Podcast appearances and mentions of Barry Gibb

Send us a textThis episode includes guests Jeff Scott Soto, known for his work with bands like Yngwie Malmsteen's Rising Force and Journey, and Stephen Gibb, son of Barry Gibb from the Bee Gees.Ever wondered what happens when A rock legend take over a podcast? Get ready for wild stories and unexpected laughs as Jeff Scott Soto and Steven Gibb join us today! From backstage secrets to unforgettable moments, this episode is packed with surprises. Hit that subscribe button and let's dive in!"Stephen Gibb shares insights about his band, Kill the Robot, and his relationship with his famous father, Barry Gibb.The conversation touches on nostalgia and the evolution of music, highlighting the emotional connection to their musical roots and the changes in the industry.Whether you're a die-hard fan or new to their work, this episode is packed with insights and inspiration!FOLLOW STEPHENS' BAND: KILL THE ROBOT➜https://www.instagram.com/killtherobotband/➜ @KILLTHEROBOT_YT  ****************************************************"Support your favorite show and channel! Click the link below to donate. Don't forget to include your name for a special shoutout. Thank you!"*BUY ME A COFFEE- If You Like This Episode➜ https://www.paypal.me/stephenadika1*MEMBERS ONLY➜https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/join*MERCH STORE➜https://adika-live.creator-spring.comSupport the show

From learning lessons in love to escaping the ominous 'hunter', side two of Barry Gibb's 'Now Voyager' proves to be as eclectic as side one, whilst retaining the heart of Bee Gees music, with timeless Gibb love ballads such as 'Stay Alone' and 'One Night (For Lovers)'. Stuart and Cristiano conclude their thoughts on this album and of the film, and share listener thoughts and critical reviews. Vocal split extracts created through LALAL.AI: Vocal Remover & Instrumental AI Splitter | LALAL.AIFind us on social medias @wordsbeegeespodcast. Email us: wordsbeegeespodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

108.9 The Hawk is bringing you the ultimate weekend combo: 15 songs from Aerosmith every hour AND all the details on Whisp Turlington's "Here Comes Spring Motherfu*kers Cookout"! First, we dive into our Aerosmith weekend. Get ready for a deep dive into the Columbia and Geffen eras, with some sped-up versions and Chipmunk covers thrown in for good measureThen, get ready for the party of the year! Whisp is inviting everyone (except Paul Schaeffer and maybe Geoff ) to his cookout.Plus, you know Barry Gibb's bringing his Barry Beef! Find out which rockers have their own hot sauces! And Page is doing all of his album, “Outrider,” live at the picnic!Sponsored by: ChestnutsChannel 8's “Farts With A Z”Coopersmith CoffinsFood GulchLove 108.9 The Hawk? NIIIICEEEE! Here's what you can do!Subscribe to the podcast on Spotify, Apple, or whatever you listen on!Give a five-star review on Apple Podcasts!Get official merch: http://tee.pub/lic/goodrockshirtsEarly access & bonus shows: https://patreon.com/1089thehawkFollow us on social media: YouTube, Instagram, TikTok, Bluesky, ThreadsLearn more & sign up for our mailing list: https://1089thehawk.comAnd most importantly, tell your friends about 108.9 The Hawk. 

In 1984, Barry Gibb released his first studio album, 'Now Voyager'. This was accompanied by a film consisting of music videos from the album tracks, all strung together by an abstract and dream-induced narrative. Failing to make a large commercial impact, and possibly curtailing the multi-album deal which Barry had signed, the album and film have become a curio of the time, often overlooked or disregarded like so many Gibb projects of the period. Stuart and Cristiano discuss the story behind the project and its ambitious origins, as well as the songs on side one, and the film and its storyline. It's a mystery that is the universe, ten times the speed of sound. It's Now Voyager. Find us on social medias @wordsbeegeespodcast. Email us: wordsbeegeespodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster.  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025  All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Drop a comment giving Mandy scary book recommendations. There are very deep discussions in this episode. We discover si-boob-dangey. We ask why he chose mango sized. We find out that the people of Crystal Lake are not good at anything. We give a shout out to Barry Gibb. We admonish the Oscars. Mandy concussed herself and Kam makes noises. Sometimes raccoons take naps on the side of the road. www.franchisefrightspodcast.com

