Podcasts about Barrett Strong

Hoy en La Gran Travesía viajamos hasta el año 1959 en un programa donde podréis escuchar a Buddy Holly, Ray Charles, Isley Brothers, The Shirelles, Lloyd Price, Link Wray, Eddie Cochran, Barrett Strong, Elvis Presley, Dion and the Belmonts, Chuck Berry, Nina Simone, Billie Holiday... entre muchos otros. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gin1975, Alberto Velasco, Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

This week on Time Signatures with Jim Ervin, Erv welcomes Detroit native Blues Rocker, Eliza Neals for a chat about her earliest memories of music growing up, hanging out 5-6 nights a week at Detroit Blues venues such as Baker's Keyboard Lounge, Bert's and others, and her music relationship with the legendary Barrett Strong. Eliza also talked about her new album, ‘Colorcrimes' and what comes next. You won't want to miss this episode, so tune in and share!Website: https://www.elizaneals.com/Facebook: https://www.facebook.com/elizanealsSpotify: https://open.spotify.com/artist/48XgWMevIvFi72xQFN2qqbYouTube: https://www.youtube.com/@elizaneals _________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio NetworkWebsite: Keeping the Blues Alive Foundation

Hoy recordamos en La Gran Travesía uno de los sellos más importantes del soul-pop de la década de los 60. El sello Motown nacía en primavera de 1958, y pronto se asentaría como uno de las compañías discográficas más importantes con músicos como Stevie Wonder, Marvin Gaye, The Supremes, Martha and The Vandellas, Smokey Robinson and The Miracles, The Four Tops, The Temptations, The Marvelettes, Barrett Strong... También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs https://npqeditores.com/producto/la-gran-travesia-del-rock/ ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Vinyl records play a significant role in Jay and Deon's lives. They're 100% obsessed with music. But how did this madness all start? Well, episode 40 of LLR examines their origin stories. Ten classic artists who helped shape the Lickers' sonic identities are discussed while another crackin' mixtape is curated, created, and (hopefully) cranked. God gave rock and roll to us, Goddamn it! Put it in your souls already. Sonic contributors to the fortieth episode of Lightnin' Licks Radio podcast include (in order of appearance): Brothers Johnson, dialogue from Peter Pan Records' "G.I. Joe: Escape From Adventure Team Headquarters" storybook, DJ Sanz, James Todd Smith, Boy Meets Girl, Berlin, Super Lover Cee & Casanova Rud, The Treacherous Three, T La Rock, Rick Rubin, Beastie Boys , NPR's A. Martinez - Kye Ryssdal - Leilah Fadel, Dolly Parton, Whitney Houston, Dr. Pascal Wallisch, Aretha Franklin, Otis Redding, Queen, Elvis, Tommy Durden, Wings, James Horner & Will Jennings, Celine Dion, Right Said Fred, Greta Van Fleet, Dave Brubeck, Mac Demarco, Moose Charlap & Jule Styne, Jerry Goldsmith, M.M. Knapps, library “space” music and read-along storybook dialogue, Arc of All, Jim Kirk, Casey Kasem, Van Halen, Dion DiMucci, Leif Garrett, Jeff Barry & Ellie Greenwich, Shawn Cassidy, Gregg Diamond, Andrea True Connection, Sir Reginald Kenneth Dwight*, Stevie Wonder, Bernie Taupin, Norman Whitfield & Barrett Strong, The Undisputed Truth, Perry-Perkins-Johnson, Honey Cone, TV adverts from Firestone Tires and Post cereal's Pink Panther Flakes, The Jackson Five, the Motown Players & the Funk Brothers, the King of Pop*, Cameron Crowe & Nancy Wilson, Still Water, Temple of the Dog, Sweet Water, The Dust Brothers, Afrika Bambaataa, Dudley Taft (brandishing his axe and ripping a bong), Black Sabbath, Dancefloor Destruction Crew, The Wrecking Crew, The Partridge Family, Wally Gold, Idris Muhammad, Led Zeppelin, Beastie Boys (again), Alice Cooper (band), Digable Planets with Wah Wah Watson, Michael Franti and Spearhead, Jimmy Buffett, Disposable Heroes of Hypocrisy, Three Dog Night, Hoyt Axton, Randy Newman, Paul Williams, Russ Ballard, America, Rainbow, Cheap Trick, Freda, Argent, Wilson Pickett, Wu-Tang's RZA, Pinback, Three Mile Pilot, Lou Reed, Goblin Cock, Fruer, Black Sabbath (again), Bachman-Turner Overdrive, Jethro fucking Tull, the Source of Light and Power, DJT, Eric B., Soul Coughing, The Clockers. Love at First Listen mixtape [SIDE 1] (1) Sweet Water – King of '79 (2) King of Pop - GTBT* (3) Spearhead – Positive (4) The Partridge Family – Lay it on the Line (5) Pinback – Loro [SIDE 2] (1) Alice Cooper – You Drive Me Nervous (2) #6 Pop Hit W.E. 04_FEB_1984* (3) Jethro Tull – Two Fingers (4) Beastie Boys – Live at P.J.'s (5) Three Dog Night - Liar Thanks for Listening. Autumn has fallen. Do your best to not jump into a ravine. Please shop for your music locally. We suggest ⁠Electric Kitsch⁠. Drink ⁠Blue Chair Bay⁠ flavored rums. Feeling like jumping into a ravine? There's ⁠help⁠ available. *some details have been changed

Clearly, vinyl records play a significant role in Jay and Deon's lives. But how did this all start? Well, episode 40 examines their origin stories. Ten classic artists who helped shape the Lickers' sonic identities are discussed and another crackin' mixtape is curated, created, and (hopefully) cranked. God gave rock and roll to us, Goddamn it. Put it in your soul already. Sonic contributors to the fortieth episode of Lightnin' Licks Radio podcast includes (in order of appearance): Brothers Johnson, Holland-Dozier-Holland, Derrick Harriott, Townes Van Zandt, James Todd Smith, Boy Meets Girl, Berlin, Super Lover Cee & Casanova Rud, The Treacherous Three, T La Rock, Rick Rubin, Beastie Boys , NPR's A. Martinez - Kye Ryssdal - Leilah Fadel, Dolly Parton, Whitney Houston, Dr. Pascal Wallisch, Aretha Franklin, Otis Redding, Queen, Elvis, Tommy Durden, Wings, James Horner & Will Jennings, Celine Dion, Right Said Fred, Greta Van Fleet, Dave Brubeck, Mac Demarco, Moose Charlap & Jule Styne, Jerry Goldsmith, M.M. Knapps, library “space” music and read-along storybook dialogue, Arc of All, Jim Kirk, Casey Kasem, Van Halen, Dion DiMucci, Leif Garrett, Jeff Barry & Ellie Greenwich, Shawn Cassidy, Gregg Diamond, Andrea True Connection, Elton John, Stevie Wonder, Bernie Taupin, Norman Whitfield & Barrett Strong, The Undisputed Truth, Perry-Perkins-Johnson, Honey Cone, TV adverts from Firestone Tires and Post cereal's Pink Panther Flakes, The Jackson Five, the Motown Players & the Funk Brothers, Michael Jackson, Cameron Crowe & Nancy Wilson, Still Water, Temple of the Dog, Sweet Water, The Dust Brothers, Afrika Bambaataa, Dudley Taft (brandishing his axe and ripping a bong), Black Sabbath, Dancefloor Destruction Crew, The Wrecking Crew, The Partridge Family, Wally Gold, Idris Muhammad, Led Zeppelin, Beastie Boys (again), Alice Cooper (band), Digable Planets with Wah Wah Watson, Michael Franti and Spearhead, Jimmy Buffett, Disposable Heroes of Hypocrisy, Three Dog Night, Hoyt Axton, Randy Newman, Paul Williams, Russ Ballard, America, Rainbow, Cheap Trick, Freda, Argent, Wilson Pickett, Wu-Tang's RZA, Pinback, Three Mile Pilot, Lou Reed, Goblin Cock, Fruer, Black Sabbath (again), Bachman-Turner Overdrive, Jethro fucking Tull, the Source of Light and Power, DJT, Eric B., Soul Coughing, The Clockers. Love at First Listen mixtape [SIDE 1] (1) Sweet Water – King of '79 (2) Michael Jackson – Got to be There (3) Spearhead – Positive (4) The Partridge Family – Lay it on the Line (5) Pinback – Loro [SIDE 2] (1) Alice Cooper – You Drive Me Nervous (2) Elton John – I Guess That's Why They Call it the Blues (3) Jethro Tull – Two Fingers (4) Beastie Boys – Live at P.J.'s (5) Three Dog Night - Liar Thanks for Listening. Autumn has fallen. Do your best to not jump into a ravine. Please shop for your music locally. We suggest Electric Kitsch. Drink Blue Chair Bay flavored rums. Feeling like jumping into a ravine? There's help available.

Aunque muchos se dan cuenta con Nietzsche, que el mundo no tiene otro dios que el dinero, la mayoría no ha descubierto todavía que detrás de él, hay una idolatría mucho más profunda. Es la codicia, que la Biblia llama "idolatría" (Colosenses 3:5; Efesios 5:5). Se muestra no sólo en amor al dinero, sino en la ansiedad del que busca su identidad en él. De ello habla Jesús en el capítulo 16 de la Buena Noticia según Lucas. Nuestra sintonía está a cargo esta vez de una cantante y guitarrista indonesia llamada Athira Fajirina, que hace versiones acústicas de clásicos del repertorio americano como Ruta 66. Nuestro texto comienza con una historia singular, que no tiene paralelo en ningún otro Evangelio. Muestra la astucia de un mayordomo infiel con una ambigüedad que nos perturba, pero la enseñanza es clara: "¡No puedes servir a dos señores!" (v. 13). "¡Entérate!" (1996), dice Aimee Mann, la cantautora que dio a conocer Paul Thomas Anderson en su película "Magnolia" (1999). Aunque los O´Jays representan el sonido característico del soul de Filadelfía con sus arreglos de cuerdas y secciones de viento, son originalmente de Canton (Ohio) y nos muestran lo que uno puede llegar a hacer "Por el amor al dinero" (For The Love of Money 1973). El clásico de la Motown, Barrett Strong, reconoce que el "Dinero, es lo que quiero" (Money That´s What I Want 1959). La película "Match Point" (2005) abre un nuevo periodo en el cine de Woody Allen. Acosado por acusaciones de abusos por el público norteamericano, a pesar de ser absuelto en varios tribunales y pasar el examen de las duras autoridades del servicio de adopción de Nueva York, el director tiene que recluirse en Europa, donde ya no le vemos en pantalla, pero sigue dando vueltas a sus obsesión por el azar, la culpa y el castigo. El personaje del irlandés Jonathan Rhys Meyers se presenta no sólo como un lector de Dostoyevski, sino como un auténtico "trepa", que busca su identidad en el ascenso social. Al conocer a ese impresionante representante de la élite inglesa que es Matthew Goode, se ve fascinado por su encantadora hermana, interpretada por Emily Mortimer y desafiado por una seductora Scarlett Johansson, como una modelo americana que quiere también elevar su status por la relación con el personaje de Goode. Escuchamos algunos de sus inteligentes diálogos en la versión doblada de este film. que en Perú, Venezuela y México se conoce como "La provocación". Como la banda sonora es toda de ópera, José de Segovia la comenta con el fondo de jazz de su última película "Golpe de suerte" y "Cafe Society". Eddie Vedder se hizo conocido por el sonido "grunge" de Pearl Jam, pero tiene un lado acústico en canciones como la que hizo para la banda sonora de "Into The Wild",la historia del libro de Krakauer, conocida en español como "Hacía rutas salvajes", "Ruta salvaje" o "Aventura en Alaska". Es lo que le pasó realmente al joven Christopher Johnson McCandless, al dejar su familia y comodidad, para buscar en la mística de la pobreza de Tolstoi y el encuentro con la Madre Naturaleza de Emerson, la vida que pierde en un autobús abandonado en medio de Alaska. "Es un misterio", canta Vedder, "la codicia que tenemos, por la que estamos de acuerdo que queremos más de lo que necesitamos". Es Mammón, dice Jesús, el dios que servimos, que nos ciega en su esclavitud, amor y adoración. No podemos vivir para él, a la vez que para Dios, canta Mitty Collier, la artista de soul que tuvo tantos éxitos con el sello Chess en los años 60, pero dejó todo para volver a la iglesia y cantar que "No puedes servir a dos señores" (You Cannot Serve Two Masters) en su "Advertencia" (The Warning) de 2024.

