Podcasts about bar kays

In May of 2025, the Indianapolis keyboardist DeMorris “DeGe” Smith passed away. Smith was a beloved figure in the Naptown funk scene, known for his soulful keyboard work and his dedication to the local music community.  Join us as we pay tribute to Smith with music featuring his work as a funk keyboardist.  Smith's career spanned generations. He worked extensively with Indianapolis bands, like Epoxy, Redd Hott, Klas, Below Zero, and The Downstroke Band. He also performed and recorded with national acts too, including The Bar-Kays, The Deele and R.J's Latest Arrival. Outside of his work in music, Smith was a successful radio producer, working for WIBC for two decades.  Smith came from a musical family. His father Sonny Smith was a drummer who performed on the Avenue for decades with his band The Original Chromatics. Over the years, Sonny played with legendary Naptown musicians like David Baker and Erroll Grandy. Sonny was also a professional athlete, who played basketball with the Harlem Globetrotters and played baseball in the Negro Leagues with the Chicago American Giants. Smith's mother Margaret Smith was a music teacher in the Indianapolis Public School system. His brother Sparky Smith achieved success as a flute player in the local jazz scene. Sparky played with many local jazz legends, including David Young, Pookie Johnson, and Billy Wooten.

**Music Mick's Mick's Vibez Show Replay On Trax FM & Rendell Radio. This Week Mick & The Mixvibez Show Gave Us 70's & 80's Grooves/Dance Classics From Gayle Adams, Vicki Sue Robinson, SOS Band, Tangerue, High Fashion, Sylvester, The Bar Kays, Manu Dibango, Luther Vandross, Edwin Starr, France Joli, Teena Marie, The Reddings, Rah Band, Herbie Hancock, Gwen McRae, Major Harris, Barry White & More. #originalpirates #soulmusic #boogiefunk #disco #danceclassics #boogie Catch The Music Mick's Mixvibez Show Every Saturday From 4PM UK Time On Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Référence au terme « soul food », la cuisine du Sud des USA, chez les Noirs bien sûr. On rappelle que c’est le Black History Month même s’il touche à sa fin (février). Au menu, pour commencer, Bodycount et Eazy E, Klymaxx, Lyn Collins par la suite. On embraye avec les Bar Kays au festival Wattstax, Public […] L'article Maggot Brain – Nourriture de l’âme est apparu en premier sur Radio Campus Tours - 99.5 FM.

Send us a textJust another super 70s band featuring funk, R&B and love ballads. The Bar- Kays!

The Talking Heads is known as one of the more quirky bands of the 70's and 80's, and terribly innovative in their approach to both music and performance.  Consisting of Tina Weymouth on bass, Chris Frantz on drums, Jerry Harrison on keyboards and guitar, and fronted by David Byrne on vocals and guitar, the Talking Heads helped to shape the landscape of alternative and new wave rock through the 80's and 90's.  They really hit mainstream consciousness with their fifth album called "Speaking in Tongues" in 1983.  They followed this up with the live album "Stop Making Sense," which showcased the elaborate stage setups and their visual presence, complete with Byrne's iconic "big suit" fashion wear.Little Creatures was their sixth studio album and the best selling album of the group's career.  The Talking Heads toned down their experimental tendencies on this one in favor of a more stripped-down, accessible approach.  While there are still elements of art music and new wave present in the tracks, they play a more whimsical role.  The songs blend in pop, folk, and country influences as well, giving the album a bright, catchy feel in addition to the wit and quirkiness for which the group was known.The album cover was created by artist Howard Finster, and incorporates themes of Americana and everyday life.  This complemented the songs well, and was selected by Rolling Sone magazine as the album cover of the year.The group would go on to produce two more studio albums before disbanding in 1991.  They were inducted into the Rock and Roll Hall of Fame in 2002.Show co-founder Brian Dickhute is back to present this album in Bruce's absence for today's podcast.  The Lady Don't MindThere's a certain amount of weirdness that is difficult to explain in the lyrics of just about every Talking Heads song, and this is no exception.  This reggae-tinged song talks about a lady who is hard to pin down or figure out.  "Last time she jumped out the window, well, she only turned and smiled.  You might think she would say something, but you'd have to wait a while."  Perfect WorldWhile most songs were written by David Byrne, this one features lyrics composed years earlier by drummer Chris Frantz.  It is a deeper cut, and a mini-love story. Stay Up LateThis track was the fourth single released from the album.  It is a song about Byrne's sister's baby, and describes an adult keeping the baby up late despite the consequences, just to have fun and enjoy this new life.  Road to NowhereThis song was released as a single, and went to number 25 on the Billboard Mainstream Rock Tracks chart.  Byrne describes it as "a song that presented a resigned, even joyful look at doom."  The gospel choir that leads off the track was added after the song was concluded to complete what is essentially a two-chord song. ENTERTAINMENT TRACK:Soul Finger by the Bar-Kays (from the motion picture Spies Like Us)Chevy Chase and Dan Aykroyd star in this spy comedy where novice spies are sent into the Soviet Union.STAFF PICKS:West End Girls by Pet Shop BoysLynch starts the staff picks with a song about class and pressures of city life in London, inspired by a T.S. Eliot poem.  It was released twice as a single, once in April 1984 when it became a club hit, and this version as a re-recorded single in October 1985.  It went to number 1 on the Billboard Hot 100.It's Not Love by DokkenWayne takes us in a more hair metal direction with a head banger tune from Dokken's third album, "Under Lock and Key."  This was the third single released from the album.  The video contains scenes where the band is playing from a flat bed truck, and was actually recorded on the road.  They received several tickets during the process, despite having permission to film.Magic Power by TriumphRob features a Canadian power trio from their live double album, “Stages.”  Originally recorded on their studio album, “Allied Forces,” the song describes the healing power of music.  It is one of the group's signature songs, and the live  format gives a good sense of the band's chemistry on stage.Tonight She Comes by The CarsBrian closes out the staff picks with a previously unreleased song from the Cars' Greatest Hits album, released in October 1985.  Ric Ocasek wrote the song, and originally intended it for his solo album, but brought it to the group instead.   It was their fourth and last single to be a top 10 hit. NOVELTY TRACK:Strokin' by Clarence CarterWe find out how Clarence Carter makes love in this concluding track from this week's podcast.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

**The Groove Doctors Friday Drive Time Show Replay On traxfm.org. This Week The Groove Doctor Featured 80's Grooves/Rare Groove/Contemporary Soul From Selection Of Tracks From The New Album Luxury Soul 2025. New Horizon. Change. Hi-Tension. The Bar Kays. Toast. Eloise. The Dazz Band. Hi Gloss. Lamont Dozier & More #originalpirates #soulmusic #boogie #80ssoul #RareGrooves Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/profile.php?id=10...100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Dancefloor Memories with Patrick Hawkins, 60 Minutes of Classic 1960'S Soul Podcast. Classic tracks, from, The Bar Kays, The Capitols, Robert Parker, Shirley Ellis, Jackie Wilson, Arthur Conley, Sam and Dave, Booker T and the Mg's, Otis Redding, Fontella Bass, Motown tracks from Mary Wells, The Supremes, Marvin Gaye, Jr Walker and the All Stars, The Four Tops, Stevie Wonder, and Jimmy Ruffin, more classic tracks from Ben E King, Percy Sledge, and The Impressions. Just settle down with a long drink and chill or boogie around your kitchen to tracks others would never dream of playing! Spread the word, give me a like and follow my Podcasts. Much Love Pat

