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We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2015 conversation with Swamp Dogg. ABOUT SWAMP DOGGR&B cult favorite Jerry “Swamp Dogg” Williams is best known as the co-writer, with Gary U.S. Bonds, of the cross-genre classic, “She's All I Got,” which became a Top 10 R&B single for Freddie North and a #2 country hit for Johnny Paycheck in 1971. Tracy Byrd recorded it in 1996, hitting #4 on Billboard's Country rankings and introducing the song to a new generation of fans. Williams' career began in 1954 when, at the age of 12, he made his first record, “HTD Blues.” He found success in the 1960s, recording the Top 40 R&B hit “Baby You're My Everything” under the name Little Jerry Williams, and writing songs for other artists, including Gene Pitney's Top 20 Pop single, “She's a Heartbreaker.” He became Atlantic Records' first African American staff producer in 1968, but left the following year to pursue independent projects in Muscle Shoals, Alabama. By the 1970s he was an in-demand producer and songwriter, penning Top 40 R&B hits for Doris Duke, Arthur Conley, and Dee Dee Warwick. Around the same time, he reinvented himself as Swamp Dogg, releasing a series of eccentric deep soul albums whose gonzo lyrics were marked by frank sexuality, biting satire, radical politics, and provocative social observations. His debut LP, Total Destruction to Your Mind, was eventually certified Gold, while subsequent releases, including Gag a Maggott, I'm Not Selling Out – I'm Buying In, An Awful Christmas and a Lousy New Year, and The White Man Made Me Do It have earned considerable accolades among underground music lovers and earned Swamp what one journalist described as “a cultural niche somewhere between Rudy Ray Moore and Frank Zappa.” In recent years, his vast catalog has been sampled by Kid Rock, Talib Kweli, DMX, and others.
Clyde Otis nació el 11 de septiembre de 1924. Con motivo de su cien cumpleaños dedicamos nuestro tiempo de radio a picotear en el inabarcable legado de uno de los grandes compositores del siglo XX. Más de 800 canciones registradas a su nombre que han sido interpretadas por muchas de las grandes voces del jazz, el soul o el R&B. Esto es tan solo una pequeña porción de la punta del iceberg de la obra que nos dejó.Playlist;(sintonía) CLYDE OTIS and HIS ORCHESTRA “Jungle drums” (1961)NAT “KING” COLE and THE FOUR KNIGHTS “That’s all there is to that” (1956)ELVIS PRESLEY “Dontcha think it’s time” (1958)THE DIAMONDS “The stroll” (1957)JACK SCOTT “Patsy” (1960)EDDIE RIFF “Ain’t that lovin’ you baby” (1956)THE DEL VIKINS “Flat tire” (1958)THE ELLIS BROTHERS “Sneaky alligator” (1958)LAVERN BAKER “Substitute” (1958)IVORY JOE HUNTER “I just want to love you” (1959)BROOK BENTON “Kiddio” (1960)BROOK BENTON and DINAH WASHINGTON “Baby (You've got what it takes)” (1960)PRISCILLA BOWMAN feat THE SPANIELS “A rockin' good way (to mess around and fall in love)” (1958)ROOSEVELT GRIER “Lover set me free” (1963)SARAH VAUGHAN “Smooth operator” (1959)TIMI YURO “What’s a matter baby (Is it hurtin’ you)” (1962)ARETHA FRANKLIN “A change” (1968)TOM JONES “Endlessly” (1965)CONWAY TWITTY “Looking back” (1963)Escuchar audio
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Damas y caballeros, bienvenidos a Private Joy, la sección para fans de Purple Music, podcast en español creado por y para amantes del sonido Minneapolis y la música de Prince. En el episodio de hoy Shockadelica nos cuenta la historia de Joey Coco, seudónimo que Prince usó entre 1986 y 1988 para firmar algunos temas que cedió a artistas como Kenny Rogers, Sheena Easton o Jill Jones, entre otros. Repasamos todos los temas conocidos hasta la fecha acreditados a este alter ego de Prince, como, por ejemplo "Baby You're a Trip", "Telepathy" o "Cool Love". Esperamos que os guste y nos digáis qué canciones conocíais, cuáles no y cuáles os hubiera gustado que Prince hubiera publicado en un disco propio. Muchas gracias por vuestro apoyo, volvemos muy pronto, hasta entonces, stay Funky! Purple Music Podcast somos Shockadelica, StarrChild y Saiber. Síguenos en Instagram! (@purplemusicpodcast), Twitter (@purplemusicpod) y en Youtube (@purplemusic6489) Hazte socio de Purple Music: https://purplemusic.es . The Estate of Prince Rogers Nelson is not affiliated, associated, or connected with Purple Music Podcast nor has it endorsed or sponsored Purple Music Podcast. Further, the Estate of Prince Rogers Nelson has not licensed any of its intellectual property to the producers of Purple Music Podcast. NO COPYRIGHT INFRINGEMENT INTENDED. We just want to share our love for Prince music.Escucha este episodio completo y accede a todo el contenido exclusivo de Purple Music - Un podcast sobre Prince. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/738601
RockerMike and Rob Presents:Ron Greco from The Band Crime Crime was an early American punk band from San Francisco, California, United States. The band was formed in 1976 by Johnny Strike (vocals, guitar), Frankie Fix (vocals, guitar), Ron "The Ripper" Greco (bass; ex-Flamin' Groovies), and Ricky Tractor (Ricky Williams) (drums). Their debut, the self-financed double A-side, "Hot Wire My Heart" and "Baby You're So Repulsive", appeared at the end of 1976, and is the first single released by a U.S. punk act from the West Coast. Ron "The Ripper" Greco is active in San Francisco and released his new album 'Greco's Back with The Dark Gyspies' September 2014.. D'Kaye (under his real name, Joey Swails) continued to work as a Bay Area recording engineer and producer, notably with pop vocal group Destiny's Child and Bay Area R&B band Tony! Toni! https://www.facebook.com/224912092155/photos/a.10152212196577156/10152212196407156/?type=3&app=fbl https://centerlabel.com/tag/ron-the-ripper-greco https://youtu.be/p_sGeNFEo1o?si=zwoYrxqvqNPLGbIR https://bandtoband.com/index.php/artist/ron-greco #CrimeBand #PunkRock #SanFranciscoMusic #DIYMusic #1970sPunk #RebelliousSound #PunkScene #MusicHistory Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup
Van Morrison & Linda Gail Lewis “You Win Again”:”Let's Talk About Us”“You Win Again””Jambalaya (On the Bayou)””Crazy Arms””Old Black Joe””Think Twice Before You Go””No Way Pedro””Shot of Rhythm and Blues””Real Gone Lover””Why Don't You Love Me (Like You Used to Do)?””Cadillac””Baby (You've Got What It Takes)””Boogie Chillen”John Lee Hooker “Boogie Chillen”Jerry Lee Lewis “Whole Lotta Shakin’ Goin’ On”Jerry Lee Lewis “Wall Around Heaven”Hank Williams “Your Cheating Heart”Escuchar audio
A visit from her sister, a random ice breaker question for a retreat she's not attending, and, well, eclipse vibes (if we're keeping it one hundred, here) took Elizabeth down the nostalgia rabbit hole. What advice would she give her 18 year old self? Download and listen to see if it matches what you'd tell Baby You. Radiant BadassChris Martin, Creativity Coach
It's The Night Before the Open Championship, and the LLG gang is ready to Get Back to it. It's been a busy couple of weeks in pro golf, and The Things We Said Today include a discussion of the return of Jay Monahan to his job as the nominal head of the PGA Tour. But the Nowhere Man has yet to be seen in Merseyside this week.Duffer, OTP Lefty, and JScore touch on the performance of The Fools on the (Capitol) Hill sent in Jay's place, Jimmy Dunne and and Ron Price. Dick Blumenthal's main line of inquiry: Tell Me Why the deal had to be with the Saudis. The obvious answer, of course, is Money (That's What They Want). Jimmy and Ron had little to say about the terms of the deal before the deal, other than We Can Work it Out later. The DOJ will certainly have its say about What Goes On, as will the Taxman when it comes to dealing with the 501(c)(6) issues.As for the Open, as usual, everybody's talking about Little Lord McIlroy, who's fresh off his win at the Scottish Open. But I've Got a Feeling you know what the gang thinks of Rory's chances of winning. Baby You're a Rich Man, but you won't be a winner at Hoylake, Not a Second Time. He and his many media fanboys will just have to Wait until next year, just like they've been doing for 8+ years now.The End.
Dom L'Amour speaks with Friend of the show and my best friend Chris Bate AKA @chriselb_88. They have a mental check in and also speak about having babies.Opening quote: Beau TaplinOpening and Closing Theme song: Produced by Dom L'AmourTransition Music from Mad Chops Vol. 1 and Mad Chops Vol. 2 by Mad Keysand from Piano Soul Vol.1(Loop Pack) by The Modern Producers TeamFeatured song: "Baby You" By Dom L'AmourCover art by Studio Mania: Custom Art @studiomania99Please subscribe to the podcast, and give us a good rating. 5 stars please and thank you. Follow me on @doml_amour on Instagram. Or at domlamour.comSupport the show
For this BONUS Patron-curated episode we asked our Patrons to send in a song that samples, references or pays tribute to ANOTHER song. They delivered. Remember, if YOU'D like to become a Patron of the podcast head over to: Https://Patreon.com/TRGMH Songs discussed in this episode: Sister Ray - Velvet Underground; Velvet Underground - Jonathan Richman; Witness The Fitness - Roots Manuva; Blindness - The Fall; Rachmaninov Piano Concerto No. 2; All By Myself - Eric Carmen; Dust In The Wind - Kansas; Everything's Gonna Be Alright - Bob Marley; You Were Right - Built To Spill; Black Cow - Steely Dan; Deja Vu - Lord Tariq & Peter Gunz; Walk Away Renee - Four Tops; Walk Away Renee (Version) - Billy Bragg; M.P.L.A - The Revolutionaries; Dub M.P.L.A. - Tappa Zukie; SpottieOttieDopaliscious - Outkast; All Night - Beyonce; Baby You're A Rich Man - The Beatles; The Beautiful - P.M. Dawn; The Greatness and Perfection of Love - Julian Cope; I Feel Dread - Business Of Dreams; Spooky - Barry Walker and the Rain; Something Wicked This Way Comes - Barry Adamson; Misty - Johnny Mathis; Johnny Mathis' Feet - American Music Club; Living In America - James Brown; James Brown - Big Audio Dynamite; These Boots Are Made For Walkin' - Nancy Sinatra; Never Fight A Man With A Perm - IDLES; Man In The Box - Alice In Chains; Grunge Rock Blues - Todd Snider; Killing Me Softly - Roberta Flack; Bonita Applebaum - A Tribe Called Quest; Memory Band - Rotary Connection; Killing Me Softly - The Fugees; Cavern - Liquid Liquid; White Lines (Don't Don't Do It) - Grandmaster Melle Mel; 96 Tears - ? and the Mysterians; Human Fly - The Cramps; Straight To Hell - The Clash; Paper Planes - M.I.A.