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

Johnny Cash was a prolific hitmaker in the mid 50's to early 60's.  In the late 60's  he released a couple of live albums which had crossover appeal:  "Johnny Cash at Folsom Prison," and "Johnny Cash at San Quentin."  By 1969, Johnny Cash had become an international musical success, selling more records than the Beatles at the time.Cash had left his original label, Sun Records, back in 1958.  However, he had left an extensive catalogue of songs with Sam Phillips at Sun.  Given his success and the upcoming Johnny Cash TV show, Sun Records decided it would be a good time to release a compilation of his earlier hits from 1954 through 1958.  This compilation was released on two albums, "Original Golden Hits, Volume I" and "Original Golden Hits, Volume II," which reached numbers 4 and 3 on the US Country charts respectively.  Cash would go on to fame in TV and film in the 70's, and would continue recording up until his death in 2003.While not strictly rock music, the Man in Black was an icon of American music and an inspiration for many in country, rock, and pop genres.  It is also a special memory for Wayne, as he listened to this  8-track as he traveled with his father out of California to Alabama.Wayne takes us through this greatest hits album for today's podcast. Home of the BluesThe inspiration for this song was the "Home of the Blues" record shop on Beale Street in Memphis, Tennessee.  The store which was open from the late 40's until the mid 70's was a place he used to hang out, buy records, and meet other musicians. Hey PorterThis is Cash's first recorded song.  The setting is just after World War II, and the song focuses on a man returning home from overseas who feels elated to be returning to his native South, the last leg of which is by train.  Note that there is no percussion in this song, but Cash played his guitar with dampened strings to acquire a percussive effect.I Walk the LineJohnny Cash's first number 1 hit on the Billboard country charts eventually crossed over to the US pop charts, reaching number 17 and selling over 2 million copies in the United States.  The lyrics reflect temptations and the need to be accountable for your actions.  The frequent key changes make this song distinctive.Get RhythmThis was the B-side to "I Walk the Line."  It was re-released in 1969 as an A-side, and went to number 60 on the Billboard pop chart.   ENTERTAINMENT TRACK:Main theme from the television series “Fat Albert”The origin of Bill Cosby's animated series was an animated primetime television special that first aired on NBC on November 12, 1969.  STAFF PICKS:Birthday by Underground SunshineRob starts off the staff picks with a cover of the Beatles song by a group from Wisconsin.  The band had been around for a few years, but this cover helped them attain greater success.  Their cover made it to number 26 on the Billboard Hot 100.  Down on the Corner by Credence Clearwater RevivalLynch's staff pick is one of the best known songs by CCR.  The song talks about a band called "Willy and the Poor Boys" playing in the street for spare change.  It went to number 3 on the Billboard Hot 100 by the end of 1969.  I Can't Get Next to You by The Temptations Bruce gets us all moving with the number 1 single from David Ruffin, Melvin Franklin, Otis Williams, Eddie Kendricks, and Paul Williams - better known as The Temptations.  This was the second of four number 1 hits from the group, and was written by Norman Whitfield and Barrett Strong for the Motown label. I'm Tired by Savoy BrownWayne's staff pick charted at number 74 on the top 100, and has a very heavy electric blues feel.  Three members of this group out of London would go on to form Foghat.  The group's name came from American Blues label Savoy Records - a name that had an elegant sound.  "Brown" was added as an extremely plain word that contrasted nicely with the elegance of "Savoy." INSTRUMENTAL TRACK:Treat by SantanaSantana would produce a number of excellent instrumental hits during his decades in the rock scene, and this one is from his debut album. 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.

This week, Pete celebrates the birthdays of Barrett Strong and Otis Leavill, whilst he also pays his respects to Henry Fambrough, the last of The Spinners to pass away. New music comes from Nuovi Fratelli, Kolonel Djafaar, Michele David & The True-Tones, plus 2 from Italian band, Camera Soul. This show was first broadcast on the 9th of February, 2024For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Hoy os dejamos un nuevo programa de La Gran Travesía con los acontecimientos musicales más importantes ocurridos un 5 de febrero, con grupos como T Rex, Three Dog Night, Paul Simon, Bill Haley, Spin Doctors, Stereophonics, KLF, Johnny Cash, Barrett Strong, Nick Cave and the Bad Seeds, Cream, Amy Winehouse, Def Leppard y muchos más. ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jarebua, Piri, Noni, Norberto Esteban, Arturo Soriano, Gemma Codina, Santi Oliva, Raquel Jiménez, Juan Carlos Ramírez, Una Hora con Satán, Leticia, Nicolás SDLRF, Eva Granado, Peiper, Javifer, Francisco Quintana, Pdr_Rmn, Sgd, José Luis Orive, Utxi73, Patri Lb, Raul Andrés, Jbasabe, Iñako GB, Tomás Pérez Martínez, Eugeni, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Edgar Xavier Sandoval, Hörns Üp, Víctor Bravo, Juan Carlos González, Francisco González, Vicente DC, Ángel Hernández, Marcos París, Dani, Vlado74, Daniel A, Redneckman, Elliott SF, Guillermo Gutiérrez, Sementalex, Jesús Miguel, Ángel Torres, Suibne, Mati, Dora, José Diego … y a los mecenas anónimos.

A la memoria de todos los caídos del año seleccionamos unas cuantas canciones de artistas y personajes musicales que nos dejaron en 2023. No están todos los que ya no están, pero todos los que están ya no están. Playlist;(sintonía) THE YARDBIRDS “Shapes of things” (JEFF BECK, 10 de enero, 78 años)CROSBY STILLS and NASH “Long time gone” (DAVID CROSBY (81 años, 18 de enero)TELEVISION “Venus” (TOM VERLAINE, 28 de enero, 73 años)BARRETT STRONG “Money (that’s what I want)” (29 de enero, 81 años)THE DRIFTERS “When my little girl is smiling” (CHARLIE THOMAS, 31 de enero, 85 años)BURT BACHARACH “Raindrops keep falling in my head” (8 de febrero, 94 años)SPENCER WIGGINS “I’d rather go blind” (13 de febrero, 81 años)HUEY “PIANO” SMITH “Rockin pneumonia and the Boogie Woogie flu” (13 de febrero, 89 años)CHUCK JACKSON “I just don’t know what to do with myself” (16 de febrero, 85 años)BILLY “THE KID” EMERSON “Red hot” (25 de abril, 97 años)LESTER STERLING “Super Special” (16 de mayo, 87 años)IKE and TINA TURNER “A fool in love” (TINA TURNER, 24 de mayo, 83 años)THE ANIMALS “We gotta get out of this place” (CYNTHIA WEIL, 1 de junio, 82 años)THE ISLEY BROTHERS “Shout” (RUDOLPH ISLEY, 11 de octubre, 84 años)DWIGHT TWILLEY “I’m on fire” (18 de octubre, 72 años)THE POGUES “Fairytale of New York” (SHANE McGOWAN, 30 de noviembre, 65 años)CONCHA VELASCO “Hoy como ayer” (2 de diciembre, 84 años)LOS RELAMPAGOS “Nit de llampecs” (PABLO HERRERO, 5 de diciembre, 81 años)Escuchar audio

**Smiffy's A To Z Of Soul Music On www.traxfm.org. This Week Smiffy Features Boogie/Contemporary Soul/Indie Soul From First Touch, Roxy, Patrice Cinelu, The Cavaliers, The Spinners, Duke D, Kool & The Gang, Noel Gourdin, Saucy Lady, Barrett Strong, Potatohead People, Joey Negro & Sean P & More #boogie #soul #70sgrooves #80sgrooves #danceclassics #contemporarysoul #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 : 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 **

Original Air Date: Monday 21 August, 9 pm Eastern Description: Pop quiz: What show features discussions about the great Motown artist Barrett strong, founding member of The Eagles Randy Meisner, Tony Bennett, Pee-wee Herman, the director of The Exorcist and The French Connection, a rock musical parody of The Exorcist, Dean's final (?) “X-Files” improv (at a forthcoming “X-Files” convention), and the classic comedy films of Jacques Tati? Answer: This week's brand new Season 3 Episode 81 of YOUR Chillpak Hollywood Hour! Tags: Phil Leirness, acting, Dean Haglund, The X-Files, The Lone Gunmen, writing, producing, filmmaking, movies, show business, writers, directing, Hollywood, Los Angeles, Detroit, Birmingham, Los Feliz, Motown, master shots, comedy, improv, Norman Lloyd, Alfred Hitchcock, Alfred Hitchcock Presents, Psycho, William Friedkin, The Exorcist, To Live and Die in L.A., Sorcerer, The French Connection, Pee-wee Herman, Paul Reubens, Late Night with David Letterman, Pee-wee's Playhouse, Pee-wee's Big Adventure, Big Top Pee-wee, Batman Returns, Tim Burton, William Petersen, Mystery Men, Buffy the Vampire Slayer, 30 Rock, What We Do in the Shadows, Murphy Brown, Jacques Tati, Monsieur Hulot, Playtime, Mon Oncle, Monsieur Hulot's Holiday, Barrett Strong, La Jolla, I Can't Get Next To You, Money (That's What I Want), I Heart it Through the Grapevine, War, Edwin Starr, Randy Meisner, Take it to the Limit, The Eagles, Linda Rondstadt, Rick Nelson, Stone Canyon Band, Tony Bennett, painting, art, Great American Songbook, Frank Sinatra, I Left My Heart in San Francisco, Rags to Riches, When Joanna Loved Me, Bob Hope, Pearl Bailey, Danny Bennett, MTV, Dresden Room, Marty & Elayne Roberts, Exorcistic, Sacred Fools, Leigh Wulff, Three Clubs, Jour de Fête, Phile Fest, Minneapolis

