Smassh Edit)9.) Chappell Roan Vs. Sigala - Good Luck, Babe! (Andrew Marks "Living Without You" Edit)10.) Cloonee Vs. Noizu & Martin Ikin - Sippin Yak (Kastra "Burnin" Edit)11.) Rihanna Vs. David Guetta & Anne-marie - This Is What You Came For (Kastra "Baby Don't Hurt Me" Edit) 12.) Swedish House Mafia V.s Knife Party Vs. Cheyenne Giles X Basement Jaxx - Antidote (2face X Hova 'Where's Your Head At' Set Starter Edit)13.) David Guetta V.s Rihanna - Titanium X Where Have You Been (Drewsy Mashup)14.) Charli Xcx & Troye Sivan Vs. David Guetta X Mike Candys X Steve Angello X Justus - 1999 (2face 'Little Bad Girl X Like That X Knas' Edit)15.) Nirvana - Smell Like Teen Spirit (Valy Mo Rock The House Edit)16.) John Summit & Hayla Vs. Knock2 & Dillon Francis - Shiver (Kastra "Buttons" Edit)**Cazes Mix**17.) Billie Eilish - Lunch (Wesh Remix)18.) Central Cee, Lil Baby - Band 4 Band (Sammy Porter Edit)19.) Brad Wood - Touch Faith20.) Marten Hørger - Right Here 21.) Disclosure - She Gone, Dance On22.) Galantis X Westend, Tudor, Punctual - Runaway (Cazes 2024 Edit)Find me on my socials! - @cazesthedjwww.cazesthedj.comUpcoming Dates7/12 - Good Night John Boy - Chicago, IL7/13 - Good Night John Boy - Cleveland, OH7/25 - American Social - Fort Lauderdale, FL7/26 - Pool After Dark @ Harrah's - Atlantic City, NJ
**It's The Pacman Show Replay On traxfm.org. This Week The Pacman Played Dance Classics/Hindi Bhangra/RnB/Boogie/Hip Hop/Remixes With Hillside, Jean Carne, Kishore Kumar - "Kitne Sapne Kitne Arman", Tony Rallo Band, Ollie & Jerry, From Aleem, Kunal Ganjawala -"Tere Bin (Remix), Paul Hardcastle, Sonu Nigam & The Sabri Brothers - "Tumse Milke Dil Ka", Bobby Nunn's "Baby Don't You Knock It" (Trax Allstars Ting), Jeffrey Osborne, Bobby D'Ambrosio & Lasala, Fatback Band's "Lover Undercover" (Trax Allstars Ting), Monie Love, Rene & Angela, & More #originalpirates #danceclassics #hindi #bhangra #remixes #boogie #80svibes #90svibes #reggaemusic Catch The Pacman Live Every Monday From 9:00 PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
MixTape 098 - Summer 2024 DJ Beats Mix TRACK 1 AUDIO TITLE "Another Day In Paradise" PERFORMER "Alex Grey, Emily Dawn, Coral Reef" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "Mwaki" PERFORMER "ZERB, Sofiya Nzau" INDEX 01 02:20:51 TRACK 3 AUDIO TITLE "Rock My Body" PERFORMER "R3HAB, INNA, Sash!" INDEX 01 05:28:62 TRACK 4 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "SRNDE, YKATI" INDEX 01 06:58:09 TRACK 5 AUDIO TITLE "Baby Don't Hurt Me" PERFORMER "David Guetta, Anne-Marie, Coi Leray" INDEX 01 09:08:14 TRACK 6 AUDIO TITLE "Relax" PERFORMER "Alex Grey, House Arrest, Bikini Bandits" INDEX 01 10:46:17 TRACK 7 AUDIO TITLE "Rule The World (Everybody)" PERFORMER "Tiësto, Tears For Fears, NIIKO X SWAE, Gudfella" INDEX 01 12:16:17 TRACK 8 AUDIO TITLE "Corazón" PERFORMER "Andyrave" INDEX 01 14:55:45 TRACK 9 AUDIO TITLE "Lay Low" PERFORMER "Tiësto" INDEX 01 16:51:14 TRACK 10 AUDIO TITLE "The Riddle" PERFORMER "Last Call, Sundays, Bikini Bandits" INDEX 01 19:04:33 TRACK 11 AUDIO TITLE "Lemonade" PERFORMER "Jay Dixie, DVSK, Tremble" INDEX 01 21:15:44 TRACK 12 AUDIO TITLE "Umbrella" PERFORMER "The Him" INDEX 01 23:46:07 TRACK 13 AUDIO TITLE "Satisfaction" PERFORMER "David Guetta, Benny Benassi" INDEX 01 26:03:62 TRACK 14 AUDIO TITLE "Summertime Sadness" PERFORMER "The Him" INDEX 01 28:01:74 TRACK 15 AUDIO TITLE "Superstar" PERFORMER "Bikini Bandits, Valentina Star, Jack Fruit" INDEX 01 31:08:26 TRACK 16 AUDIO TITLE "10:35" PERFORMER "Tiësto, Tate McRae" INDEX 01 33:02:06 TRACK 17 AUDIO TITLE "Say It Right" PERFORMER "Last Call, Sundays, Bikini Bandits" INDEX 01 35:43:06 TRACK 18 AUDIO TITLE "Rolling In The Deep" PERFORMER "Last Call, Sundays, Bikini Bandits" INDEX 01 37:55:44 TRACK 19 AUDIO TITLE "Be My Lover (feat. La Bouche) (2023 Mix)" PERFORMER "David Guetta, Hypaton, La Bouche" INDEX 01 40:41:07 TRACK 20 AUDIO TITLE "Carry You" PERFORMER "Martin Garrix, Third Party, Oaks, Declan J Donovan" INDEX 01 42:23:54 TRACK 21 AUDIO TITLE "I'm Good (Blue)" PERFORMER "David Guetta, Bebe Rexha" INDEX 01 45:05:31 TRACK 22 AUDIO TITLE "(It Goes Like) Nanana (Edit)" PERFORMER "Peggy Gou" INDEX 01 47:47:19 TRACK 23 AUDIO TITLE "Crying On The Dancefloor" PERFORMER "Sam Feldt, Jonas Blue, Endless Summer, Violet Days" INDEX 01 48:58:30 TRACK 24 AUDIO TITLE "On & On" PERFORMER "Armin van Buuren, Punctual, Alika" INDEX 01 51:03:47 TRACK 25 AUDIO TITLE "Missing" PERFORMER "Alvin Anthony, BLUTH" INDEX 01 53:06:38 TRACK 26 AUDIO TITLE "Stumblin' In" PERFORMER "Cyril" INDEX 01 54:41:50 TRACK 27 AUDIO TITLE "Lovely Day" PERFORMER "Bikini Bandits, Alex Grey, House Arrest" INDEX 01 57:40:48 TRACK 28 AUDIO TITLE "I'm Coming Out" PERFORMER "Bikini Bandits, Alex Grey, Emily Dawn" INDEX 01 59:26:46 TRACK 29 AUDIO TITLE "Rise Up" PERFORMER "summer sax, Poolside Pirates, Islnd" INDEX 01 61:13:30 TRACK 30 AUDIO TITLE "Sunrise" PERFORMER "Tod Allen, Sonja" INDEX 01 63:39:20