Part 1 of my conversation with guest Phil Stacey about our favorite instrumentals.  Show notes: We're feeling goooood. What makes a good instrumental? Jay: I like the musicians in Red Hot Chili Peppers Not as many instrumentals made now as there used to be  No jazz instrumentals included in our lists Phil's bubbling under picks: Booker T and the MGs, Bar-Kays, Meters, Shadowy Men on a Shadowy Planet, Hendrix, Zeppelin, Stevie Ray Vaughan, Santana, U2, Rush, Dick Dale, Beatles, Boston, TSOP, Bowie, Pink Floyd  Jay's non-top 10 picks: Rush, Van Halen, Focus, ELO, Pink Floyd, the Who, Iron Maiden, Commodores, Fugazi, Shadowy Men on a Shadowy Planet Alex VH's new book ignores Sammy Hagar Some great instrumentals are TV themes like Barney Miller Jay's #10: The Police with a mysterious guitar exercise Phil's #9: Majestic song from the Who's first rock opera Fans in the '60s didn't know what to expect when bands were melting their faces Jay's #9: Beastie Boys break out the funk To be continued Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Back at it again, family. We've been catching up to ourselves and on our job. With that said, let's roll. In this episode, we give you some new music from Castella featuring Ragan Whiteside as they give their interpretation of a Jones Girls classic, a funky number from Jafunk & The Triple H Horns, brand new Vanessa Williams, and the latest from the great Regi Myrix featuring Ty Juan. Oh yeah, did I mention the classics? Yes, we have classics from Harvey Mason, Stephanie Mills, The Bar-Kays, and Christopher Williams, and the list continues. We have our Gofundme page for Great Soul Radio set up, as we're looking to raise money to help us improve the stations. You can donate here at this link: https://gofundme.com/f/help-tyrrone-hinton=elevate=great=soul=radio=to=greater=heig All donations are greatly appreciated. Thanks as always for tuning in, ane remember--- Tell a friend, to tell a friend, to tell a friend, all about The Throwback Lounge. It's not just a show--- IT'S AN EXPERIENCE!! 1 LOVE ;) LEAD-IN CUT: OLD SCHOOLL PARTY- FUNK THERAPY OPENING CUT: LOVE ON A SUMMER NIGHT- THE MCCRARYS1. NIGHTS OVER EGYPT- CASTELLA & RAGAN WHITESIDE2. SILVER SHADOW- INCOGNITO3. NIGHTS OVER EGYPT- THE JONES GIRLS4. SILVER SHADOW (EXTENDED VERSION)- ATLANTIC STARR5. SAY YOU LOVE ME GIRL- BREAKWATER6. NIGHTLIFE- JAFUNK & THE TRIPLE H HORNS7. LIVING THE GOOD LIFE- THE GROOVE ASSOCIATION & GEORGIE B.8. TIL YOU TAKE MY LOVE- HARVEY MASON9. LIFT OFF- GROOVE COLLECTIVE10. SHINE (EXTENDED VERSION)- THE BAR KAYS11. LEGS KEEP DANCING -VANESSA WILLIAMS12. CONNECTED- ZO! & TALL BLACK GUY13. LIONEL RICHIE- THE JACK MOVES14. LOVELY ONE (GROOVEFUNKEL REMIX)- THE JACKSONS15. ALL MY LOVE- L.A.X.16. SUMMER NIGHTS- REGI MYRIX & TY JUAN17. SIMPLE MELODY - JON B & BOOTSY COLLINS18. RAPPER DAPPER SNAPPER- EDWIN BIRDSONG19. THE LOVER IN YOU- SUGAR HILL GANG20. SWEET SENSATION- STEPHANIE MILLSCHAMPAGNE HOUR21. IF YOU SAY- CHRISTOPHER WILLIAMS22. THE MORE WE LOVE- STARPOINT23. THERE'S JUST SOMETHING ABOUT YOU- BEAU WILLIAMS24. YOU'RE MY LATEST, MY GREATEST, INSPIRATION- TEDDY PENDERGRASS25. EBONY EYES- RICK JAMES & SMOKEY ROBINSON26. I'LL NEVER LET YOU GO- THE SYLVERS27. DARK & LOVELY (YOU OVER THERE)- BARRY WHITE & ISAAC HAYES28. SMILE- RENE & ANGELA29. LOVERS- BABYFACE30. OUT ON A LIMB- TEENA MARIE31. THIS IS MY DREAM- SWITCH32. YOU- EARTH, WIND & FIRE33. WRECKLESS LOVE- CHRIS TURNER & ASHLEY JAYY34. GOOD FOR ME- TAMISHA WADEN35. SEND A LITTLE LOVE MY WAY- STEPHEN BISHOP36. SPECIAL- VESTA37. SAY LOVE- JEFF LORBER & ERIC BENET38. THE FEELIN'S LOVE- ANGELA BOFILL39. WITH EACH BEAT OF MY HEART- STEVIE WONDERCLOSING CUT: I GOT THE LOVE- STARPOINT 

Tonight we feature the music of Nathan Michell, Shaun LaBelle, Shenseea, Ayra Starr, Kamasi Washington, Oli Silk, Garry Percell, Bryard Huggins Patrice Isley and Christian de Mesones. We go old school with The Brothers Johnson, Brand Nubians Barry White, and The Bar-Kays. And we'll talk a little politics, current events and pop culture while we count down what's hot and popin' on my playlist this weekBecome a supporter of this podcast: https://www.spreaker.com/podcast/what-s-hot-at-the-10-spot--2908078/support.