El garito subterráneo del verano vuelve a abrir sus puertas para un divertida sesión cocinada con los sabores del rocknroll de los primeros años 60.(Foto del podcast; The Marcels)Playlist;(sintonía) THE VENTURES “The savage”DARLENE LOVE “A fine fine boy”JIMMY SOUL “Twistin’ Matilda”THE COASTERS “Run red run”THE ROUTERS “Let’s go (pony)”ELVIS PRESLEY “Viva las Vegas”RAY CHARLES “Don’t set me free”FREDDY CANNON “Buzz buzz diddle it”HANK BALLARD and THE MIDNIGHTERS “Nothing but good”GARY US BONDS “Dear twist señora”THE MAR KEYS “Last night”BARRETT STRONG “Money (that’s what I want)”THE SUPREMES “Buttered popcorn”THE AVANTIS “Keep on dancing”THE ROCKIN’ REBELS “Wild weekend”HOLLYWOOD ARGYLES “Alley Oop”THE MARCELS “Heartaches”ETTA JAMES “Something’s got a hold on me”JAMES BROWN “This old heart”DEE DEE SHARP “Ride”MARY WELLS “You lost the sweetest boy”LITTLE STEVIE WONDER “Workout Stevie workout”THE CONTOURS “Shake Sherry”BUSTER BROWN “Fannie Mae” Escuchar audio

Episode 520 also includes an E.W. Essay titled "Tomorrow." We share an excerpt from a piece by Sparrow titled "Sparrow's Guide to Business," as published in the March 2023 issue of the Sun Magazine. We have an E.W. Poem called "Immigrant Dreams." Our music this go round is provided by these wonderful artists: Thelonious Monk, Lou Reed, Gillian Welch, Sharon Jones & the Dap Kings, Barrett Strong, the Cannonball Aderly Quintet,Branford Marsalis and Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

MusicLM : l'IA musicale de Google The miracle aligner : Smells like teen spirit en latin Never gonna give you up en vieil anglais Covers : First to eleven : Wonderwall System of a down au handpan Larkin Poe : Little wing AnnenMayKantereit : Tom's dinner Du tust mir nie mehr weh Let it be Sons zarbi : Compressorhead Une pédale de distorsion pour harpe Barrett Strong : Money (That's what I want) Marvin Gaye : I heard it through the grapevine Edwin Starr : War The Temptations : Papa was a rolling stone Burt Bacharach : Dionne Warwick : Walk on by Dionne Warwick : I say a little prayer Burt Bacharach : I never fall in love again Trucs en vrac : Charles Berthoud : 12 strings bass Blam! Wake me up before you go go to the grave Ally the Piper Stevie Ray & Jimmie Vaughan La +BCdM : John Denver : Take me home, Country roads par Ray Charles - Toots & the Maytals - Olivia Newton-John - Marie Laforêt - Claude François - Dick Rivers dans The Office dans Kingsman Alma Gluck : Carry me back to old Virginny par Ray Charles La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) sur Deezer (merci MaO de Paris) sur Amazon Music (merci Hellxions) et sur Apple Music (merci Yawourt) Vote pour la Plus Belle Chanson du Monde Le son mystère (35'15) : La langue sifflée occitane Avec : Blast Fanny Aude Maori Karine Pincho David Les Yeux Clos Michidar MaO Thomas Merci à : Barberouss Sulli Yule Corp Draven Michel Buffa Didier Geoffroy Pop goes the WZA K Rot Rémi Nick February Dewey Laurent Doucet Podcasts et liens cités : Walter sur Mastodon Les Sondiers La Nuit sans image Le générique de fin est signé Cousbou

Hosted by Lee Sanders. Episode 1002 Synopsis for February 13th 2023: 411MANIA.COM Reporter and Columnist Lee Sanders is back with his WWE RAW 2/13/23 Review as Cody Rhodes and Sami Zayn meet face to face! Brock Lesnar gets his match with Bobby Lashley and loads more! Also, the latest in headlines including Super Bowl 2023 thoughts, Rihanna's performance and much more!-Super Bowl Weekend Thoughts-Super Bowl Polling Results-Rihanna's Super Bowl Performance-Lee's Best Super Bowl Halftime Performance-Lee's Picks for Next Halftime Performances-Michigan State University Shooting Update-R.I.P Trugoy of De La Soul-R.I.P Motown Producer Barrett Strong-WWE RAW Recap-Liv Morgan Stalked by Fans at Airport-AEW DARK ELEVATION card & Dynamite PreviewCongrats to GCW's Effy on his Engagement-Programming Notes & Show Wrap-Up===CHECK OUT & SUPPORT OUR SPONSORS BELOW AS THEY SUPPORT THIS SHOW===BSO HONEY VIA https://bsohoney.net/ WHAT IS BSO HONEY? IT'S AN ALL-NATURAL BLEND OF GREAT INGREDIENTS INCLUDING BLACK SEED OIL, HONEY, AND APPLE CIDER VINEGAR. ALL OF THESE GREAT INGREDIENTS WORK TOGETHER AS A TEAM, LIKE THE AVENGERS OR JUSTICE LEAGUE, TO BOOST YOUR IMMUNE SYSTEM, IMPROVE YOUR OVERALL HEALTH WHILE RESTORING YOUR BODY TO ITS NATURAL AND BALANCED STATE! PICK UP YOUR BOTTLE TODAY!!!-MYBOAT2.COM VIA https://myboat2.com/INTRODUCING MYBOAT2. A STATE OF THE ART RIDE SHARE APP THAT CONNECTS CAPTAINS WITH CUSTOMERS FOR ALL BOATING ACTIVITIES FROM TRANSPORT TO RECREATION. MY BOAT 2 IS THE MOST COMPREHENSIVE APP ON THE MARKET, CAPABLE OF CONNECTING AND MONETIZING BOATERS WITH ALL BOATING ACTIVITIES ON A GLOABAL SCALE! IT'S THE UBER OF BOATING!!! WHETHER YOU'RE CLUBBING, BAR HOPPING, VISITING RESTAURANTS OR POPULAR BEACHES, MAYBE YOU JUST WANT TO ENJOY THE SIGHTS AND SOUNDS, MYBOAT2 IS THERE WHEN YOU NEED THEM!IF YOU'RE A CAPTAIN WITH A BOAT, BE SURE TO SIGNUP OR OBTAIN YOUR LICENSE BEFORE MYBOAT2'S LAUNCH THIS SPRING/SUMMER OF 2023!LEARN MORE BY VISING MYBOAT2.COM OR CHECK OUT THE APP IN THE APP STOREHIGHEST GROUND COFFEE via https://highestgroundcoffee.com/WHETHER YOU'RE SUFFERING FROM COPD, STRESS, ANXIETY, OR STIFF JOINTS, HIGHEST GROUND COFFEE DOES A GREAT JOB IN HELPING YOU RELEAX WHILE PUTTING A SMILE ON YOUR FACE! RCWR SHOW LISTENERS! LISTEN UP! RIGHT NOW SAVE UP TO $15 OFF YOUR ORDER OF $40 OR MORE WHEN YOU USE THE PROMO CODE "DOPECOFFEE." THAT'S RIGHT! USE THE PROMO CODE "DOPECOFEE" TO SAVE $15 OFF YOUT ORDER OF $40 OR MORE AT HIGHESTGROUNDCOFEE.COM JUST IN TIME FOR THIS HOLIDAY SEASON!PRICE4LESS.COM VIA https://price4less.com/Obtaining business credit, and business payment history, while obtaining business resources and knowledge. We are offering access to business resources, eBooks, step by step guides, funding and phone consultations to help you build more business credit while obtaining consistent payment history at the same time.LISTEN THE RCWR SHOW ON THE FOLLOWING PLATFORMS:SPOTIFY: https://rb.gy/oxea5uAMAZON MUSIC & AUDIBLE! https://rebrand.ly/jdt4b9vITUNES: https://rb.gy/rsax57PANDORA! https://rb.gy/3v3oc8iHEARTRADIO: https://rb.gy/j0isjnSTITCHER: https://rebrand.ly/rcwrshowstitcherTUNE IN: https://rebrand.ly/fgxyotx===========================FOLLOW THE RCWR SHOW ALL THROUGHOUT SOCIAL MEDIA!!!http://www.twitter.com/TheRCWRshowhttp://www.Twitch.tv/RCWRshowhttp://www.YouTube.com/THERCWRSHOWhttp://www.instagram.com/THERCWRSHOWhttp://www.facebook.com/THERCWRSHOW===========================

Broken internally by trauma and faced with a mental health diagnosis, Lyn Barrett epitomizes how we can exhibit strength in God through our weaknesses. Lyn grew up as an atheist under the guidance of her parents. However, as she faced an ugly divorce and was later diagnosed with multiple personality disorder, now known as dissociative identity disorder (DID), it opened the pathway to her learning about God. In this episode, we talk about how she faced her diagnosis, God changed her life amid the chaos, and she uses her "weakness" to change other people's lives.

The post Coverville 1431: The Barrett Strong Tribute appeared first on Coverville | The Cover Music Podcast.

The post Coverville 1431: The Barrett Strong Tribute appeared first on Coverville | The Cover Music Podcast.

It's time for another star-studded Planet Porky podcast with Mike Parry and Lesley-Ann Jones.  On today's episode they discuss: Porky's age, Mike Batt, guitar lessons, The Crying Game, a new Rick Astley album, bullying in the workplace and whether it's acceptable, getting your facts right, Barrett Strong, renaming schools for historical reasons, King Henry VIII, Alan Cumming, John Lennon's solo career, Happy Valley, theology courses, distinguishing between actors and their real selves, novel writing, life experience, Pamela Anderson, and why Irish pubs outside Ireland are rubbish. It's the podcast that's only ever authentic, it's Life on Planet Porky.  Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter. Or you can email us questions or comments to: planetporkypod@gmail.com. We'd love to hear from you!