Welcome to episode 500 of Make Some Trance radio show , as always in the studio your host - Ruslan Radriges This anniversary episode includes 2 hours and 2 guest mixes from Julia Violin and Whitelight ♪ New Track with Julia Violin "PHOENIX" ► https://interplay.ffm.to/itp299 ♪ Discover this episode: ► https://lnkfi.re/MST500 Also new music by Ruslan Radriges: ♪ "SIGNALS" ► https://2rock.ffm.to/0224 ♪ "HOPE" ► https://2rock.ffm.to/0220 ♪ "KEEP BREATHING" ► https://2rock.ffm.to/bs056 ♪ "IMAGINATION" ► https://band.link/Imagination_ ♪ "SINNER GAME" ► https://band.link/SinnerGame ♪"FULL OF STARS" ► https://2rock.ffm.to/0205 ♪ "BLOW IT UP": ► https://2rock.ffm.to/0194 ♪ "KEEP ON DANCE": ► https://biglink.to/KEEPONDANCE ♪ "THE LIGHT": ► https://biglink.to/THELIGHT ♪ "PLAY IT LOUD": ► https://2rock.ffm.to/bs019 Follow Ruslan Radriges: ♦ Instagram → / ruslanradri. . ♦ Spotify → https://bit-ly.ru/jyfms ♦ Facebook → / ruslanradriges ♦ YouTube → https://bit-ly.ru/uLJPc #ruslanradriges #MST500 TRACKLIST: Ruslan Radriges - Intro 01. Sebastian Ingrosso vs. Ruslan Radriges & Cari - Dark River vs. Follow The Sun (RR Mushup) 02. David Guetta x Morten x Bebe Rexa - Juno I'm Good (RR Mushup) 03. Ruslan Radriges & FEEL vs. MEDUZA & James Carter ft. Elley Duhe & FAST BOY x David Guetta - On Fire vs. Bad Memories (RR Mushup) 04. Ruslan Radriges vs. Faithless - Keep On God (RR Mushup) 05. Andrew Rayel & Graham Bell vs. Avicii - Tambores vs. The Nights (RR Mushup) 06. Ruslan Radriges vs. Jason Ross ft. Lauren Ray - I Will Be Your Sound (RR Mushup) 07. Ruslan Radriges vs. Armin van Buuren ft. Vanessa Campagna - I'm Not Vulnerable (RR Mushup) 08. Ruslan Radriges & Alexander Turok vs. David Guetta x Anne-Marie x Coi Leray - Play It Loud vs. Baby Don't Hurt Me (RR Mushup) 09. Orbion vs. Iversoon & Alex Daf vs. Armos & Lucid Blue vs. Armin van Buuren & Josh Cumbee - Poseidon & Sunny Days & Call Of The Wild (RR Mushup) 10. Pitchback vs.Dimitri Vegas & Like Mike vs Ummet Ozcan vs. Cosmic Gate & Eric Lumiere & Alexander Popov - Cosmic Dark vs. The Hum vs. Runaway (RR Mushup) 11. Alexander Turok & Ruslan Radriges vs. Armin van Buuren - Love Is A Blow It Up (RR Mashup) 12. Alexander Popov & Ruslan Radriges vs. Antoine Delvig & WARO - Dynamic The Tempo (RR Mushup) 13. Ruslan Radriges & T'eira vs. 7 Skys - Keep Breathing vs. Tokio777 (RR Mashup) 14. Prime Punk x Alexander Popov x Ruslan Radriges vs. Delerium x Sarah McLachlan - The Dome vs. Silence (RR Mushup) 15. Arkham Knights vs. Alan Walker & Dash Berlin - Knightfall vs. Faded (RR Mushup) 16. Ruslan Radriges vs. David Guetta & MORTEN ft. John Martin - Singulariry vs. Impossible (RR Mushup) 17. Ruslan Radriges & Tycoos vs. Franky Wah ft. AETHO - Red vs. Should Have Seen It Coming (RR Mushup) JULIA VIOLIN: 01. Aurosonic x Costa x Cathy Burton ft. Julia Violin - Can I Count On You 02. Tokatek & Julia Violin - On the Run 03. Ruslan Radriges & Julia Violine - Mantra 04. Cubetonic ft. Julia Violin - In Search Of Light 05. DJ Feel - It Comes 06. Alexander Popov ft. Julia Violin - Legacy 07. ROMM & Alex BELIEVE ft. Julia Violin - Total Time 08. Rubea Stella & Julia Violin - Eternal Melody 09. Trance Reserve & Julia Violin - Miss You WHITELIGHT: 01. Sevenn & Sean Brauer - QUestion 02. Hel-slowed & JNSN - Want Me 03. nilsix - Old's Cool 04. Emma Hewitt x ilan Bluestone x Maor Levi pres. Elysian - Sparks In The Night 05. WhiteLight & ID - ID 06. Nifra feat. EKE - Pull Me In 07. David Forbes - Energy 08. Lily Palmer - Hare Ram 09. Lily Palmer - ID 10. RAM - RAMsterdam (Jorn van Deynhoven Remix) Ruslan Radriges - Outro
Our Hard'N'Heavy series of podcasts focuses on new traditional metal and hard rock releases ... along with the odd hard rock'n'roll and melodic punk outing. Basically anything that doesn't fit on our Extreme Metal, Hardcore Punk or Doom series! This edition we focus on January and February 2024 releases. Horns up! (00:00) "Awaken the Night" VULGAR DEVILS - Witches Wheel Witches Wheel | Vulgar Devils (bandcamp.com) (04:59) "Showdown" MEGA COLOSSUS - Showdown Showdown | MEGA COLOSSUS (bandcamp.com) (10:06) "Bill Jenkins" THE CLAMPS - Megamouth THE CLAMPS - Megamouth | HEAVY PSYCH SOUNDS Records (bandcamp.com) (13:56) "Warriors of Madness" HEAVY SENTENCE - Warriors of Madness EP Warriors of Madness 7″ | Heavy Sentence | Dying Victims Productions (bandcamp.com) (18:08) "Society Overdose" DEATH RIDGE BOYS - Society Overdose single Society Overdose b/w Turn The Tide | Death Ridge Boys (bandcamp.com) (21:07) "Super Charger" (blocked in You Tube) SAXON - Hell, Fire and Damnation Hell, Fire And Damnation | Saxon (bandcamp.com) (26:06) "Baby (Don't Let Me Down" THE SLOW AND EASY - Hand Me Down Hand Me Down | The Slow and Easy (bandcamp.com) (29:12) "Mad Minute" CRUCIBLE - The Savage Weapon The Savage Weapon (demo) | Crucible | Target Group (bandcamp.com) (31:51) "The Perception" ACERUS - The Caliginous Serenade The Caliginous Serenade | ACERUS | Luxinframundis Productions (bandcamp.com)
00:00 - Killer Papa Was a Rollin' Stone 08:50 - Father Figure 14:35 - Fame 18:31 - Ain't No Stoppin' Us Now 24:01 - Calling You 30:22 - Back to Life 35:37 - Tonight 42:30 - Everything She Wants 50:33 - Baby Don't Change Your Mind 53:48 - Don't Let the Sun Go Down on Me 59:15 - Ain't Nobody 1:03:47 - I Knew You Were Waiting (For Me) 1:08:00 - Careless Whisper 1:14:57 - I'm Your Man 1:21:00 - Freedom 90 All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY! ONE GIG.