**The David RB Show Replay On www.traxfm.org. DRB Featured New Cuts From Whitney Nechelle, Lukas Setto, Shaila Prospere's "Wish Upon A Star", MFSB Feat MasterSwitch, Norma Jean Wright's "Living & Loving Life (Alex Di Ciò Extended Mix), Bearniez Plus Sebb Junior, Mike Morrisey, Fu-Schikkens, Barkays, Greg Nice, Spinall Feat Wizkid, Ray Parker JNR, Frazelle, C-Brand's "Wired For Games" (Trax Allstars Ting) & More. #originalpirates #soulmusic #funkmusic #hiphop #nudisco #housemusic #contemporarysoul #remix #rnbmusic #boogie #RareGroove #breaksmusic The David RB Show Live Every Wednesday From 8PM UK Time The Station: traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

**Smiffy's A To Z Of Soul Music Replay On www.traxfm.org. This Week Smiffy Featured Boogie/Contemporary Soul,Rare 70's & 80's Grooves/Dance Classics From Cosmic Playerz, The Barkays, XL Middleston, The Ritchie Family, Caviar, Loose Ends, Moniquea, Byamm, Con Funk Shun, Brooklyn Dreams, Zaime, Wolfgang Valbrun, Spinners, Flevans, Jocko, Brainstory & More. #originalpirates #boogie #contemporarysoul #70ssoul #80ssoul #danceclassics #raregrooves #disco Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

"Solitary woman" Della Reese "Esmerelda" Quasimoto "Door of the cosmos" Sun Ra "Tropicola" Nino Nardini "Sem sombra" Pedro Santos "Waiting for your love" Nalva Aguiar "Whole lotta love" King Curtis "Godfather theme" The Professionals "Tearz" El Michels Affair "Don't put me down" El Chicano "Soul finger" Bar-Kays "Can't sit down" Phil Upchurch "El Basement" The Kevin Fingier Collective "Bye Bye" Zito Righi "Catavento" Adelaide Costa "Lovely day" Bill Withers/Brazil Collective "Fly paradise" Barbara Moore "Stone soul picnic" The 5th Dimension "Aquarius/Let the sun shine in" Celia Cruz/Tito Puente "Cozy & bossa" Cozy Cole "El stomp" Los Bates "Flamenco funk" Jan Davis "Sub vanatu" Paddy Steer "Psychedelia" X-Lents "Signed, sealed, delivered" Stevie Wonder

The Paris Olympics kicks off Friday, starting the countdown until the games come to Los Angeles in 2028. During the 2028 games, the L.A. Memorial Coliseum will again host the track and field and Para Athletics events, making it the only stadium in history to host these competitions for three different Olympic Games. To celebrate this milestone, we want to revisit the Coliseum's history and replay this episode from 2023…during the stadium's centennial year! #147: The Los Angeles Memorial Coliseum is one of several L.A. landmarks hitting the century mark this year, and we thought it'd be fun to take a look back on them as we celebrate our one-year anniversary of How To LA this September. We explored The Biltmore Hotel downtown (if you haven't listened to that episode already) and we'll be featuring the story behind the Hollywood sign pretty soon. When it comes to the L.A. Coliseum (the "memorial" in the full name refers to the fact that the stadium is a memorial to the Americans who served in WWI) there's no denying that it has a rich history. For example, it played a role in the desegregation of the NFL, and it will soon be the first location to ever host three Olympic Games. But the stadium's history goes way beyond sports. Guests: Frank Guridy, Professor of History and African American and African Diaspora Studies at Columbia University, and author of the forthcoming book, "The Stadium: An American History of Politics, Protest, and Play" William Deverell, Historian at USC and Director of the Huntington-USC Institute on California and the West Marina Fote, Assistant to the General Manager, Los Angeles Memorial Coliseum The performances from Wattstax in this episode are Carla Thomas singing "Pick Up the Pieces" and The Bar-Kays performing "Son of Shaft/Feel It"

What's going on, Family? We see you standing tall. Music is the medicine that cures all ills, and we do our best to provide the goods. You already know, strap on, and let's ride. In this episode, we give you the new jams courtesy of the legendary D-Train, 80s funkateer Teddy Mike with the equally legendary Henri Brown, the latest from The Groove Association and Georgie B, rare grooves from Clausel and Hinton Battle, and classics from Side Effect, The Bar Kays, Atlantic Starr, and the list rocks on. As always, we are appreciative of your love and support. Continue to spread the word, as we will continue to do our best to bring the goodness of these wonderful artists. And, if you have a song request, drop us a line at greatsoulradio@gmail.com. We are that good feel, that good meal--- The Throwback Lounge W/Yours Truly, Ty Cool. Tell a friend, to tell a friend, to tell a friend, all about it---- ONE LOVE!! ;) LEAD-IN CUT: SUNNIN' & FUNNIN' - MFSBOPENING CUT: TOO HOT TO STOP- THE BAR KAYS1. TIME HAS COME TODAY- D TRAIN2. LIVE YOUR LIFE- SECRET NIGHT GANG3. KEEP THAT SAME OLD FEELING- SIDE EFFECT4. MYSTERIOUS VIBES- THE BLACKBYRDS5. EVERY KINDA PEOPLE- ROBERT PALMER (DAVE LEE MULTICULTURAL MULTI-TRACK MIX)6. YOU MAKE ME FEEL ALRIGHT- TEDDY MIKE FEAT. HENRI BROWN7. CAN'T GET AWAY FROM YOUR LOVE- HOWARD JOHNSON & XL MIDDLETON8. SEARCHING TO FIND THE ONE- UNLIMITED TOUCH9. WHY NOT- THE COOL NOTES10. HOLD TIGHT- CHANGE11. SOUL NIGHT- GEORGIE B. & THE GROOVE ASSOCIATION12. DANCIN' LADY- ATG13. LOVE ME DOWN- ATLANTIC STARR14. COME ON- BARRY WHITE15. HEY LOVER- CHOCOLATE MILK16. LET ME LOVE YOU- CLAUSEL17. FOR THE LOVE OF YOU- BLUE MAGIC18. SUPER CAUTIOUS GIRL- HINTON BATTLE 19. SATISFIED- JUICY20. MINE ALL MINE- THE STYLISTICSCHAMPAGNE HOUR21. DON'T LET ME BE LONELY TONIGHT- THE ISLEY BROTHERS22. DO YOU STILL LOVE ME- AMUZEMENT PARK23. I TRY- ANGELA BOFILL24. YOU WAITED TOO LONG- FAT LARRY'S BAND25. MAGIC MAN- ROBERT WINTERS & FALL26. THIS MUST BE HEAVEN- BRAINSTORM27. TREAT HER RIGHT- CALVIN RICHARDSON28. SWEET, SWEET LOVE- VESTA WILLIAMS29. NOW OR NEVER- MELI'SA MORGAN30. CAN'T GIVE YOU UP- MIDNIGHT STAR31. GIVEN IN TO LOVE- LAKESIDE32. LOVE IS FOR EVERYONE- COLLAGE33. ANYWHERE- CHRIS TURNER34. LOVE OF MY LIFE- BRIAN MCKNIGHT35. I'LL BE THERE- ERIC BENET36. MAYBE IT'S LOVE- CURT JONES37. FOREVER- AURRA38. DON'T STOP- ONE WAY39. LADY, I LOVE YOU- O'BRYAN40. LADY DUJOUR- JOHNNY GILLCLOSING CUT: I GOT THE LOVE- AURRA

Seven Crown University welcomes Carlos Sargent. Carlos is an acclaimed drummer, producer, and music director. Traveling the world over from places such as Kuwait, Iraq, Italy, Japan and more. He has worked with mega stars such as George Clinton and the Funkadelics and The Bar-Kays. In our discussion Carlos speaks on life growing up in Memphis, Tn., his intro and passion for music, and even touches on aspects of his spiritual life. Lets take a listen to his journey. Contact Carlos Sargent Facebook: CarlosSargent IG: Carlos_Is_Cosmic For any inquires, suggestions, questions or even just to send a good word for our guest or the host please email kosvision9@gmail.com and list the episode in the subject line.