Get ready for a soulful and groovy episode of Song Swap Showdown as Amanda and Chris dive into the sounds of Motown!   Amanda will be sharing "My Guy" by Mary Wells, "The Tears of a Clown" by Smokey Robinson and the Miracles, and "Money" by Barrett Strong. Chris will be countering with "You Really Got a Hold on Me" by The Miracles, "Let It Whip" by the Dazz Band, and "Do You Love Me (Now That I Can Dance)" by The Contours.   Get ready for a musical trip down memory lane as these two music lovers rate and review each song on a scale of 1 to 5 records. So put on your dancing shoes and get ready for a Motown-inspired Song Swap Showdown!   SPONSOR: Campsite.bio   A Blazing Fast Bio Link Made Your Way! Add Campsite.bio to any of your social sites now and CONVERT more followers into customers with a link in bio tool created just for you. SIGN UP FOR FREE or get $10 off a prop plan by using this code 1LM1JTJD, at checkout https://campsite.bio/landing/thechrisandamandashow   Join our Facebook Community - https://www.facebook.com/groups/1161768424439762 Give us a call, leave us a voicemail at +1 973 506 8009   Listen to our Song Swap Showdown 2023 Playlist https://open.spotify.com/playlist/4282nflhL3RxbeiHdOma29...   Connect with us at - http://campsite.bio/songswapshowdown   Feel free to support this show for as little as $2 a month through Buy Me a Coffee   Send us an email at thechrisandmaandashow@gmail.com   ALL LINKS - https://campsite.bio/songswapshowdown --- Send in a voice message: https://podcasters.spotify.com/pod/show/songswapshowdown/message Support this podcast: https://podcasters.spotify.com/pod/show/songswapshowdown/support

February 6, 2023: For this Grammy weekend edition of PSYCHOTIC BUMP SCHOOL, DJ ROME reunites with a musical kindred spirit from home & pays tribute to a Motown giant.PARTS 1 & 2 : DJ TOMAS joins Rome for a discussion about DJ culture, vinyl records, and the vibrant and ever-evolving underground music scene in Southern California.PARTS 2 & 3: Discussion with DJ TOMAS concludes and then A. SCOTT GALLOWAY returns to pay tribute to the recently departed singer/songwriter BARRETT STRONG most famously associated with Motown records. BARRETT was responsible for writing mega-classics such as "War", "I Wish It Would Rain", "Papa Was A Rolling Stone" "Stay In My Corner (for the Dells outside of Motown), "I Heard It Through The Grapevine", + many others.  This is a huge loss to the music community.  May he rest in peace.A great episode containing lots of musical history so press PLAY and ENJOY.

February 6, 2023: For this Grammy weekend edition of PSYCHOTIC BUMP SCHOOL, DJ ROME reunites with a musical kindred spirit from home & pays tribute to a Motown giant.PARTS 1 & 2 : DJ TOMAS joins Rome for a discussion about DJ culture, vinyl records, and the vibrant and ever-evolving underground music scene in Southern California.PARTS 2 & 3: Discussion with DJ TOMAS concludes and then A. SCOTT GALLOWAY returns to pay tribute to the recently departed singer/songwriter BARRETT STRONG most famously associated with Motown records. BARRETT was responsible for writing mega-classics such as "War", "I Wish It Would Rain", "Papa Was A Rolling Stone" "Stay In My Corner (for the Dells outside of Motown), "I Heard It Through The Grapevine", + many others.  This is a huge loss to the music community.  May he rest in peace.A great episode containing lots of musical history so press PLAY and ENJOY.

Barrett Strong, Bassline Synthesizers and sad songs! A show for the ages. It's late so I can't be bothered to write a long-ass blurb for this show. If you like what you hear join us live (almost) every Sunday 9pm-11pm on SheffieldLive!93.2fm, via the TuneIn Radio App or www.sheffieldlive.orgGet in touch with requests, recommendations and guest mix inquiries! We're also available for family functions, weddings, funerals, boat launches and more.www.twitter.com/RadioNightTrainSHOWNOTESMotownJunkees.co.ukhttps://motownjunkies.co.uk/Downtown Soulville with Mr. Fine Wine: Tribute to Barrett Stronghttps://wfmu.org/playlists/shows/124376Discograffiti Podcasthttps://discograffiti.com/about-us/God's Waiting Room presents Keb Darge with David Holmeshttps://ra.co/events/1653759A Brief Story of the Roland TB -303 Bassline Synthesizerhttps://youtu.be/nirWK2Btj40Reservation Dogshttps://www.disneyplus.com/en-gb/series/reservation-dogs/17MVZHUGJFZwHOTWAX 1st Birthday @ HAGGLERS with Powlohttps://www.facebook.com/events/909846420199346Om Unit - “Dissolved” - A Live Acid Dub Versionhttps://www.instagram.com/p/CnhDUeZB_mW/

Juliet and Terence on: Open Door at the BBC, and a 1980s fanzine; Marie Kondo hides the vacuum cleaner; Ozzy Osbourne retires; and farewell to Tom Verlaine and Barrett Strong. {no Wimpy Bar in Telford}

Diese Woche ging es wieder rund bei Hot Pink. Das Celebrity-Rädchen dreht sich munter in La-La-Land. Bei den Presleys wird nach dem Tod Lisa Maries die Erb-Schlammschlacht geschlagen, bei David Harbour & Lily Allen gibt es die große Haustour. Jessica Simpson schreibt über ihren One-Night-Stand mit einem geheimen Hollywood-Superstar und alle fragen sich: WER? In der Zwischenzeit geht Tom Brady Mal wieder in Rente, Vanessa Hudgens verlobt sich und Ellen DeGeneres & Portia schließen den Bund fürs Leben ein zweites Mal. Und wem das alles noch nicht genug ist, der kann immer noch eine Nacht in Kevin Costners Bett auf seiner Farm in Aspen verbringen!

Topics include:David Lee Roth releases "unreleased" recording of "Mustang Sally" Panic! At The Disco splits up The praise over Lil Yachty's latest project MBU: songwriter Barrett Strong, guitarist Tom VerlaineSLAPS: Vic Mensa feat. Maeta and Thundercat, Dave Matthews Band, Lil YachtyFocus Group VA Easy Money! $100 for participating in Zoom discussion, $25 when you refer someoneDoes It Slap Playlist The Hustle Season on Patreon Our Linktree:::::ADVERTISE ON THE HUSTLE SEASON PODCAST:::::Have a business/event you want to get out to listeners?Are you an out of town band coming to Richmond and want to promote your gig ?? Buy a spot on the Hustle Season Podcast, starts at $25. So easy!!

On A Bowl of Soul, we are celebrating Singer, Songwriter Barrett Strong who produced numerous hits for Gladys Knight and The Pips, The Temptations, Edwin Starr, Undisputed Truth, Marvin Gaye and the list goes on. Enjoy the show!!!! We celebrate Barrett Strong for Black History Month.  Professor T-LoveA Bowl of Soul A Mixed Stew of Soul Music™#ClassicSoul #NewRandBA Bowl of Soul Radio Network on Live365.com, http://streaming.live365.com/a91220 Advertise on or Sponsor the A Bowl of Soul podcast and radio networkFollow me on: Twitter: @abowlofsoul, Instagram: ProfTlove, Facebook: A Bowl of Soul A Mixed Stew of Soul MusicSupport A Bowl of Soul. We would love your support!!! CashApp: $Abowlofsoul,  Venmo:abowlofsoulor You can Buy Me A Coffee at Professor T-Love (buymeacoffee.com) Get Your A Bowl of Soul Swag T-Shirt or Mug at: https://tinyurl.com/abowlofsoultshirt

In this week's episode, Patrick and Tommie talk about the Rev. Al Sharpton's eulogy for Tyre Nichols, enjoy the story of a dog reunited with its family, meet the Sarloos Wolfdog, move on up with Sherman Hemsley, lament the passings of Barrett Strong and Cindy Williams, observe Black History Month, celebrate the 1980 film American Gigolo, salivate over National Baked Alaska Day, uncover the real dirt about gas stoves and Ozempic, learn about reading and writing at the Nazi homeschooling channel, call out some stupid school districts, and name their favorite deceased queer African-Americans.

Today, we're diving into the life and legacy of Motown legend Barrett Strong. He passed away over the weekend at the age of 81, and although born in West Point, Mississippi, when came to Detroit after World War Two, the Motor City is became where he made his name. To dive in on this, i'm joined - from all away across the pond in the UK - by Adam White. His excellent book is Motown, The Sound of Young America; and he writes the West Grand Blog, where if you want to keep up with what's happening in the Motown music world it's a great place to go. Book: https://www.amazon.com/Motown-Sound-America-Adam-White/dp/0500518297 West Grand Blog: https://www.adampwhite.com/westgrandblog As always - feedback, dailydetroit - at - gmail - dot - com.

#Barrett strong you knows what to do # singer,songwriter, producer and musician # respect and Rip # classic song and vocals --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support

NBA News, NFL News, MLB News, WNBA News, NHL News, Coronavirus impact on the sports & entertainment, NBC's La Brea, Blacklist, Dateline, DC's new direction, CBS's FBI Franchise, Fox's Call Me Kat, Simpsons, Family Guy, Bob's Burgers, Showtime, Michael Jackson, A Farewell to Bobby Hull, Cindy Williams, Ralph Avila, Barrett Strong, Lisa Loring, Adama Niane, Annie Wersching, Tom Verlaine, Everett Quinton, Billy Packer, Noah Cowan, Jessie Lemonier, Lance Kerwin & Gary Peters. --- Support this podcast: https://podcasters.spotify.com/pod/show/on-the-radar/support

More influential musicians pass over the weekend, Tom Verlaine of Television and Barrett Strong, who wrote many Motown classics.//The house band for Kraken games fired after insulting Jeff Bezos.//A Louisiana man with an F Biden banner sues on free speech grounds after local authorities try to stop him.See omnystudio.com/listener for privacy information.

The US Secretary of State Antony Blinken has urged Israel and the Palestinians to take steps to calm tension. He has arrived in Israel for meetings with both sides as violence there continues. In the latest incident a Palestinian man was shot dead by Israeli soldiers in the occupied West Bank. On Thursday, ten Palestinians were killed in Jenin by Israeli forces, while seven Israelis died on Friday when a Palestinian gunman opened fire outside a synagogue in East Jerusalem. Mr Blinken, who is on the second leg of his Middle East visit, will meet Israel's Prime Minister, Benjamin Netanyahu later today and the Palestinian leader, Mahmoud Abbas on Tuesday. Also in the programme: an attack on a mosque in the Pakistani city of Peshawar has killed at least 32 people and injured 150 others; and the music of Motown legend Barrett Strong. (Photo: US Secretary of State Antony Blinken disembarks from his plane upon arrival at Israel's Ben Gurion Airport, 30 January, 2023. Credit: Ronaldo Schemidt/Reuters)

AP correspondent Margie Szaroleta reports on Obit-Barrett Strong.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En esta edición presentamos 'Take the Day Off', nuevo trabajo discográfico del proyecto Tortured Soul. En el repaso a novedades de la música Smooth Jazz reseñamos los álbumes de Steve Baxter, D.S. Wilson, Peet Project, The 3 Keys y Andrew Small. El bloque central es un recuerdo para el recientemente fallecido Barrett Strong. Creador de algunos de los grandes éxitos del sonido Motown, repasamos algunas de sus composiciones en versiones de Peter White, Dianne Reeves, Paul Young y Lee Ritenour.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Detroit is launching a $100 million employment scholarship fund to encourage people who have not worked for several months to re-enter the job market. Plus, Motown legend Barrett Strong dies at 81, Brightmoor Artisans Collective is expanding its programming to assist small businesses, and more.