Hi Basementeers...Yes it's another show were posting while we get back on track here.Here is another (as we call them around the basement) a Mish Mash show.We have music playing from: Linda Ronstadt / Stevie Wonder / Chicago / Elton John / Johnny Taylor / The Yardbirds and Hall & Oates and many more too.Let's get spinning....Intro: Ju Ju Man-Passport1. Come See About Me-Don Brewer2. Will Of The Wind-Marshall Crenshaw3. Once Before-The Remains4. Do The Malibu-The Go Go's5. I Wanna Be Your Lover-The Cascades 6. Summer '68-Pink Floyd7. You'll Be Sorry To See Me Go-Elton John8. Old Brown Show-The Beatles9. Don't Do It No More-Billy J. Kramer & The Dakotas10. It Don't Feel Good-The Dave Clark 511. Take It Uptown-Chicago12. Little By Little-Dusty Springfield 13. You Make It So Hard To Say No-Boz Scaggs14. L.A. Plane-Cher15. Communicate Tufano & Giammarese16. Salomon-Neil Diamond17. Love-Bobby Sherman18. Too High-Stevie Wonder19. If You See Me Go-The Kingston Trio20.1976-Grand Funk Railroad21. Do Wap Diddy-Hall & Oates 22. It's Got To Be Love-Dion Warwick23. Keep Off, No Trespassing-The Marvelletes 24. Baby You've Been On My Mind-Linda Ronstadt25. Great White Water-Jimmy Haskal26. Good Morning Starshine-Electric Hair 27. Be Happy-De Ja Vu28. Love Is Like A Rolling Stone-The Pointer Sisters29. Tell Me Why-Jigsaw30. Take Care Of Your Homework-Johnny Taylor31. King & Queen-The Moody Blues32. Yours-The Jimmy Dorsey Orchestra33. Evil Hearted You-The Yardbirds34. I Don't Want To Hear It-Jimmy HolidayOutro: Ostinato-Passport
Today I talked to Kevin Wilson about his new novel Now Is Not the Time to Panic (Ecco Press, 2022). Kevin Wilson is the author of two collections, Tunneling to the Center of the Earth (Ecco/Harper Perennial, 2009), which received an Alex Award from the American Library Association and the Shirley Jackson Award, and Baby You're Gonna Be Mine (Ecco, 2018), and three novels, The Family Fang (Ecco, 2011), Perfect Little World (Ecco, 2017) and Nothing to See Here (Ecco, 2019), a New York Times bestseller and a Read with Jenna book club selection. His fiction has appeared in Ploughshares, Southern Review, One Story, A Public Space, and elsewhere, and has appeared in Best American Short Stories 2020 and 2021, as well as The PEN/O. Henry Prize Stories 2012. He has received fellowships from the MacDowell Colony, Yaddo, and the KHN Center for the Arts. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at Sewanee: The University of the South. Recommended Books: Elizabeth Tan, Rubik Gwendolyn MacEwan, Julian the Magician Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices
Today I talked to Kevin Wilson about his new novel Now Is Not the Time to Panic (Ecco Press, 2022). Kevin Wilson is the author of two collections, Tunneling to the Center of the Earth (Ecco/Harper Perennial, 2009), which received an Alex Award from the American Library Association and the Shirley Jackson Award, and Baby You're Gonna Be Mine (Ecco, 2018), and three novels, The Family Fang (Ecco, 2011), Perfect Little World (Ecco, 2017) and Nothing to See Here (Ecco, 2019), a New York Times bestseller and a Read with Jenna book club selection. His fiction has appeared in Ploughshares, Southern Review, One Story, A Public Space, and elsewhere, and has appeared in Best American Short Stories 2020 and 2021, as well as The PEN/O. Henry Prize Stories 2012. He has received fellowships from the MacDowell Colony, Yaddo, and the KHN Center for the Arts. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at Sewanee: The University of the South. Recommended Books: Elizabeth Tan, Rubik Gwendolyn MacEwan, Julian the Magician Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Today I talked to Kevin Wilson about his new novel Now Is Not the Time to Panic (Ecco Press, 2022). Kevin Wilson is the author of two collections, Tunneling to the Center of the Earth (Ecco/Harper Perennial, 2009), which received an Alex Award from the American Library Association and the Shirley Jackson Award, and Baby You're Gonna Be Mine (Ecco, 2018), and three novels, The Family Fang (Ecco, 2011), Perfect Little World (Ecco, 2017) and Nothing to See Here (Ecco, 2019), a New York Times bestseller and a Read with Jenna book club selection. His fiction has appeared in Ploughshares, Southern Review, One Story, A Public Space, and elsewhere, and has appeared in Best American Short Stories 2020 and 2021, as well as The PEN/O. Henry Prize Stories 2012. He has received fellowships from the MacDowell Colony, Yaddo, and the KHN Center for the Arts. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at Sewanee: The University of the South. Recommended Books: Elizabeth Tan, Rubik Gwendolyn MacEwan, Julian the Magician Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Today I talked to Kevin Wilson about his new novel Now Is Not the Time to Panic (Ecco Press, 2022). Kevin Wilson is the author of two collections, Tunneling to the Center of the Earth (Ecco/Harper Perennial, 2009), which received an Alex Award from the American Library Association and the Shirley Jackson Award, and Baby You're Gonna Be Mine (Ecco, 2018), and three novels, The Family Fang (Ecco, 2011), Perfect Little World (Ecco, 2017) and Nothing to See Here (Ecco, 2019), a New York Times bestseller and a Read with Jenna book club selection. His fiction has appeared in Ploughshares, Southern Review, One Story, A Public Space, and elsewhere, and has appeared in Best American Short Stories 2020 and 2021, as well as The PEN/O. Henry Prize Stories 2012. He has received fellowships from the MacDowell Colony, Yaddo, and the KHN Center for the Arts. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at Sewanee: The University of the South. Recommended Books: Elizabeth Tan, Rubik Gwendolyn MacEwan, Julian the Magician Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Anne Margolis is our featured guest today. She is a Certified Nurse Midwife with almost 30 years of experience, author, birth educator, Instagram maven, and so much more. We chat today all about how she has been working towards Bettering the Birth Space since before her first baby was born and how that first childbirth experience led to her to launching Home Sweet Homebirth and everything that has followed. Topics covered include: - Importance of rehumanizing the entire childbirth experience - How the Midwifery model of care renormalizes chidlbirth as beautiful and sacred - Home Sweet Homebirth is a mindset you take with you to wherever you give birth - The built in continuity of care that comes with Midwifery model of care - How Anne puts her Dad clients in the center of her practice next to Mama and Baby You can find out more about Anne and Home Sweet Homebirth at www.homesweethomebirth.com https://facebook.com/pages/Home-Sweet-Homebirth/112316658837166 https://instagram.com/homesweethomebirth Free mini course to birth planning https://homesweethomebirth.com/gift/ Store for my online Guides to Pregnancy, Birth & Postpartum signature courses https://homesweethomebirth.retrieve.com/store/#/ ***** Like what we have to say? Subscribe to the channel, like this show, and come see us over at the Nest and Welcome To Fatherhood! For more information on Katie DaMota and Nest Family Resource please visit: https://www.thenestfamilyresource.com For more information on David Arrell, his book Welcome To Fatherhood, and his other coaching and consulting offerings please visit: https://www.welcometofatherhood.com ***** Podcast music credit for The Road Ahead: Music from Uppbeat (free for Creators!): https://uppbeat.io/t/zoo/the-road-ahead License code: YQSX0VF4MX6S3N8K Photo credit: Anne Margolis
Singles Going Around- 2000 ManBack with this week's podcast episode, full of classics.The Rolling Stones- "Citadel"Tommy James & The Shondells- "Crimson & Clover"The Kinks- "Muswell Hillbilly"Led Zepplin- "You Shook Me"John Lee Hooker- "Dimples"Jimi Hendrix- "Come On"The Beach Boys- "I Was Made To Love Her"Love- "My Little Red Book"The Standells- "Sometimes Good Guys Don't Wear White"The Beatles- "Baby You're A Rich Man"Lightnin Hopkins- "Wine Spodee O Dee"The Rolling Stones- "Respectable"Elmore James- "Coming Home"The Beach Boys- "Gettin Hungry"The Kinks- "Act Nice & Gentle"The Beatles- "You Know My Name"The Byrds- "Wasn't Born To Follow"The Rolling Stones- "2000 Man"*All selections taken from vinyl records.
![[KBS] 김태훈의 시대음감](https://ivyfm.s3.amazonaws.com/i320/802245.jpg)
# 스트라이크의 핵심은 ‘킹핀' ♪ Shoot To Thrill / AC/DC # 뉴스 Good & Bad feat. 정새배 기자, 박혜진 기자 Bad: 기준금리 10년 만에 3%대 Good: 5층서 추락한 3살 아이 발견하고 보호·신고한 초등학생들 # 돈의 감각 feat. 김현준 더퍼블릭자산운용 대표 ‘경제적 해자'처럼 보이지만 실체가 없는 요소들 왜 혼자 잘나가지? 인도 경제와 투자 이야기 ♪ Baby You're A Rich Man / Beatles
Hjörtur J. Guðmundsson, sagnfræðingur og alþjóðastjórnmálafræðingur, fjallaði um stöðuna breskum stjórnmálum, það er valið á nýjum leiðtoga Íhaldsflokksins. Arthúr Björgvin Bollason sagði í Berlínarspjalli frá stöðu mála varðandi Nordstream 1 gasleiðsluna frá Rússlandi til Þýskalands en hún er lokuð vegna viðhalds og óvíst hvort eða hvenær hún opnar á ný. Brúðkaup fjármálaráðherrans bar á góma og sumarsmellurinn í Þýskalandi fékk að óma. Edda Sif Pálsdóttir íþróttafréttamaður RÚV, var á línunni en hún er á heimleið frá Englandi líkt og íslenska kvennalandsliðið í knattspyrnu. Þær fóru taplausar í gegnum riðlakeppnina en komust ekki áfram. Staðan er góð varðandi HM á næsta ári en íslenska landsliðið leikur tvo leiki í undankeppninni í september. Tónlist: Always Seem to Get Things Wrong - Gaby Hartmann, Hættu að gráta hringaná - Einar Scheving, Mondo cane = A dog's world - Tommaso Rava Quartet, Ein Bett im Kornfeld - Jürgen Drews, Baby You?re a Gun - Tami Neilson, Ég er kominn heim - Óðinn Valdimarsson. Umsjón: Guðrún Hálfdánardóttir og Þórunn Elísabet Bogadóttir.
Hjörtur J. Guðmundsson, sagnfræðingur og alþjóðastjórnmálafræðingur, fjallaði um stöðuna breskum stjórnmálum, það er valið á nýjum leiðtoga Íhaldsflokksins. Arthúr Björgvin Bollason sagði í Berlínarspjalli frá stöðu mála varðandi Nordstream 1 gasleiðsluna frá Rússlandi til Þýskalands en hún er lokuð vegna viðhalds og óvíst hvort eða hvenær hún opnar á ný. Brúðkaup fjármálaráðherrans bar á góma og sumarsmellurinn í Þýskalandi fékk að óma. Edda Sif Pálsdóttir íþróttafréttamaður RÚV, var á línunni en hún er á heimleið frá Englandi líkt og íslenska kvennalandsliðið í knattspyrnu. Þær fóru taplausar í gegnum riðlakeppnina en komust ekki áfram. Staðan er góð varðandi HM á næsta ári en íslenska landsliðið leikur tvo leiki í undankeppninni í september. Tónlist: Always Seem to Get Things Wrong - Gaby Hartmann, Hættu að gráta hringaná - Einar Scheving, Mondo cane = A dog's world - Tommaso Rava Quartet, Ein Bett im Kornfeld - Jürgen Drews, Baby You?re a Gun - Tami Neilson, Ég er kominn heim - Óðinn Valdimarsson. Umsjón: Guðrún Hálfdánardóttir og Þórunn Elísabet Bogadóttir.
Hjörtur J. Guðmundsson, sagnfræðingur og alþjóðastjórnmálafræðingur, fjallaði um stöðuna breskum stjórnmálum, það er valið á nýjum leiðtoga Íhaldsflokksins. Arthúr Björgvin Bollason sagði í Berlínarspjalli frá stöðu mála varðandi Nordstream 1 gasleiðsluna frá Rússlandi til Þýskalands en hún er lokuð vegna viðhalds og óvíst hvort eða hvenær hún opnar á ný. Brúðkaup fjármálaráðherrans bar á góma og sumarsmellurinn í Þýskalandi fékk að óma. Edda Sif Pálsdóttir íþróttafréttamaður RÚV, var á línunni en hún er á heimleið frá Englandi líkt og íslenska kvennalandsliðið í knattspyrnu. Þær fóru taplausar í gegnum riðlakeppnina en komust ekki áfram. Staðan er góð varðandi HM á næsta ári en íslenska landsliðið leikur tvo leiki í undankeppninni í september. Tónlist: Always Seem to Get Things Wrong - Gaby Hartmann, Hættu að gráta hringaná - Einar Scheving, Mondo cane = A dog's world - Tommaso Rava Quartet, Ein Bett im Kornfeld - Jürgen Drews, Baby You?re a Gun - Tami Neilson, Ég er kominn heim - Óðinn Valdimarsson. Umsjón: Guðrún Hálfdánardóttir og Þórunn Elísabet Bogadóttir.
Brothers on the Virtual Sessions presented by The DJ Sessions 7/13/22 About Brothers - Brothers [formerly known as MENEW] is an EDM/alt-rock band composed of siblings Aaron Klaas (lead vocals, guitar), Ryan Klaas (synthesizers, piano) and Nathan Klaas (drums, vocals). Hailing from Hamilton, Ontario, Canada, their sound comes from a background of classical music training and British rock influence. After taking a bit of a hiatus, they are back with a new sound and new music that was created during the pandemic. The band wrote and recorded their first full length EDM album, Brothers, featuring their first single “The Walls”. “The inspiration behind the song is the idea of pushing back and challenging societal norms,” Aaron says of the first single that will be released on May 20, 2022. “We hope people will be inspired to break down the walls of inequality, race and prejudice, while enjoying the music of course.” The band met high acclaim with their MENEW project Wide Awake Hello; the single/video ‘Don't Give Up On Us Now' has been streamed and viewed over a million times. They have also taken the Cannes Film Festival by storm alongside French Montana at the exclusive club Gotha, where they performed their EDM single “Overdrive”. Short-listed for eight Grammy Nominations, Wide Awake Hello and follow-up hit single “Baby You're Like a Drug” (which stars actor Joshua Jackson in the music video) have been on NBC (Chuck), MTV (The Hills, Jersey Shore), Bravo (Girlfriend's Guide to Divorce) ESPN and films worldwide. The Klaas siblings have appeared on The Late Show with David Letterman and performed/toured alongside artists such as U2, Akon, French Montana, Stone Temple Pilots, Filter, Weezer and Linkin Park. About The DJ Sessions - “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers. It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception. The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week. With over 2,300 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Boris, MJ Cole, Lady Waks, Arty/Alpha 9, Miri Ben-Ari, Party Shirt, Plastik Funk, ENDO, John Tejada, Superstar DJ Keoki, Swedish Egil, Martin Eyerer, Robert Babicz, Elohim, Hausman, Yves V, Ayokay, Leandro Da Silva, The Space Brothers, Jarod Glawe, Jens Lissat, Lotus, Luke the Knife, Alex Bau, Camo & Crooked, ANG, Amon Tobin, Voicians, Florian Kruse, Bingo Players, Coke Beats, MiMOSA, Drasen, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Distinct, Still Life, Saint Kidyaki, Brothers, Piem, Tocadisco, Nakadia, Protoculture, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, DJ Ruby, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Patricia Baloge, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more. In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals. We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (Oculus). About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing. For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.
Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. Brought to you by The Publicity Works Agency specializing in authors & musicians We shine only when We make you shine! Call us today at 941-567-6193 At a time when most female artists were content with crooning sappy love songs for mainstream audiences, vocalist and pianist Linda Gail Lewis was following her own muse, singing rowdy and rousing versions of early rock classics like “C.C. Rider,” “Jim Dandy” and “Baby (You've Got What It Takes).” The latter track might hint at what drove Lewis to blaze her own musical path as it is a duet with Lewis's brother, well-known raconteur and rabble rouser Jerry Lee Lewis. Lewis would go on to record several times with her brother but also branched out to record several solo albums throughout the years as well as a 2000 album with Van Morrison and, more recently, has appeared on albums by Robert Gordon and Ann-Margret! But it's Gail's early tracks that truly showcase her historic importance as a pioneer of rockabilly music, and these tracks have now been collected on a brand-new compilation, entitled Early Sides 1963-1973, giving fans of vintage rock and rockabilly a chance to discover her unique talents. The audio has been completely remastered by guitar icon Danny B. Harvey who had this to say about the collection “It's a well-known fact that from 1961 until the late ‘70s, Linda Gail Lewis sang and stood beside her big brother Jerry Lee Lewis, both onstage and in the studio. Not as well-known is during that time she also managed to record her own amazing solo singles in Memphis, Nashville and LA with legendary musicians & producers like Scotty Moore, Jerry Reed, Harold Bradley, Reggie Young & of course her brother backing her.” Please welcome American singer, songwriter, pianist, author and Sister of Rock & Roll legend Jerry Lee Lewis… LINDA GAIL LEWIS to Interviewing the Legends PURCHASE EARLY SIDES 1963-1973 BY LINDA GAIL LEWIS AT AMAZON.COM Vintage early recordings from a true pioneering female rock artist, and sister of Jerry Lee Lewis, Linda Gail Lewis! These early singles represent a diverse mix of musical styles from rockabilly to country to good old-fashioned Rock 'n' Roll! Includes two tracks with special guest Jerry Lee Lewis! Full color gatefold jacket with detailed personnel credits and vintage photos! ALSO WILD! WILD! WILD! Robbie Fulks & Linda Gail Lewis Also available at amazon.com PURCHASE The Devil, Me, and Jerry Lee Released – October 28, 1998 by Linda Gail Lewis (Author) available at amazon.com "Jerry Lee is not a candy ass," writes Lewis in this affectionate memoir of her life with her brother, rock legend Jerry Lee Lewis. What she's saying is hardly news? given that Jerry Lee's nickname is "The Killer," he hardly needs such a defense? but the author writes in a vivid, colloquial voice that makes old news seem almost fresh. Though Lewis's book abounds with colorful boasts regarding the sturdy Lewis libido (apparently shared by Jerry Lee, the author and their cousin Jimmy Swaggart), fans will learn little they didn't already know about the man who graced the world with the hit "Great Balls of Fire." Lewis is charming when she describes her fits of wanderlust, as when she left her family to tour the country with her older brother and his band, but one wishes she had applied her talent for brisk, direct prose to telling the story of the balancing act she has had to perform as both a mother and a traveling musician (which she only briefly addresses). Lewis also pads her narrative with worn-out anecdotes, recalling the moment when John Lennon kissed Jerry Lee's feet and the performance in which an uninvited and unwanted Janis Joplin joined Jerry Lee onstage. Lewis's appealing, plainspoken style notwithstanding, this slim family album will be appreciated by diehard fans and quickly forgotten by everyone else. FOR MORE INFORMATION ABOUT LINDA GAIL LEWIS VISIT www.lglmusic.com Official website https://lglmusic.bandcamp.com/ LGL Music Bandcamp www.facebook.com/lglmusic Facebook https://twitter.com/lglmusic Twitter www.instagram.com/explore/tags/lindagaillewis/?hl=en Instagram LINDA GAIL LEWIS TOURING 2022 LGL live 7/29/2022 Dan's Silverleaf Denton, TX 8/12/2022 Lonesome Rose San Antonio, TX 8/13/2022 Continental Houston, TX 8/14/2022 TBA 8/16/2022 Rooster Blues House Oxford, Ms 8/17/2022 tba 8/18/2022 star bar atlanTa, ga 8/19/2022 tipsy burro saloon charlotte, nc 8/20/2022 Friday's Creek Owings, MD 8/21/2022 Buckley's Long Island, NY 8/23/2022 Cafe Nine New Haven, CT 8/25/2022 Dobbs Philadelphia, PA 8/26/2022 The Palace Theater Danbury, CT 8/27/2022 Lenny's at Hawkes Plaza Westbrook, ME 8/28/2022 Terryville Fairgrounds Plymouth, CT 8/30/2022 Beachland Ballroom & Tavern Cleaveland, OH 8/30/2022 souThgate house revival Newport, ky 9/01/2022 rock'n'roll cafe memphis, tn 9/04/2022 Antone's Austin, TX LINDA GAIL LEWIS Discography Albums Year Album 1969 The Two Sides of Linda Gail Lewis Together (with Jerry Lee Lewis) 1990 International Affair 1991 Do You Know Rockin' With Linda – Recorded Live in London 1992 I'll Take Memphis 1995 Love Makes the Difference 1999 Linda Gail Lewis 2000 You Win Again (with Van Morrison) 2001 Rock 'n' Roll Special (with The Firebirds) 2002 Out of the Shadows Rock 'n' Roll 2004 Boogie Woogie Country Gal Lie and Deny 2005 Me and the Boys in the Band 2006 Rock, Roll & Remember Hungry Hill 2007 Dazed and Confused Jabalaya You Were There The Queen of Rock 'n' Roll Live in France 2010 You & Me & Sweet Rock 'n' Roll – Best from Sweden 2015 Heartbreak Highway Gas Station Flowers Hard Rockin' Woman 2018 Wild! Wild! Wild! (with Robbie Fulks) Support us!
It's hotting up as we get steadily closer to finding out which Beatles song towers above all others, though this week is a bit of a big brown bag of randomness (inside a zoo). Stepping up to the plate are Tell Me What You See, Within You Without You, Baby You're a Rich Man & Honey Don't.... Honey Don't.... Honey Don't.... Honey Don't. Best listened to accompanied by a Hohner Pianet.
“Baby You're A Firework” (you know that song?) Holidays can come and go, but don't miss the opportunity to create some special memories with your blended family. We walk through 3 areas that can help spice up your July 4th and make it one everyone remembers. When we do new things together, those are the ones that we all bond over and remember. Let these ideas spark new fireworks for you, and leave you with a July 4th your family enjoys and talks about later. EPISODE RESOURCES: E.N.J.O.Y. THE JOURNEY: A Blended Family Roadmap To Having Fun Together, A NEW WAY to have more fun in your home that helps build stronger connections and relationships, all while having more laughs and enjoyment as you make those lasting memories together. JOIN OUR EMAIL LIST, and get your free gift today! We send out a weekly email on Friday mornings that are blended family specific; full of encouragement, support, and all the latest information before anyone else hears about it. Join us today!!! If you would, SUBSCRIBE to this podcast, and also leave us a RATING & REVIEW so we can keep spreading the love! OTHER PLACES YOU CAN FIND US! Follow us on INSTAGRAM Join Our FACEBOOK GROUP Check out our WEBSITE Subscribe to our YOUTUBE Channel Follow us on PINTEREST Contact Us Here
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --
Chuck Edwards - "Downtown Soulville" - 45 [0:00:00] Music behind DJ: The Dippers - "Goin Ape" - 45 [0:02:16] Nellie Rutherford - "Laughing at Me" - 45 [0:04:35] Stacy Johnson - "Don't Believe 'Em" - 45 [0:08:51] Robin Rice - "I've Had It" - 45 [0:09:06] Mr. Lee - "Mr. Lee's Plea" - 45 [0:10:47] Music behind DJ: Doc Bagby - "Mix It Up (Pot Luck)" - 45 [0:13:10] George Kirby - "(I Want Some) Meat on My Tomatoes" - 45 [0:15:18] Jo-An Baker - "Think About the Possibilities" - 45 [0:17:45] Jr. Cole - "Go On" - 45 [0:19:52] Music behind DJ: Lebonte - "Dead Pigeon" - 45 [0:22:11] The Tokays - "Baby, Baby, Baby (You're My Heart's Desire)" - 45 [0:24:15] Magnetics - "Heart You're Made of Stone" - 45 [0:26:28] The Fabulous Peps - "With These Eyes" - 45 [0:28:21] The Falcons - "Good Good Feeling" - 45 [0:31:10] Brothers of Soul - "A Life Time" - 45 [0:32:56] Music behind DJ: The Volcanos - "Movin' and Grovin' [sic]" - 45 [0:35:55] The LMNOPs - "I Need You" - 45 [0:38:28] T.J. Williams and Two Shades of Soul - "Baby I Need You" - 45 [0:40:36] Betty Everett - "Been a Long Time" - 45 [0:43:11] Mamie P. Galore - "No Right to Cry" - 45 [0:46:05] Music behind DJ: Soulful Two - "Fi-Yi Dance" - 45 [0:48:43] L.J. Waiters - "I'm a Lonely Man" - 45 [0:51:03] Deloris Ealy - "It's About Time I Made a Change" - 45 [0:53:38] Richard Marks - "Never Satisfied" - 45 [0:56:17] Harold Betters - "Watermelon Man" - Out of Sight and Sound [0:59:57] https://www.wfmu.org/playlists/shows/115464
1 - I Found a New Baby - Andy Preer and the Cotton Club Orchestra - 19272 - Hello Baby - Bert Lown and his Hotel Biltmore Music – 19303 - Everybody Loves My Baby - Taylor's Dixie Serenaders - 19314 - When My Baby Smiles At Me - Ted Lewis Jazz Band – 19205 - Yo Te Amo, Oh! Baby - Amy Arnell with Tommy Tucker Time - 19416 - Baby (You're Sweet As Honey To Me) - Dave Edwards and his Alabama Boys – 19377 - That Crawlin' Baby Blues - Blind Lemon Jefferson – 19298 - Baby Won't You Please Come Home – Louis Prima and His Orchestra - 19469 - I Wonder Where My Baby is To-night - Paul Whiteman and his Orchestra - 192510 - Grandpa Stole My Baby - Moon Mullican – 195311 - Bandanna Babies - Duke Ellington and his Orchestra - 193712 - Jazz Baby - Bill Cox and Cliff Hobbs – 193713 - Goodnight Baby, Goodnight - Four Tones and Eddie Beal Trio - 194114 - Ragging the Baby To Sleep - Al Jolson – 191215 - Rock-a-Bye Baby - Joseph C. Smith's Orchestra - 191816 - Rock-a-Bye Your Baby with A Dixie Melody - Wilbur Sweatman's Original Jazz Band – 191817 - Have You Got Any Castles, Baby? - Jack Leonard with Tommy Dorsey and his Orchestra – 193718 - Butch Minds the Baby - Damon Runyon Theater – 1949 (Radio Drama)19 – The Big Little Mother - Dragnet – 1953 (Radio Drama)20 - Oh Baby - Wolverine Orchestra - 192421 - Sweet Baby Doll - King Oliver's Jazz Band – 192322 - Whoa Babe - Lionel Hampton and his Orchestra – 1937
Every week Bekoe suggest, highlights and features a new song you can add to your playlist. This Week it's Chicago singer/songwriter Rashida Briana with her debut single titled "Baby You"
Rare BASEMENT TAPES – Discovered in the vaults of radio station WNEU on vintage reel-to-reel magnetic audio tapes and meticulously restored to on-air condition. These were state-of-the-art recordings created long before compact cassette tapes were produced. We present the music to you exactly as it was recorded in 1967. Enjoy.In this episode you'll hear:1) Thank The Lord For The Night Time by Neil Diamond [1967]2) Hold On! I'm Comin' by Sam & Dave [1966]3) My World Fell Down by Sagittarius [1967]4) Take It Or Leave It by The Rolling Stones [1967]5) Come Back When You Grow Up by Bobby Vee [1967]6) Purple Haze by The Jimi Hendrix Experience [1967]7) Reflections by Diana Ross & The Supremes [1967]8) All You Need Is Love (Reached #1 on August 19, 1967, Lasted for 1 week) by The Beatles [1967]9) Light My Fire (Reached #1 on July 29, 1967, Lasted for 3 weeks) by The Doors [1967]10) Ode to Billie Joe (Reached #1 on August 26, 1967, Lasted for 4 weeks) by Bobbie Gentry11) San Franciscan Nights by Eric Burdon & The Animals [1967]12) To Love Somebody by The Bee Gees [1967]13) I Live For The Sun by The Sunrays [1965]14) I'll Turn To Stone [B-side of 7-Rooms of Gloom] by The Four Tops [1967]15) Lovely Rita by The Beatles [1967]16) Sittin' On A Fence by The Rolling Stones [1967]17) Funky Broadway by Wilson Pickett [1967]18) A Groovy Kind Of Love by The Mindbenders (without Wayne Fontana) [1966]19) I Ain't Gonna Eat Out My Heart Anymore by The Young Rascals [1966]20) Baby You're A Rich Man by The Beatles [1967]21) Fakin' It by Simon & Garfunkel [1967]22) You're Welcome by The Beach Boys [1967]23) Blues' Theme (from The Wild Angels, starring Peter Fonda) by Davie Allan & The Arrows [1967] *** END OF SIDE NO. 1 *** END OF SIDE NO. 1 ***
Durée : 57:36 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Victor Solf - How Did We (Rennes) Mansfield.TYA - Fools (Nantes) Von Pariahs - Decisions (Nantes) Graceful - Psylle (Nantes) Les Gordon - Visions (Rennes) The Blind Suns - Brand New Start (Angers) Alma Road - Stars (Nantes) Phaon - L'Epopée (Limoges/Nantes) Rouquine - Mortel (Cholet) The Stetsons - Dark Clouds (Nantes) Simple Way - Letting Go (Nantes) Bops - No Job (Rennes) Terrier - Le bandit (La Roche-sur-Yon) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Isla - Les Yeux Noirs (Nantes) We Only Said - Go Past (Rennes) Sollayr - Freedom (Nantes) A très vite !
Durée : 57:36 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Floss - Tuer l'ennui (Angers) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Mansfield .TYA - Cavaliers (Nantes) Sine Bohm - Sway of the Universe (Nantes) Le Bruit De L'Autre - Les Dériveurs (Rocheservière) Degiheugi - Tu fais semblant (Laval) Hawaiian Pistoleros - Me and My Shadow (Nantes/Rennes) Phaon - Esbroufe (Limoges/Nantes) LABOTANIQUE - Le Syndrome du Banlieusard (Nantes) TrimsY - Si j'oublie (Nantes) Sollayr - Kan Te Faya (Nantes) Gaume - Drumroll For Your Answer (Nantes) Malween - Si un jour tu me découvres (Nantes) Grise Cornac - Tout Baigne (Angers) Simple Way - Once Upon A Time (Nantes) French Cowboy & The One - Serrer (Nantes) Mad Foxes - Crystal Glass (Nantes) Silurus - Jolly Bumper (Angers) A très vite !
Just imagine every hit record from the 1960s in one gigantic playlist. OK, now press “SHUFFLE” Here we go: 1) Wipe Out by The Surfaris 2) Monday, Monday by The Mamas & The Papas 3) The Fly by Chubby Checker 4) Bend Me, Shape Me by The American Breed 5) Traces by Classics IV (with Dennis Yost, lead vocal) 6) Baby (You've Got What It Takes) by Brook Benton & Dinah Washington 7) Gimme Little Sign by Brenton Wood 8) Expressway To Your Heart by The Soul Survivors 9) Red Rubber Ball by The Cyrkle 10) Just One Look by Doris Troy 11) The Jolly Green Giant by The Kingsmen 12) Who Put the Bomp by Barry Mann 13) Denise by Randy & The Rainbows 14) Wild One by Bobby Rydell 15) The Horse by Cliff Nobles & Co. 16) 1-2-3 Red Light by The 1910 Fruitgum Company 17) I Get Around by The Beach Boys 18) Da Doo Ron Ron by The Crystals (with Hal Blaine, drums) 19) Summer In The City by The Lovin' Spoonful 20) Finger Poppin' Time by Hank Ballard & The Midnighters 21) I Can't Stay Mad at You by Skeeter Davis 22) Quarter To Three by Gary U.S. Bonds 23) The Girl From Ipanema by Stan Getz & Astrud Gilberto 24) Speedy Gonzales by Pat Boone 25) Bits And Pieces by The Dave Clark Five 26) I Love How You Love Me by The Paris Sisters (Pricilla Paris, lead vocals) 27) Hurt So Bad by The Lettermen 28) Time Has Come Today by The Chambers Brothers 29) You'll Lose a Good Thing by Barbara Lynn 30) Grazing In The Grass by Hugh Masekela 31) The Locomotion by Little Eva 32) Dream Baby by Roy Orbison 33) It Keeps Right On A' Hurtin' by Johnny Tillotson 34) Needles And Pins by The Searchers 35) Good Time Baby by Bobby Rydell 36) You Can't Sit Down by The Dovells 37) I Love the Way You Love by Marv Johnson 38) Good Lovin' by The Young Rascals 39) The One Who Really Loves You by Mary Wells 40) This Magic Moment by Jay & The Americans 41) Dear One by Larry Finnegan 42) Bad Moon Rising by Creedence Clearwater Revival 43) Love Letters by Ketty Lester 44) Twist And Shout by The Beatles 45) Daddy's Home by Shep & The Limelights 46) It's Gonna Work Out Fine by Ike & Tina Turner 47) Baby, I Love You by Aretha Franklin 48) Get Back by The Beatles (with Billy Preston, keyboards)
Durée : 57:32 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Tample - Glory (Bordeaux) Carambolage - Motivation (Rennes) The Blind Suns - Boundaries (Angers) Lenparrot - Was (Nantes) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) La Battue - The Moon (Rennes) Von Pariahs - The West (Nantes) Jeune Cash Monroe - Demain Sera Beau (Nantes) Le Bruit De L'Autre - Au retour (Rocheservière) Miossec - Nous sommes (Brest) Brazzier - J'écoute la nuit (Rennes) Alma Road - Brother (Nantes) Les Gordon - Visions (Rennes) Simple Way - Dream (Nantes) Bops - Fantasia (Rennes) Phaon - Animal (Limoges/Nantes) Les Frères Tyran - Les Années 20 (Nantes) Isla - Feu (Nantes) A très vite !