Episode 248: Let's go back in time to March 26, 1983! That's the date on the issue of Billboard magazine that Joe and Kari have chosen to peruse (and you can do the same at www.worldradiohistory.com). Let's take a look at some of the ink splashed for artists like Simple Minds, The Bar-Kays, and Ultravox. You'll also hear about The First Video Games Conference, and an interesting ad taken out to get the attention of a famous singer. Also making the pages of the issue are Jules Shear, The Brains, and you know it wouldn't be an episode of HRT80s without a mention of at least one Mandrell sister!

Singles Going Around- The WantingNew records and a new episode of the podcast!The Beatles- "If I Needed Someone"Otis Redding- "Loving By The Pound"The Band- "When I Paint My Masterpiece"Love- "Emotions"The Bar-Kays- "Soul Finger" (45 version)Tony Joe White- "Roosevelt And Ira Lee"The Small Faces- "Itchycoo Park"Frank Zappa- "Peaches En Regalia"Love- "Can't Explain"The Rolling Stones- Live With Me"Them- "Mystic Eyes"The Mar-Keys- "Last Night" (45 version)The Beatles- "I Want You (She's So Heavy)"Love- "A House Is Not A Motel"The Black Crowes- "Sometimes Salvation"*All Selections taken from Lp's and 45's

# the bar kays you can't run away # one of the greatest bands ever # self contained classic vocals and grooves# smooth jam --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support

This is The Love Train Show with Dj Permutation taht aired on Saturday February 3rd, 2024 at 1 pm on WOZO-LP 103.9 FM Radio in Knoxville TN and streamed online at wozoradio.com This is episode 033. Loaded with 70's and 80s soul, funk and RnB... Eddie Kendricks, The Bar-Kays, Isley Brothers, Gap Band, and an EDM prototype track from Planet Patrol. Wow.If you like this episode, please consider a financial donation to help wozo remain on the air. The Station's Venmo is WOZOfm and there is a paypal link on the website. Thank you.

Host Jeremy C. Park talks with music producer Mario Monterosso, who shares some of his personal background as an Italian guitarist, songwriter and producer who fell in love with Memphis music in 1982 when the rockabilly European revival started and how that led him to move to Memphis, Tennessee in 2016.During the interview, Mario shares how he became inspired by Bobby Darin's 1969 song, Simple Song of Freedom, and how still, after almost 60 years, it is powerfully appropriate for this current moment in history. He talks about spearheading the project to unite Memphis musicians in song in a worldwide humanitarian effort and how the different puzzle pieces came together to produce the song.Many internationally known Memphis musicians, singers and cultural organizations are supporting and part of the effort, including Priscilla Presley, Memphis Queen of Soul Carla Thomas, Kallen Esperian, Rev. Charles Hodges, Dr. Gary Beard, Dr. Keith Norman of First Baptist Church Broad, and Bar-Kays' founding member Larry Dodson. Their combined efforts and talents merged into the name Memphis Freedom Band. Mario also shares how the song will help children's hearts heal all over the world with proceeds from the song benefiting the Novick Cardiac Alliance, which is an organization headquartered in Memphis, that has been working around the world to ensure children with life threatening illnesses continue, despite war, to receive the treatment they need.This non-political project was recorded and filmed at the renowned Sam Phillips Recording Studio in Memphis, with Emmy Award-winning film composer and Grammy-nominated music producer, Scott Bomar, as Recording Engineer. The public is invited to the "unveiling" of the music video on December 20, 2023 from 6-8 PM at the Memphis Brooks Museum of Art (www.thebrooks.org/songoffreedom). Mario adds how Marie Pizano and the MVP3 Foundation and MVP3 Records have assisted him in the project and have helped release the song publicly through Select-O-Hits, an American independent record label distributor of music based in Memphis, owned by Sam W. and John Phillips, which was co-founded in 1960 by their father, Tom and uncle, Sam Phillips. Sam Phillips is the founder of the legendary Sun Records, where Elvis, Johnny Cash and many others started their careers.Preview Simple Song of Freedom at https://orcd.co/memphisfreedomband

durée : 00:59:04 - Cautionneries - Par La Caution. Embarquement immédiat pour un voyage musical avec Nikkfurie.

Stories Featured– Campaign Almanac: Trump's commanding lead increases in latest Iowa Poll– Cedar Rapids firefighters put out kitchen fire at Long John Silver's– Hawkeye Marching Band back in the halftime lineup after outcryEpisode TranscriptYou are listening to The Gazette's Daily News Podcast on Wednesday, December 13, 2023. This podcast gives quick bites from the latest headlines coming out of The Gazette newsroom. I'm Bailey Cichon filling in for Stephen Schmidt.Former President Donald Trump's lead has grown according to the latest Iowa poll from The Des Moines Register, NBC News and Mediacom. Trump was the first choice of 51% of those surveyed. This brings Trump up eight percentage points from the October Iowa poll. Meanwhile, Florida Governor Ron DeSantis polled at 19% and former UN Ambassador Nikki Haley polled at 16% in the new Iowa poll. No other candidates received more than five percent. Both DeSantis and Haley have made recent campaign stops in Iowa to increase their support. This evening, Trump will speak at the Hyatt Regency in Coralville. The first-in-the-nation Iowa Republican caucuses will be held on January 15th. You can find the latest campaign and election news at thegazette.com/elections.Williams Boulevard SW in Cedar Rapids was closed for about an hour Tuesday morning as firefighters responded to a kitchen fire at Long John Silver's restaurant. Firefighters were called at 8:19 a.m. to the restaurant located at 2630 Williams Boulevard SW. Crews were able to extinguish the fire in the kitchen area. No one was injured and the building was empty. The building sustained fire, smoke and water damage. The cause of the fire is still under investigation.Marching bands will take the field for half time at the Cheez-It Citrus Bowl after all. Plans to only feature Grammy-nominated singer-songwriter Gavin DeGraw at halftime have been reversed following a petition led by Hawkeye fans. Both the Hawkeye Marching Band and University of Tennesse's Pride of Southland band will perform on the field in Orlando before the New Year's game and at halftime. Hawkeye Marching Band Director Eric Bush told The Gazette, quote, “We are thankful to the Citrus Bowl and Gavin DeGraw for working together to help showcase our bands which are not only an important part of the game day experience but also our university's cultures and traditions.” end quote. Similar petitions have been assembled for the Cyclone Marching Band which is set to perform prior to the AutoZone Liberty Bowl in Memphis. Memphis funk band Bar-Kays is set to perform at the halftime show. While the bands are focused on the upcoming bowl game performances, both the Hawkeye Marching Band and Cyclone Marching Band announced this week that they're among five division I colleges named as finalists for Metallica's marching band competition, which boasts a top prize worth $75,000. Read the full story by Vanessa Miller at thegazette.com. You can find a link to that story in this episode's description.Finally, let's take a look at today's weather on Wednesday, December 13. If you've been waiting for snow, I have some bad news for you. Today will be mostly sunny with a high of 40 and a low of 22. Tomorrow, temperatures will rise to 45 degrees. Expect sunny skies. Thursday, temperatures will drop to a low of 26 degrees.Thank you for listening to The Gazette's Daily News podcast. I'm Bailey Cichon.