In this episode of Diagnosis Success we interview successful music business artist Chel Strong. Chel Strong, is a multifaceted hip-hop artist/songwriter that was born and raised in Detroit, MI but currently resides in Los Angeles, CA. Growing up as the son of grammy award winning Motown singer/songwriter, Barrett Strong, Chel has always had music in his blood. In this interview we discuss his success in music business, and sync licensing. 

Label: Phil. Int'l. 3521Year: 1972Condition: M-Last Price: $15.00. Not currently available for sale.Listening to this Philly Soul classic again today, I was thinking that the spark of genius at work here, in the collaboration among Kenny Gamble, Leon Huff and Bobby Martin, is precisely the same as that which gave life to the Motown genius of producer/writers like Norman Whitfield & Barrett Strong, with miracles of Soul music such as "Just My Imagination" by the Temptations. Anyway, what I mean is... I love it! Not on the Rolling Stone, Dave Marsh or Kev Roberts lists? I think I'm hearing something those guys don't, cause to me this is a 2-star recommendation (our highest)! Note: This beautiful copy comes in a vintage Philadelphia Int'l Records factory sleeve. It has gorgeous, pristine Mint audio.

MP3 Link Andrew hosting this week's show, with a smoking hot selection of jazz-funk, blue-eyed soul, disco, boogie, funk, reworks and plenty more. Featuring tracks by Stanley Turrentine, Pointer Sisters, The Ebonys, Barrett Strong, STR4TA, Incognito, Dave Lee, Joe Bataan, Hudson People and many, many more. Enjoy. RSS Feed: 6MS Sessions

This week's show, after a 1990 Chills trill: brand new The Nils, Sloan, Startographers, Jack Skuller, I Was a King, Buzzcocks, and Brian Eno (with Darla Eno); plus Pretty Things, Barrett Strong, Neil Young, Culture, Hank Locklin, Astrud Gilberto, and D...

The Blue Cats - Nowhere Man (196?) I'm gonna guess 1966 since this band released three albums of covers of their time plus some instrumental originals. Probably German studio guys bringing the Western hits of the day to their homeland.  Diane and Annita - Groovey Kind of Love (1965) Fans (?) of this release propose that this might not even be the titular singers (who sound nothing like the voices on this recording) but actually the writers, Carol Bayer-Sager and Toni Wine. Annita Ray also recorded a one-off novelty single with Eden Ahbez, the writer of "Nature Boy," in 1956. It was titled "Frankie's Song" b/w "Elvis Presley Blues."  Wikipedia: The melody is from the Rondo from Muzio Clementi's Sonatina, Opus 36, No. 5. Even though Wine and Sager claim full songwriting credits, they mainly wrote the lyrics and just slightly modified Clementi's music. Bayer Sager originally pitched the song to pop star Lesley Gore in early 1965, but Gore's producer at the time, Shelby Singleton, rejected it, as he found the word "groovy" too slangy.  Gene Cotton - Let Your Love Flow (1975)  The Undisputed Truth - Papa Was A Rollin' Stone (1972) This version actually preceded the Grammy-winning version by The Temptations, and the two are pretty similar. The Undisputed Truth had their biggest hit with a song written by Norman Whitfield and Barrett Strong as well, "Smiling Faces Sometimes", which was originally recorded by The Temptations! This is another trivia question you can ask your friend.  Beau Williams - C'est La Vie (1984) Black Magic! - Miss Jessie (1970) Brian Wilson - Just Say No (1986) C.W. McCall - Kidnap America (1980)  The Soul Searchers - We The People (1972) Roogalator - Cincinnatti Fatback (1976) Note the Stiff Records logo on the upper left corner. This was one of the first Stiff releases. Danny Adler was an American ex-pat living in England. This was the second version of Roogalator (formed in 1972), and as much as this track smokes, the band got virtually no support from the label, and constant personnel changes killed the group. Could you have hung on that long with an entire movement (that you helped start) bubbling under your feet, only to be ignored and ultimately ripped off?  Cliff Bennett and his Band - Back In The U.S.S.R. (1968) Con-Funk-Shun - Clique (1974) Sesame Street - Cracks (1976) "Cracks" is an animated musical insert produced for Sesame Street in the 1970s. A young girl is unable to go outside to play because of the rain, and so she imagines the cracks in her wall form a camel. The camel takes her on an adventure through the wall where she meets a hen and a monkey, also made out of cracks. The voice is the one and only Dorothy Moskowitz, who I featured on a recent show. She is mostly known as the female voice of The United States of America.  Debby Dobbins - How You Gonna Feel (1979)  A selection from the one and only album by Don Thompson - Fanny Brown/Just Plain Funk/Night Ladies/Hang Loose (1977) God, I love this funk. From Dusty Groove: The one and only album from drummer Don Thompson – a funky Brunswick classic from the 70s, and one of the most unique records we've ever heard from the label at the time! Don's got this style of singing that has a bit of a southern twang at times, but he works with grooves that are definitely northern in their orientation – served up in a range of styles that includes the funky drum break of the title cut, some mellow-stepping moments on a few other tunes, and the bouncing boogie that's really become the album's calling card over the years! There's loads of great bass work on most cuts, which really grounds that album alongside Don's drums – and titles include "Just Plain Funk", "Fanny Brown", "Lovin To The Bone", "Night Ladies (part 1 & 2)", and "Hang Loose". Donny Hathaway - The Ghetto (1970) His early records were expansive and unique, and his voice was second to none. He was every bit the equal of Stevie and Marvin, but you know him from his duets with Roberta Flack.  Wikipedia: During the peak of his career, Hathaway began suffering from severe bouts of depression and exhibiting unusual behavior. In 1971, he was diagnosed with paranoid schizophrenia for which he was prescribed various medications. At one point, Hathaway was prescribed fourteen different medications that he was to take twice a day. After Hathaway was diagnosed and began taking medication, his mental state improved. However, Eulaulah Hathaway has said that her husband became less than diligent about following his prescription regimen when he began feeling better and often stopped taking his medications altogether. From 1973 to 1977, Hathaway's mental instability wreaked havoc on his life and career and required several hospitalizations. The effects of his depression and severe mood swings also drove a wedge in his and Flack's friendship; they did not reconcile for several years, and did not release additional music until the successful release of "The Closer I Get To You" in 1978. Flack and Hathaway then resumed studio recording to compose a second album of duets. You should investigate his discography, especially this stunning debut album, Everything Is Everything. He was brilliant.  Donny Hathaway - To Be Young, Gifted, and Black (1970)  Donnie Most - Rock Is Dead (1976)  Enoch Light and the Light Brigade - Pick Up The Pieces (1975) John Miller on bass.  Enoch Light and the Light Brigade - Puppet Man (1970)  Fleetwood Mac - Sentimental Lady (1972) POACA will remember that Bob Welch rerecorded this with a more prominent Christine McVie backing vocal part. The singing members of Fleetwood Mac circa 1977-1980 could have crapped on a cracker and it would have gone gold.  The Mothers of Invention - Help, I'm a Rock (Suite In Three Movements) I. Okay To Tap Dance II. In Memoriam, Edgard Varèse lll. It Can't Happen Here (1966)  Ian Dury and the Blockheads - Reasons To Be Cheerful (Pt. 3) (1980)  Kelly Gordon - He Ain't Heavy, He's My Brother (1969) First version. Beautiful.  Kid Creole and the Coconuts - Indiscreet (1983) Live. Goddammit, Carol Colman on bass.  The Residents - Die In Terror (1980)  Hoover Commercial with Brian Johnson of AC/DC on vocals. (1979)  Carpenters - Suntory Pop Jingle (1977)    

Del weeps, wails, gnashes his teeth over medical issues or at least the shortage of medical professionals...again. Claims he's had more unfortunate events than Lemony Snicket. He's old, ignore him.Dave goes down a two old goats rabbit hole and finds there are some goats grazing in podcast land and even on the farm.  Found an interesting website called Old Goats with Jonathan Alter. Here's one of his interviews, dealing with Ukraine.Dave rates Gold Fame Citrus by Claire Vaye Watkins as a stinker. Two of five stars. Really wanted to like it as her Battleborn collection was excellent. You pay your money and you take your choice.  Do you have a book to recommend? Contact us, as always,  at BUCKSTWOOLD@GMAIL.COM.  We're all antlers and ears.Del chides his wife for screwing up some paperwork. Fortunately, she doesn't listen to TOB.Ranger Rick is disappointed that Dave had no bake shop stories last week Dave still hates autocorrect.  Our on-staff fact checker discovered that Eric Burdon did NOT sing War [what is is good for?]  Burdon had already left the group, WAR, before they sang War. It's confusing.  Further, the song was written by Barrett Strong. You have to be very old to remember his hit, Money, released in 1959. Barrett is still going strong at 81.Thanks  and credit to Moby for the closing song, Lie Down in Darkness [Ben Hoo's Dorian Vibe]

Great interview with special guest Scott I. Gutman, CFP®.  Music artists include: Beat Junkies, Marc Mac, Salaam Remi, Poldoore, The O'Jays, Barrett Strong, Fatback Band, Stevie Wonder, Lake Street Dive, Pink Floyd. Special Thanks to Scott I. Gutman, CFP® for your time and for sharing some insights with my audience.  Sign up as a Premium Member here to get bonus content https://djbenniejames.supercast.comFor daily podcasts & shows visit -  LoveSoulRadio.netLicensed for digital streaming & play  ASCAP 400009874 & BMI - 61044939THANKS as always to all my Supporters, Sponsors and Music Pool MembersVery Special Thanks to : Life Destiny SOULutions, The Brown Family, The Gardner Family and Omar Boyles Promotions.___________________________________________________________________________________SGI Wealth Management, LLC2301 East Evesham Road, Suite 406Voorhees, NJ 08043Office: 856-240-1020 Email: admin.sgiwealth@lpl.comWeb:   www.sgiwealth.comLink to “12 Common Financial Mistakes to Avoid"https://sgiwealthmanagement.box.com/s/q2el8soljnohz25wyc2q9clzt5rdth9dThe opinions voiced in this podcast are for general information only and are not intended to provide specific advice or recommendations for any individual. To determine which strategies or investments may be suitable for you, consult the appropriate qualified professional prior to making a decision.There is no guarantee that a diversified portfolio will enhance overall returns or outperform a non-diversified portfolio. Diversification does not protect against market risk. Stock investing includes risks, including fluctuating prices and loss of principal.Securities offered through LPL Financial, member FINRA/SIPC. Investment advice offered through Private Advisor Group, a registered Investment advisor. Private Advisor Group and SGI Wealth Management, LLC are separate entities from LPL Financial.DJ Bennie James, SGI Wealth Management LLC and LPL Financial are separate entities. Support the show (https://djbenniejames.com/podcast)