Mike Noble is a longtime member of the Grand Ole Opry house band, where he plays guitar, bass, banjo and harmonica. He's backed artists including Darius Rucker, Vince Gill and Barry Gibb. He's also an in-demand session musician and has recorded with Jason Aldean and Kenny Rogers among many others. He's worked with Diamond Rio, Roy Orbison and Dave Loggins. He has three ASCAP Performance Awards and 16 Gold and Platinum records. And he's a movie star too, with roles in “Coal Miner's Daughter” and “Nashville”.My featured song is “The Fall Of Winter”, the single I co-wrote with Jim Peterik. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“LOVELY GIRLIE” is Robert's latest single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Pat Arnold has had quite a life. Born in 1946 she grew up in LA, and was in an abusive marriage with two kids while still a teenager. In 1965 she got a chance to audition for Ike and Tina Turner's band as an “Ikette”. She got the gig and left her children in the care of her parents. This eventually took her to London where she fell into the orbit of The Rolling Stones, and she decided to stay behind there to establish herself as a solo artist, signing to Stones' manager Andrew Loog Oldham's label Immediate Records, home of the Small Faces, members of whom ended up writing songs for her and backing her on some of her recordings. She also toured with them, and is the backing vocalist on Itchycoo Park and Tin Soldier, two of their biggest hits. She had hits under her own name too, including her recordings of Angel Of The Morning and The First Cut Is The Deepest. She also recorded with Rod Stewart. In the 70s she appeared on recordings by the likes of Nick Drake, Graham Nash, and Nils Lofgren. She toured with Eric Clapton and recorded with Barry Gibb although most of these recordings remained unreleased for decades. She sadly lost a daughter in a car accident in the mid-70s, and along with not being able to further her career as a solo artist, she seems to view this as somewhat of a lost decade. As well as being cast in Starlight Express, the 80s saw her work with Steel Pulse, The Beatmasters and Roger Waters, as well appearing on Peter Gabriel's smash hit Sledgehammer. She first came into my orbit in the late 90s through her collaboration with Ocean Colour Scene, and the early 2000s saw her tour extensively with Roger Waters. In recent years she finally completed the album she started with Barry Gibb and Eric Clapton decades earlier, as well as a brand new studio album recorded and produced by former podcast guest Steve Craddock of Ocean Colour Scene and Paul Weller fame. She has a new career spanning box set entitled “Soul Survivor - A Life In Song” and I had a fantastic time talking to Pat about her life and career. Instagram: @sendingsignalspodcast

In the 5th installment of LIB UK, Benaiah Twain and Nicole get a second chance at love, Cat has a score to settle, and we get a surprise cameo from Barry Gibb.

T.G. Sheppard is a Country Music Legend. He's had 22 #1 hits including “I Loved ‘Em Every One”, “Do You Wanna Go To Heaven” and “Slow Burn”. He's recorded with Judy Collins. He's the voice of the Folgers Coffee commercial. His most recent album is “Midnight In Memphis” for which the title song was written for him by Barry Gibb of The Bee Gees.My featured song is “My Love” from the album Bobby M and the Paisley Parade. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with T.G. at:www.tgsheppard.com—---------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Föstudagsgestur Mannlega þáttarins í þetta sinn var annar hluti tvíeykisins í Hraðfréttum, Bennni, eða Benedikt Valsson. Við þekkjum hann auðvitað fyrst og fremst úr Hraðfréttum, en hann hefur gert ýmislegt annað, vissulega flest með Fannari félaga sínum, leikstýrt og skrifað Skaupið, verið kynnir í Söngvakeppninni og nú hafa þeir hleypt af stokkunum nýju hlaðvarpi sem þeir kalla Hraðvarpið. En við fórum auðvitað aftur í tímann með honum á æskuslóðirnar og fórum svo á handahlaupum í gegnum lífið til dagsins í dag. Í matarspjallinu með Sigurlaugu Margréti brydduðum við upp á nýjung, í tilefni allra þessara gulu viðvarana að hafa gult þema og skoða hvaða matur er gulur og hversu girnilegur hann er. Auk þess heyrðum við líka tillögur hlustenda að eftirréttum með þorramatnum. Tónlist í þættinum í dag: Glugginn / Flowers (Rúnar Gunnarsson, texti Þorsteinn Eggertsson) Birta / Friðrik Dór og Snorri Helgason (Friðrik Dór Jónsson) I've Got a Message to You / Keith Urban og Barry Gibb (Maurice Gibb, Barry Gibb og Robin Gibb) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Grease es la banda sonora original de la película Grease de 1978. Fue lanzado originalmente por RSO Records y posteriormente reeditado por Polydor Records en 1984 y 1991. La canción "You're the One That I Want" fue el número 1 de los Estados Unidos y el Reino Unido para las estrellas John Travolta y Olivia Newton-John. Ha vendido aproximadamente 22 millones de copias en todo el mundo,1​ lo que lo convierte en uno de los álbumes más vendidos de todos los tiempos, y también se encuentra entre los álbumes de bandas sonoras más vendidos de todos los tiempos. Además de los intérpretes John Travolta y Olivia Newton-John, el álbum también presentó canciones del grupo de rock n roll Sha Na Na, así como la exitosa canción "Grease", una canción escrita por Barry Gibb (de los Bee Gees) y cantada por Frankie Valli (de The Four Seasons) que fue un número uno adicional de Estados Unidos. Lista de canciones: 1. Grease - Frankie Valli 2. Summer Nights - John Travolta & Olivia Newton-John 3. Hopelessly Devoted To You - Olivia Newton-John 4. You're The One I Want - John Travolta & Olivia Newton-John 5. Sandy - John Travolta 6. Beauty School Dropout - Frankie Avalon 7. Look At Me, I'm Sandra Dee - Stockard Channing 8. Greased Lightning - John Travolta 9. It's Raining On Prom Night - Cindy Bullens 10. Alone At The Drive-In Movie (Instrumental) - Jim Jacobs/Warren Casey 11. Blue Moon - Sha-Na-Na 12. Rock 'N' Roll Is Here To Stay - Sha-Na-Na 13. Those Magic Changes - Sha-Na-Na 14. Hound Dog - Sha-Na-Na 15. Born To Hand Jive - Sha-Na-Na 16. Tears On My Pillow - Sha-Na-Na 17. Mooning - Louis St. Louis & Cindy Bullens 18. Freddy My Love - Cindy Bullens 19. Rock 'N' Roll Party Queen - Louis St. Louis 20. There Are Worse Things I Could Do - Stockard Channing 21. Look At Me, I'm Sandra Dee (Reprise) - Olivia Newton-John 22. We Go Together - John Travolta, Olivia Newton-John, & Cast 23. Love Is A Many Splendored Thing (Instrumental) - Sammy Fein/Paul Francis Webster 24. Grease - Frankie Valli Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218