Ladies and Gentlemen, This week on The R&B Money Podcast, Tank and J Valentine chop it up with the incomparable Jazzy Pha. They get into Jazzy's rich musical lineage, including his father being a member of the legendary Bar-Kays. He shares stories of his dealings with giants like Diddy, L.A. Reid and Mary J. Blige. We learn how Jazzy helped launch superstars like Ciara. Get ready to be inspired by one of the greatest, realest and most creatively gifted producers and songwriters of our generation! Enjoy Jazzy Pha on The R&B Money Podcast!   Extended Episodes on YouTube: https://www.youtube.com/RnBMoneyPodcast Follow The Podcast: Tank: @therealtank   J Valentine: @JValentine Podcast: @RnbMoneyPodcastSee omnystudio.com/listener for privacy information.

Welcome back, my BMS listeners!DJ Rhythm Dee's Black Magic Sounds is here with another sensational old-school installment that will transport you back in time. Get ready to groove to the timeless classics of The Whispers, The Bar-Kays, Cameo, and many more!DJ Rhythm Dee here, and I'm thrilled to bring you another dose of pure musical magic. Today, we're diving deep into the treasure trove of old-school jams that will make you want to hit the dance floor and groove like there's no tomorrow.Remember when music was Music!PLAYLIST1. This Kind of Lovin'/The Whispers2. Here I Am/Dynasty3. Dancin' Dancin'/The Blackbyrds4. Time/Stone5. The Rapp/Lenny White & Twennynine6. Blue Jeans/Chocolate Milk7. Boogie Body Land/The Bar-Kays8. Doin' It To The Bone/Mantra9. Bullet Proof/George Clinton10. F-Encounter/Bootsy Collins11. Oh Darlin'/Brothers By Choice12. Why Have I Lost You/Cameo13. Say Yes/Lakeside14. Chic Cheer/Chic15. Shake It Up/Dazz Band16. Take Love Where You Find It/S.O.S. Band17. The Smurf/Tyrone Brunson

Eli talks with Harold Graeter during the AutoZone Liberty Bowl hour about the Bar Kays being the halftime performance for the bowl game, Tigers' resiliency, Pick 6 and more.

Moe Vickers is a salon owner, influencer and music artist. Moe released songs such as Boot Knockin and You Know12. Dr Garrick Beauliere featured on REVOLT as a young Black male psychologist "revolutionizing mental health advocacy in the Black community." "I want to change the way my community views mental health and inspire MORE Black men to become psychologists because there are less than 1% of Black male psychologists in the United States. Thank you to McDonald's for acknowledging the work that I do and elevating my platform (@PsychMe.Out) on Instagram." Jazze Pha was born and raised in Memphis, Tennessee. His father is James Alexander, bassist for the Bar-Kays, an influential group on the Memphis soul scene in the 1960s. His mother, Denise Williams, is an accomplished singer, having worked with everyone from Earth, Wind, and Fire to Barbra Streisand. Pha was named after the late Phalon Jones, another member of the Bar-Kays, who died in the December 10, 1967, plane crash that also killed three other Bar-Kays members and Otis Redding. Pha is known for announcing "Ladies and gentlemen" or "This is a Jazze Phizzle product-shizzle!", both at the beginning and, occasionally, at the end of songs on which he is featured. In 1990, Pha was signed to Elektra Records.

Moe Vickers is a salon owner, influencer and music artist. Moe released songs such as Boot Knockin and You Know12. Dr Garrick Beauliere featured on REVOLT as a young Black male psychologist "revolutionizing mental health advocacy in the Black community." "I want to change the way my community views mental health and inspire MORE Black men to become psychologists because there are less than 1% of Black male psychologists in the United States. Thank you to McDonald's for acknowledging the work that I do and elevating my platform (@PsychMe.Out) on Instagram." Jazze Pha was born and raised in Memphis, Tennessee. His father is James Alexander, bassist for the Bar-Kays, an influential group on the Memphis soul scene in the 1960s. His mother, Denise Williams, is an accomplished singer, having worked with everyone from Earth, Wind, and Fire to Barbra Streisand. Pha was named after the late Phalon Jones, another member of the Bar-Kays, who died in the December 10, 1967, plane crash that also killed three other Bar-Kays members and Otis Redding. Pha is known for announcing "Ladies and gentlemen" or "This is a Jazze Phizzle product-shizzle!", both at the beginning and, occasionally, at the end of songs on which he is featured. In 1990, Pha was signed to Elektra Records.

  FreeWorld is an independent, regionally touring, ever-evolving, Memphis-based musical ensemble who celebrated their 30th Anniversary in 2017. Drawing from influences as diverse as Booker T. & the M.G.s, John Coltrane, Frank Zappa, The Grateful Dead, Steely Dan, and The Meters, these brothers under one multicultural groove have remained a consistently entertaining and informed voice on the Memphis music scene since the group's inception. Rich Cushing is the leader of the band. He's also degreed Medical Technologist in Memphis making him a highly educated bass player/lead vocalist. FreeWorld has been a Memphis fixture from the get-go playing their music on Beale Street for many years. Rich and the band are intent on passing it forward, too by bringing young players on stage! Rich describes part of FreeWorld as a "school." FreeWorld was honored to receive a Brass Note on the Beale Street Walk of Fame in 2012, and they've also had the honor and privilege of sharing the stage with a wide variety of musical legends over the years, including Levon Helm, The Memphis Horns, Billy Preston, Bootsy Collins, Richie Havens, Blues Traveler, Widespread Panic, Derek Trucks, Hot Tuna, Los Lobos, Merl Saunders, Dr. John, Timothy Leary, John Sinclair, The Bar-Kays, Ann Peebles, Steve Cropper, James Cotton, Mojo Buford, Jimmie Vaughan & Double Trouble, Susan Tedeschi, Kenny Wayne Shepherd, & Jonny Lang just to name a few.   Band members refer to themselves as an onstage freak show, but the only thing freaky about them is their talent. Be sure to check 'em out the next time you venture up the road a bit to Memphis. FreeWorld is just one of the many cool experiences outside Hot Springs Village. Thanks to our exclusive media partner, KVRE • Join Our Free Email Newsletter • Subscribe To The Podcast Anyway You Want • Subscribe To Our YouTube Channel (click that bell icon, too) • Join Our Facebook Group • Tell Your Friends About Our Show • Support Our Sponsors (click on the images below to visit their websites) __________________________________________