Lovin On Me x Belly Dancer - jack harlow x Imanbek Candy Shop x Sugar - 50 cent x riton Love Tonight x One More Time - shouse x daft punk I Was Made For Lovin' You - Oliver Heldens, Nile Rodgers & House Gospel Choir Barbra Streisand - Duck Sauce Family Affair x Dance For Me - David Guetta Take It Off x Sensual Seduction - Fisher Ft. Snoop Dogg Praising You - Rita Ora Murder On The Dancefloor - Sophie Ellis Bextor Drums - James Hype & Kim Petras Fire Burning - Sean Kingston Everybody - Nicki Minaj ft. lil uzi vert Baby Don't Hurt Me - David Guetta, Anne-Marie & Coi Leray Mercy - Kanye West x Jengi Tití Me Preguntó - Bad Bunny I'm Good - David Guetta Ft. Bebe Rexha Bzrap Music Sessions, Vol. 53 - Bizarrap & Shakira Where Them Girls - Flo rida & Nicki minaj SexyBack - Justin Timberlake ft. Timbaland Push The Feeling On x Hotel Room - Nightcrawlers Dance The Night - Dua Lipa & Robin S. Yes, And? x Vogue - Ariana Grande x Madonna Mas Que Nada - Oliver Heldens, Ian Asher & Sergio Mendes Edge of Seventeen - Wuki Pump It Louder - Tiesto & Black Eyed Peas Houdini x Bucketheads - dua lipa Paint The Town Red - doja cat Drinkin' - Joel Corry, MK & Rita Ora All Night Long - Kungs, David Guetta & Izzy Bizu Heaven Is A Place - Tujamo & Medun Where You Are - John Summit ft Hayla
FEEL 1 Hour Melodic & Progressive Mix 01. AN21 & Ali Bakgor - Into Dust (Extended Mix) [S-ZE] 02. Alexander Popov & Seegy - My Soul (Extended Mix) [INTERPLAY] 03. Boby Giordana & B1 feat C'est Indigo - All Life Long Extended Mix [FUTURE HOUSE CLOUD] 04. Solanca & Lokka Vox - For You (Extended Mix) [ZEROTHREE] 05. PASSIK & Cole Morehead - Nightmares (Extended Mix) [FUTURE HOUSE] 06. Alexander Popov & Fedo - Lost In Space (Extended Mix) [INTERPLAY] 07. Scorz & Malou - Hope (Extended Mix) [ARMADA] 08. Sunny Lax - Raindance (Extended Mix) [ANJUNABEATS] 09. UUFO & Ava Silver - Young Hearts (Extended Mix) [ASOT] 10. Dave Neven presents Ocata - Welcome to the Awakening (Extended Mix) [COLDHARBOUR] 11. Seraphin - Across the Odyssey (Extended Mix) [NANOSTATE MUSIC] 12. Morgin Madison - Feel Alive (Different Stage Extended Remix) [ENHANCED] 13. Mari Ferrari - Arcada (Extended Mix) [ACTUATION] 14. KhoMha - Home (Extended Mix) [ARMIND] 15. Yotto & Lost Boy - Just The Kinda Feeling (Nicky Elisabeth Extended Remix) [ODD ONE OUT] 16. ALAT - Knull (Extended Mix) [COLDHARBOUR BLACK] 17. Mike EFEX - Monsters (Extended Mix) [COLDHARBOUR] Ruslan Radriges 1 Hour Producers Guest Mix 18. Ruslan Radriges & Teira - Keep Breathing (Intro Mix) [2ROCK B SIDE] 19. Protoculture & Vigel vs. Kadebostany & Astero - Pegasus vs. Mind If I Stay (Ruslan Radriges Mushup) 20. ID - ID 21. Ruslan Radriges - Hope [2ROCK] 22. Ruslan Radriges - ID 23. ID - ID 24. Ruslan Radriges - Keep On Dance (Extended Mix) [INTERPLAY] 25. Ruslan Radriges vs. Armin van Buuren ft. Vanessa Campagna - I'm Not Vulnerable (RR Mashup) 26. Ruslan Radriges & Teira vs. 7 Skys - Keep Breathing vs. Tokio777 (RR Mashup) 27. Ruslan Radriges X AV x Anton By x Yevtya - Revival 28. Hardwell & Maddix ft. Luciana - ACID 29. Alexander Popov & Ruslan Radriges vs. Antoine Delvig x WARO - Dynamic The Tempo [INTERPLAY] 30. Alexander Turok & Ruslan Radriges vs. Armin van Buuren - Love Is A Blow It Up (RR Mashup) 31. Ruslan Radriges - Sinner Game [INTERPLAY] RR & AT vs. David Guetta x Anne-Marie x Coi Leray - Play It Loud vs. Baby Don't Hurt Me 32. Ruslan Radriges & Tycoos - Full Of Stars [2ROCK] 33. Alexander Popov x Ruslan Radriges x Annie Sollange - The Light (Vexa9 & Aleksey Ekimov Remix) [INTERPLAY]
FEEL 1 Hour Melodic & Progressive Mix 01. AN21 & Ali Bakgor - Into Dust (Extended Mix) [S-ZE] 02. Alexander Popov & Seegy - My Soul (Extended Mix) [INTERPLAY] 03. Boby Giordana & B1 feat C'est Indigo - All Life Long Extended Mix [FUTURE HOUSE CLOUD] 04. Solanca & Lokka Vox - For You (Extended Mix) [ZEROTHREE] 05. PASSIK & Cole Morehead - Nightmares (Extended Mix) [FUTURE HOUSE] 06. Alexander Popov & Fedo - Lost In Space (Extended Mix) [INTERPLAY] 07. Scorz & Malou - Hope (Extended Mix) [ARMADA] 08. Sunny Lax - Raindance (Extended Mix) [ANJUNABEATS] 09. UUFO & Ava Silver - Young Hearts (Extended Mix) [ASOT] 10. Dave Neven presents Ocata - Welcome to the Awakening (Extended Mix) [COLDHARBOUR] 11. Seraphin - Across the Odyssey (Extended Mix) [NANOSTATE MUSIC] 12. Morgin Madison - Feel Alive (Different Stage Extended Remix) [ENHANCED] 13. Mari Ferrari - Arcada (Extended Mix) [ACTUATION] 14. KhoMha - Home (Extended Mix) [ARMIND] 15. Yotto & Lost Boy - Just The Kinda Feeling (Nicky Elisabeth Extended Remix) [ODD ONE OUT] 16. ALAT - Knull (Extended Mix) [COLDHARBOUR BLACK] 17. Mike EFEX - Monsters (Extended Mix) [COLDHARBOUR] Ruslan Radriges 1 Hour Producers Guest Mix 18. Ruslan Radriges & Teira - Keep Breathing (Intro Mix) [2ROCK B SIDE] 19. Protoculture & Vigel vs. Kadebostany & Astero - Pegasus vs. Mind If I Stay (Ruslan Radriges Mushup) 20. ID - ID 21. Ruslan Radriges - Hope [2ROCK] 22. Ruslan Radriges - ID 23. ID - ID 24. Ruslan Radriges - Keep On Dance (Extended Mix) [INTERPLAY] 25. Ruslan Radriges vs. Armin van Buuren ft. Vanessa Campagna - I'm Not Vulnerable (RR Mashup) 26. Ruslan Radriges & Teira vs. 7 Skys - Keep Breathing vs. Tokio777 (RR Mashup) 27. Ruslan Radriges X AV x Anton By x Yevtya - Revival 28. Hardwell & Maddix ft. Luciana - ACID 29. Alexander Popov & Ruslan Radriges vs. Antoine Delvig x WARO - Dynamic The Tempo [INTERPLAY] 30. Alexander Turok & Ruslan Radriges vs. Armin van Buuren - Love Is A Blow It Up (RR Mashup) 31. Ruslan Radriges - Sinner Game [INTERPLAY] RR & AT vs. David Guetta x Anne-Marie x Coi Leray - Play It Loud vs. Baby Don't Hurt Me 32. Ruslan Radriges & Tycoos - Full Of Stars [2ROCK] 33. Alexander Popov x Ruslan Radriges x Annie Sollange - The Light (Vexa9 & Aleksey Ekimov Remix) [INTERPLAY]
TOP 23 FREESTYLE SONGS OF 2023 Countdown Showdown Playlist 23.) If You Leave Me Now by Mambo LeBron (feat. Jessie Storey)22.) Jase David & Luis G.- Fallen21.) Rescue Me by Luis G.20.) So This Is Love by Artie19.) Surrender To Me by Nelson Rego18.) Love So Crazy by George Anthony & Jae Mazor17.) Call Me Broken by Stefanie Bennet16.) Numb by Sharyn Maceren15.) Walk Away by Nyasia14.) Baby Don't Go by Soave13.) Don't Take Your Love Away by Corina12.) Take It All Back by Stevie B.11.) Last Chance by Denine10.) Forever You And Me by Ray Guell9.) Toxic by Jae Mazor8.) Can We Work It Out by Soave7.) You Didn't Love Me by Aby Cruz (Feat., Aktual)6.) Always Remember by Brenda K Starr5.) City Lights (Dancin') by Jenni Renee4.) I Hope by Julio Mena (Feat. Coro)3.) Tony Moran - Hurt So Bad2.) When You Talk by Denine1.) 3 To Da Max (Feat., Billy Ray) - I Knew It Was You SUPPORT THE ARTISTS AND PICK UP A COPY OF YOUR FAVORITE SONG Visit Mikie Cubby, aka DJ PAPA C, to get a complete list of Freestyle Releases!
1:03 - Friends 4:57 - PSYCHO 8:18 - Baby Don't Hurt Me 11:17 - Rockabye 16:10 - Unhealthy 20:55 - Ciao Adios 25:05 - 2002 All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY!