Youngmi Mayer says she hates doing research but, in our conversation and in her new memoir I'm Laughing Because I'm Crying, she does a lot of digging into the events of her life and what they all meant. Youngmi grew up in Saipan and Korea, the daughter of a Korean mother and a White American father, and had to deal with discrimination, harassment, and abuse. Later on, she moved to America with $700 in her pocket and no real plan in order to escape an abusive relationship and had to find a path that included a place of prominence in the restaurant scene, a life of comedy, and a severe depression disorder.Thank you to all our listeners who support the show as monthly members of Maximum Fun.Check out our I'm Glad You're Here and Depresh Mode merchandise at the brand new merch website MaxFunStore.com!Hey, remember, you're part of Depresh Mode and we want to hear what you want to hear about. What guests and issues would you like to have covered in a future episode? Write us at depreshmode@maximumfun.org.Help is available right away.The National Suicide Prevention Lifeline: 988 or 1-800-273-8255, 1-800-273-TALKCrisis Text Line: Text HOME to 741741.International suicide hotline numbers available here: https://www.opencounseling.com/suicide-hotlines  

Barbra Streisand ist Schauspielerin und Sängerin und sowohl mit der Musik als auch der Schauspielerei unglaublich erfolgreich. "Guilty" war Barbra Streisands erfolgreichste Platte überhaupt. Und mit auf dem Album war auch ihr größter Hit "Woman In Love", spannend ist, dass das Album eigentlich vielleicht nicht so ganz typisch für die Sängerin und Schauspielerin war. Eigentlich, so erklärt unser ehemaliger Kollege Christian Pfarr im Podcast, kommt Barbra Streisand ja aus der Musicalecke, wo sie schon in den 60ern sehr erfolgreich gewesen ist. In den 70ern hat sie dann einen musikalischen Ausflug in die Discomusik gemacht und hier auf dem Album "Guilty" hat sie sich mit Barry Gibb von den Bee Gees dann noch einen echten Disco-King und sehr gefragten Songwriter aus der Zeit zu der Arbeit an ihrem Album dazugeholt. Der größte Hit ihrer Karriere und des Albums war der Song "Woman In Love". Christian Pfarr erklärt sich den großen Erfolg des Songs "Woman In Love" so: "Man hat nicht das Gefühl, sie schlüpft hier in eine Rolle, sondern das ist sie". Ihre Stimme und das intensive Vibrato gehen hier perfekt ineinander, ohne aber dabei übertrieben zu wirken, das macht den Song aus. Sie legt sich mit ihrer ganzen Stimmgewalt in diese in Moll-gehaltenen Melodien und das wirkt intensiv und einfach sehr echt. Außerdem hat Barbra Streisand in dem Song einen Rekord aufgestellt, nämlich den Ton in einem Popsong, der am längsten gehalten wurde. Zwölf Jahre lang wurde der Rekord nicht gebrochen. Wer Barbra Streisand dann schlussendlich doch noch übertroffen hat, das verraten wir euch im Meilensteine Podcast. __________ Über diese Songs vom Album "Guilty" wird im Podcast gesprochen (03:04) – "Guilty"(12:40) – "What Kind Of Fool"(17:04) – "Woman In Love"(24:52) – "Promises"(29:36) – "The Love Inside" __________ Über diese Songs wird außerdem im Podcast gesprochen: (04:48) – "Enough Is Enough" von Barbra Streisand und Donna Summer(07:42) – "Nightfever" von den Bee Gees(20:47) – "I Will Always Love You" von Whitney Houston(23:20) – "You Don't Bring Me Flowers" von Barbra Streisand und Neil Diamond__________ Alle Shownotes und weiterführenden Links zur Folge "Guilty" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/barbra-streisand-guilty-102.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Tonight we are happy to bring you a special Bee Gees tribute for the birthday of the great Barry Gibb. hope you dig it! Thank you for tuning in & be sure to GIVE US A ‘LIKE' ON FaceBook—>  www.facebook.com/AOTARadioYou can tune in LIVE every Sunday from 12AM – 4AM PST with your host Django andREAD MORE