Record Producer - Songwriter - Entertainer - Business Man  In a distinguished career as a singer, songwriter and producer, William Bell has come to define the essence of “soul.” Born in Memphis but based in Atlanta since 1970, William Bell was one of the pioneers of the classic Stax/Volt sound, joining such other illustrious musical forces at that label as Otis Redding, Sam and Dave, Isaac Hayes, Booker T. & the MG's, Albert King, Eddie Floyd, Carla and Rufus Thomas, The Staple Singers and the Bar-Kays, among others. William released his first full-length album in 1967, the classic The Soul of a Bell, which included the Top 20 hit single, “Everybody Loves a Winner.” That same year, blues great Albert King recorded what came to be his signature tune, “Born Under a Bad Sign,” also written by Bell, which has since become one of the most-recorded blues songs. 

Memphis native Darryl Sanford has been playing music all of his life. From playing the drums at the age of two and later matriculating to the piano, Darryl developed an ear for music. Darryl teaches music theory and is also a member of the legendary Bar-Kays. Darryl first started playing for churches as a teenager and has been playing for churches and choirs in the city of Memphis ever since. By the time he entered his twenties, he started breaking into secular music by playing for a jazz band and then eventually breaking off into the r&b and neo-soul scene in the city of Memphis and surrounding areas. After playing for many of the artists and singers in the city, he started playing for more mainstream artists in jazz and r&b, such as Shalamar, Howard Hewitt, Euge Groove, Kim and Kayla Waters, Alexander O'neal, and would eventually become a member of the legendary funk group The Bar-Kays. Darryl Sanford's main motivation is to be a light and spread positivity through the power of music.

Questlove Supreme's celebration of Black Music Month continues with an extraordinary David Porter interview. David is a true architect of the Memphis sound. Isaac Hayes's longtime writing and production partner tells Team Supreme about making hits with Sam & Dave, The Bar-Kays, Carla Thomas, and more. A longtime Stax Records artist, producer, songwriter, and executive, David Porter also recalls the label's glory days and its downfall and talks about his songs which have become sample staples.See omny.fm/listener for privacy information.

Peace to you, family. Yes, a snag in the road can, and sometimes will, throw off your momentum.  However, we're still reminded that it's not how we started this journey, it's how we see it through. So, let's remember to not get down on ourselves, keep pushing. The road definitely does get better. Now, with that said, let's get back into it, we missed y'all. In this episode, we give you the latest from the Secret Night Gang from their forthcoming album, lovely slow jams from the talented  Coco Jones and Lynn Davis, along with the classics from Jeffrey Osborne, the Bar-Kays, D'Angelo, Midnight Star, and the list goes on and on. We're thankful for your longtime support, and let's keep the ride going. Thanks, as always for tuning in, and remember--- Tell a friend, to tell a friend, to tell a friend, all about The Throwback Lounge. It's not just a show....IT'S AN EXPERIENCE!! 1 LOVE ;)LEAD-IN CUT: YOU DO YOU- THE PENDLETONS FEAT. HOWARD JOHNSONOPENING CUT: FORTY DAYS- BILLY BROOKS1. OUT OF MY HEAD - SECRET NIGHT GANG2. I FOUND MY SMILE AGAIN - D'ANGELO3. WHAT'S NOT TO LOVE - DWELE4. SPIRITUAL THANG - ERIC BENET5. UNSELFISH LOVER - FULL FORCE6. EVEN THOUGH - KING TUTT7. YOU CAN'T RUN AWAY- THE BAR KAYS8. IF I EVER LOSE THIS HEAVEN - AVERAGE WHITE BAND9. AIN'T NO TIME FOR NOTHIN' - THE FUTURES10. AIN'T NO HALF STEPPIN' - HEATWAVE11. I REALLY DON'T NEED NO LIGHT - JEFFREY OSBORNE12. LOVE ME DOWN - ATLANTIC STARR13. SWEET SENSATION - STEPHANIE MILLS14. WAY OUT - STEVE ARRINGTON'S HALL OF FAME15. STEAL YOUR HEART - SLAVE16. WHY NOT - THE COOL NOTES17. LOVE ON A SUMMER NIGHT - THE MCCRARYS18. TIME FOR LOVE - THE B. B., & Q. BAND19. I'VE BEEN WATCHING YOU - MIDNIGHT STAR20. LOVE CHAIN - ROCKETCHAMPAGNE HOUR21. GOOD LOVE - COCO JONES FEAT. ANTONIO MCGAHA22. (THEY LONG TO BE) CLOSE TO YOU - GERALD LEVERT & TAMIA23. LVOE WON'T LET ME WAIT - LUTHER VANDROSS24. UNITED TOGETHER - ARETHA FRANKLIN25. JUST TO MAKE YOU HAPPY - PERRY & SANLIN26. CAN'T LIVE WITHOUT YOUR LOVE - O'BRYAN27. BEAUTIFUL YOU - LYNN DAVIS28. WE BOTH DESERVE EACH OTHER'S LOVE - L.T.D. 29. VISIONS OF MY MIND - LAKESIDE30. FEEL ME - CAMEO31. I NEED YOUR LOVE - EVELYN "CHAMPAGNE" KING32. I LOVE YOU - THE WHISPERS33. A LITTLE SOMETHING - SOUND OF SUPERBAD & MONIQUE MISS VOCALZ34. 365 LOVE (CAN'T STOP) - BEY BRIGHT35. 3:45 - TIGALLERRO36. TAKE MY TIME - THE PLAYLIST FEAT. GLENN LEWIS37. THE SECRET GARDEN - QUINCY JONES38. HEAVEN MUST BE LIKE THIS - THE OHIO PLAYERS39. DREAM LOVER - LIZ HOGUECLOSING CUT: I GOT THE LOVE - STARPOINT 

Episode 208: It's time for a super-sized edition of Just A Bit Outside, the segment that looks at songs that peaked outside the Top 40. From 1980, we've got R&B from the Bar-Kays, Southern (Scottish) Rock from Nazareth, a Country single from Mac Davis, and whatever genre Korona fits into. 1989 brings songs from Regina Belle and Icehouse, who had quite a few underrated songs throughout the whole decade. O, Canada: More songs from the CBC list of the Best Canadian Songs of the 80's, including tunes from Strange Advance and Chilliwack offshoot The Headpins. 

Coming to you from our underground studio in the heart of the 330 with something special for you on Mother's Day 2023. Something old, something new, something borrowed and something blue - featuring Brian Culbertson, Marcus Miller, Fostina Dixon, Cindy Bradley, Smokey Robinson, Charlie Wilson, The Bar-Kays, Quincy Jones, The Police, Dreamville, Isaac Hayes, Kendrick Lamar, Carlos Santana, Little Anthony, and Bobby Caldwell to name a few. A 25-song, 2-hour jam fest that spans over six decades of my favorite music and musicians. Only on the RadioActive1 WBOB - your place in cyberspace for the most unique listening experience on the radio.