Ep 1: Two Weeks Notice (Movie) Netflix movie link: https://www.netflix.com/title/60024940 link to Baby You've Got What it Takes: https://www.youtube.com/watch?v=vnLHP0EBfhU Instagram: https://www.instagram.com/aidamayrene/?hl=en Youtube: https://www.youtube.com/channel/UCnmDKj0RY1wFe56OO1q0r_A? Special thanks to Yana and Sergio for helping me come up with this idea! Music: Jason Grubb (doesn't have any links) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/aida-huelsman/message
Durée : 57:41 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Solar District - Wasted Time (Nantes) The Blind Suns - Brand New Start (Angers) Yeggmen - A 86 (Nantes) La Battue - Cheeky Monkey (Rennes) Colt Wiseman - I've been waiting so long (Nantes) Tramble - La Mort de l'Ours feat. Dunkerque (Nantes) The Loire Valley Calypsos - T'es pas là (Angers) Cachemire - La Veste (Nantes) Sine Bohm - Sway Of The Universe (Nantes) Victor Solf - I Don't Fit (Rennes) Totorro - Beverly Pills (Rennes) Miossec - Je suis devenu (Brest) Phaon - L'Epopée (Limoges/Nantes) Ko Ko Mo - White House Blues (Nantes) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Beryce - All Of Your Smile (Nantes) We Only Said - Lies (Rennes) Sollayr - Signature feat. Line Tafomat (Nantes) A très vite !
Durée : 57:42 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Le Bruit De L'Autre - Au retour (Rocheservière) Fyrs - The Swirl Of Love (Nantes) You Know The Way - Youth feat. Jerry Dakota (Angers) Lenparrot - Fixture Picture -Aldous Harding cover- (Nantes) Johanna Reyjasse & The Bell Orchestra - I Used To... (Nantes) Solar District - Wasted Time (Nantes) La Phaze - Comme David Buckel (Angers) La Battue - Big Picture (Rennes) Tramble - La Mort de l'Ours feat. Dunkerque (Nantes) Glaö - Conquête (Nantes) Cachemire - Yogourt (Nantes) Ko Ko Mo - White House Blues (Nantes) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Phaon - L'Epopée (Limoges/Nantes) Alma Road - Brother (Nantes) The Stetsons - Cold (Nantes) A très vite !
Durée : 57:27 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Cachemire - Yogourt (Nantes) Johanna Reyjasse & The Bell Orchestra - I Used To... (Nantes) Daniel Paboeuf - L'Hélico (Rennes) The Loire Valley Calypsos - Party Soldiers (Angers) TrimsY - Si j'oublie (Nantes) Manu - Je suis déjà parti -Taxi Girl cover- (Nantes/Paris) Lenparrot - Was (Nantes) La Battue - Attacus Atlas (Rennes) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Lame - Earthquake (Nantes) Sollayr - Signature feat. Line Tafomat (Nantes) Placines - Cauchemardesque (Nantes) Ko Ko Mo - White House Blues (Nantes) Phaon - L'Epopée (Limoges/Nantes) Rimo et les Imparfaits - Yoyo (Nantes) Alma Road - Brother (Nantes) A très vite !
Hi Basementeers.... Today on this episode of SFTB we have one of the devas of 60's/70's rock, her name is: Linda Ronstadt. We will go thru her classic period of her recordings. 1967 to 1989. Intro: Your No Good 1. I Can't Get Go 2. Rescue Me 3. Heatwave 4. She's A Very Lovely Woman 5. Lose Again 6. New Hard Times 7. Mr. Radio 8. Within The Sound Of My Voice 9. Look Out For My Love 10. Poor, Poor Pitiful Me 11. The Fast One 12. Love Sick Blues 13. All That You Dream 14. Baby You've Been On My Mind 15. Aren't You The One 16. I Got A Crush On You 17. You Can Close Your Eyes 18. Sweet Summer Blue & Gold 19. Bet No One Hurts So Bad 20. I Think It's Gonna Work Out Fine 21. When Will I Be Loved 22. Nobody's 23. Girl's Talk 24. Allison 25. Somewhere Out There 26. Someone To Lay Down Beside Me 27. Rock Me On The water 28. Hurt So Bad 29. Orion 30. Silver Threads & Golden Needles 31. I'd Like To Know Outro: Your No Good
Durée : 57:38 - En attendant un retour en direct, Du Bruit à Nantes, la sélection des concerts hebdomadaire sur SUN, vous propose chaque lundi à 19H, une programmation musicale "Complètement à l'Ouest" composée d'artistes du Grand Ouest. LA SÉLECTION D'ARTISTES DU GRAND OUEST: Johanna Reyjasse & The Bell Orchestra - I Used To... (Nantes) Her - On & On (Rennes) Manu - Je suis déjà parti -Taxi Girl cover- (Paris/Nantes) Elephanz - Maryland (Nantes) Daniel Paboeuf - L'Hélico (Rennes) Malween - Si un jour tu me découvres (Nantes) The Loire Valley Calypsos - Snake (Angers) Jorge Bernstein & The Silky Birds Of Love - Baby You're Mine (Nantes) Rimo et les Imparfaits - Yoyo (Nantes) Yeggmen - Ship (Nantes) Jeune Cash Monroe - Rien à vendre (Nantes) Beryce - In Your Smile (Nantes) Tramble - La Mort de l'Ours feat. Dunkerque - Félix Leclerc cover- (Nantes) Isla - Les Yeux Noirs (Nantes) Alma Road - Drive (Nantes) Brazzier - Tambour battant (Rennes) The Pledge - Old Friends (Nantes) Cachemire - La Veste (Nantes) A très vite !
The moment you announce your pregnancy, the whole world starts telling you about foods that you should avoid, Rarely do people tell you about what you should actually be eating. With this episode, Rj Ruchi brings to you a list of SuperFoods that you should include in your meals to make sure you have all your dietary needs covered. Coz "A healthy mama = A healthy Baby" You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For advertising/partnerships send you can send us an email at bonjour@eplog.media. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.mediaSee omnystudio.com/listener for privacy information.
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Kevin BurtThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Mojo Morganfield,It's Good To Be King (44.1kHz 16bit),Aster Pheonyx,If I Could,Need To RememberPorcelan,Hate Train,AJ Crawdaddy feat. Marcel Smith,Big Hurt,Steppin' Out!Dione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterPeter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideJohn Nemeth,Sometimes,Stronger Than StrongJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedJack De Keyzer,Keep The Fire Burning,Ben Levin,Have You Lost Your Mind?,Carryout or DeliveryDanny Brooks & Lil Miss Debi,03_Jamaica Sun,Are You Ready The Mississippi SessionsArtur Menezes,Free At Last (feat. Josh Smith),Fading AwayDuke Robillard,I Ain't Gonna Do It,Blues Bash With Duke Robillard and FriendsKevin Burt,Rain Keeps Coming Down,Stone CrazyKevin Burt,Better Off Dead,Stone Crazymakingascene,keven burt,Kevin Burt,I'm Bustin Out,Stone CrazyKevin Burt,Got To Make A Change,Stone CrazyPatrik Jansson Band,She Ain't Gonna Come Back Any More,IV (Blues/Blues-Rock)John Mclean and Charles Barkatz,06_Sister of Mine,Unknown Album (10/23/2020 3:17:59 PM)The Mckee Brothers,Surreal Love,Bob Margolin,After Party,Star of Stage and ScreensDevin B. Thompson,Something You Can Do Today,Tales Of The SoulClay Melton,Timing's Everything,Blind Fiction,You Never Know,OverlookBlind Fiction,Mean Old Jack,OverlookGreg Sover Band,Politician,The ParadeGreg Sover Band,Feelin' Sumthin',The ParadeAlastair Greene,When You Don't Know What To Do,The New World BluesDennis Jones,I Love The Blues,Soft Hard & LoudMick Kolassa,A Good Day for the Blues,"If You Can’t Be Good, Be Good At It"Mick Hayes,09_Autumn Romance_M2_16 copy,Shaun Murphy,6. Old Love,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring The Greg Sover BandThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists! Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Chris Stapleton,Cold,Mojo Morganfield, - It's Good To Be King (44.1kHz 16bit),Aster Pheonyx,If I Could,Need To RememberPorcelan,Hate Train,AJ Crawdaddy feat. Marcel Smith,Big Hurt,Steppin' Out!Dione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterJohn Nemeth,Sometimes,Stronger Than StrongJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedBen Levin,Have You Lost Your Mind?,Carryout or DeliveryDanny Brooks & Lil Miss Debi,03_Jamaica Sun,Are You Ready The Mississippi SessionsArtur Menezes,Free At Last (feat. Josh Smith),Fading AwayDuke Robillard,I Ain't Gonna Do It,Blues Bash With Duke Robillard and FriendsGreg Sover Band,Wake Up,The ParadeGreg Sover Band,It's Never Too Late,The Paradewww.makingascene.org,Greg Sover,Greg Sover Band,Feelin' Sumthin',The ParadeGreg Sover Band,Politician,The ParadePatrik Jansson Band,She Ain't Gonna Come Back Any More,IV (Blues/Blues-Rock)John Mclean and Charles Barkatz,06_Sister of Mine,Unknown Album (10/23/2020 3:17:59 PM)The Mckee Brothers,Surreal Love,Bob Margolin,After Party,Star of Stage and ScreensDevin B. Thompson,Can't Get Over You,Tales Of The SoulDevin B. Thompson,Something You Can Do Today,Tales Of The SoulClay Melton,Timing's Everything,Peter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideBlind Fiction,You Never Know,OverlookBlind Fiction,Mean Old Jack,OverlookKevin Burt,Got To Make A Change,Stone CrazyKevin Burt,I'm Bustin Out,Stone CrazyAlastair Greene,When You Don't Know What To Do,The New World BluesJack De Keyzer,Keep The Fire Burning,Dennis Jones,I Love The Blues,Soft Hard & LoudMick Kolassa,A Good Day for the Blues,"If You Can’t Be Good, Be Good At It"Mick Hayes,09_Autumn Romance_M2_16 copy,Shaun Murphy,6. Old Love,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Blind FictionThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Chris Stapleton,Cold,Mojo Morganfield,It's Good To Be King,Aster Pheonyx,If I Could,Need To RememberPorcelan,Hate Train,Porcelan,Lois Lane,AJ Crawdaddy feat. Marcel Smith,Big Hurt,Steppin' Out!AJ Crawdaddy,That's What Love Will Do,Steppin' Out!Dione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterDione Taylor,Down The Bloodline,Spirits In The WaterDanny Brooks & Lil Miss Debi,The Battle,Are You Ready The Mississippi SessionsDanny Brooks & Lil Miss Debi,Jamaica Sun,Are You Ready The Mississippi SessionsArtur Menezes,Devil's Own,Fading AwayArtur Menezes,Free At Last (feat. Josh Smith),Fading AwayDuke Robillard,I Ain't Gonna Do It,Blues Bash With Duke Robillard and FriendsDuke Robillard,No Time,Blues Bash With Duke Robillard and FriendsBlind Fiction,Breaking Me Down,OverlookBlind Fiction,Ugly Side,Overlookmakingascene,blind fiction,Blind Fiction,Mean Old Jack,OverlookBlind Fiction,You Never Know,OverlookPatrik Jansson Band,She Ain't Gonna Come Back Any More,IV (Blues/Blues-Rock)John Mclean and Charles Barkatz,Sister of Mine,Unknown Album (10/23/2020 3:17:59 PM)The Mckee Brothers,Surreal Love,Bob Margolin,After Party,Star of Stage and ScreensBen Levin,Have You Lost Your Mind?,Carryout or DeliveryDevin B. Thompson,Can't Get Over You,Tales Of The SoulDevin B. Thompson,Something You Can Do Today,Tales Of The SoulClay Melton,Timing's Everything,Peter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideJohn Nemeth,Sometimes,Stronger Than StrongJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedKevin Burt,Got To Make A Change,Stone CrazyKevin Burt,I'm Bustin Out,Stone CrazyGreg Sover Band,Feelin' Sumthin',The ParadeGreg Sover Band,Politician,The ParadeAlastair Greene,When You Don't Know What To Do,The New World BluesJack De Keyzer,Keep The Fire Burning,Dennis Jones,I Love The Blues,Soft Hard & LoudMick Kolassa,A Good Day for the Blues,"If You Can’t Be Good, Be Good At It"Mick Hayes,Autumn Romance,Shaun Murphy,Old Love,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Indie Blues Double Shot Show!This is the Voice of Indie Blues, the future of the blues. An Indie Blues double shot of artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Chris Stapleton,Cold,Mojo Morganfield, - It's Good To Be King (44.1kHz 16bit),Aster Pheonyx,If I Could,Need To RememberPorcelan,Hate Train,Porcelan,Lois Lane,AJ Crawdaddy feat. Marcel Smith,Big Hurt,Steppin' Out!AJ Crawdaddy,That's What Love Will Do,Steppin' Out!Dione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterDione Taylor,Down The Bloodline,Spirits In The WaterDanny Brooks & Lil Miss Debi,020_The Battle,Are You Ready The Mississippi SessionsDanny Brooks & Lil Miss Debi,03_Jamaica Sun,Are You Ready The Mississippi SessionsArtur Menezes,Devil's Own,Fading AwayArtur Menezes,Free At Last (feat. Josh Smith),Fading AwayDuke Robillard,I Ain't Gonna Do It,Blues Bash With Duke Robillard and FriendsDuke Robillard,No Time,Blues Bash With Duke Robillard and FriendsPatrik Jansson Band,She Ain't Gonna Come Back Any