Desde hace algunos años, las remasterizaciones ocupan un espacio muy importante en las tiendas de discos pero ¿realmente vale la pena gastarte el dinero? En el programa de hoy repasamos algunas de las que han salido en 2023 y os doy mi opinión sobre ellas. Suenan: 01. Longview (Cassette demo) - Green Day - Dookie 30th Anniversary 02. Acquiesce (Remastered) - Oasis - The Masterplan Remastered Edition 03. Go Man Go - The Breeders - 1993 - Last Splash 30th Anniversary 04. Very Ape - Nirvana - In Utero 30th Anniversary 05. Hollywood (Outtake) - The Cranberries - To The Faithful Departed 25th Anniversary E 06. Animal - Pearl Jam Vs. Remastered 07. Magical Mystery Tour - The Beatles 1967-1970 (2023 Edition) 08. Fidelity (Phil Spector Demo) - Starsailor - 2003 - Silence Is Easy 20th Anniversary 09. Lotus Party Of Five Recording R.E.M. Up 25th Anniversary 10. Baby Don't You Do It (New York Record Plant Sessions) -The Who - Who's Next - Life House Remastered 11. Acoustic Rick James Style - The Lemonheads - Come On Feel 30th Anniversary 12. She's Not Dead - Suede - Suede 30th Anniversary 13. 20 - Hysteria (Demo 2002) - Muse Absolution XX Anniversary 14. Lost - Linkin Park - Meteora 20th Anniversary + info - https://linktr.ee/b90podcast Espacio patrocinado por: khabron - tueresgeorge - boldano - Eduardo Mayordomo Muñoz - kharhan - Barrax de Pump - PDR - Fernando - QUIROGEA - Jorge - J. Gutiérrez - dacou - Gabriel Vicente - Carlos Conseglieri - Miguel - faeminoandtired - Isabel Luengo - Franc Puerto - screaming - HugoBR - angelmedano - Vicente DC - VICTORGB - Alvaro Gomez Marin - tonicaspo7 - Achtungivoox - PabloArabia - Alvaro Perez - Naïa - Sergio Serrano - Antuan Clamarán - Mario Sosa - Isranet - Jesus Arribas Jimenez - Paco Gandia - ok_pablopg - braulio - Eduardo Vaquerizo - Crisele - David Reig - Wasabi Segovia - Dani RM - Fernando Masero - María Garrido - RafaGP - Macu Chaleka - laura - Infestos - Öki Þeodoroson - davidgonsan - Juan Carlos Mazas - 61garage - JJM - Rosa Rivas - Bassman Mugre - SrLara - David Meño Manzaneque - Próxima Estación Okinawa - Barullo - Megamazinger - Francisco Javier Indignado Hin - Unai Elordui - carmenlimbostar - Piri - Miguel Ángel Tinte - Miquel CH - Jon Perez Nubla - agui102 - Raul Sánchez - Nuria Sonabé - davicin blackmetal - Spinda Records - Pere Pasqual - Juanmi - JulMorGon - blinddogs - JM MORENTE - Alfonso Moya - Rubio Carbón - LaRubiaProducciones - cesmunsal - Mr.Kaffe - Marcos - jocio - Norberto Blanquer Solar - Tolo Sent - LIP -Carmen Ventura - Jordi y varias personas anónimas.
On this episode of Roger the Wild Child Show: Nashville edition, we are joined by singer/songwriter's Amanda Kate and Riley Braker!AMANDA KATEBorn in a no-stop-light-town in Red River, NM, Amanda Kate Ferris grew up equally inspired by her small-town upbringing and her mother, Kathy Wright, an artist and entertainer herself. As one of the original “Dean Martin Golddiggers” on the 1960's TV show, 18-year-old Kathy often collaborated with The Rat Pack's crooners, embracing the era's glamour. The apple didn't fall far from the tree, and young Amanda was singing as early as two years old. Inspired by her mother's tales of performing on the stage and screen, she developed her own voice in the church. Amanda added songwriting to her repertoire at age 14, looking again to follow in her mother's footsteps as a full-time musician and artist. During her mother's long sets at Honky Tonks between California, New Mexico, and Texas, Amanda fell in love with the music of The Judds, Trisha Yearwood, Faith Hill, Leanne Womack, and Brooks & Dunn, all of which heavily influenced her current sound. Her love of Country music led her to chase her dreams in Nashville. Over the next few years, she went through multiple groups, opportunities, and countless hours spent on her craft in Music City. On the brink of letting these long sought-after dreams go, Amanda decided that she needed a change of pace and settled in with her family. After she and her husband welcomed their first child, Amanda was back on stage, this time performing Carrie Underwood songs in a national touring cover band, Blown Away. Their incredible renditions of Underwood's hits led to an unsolicited and highly coveted spot on Executive Producer Jimmy Fallon's new show for E!, “Clash of the Cover Bands.” Through Underwood's iconic songs, Amanda was able to fulfill her love of entertaining and singing, but she felt a calling to again create her own original music. The show was a full circle moment for Ferris, appearing on the same network that gave her mother her start over 50 years ago. Off-screen, this allowed Amanda the opportunity to highlight her new original music, simultaneously releasing her self-titled EP to rave reviews, including editorial placement on Spotify's Texas Country Now, the largest Red Dirt Playlist. In early 2022, Ferris' love for traditional Country sparked the interest of renowned producer Jimmy Ritchey (Clay Walker, Mark Chesnutt), with whom she recorded five new tracks reminiscent of the traditional country stylings of Ferris' favorites from the 90s. Look out this fall for “Baby Don't,” Ferris' debut on Texas radio. “Baby Don't” honors her Texas Country roots and showcases her captivating vocals. This lead single will be followed by an EP in early 2023 to reflect upon her western influences and love of Country music history. A cowgirl at heart, she spends any free time riding her horses with her family at Rockin R Ranch in Palmer, TX. On the road, Amanda has graced the stage with such acts as Tracey Lawrence, Bailey Zimmerman, Deana Carter, Warren Zeiders, Chase Rice, Priscilla Block, Casey Donahew, Josh Abbott Band, and more. RILEY BRAKERRiley is a gifted singer-songwriter, with a voice tailor made to tell her heartfelt stories of life as a young adult. She crafts her tales of love, woe, and regret, and infuses her characters with so much life, the listener feels as if they are experiencing the events first handy
Love is love....or is it? What is love (
Michael Hutchence's uniqueness brought an unparalleled element to INXS, one that many bands struggle to find. Take a journey through the band's career, from their early hits to their grand album tracks, all the way to the worldwide smashes that made them the phenomenon that was INXS. Some of their most iconic songs include "Kiss The Dirt (Falling Down The Mountain)", "Mystify", "Burn For You", "Elegantly Wasted", "Searching", "Suicide Blonde", "Baby Don't Cry", "Devil Inside", "By My Side", "Need You Tonight", "Listen Like Thieves", "Shining Star", and "New Sensation", among many others. If you enjoy the content, you can show your support by treating me to a coffee. I'm quite fond of coffee myself.
A Festival Main Stage set @130 BPM! Contact: angel.wings.dj@gmail.com Download for free via: Itunes Google Podcasts Stitcher Facebook TuneIn Podcast Addict TRACKLIST: 1. Explore Your Future - Anyma // 2. Ghosts Again (Massano Remix) - Depeche Mode // 3. Ethnica - Nico de Andrea, Vanetty // 4. Feel Your Ghost - Tiesto, Mathame // 5. Friends - Meduza // 6. Players (David Guetta Remix) - David Guetta, Coi Leray // 7. Your Mind Is Dirty - Mau P // 8. Zodiac - Agents Of Time // 9. Upside Down - Meduza, Poppy Baskcomb // 10. False Need - Mochakk // 11. Be My Lover (2023 Mix) - David Guetta, La Bouche, Hypaton // 12. Miracle (Mau P Remix) - Calvin Harris, Ellie Goulding // 13. Voices Above - Malone, BLOND:ISH, Archila // 14. Silence (Stereo Express Remix) - Delerium // 15. Baby Don't Hurt Me - David Guetta, Anne-Marie, Coi Leray // 16. The Silence - Monolink, Stephan Jolk // 17. Losing My Religion - Samantha Loveridge, Treetalk //