Welcome to The Singers Talk Podcast based on my book of the same name. This episode has been filmed and can only be viewed over at Volume.com, where you'll see my conversation with the legendary six-time Grammy Award Winner and recent Rock and Roll Hall of Fame Inductee who has sold over 100 million records…Ms. Dionne Warwick! Volume.com/thesingers In this exclusive filmed episode, Dionne talks to us about her working relationship with songwriters Hal David and Burt Bacharach, singing with Whitney Houston, Barry Gibb, recording "We Are The World," her incredible duet with Stevie Wonder, Elton John, and Gladys Knight on “That's What Friends Are For,” and how it saved lives. All this and much more over at Volume.com. All my writer's royalties from sales of the book benefit the kids and families at St. Jude Children's Research Hospital through our Music Gives to St. Jude Kids campaign. So I'd love for you to grab yourself a copy. And be sure to check out every episode of the podcast, our livestreams, and more at Volume.com/thesingers talk.  And if you like the show, please rate, review, and subscribe on your favorite streaming platforms to make sure you hear every new episode. Volume.com is the destination for live music fans, where you can watch live and on-demand performances, see exclusive artist content, listen to music podcasts, and check out live music streams from your favorite artists, venues, and Hosts. Get The Singers Talk book at: Thesingerstalk.com Donate to St. Jude at: Musicgives.org You can find JTG @Kingsizetheband Kingsizetheband.com

This week's show, after a 1968 Dave Davies dip: The Descendents, Dummy, Healees, Linda Lindas, Rifles, Brief Candles, and Royal Headache, plus Pete Ham, Fats Domino, Kaleidoscope, Hank Williams Sr., Paul McCartney, 1970 Barry Gibb, and Adelyne Hood & V...

Kansas was at the height of their prowess and popularity as a prog rock-leaning band in 1978 when they released their first live album, Two for the Show.  Recorded during tours in 1977 and 1978, the double album gives the listener a glimpse into the energy of the band at the time.  The songs span the first five studio albums released by the group, from the eponymously named "Kansas" to the highly successful "Point of Know Return."Kansas would have a number of personnel changes over time, but this lineup would be the classic one.  Steve Walsh is on keyboards and vocals, Robby Steinhardt is on violins and vocals, Kerry Livgren is on guitars and keyboards, Rich Williams is on guitars, Dave Hope is on bass, and Phil Ehart is on percussion.In addition to the complex metered songs and excellent harmonies, Kansas also features Robby Steinhardt on violin in most of their songs.  The unusual use of violin in a rock band would create one of the signature sounds of Kansas.  Kansas would go on to have a number of hits in the 80's.  In 1982 front man Steve Walsh would leave the group and be replaced by John Elfante.  In 1983 both Livgren and Hope would leave the group to form the contemporary Christian band called AD.  Later Elfante would also leave the group to join the Contemporary Christian music genre, replaced by a returning Steve Walsh.Bruce presents this live prog rock masterpiece for this week's podcast.. Song for AmericaThis long-form masterpiece from the album of the same name was written by Kerry Livgren.  Its 3+ minute instrumental prelude did not make it onto the single release, but was a staple of FM rock stations at the time.  Livgren was inspired to write the song after viewing the country from a plane flight.Dust In the WindThe big hit from "Point of Know Return," went to number 6 on the Billboard Hot 100.  Livgren originally wrote the music as a guitar exercise, and his wife encouraged him to develop it into a song.  The lyrics for this ballad come from the Bible, where the Preacher from Ecclesiastes says "everything he (man) has accomplished is futile - like chasing the wind." This live version concludes with an acoustic guitar outro performed by Rich Williams.Lonely WindThe live version of this song from their debut studio album begins with a piano solo from Kerry Livgren.  Steve Walsh penned this melancholy track about loneliness, with the wind personifying that feeling.  "Cry for me, sigh for me, sad breezes blow.  Stay for me, play for me, the song my friends will know.  My lonely wind must blow."   ENTERTAINMENT TRACK:Grease by Frankie Valli (from the motion picture "Grease")John Travolta and Olivia Newton-John star in this blockbuster musical set in a 50's high school.  50's icon Frankie Valli performs the title song, written by Barry Gibb. STAFF PICKS:Strange Way by FirefallWayne goes more mellow than normal to start the staff picks.  This was the first track and big hit from the third album by Boulder, Colorado's Firefall.  It talks about a relationship based on relaying sorrow or self-pity, and not being able to move the current relationship forward.  Straight On by HeartRob brings us a well-known song from Ann and Nancy Wilson of Heart.  This was the first single off their album "Dog & Butterfly," and became their third top 20 single, hitting number 15 on the Billboard Hot 100.  The lyrics compare love to a game of chance, where you have to take some risks if you want to win.Fat Bottomed Girls by Queen"Get on your bikes and ride!"  Lynch features a hit written by Brian May with Freddie Mercury in mind, knowing that Mercury appreciated women of "substantial girth."  It was a part of a double A side release with "Bicycle Race," and the songs reference each other in the lyrics. How Much I Feel by AmbrosiaBruce's staff pick is a soft rock hit that went to number 3 on the Billboard Hot 100.  Front man and co-founder David Pack wrote this song about a long-lost love that the singer will never truly get over.  Pack would go on to perform on the Kansas album "Vinyl Confessions" in 1982. NOVELTY TRACK:Y.M.C.A. by the Village People All skate, everyone skate for this fun throwback that tells a young man where he can go when he's short on the dough. 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.