More,IV (Blues/Blues-Rock)Patrik Jansson Band,Someone Who Treats You Right,IV (Blues/Blues-Rock)John Mclean and Charles Barkatz,06_Sister of Mine,Unknown Album (10/23/2020 3:17:59 PM)John Mclean and Charles Barkatz,10_New Life,Unknown Album (10/23/2020 3:17:59 PM)The Mckee Brothers,Surreal Love,The McKee Brothers,The Rain,A Time Like ThisBob Margolin,After Party,Star of Stage and ScreensBob Margolin,For My Teachers,Star of Stage and ScreensBen Levin,Time Brings About a Change,Carryout or DeliveryBen Levin,Have You Lost Your Mind?,Carryout or DeliveryDevin B. Thompson,Can't Get Over You,Tales Of The SoulDevin B. Thompson,Something You Can Do Today,Tales Of The SoulClay Melton,Timing's Everything,Clay Melton,Secrets,Peter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SidePeter Veteska & Blues Train,You Don't Love Me,Grass Ain't Greener On The Other SideJohn Nemeth,Sometimes,Stronger Than StrongJohn Nemeth,Work For Love,Stronger Than StrongJeremiah Johnson,Unemployed Highly Annoyed,Unemployed Highly AnnoyedJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedKevin Burt,Got To Make A Change,Stone CrazyKevin Burt,I'm Bustin Out,Stone CrazyGreg Sover Band,Feelin' Sumthin',The ParadeGreg Sover Band,Politician,The ParadeBlind Fiction,Mean Old Jack,OverlookBlind Fiction,You Never Know,OverlookAlastair Greene,Alone And Confused,The New World BluesAlastair Greene,When You Don't Know What To Do,The New World BluesJack de Keyzer,Just For The Funk,TRIBUTEJack De Keyzer,Keep The Fire Burning,Dennis Jones,I Love The Blues,Soft Hard & LoudDennis Jones,I'm Not,Soft Hard & LoudMick Kolassa,She Kept Her Head Up,"If You Can’t Be Good, Be Good At It"Mick Kolassa,A Good Day for the Blues,"If You Can’t Be Good, Be Good At It"Mick Hayes,07_Political Funk,Mick Hayes,09_Autumn Romance_M2_16 copy,Shaun Murphy,14. Don't Put No Headstone On My Grave,Shaun Murphy,6. Old Love,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Shaun MurphyThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Peter Veteska & Blues Train,Running Like A Dog,Grass Ain't Greener On The Other SidePeter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideDustin Arbuckle & The Damnations,My Getaway,My GetawayDustin Arbuckle & The Damnations,You Got To Go,My GetawayDennis Jones,I Hate Hate,Soft Hard & LoudDanielle Miraglia,Famous for Nothin,Bright Shining StarsDanielle Miraglia,You're Gonna Make Me Lonesome When You Go,Bright Shining StarsMick Kolassa,If You Can't Be Good,"If You Can?t Be Good, Be Good At It"JD3 & The Jondo Trio,Whatchucan,SOMETHING GOODJack de Keyzer,Just For The Funk,TRIBUTENora Jean Wallace,Evidence,Blues WomanBen Levin,Time Brings About a Change,Carryout or DeliveryDione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterShaun Murphy,8. Little By Little,Shaun Murphy,14. Don't Put No Headstone On My Grave,www.makingascene.org,Shaun Murphy,Shaun Murphy,4. Am I Losing You,Shaun Murphy,6. Old Love,Kurt Allen,How Long,"Whiskey, Women & Trouble"Kurt Allen,Voodoo Queen,"Whiskey, Women & Trouble"Dudley Taft,One In A Billion,Cosmic RadioDudley Taft,All For One,Cosmic RadioArtur Menezes,Come On (feat. Joe Bonamassa),Fading AwayVanessa Collier,11-Heart On the Line,Heart On The LineKerry Kearney,"Thank You, Jesus (feat. Sam ?Bluzman? Taylor)",Tales From The PsychedeltaBob Margolin,For My Teachers,Star of Stage and ScreensJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedClay Melton,Secrets,Patrik Jansson Band,A Love Like Yours,IV (Blues/Blues-Rock)Alastair Greene,The New World Blues,The New World BluesMalaya Blue,Down To The Bone,StillDevin B. Thompson,Something You Can Do Today,Tales Of The SoulKevin Burt,Better Off Dead,Stone CrazySeela Misra,Safety Blanket,CoolKirsten Thien,07_Better Or You're Gonna Get Burned,Eric Johanson,05_HammerOnTheStone_EricJohanson_BelowSeaLevel,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Kurt AllenThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Peter Veteska & Blues Train,Running Like A Dog,Grass Ain't Greener On The Other SidePeter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideDustin Arbuckle & The Damnations,My Getaway,My GetawayDustin Arbuckle & The Damnations,You Got To Go,My GetawayDennis Jones,I Hate Hate,Soft Hard & LoudDanielle Miraglia,Famous for Nothin,Bright Shining StarsDanielle Miraglia,You're Gonna Make Me Lonesome When You Go,Bright Shining StarsMick Kolassa,If You Can't Be Good,"If You Can?t Be Good, Be Good At It"JD3 & The Jondo Trio,Whatchucan,SOMETHING GOODJack de Keyzer,Just For The Funk,TRIBUTENora Jean Wallace,Evidence,Blues WomanBen Levin,Time Brings About a Change,Carryout or DeliveryDione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterKurt Allen,Funkalicious,"Whiskey, Women & Trouble"Kurt Allen,Graveyard Blues,"Whiskey, Women & Trouble"www.makingascene.org,Kurt Allen,Kurt Allen,How Long,"Whiskey, Women & Trouble"Kurt Allen,Voodoo Queen,"Whiskey, Women & Trouble"Shaun Murphy,4. Am I Losing You,Shaun Murphy,6. Old Love,Dudley Taft,One In A Billion,Cosmic RadioDudley Taft,All For One,Cosmic RadioArtur Menezes,Come On (feat. Joe Bonamassa),Fading AwayVanessa Collier,11-Heart On the Line,Heart On The LineKerry Kearney,"Thank You, Jesus (feat. Sam ?Bluzman? Taylor)",Tales From The PsychedeltaBob Margolin,For My Teachers,Star of Stage and ScreensJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedClay Melton,Secrets,Patrik Jansson Band,A Love Like Yours,IV (Blues/Blues-Rock)Alastair Greene,The New World Blues,The New World BluesMalaya Blue,Down To The Bone,StillDevin B. Thompson,Something You Can Do Today,Tales Of The SoulKevin Burt,Better Off Dead,Stone CrazySeela Misra,Safety Blanket,CoolKirsten Thien,07_Better Or You're Gonna Get Burned,Eric Johanson,05_HammerOnTheStone_EricJohanson_BelowSeaLevel,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Dudley TaftThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Peter Veteska & Blues Train,Running Like A Dog,Grass Ain't Greener On The Other SidePeter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideDustin Arbuckle & The Damnations,My Getaway,My GetawayDustin Arbuckle & The Damnations,You Got To Go,My GetawayDennis Jones,I Hate Hate,Soft Hard & LoudDennis Jones,Like Sheep,Soft Hard & LoudDanielle Miraglia,Famous for Nothin,Bright Shining StarsDanielle Miraglia,You're Gonna Make Me Lonesome When You Go,Bright Shining StarsMick Kolassa,If You Can't Be Good,"If You Can?t Be Good, Be Good At It"Mick Kolassa,I've Seen,"If You Can?t Be Good, Be Good At It"JD3 & The Jondo Trio,Whatchucan,SOMETHING GOODJD3 & The Jondo Trio,Holding On Tight,SOMETHING GOODJeremiah Johnson,Unemployed Highly Annoyed,Unemployed Highly AnnoyedJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedDudley Taft,I Will Always Love You,Cosmic RadioDudley Taft,The Devil,Cosmic Radiowww.makingascene.org,Dudly Taft,Dudley Taft,One In A Billion,Cosmic RadioDudley Taft,All For One,Cosmic RadioJack de Keyzer,Just For The Funk,TRIBUTEJack de Keyzer,Let's Do It,TRIBUTENora Jean Wallace,Evidence,Blues WomanNora Jean Wallace,I've Been Watching You,Blues WomanBen Levin,Time Brings About a Change,Carryout or DeliveryDione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterBob Margolin,For My Teachers,Star of Stage and ScreensShaun Murphy,4. Am I Losing You,Shaun Murphy,6. Old Love,Kurt Allen,How Long,"Whiskey, Women & Trouble"Kurt Allen,Voodoo Queen,"Whiskey, Women & Trouble"Artur Menezes,Come On (feat. Joe Bonamassa),Fading AwayVanessa Collier,11-Heart On the Line,Heart On The LineKerry Kearney,"Thank You, Jesus (feat. Sam ?Bluzman? Taylor)",Tales From The PsychedeltaClay Melton,Secrets,Patrik Jansson Band,A Love Like Yours,IV (Blues/Blues-Rock)Alastair Greene,The New World Blues,The New World BluesMalaya Blue,Down To The Bone,StillDevin B. Thompson,Something You Can Do Today,Tales Of The SoulKevin Burt,Better Off Dead,Stone CrazySeela Misra,Safety Blanket,CoolKirsten Thien,07_Better Or You're Gonna Get Burned,Eric Johanson,05_HammerOnTheStone_EricJohanson_BelowSeaLevel,
Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Indie Blues Double Shot Show!This is the Voice of Indie Blues, the future of the blues. An Indie Blues double shot of artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Robert Cray Band,This Man,Annika Chambers & Derrick Procell,Black Man's Justice,Peter Veteska & Blues Train,Running Like A Dog,Grass Ain't Greener On The Other SidePeter Veteska & Blues Train,Baby You've Got What It Takes,Grass Ain't Greener On The Other SideDustin Arbuckle & The Damnations,My Getaway,My GetawayDustin Arbuckle & The Damnations,You Got To Go,My GetawayDennis Jones,I Hate Hate,Soft Hard & LoudDennis Jones,Like Sheep,Soft Hard & LoudDanielle Miraglia,Famous for Nothin,Bright Shining StarsDanielle Miraglia,You're Gonna Make Me Lonesome When You Go,Bright Shining StarsMick Kolassa,If You Can't Be Good,"If You Can’t Be Good, Be Good At It"Mick Kolassa,I've Seen,"If You Can’t Be Good, Be Good At It"JD3 & The Jondo Trio,Whatchucan,SOMETHING GOODJD3 & The Jondo Trio,Holding On Tight,SOMETHING GOODJeremiah Johnson,Unemployed Highly Annoyed,Unemployed Highly AnnoyedJeremiah Johnson,Daddy's Going Out Tonight,Unemployed Highly AnnoyedJack de Keyzer,Just For The Funk,TRIBUTEJack de Keyzer,Let's Do It,TRIBUTENora Jean Wallace,Evidence,Blues WomanNora Jean Wallace,I've Been Watching You,Blues WomanBen Levin,Time Brings About a Change,Carryout or DeliveryBen Levin,Carryout or Delivery,Carryout or DeliveryDione Taylor,Ain't Gonna Let Nobody Turn Me Around,Spirits In The WaterDione Taylor,Down The Bloodline,Spirits In The WaterBob Margolin,For My Teachers,Star of Stage and ScreensBob Margolin,Star of Stage and Screens,Star of Stage and ScreensShaun Murphy,4. Am I Losing You,Shaun Murphy,6. Old Love,Dudley Taft,One In A Billion,Cosmic RadioDudley Taft,All For One,Cosmic RadioKurt Allen,How Long,"Whiskey, Women & Trouble"Kurt Allen,Voodoo Queen,"Whiskey, Women & Trouble"Artur Menezes,Come On (feat. Joe Bonamassa),Fading AwayArtur Menezes,Free At Last (feat. Josh Smith),Fading AwayVanessa Collier,11-Heart On the Line,Heart On The LineVanessa Collier,Bloodhound,Heart On The LineKerry Kearney,"Thank You, Jesus (feat. Sam “Bluzman” Taylor)",Tales From The PsychedeltaKerry Kearney,Runnin' Weepin' Tremblin',Tales From The PsychedeltaClay Melton,Secrets,Clay Melton,Wind & Wave (ft. Kam Franklin),Patrik Jansson Band,A Love Like Yours,IV (Blues/Blues-Rock)Patrik Jansson Band,Same Thing All Over Again,IV (Blues/Blues-Rock)Alastair Greene,Find Your Way Back Home,The New World BluesAlastair Greene,The New World Blues,The New World BluesMalaya Blue,Down To The Bottom,StillMalaya Blue,Down To The Bone,StillDevin B. Thompson,I Ain't No Good,Tales Of The SoulDevin B. Thompson,Something You Can Do Today,Tales Of The SoulKevin Burt,Better Off Dead,Stone CrazyKevin Burt,I'm Bustin Out,Stone CrazySeela Misra,When The World,CoolSeela Misra,Safety Blanket,CoolKirsten Thien,07_Better Or You're Gonna Get Burned,Kirsten Thien,Sweet Lost And Found,Eric Johanson,Live from the midnight circus,Eric Johanson,Riverbend Blues,Below Sea Level
178回目のジェイコブ・レイディオショーのエピソードはビートルズの「Baby You're A Rich Man 」についてお話しています。ビートルズ初めてのTVサントラ盤、米国版に収録されています。・・・続きはポッドキャストで。Incredible Woman （歌詞）ジャンヌダルクのように 勇ましい君ナイチンゲールのように 心温かい君君の笑顔を見る度に 癒されてしまう君は僕の天使 オー・スウィート・マイ・エンジェルIncredible Woman (You are)バラのような 君のスマイル百合のような しなやかな仕草僕にとって 君は完璧 パーフェクトな存在君は僕の救世主 キリストと同じさIncredible Woman (You are)スクリーンの中に 生きる君身近に感じるけど 遠くにいるIncredible Woman (You are)YouTube版も見てね！https://www.youtube.com/playlist?list=PL00Me7FqXTW6ct5mG0k1PkUeVWmu3hMA3
Josephine Decker’s new SHIRLEY attempts to invoke the spirit of Shirley Jackson in suitably discomfiting fashion, which makes Robert Wise’s 1963 Jackson adaptation THE HAUNTING something of a prerequisite for the new film. How does THE HAUNTING stack up against its reputation as one of the scariest films of all time, and what makes it both a paragon and an anomaly of the haunted house genre? Joined by special guest Alison Willmore, we dig into those questions, plus the film’s distinctive visuals, its melange of performance styles, and its place in the broader scheme of Jackson adaptations. Plus, we share some feedback on episodes of the recent and not-so-recent past. Please share your comments, thoughts, and questions about THE HAUNTING, SHIRLEY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro Music: Gerard Way, “Baby You’re a Haunted House” Learn more about your ad choices. Visit megaphone.fm/adchoices