Track Listing for Dance The Night: 1. Favorite Kind Of High (Craig Welsh Extended Remix) – Kelly Clarkson 2. Round & Round (Block & Crown Remix) – Allegra 3. Better Off Alone (Ray Isaac Extended Mix – No Nicki) – Kim Petras vs Alice Deejay 4. Sweat (Extended Mix) – Majestic & Karen Harding 5. Show It (Stonebridge Classic Extended Mix) – Betty Harris 6. You Make Me Feel (Mighty Real) (DJ Digimark Mixshow) – Adam Lambert 7. Don't Wanna Fall In Love (Extended Mix) – Todd Terry, DJ Rae, and Jane Child 8. Move (B2B Extended Mix) – Idina Menzel 9. Use Me (Brutal Hearts) (DJ Fudge Soulful Mix) – Diplo feat. Johnny Blue Skies & Dove Cameron 10. Superficial (Anton Powers Extended Mix) – Saibh Skelly 11. Spiral (Extended Mix) – Lena Leon 12. Barbie Girl 2023 (Extended Tiesto Edit) – Aqua 13. Back To You (Amice Remix) – Lost Frequencies, Elley Duhe, and X Ambassadors 14. No Sleep (Extended Mix) – Regard x Ella Henderson 15. Dance The Night (Colin Jay Extended Mix) – Dua Lipa 16. Baby Don't Hurt Me (Joel Corry Remix) – David Guetta feat. Anne-Marie x Coi Leray 17. You (Redondo Extended Mix) – Lyra 18. Work With My Love (Mark Knight Extended Remix) – Alok & James Arthur 19. My Heart Is Refusing Me (Ray Isaac Extended Mix) – Loreen 20. Superstar (B2B Extended Mixshow) – Belters Only, Micky Modelle feat. Simone Denny
Celebrating her smash “Baby Don't Hurt Me” w David Guetta & Coi Leray hitting #1, Anne-Marie shares how the song was born! She also talks her new song “Unhealthy” and how it was born w Shania Twain!!Anne-Marie also takes on #FinkysFirsts!Find out about:the first car accident she was inthe first thing she wanted to be growing upthe first time she performedthe first song she wrotethe first award she wonthe first time she realized she had anxietythe first thing that comes to mind when someone asks “What is love?”Follow: @AmericasDance30 on all socials!Count down the biggest dance songs in the country every week with Brian Fink on America's Dance 30; listen on dance stations around the world!AmericasDance30.com
After few years I decided to re-launch my Global Mixshow Bollyctro. This is Ep.41 Hope you all like it! Follow Me on All my Socials: http://linktr.ee/djscoopPlaylist1. Desperado (DJ Hani Dance Mix)- Raghav f. Tesher2. Kesariya (Tech House Mix)- DJ V-Ren3. Tere Pyaar Mein- DJ Tejas4. Besharam Rang (Rmx)- DJ Hani Dubai x DJ Sam Dubai5. Pasoori (Club Mix)- DJ Ravish & DJ Chico6. Jeda Nasha- Hard Hitters7. Main Khiladi (Rmx)- DJ Abdul x DJ Ganesh8. Baby Don't Hurt Me (DJs From Mars Remix)- David Guetta, Anne Marie & Coi Leray9. Tu Maan Meri Jaan (DJ Naruto & DJ Qayra Circuit Mix)- King x Nick Jonas10. Aaj Ki Raat x Love Tonight- DJ Shreya11. Guddi Riddim- DJ Snake & Wade f. Nooran Sisters12. Laila Nachle- ADXRE13. Rangeela Re- Skies Mashup14. Manike (Club Mix)- DJ Ganesh & DJ Abdul15. Nacho Nacho (Club Mix)- DJ Purvish16. Yeh Ek Zindagi (KG Rmx)- Karthik Gopinath17. Jhoome Jo Pathaan (Rmx)- DJ Akhil Talreja18. O Antava (Pushpa Club Mix)- DJ Dalal London19. Banglore Days (Amapiano Akwaaba Mashup)- DJ ALX20. Kheriyat (Deep Mix)- Nkd21. Tune Nazro Se (Teedee Rmx)- Madina22. People (Fats Rmx)- Libianca23. Dilbar x Shake It (DVJ Noney Rmx)- Tech Panda24. Thumka (Remix)- DJ Abdul & DJ Ganesh25. Pyar Hota Kayi Baar Hai- DJ OM26. Lut Gaye (Club Mix)- DJ Kalpesh27. Shayad (2020 Remix)- DJ Omax & Rohaan28. Deva Deva (Mashup)- DJ Nyk 29. Point of No Return x Kehna Hi Kya (Kunal M Indo Warehouse Edit)- Adam Port, Monolink30. Take Me Away- ACRAZE31. Boom Boom x Mumbai (Tech House Edit)- EL Sura32. Pal (Future Rave Remix)- DJ Aroone33. Nainowale x Kangna (Afro Vuma Edit)- Kahani34. Ve Maahi- DJ Nyk35. Labon Ko (Remake)- Nabeel Lakhani36. Sanak (Mashup)- DJ Yoddha37. Left Right (DJ Janam & DJ ALX Amapiano Mashup)- Ali Sethi,Shae Gill,Abdullah Siddiqui & Maanu
CX RADIO EP 24 has arrived just in time for summer! Tons of new music from the crib & more - Warming it up real nice & easy & then taking it to the peak! - Enjoy your favorite club hits & new vibes! Playlist 1.Still D.R.E. / Tall Boys vs Breez Moombahton Edit - Dr. Dre ft. Snoop Dogg 2.Superstar / Hyalyte & Ekany Remix - Jamelia 3.Try Again / QUIKTON Remix - Aaliyah 4.Casamigos (Pour It In My Cup) - Afro B & Sukihana 5.Me Pone Mal - Pitbull & Omar Courtz 6.SoSo / Da Phonk Club Edit - Omah Lay & Ozuna 7.Hey Mor - Ozuna , Feid 8.TQG - KAROL G & Shakira 9.La Bebe Remix - Yng Lvcas & Peso Pluma 10.150 Remix - Yandel x Feid 11.Where She Go - Bad Bunny 12.Shake Sum - DaBaby 13.Vogue 2.0 - Scram Jones & The Kid Daytona 14.Dont Go Mad Now - Swedish House Mafia 15.Relax My Eyes (SLVR Remix) - ANOTR, Abel Balder 16.Miracle Maker - Dom Dolla feat. Clementine Douglas 17. Follow The Leader - Dimitri Vegas Like Mike Sunnery James Ryan Marciano x Azteck 18.Como Shakira / Muzik Junkies, IAMCHINO & CX Edit - Hugel 19.Palito Rico / Disto Remix - IAMCHINO 20. KPASA - 2DEEP ft. Drty Tropix 21. Beggin' - Chris Lake & Aluna 22.Someone - Fireboy DML 23.Innerbloom x Cola x Payback (Fallenius Edition) - Rufus Du Soul , Dimitri Vangelis & Wyman X Steve Angello , Camelphat 24.Where You Are / Dario Valli Dreams Edit - John Summit 25.Sicko Mode X Unforgettable (CX & Mr ANDERSON BOOTLEG) - Morten , Drake, Travis Scott 26.Jumpin / Jablonski & Tejeda Remix - Pitbull & Lil Jon 27.Trompa - Sunnery James, Ryan Marciano & Soffi Tukker IAMCHINO, PitBull, Bulin 47 28. Ella Baila Sola / DJ WZRD Remix - Eslabon Armado & Peso Pluma 29.Baila (La Banda) - Liu & Mojjo - IAMCHINO, White Star & Axel Rulay 30. Baby Don't Hurt Me / Tall Boys Throwback Intro - David Guetta, Anne-Marie & Coi Leray 31.Boy's a liar Pt. 2 / MarkCutz Love You Down Edit - PinkPantheress & Ice Spice 32.Boy's a liar Pt. 2 /Angelo Mota x Mike Wavvs Slow Jamz Mashup - PinkPantheress & Ice Spice 33. Slow Jamz - Twista , Kanye West, Jamie Foxx 34. What Ever You Like - T.I 35 .Search & Rescue - Drake 36.Mbappé - Eladio Carrión 37.Coco Chanel - Eladio Carrión & Bad Bunny 38.F u - Bizzy Crook
CX RADIO EP 24 has arrived just in time for summer! Tons of new music from the crib & more - Warming it up real nice & easy & then taking it to the peak! - Enjoy your favorite club hits & new vibes! Playlist 1.Still D.R.E. / Tall Boys vs Breez Moombahton Edit - Dr. Dre ft. Snoop Dogg 2.Superstar / Hyalyte & Ekany Remix - Jamelia 3.Try Again / QUIKTON Remix - Aaliyah 4.Casamigos (Pour It In My Cup) - Afro B & Sukihana 5.Me Pone Mal - Pitbull & Omar Courtz 6.SoSo / Da Phonk Club Edit - Omah Lay & Ozuna 7.Hey Mor - Ozuna , Feid 8.TQG - KAROL G & Shakira 9.La Bebe Remix - Yng Lvcas & Peso Pluma 10.150 Remix - Yandel x Feid 11.Where She Go - Bad Bunny 12.Shake Sum - DaBaby 13.Vogue 2.0 - Scram Jones & The Kid Daytona 14.Dont Go Mad Now - Swedish House Mafia 15.Relax My Eyes (SLVR Remix) - ANOTR, Abel Balder 16.Miracle Maker - Dom Dolla feat. Clementine Douglas 17. Follow The Leader - Dimitri Vegas Like Mike Sunnery James Ryan Marciano x Azteck 18.Como Shakira / Muzik Junkies, IAMCHINO & CX Edit - Hugel 19.Palito Rico / Disto Remix - IAMCHINO 20. KPASA - 2DEEP ft. Drty Tropix 21. Beggin' - Chris Lake & Aluna 22.Someone - Fireboy DML 23.Innerbloom x Cola x Payback (Fallenius Edition) - Rufus Du Soul , Dimitri Vangelis & Wyman X Steve Angello , Camelphat 24.Where You Are / Dario Valli Dreams Edit - John Summit 25.Sicko Mode X Unforgettable (CX & Mr ANDERSON BOOTLEG) - Morten , Drake, Travis Scott 26.Jumpin / Jablonski & Tejeda Remix - Pitbull & Lil Jon 27.Trompa - Sunnery James, Ryan Marciano & Soffi Tukker IAMCHINO, PitBull, Bulin 47 28. Ella Baila Sola / DJ WZRD Remix - Eslabon Armado & Peso Pluma 29.Baila (La Banda) - Liu & Mojjo - IAMCHINO, White Star & Axel Rulay 30. Baby Don't Hurt Me / Tall Boys Throwback Intro - David Guetta, Anne-Marie & Coi Leray 31.Boy's a liar Pt. 2 / MarkCutz Love You Down Edit - PinkPantheress & Ice Spice 32.Boy's a liar Pt. 2 /Angelo Mota x Mike Wavvs Slow Jamz Mashup - PinkPantheress & Ice Spice 33. Slow Jamz - Twista , Kanye West, Jamie Foxx 34. What Ever You Like - T.I 35 .Search & Rescue - Drake 36.Mbappé - Eladio Carrión 37.Coco Chanel - Eladio Carrión & Bad Bunny 38.F u - Bizzy Crook