People everywhere are lovely, so why do we have wars? And why does it feel like we might be on the brink of one right now? Goodness knows I don't know the answer to that. But let's have a think about it from an evolutionary point of view, and see if there is anything we can do to create a more compassionate world. TARGETED PLAYLIST LINK: Compassion in a T-Shirt LINKS TO PAPERS Gilbert (2021). Creating a Compassionate World: Addressing the Conflicts Between Sharing and Caring Versus Controlling and Holding Evolved Strategies https://www.frontiersin.org/articles/10.3389/fpsyg.2020.582090/full The song "War" originally written by Norman Whitfield and Barrett Strong and a number 1 hit for Edwin Starr in 1970. "War" was performed in concert by Bruce Springsteen and the E Street Band in 1985 during his Born in the USA tour. https://en.wikipedia.org/wiki/War_(The_Temptations_song)#Edwin_Starr_version Say hi on social: Facebook: https://www.facebook.com/drstansteindl Twitter: https://twitter.com/StanSteindl Instagram: https://www.instagram.com/dr_stan_steindl/ LinkedIn: https://www.linkedin.com/in/stan-steindl-150a5264/ Website: https://www.stansteindl.com/ YouTube Video URL: https://youtu.be/k9D1ZpCf8rc *Affiliate Disclaimer: Note this description contains affiliate links that allow you to find the items mentioned in this video and support the channel at no cost to you. While this channel may earn minimal sums when the viewer uses the links, the viewer is in no way obligated to use these links. Thank you for your support! #compassion #self-compassion