Chuck Edwards - "Downtown Soulville" - 45 Music behind DJ: Mickey Baker - "Do What You Do" - 45 Ernie K-Doe - "I'm the Boss" - 45 Mad Lads - "Hey Man" - 45 The Composers - "You and Yours" - 45 Geraldine Jones - "Baby I'm Leaving You" - 45 Roy Hytower - "I Want Some More" - 45 Music behind DJ: Classie Ballou - "Confusion" - 45 Little Richard - "Baby, Don't You Want a Man Like Me?" - 45 Little Richard - "I Don't Want to Discuss It" - 45 Little Richard - "Try Some of Mine" - 45 Little Richard - "I Don't Know What You've Got But It's Got Me (Pt. 2)" - 45 Little Richard - "Baby Don't You Tear My Clothes" - 45 Little Richard - "Poor Dog (Who Can't Wag His Own Tail)" - 45 Little Richard - "Stingy Jenny" - 45 Music behind DJ: Simtec Simmons - "Cooling It Now" - 45 Gail Anderson - "My Turn Now" - 45 Demon Brothers - "Uh-Huh" - 45 The Tokays - "Baby, Baby, Baby (You're My Heart's Desire)" - 45 Ernestine Eady - "The Change" - 45 Lolita and the Exotics - "Put a Lot of Lovin to It" - 45 Music behind DJ: Soulful Two - "Fi-Yi Dance" - 45 Betty Wright - "Paralyzed" - 45 Betty Wright - "Shoorah! Shoorah!" - 45 Betty Wright - "Good Lovin'" - 45 Music behind DJ: The Frantics - "Delilah" - 45 https://www.wfmu.org/playlists/shows/93302
Oh, Baby You...And You Say He's Just A Friend.Can a marriage survive long-term when one or both parties have close relationships with the opposite sex?Today we discuss one of the most interesting relationship topics and we're gonna need your help.Let us know your thoughts in the comments.**Support Our Sponsors**Financial Health Mentor - Grab your FREE copy of "Monetize My Life" and learn to turn your passions into profits www.monetizemylifenow.comwww.freefunnelmachine.com - if you're NOT using sales funnels in your business, you're working too hard.Office Huddle Print Shop Unlimited graphics, fast turnaround, one low price www.officehuddleprints.comSyndication partners13 Entertainment L.L.C
Kevin Wilson is the author of two short story collections, Tunneling to the Center of the Earth and Baby You're Gonna Be Mine, and three novels, The Family Fang, Perfect Little World, and Nothing to See Here. His fiction has appeared in Ploughshares, Tin House, One Story, A Public Space, and elsewhere. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at Sewanee: The University of the South. Learn more about your ad choices. Visit megaphone.fm/adchoices
COOL & RELAX: A REGGAE LOVE STORY, CHAPTER ONE Sevana – Bit Too Shy Turbulence – Name And Number I Wayne – In I Arms Munga – In My Arms Richie Spice – Brown Skin Kabaka Pyramid – Get You Gappy Ranks – Heaven In Her Eyes Chronixx – Give Me A Try Etana – Dance Beres Hammond – Teeny Weeny Little Loving Beres Hammond – What One Dance Can Do Beres Hammond – She Loves Me Now Beres Hammond – Doctor's Orders Dennis Brown – Gimme Little Loving Kashief Lindo – Let Me Give You Love Nikeisha Lindo – Talk Of The Town Stevie Face – Da Loving Yah Nice Peter Hunningale – Perfect Lady Sanchez – Rearrange My Life Ghost – Baby You Yami Bolo – Love My Woman Barrington Levy – She's Mine Garnett Silk – All The Woman I Need Marcia Griffiths & Daville – All My Life Etana – The One Chronixx – Access Granted Etana – I'll Be The One Etana – By Your Side Tarrus Riley – Just The Way You Are Jah Cure – From My Heart Busy Signal – Missing You Busy Signal – Night Shift Christopher Martin – Tell Me Spice – I Love You Christopher Ellis, Ky-Mani Marley & Jah Cure – End Of Time Daville – Don't Say Goodnight Bitty McLean – Let's Just Fall In Love Bitty McLean – The Real Thing Beres Hammond & Tony Rebel – Respect And Honor Marcia Griffiths & Cutty Ranks – Really Together Beres Hammond & Shaggy – Fight This Feeling Naomi Cowan – Paradise Plum Sizzla – Mine And Only Jah Cure & Jah Mason – Run Come Love Me Busy Signal – One More Night Maxi Priest – Easy To Love Freddie McGregor – I See It In You Fiona – No More Lonely Nights Nadine Sutherland – Last Night's Memory Tarrus Riley – Burning Desire Bitty McLean – One Of A Kind Beres Hammond – Groovy Little Thing Etana – Richest Girl
Welcome to a series of guest episodes on The Lorraine Murphy Show. I thought the Summer holidays would be the perfect opportunity to show off some of my super talented friends' shows - by featuring them interviewing ME for a change!Today's guest interview couldn't have been better timed! Stevie Dillon AKA Stevie Says Social had only recently given birth to her first baby, Jimmy and she had read my third book, Baby You're Remarkable while he was tiny.It was so fun to go back to those early days with Stevie, who was still right there in it - and our conversation is just like listening in to the two of us chatting in a cafe. I just loved it.Stevie has run her own social media business for two years, and is the go-to on all things social. She has a suite of super-smart online programs to support you wherever you are in your social media adventure.You can find her website at steviesayssocial.com, on Instagram @steviesayssocial and her podcast, which is called The Stevie Says Social Podcast.See omnystudio.com/listener for privacy information.
This is episode #234 Thank you to all the listeners who gave to support UMFM and On Target. We couldn't do it without you. Continuing on we have another outstanding hour of vinyl from the, ever expanding, On Target 45 stronghold. Please like us on Facebook: facebook.com/ontargetpodcast ------------------------------------------------- The Playlist Is: "Lover Please" Clyde McPhatter - Mercury "Wanted $10,000 Reward" Ernie K-Doe - London "Don't Call Me Any More" Dee Dee Warwick - Jubilee "I've Got A Little Boy" Ann Cole - Baton "Mama Don' t Allow" Reparata & The Delrons - World Artists "Have You Ever Had The Blues" Lloyd Price - ABC-Paramount "I Gotta Dance" The Strangeloves - Bang "Tale Of A Man" Good Feeling - Eagle "Feel All Right" The Deverons - Reo "Baby You've Got It" Maurice & The Radiants - Chess "Stop And Get Ahold Of Myself" Gladys Knight & The Pips - Maxx "Nobody But You" Otis Leavill - Smash "99 Lbs" Anne Peebles - Hi "Engine Number 9" Wilson Pickett - Atlantic "Cold Sweat" James Brown &The Famous Flames - Delta "Black Is Black" Lord Sitar - Capitol "Apple Cider" Five By Five - Paula "Every Time Woman" The Human Beinz - Capitol "Mon Homme Et Moi" Mimi Mars - Solfège "N'oublis Pas (Cry Just A Little)" Les Commander's - Contact "Bottomless" Watts 103rd Street Rhythm Band - Warner Brothers
Lorraine Murphy is an award-winning entrepreneur, best-selling author and speaker. She has written three books now while doing a million other things. Her book “Remarkability” is actually how we connected. I read it cover to cover and slid into her DMs to express my gratitude for her book. The way she writes and also speaks is a dream to learn from because she has a real knack for being direct and result driven, with a big heart and a spiritual side. In Episode 32 we explore the epic bible “Baby You're Remarkable” for anyone who is currently managing a business and mum life or for anyone who is entertaining that thought. Lorraine and I also discuss strategies on how to implement the blend of life, the vibration of our words, mum-guilt, her most recent trip to Bali and why it is important that we as women see ourselves as worthy of investing in self-care. We also briefly touch on the interesting topic of feminine and masculine energy. Lorraine's website: https://lorrainemurphy.com.au/ Baby You're Remarkable can be bought at https://lorrainemurphy.com.au/product/baby-youre-remarkable-book/ or your favourite bookseller
SCC421 - Mr. V Sole Channel Cafe Radio Show - April 23rd 2019 - Hour 1 __________________________________________ Since his return from the Winter Music Conference Mr. V has been on a tear, both in productions & collaborations and on his weekly mixshow and this week he shows 0 signs of stopping as he displays an onslaught of new material aimed for this summers dance floors across the globe, this is Hour 1. TRACKLIST // 1. 93 Days (Mr. V Sole Channel Mix) - Kenyon Clidero & Logic of Sound Feat. Chance Lewis 2. Dangerous Love (Original Mix) - Deft Bonz & 1Luv 3. You Treat Me Like A Fool (Kassian Remix) - Pitto 4. Losing You - Peter Brown 5. Baby You're Free (Original Mix) - Dirty Secretz 6. Hideaway (Extended) - Kiesza 7. MJ (Kenny Dope & Raheem DeVaughn Kenny Dope Drops Mix) - Kenny Dope & Raheem DeVaughn 8. Souffles H (King Street Club Mix) - Mondo Grosso 9. Wishing You Were Here (Joey Negro Dub) - Blaze 10. I Saw You Dancing (Original Mix) - Freekazoidz featuring Tilson 11. On My Way (Johan S Remix) - Todd Terry, Joëlle 12. Gimme Some More (Saison Remix) - Art Of Tones, Saison 13. Suavemente (Alex Guesta Tribal Mix) - Nicola Fasano & Miami Rockets • Subscribe On iTunes: https://itun.es/i6hX3bj • Subscribe On TuneIn: http://tun.in/pisJr • Follow On HearThis: https://hearthis.at/solechannelcafe/https://open.spotify.com/ • Follow On Spotify: https://open.spotify.com/show/55DCDVSc3KXDpwiN394MqN • Like Us On Facebook: https://www.facebook.com/SOLEchannel/ • Follow On Twitter: https://www.twitter.com/djmrv • Follow On Instagram: https://www.Instagram.com/solechannelmusic • Subscribe On YouTube: https://www.youtube.com/user/djmrv _________________ Web: https://www.solechannelmusic.com - https://www.muzik4tomorrow.com
Spanning 20 years from 1954 to 1974 this hour embraces that full reach of Mod from Rockin' Blues to Dirty Funk and pretty much everything in-between. Don't miss this trip through time to capture the essence of the Mod Sound. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Tick Tock" Marvin & Johnny - Modern "One Track Mind" Bobby Lewis - Beltone "Baby You're A Long Time Dead" Freddie Scott - Joy "Soulville" Dinah Washington - Roulette "It's Love Baby (24 Hours A Day)" Hank Ballard & The Midnighters - King "On Backstreet" The Toys - Dynavoice "The Work Song" Bob Morrison - Columbia "Got My Mojo Working" Manfred Mann - United Artists "You're The Queen" The Trophies - Kapp "Gossip Gossip" Diamond Joe - Sansu "Robot Walk" Pat & Lolly Vegas - Apogee "Love Love Love" Bobby Hebb - Philips "What A Man" Linda Lyndell - Volt "Think" Soul Searchers - Sussex "I Can't Stand Myself (When You Touch Me)" James Brown - King "Twenty Fourth Hour" The Action - Paralphone "Cactus" Jacques Dutronc - Vogue "Gloria" Willie Hobbs & The Dirte Four - Mercury "Do It" Billy Sha-rae - Spectrum "Crying Clown" Billy Sha-rae - Spectrum "Hogwash" Earnest Jackson - Stone Records
Mod Marty is back from the lake with a box full of new-to-you grooves to add to your summer soundtrack. Get into it. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Wanted" Larose Phillips - Gold Disc "Hi-Diddly Dee Dum Dum" Jimmy James & The Vagabonds - Atco "What's Easy For Two Is Hard For One" Connie Haines - Motown "Mousin' Around" The "D" Men - Veep "That Ain't Where It's At" The Animals - MGM "Sticks & Stones" The Lions - Triola "Just Walk In My Shoes" Gladys Knight & The Pips - Soul "You Can't Dress Up A Broken Heart" The Lovables - Toot "That's When The Tears Started" The Blossoms - Reprise "Sock It To Me" Judy Carne - Reprise "I Like The Way You Dance" Sammy Davis Jr. - United Artists "Goin' Down" The Monkees - RCA-Victor "Hey Sah-Lo-Ney" Mickey Lee Lane - Swan "Where's My Money" Willie Jones - R&B Gold "Sick And Tired" Elton Anderson - Capitol "Baby You've Got It" Frank Dell - Valise "Your Kind Of Lovin'" Jan Bradley - Chess "Boom" Jimmie Haskell - Sparton "New Orleans" Eddie Hodges - Barry "Till The End Of The Day" The Kinks - Reprise "Ride Your Donkey" Byron Lee & The Dragonaires - Soul [Barbados]