Like The Stars Above: Happy 8th Birthday, Dearest Miles!!! (Tribute to Baby Don't Hurt Me by David Guetta, Anne-Marie, & Coi Leray) ~ inspired by the original “What is Love” by Haddaway *Original written by: Akil “worldwidefresh” King, Anne-Marie Nicholson, Coi Leray, David Guetta, Dee Dee Halligan, Ed Sheeran, Feli Ferraro, Johnny Mcdaid, Junior Torello, Mikkel Cox, Steve Mac, & Tobias Frederiksen **Cover art by Miles Porter Happy 8th Birthday, Miles; love you, Kiddo ❤️
Anne-Marie in studio, Zach's dating dilemma, Drag Queens gone crazy, and more! Anne-Marie came in to talk about her upcoming album "Unhealthy", Baby Don't Hurt Me w/ David Guetta & Coi Leray, going to therapy and almost being on "The Middle" with Zedd. Stream "Unhealthy ft. Shania Twain" ►► https://anne-marie.lnk.to/Unhealthy-Single All interviews can be heard first LIVE on AMP! Live Monday - Friday from 3-6p PT -- DOWNLOAD & LISTEN HERE: https://t.co/y3UrDZP3ab SOCIAL: Twitter ►►https://twitter.com/zachsangshow Instagram ►►https://www.instagram.com/zachsangshow/ Facebook ►►https://www.facebook.com/ZachSangShow/ Zach ►►https://www.instagram.com/zachsang/ Dan ►►https://www.instagram.com/danzolot/ Cameron ►►https://www.instagram.com/theonlycamshaft Learn more about your ad choices. Visit megaphone.fm/adchoices
Anne-Marie in studio, Zach's dating dilemma, Drag Queens gone crazy, and more! Anne-Marie came in to talk about her upcoming album "Unhealthy", Baby Don't Hurt Me w/ David Guetta & Coi Leray, going to therapy and almost being on "The Middle" with Zedd. Stream "Unhealthy ft. Shania Twain" ►► https://anne-marie.lnk.to/Unhealthy-Single All interviews can be heard first LIVE on AMP! Live Monday - Friday from 3-6p PT -- DOWNLOAD & LISTEN HERE: https://t.co/y3UrDZP3ab SOCIAL: Twitter ►►https://twitter.com/zachsangshow Instagram ►►https://www.instagram.com/zachsangshow/ Facebook ►►https://www.facebook.com/ZachSangShow/ Zach ►►https://www.instagram.com/zachsang/ Dan ►►https://www.instagram.com/danzolot/ Cameron ►►https://www.instagram.com/theonlycamshaft Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode Sal, Adam & Justin cover key workout considerations for busy moms. Raising kids is EXTREMELY demanding and unpredictable. (1:44) Designing a routine that compliments your life. (5:15) Target areas that moms want to focus on. (9:04) The Best Workouts for Busy Moms. #1 - Mobility first. (10:50) #2 - Get strong. (15:44) #3 - Target specific areas. (20:24) #4 - Do more with less. (26:28) #5 - When time permits, add volume and time. (31:09) Related Links/Products Mentioned Special Promotion: 60% OFF Fit Mom Bundle, Bikini Bundle, Fabulous 40's Bundle, or Build Your Butt Bundle. Mapsfitnessproducts.com **Promo code FITMOMS at checkout** Visit Vuori Clothing for an exclusive offer for Mind Pump listeners! How To Do The Pelvic Clock Exercise Why Mobility Needs to be The Primary Focus Over Losing Weight After Having a Baby – Mind Pump Blog How Should You Workout Before and During Pregnancy? – Mind Pump Blog Getting Back in Shape After Having a Baby – Don't be Hard on Yourself – Mind Pump Blog Mind Pump Podcast – YouTube Mind Pump Free Resources
Geoff plays tracks from First Lady of Song, a boxed set CD collection released by Verve Records featuring rarely heard Ella Fitzgerald recordings (circa 1956-1966), none of which had ever been released before on an LP. All of these tracks were personally chosen by Geoff for that collection: Too Young For The Blues, Lullaby Of Birdland (Live At Bushnell Memorial Hall/1954), Baby Don't You Go Away Mad, Angel Eyes, Undecided (Live From The Hollywood Bowl/1956), Detour Ahead, Swingin' Shepherd Blues (Alternate Take), Heart & Soul, Perdido (Live At Carnegie Hall, New York / 1949). GPE is produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices
Geoff plays tracks from First Lady of Song, a boxed set CD collection released by Verve Records featuring rarely heard Ella Fitzgerald recordings (circa 1956-1966), none of which had ever been released before on an LP. All of these tracks were personally chosen by Geoff for that collection: Too Young For The Blues, Lullaby Of Birdland (Live At Bushnell Memorial Hall/1954), Baby Don't You Go Away Mad, Angel Eyes, Undecided (Live From The Hollywood Bowl/1956), Detour Ahead, Swingin' Shepherd Blues (Alternate Take), Heart & Soul, Perdido (Live At Carnegie Hall, New York / 1949). GPE is produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices
Geoff plays tracks from First Lady of Song, a boxed set CD collection released by Verve Records featuring rarely heard Ella Fitzgerald recordings (circa 1956-1966), none of which had ever been released before on an LP. All of these tracks were personally chosen by Geoff for that collection: Too Young For The Blues, Lullaby Of Birdland (Live At Bushnell Memorial Hall/1954), Baby Don't You Go Away Mad, Angel Eyes, Undecided (Live From The Hollywood Bowl/1956), Detour Ahead, Swingin' Shepherd Blues (Alternate Take), Heart & Soul, Perdido (Live At Carnegie Hall, New York / 1949). GPE is produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices
Geoff plays tracks from First Lady of Song, a boxed set CD collection released by Verve Records featuring rarely heard Ella Fitzgerald recordings (circa 1956-1966), none of which had ever been released before on an LP. All of these tracks were personally chosen by Geoff for that collection: Too Young For The Blues, Lullaby Of Birdland (Live At Bushnell Memorial Hall/1954), Baby Don't You Go Away Mad, Angel Eyes, Undecided (Live From The Hollywood Bowl/1956), Detour Ahead, Swingin' Shepherd Blues (Alternate Take), Heart & Soul, Perdido (Live At Carnegie Hall, New York / 1949). GPE is produced by Ed Robertson Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this episode, Brandon, Linda and Rob finish their conversation on the topic of how we change and grow.The first part of the episode explores the current cultural trend toward tolerance and what we're calling radical acceptance - this idea that no one should have to change anything about themselves if they don't want to and, more than that, the act of asking someone to change is now considered an affront - real love would just accept people however they are. In the second half of the episode, we turn a corner in this conversation to begin to see how the way we've been designed (think neuroscience and the psychology of attachment) shape our approach to change and growth. We also explore how each of the previous approaches - knowledge, action and power - come together as aspects of change and growth that emerge from our attachment to God as his dearly loved children. Resources mentioned or used in the episodeThe Rise and Triumph of the Modern Self: Cultural Amnesia, Expressive Individualism, and the Road to Sexual Revolution by Carl R. TruemanRenovated: God, Dallas Willard, and the Church That Transforms by Jim WilderThe Connected Life: The Art and Science of Relational Spirituality by Todd W Hall and Curt ThompsonBecoming a Face of Grace: Navigating Lasting Relationship with God and Others by Ed KhouriPaul and Union with Christ: An Exegetical and Theological Study by Constantine R. CampbellFound episode #3 - Freedom - What is it good for?Found episode #6 - What is love? (Baby Don' Hurt Me)Found episode #7 - How do we change and grow? (part 1) The Well episode: “Joy” List of philosophers/thinkers/scientists/physicians mentioned:Philip RieffCarl TruemanImmanuel KantJohn LockeJohn Stuart MillIsaiah BerlinJean-Paul SartreSimone de BeauvoirJacques DerridaMichel FoucaultCharles TaylorJames WilderDr Alan SchoreEd KhouriSaint Clair of AssisiFor updates on important events, visit https://saddleback.com/found and join the Found community!