Chris Powell is an award winning drummer based in Nashville. He has recorded and performed with a wide array of artists such as; Luke Grimes, Shania Twain, Dolly Parton, Lady Gaga,  Reba, The War and Treaty, Lori McKenna, Brett Eldridge, Wheeler Walker, Gavin Degraw, Ashley Monroe, Travis Tritt, Brandi Carlile, Barry Gibb, The Secret Sisters, The Highwomen, The Oak Ridge Boys, Mary Chapin Carpenter, Midland, Caylee Hammack, Zach Bryan, Brandy Clark, Jamey Johnson, 1,000 Horses, Alabama, and many others. He is a first call drummer for producer Dave Cobb.    Some Things That Came Up:  -Chris Powell's Background and Career -Chris Powell shares his drumming journey, starting in Redlands, California and moving to Nashville in 2007.   -Chris's extensive discography and busy schedule working with top producers like Dave Cobb (Jason Isbel, Rival Sons, Chris Stapleton, Oak Ridge Boys, Shooter Jennings, Jamey Johnson).    -The challenges of being a busy musician and the difficulty of reconnecting with colleagues.   -Touring with Jamey Johnson and double drumming with the late Mike Kennedy (George Strait).    -Chris discusses his flexible approach to using house drum kits and adapting his playing style to different environments. No crashes?   -13:00 any drumsticks, No. 2 pencils (eraser side), chopsticks and super HOT mics.  -15:50 ALL the tricks to get the GUSH. Tea Towels to Drum Tacos and beyond…even cardboard boxes!   -18:00 Tea Towels, wallets for muffling, Mister Muff!!!   -21:45 Used click tracks on only 5 of Dave Cobb's records in 20 years. Nashville is “THE ALAMO!”   -30:00 Chris started drumming at age 13. Started with Neil Peart and Stewart Copeland.   -31:15 Dave Cobb, Leroy Powell and the musicians Chris plays with have become his biggest influences. Steve Gadd and Hal Blaine!    -33:14 Big Band rules!    -35:00 Recording and now touring with Chris Isaak. Playing in a suit!   -38:00 “Band Jumpers”    -44:00 Finding your place in the industry   -48:58 Chris talks about his personal project, Mad Charlie Inc., which supports families with neurodiverse children, including Chris' son.   -54:00 The Music City Drum Show    -58:20 The Importance of Music Education and the Arts. Are the trades making a comeback? Woodworkers, Doctors, Drummers!   -1:04:20 Ludwig 4 piece is Chris' go to for the road. He tunes dead 70's style. 24” kick packed with lots of muffling. THUD! Buddy Harman!    -1:10:47 Recording with Lady Gaga for “A STAR Is Born” soundtrack    -1:11:20 Playing with Brandi Carlile. Families and kingdoms!    -1:15:00 All but two Presidents of the United States have wanted to be musicians!   -1:18:00 “The Fave 5”   -1:33:00 Working with Tom Hanks two times!  -1:38:00 No pictures with artists! Comin' in as an equal.    Check out www.madcharlieinc.com   Follow:  www.chrispowellondrums.com www.madcharlieinc.com IG: @chrispowellondrums   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com www.itsyourshow.co