Playlist: Brian MacDonald, Midnight In Nowhere, Chris Stovall Brown, DRive Myself Crazy, The Weeklings, Baby You’re A Rich Man, Mike Crandall Band, Jump Blues, Black Cat Road, Faith And Ammunition, Benny And The Flybyniters, Hammerhead, Big Apple Blues, You Gotta Start Somewhere, The Little Red Rooster Blues Band, Lock Up The Liquor, Vanessa Collier, You Get What You Get, The Bennett Brothers, Rocking Chair, Nick Piunti, Temporary High, The Bruce Katz Band, Hesitation Blues, Markey Blue Ric Latina Project, Mississippi Soul, Tammi Savoy & The Chris Casello Combo, Sweet Baby Of Mine, Travis Bowlin, Go To Girl, J.P. Soars, Southbound I-95, Crystal Shawanda, I’d Rather Go Blind, Trevor McShane, Eloise, Stone Stanley, Cobble Hill, Spencer Mackenzie, Voices Echoing, Paul Filipowicz, Reconsider Baby, Keeshea Pratt Band, Out Of My Mind, The Proven Ones, Why Baby Why, Buddy Guy, Old Fashioned, Matty T. Wall, Slideride, Lurrie Bell And The Bell Dynasty feat Billy Branch, Eddie Taylor Jr & Sumito Ariyoshi, So Hard To Leave You Alone, Bob Corritore & Friends, Went Home This Morning, Tas Cru, Give A Little Up, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: WEDNESDAY 7/18 ROBERT CRAY BAND - NARROWS CENTER, FALL RIVER MA. PROF HARP (Tunes on the Dunes) -TOWN BEACH (6 to 8 PM), WESTERLY RI MARK NAFTALIN with MARK ZARETSKY & CHANCE BROWN - THE 323 CLUB, WESTPORT. LITTLE FEAT - RIDGEFIELD PLAYHOUSE, RIDGEFIELD. TOM "THE SUIT" FORST and DAN BROTHERS - DARYL'S HOUSE, PAWLING NY. CRACKER - IRON HORSE, NORTHAMPTON MA. RAMBLIN DAN STEVENS and the MELLOW MEN - OLD LYME INN, OLD LYME On the Patio at 6 PM. BRUCE JOHN - RIVER ROAD COMPLEX (6:30 TO 8:30 PM), WILLIMANTIC. MURRAY THE WHEEL - TOOTZY PASTA PIZZA, WILTON. SUGAR - BEACH PARK (6 PM), WATERFORD. FREE FUNK WEDNESDAY - ARCH STREET TAVERN, HARTFORD. BATTLE OF THE BANDS - ATRIUM LOUNGE (8 PM), FOXWOOD CASINO. ROLLIN ON THE RIVER JAM - CANOE CLUB, MIDDLETOWN. DONAHUE'S OPEN MIC - DONAHUE'S BEACH BAR, MADISON. CARMINE'S OPEN MIC - CARMINE'S RESTAURANT, EAST HARTFORD. COMMUNITY BLUES JAM - BLACK EYED SALLY'S, HARTFORD. FRIENDS DAY OPEN MIC - THEODORE'S BLUES CLUB (10 PM), SPRINGFIELD MA THURSDAY 7/19 LIVIU INVITATIONAL - BLACK EYED SALLY'S, HARTFORD. Liviu with Mike Crandall, Mike Williams, & Ed Parnigoni BRUCE KATZ - DARYL'S HOUSE, PAWLING NY ANTHONY GOMES - BRIDGE STREET LIVE, COLLINSVILLE. TAB BENOIT - NARROWS CENTER, FALL RIVER MA. ROCKY LAWRENCE - THE CRAVE (6:30 TO 9:30 PM), ANSONIA. ERIC DUCOFF - STOMPING GROUND, PUTNAM. LEE ANN LOVELACE AND FRIENDS - TIPPING CHAIR TAVERN, MILLDALE. JEFF PITCHELL & TEXAS FLOOD - FAMILY FUN NIGHT, EAST HAMPTON. ERAN TROY DANNER (Acoustic Solo) - D'AMELIA'S ITALIAN EATERY, WATERBURY. RAMBLIN DAN STEVENS - TAPPED APPLE, WESTERLY RI. BALKUN BROTHERS - SUMMER SESSIONS, MONTGOMERY CENTER, VT. THIRD THURSDAY STREET FESTIVAL - MAIN STREET, WILLIMANTIC FREE 5 Stages (including Vitamin B-3), Dining and Shopping. FRONT STREET BAND - CADILLAC RANCH (6 TO 9 PM), SOUTHINGTON. Bike Night, Rockin Good Time. THE CARTELLS - COMMUNITY CENTER (7 PM), EAST LYME. HUNT HILL FARMS OPEN MIC - HUNT HILL, NEW MILFORD. SHELBY LYME - IRON HORSE (7 PM), NORTHAMPTON MA. JAKE KULAK and LOW DOWN - BLUE MOUNTAIN RESORT, POCONOS PA. KEN SAFETY OPEN MIC - CJ SPARROWS, CHESHIRE. DAVE COSTA'S OPEN MIC - CAMBRIDGE BREW PUB, GRANBY. JIMI PHOTON'S JAM - HUNGRY TIGER, MANCHESTER. ALL STAR JAM - SHAMROCK PUB, WATERBURY. KYLE TACY - CANOE CLUB, MIDDLETOWN. PINE LOFT OPEN MIC - PINE LOFT PIZZARRIA, BERLIN. OPEN NIGHT AT THE BISTRO - INFINITY HALL, NORFOLK. GREG SHERROD OPEN MIC - BLACK SHEEP, NIANTIC. WENDY MAY OPEN MIC - BLACK DUCK, WESPORT TAMARACK OPEN MIC - TAMARACK LODGE (6:30 TO 9:30 PM), VOLUNTOWN. FRIDAY 7/20 TAS CRU - BLACK EYED SALLY'S (8:30 PM), HARTFORD ANTHONY GOMES - CHAN'S, WOONSOCKET RI. SUGAR RAY AND THE BLUETONES - KNICKERBOCKER MUSIC CENTER , WESTERLY RI. JAMES ARMSTRONG - THEODORE'S, SPRINGFIELD MA. VITAMIN B-3 - MAPLE TREE CAFE, SIMSBURY Collaboration with CTBS and Ellen Knowlton / Maple Tree. WENDY MAY - THE HIDEAWAY, RIDGEFIELD. GRAYSON HUGH with POLLY MESSER - SMOKIN WITH CHRIS, SOUTHINGTON. MIXED SIGNALS BAND - CANOE CLUB, MIDDLETOWN. SHINEY LAPEL TRIO - HARBOUR HOUSE, MIDDLETOWN. THE CARLEANS - STEAK LOFT (7 PM), MYSTIC. CRACKER - INFINITY MUSIC HALL, NORFOLK .MISTY MEADOWS BLUES ALL STARS - ANDOVER PIZZA (8 TO 11 PM), ANDOVER. KATHY THOMPSON BAND - BEACHCOMBER, MILFORD. RAMBLIN DAN STEVENS & CHRIS D'AMATO - PRIAM VINEYARD (6 TO 9 PM), COLCHESTER. THE AMPLIFIRES - feat DAVE ROBBINS - THE 350 CLUB, SPRINGFIELD MA. MURRAY THE WHEEL (Acoustic Solo) - WITCH DOCTOR BREWERY (6 to 8 pm), SOUTHINGTON. MURRAY THE WHEEL - OUZO BLUE, WATERTOWN. THE ZOO / SOUL PILOT - SHAMROCK PUB, WATERBURY. 4 BARREL RILLY - HARVEY BEACH (7 PM), OLD SAYBROOK. UNFINISHED BUSINESS BLUES BAND - LA LUNA, BRANFORD. RAMBLIN DAN STEVENS - PRIAM VINEYARDS (6 PM), COLCHESTER. ERAN TROY DANNER (Acoustic Solo) - PARADISE HILLS VINEYARD (5 TO 8 PM, WALLINGFORD. JEFF PITCHELL (Acoustic solo) TRATARRIA TOSCANA, MANCHESTER. BEYOND PURPLE with JIMI BELL (7 PM) AND SPIRIT SHAKER (5 PM) - HUNGRY TIGER, MANCHESTER. SATURDAY 7/21 COLLINVILLE'S HOT ! - LIVE MUSIC FESTIVAL, COLLINSVILLE Jr Krauss & the Shakes, Someone you Can XRay, Hannah's Field and more. ZZ WARD - WOLF'S DEN, MOHEGAN SUN CASINO. VINCE THOMPSON - BILL'S SEAFOOD (7:30 PM), WESTBROOK. RAMBLIN DAN STEVENS - PERKS AND CORKS, WESTERLY RI. DANNY KLEIN'S FULL HOUSE - CHAN'S, WOONSOCKET RI. THE OCTANES - BLACK EYED SALLY'S, HARTFORD. SARA ASHLEIGH BAND with CARL RICCI - OX HEAD TAVERN, STURBRIDGE MA. CRACKER - DARYL'S HOUSE, PAWLING NY. SHAKEDOWN - THEODORE'S, SPRINGFIELD MA. HIP JOINT BAND - MAPLE TREE CAFE, SIMSBURY. HOWIE AND THE SOUL POTATOES - ALFA'S ROOM, MILFORD. CREAMERY STATION - JERRY JAM (5 PM), BATH NH. WHISKEY WINE & COKE (5 PM) / FUNK THAT (9 PM) - TIPPING CHAIR TAVERN. MILLDALE. SUE MENHART (Acoustic) - VILLAGE GAZEBO (2 TO 4 PM), OLD MISTICK VILLAGE. ASHLEY YOUNG BAND - BROWN DERBY, UNCASVILLE. ERAN TROY DANNER (Acoustic Solo) - SLIDERS BAR & GRILL (8 PM), MIDDLETOWN. REDLINERS - DADDY JACKS, NEW LONDON. JEFF PITCHELL & TEXAS FLOOD - BRUNSWICK, OLD ORCHARD BEACH ME JAKE KULAK AND LOW DOWN - BULLFROG BREWERY, WILLIAMSPORT PA. STEVEN McGRATH - CANOE CLUB, MIDDLETOWN. SUNDAY 7/22 TAB BENOIT - INFINITY MUSIC HALL, NORFOLK. JR KRAUSS AND THE SHAKES - BRASS HORSE (3 TO 7 PM), BARKHAMSTED. ALEXIS P SUTER BAND with MICHAEL LOUIS - ARKVILLE BOWL & BBQ, ARKVILLE NY Gospel Brunch at My Side of the Mountain Music Festival. CRACKER - FAIRFIELD THEATER COMPANY, FAIRFIELD. CHRIS ROBINSON BROTHERHOOD - FAIRFIELD THEATER COMPANY WAREHOUSE, FAIRFIELD. RICKY "KING" RUSSELL - CADY'S TAVERN, CHEPACHET RI. ERAN TROY DANNER - THE HOP COMPANY (3 TO 6 PM), DERBY TIM TAYLOR BLUES BAND - NARRAGANSETT CAFE (4 TO 7 PM), JAMESTOWN RI. PURE AMERICANA - MAIN PUB, MANCHESTER. KEITH COOPER - CANOE CLUB, MIDDLETOWN. THE CARTELLS - MAUGLE SIERRA (3 PM), LEDYARD. G LOVE & SPECIAL SAUCE - JONATHAN EDWARDS, NORTH STONINGTON. PULSE - THE PAVILION, SOUND VIEW BEACH, OLD LYME. GREG SHERROD BEACH JAM - THE ANDRIA, MISQUAMICUT. RI STONEHOUSE BLUES JAM feat MIKE CRANDALL - STONEHOUSE BAR (3 TO 6 PM), BALTIC. STOMPING GROUND OPEN MIC - STOMPING GROUND, PUTNAM. BLUES AND BEYAND OPEN MIC - THE STILL BAR, AGAWAM MA. Hosted by Steve, Jason & Paulski. FRONT ROW BAND (Musicians Hot Spot) - BLUE PLATE TAVERN. PLAINVILLE. WHAMMER JAMMER OPEN MIC - VFW, PRESTON. MONDAY 7/23 THE LOVE DOGS - MYSTIC RIVER PARK (6 PM), MYSTIC. Blue Monday Concert Series. GREG PICCOLO - STEAK LOFT (7 PM), MYSTIC. TUXEDO JUNCTION (Swing Band) - BILL'S SEAFOOD (7 PM), WESTBROOK. BRANDT TAYLOR OPEN MIC - HUNGRY TIGER, MANCHESTER. RICH BADOWSKI and MIKE ST GEORGE - MARK'S CRUISE NIGHT (Auto Parts),EAST GRANBY. BILL'S GARAGE ALL STAR JAM - STRANGE BREW PUB, NORWICK. PERKS AND CORKS OPEN MIC - PERKS AND CORKS, WESTERLY RI. TUESDAY 7/24 TOMMY WHALEN & RAGGED EDGE - WATERFRONT, HOLYOKE. ZZ WARD - FAIRFIELD THEATER COMPANY, FAIRFIELD. LORNE ENTRESS - MAIN PUB, MANCHESTER UNPLUGGED OPEN MIC - STRANGE BREW PUB, NORWICH. DAN STEVENS - MUSIC NOW SHOWCASE (4 PM), iCRV INTERNET RADIO DAN STEVENS - CAMP HORIZONS (7 PM), WINDHAM. https://itunes.apple.com/us/podcast/id502316055
175 hours in and we still find Mod Marty dropping black gold onto turntables spinning at 45 revolutions per minute calibrated to output top quality sounds. Get into it. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Grits Ain't Groceries (All Around The World)" Little Milton - Checker "You're No Good" Dee Dee Warwick - Jubilee "What's This I See" June Conquest - Cur-Tom "If You Wanna" Baby Jean - Stacy "Soul Motion" The Exciters - Shout "So Anna Just Love Me" Roy Lee Johnson - Josie "I Just Don't Care" The "D" Men - Veep "She's A Mod" Ray Columbus & The Invaders - Zodiac "GeeTO Tiger" The Force Five - Ascot "Baby You've Got Me" Prince Harold - Mecury "Earthquake" Bobbi Lynn - Elf "Use Your Head" Mary Wells - 20th Century "Stepping Closer To Your Heart" Gladys Knight & The Pips - Soul "Time Stopped" Marvin Smith - Brunswick "(Somebody Somewhere) Needs You" Darrell Banks - Revilot "Farmer John" The Dee Jays - Polydor International "Baby You Blow My Mind" Paul Young - Philips "Fairyland" Pop Workshop - Fontana "Trying To Live My Life" Otis Clay - Hi "Keep It Coming" Denise Lasalle - Westbound "Soul Stomp" Earl Van Dyke - Tamla
On the day of Winnipeg's ONLY all vinyl 60's Dance Party, Mod Marty shares his dream Northern Soul hour, a warm up for what's to come. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "That Beatin' Rhythm" Richard Temple - Mirwood "Out On The Floor" Dobie Gray - Charger "Barefootin'" Robert Parker - Nola "Come On Train" Don Thomas - Vee-Jay "Try My Love" Moses Smith - Dionn "Baby You've Got Me" The Emeralds - King "Baby Mine" Thelma Houston - Capitol "Livin' Above Your Head" Jay & The Americans - United Artists "She Blew A Good Thing" The Poets - Symbol "If You Ask Me (Because I Love You)" Jerry Williams - Calla "Landslide" Tony Clarke - Chess "A Lot Of Love" Homer Banks - Minit "My Dear Heart" Shawn Robinson - Minit "I'm So Glad" The Fuzz - Calla "I'm Gonna Run Away From You" Tami Lynn - Atco "Change My Darkness Into Light" The Flirtations - Josie "I Hurt On The Other Side" Jerry Cook - Capitol "Let's talk It Over" Spencer Wiggins - Kent "Just Cant Get Enough Of You" The Apollas - Loma "Ready, Willing & Able" Jimmy Holiday & Clydie King - Minit "Good Time Tonight" The Soul Sisters - Sue
Back with a vengeance Mod Marty is dropping the needle on an hour of vinyl spinning at 45 revolutions a minute. This show will make your head spin and leave you daydreaming of it for days to come. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: The Flick (pt. 1) Earl Van Dyke & The Soul Brothers - Soul "Keep On Keeping On" The Vibrations - Okeh "I Was Made To Love Her" Jackie Wilson & Count Basie - Brunswick "In The Basement (pt. 1)" Sugar Pie Desanto & Etta James - Cadet "To Busy Thinking About My Baby" Marvin Gaye - Tamla-Motown "Skate (pt. 1)" Dean Parrish - Boom "Shop Around" The Butlers - Cameo-Parkway "Rosalyn" The Pretty Things - Fontana "I'm Going To Change The World" The Animals - Columbia "Baby You're Mine" Little Ben & The Cheers - Bell "Just A Little Mixed Up" The Furys - Jay Boy "Come Back Girl" Jackie Edwards - Veep "Have Some Boogaloo" Timmy Thomas - Goldwax "Drowning In My Own Tears" Queenie Lyons - De-Luxe "Sally's Sayin' Something" Billy Harner - Kama Sutra "My Dues Have Been Paid" The Enemys - MGM "Taking The Time" East Side Kids - Capitol "Not You Girl" The Witness Inc. - Apex "Simmer Down" The Wailers - Coxone "A Live Injection" The Upsetters - Upsetter "Keep On" Dueces Wild - Corby
Despite the fairly atrocious “Baby You’re a Rich Man” from Disorderlies, the Fat Boys might’ve recorded one of the best horror movie soundtrack songs you’ve probably long since forgotten, probably because there are two Nightmare On Elm Street-themed hip-hop tunes, both released right around the same time. Like most folks, I’m sure you probably think that DJ Jazzy Jeff & The Fresh Prince’s “Nightmare on My Street” is the real deal holyfield.