10 TOP FREESTYLE SONGS OF MARCH 2023 10 TOP FREESTYLE SONGS OF MARCH 2023 sees three more new songs added to this month's mix. Songs by Corina's remake of Lidia Lee Love's Don't Take Your Love Away, Stevie B's Take It All Back, and Artie Rodriguez's So This Is Love. 10.) So This Is Love by Artie Rodriguez [ NEW ] ( DJ Cliff Potts Edit Mix )09.) Don't Take Your Love Away by Corina [ NEW ] ( DJ PJ-Sera Mix)08.) Baby Don't Go by Soave07.) Walk Away by Nyasia06.) Surrender To Me by Nelson Rego05.) Hit's The Soul by Julio Mena04.) Take It All Back by Stevie B. [ NEW ] ( DJ Sama Remix )03.) Last Chance by Denine02.) Hurt So Bad by Tony Moran 01.) I Knew It Was You by 3 To Da Max With 3 Freestyle Remakes on the Countdown Showdown's top 10 mixes, they appear to be this month's flavor. At the time of this posting, there was yet another Freestyle Remake Release. Will this trend continue throughout the rest of the year remains to be seen? What are your thoughts on remakes? Love 'em, Hate 'em, comment below!
The other day I caught up with my buddies Matt Hitchcock & Phil Russo of Side Car. We enjoyed some Domino's Pizza and a few beverages from Topo Chico and took a deep dive into their debut record DINNER & A BOX OF WINE. We share some stories behind the songs, give a sneak peek a few tracks and play a couple live acoustic! On this episode you'll hear: Baby Don't Give Me Those Blues The Sangamon (Live Acoustic) Ol 44 My Best Friend's Girl (The Cars cover) (Live Acoustic) DINNER & A BOX OF WINE is due out on April 1st. Join us at Central Stage in St.Louis, MO on April 8th to celebrate at Album Release Party with special guests Bobby Stevens & Prairie Rehab! Tickets at MetroTix.com Be sure to follow along with Side Car on Facebook & Instagram! Check out my friends at Friendship Brewing Company in Wentzville, MO with over 25 rotating taps for all your craft beer needs. They have a wonderful spot out there and huge patio. Perfect for enjoying a cold beverage with some good friends! Check out their menu with all sorts of delicious food like burgers, nachos & flatbread pizzas. Come grab some lunch or dinner, enjoy some live music and have a great time at Friendship Brewing Company! FriendshipBrewCo.com Live Music: 3/30 Singo Bingo: Best of 2020 3/31 Steve Kyle (7-10p) 4/1 Matt Walterscheid (7-10p). Fish Fry Fridays all through Lent!
It is a pleasure to welcome recording artist Philmon Lee to The Jake's Take with Jacob Elyachar Podcast. Surrounded by musicians in his family, Philmon picked up multiple instruments as a kid in the small town of LaGrange, Georgia, developing his skills in piano, guitar, and drums. He cut his teeth on tour with his dad and cultivated his vocals through constant practice. Under the influence of everyone from Elvis Presley, Elton John, and Steven Tyler to Lynyrd Skynyrd and Post Malone, Philmon Lee simultaneously pushed himself as a songwriter. He grinded locally with countless gigs before signing to Epic Records in 2020. Following his buzzing debut single, “Memories,” Philmon gained traction with “No Saving Me,” his collaboration with Lindsey Stirling, paving the way for his acclaimed 2021 706 EP. Recently, he released “Baby Don't Cry,” a collaboration with Young Thug. In this edition of The Jake's Take with Jacob Elyachar Podcast, Philmon Lee spoke about his major musical influences and spoke about the stories behind several of his hits, including “Memories,” “No Saving Me,” and “Baby Don't Cry.”
Scott and Christopher Brown are talking about the Award season darling "The Banshees of Inisherin" for Baby Don't Hurt Me Toxic Relationship Month. They dive deep into Colin Farrell's filmography, debate Colm's actions and name pronunciation. But most importantly, they get side tracked and talk about "Elvis" actor Austin Butler for at least 40% of the episode. Check it out! Thank you to DJ QUADS FOR THE TRACK USE OF LIVING IN STEREO. Listen to Christopher's other podcasts right here on the zero science network: www.zero-science.com Listen to Scott's other podcast Hell Is A Musical right here on the zero science network link: www.zero-science.com Follow us on twitter @wrtrbagelbskt, like us on our facebook page, and you can email the boys at writersbagelbasket@gmail.com with questions, shows or movies to watch, and fan art of the shows they're doing. Don't forget to like us on the Facebook too. Instagram is another way to find us too @writersbagelbasket, follow us it's fun!
Both Down Episode 145 – Baby Don’t Go – Welcome to Both Down in this show we talk about Critter Bowl 8, Scott Review’s Blood Bowl 3 and then we go over the COBBL. We have Shout-Out’s for you as … Continue reading →
This week Pastor Tim Schoen continues the “What is Love?” teaching series with the fourth message “Baby Don't Hurt Me.” (Recorded March 11th, 2023) To get connected follow us on Instagram @HSRevolution
10 TOP FREESTYLE SONGS OF FEBRUARY 2023 The 10 Top Freestyle Songs of February 2023 welcomes three new songs to the Countdown, with a new #1 topping the charts by a group making their Countdown Showdown debut. COUNTDOWN SHOWDOWN PLAYLIST 10.) Rescue Me by Luis G. 9.) Surrender To Me by Nelson Rego NEW 8.) Love So Crazy by George Anthony & Jae Mazor 7.) Baby Don't Go by Soave 6.) Walk Away by Nyasia 5.) Numb by Sharyn Maceren 4.) Hurts So Bad by Tony Moran NEW 3.) Last Chance by Denine 2.) Hit The Soul by Julio Mena 1.) I knew It Was You by 3 To Da Max NEW
10 Top freestyle Songs of January 2023 It's 2023, and time for a hard reset! 2022 was a fantastic year for new Freestyle Music. The Top 10 Freestyle Songs of 2022 are packed with fabulous music. But now we must say goodbye and make way for the 10 Top freestyle Songs of January 2023. 10.) Cause It's You by Jessee B9.) Enough by Rebekka8.) Love So Crazy by George Anthony & Jae Mazor7.) Walk Away by Nyasia6.) Rescue Me by Luis G.5.) Fallin by Luis Marte & Jenaro4.) Baby Don't Go by Soave3.) Last Chance by Denine2.) Numb by Sharyn Maceren1.) Hit The Soul by Julio Mena
The Mountain Goats "This Year"Wanda Jackson "Whole Lot Of Shakin' Goin' On"Iron & Wine "Sunset Soon Forgotten"The Ronettes "Walking In the Rain"Mississippi John Hurt "Louis Collins"Elvis Costello "Radio Radio"Alex Chilton/Hi Rhythm Section "Lucille"The Bottle Rockets "Indianapolis"Flat Duo Jets "Go Go Harlem Baby"Drag The River "Here's to the Losers"Pavement "Cut Your Hair"Dale Hawkins "Susie-Q"Loretta Lynn "Coal Miner's Daughter"Endless Boogie "Back in '74"Palace Music "Work Hard / Play Hard"The Replacements "Anywhere's Better Than Here"Fontella Bass "Rescue Me"John Hiatt "Slow Turning"Steve Earle & The Dukes "Billy Austin"The Low Anthem "Home I'll Never Be"Cedric Burnside Project "Hard Times"Fela Ransome- Kuti and The Africa '70 "Swegbe And Pako Part II"Cat Power "Nude As The News"Muddy Waters "Southbound Train"Roy Orbison "Only the Lonely (Know the Way I Feel)"Jon Dee Graham & The Fighting Cocks "Beautifully Broken"Clem Snide "Beautiful"Clem Snide "I Love the Unknown"The Clash "Spanish Bombs"Two Cow Garage "Movies"Tom Petty & The Heartbreakers "Southern Accents"The Staple Singers "I'm Willin', Pt. 1"Dr. John "Stealin'"Mitch Ryder & The Detroit Wheels "Devil with the Blue Dress On / Good Golly Miss Molly"Patsy Cline "Walkin' After Midnight"The Box Tops "I Met Her In Church"Solomon Burke "Stepchild"The Shangri-Las "The Train From Kansas City"Kris Kristofferson "The Devil to Pay"Patterson Hood "Better Off Without"Tift Merritt "Good Hearted Man"Little Richard "Baby Don't You Tear My Clothes"The Handsome Family "Far from Any Road"Cory Branan "Miss Ferguson"