Episode one hundred and thirty-three of A History of Rock Music in Five Hundred Songs looks at "My Girl" by the Temptations, and is part three of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Yeh Yeh" by Georgie Fame and the Blue Flames. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. This box set is the definitive collection of the Temptations' work, but is a bit pricey. For those on a budget, this two-CD set contains all the hits. As well as the general Motown information listed below, I've also referred to Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, and to Smokey Robinson's autobiography. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript For the last few weeks we've been looking at Motown in 1965, but now we're moving away from Holland, Dozier, and Holland, we're also going to move back in time a little, and look at a record that was released in December 1964. I normally try to keep this series in more or less chronological order, but to tell this story I had to first show the new status quo of the American music industry after the British Invasion, and some of what had to be covered there was covered in songs from early 1965. And the reason I wanted to show that status quo before doing this series of Motown records is that we're now entering into a new era of musical segregation, and really into the second phase of this story. In 1963, Billboard had actually stopped having an R&B chart -- Cashbox magazine still had one, but Billboard had got rid of theirs. The reasoning was simple -- by that point there was so much overlap between the R&B charts and the pop charts that it didn't seem necessary to have both. The stuff that was charting on the R&B charts was also charting pop -- people like Ray Charles or Chubby Checker or the Ronettes or Sam Cooke. The term "rock and roll" had originally been essentially a marketing campaign to get white people to listen to music made by Black people, and it had worked. There didn't seem to be a need for a separate category for music listened to by Black people, because that was now the music listened to by *everybody*. Or it had been, until the Beatles turned up. At that point, the American charts were flooded by groups with guitars, mostly British, mostly male, and mostly white. The story of rock and roll from 1954 through 1964 had been one of integration, of music made by Black people becoming the new mainstream of music in the USA. The story for the next decade or more would be one of segregation, of white people retaking the pop charts, and rebranding "rock and roll" so thoroughly that by the early 1970s nobody would think of the Supremes or the Shirelles or Sam Cooke as having been rock and roll performers at all. And so today we're going to look at the record that was number one the week that Billboard reinstated its R&B chart, and which remains one of the most beloved classics of the time period. We're going to look at the careers of two different groups at Motown, both of whom managed to continue having hits, and even become bigger, after the British Invasion, and at the songwriter and producer who was responsible for those hits -- and who was also an inspiration for the Beatles, who inadvertently caused that invasion. We're going to look at Smokey Robinson, and at "My Girl" by the Temptations: [Excerpt: The Temptations, "My Girl"] The story of the Temptations both starts and ends with Otis Williams. As I write this, Williams is the only living member of the classic Temptations lineup, and is the leader of the current group. And Williams also started the group that, after many lineup changes and mergers, became the Temptations, and was always the group's leader, even though he has never been its principal lead singer. The group that eventually became the Temptations started out when Williams formed a group with a friend, Al Bryant, in the late 1950s. They were inspired by a doo-wop group called the Turbans, who had had a hit in 1956 with a song called "When You Dance": [Excerpt: The Turbans, "When You Dance"] The Turbans, appropriately enough, used to wear turbans on their heads when they performed, and Williams and Bryant's new group wanted to use the same gimmick, so they decided to come up with a Middle-Eastern sounding group name that would justify them wearing Arabic style costumes. Unfortunately, they didn't have the greatest grasp of geography in the world, and so this turban-wearing group named themselves the Siberians. The Siberians recorded one single under that name -- a single that has been variously reported as being called "The Pecos Kid" and "Have Gun Will Travel", but which sold so poorly that now no copies are known to exist anywhere -- before being taken on by a manager called Milton Jenkins, who was as much a pimp as he was a manager, but who definitely had an eye for talent. Jenkins was the manager of two other groups -- the Primes, a trio from Alabama who he'd met in Cleveland when they'd travelled there to see if they could get discovered, and who had moved with him to Detroit, and a group he put together, called the Primettes, who later became the Supremes. The Primes consisted of three singers -- Eddie Kendricks, Paul Williams (no relation to Otis, or to the soft-pop singer and actor of the same name), and Kell Osborne, who sang lead. The Primes became known around Detroit as some of the best performers in the city -- no mean feat considering that Jackie Wilson, Aretha Franklin, the Miracles and the Four Tops, just for a start, were performing regularly on the same circuit. Jenkins had big plans for his groups, and he sent them all to dance school to learn to perform choreographed routines. But then Jenkins became ill and disappeared from the scene, and the Primes split up. Kendricks and Paul Williams went back to Alabama, while Osborne moved on to California, where he made several unsuccessful records, including "The Bells of St. Mary", produced by Lester Sill and Lee Hazelwood and arranged by Phil Spector: [Excerpt: Kell Osborne, "The Bells of St. Mary"] But while the Primes had split up, the Siberians hadn't. Instead, they decided to get new management, which came in the person of a woman named Johnnie Mae Matthews. Matthews was the lead singer of a group called the Five Dapps, who'd had a local hit with a track called "Do Whap A Do", one of the few Dapps songs she didn't sing lead on: [Excerpt: The Five Dapps, "Do Whap A Do"] After that had become successful, Matthews had started up her own label, Northern -- which was apparently named after a brand of toilet paper -- to put out records of her group, often backed by the same musicians who would later become the core of the Funk Brothers. Her group, renamed Johnnie Mae Matthews and the Dapps, put out two more singles on her label, with her singing lead: [Excerpt: Johnnie Mae Matthews and the Dapps, "Mr. Fine"] Matthews had become something of an entrepreneur, managing other local acts like Mary Wells and Popcorn Wylie, and she wanted to record the Siberians, but two of the group had dropped out after Jenkins had disappeared, and so they needed some new members. In particular they needed a bass singer -- and Otis Williams knew of a good one. Melvin Franklin had been singing with various groups around Detroit, but Williams was thinking in particular of Franklin's bass vocal on "Needed" by the Voice Masters. We've mentioned the Voice Masters before, but they were a group with a rotating membership that included David Ruffin and Lamont Dozier. Franklin hadn't been a member of the group, but he had been roped in to sing bass on "Needed", which was written and produced by Gwen Gordy and Roquel Davis, and was a clear attempt at sounding like Jackie Wilson: [Excerpt: The Voice Masters, "Needed"] Williams asked Franklin to join the group, and Franklin agreed, but felt bad about leaving his current group. However, the Siberians also needed a new lead singer, and so Franklin brought in Richard Street from his group. Matthews renamed the group the Distants and took them into the studio. They actually got there early, and got to see another group, the Falcons, record what would become a million-selling hit: [Excerpt: The Falcons, "You're So Fine"] The Falcons, whose lead vocalist Joe Stubbs was Levi Stubbs' brother, were an important group in their own right, and we'll be picking up on them next week, when we look at a single by Joe Stubbs' replacement in the group. The Distants' single wouldn't be quite as successful as the Falcons', but it featured several people who would go on to become important in Motown. As well as several of the Funk Brothers in the backing band, the record also featured additional vocals by the Andantes, and on tambourine a local pool-hall hustler the group knew named Norman Whitfield. The song itself was written by Williams, and was essentially a rewrite of "Shout!" by the Isley Brothers: [Excerpt: The Distants, "Come On"] The Distants recorded a second single for Northern, but then Williams made the mistake of asking Matthews if they might possibly receive any royalties for their records. Matthews said that the records had been made with her money, that she owned the Distants' name, and she was just going to get five new singers. Matthews did actually get several new singers to put out a single under the Distants name, with Richard Street still singing lead -- Street left the group when they split from Matthews, as did another member, leaving the group as a core of Otis Williams, Melvin Franklin, and Al Bryant. But before the split with Matthews, Berry Gordy had seen the group and suggested they come in to Motown for an audition. Otis, Melvin, and Al, now renamed the Elgins, wanted to do just that. But they needed a new lead singer. And happily, they had one. Eddie Kendricks phoned up Otis Williams and said that he and Paul Williams were back in town, and did Otis know of any gigs that were going? Otis did indeed know of such a gig, and Paul and Eddie joined the Elgins, Paul as lead singer and Eddie as falsetto singer. This new lineup of the group were auditioned by Mickey Stevenson, Motown's head of A&R, and he liked them enough that he signed them up. But he insisted that the name had to change -- there was another group already called the Elgins (though that group never had a hit, and Motown would soon sign up yet another group and change their name to the Elgins, leading to much confusion). The group decided on a new name -- The Temptations. Their first record was co-produced by Stevenson and Andre Williams. Williams, who was no relation to either Otis or Paul (and as a sidenote I do wish there weren't so many people with the surname Williams in this story, as it means I can't write it in my usual manner of referring to people by their surname) was a minor R&B star who co-wrote "Shake a Tail Feather", and who had had a solo hit with his record "Bacon Fat": [Excerpt: Andre Williams, "Bacon Fat"] Andre Williams, who at this point in time was signed to Motown though not having much success, was brought in because the perception at Motown was that the Temptations would be one of their harder-edged R&B groups, rather than going for the softer pop market, and he would be able to steer the recording in that direction. The song they chose to record was one that Otis Williams had written, though Mickey Stevenson gets a co-writing credit and may have helped polish it: [Excerpt: The Temptations, "Oh Mother of Mine"] The new group lineup became very close, and started thinking of each other like family and giving each other nicknames -- though they also definitely split into two camps. Otis Williams and Melvin Franklin were always a pair, and Eddie Kendricks and Paul Williams had come up together and thought of themselves as a team. Al Bryant, even though he had been with Otis from the beginning, was a bit of an outlier in this respect. He wasn't really part of either camp, and he was the only one who didn't get a nickname from the other band members. He was also the only one who kept his day job -- while the other four were all determined that they were going to make it as professional singers, he was hesitant and kept working at the dairy. As a result, whenever there were fights in the group -- and the fights would sometimes turn physical -- the fighting would tend to be between Eddie Kendricks and Melvin Franklin. Otis was the undisputed leader, and nobody wanted to challenge him, but from the beginning Kendricks and Paul Williams thought of Otis as a bit too much of a company man. They also thought of Melvin as Otis' sidekick and rubber stamp, so rather than challenge Otis they'd have a go at Melvin. But, for the most part, they were extremely close at this point. The Temptations' first single didn't have any great success, but Berry Gordy had faith in the group, and produced their next single himself, a song that he cowrote with Otis, Melvin, and Al, and which Brian Holland also chipped in some ideas for. That was also unsuccessful, but the next single, written by Gordy alone, was slightly more successful. For "(You're My) Dream Come True", Gordy decided to give the lead to Kendricks, the falsetto singer, and the track also featured a prominent instrumental line by Gordy's wife Raynoma -- what sounds like strings on the record is actually a primitive synthesiser called an ondioline: [Excerpt: The Temptations, "(You're My) Dream Come True"] That made number twenty-two on the R&B chart, and was the first sign of any commercial potential for the group -- and so Motown went in a totally different direction and put out a cover version, of a record by a group called the Diablos, whose lead singer was Barrett Strong's cousin Nolan. The Temptations' version of "Mind Over Matter" wasn't released as by the Temptations, but as by the Pirates: [Excerpt: The Pirates, "Mind Over Matter"] That was a flop, and at the same time as they released it, they also released another Gordy song under their own name, a song called "Paradise" which seems to have been an attempt at making a Four Seasons soundalike, which made number 122 on the pop charts and didn't even do that well on the R&B charts. Annoyingly, the Temptations had missed out on a much bigger hit. Gordy had written "Do You Love Me?" for the group, but had been hit with a burst of inspiration and wanted to do the record *NOW*. He'd tried phoning the various group members, but got no answer -- they were all in the audience at a gospel music show at the time, and had no idea he was trying to get in touch with them. So he'd pulled in another group, The Contours, and their version of the song went to number three on the pop charts: [Excerpt: The Contours, "Do You Love Me?"] According to the biography of the Temptations I'm using as a major source for this episode, that was even released on the same day as both "Paradise" and "Mind Over Matter", though  other sources I've consulted have it coming out a few months earlier. Despite "Paradise"'s lack of commercial success, though, it did introduce an element that would become crucial for the group's future -- the B-side was the first song for the group written by Smokey Robinson. We've mentioned Robinson briefly in previous episodes on Motown, but he's worth looking at in a lot more detail, because he is in some ways the most important figure in Motown's history, though also someone who has revealed much less of himself than many other Motown artists. Both of these facts stem from the same thing, which is that Robinson is the ultimate Motown company man. He was a vice president of the company, and he was Berry Gordy's best friend from before the company even started. While almost every other artist, writer, or producer signed to Motown has stories to tell of perceived injustices in the way that Motown treated them, Robinson has always positioned himself on the side of the company executives rather than as one of the other artists. He was the only person outside the Gordy family who had a place at the very centre of the organisation -- and he was also one of a very small number of people during Motown's golden age who would write, produce, *and* perform. Now, there were other people who worked both as artists and on the backroom side of things -- we've seen that Marvin Gaye and Stevie Wonder would sometimes write songs for other artists, and that Eddie Holland and Lamont Dozier had started out as performers before moving into songwriting. But these were mostly little dalliances -- in general, in Motown in the sixties, you were either a performer or you were a writer-producer. But Smokey Robinson was both -- and he was *good* at both, someone who was responsible for creating many of the signature hits of Motown. At this point in his career, Robinson had, as we've heard previously, been responsible for Motown's second big hit, after "Money", when he'd written "Shop Around" for his own group The Miracles: [Excerpt: The Miracles, "Shop Around"] The Miracles had continued to have hits, though none as big as "Shop Around", with records like "What's So Good About Goodbye?": [Excerpt: The Miracles, "What's So Good About Goodbye?"] But Robinson had also been writing regularly for other artists. He'd written some stuff that the Supremes had recorded, though like all the Supremes material at this point it had been unsuccessful, and he'd also started a collaboration with the label's biggest star at this point, Mary Wells, for whom he'd written top ten hits like "The One Who Really Loves You": [Excerpt: Mary Wells, "The One Who Really Loves You"] and "You Beat Me To The Punch", co-written with fellow Miracle Ronnie White, which as well as going top ten pop made number one on the R&B charts: [Excerpt: Mary Wells, "You Beat Me to The Punch"] Between 1962 and 1964, Robinson would consistently write huge hits for Wells, as well as continuing to have hits with the Miracles, and his writing was growing in leaps and bounds. He was regarded by almost everyone at Motown as the best writer the company had, both for his unique melodic sensibility and for the literacy of his lyrics. When he'd first met Berry Gordy, he'd been a writer with a lot of potential, but he hadn't understood how to structure a lyric -- he'd thrown in a lot of unrelated ideas. Gordy had taken him under his wing and shown him how to create a song with a beginning, a middle, and an end, and Robinson had immediately understood what he needed to do. His lyrics, with their clever conceits and internal rhymes, became the ones that everyone else studied -- when Eddie Holland decided to become a songwriter rather than a singer, he'd spent months just studying Robinson's lyrics to see how they worked. Robinson was even admired by the Beatles, especially John Lennon -- one can hear his melismatic phrases all over Lennon's songwriting in this period, most notably in songs like "Ask Me Why", and the Beatles covered one of Robinson's songs on their second album, With the Beatles: [Excerpt: The Beatles, "You Really Got a Hold On Me"] After writing the B-side to "Paradise", Robinson was given control of the Temptations' next single. His "I Want a Love I Can See" didn't do any better than "Paradise", and is in some ways more interesting for the B-side, "The Further You Look, The Less You See": [Excerpt: The Temptations, "The Further You Look, The Less You See"] That track's interesting because it's a collaboration between Robinson and Norman Whitfield, that pool-hall hustler who'd played tambourine on the Distants' first single. Whitfield had produced the records by the later Distants, led by Richard Street, and had then gone to work for a small label owned by Berry Gordy's ex-mother-in-law. Gordy had bought out that label, and with it Whitfield's contract, and at this point Whitfield was very much an apprentice to Robinson. Both men were huge admirers of the Temptations, and for the next few years both would want to be the group's main producer and songwriter, competing for the right to record their next single -- though for a good chunk of time this would not really be a competition, as Whitfield was minor league compared to Robinson. "I Want a Love I Can See" was a flop, and the Temptations' next single was another Berry Gordy song. When that flopped too, Gordy seriously started considering dropping the group altogether. While this was happening, though, Robinson was busily writing more great songs for his own group and for Mary Wells, songs like "What Love Has Joined Together", co-written with his bandmate Bobby Rogers: [Excerpt: Mary Wells, "What Love Has Joined Together"] And the Temptations were going through their own changes. Al was becoming more and more of an outsider in the group, while also thinking of himself as the real star. He thought this even though he was the weak link -- Paul and Eddie were the lead singers, Otis was the band's leader, Melvin had a hugely distinctive bass voice, and Al was... just "the other one". Things came to a head at a gig in October 1963, when a friend of the group showed up. David Ruffin was so friendly with Melvin Franklin that Franklin called him his cousin, and he was also a neighbour of Otis'. He had been a performer from an early age -- he'd been in a gospel group with his older brother Jimmy and their abusive father. Once he'd escaped his father, he'd gone on to perform in a duo with his brother, and then in a series of gospel groups, including stints in the Dixie Nightingales and the Soul Stirrers. Ruffin had been taken on by a manager called Eddie Bush, who adopted him -- whether legally or just in their minds is an open question -- and had released his first single as Little David Bush when he was seventeen, in 1958: [Excerpt: Little David Bush, "You and I"] Ruffin and Bush had eventually parted ways, and Ruffin had taken up with the Gordy family, helping Berry Gordy Sr out in his construction business -- he'd actually helped build the studio that Berry Jr owned and where most of the Motown hits were recorded -- and singing on records produced by Gwen Gordy. He'd been in the Voice Masters, who we heard earlier this episode, and had also recorded solo singles with the Voice Masters backing, like "I'm In Love": [Excerpt: David Ruffin, "I'm In Love"] When Gwen Gordy's labels had been absorbed into Motown, so had Ruffin, who had also got his brother Jimmy signed to the label. They'd planned to record as the Ruffin Brothers, but then Jimmy had been drafted, and Ruffin was at a loose end -- he technically had a Motown contract, but wasn't recording anything. But then in October 1963 he turned up to a Temptations gig. For the encore, the group always did the Isley Brothers song "Shout!", and Ruffin got up on stage with them and started joining in, dancing more frantically than the rest of the group. Al started trying to match him, feeling threatened by this interloper. They got wilder and wilder, and the audience loved it so much that the group were called back for another encore, and Ruffin joined them again. They did the same song again, and got an even better reaction. They came back for a third time, and did it again, and got an even better reaction. Ruffin then disappeared into the crowd. The group decided that enough was enough -- except for Al, who was convinced that they should do a fourth encore without Ruffin. The rest of the group were tired, and didn't want to do the same song for a fourth time, and thought they should leave the audience wanting more. Al, who had been drinking, got aggressive, and smashed a bottle in Paul Williams' face, hospitalising him. Indeed, it was only pure luck that kept Williams from losing his vision, and he was left with a scar but no worse damage. Otis, Eddie, and Melvin decided that they needed to sack Al, but Paul, who was the peacemaker in the group, insisted that they shouldn't, and also refused to press charges. Out of respect for Paul, the rest of the group agreed to give Al one more chance. But Otis in particular was getting sick of Al and thought that the group should just try to get David Ruffin in. Everyone agreed that if Al did anything to give Otis the slightest reason, he could be sacked. Two months later, he did just that. The group were on stage at the annual Motown Christmas show, which was viewed by all the acts as a competition, and Paul had worked out a particularly effective dance routine for the group, to try to get the crowd going. But while they were performing, Al came over to Otis and suggested that the two of them, as the "pretty boys" should let the other three do all the hard work while they just stood back and looked good for the women. Otis ignored him and carried on with the routine they'd rehearsed, and Al was out as soon as they came offstage. And David Ruffin was in. But for now, Ruffin was just the missing element in the harmony stack, not a lead vocalist in his own right. For the next single, both Smokey Robinson and Berry Gordy came up with songs for the new lineup of the group, and they argued about which song should be the A-side -- one of the rare occasions where the two disagreed on anything. They took the two tracks to Motown's quality control meeting, and after a vote it was agreed that the single should be the song that Robinson had written for Eddie Kendricks to sing, "The Way You Do the Things You Do": [Excerpt: The Temptations, "The Way You Do the Things You Do"] At first, the group hadn't liked that song, and it wasn't until they rehearsed it a few times that they realised that Robinson was being cleverer than they'd credited him for with the lyrics. Otis Williams would later talk about how lines like "You've got a smile so bright, you know you could have been a candle" had seemed ridiculous to them at first, but then they'd realised that the lyric was parodying the kinds of things that men say when they don't know what to say to a woman, and that it's only towards the end of the song that the singer stops trying bad lines and just starts speaking honestly -- "you really swept me off my feet, you make my life complete, you make my life so bright, you make me feel all right": [Excerpt: The Temptations, "The Way You Do the Things You Do"] That track was also the first one that the group cut to a prerecorded backing track, Motown having upgraded to a four-track system. That allowed the group to be more subtle with their backing vocal arrangements, and "The Way You Do the Things You Do" is the point at which the Temptations become fully themselves. But the group didn't realise that at first. They spent the few weeks after the record's release away from Detroit, playing at the Michigan state fair, and weren't aware that it was starting to do things. It was only when Otis and David popped in to the Motown offices and people started talking to them about them having a hit that they realised the record had made the pop charts. Both men had been trying for years to get a big hit, with no success, and they started crying in each other's arms, Ruffin saying ‘Otis, this is the first time in my life I feel like I've been accepted, that I've done something.'” The record eventually made number eleven on the pop charts, and number one on the Cashbox R&B chart -- Billboard, as we discussed earlier, having discontinued theirs, but Otis Williams still thinks that given the amount of airplay that the record was getting it should have charted higher, and that something fishy was going on with the chart compilation at that point. Perhaps, but given that the record reached the peak of its chart success in April 1964, the high point of Beatlemania, when the Beatles had five records in the top ten, it's also just possible that it was a victim of bad timing. But either way, number eleven on the pop charts was a significant hit. Shortly after that, though, Smokey Robinson came up with an even bigger hit. "My Guy", written for Mary Wells, had actually only been intended as a bit of album filler. Motown were putting together a Mary Wells album, and as with most albums at the time it was just a collection of tracks that had already been released as singles and stuff that hadn't been considered good enough to release. But they were a track short, and Smokey was asked to knock together something quickly. He recorded a backing track at the end of a day cutting tracks for a *Temptations* album -- The Temptations Sing Smokey -- and everyone was tired by the time they got round to recording it, but you'd never guess that from the track itself, which is as lively as anything Motown put out. "My Guy" was a collaborative creation, with an arrangement that was worked on by the band -- it was apparently the Funk Brothers who came up with the intro, which was lifted from a 1956 record, "Canadian Sunset" by Hugo Winterhalter. Compare that: [Excerpt: Hugo Winterhalter, "Canadian Sunset"] to “My Guy”: [Excerpt: Mary Wells, "My Guy"] The record became one of the biggest hits of the sixties -- Motown's third pop number one, and a million-seller. It made Mary Wells into a superstar, and the Beatles invited her to be their support act on their UK summer tour. So of course Wells immediately decided to get a better deal at another record label, and never had another hit again. Meanwhile, Smokey kept plugging away, both at his own records -- though the Miracles went through a bit of a dry patch at this point, as far as the charts go -- and at the Temptations. The group's follow-up, "I'll Be in Trouble", was very much a remake of "The Way You Do the Things You Do", and while it was good it didn't quite make the top thirty. This meant that Norman Whitfield got another go. He teamed up with Eddie Holland to write "Girl (Why You Wanna Make Me Blue)", which did only slightly better than "I'll Be in Trouble": [Excerpt: The Temptations, "Girl (Why You Wanna Make Me Blue)"] The competition between Robinson and Whitfield for who got to make the Temptations' records was heating up -- both men were capable of giving the group hits, but neither had given them the truly massive record that they were clearly capable of having. So Smokey did the obvious thing. He wrote a sequel to his biggest song ever, and he gave it to the new guy to sing. Up until this point, David Ruffin hadn't taken a lead vocal on a Temptations record -- Paul Williams was the group's official "lead singer", while all the hits had ended up having Eddie's falsetto as the most prominent vocal. But Smokey had seen David singing "Shout" with the group, and knew that he had lead singer potential. With his fellow Miracle Ronald White, Smokey crafted a song that was the perfect vehicle for Ruffin's vocal, an answer song to "My Guy", which replaced that song's bouncy exuberance with a laid-back carefree feeling: [Excerpt: The Temptations, "My Girl"] But it's not just Ruffin's record -- everyone talking about the track talks about Ruffin's vocal, or the steady pulse of James Jamerson's bass playing, and both those things are definitely worthy of praise, as of course are Robinson's production and Robinson and White's song, but this is a *Temptations* record, and the whole group are doing far more here than the casual listener might realise. It's only when you listen to the a capella version released on the group's Emperors of Soul box set that you notice all the subtleties of the backing vocal parts. On the first verse, the group don't come in until half way through the verse, with Melvin Franklin's great doo-wop bass introducing the backing vocalists, who sing just straight chords: [Excerpt: The Temptations, "My Girl (a capella)"] It's not until the chorus that the other group members stretch out a little, taking solo lines and singing actual words rather than just oohs: [Excerpt: The Temptations, "My Girl (a capella)"] They then drop back until the same point in the next verse, but this time rather than singing just the plain chords, they're embellishing a little, playing with the rhythm slightly, and Eddie Kendricks' falsetto is moving far more freely than at the same point in the first verse. [Excerpt: The Temptations, "My Girl (a capella)"] The backing vocals slowly increase in complexity until you get the complex parts on the tag. Note that on the first chorus they sang the words "My Girl" absolutely straight with no stresses, but by the end of the song they're all emphasising every word. They've gone from Jordanaires style precise straight harmony to a strong Black gospel feel in their voices, and you've not even noticed the transition: [Excerpt: The Temptations, "My Girl (a capella)"] The track went to number one on the pop charts, knocking off "This Diamond Ring" by Gary Lewis and the Playboys, before itself being knocked off by "Eight Days a Week" by the Beatles. But it also went to number one on the newly reestablished R&B charts, and stayed there for six weeks: [Excerpt: The Temptations, "My Girl"] Smokey Robinson was now firmly established as the Temptations' producer, and David Ruffin as the group's lead singer. In 1965 Robinson and Pete Moore of the Miracles would write three more top-twenty pop hits for the group, all with Ruffin on lead -- and also manage to get a B-side sung by Paul Williams, "Don't Look Back", to the top twenty on the R&B chart. Not only that, but the Miracles were also on a roll, producing two of the biggest hits of their career. Pete Moore and Marv Tarplin had been messing around with a variant of the melody for "The Banana Boat Song", and came up with an intro for a song: [Excerpt: The Miracles, "The Tracks of My Tears"] Robinson took that as a jumping-off point and turned it into the song that would define their career: [Excerpt: The Miracles, "The Tracks of My Tears"] And later that year they came up with yet another million-seller for the Miracles with "Going to a Go-Go": [Excerpt: The Miracles, "Going to a Go-Go"] Robinson and his collaborators were being rather overshadowed in the public perception at this point by the success of Holland-Dozier-Holland with the Supremes and the Four Tops, but by any standards the records the Temptations and the Miracles were putting out were massive successes, both commercially and artistically. But there were two things that were going to upset this balance. The first was David Ruffin. When he'd joined the group, he'd been the new boy and just eager to get any kind of success at all. Now he was the lead singer, and his ego was starting to get the better of him. The other thing that was going to change things was Norman Whitfield. Whitfield hadn't given up on the Temptations just because of Smokey's string of hits with them. Whitfield knew, of course, that Smokey was the group's producer while he was having hits with them, but he also knew that sooner or later everybody slips up. He kept saying, in every meeting, that he had the perfect next hit for the Temptations, and every time he was told "No, they're Smokey's group". He knew this would be the reaction, but he also knew that if he kept doing this he would make sure that he was the next in line -- that nobody else could jump the queue and get a shot at them if Smokey failed. He badgered Gordy, and wore him down, to the point that Gordy finally agreed that if Smokey's next single for the group didn't make the top twenty on the pop charts like his last four had, Whitfield would get his turn. The next single Smokey produced for the group had Eddie Kendricks on lead, and became the group's first R&B number one since "My Girl": [Excerpt: The Temptations, "Get Ready"] But the R&B and pop charts were diverging, as we saw at the start. While that was their biggest R&B hit in a year, "Get Ready" was a comparative failure on the pop charts, only reaching number twenty-nine -- still a hit, but not the top twenty that Gordy had bet on. So Norman Whitfield got a chance. His record featured David Ruffin on lead, as all the group's previous run of hits from "My Girl" on had, and was co-written with Eddie Holland. Whitfield decided to play up the Temptations' R&B edge, rather than continue in the softer pop style that had brought them success with Robinson, and came up with something that owed as much to the music coming out of Stax and Atlantic at the time as it did to Motown's pop sensibilities: [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Whitfield's instinct to lean harder into the R&B sound paid off. "Ain't Too Proud to Beg" returned the group to the pop top twenty, as well as going to number one on the R&B charts. From this point on, the Temptations were no longer Smokey's group, they were Norman Whitfield's, and he would produce all their hits for the next eight years. And the group were also now definitively David Ruffin's group -- or so it seemed. When we pick up on the story of the Temptations, we'll discover how Ruffin's plans for solo stardom worked out, and what happened to the rest of the Temptations under Whitfield's guidance.