BANG! @southernvangard radio Ep413! Beware, Vangardians! 'Tis LIBRA season! 'Tis EDUARDO MEEKS season! You have been warned! Episode 413 awaits you - preseth players and enjoyeth and say THAAAAANK YAAA and we'll say YOU WAAAAALCOME!!!!! #SmithsonianGrade #WeAreTheGard // southernvangard.com // @southernvangard on all platforms #hiphop #undergroundhiphop #boombap -------- Recorded live September 30, 2024 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks -------- Pre-Game Beats - DJ Jon Doe - Funk 45 Set "Southern Vangard Theme" - Bobby Homack & The Southern Vangard All-Stars Talk Break Inst. - "Time Drifts People Into Different Directions" Kan Kick "DeathTrap" - Grime Lords ft. Benny Watts , Jay Royale & Dj Tray "Undisputed" - Blu & Exile "Favors" - Doza The Drum Dealer & Machacha ft. Aida "Actions And Intentions" - Tableek "Phantom of the Chopped Cheese" - Shamgar Jose/GhostDave "Spiral Staircase" - Chubs & Wino Willy "Seiless" - $auce Heist ft. Baby Maine "Crazy" - Spoda & VStheBest215 Talk Break Inst. - "Box Worm Funk" - Kan Kick "Barry Gibb" - Kurious "Fun" - Tom Caruana ft. yU & Amy Turk "Lean On 'Em" - Shamgar Jose/GhostDave "Scientology" - The Alchemist ft. Havoc "Ominous World" - Blu & Exile ft. RBX "Racks" - Mike Titan X Crotona P (prod Silent Someone) "Lost" - Tableek "Find A Means" - J. Sands ft. Elzhi & Skyzoo Talk Break Inst. - "No Go Say" - Kan Kick "Shades Of A Brick" - $auce Heist ft. Eto & Al-Doe "Silk Cloaks" - Chubs & Wino Willy ft. Asun Eastwood "Nothing Extra" - Spoda & VStheBest215 "Gladiator" - Jamil Honesty X Hobgoblin "Wolves Under Midnight" - Waterr X Tone Beatz "Ghostface Kilo" - Eff Yoo (prod. J57 & John Glass) "Minnesota Fats" - The Alchemist ft. Action Bronson & Big Body Bes "Keep Playing" - Rufus Sims "The Genius" - 7xvethegenius Talk Break Inst. - "Copy And Paste" - Kan Kick

Necromunda with Napolien? Frostgrave with Florence Nightingale? Battlemasters with Barry Gibb?Our question of the month for September 2024 was: Which person (dead or alive) would you love to play a miniatures game with, and why? Also, what game would you play?Also MentionedThe new Question of the MonthPodcast Discovery SurveyBedroom Battlefields Patreon

Welcome to a special episode of Your World of Creativity! This week, we're bringing you a New Country Music Sampler featuring a selection of fresh tracks released over the summer from some incredibly talented independent singer-songwriters. Summer can be a busy time, and it's easy to miss new music. That's why we're thrilled to showcase these artists and their creative work, offering you a chance to discover some great songs that might have flown under your radar.Featured Songs and Artists:1. Robert Ross, Canadian/Australian Country Chart-Topper, released “Mamma's Song” on July 26. It's from his upcoming sophomore album, “Better With Time.” We also feature a song from his debut album, “For You Girl.”2. Ohio Country Music Hall of Famer Richard Lynch released his highly anticipated new album, “Pulling Up the Covers,” on July 26. This collection is not just a covers album; it is a heartfelt journey through the songs that have defined country music and shaped Lynch's own life and career. We feature Richard's cover of the Barry Gibb-penned, Conway Twitty country hit, “Rest Your Love on Me.”3. Acclaimed songwriter and musician, Tim Tye and his project, Midnight Sky, released of the highly anticipated lyric video for their latest single, “Every Now and Then.” Following the success of their two Top 10 UK iTunes Country hits and two more Top 25 singles, Midnight Sky continues to captivate audiences with their unique blend of country and Americana.4. Eddy Mann, the acclaimed Christian folk rock music artist, released his latest single, “I'm Coming,” from his album, “Turn Up the Divine,” on June 7. This powerful new single underscores the themes of divine presence and unwavering faith, offering comfort and inspiration to listeners worldwide.5. Here's the new single from chart-topping, award-winning singer-songwriter, Jeremy Parsons. His innovative productions have won him critical acclaim and a place among today's most unique and exciting new country artists.6. Cliff & Susan, the dynamic married country music duo, released of their rendition of Van Morrison's timeless classic, “Into the Mystic” on all major streaming platforms July 5. The song was recorded at the legendary FAME Recording Studios in Muscle Shoals, Alabama. Their version captures the soulful essence of the original while injecting it with their signature country flair.7. Erin Enderlin is a force in the country music world, known for her storytelling and vocal prowess. Her accolades include multiple albums, performances at the Grand Ole Opry, and numerous awards from the ACMAs. Her recent songwriting credits include cuts by Willie Nelson and Trisha Yearwood. 8. Country artist Lady Redneck, known for her high-energy performances and fun, tongue-in-cheek songs, released her latest single on June 7 -- a cover of The Police's iconic hit, “Every Breath You Take.”Bonus Track9. Renowned for his profound musical prowess and heartfelt melodies, Michael Zuzek is thrilled to release his new single, "Graystone," June 21. This track promises to be a captivating addition to the pop-rock genre, merging nostalgic influences with a fresh and invigorating sound. The track is from his upcoming 2024 album release, “Everest,” encapsulating the essence of the 60s and 70s while infusing it with contemporary vibrancy.Special thanks to the artists for allowing us to share their music, and to their management for supporting our creative community, especially Michael at MTS Management Group.We appreciate you for tuning in to Your World of Creativity! We hope you enjoy these fantastic new country tracks as much as we do. Be sure to follow and support these...