Have you ever wondered how they pack such intricate explosions into those compact projectiles when you’re watching fireworks? Find out the history and mechanics of fireworks on this week’s show! Plus, the Unipiper tells us... The post #87 – Baby You’re a Firework appeared first on Mark and Toddcast.
In celebration of Fred Thomas’s recent BTR Live Studio appearance, we’re celebrating his music at the top of the show today with some of his solo work, Saturday Looks Good To Me, and former collaborator, Andrew Hoepfner of Creaky Boards. Plus, great new tracks from The Mountain Goats, Low Cut Connie, and Mac DeMarco! Stay tuned! 00:00 - DJ Madalyn 01:08 - Brick Wall (BTR Live Studio, 2017) - Fred Thomas 03:43 - 2008 - Fred Thomas 06:30 - Well - Fred Thomas 11:49 - Apple - Saturday Looks Good To me 14:35 - DJ Madalyn 15:17 - When I Lose My Eyes - Saturday Looks Good To Me 22:03 - The Everpresent New Times Condition - Saturday Looks Good To Me 27:01 - Oh Just Be Silent - Creaky Boards 31:57 - Secret Man - Creaky Boards 36:09 - DJ Madalyn 36:53 - Rain in Soho - The Mountain Goats 41:36 - Baby You’re Out - Mac DeMarco 44:07 - Last Year - Joanna Gruesome 46:59 - Let’s Go - Sunshine and the Rain 50:03 - Come - She Devils 53:08 - DJ Madalyn 53:44 - Revolution Rock n Roll - Low Cut Connie 56:48 - 23 - Overcoats 60:15 - Danger - The Lijadu Sisters 65:59 - Ease (BTR Live Studio, 2017) - Imaginary Tricks 71:17 - Move Me (BTR Live Studio, 2017) - Lexie Roth 75:35 - Mexican Summer - Marissa Nadler 80:55 - DJ Madalyn 81:30 - Flying Apart - Los Colognes 86:24 - Warrior - Laura Marling 91:33 - TV Song (BTR Live Studio, 2017) - Nana Grizol 94:40 - In My Arms - Romantic States 98:32 - Trust - Spencer Radcliffe & Everyone Else 104:04 - DJ Madalyn 104:39 - Out From Under (BTR Live Studio, 2017) - Active Bird Community 107:47 - Pants vs. Dress - Lizzo 110:17 - On Est Pares - Sweet Crude 114:07 - Heirloom - Memoryhouse 118:58 - DJ Madalyn 119:47 - Errand of Tongue - Holiday Shores 124:48 - Finish
The Total Tutor Neil Haley will interview Award-winning Director and Writer Joshua Butler. Award-winning director and writer. · Is a Television Academy Member · His directing credits include Pretty Little Liars, Ravenswood, Twisted, State of Affairs, The Following,and Crisis. · Best known for directing 11 episodes of The Vampire Diaries which has built him a loyal fanbase. · Recently directed the hit CBS series Limitless ,produced by Bradley Cooper and starring Jake McDorman. · Directed an episode of the hit Syfy series The Magicians last season and will be doing another one for Season 2. · Recently directed the new MENEWmusic video “Baby You're Like A Drug”, featuring actor Joshua Jackson.
Playlist: Lazer Lloyd, Rockin’ In The Holy Land, Plywood Cowboy, Redbone Religion, Jay Willie Blues Band, You Got Me Dizzy, Mike Crandall Band, Steady Rollin, Anni Piper, Paperbag, Ina Forsman, Don’t Hurt Me Now, Tasha Taylor, Leave That Dog Alone, Layla Zoe, Backstage Queen, Darrell Nulisch, She’s My Baby, Jon Spear Band, Blues About You Baby, Mark Cameron, Hammered By The Blues, Guy King, Bad Case Of Love, Shari Puorto, Sugar Daddy, Blind Lemon Pledge, O Katrina, New Blues Revolution, Whiskey Town, The Tearaways, Girls Who Love Cars, Roots Of Creation, Struggle(featuring Melvin Seals & Ras Mg), Brothers Brown, Cup Of Tea, Val Starr & The Blues Rocket, Baby You’re Not True Blue, Janiva Magness, Love Wins Again, Rebel Alliance, My Song, Jeff Pitchell, One Day Away, Brian Charette, Late Night Tv, Mojomatics, Soy Baby
In this episode, Robert and Richard discuss the role the Beatles’ manager had in their lives and the effect his 1967 death had on the band’s fate. They also welcome special guest Vivek Tiwary, author of the New York Times best-seller, The Fifth Beatle – soon to be a motion picture. Songs include: “You’ve Got To Hide Your Love Away,” “Baby You’re A Rich Man,” “America” and “Your Mother Should Know.” Check out www.thefifthbeatle.com The post 17: The Fifth Beatle – Brian Epstein appeared first on Something About The Beatles.
In this episode, Robert and Richard discuss the role the Beatles’ manager had in their lives and the effect his 1967 death had on the band’s fate. They also welcome special guest Vivek Tiwary, author of the New York Times best-seller, The Fifth Beatle – soon to be a motion picture. Songs include: “You’ve Got To Hide Your Love Away,” “Baby You’re A Rich Man,” “America” and “Your Mother Should Know.” Check out www.thefifthbeatle.com The post 17: The Fifth Beatle – Brian Epstein appeared first on Something About The Beatles.
PART 2 OF 2: R&B cult favorite Jerry “Swamp Dogg” Williams is best known as the co-writer, with Gary U.S. Bonds, of the cross-genre classic, “She’s All I Got,” which became a Top 10 R&B single for Freddie North and a #2 country hit for Johnny Paycheck in 1971. Tracy Byrd recorded it in 1996, hitting #4 on Billboard’s Country rankings and introducing the song to a new generation of fans. Williams’ career began in 1954 when, at the age of 12, he made his first record, “HTD Blues.” He found success in the 1960s, recording the Top 40 R&B hit “Baby You’re My Everything” under the name Little Jerry Williams, and writing songs for other artists, including Gene Pitney’s Top 20 Pop single, “She’s a Heartbreaker.” He became Atlantic Records’ first African American staff producer in 1968, but left the following year to pursue independent projects in Muscle Shoals, Alabama. By the 1970s he was an in-demand producer and songwriter, penning Top 40 R&B hits for Doris Duke, Arthur Conley, and Dee Dee Warwick. Around the same time, he reinvented himself as Swamp Dogg, releasing a series of eccentric deep soul albums whose gonzo lyrics were marked by frank sexuality, biting satire, radical politics, and provocative social observations. His debut LP, Total Destruction to Your Mind, was eventually certified Gold, while subsequent releases, including Gag a Maggott, I’m Not Selling Out – I’m Buying In, An Awful Christmas and a Lousy New Year, and The White Man Made Me Do It have earned considerable accolades among underground music lovers and earned Swamp what one journalist described as “a cultural niche somewhere between Rudy Ray Moore and Frank Zappa.” In recent years, his vast catalog has been sampled by Kid Rock, Talib Kweli, DMX, and others.
PART 1 OF 2: R&B cult favorite Jerry “Swamp Dogg” Williams is best known as the co-writer, with Gary U.S. Bonds, of the cross-genre classic, “She’s All I Got,” which became a Top 10 R&B single for Freddie North and a #2 country hit for Johnny Paycheck in 1971. Tracy Byrd recorded it in 1996, hitting #4 on Billboard’s Country rankings and introducing the song to a new generation of fans. Williams’ career began in 1954 when, at the age of 12, he made his first record, “HTD Blues.” He found success in the 1960s, recording the Top 40 R&B hit “Baby You’re My Everything” under the name Little Jerry Williams, and writing songs for other artists, including Gene Pitney’s Top 20 Pop single, “She’s a Heartbreaker.” He became Atlantic Records’ first African American staff producer in 1968, but left the following year to pursue independent projects in Muscle Shoals, Alabama. By the 1970s he was an in-demand producer and songwriter, penning Top 40 R&B hits for Doris Duke, Arthur Conley, and Dee Dee Warwick. Around the same time, he reinvented himself as Swamp Dogg, releasing a series of eccentric deep soul albums whose gonzo lyrics were marked by frank sexuality, biting satire, radical politics, and provocative social observations. His debut LP, Total Destruction to Your Mind, was eventually certified Gold, while subsequent releases, including Gag a Maggott, I’m Not Selling Out – I’m Buying In, An Awful Christmas and a Lousy New Year, and The White Man Made Me Do It have earned considerable accolades among underground music lovers and earned Swamp what one journalist described as “a cultural niche somewhere between Rudy Ray Moore and Frank Zappa.” In recent years, his vast catalog has been sampled by Kid Rock, Talib Kweli, DMX, and others.
The Best Radio You Have Never Heard Podcast - Music For People Who Are Serious About Music
NEW FOR OCTOBER 15, 2012 Where a purse of gold buys any man a crown . . . 47% For Nothing - The Best Radio You Have Never Heard Vol. 194 1. Five Per Cent For Nothing - Yes Buy From iTunes 2. Doom and Gloom - The Rolling Stones Buy From iTunes 3. For The Love Of Money - Utopia Buy From iTunes 4.Surprise, Surprise - Chris Smither Buy From iTunes 5. Baby You're A Rich Man - The Beatles Buy From iTunes 6. Pirates - Emerson, Lake and Palmer Buy From iTunes 7. Miss Marlene - Donald Fagen Buy From iTunes 8. Stuck - Ned's Atomic Dustbin Buy From iTunes 9. Another World (live) - Joe Jackson and the Bigger Band Buy From iTunes* 10. Oh, Well (live) - The Black Crowes w/ Jimmy Page Buy From iTunes* 11. Layla (live) - Eric Clapton Buy From iTunes* 12. The Fright Watch / The Talking Drum / Lark's Tongue In Aspic (Part II} (live) - King Crimson The Best Radio You Have Never Heard. Eldorado bound . . . Accept No Substitute
We kick the show off with BET Sunday Best finalist Sue Roseberry ( Mama Sue)! She is a singer ,songwriter and storyteller. Tune in to hear about her experience on BET Sunday Best... http://www.SueRoseberry.com Prophetess Kelly Crews is the CEO and founder of Kelly Crews Ministries (KCM). The vision and passion of this ministry is to proclaim the saving, healing and delivering power of Jesus Christ worldwide. Prophetess Kelly is the author of "Baby You're Priceless" and the upcoming new release " The Designer's Original" ( Foreword by Dr. Jamal H. Bryant) http://www.kellycrews.org Bridgette D. Williams, Author of Mama's Diary Bridgette loves and adores the Lord! She continues to express it though the ministries of drama, mime, poetry and storytelling. She says, “We are all so full of gifts, talents, and abilities, that we would cheat ourselves out of the best chapters of our lives, if we choose not to use them. "Mama's Diary" is a novel about these kinds of choices.http://www.serenityconnection.com Listen online at http://www.BlogTalkRadio.com/Mitchell-Productions
00:00 Partyin' Peeps > 07:16 Great American > 08:24 Peter Gunn Theme/Every Breath You Take > 12:30 Great American > 23:02 Partyin' Peeps (11.18.09 - Water Street Music Hall, Rochester, New York) 24:43 In the Kitchen^ (11.13.09 - Higher Ground, South Burlington, Vermont) 39:23 #5 > 46:20 "Jimmy Stewart"* (11.17.09 - Northern Lights, Clifton Park, New York) 55:15 Wife Soup > 63:27 Baby You're A Rich Man > 69:40 Wife Soup (11.18.09 - Water Street Music Hall, Rochester, New York) Total Broadcast Length 74:36 Notes: ^ with Mike Gordon on bass * with "Rumble" (Link Wray) teases
00:00 Hajimemashite > 04:53 "Jimmy Stewart" > 11:39 Believe the Lie (05.05.05 - Key Club, Los Angeles, California) 20:25 Anchor Drops > 26:43 The Fuzz* > 34:05 Lenny > 40:35 The Haunt > 51:53 Kinky Reggae (05.12.05 - Richards on Richards, Vancouver, British Columbia) 59:54 Ringo** > 65:09 "Jimmy Stewart" > 75:25 Baby You're a Rich Man$ > 77:34 Ringo (05.27.05 - Summercamp, Chillicothe, Illinois) Total Broadcast Length 78:52 Notes: * with Kimble tease ** second half, only; Jake on piano during intro $ one verse/chorus We round out the trio of May podcasts with a wide array of tunes and some more tasty improvisation. The lack of a straight setlist in Vancouver led to some very relaxed and open playing as demonstrated by their seamless hopping from song to song. To close is a segment of the Ringo from Summercamp. The band opened the second set by completing the song they opened the first set with, with some inspired jamming and a brief detour into The Beatles along the way.
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