Randy Crawford - Give me the night - Fred de la House Central Park Chillacapella mix ( not commercial ) Mr. Mister - broken wings Brook Benton - rainy night in Georgia Glady's knight & the pips - neither one of us Sneaker - more than just the two of us Scorpions - wind of change Randy Crawford - Captain of her heart Michael Jackson - music and me Il etait une fois - j'ai encore révé d'elle - Fred de la House once upon the time Chillacapella mix ( not commercial ) Neil Diamond - sleep with me tonight Tasmin Archer - sleeping satellite Kenny Nolan - connect the dots Bar-Kays - deliver us Michael Johnson - this night won't last forever

CAN YOU DIG IT?SHAFT by Isaac Hayes (Enterprise, 1971)As a 19 year old, I didn't realize that history was being made, but when I saw Isaac Hayes on the Oscars, bedecked in chain-mail, at the keyboard, being wheeled onstage in a cloud of dry ice to sing The Theme From Shaft, I knew something was up. The chicka-chicka of the wah-wah guitar riff had already surgically implanted in my head by AM radio, along with Haye's chilled delivery of “That Shaft is a baaaad Mutha…” Together, these elements excited the entire country in new and electric ways. Richard Roundtree said years later that he had an instinct that John Shaft would certainly be the best role of his career -  (Hayes was considered, but Gordon Parks wisely persuaded The Black Moses to create the indelible ambience instead) - but, he couldn't have prepared for the seismic impact that this film would deliver. Director Parks wanted to make a “fun” picture with a Black Action Hero, but Shaft transcended all that. All the creatives and many of the crew were also black; it was filmed largely in Harlem, and tapped into the prevailing Black Power aesthetic zeitgeist, and the film changed the “Blaxploitation” genre forever. Before Shaft, MGM had been struggling, but the studio was rescued by the film, which made 13 million from a half a mil budget. The soundtrack, with it's laid back, jazz infused arrangements by Johnny Allen, and bolstered by Haye's compatriots at Stax, The Bar-Kays, went platinum. In 2014 it was entered into The Library of Congress list of essential recordings. I coveted a black leather coat like the one that Shaft wore - but the closest I could get was a brown bomber jacket. Nobody was as cool as Shaft or Isaac Hayes - nobody could be. “Damn Straight!”

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. 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 begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Our 12 stories: 1) Frank Finkel, survived Custer's Last Stand; 2) Vesna Voluvik, sole survivor of terrorist-caused airplane crash over Czech republic 1972; 3) Julieanne Koepcke, when her plane broke up, she fell two miles, strapped in her seat, and landed in the Amazon Rain Forest, where she survived 11 days with multiple injuries until finding help;, 4) Salvador Alvarenga, out for a day of fishing with his friend, was blown further out ton sea in a storm, and survived 438 days at sea with no supplies; 5) Aron Ralston, exploring a remote canyon in Utah, had is arm trapped by a boulder and after 6 days, realizing he could not free himself, cut off his own arm in order to survive; 6) William Bryden, a surgeon with the British Army in Afghanistan, survived an ambush that killed 4,500 of his fellow soldiers and thousands of non-combatants; 7) 13 tear old Bahia Bakari, with a broken collarbone, hung onto a piece of plane wreckage in the Indian Ocean for 9 hours in choppy water, to become the only survivor of that disaster; 8) Peter Siebold civilian astronaut on a Virgin Galactic flight, survived falling from 55,000 feet when the rocket disintegrated; 9) Lt. Col Vivian Statham, serving as a nurse in Indonesia in WWII, survived a massacre by the attacking Japanese as she and her fellow nurses were forced naked into the ocean before being shot in the back; 10) Ben S. Cauley, trumpet player for the Barkays, survived the plane wreck that took mthe lives of Otis Redding and most of the band; 11) Alexander Selkirk complained to his ships captain of the terrible working conditions aboard that ship and was marooned on a deserted island, where he survived for three years ; 12) Marcus Latrell, Navy Seal, survived an ambush by Taliban warriors in Afghanistan and went on to write his biography which became a movie. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Deejay Irie leaves no groove unturned with funk classics from Parliament and the Bar-Kays, scorching bars from Andy Cooper, Serge Gainsbourg's signature "Requiem pour un con", and booming edits by Jorun Bombay, Hedspin and Irie himself. Plus Neal Francis' kaleidoscopic "Strawberry Letter 23", a Brooklyn-Chitown roundtrip with Scone Cash Players and Ron Trent, and a heaping plate of donuts to commemorate Dilla's life and legacy. View the full playlist for this show at https://www.wefunkradio.com/show/1148 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

In honor of MLK Day, we turn to 1972, when 100,000 people gathered at the LA Memorial Coliseum to commemorate the seventh anniversary of the Watts Rebellion in Los Angeles to help heal the community. The gig featured some of the greatest artists on Stax Records, The Staples Singers, The Bar-Kays, and Carla Thomas, to name a few. And, of course, the iconic Isaac Hayes headlined the night. Today we share a previously unreleased version of the soul-funk anthem “Theme From Shaft (Live At Wattstax, Los Angeles, CA / August 20, 1972 / Version 1),” from the forthcoming release Soul'd Out: The Complete Wattstax Collection, out Feb. 24. 

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# the bar kays do it let me see you shake # one of the greatest bands ever # funky,versatile and down home folks music# respect the great Larry Dotson # respect James Alexander # --- Support this podcast: https://anchor.fm/mr-maxxx/support