In which Robert & Amy answer listener questions regarding frolicking ... why, when, where ... and wish a Happy Birthday to Barry Gibb, Lily Tomlin, and composer Johann Pachelbel! Also, Google AI vs. ChatGPT on Ayn Rand ... Happy Atlas Shrugged Day!

National Burnt ends day.  Entertainment from 2021. 1st female telephone operators hired, Germany started WW2 by invading Poland, 1st San Francisco cable car began running. Todays birthdays - Engelbert Humperdinck (composer), Yvonne De Carlo, Conway Twitty, Lily Tomlin, Barry Gibb, Gloria Estefan. Jerry Reed died.ntro - Pour some sugar on me - Def Leppard http://defleppard.com/Burnt ends - Starlings TNStay - Kid Laroi  Justin BieberWe didn't have much - Justin MooreBirthdays - In da club - 50 Cent http://50cent.com/Ami I that easy to forget - Engelbert HumperdinckOpera of Hanzel and Gretel - Engelbert HumperdinckI'll follow you - Yvonne De CarloIt's only make believe - Conway TwittyStayin alive - Bee GeesGet on your feet - Gloria EstefanExit - It's not love - Dokken Follow Jeff Stampka on facebook and cooolmedia.com

On the September 1 edition of the Music History Today podcast, there's Hal David, Rush, and Boz Scaggs. Plus, birthday greetings go to Zendaya, Barry Gibb and Gloria Estefan. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Billboard Magazine's focus on the South Florida Recording scene referred to Lee Levin as "the city's most in demand drummer". Since graduating the University of Miami in 1989, Lee has played on more than 1000 recordings for a variety of artists throughout the world including Barbra Streisand, Madonna, Backstreet Boys, Kelly Clarkson, Pink, Nelly Furtado, Clay Aiken, Christina Aquilera, Michael Bolton, Sarah Silverman, Meat Loaf,  Luis Fonsi, Calle 13, Ricardo Arjona, Alejandro Sanz, Juan Luis Guerra, Enrique Iglesias, Julio Iglesias, Ricky Martin, Eros Ramazzotti, Shakira and many others.  His drumming can also be heard on ESPN and NBC Sports shows.   Lee was the Musical Director/Drummer for Bad Bunny on the Ultimo Tour Del Mundo US/Canadian Arena tour and has previously toured/performed with Barry Gibb/BeeGees, Luis Fonsi, Ricky Martin, Christopher Cross, Julio Iglesias, and Jon Secada. Although mostly known as a studio session player, Lee continues to be  co-musical director for the Latin GRAMMY house band on the telecast.   Besides TV and award shows, he has performed Classical and Jazz concerts, including the World Premier of the Elvis Costello/Twyla Tharp Ballet, “Nightspot”.   As a writer, Lee has written and/or recorded commercials for Pantene, Bellsouth, Florida Lottery, McDonalds, and Domino's Pizza. His compositions have been heard on NBC's Friends, Saturday Night Live, Dateline, America's Next Top Model and TMZ.  Lee has worked on many educational books, videos and CD's for Alfred Publications including one he wrote for the Ultimate Beginner Tech Start Series entitled “Drum Programming Basics”.   A natural transition toward production has landed Levin with 7 Latin GRAMMY awards and 1 GRAMMY award.  His nominations as either a producer or engineer, include 3 for 2015 Album of the Year (Alejandro Sanz & Natalia Jimenez), Record of the Year (Ricky Martin) 2 for 2013 Album of  the Year (Alejandro Sanz & Andres Cepeda), 2 For 2012 Album of the Year and Record of the Year (Ricardo Arjona), 1 for 2011 Album of the Year (Calle 13), 3 for 2010-Record of the Year (Alejandro Sanz), Album of the Year (Alejandro Sanz), and Best Engineering (Diego Torres).   Past nominations include 2009 Record of the Year (Luis Fonsi), 2007-Best Engineering (Juan Fernando Velazco), and 2006 Record of the Year (Ricardo Arjona). In 2008 Lee, along with Tommy Torres and Dan Warner, co-produced “Tarde o Temprano” for Tommy Torres which was nominated in both the American and Latin Grammys. They also co-produced Ednita Nazario's "Por Ti" album (certified gold), which was nominated for a Grammy and won a Latin Billboard Award, as well as her release "Appasionata". In addition to co-producing a #1 song for Luis Fonsi, Levin has also produced for Ricardo Arjona, Tommy Torres, Gisselle, and Perry Joslin.   Lee's endorsements include Pearl Drums & Percussion, Paiste Cymbals, Innovative Percussion Drumsticks, Remo Drumheads, Kickport products, Snareweight Products, Heil Microphones, and 64Audio In-ear-monitors.       Follow:  www.leelevin.com IG: @leelevin1 FB: @leelevin     Some Things That Came Up:  -4:00 Lee's studio started in a guest bedroom in 1994 with ADATS. Demos quickly became albums.  -5:15 Lee has been in his current studio for 20 years. —6:10 Lee's kid's pals thought he was so cool because he was touring with Bad Bunny.  -9:00 More pro tools systems in Miami than anywhere on the planet -10:20 Very memorable experiences with recording artist Soraya -11:00 Lee was highlighted on Inside Story, CBS. Amazon's Jeff Bezos and Supreme Court Justice graduated from Lee's high school  -13:00 Lee came from a non musical family with super supportive parents. Pots and Pans at 4 years old. Practice pad lessons at 5. Traditional musical path-school bands, garage bands, etc.  -15:20 Played with Metro-Dade big band at 13. Lee met some of his lifelong friends there and are still working together.  -16:50 Musical Director for the Latin Grammys. Lee writes the theme song every year.  -20:00 Lee focused on studio work as soon as he got married. Ricky Martin and Barry Gibb sprinkled in.  -21:20 Bad Bunny tour. Only played 45 minutes of the show -26:20 Most of Lee's heroes were the session cats  -27:30 The Groove, the funk, the backbeat -28:00 First gig after college was with heartthrob Cheyenne.  -30:30 Julio Iglesias' gig was always a right of passage -32:00 Getting called to replace a Carlos Vega track. -35:15 The Miami Hurricanes! The love of football. -37:39 The throne is now higher and the cymbals are lower  -38:20 Longtime Pearl and Paiste endorser  -40:20 5A vs. 5B sticks  -41:40 session work involves great IMAGINATION and asking the RIGHT questions  -43:00 Lobbying and advocation for musician's rights. It is the federal government's job to preserve copyright law  -49:20 Lee is NOT in the musician's union. Watch out for the “race to the bottom” plague  -51:50 Most of Lee's work comes from producers and songwriters.  -55:30 Lee's tech is Carlos Guzman  -56:15 A walking tour of Lee's studio  -57:30 Lee is now getting certified as a level 3 wine expert and other accolades. The Wine Guy! Lee is heading down the pro wine path. -59:30 Le Tosh wine=$$$. Compliments of Julio Iglesias. Wine Spirits Education Trust. -1:02:30 Wine, Finance, History -1:05:00 Wine making is both ART and SCIENCE. Very similar to music -1:07:00 Muso.AI. Lee is in the top .01% of recorded drummers on the planet with 16 billion streams and 1200 credits. -1:10:30 Lee's Advice:  “It's not as much about your talent as it is being a people person.” This is people business. We are providing a SERVICE! Make people comfortable and ALWAYS do a great job. Be fully engaged!  -1:13:00 “The Fave 5”     The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Check out Rich's books on Amazon!      Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   www.jimmccarthyvoiceovers.com www.itsyourshow.co  