DJ Kingblind presents The Big Beat online radio show Podcast- This week we talk about & play the best music in a themed Podcast called "Beatles Soul"  The four Beatles all loved Soul Music, and would search the racks of Brian Epstein's NEMS record shop for hidden treasures from the many American soul labels, hoping to find unheard gems. As Ringo Starr recalled in The Beatles' Anthology, it was a love of such singles as Barrett Strong's “Money (That's What I Want)” and The Miracles' “You've Really Got A Hold On Me” that brought the four together: “When I joined The Beatles we didn't really know each other, but if you looked at each of our record collections, the four of us had virtually the same records. We all had The Miracles, we all had Barrett Strong and people like that. I suppose that helped us gel as musicians, and as a group. Wanna find out more? visit www.djkingblind.com or search DJ Kingblind in your favorite podcast app to find out more!#podcastsonamazonmusic #podcast #music #liverpool #lfc #uk #rock #djkingblind #applepodcasts #googlepodcasts  #drums  #drummer  #drumming   #thebeatles  #paulmccartney  #johnlennon  #ringostarr  #georgeharrison  #beatles  #yellowsubmarine  #mind  #spirit  #spirituality  #spiritual  #enlightenment  #rnb  #consciousness  #meditation  #awakening  #heart  #meditate  #energy  #universe  #wisdom  #lightworker  #jazz  #peace  #loveandlight  #soul  #funk  #motown  ​#detroitlov  ​#motorcit Find all links for DJ Kingblind here: https://linktr.ee/kingblindSupport the show