In this episode Yo brings some Cher vibes to the podcast by discussing her autobiography, The First Time, published in 1998. The book became personal for Yo as she saw herself in Cher's life journey. For example: · They were very shy kids · They felt darker skinned than others in their family · Identified with being called a ringleader as a child · Grew up in the San Fernando Valley in Southern California · Went to the same elementary / junior high school · Had a traumatic subway experience in New York She is one of the very few we can ask: “Which is your favorite Cher song with Sonny, post Sonny, TV character she played, or favorite movie role?” We'll sample a few of our favorites in this episode. Plus we have got to mention all her philanthropic work with Children's Craniofacial Association, AIDS, Soldiers and Veterans, Habitat for Humanity, Elder Rights, Environment (lead contamination in Flint, MI), COVID-19, Four Paws International (saving Kaavan), LGBT rights, Political Efforts including her support for Ukraine. And that's not the complete list! Here are links for songs and movies mentioned in the show. Enjoy!! Baby Don't Go https://www.youtube.com/watch?v=7ZhevX_8rNU I Found Someone (Official Video) https://www.youtube.com/watch?v=_ZEj_0v8WMc Sisters of Mercy (Not Commercial 2020) https://www.youtube.com/watch?v=NT1GPusb1Ec Villa Cabrini Academy Burbank https://www.facebook.com/groups/135483814394 Mamma Mia! Here We Go Again: Fernando https://www.youtube.com/watch?v=nB9rg6sxHhU Moonstruck: Snap out of it https://www.youtube.com/watch?v=Uz95y3gLNA4 Moonstruck: Answer the Door https://www.youtube.com/watch?v=5UuVlfwAMDw Ways to reach Yo: eMail Website: https://www.girltaketheleadpod.com Public FB group: Girl, Take the Lead! https://www.facebook.com/groups/272025931481748/?ref=share IG: https://www.instagram.com/yocanny LinkedIn: https://www.linkedin.com/in/yocanny/
FROM OUR 2020 "DIG THIS" ARCHIVES TO WISH GARNET MIMMS A HAPPY 89th BIRTHDAY!Best known for his original rendition of "Cry Baby," later a major item in Janis Joplin's repertoire, Garnet Mimms' pleading, gospel-derived intensity made him one of the earliest true soul singers. His legacy remains criminally underappreciated. Garnett Mimms was born in Ashland, West Virginia.He was brought up in Philadelphia, and began singing in church as a child.As a teenager, he was a former member of the Philadelphia-based gospel groups, the Evening Stars, the Harmonizing Four and the Norfolk Four.The latter he recorded his first record for in 1953.Garnett served several years in the military, and upon his release, he returned to Philadelphia in 1958 and formed a doo wop quintet called the Gainors.The line-up included Sam Bell, Willie Combo, John Jefferson and Howard Tate.The Gainors recorded singles for several labels over the following three years, including 'Red Top' (later picked up by the Cameo label), Mercury (from 1959-1960), and Tally Ho (in 1961).The group subsequently evolved into Garnet Mimms And The Enchanters, where the singer and Sam Bell were joined by Charles Boyer and Zola Pearnell.They met songwriter / producer Bert Berns, who signed them to United Artists, in 1963, and Bert teamed them up with another songwriter / producer, Jerry Ragovoy.Jerry's work helped create some of R & B's finest moments.The song 'Cry Baby' was an immediate U.S. hit, while 'Baby Don't You Weep' and 'For Your Precious Love' consolidated their arrival.The group split in 1964, when Garnett embarked on a solo career.Although the Enchanters found a new vocalist and continued to record, they were overshadowed by their former leader.Garnett' subsequent releases, 'Look Away', 'It Was Easier To Hurt Her' and 'I'll Take Good Care Of You' (the latter Garnett's last Top 40 hit in 1966), were well received, highlighting the singer's church roots against Ragovoy's musical backdrop.Such excellent records were not always well received, and in 1967, Garnett was sidelined to United Artists' subsidiary Veep.'My Baby' and 'Roll With The Punches' followed, but the singer's precarious artistic standing was confirmed when the latter was only released in Britain.Ragovoy then took Garnett to Verve Records (where he was also producing Howard Tate), but the four singles that appeared, although good, did not do as well as expected.It was not until 1977 that the singer returned to the chart.Credited to Garnet Mimms And The Truckin' Company, 'What It Is' was a minor R & B hit and even reached the UK chart at number 44.The track was produced by Randy Muller of Brass Construction fame.Garnett Mimms is now a born-again Christian and has not recorded for many years.
This week we dedicate the Topic to everyone who is suffering from either physical or mental issues. X X With a suite of new INXS releases and reissues upon us, we are delighted to review the latest HD video upgrades of the remaining Welcome to Wherever You Are singles, namely “Baby Don't Cry ”, “Taste It ”, “Not Enough Time ” and “Beautiful Girl. ” Announced on INXS Day of August 16th, these newly-remastered videos are now available for the world to see on YouTube with two such directors, Mark Pellington (Arlington Road) and Bailie Walsh (Flashback of a Fool with Daniel Craig), has gone on to huge Hollywood acclaim. Of course, we dive deep into the best Maxi CD single formats of such releases and give our own reviews of the rare B sides and artwork on display. So, for your comprehensive discussion of all things INXS, tune in to this exciting edition of INXS Access All Areas and have your YouTube access upfront and loud!!!! Plus, of course, this week we bring you more INXS news and gossip! Don't miss out: subscribe to our website and newsletter and join the ever-growing community of INXS fans. INXS forever! Love Haydn & Bee Sign the petition and help us get INXS inducted in theRRHF https://www.change.org/p/induct-inxs
Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. 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 As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts. Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne. Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin. He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller, because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch
Ebro in the Morning sits down with J.I for a great conversation on his music style, confidence, not being seen as a reality show artist after his appearance on 'The Rap Game', Drake singing his music, what kind of artist he wants to be seen as, his favorite New York artists, and even his mom working for HOT 97 as an intern. Young & Restless Vol. 1 Baby Don is out now! #EbrointheMorning #HOT97 #JISee omnystudio.com/listener for privacy information.
For this BONUS Patron-curated episode, we asked our Patrons to send in a Duet/Collaboration that got them - metaphorically - high. They did good. Real good. Songs featured in this episode: I Got You, Babe - Sonny and Cher, Marianne Faithful and David Bowie, UB40 with Chrissie Hynde, Joey Ramone and Holly Beth Vincent; Let It Be Me - The Everly Brothers; Whenever I Call You Friend - Stevie Nicks and Kenny Loggins; Angel from Montgomery - Bonnie Raitt and John Prine; Piss Bottle Man - Mike Watt with Evan Dando; Down In The Willow Garden - The Everly Brothers; Sweet Fire Of Love - Robbie Robertson and U2; The Mask - Danger Doom (Danger Mouse and MF DOOM); Return of the Grievous Angel - Gram Parsons and Emmylou Harris; Muffin Man - Frank Zappa and Captain Beefheart; Fairytale Of New York - The Pogues with Kirsty MacColl; Kick It - Peaches and Iggy Pop; Life's A Gas - Marc Bolan and Cilla Black; Love Hurts - Gram Parsons and Emmylou Harris; Traveling Light - Tindersticks with Carla Torgerson; Baby Don't Go - Dwight Yoakam and Sheryl Crow; Kingdom of Rain - The The (Matt Johnson and Sinead O'Connor); Tha Boogee - Janko Milovic/The Soul Surfers; I Love How You Love Me - Nino Tempo and April Stevens; King Of America - The I Don't Cares (Julianna Hatfield and Paul Westerburg); Sweet Dreams Will Come - Nancy Grifith and John Stewart; Break Into Your Heart - Iggy Pop and Josh Homme; So Long, So Long - Dashboard Confessional with Adam Duritz; The Seer - Big Country with Kate Bush; Stop, Look, Listen To Your Heart - Diana Ross and Marvin Gaye; Madam Butterfly (Un Bel Di Vedremo) - Malcolm McLaren with Betty Ann White and Debbie Cole
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