When virtuosity, intuition and pure soul meet, the results are magical. And that kind of magic — steeped in the sounds, tradition and spirit of Memphis — is (Brother) Paul Brown's specialty. The GRAMMY® Winning Nashville, Tennessee-based musician, songwriter and producer is a roots world MVP, but his abilities truly extend beyond any genre to encompass his vision. That's abundantly clear when Brown's behind the keyboard. Whether on stage or in the studio, his signature approach and passionate energy are both unmistakable. In addition to the gliding melodies, elongated textures and churning chords, Brown displays a stunning, highly original vocabulary on the instrument — enhancing and reflecting the vocal performances of compelling singers like Rush, Peebles, Deborah Bonham and Mighty Sam McClean with voice-like effects — hums, stutters, exclamations, lines that trail off like sentences. It's that musical conversation he alludes to, in a very literal sense. And the world is listening. Brown's accolades include a 2020 GRAMMY® Win for his keyboard work on Gloria Gaynor's GRAMMY® winning Gospel album Testimony following his 2014 GRAMMY® Nomination for “Best Soul Blues Album" for producing, engineering and mixing Bobby Rush's Down In Louisiana and the 2012 Blues Music Award for “Best Soul Blues Album of the Year” for the same duties on Bobby Rush's Show You a Good Time both at his own Ocean Soul Studios. That same year he won the Jackson (Mississippi) Music Award for “Best International Producer of the Year. What's striking about Brown besides his stellar musical abilities is his attitude. He is perpetually upbeat and strikingly un-jaded. “That's just my personality,” he explains. “I've played on some of the world's biggest stages and I've gone without food for days, but I've always loved every minute that I'm making music.”MAN, WHAT I FIND EVEN MORE STRIKING IS THAT I GREW UP LISTENING TO AND LOVING GROUPS LIKE KISS, AEROSMITH AND BLACK SABBATH. THEN SOMEWHERE ALONG MY CRAZY MUSICAL JOURNEY, I FELL INTO THE WORLD OF STUDIO PRODUCTION, MAKING SOUL, BLUES AND GOSPEL ALBUMS - AND ENDED UP WITH A GRAMMY® NOMINATED BLUES ALBUM FOLLOWED BY THIS RECENT GRAMMY® WIN IN THE ROOTS GOSPEL CATEGORY! JUST CRAZY! His resume embraces stage, television and session work across the U.S. and Europe with the Waterboys, Mike Farris, Whitesnake's Reb Beach, Derek St. Holmes, Al Green, Deborah Bonham, George Clinton, Lynyrd Skynyrd's Rickey Medlocke, Hi Records Alumni Don Bryant, the Mother Station, Otis Clay, Bettye LaVette, the Bar-Kays, Isaac Hayes and many others. “I feel like I'm at a wonderful place in my life musically,” Brown declares. “I'm getting to do all of the styles of music I want to do. That stretches from a beautiful New Age to Rock, Soul, Acid Blues, Jazz and Americana. "I'M AT THE TOP OF MY GAME CREATIVELY, AND I'M HAVING A BALL. AND THAT'S ALL BECAUSE I BELIEVE IN DOING THINGS FOR THE RIGHT REASONS AND AVOIDING ANYTHING SUPERFICIAL. FOR ME, IT'S ALL ABOUT THE MUSIC AND ALL ABOUT HEART AND SOUL.” Follow Brother Paul:www.yamahasynth.com/bro-paul-brownwww.facebook.com/paul.brown.9212301www.linkedin.com/in/paul-brown-aa92537https://twitter.com/PAULBROWNAP63 ****SUBSCRIBE/RATE/FOLLOW What's Your Problem? PODCAST:www.whatsyourproblempodcast.comwww.instagram.com/whatsyourproblempodwww.instagram.com/jimmccarthyvosTiktok: @jimmccarthyvos Random 5 sponsored by IT'S YOUR SHOW.CO!www.itsyourshow.co You know you have a lot to share with the world, but how? What's your source? At It's Your Show.co, your source is a podcast that we help you create to ultimately extract micro-content for your brand! With our 20+ years of experience in podcast, video and radio production, we can churn out a bunch of content for your social platforms...from just one episode! Get started today:www.itsyourshow.co Talking about the real problems (and p

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 259 (Part 2 of 2): Stuart Gray, who has spent decades traveling the world as a touring road and production manager for dozens of high-profile funk, R&B and hip-hop acts. Having worked especially closely with the Commodores, other artists include Rick James, Teena Marie, Cameo, the Bar-Kays, the Fatback Band, Slave, the O'Jays, Maze, the Ohio Players and Con Funk Shun.  Gray shares his unique vantage point, perspectives and stories. They include the origins of the Commodores, the demise of Rick James, and his personal crusade to help preserve funk music and honor giants of the underserved genre. RECORDED JULY 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 259 (Part 1 of 2): Stuart Gray, who has spent decades traveling the world as a touring road and production manager for dozens of high-profile funk, R&B and hip-hop acts. Having worked especially closely with the Commodores, other artists include Rick James, Teena Marie, Cameo, the Bar-Kays, the Fatback Band, Slave, the O'Jays, Maze, the Ohio Players and Con Funk Shun.  Gray shares his unique vantage point, perspectives and stories. They include the origins of the Commodores, the demise of Rick James, and his personal crusade to help preserve funk music and honor giants of the underserved genre. RECORDED JULY 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

New R&B, Soul, Jazz & Hip Hop. Artists include: Doctor Bionic, Shannon Lauren Callihan,  Jamison Ross, Chris Brown, The Bar-Kays, Butcher Brown, Chance the Rapper & Joey Bad A$$, Jaszy Shavers & Tavaras Jordan, Kem, Beyonce, Nia Sultana & Rick Ross.Become a premium member for extra shows & content at djbenniejames.supercast.comTips at cash app $djbenniejamesLicensed for digital streaming & play  ASCAP 400009874 & BMI - 61044939Special Thanks as always to:  Donna at Life Destiny SOULutions, The Gardner Family, The Brown Family, Omar Boyles Promotions. Support the show

On this episode of The Chris & Chris Podcast Show, I have Larry Dodson of The Multi Gold & Platinum Legendary Group The Bar-Kays here talking about his New Single " Just We", Marriage Life, Advice from Charlie Wilson & Rick James stealing his look all right here. --- Support this podcast: https://anchor.fm/the-chris--chris-podcast-/support

Great show. I think Omar & I were a little tipsy when we recorded this. Artists include: Ashford & Simpson, BlackByrds, Rufus & Chaka Khan, Mothers Finest, War, Elusions, Bar Kays, Frayne, KALLITECHNIS, Cameo. Part 2 will be available for premium members tomorrow May 6.Tips at cash app $djbenniejamesBecome a premium member at -  djbenniejames.supercast.comLicensed for digital streaming & play  ASCAP 400009874 & BMI - 61044939THANKS as always to all my Supporters, Sponsors and Music Pool MembersVery Special Thanks to : Donna at Life Destiny SOULutions, Omar at Omar Boyles Promotions, Rick Brown  & the Gardner Family.  Support the show

Meet South Memphis native Jeff Cohran. He's been holding down the role as Tour & Production manager for Janelle Monae for the last two decades. Jeff comes from a musical family with his Aunt singing background for Ray Charles and Uncle as a musician with the Bar-Kays. However it was Jeff's mom who was very instrumental in getting him to hone in on the business side of music. Jeff attended UT Knoxville as a journalism electronic media major and minored in political science. He was very active in the NAACP and talks us through a black face incident on campus during his freshman year. Take a listen as Jeff walks us through how he entered the management and touring side of the music industry linking with a major artist such as Janelle Monae. He discusses many lessons learned and the importance of having a sound mindset as he toured the world. You'll also discover Jeff's entry into academia as a music instructor at the University of Memphis. Jeff's goal is to get students placed and shape their mental aspect. Be sure to tune into Jeff's radio show ‘FUNKYTOWN” on WYXR's 91.7FM under the moniker STH MEMPHIS JEFF on Thursdays from 8-9pm.