Welcome to the Nothing Shocking Podcast 2.0 episode 245 with our guest Beth Cohen (Boston, Barry Gibb, Singer-Songwriter, and Vocal Coach).  We discuss her new project Swank Betty and singles, Who I AM, Butterflies, and Take me to Paris.  We also discuss touring with Boston, Barry Gibb/Bee Gees, Jon Secada, as well as writing songs with Barbara Streisand, Pink, South Florida Voice Stuios, and more!.    For  more information visit: https://beth-cohen.com/ https://www.instagram.com/thebethcohen/?hl=en https://www.facebook.com/theBethCohen/ https://southfloridavoicestudios.com   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org    New - Nothing Shocking Podcast Best of 2024 Apple Playlist: https://music.apple.com/us/playlist/nothing-shocking-podcast-2024/pl.u-NP2Ws7135YR    

Was Elvis the real phantom of the Opry? Bill talked about songwriting with artists over Zoom, writing for Mojo, the Brill Building in 1961, confederate ghosts, Crowded House, Jill Sobule, Tin Pan Alley, and finding inspiration in artwork & cartoons. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Bill DeMain, a successful author, songwriter, journalist, tour guide, and musical historian who has been on the podcast previously for episode RSR200. As one half of the pop duo Swan Dive, he has released ten acclaimed albums with his singing partner Molly Felder, enjoying several Top 5 singles and tours of Japan, Thailand and Korea. He's also written songs for and with many other artists, including Curtis Stigers, Marshall Crenshaw, Teddy Thompson & Kelly Jones,  David Mead, Bleu, Kim Richey, Jill Sobule and Boo Hewerdine. His songs have appeared on TV shows like Sons of Anarchy, Private Practice, Felicity and The L Word, and in commercials for Laneige Cosmetics, Unicef and Sky Mobile. Bill is also a much-published music journalist, who's written for MOJO, Uncut, Entertainment Weekly and Classic Rock. He has written five books, including 2017's Amazon best-seller Sgt. Pepper At 50, and two of collections of interviews with noted songwriters such as David Bowie, Stevie Nicks, Ray Charles, Dolly Parton, Barry Gibb, Kate Bush and Smokey Robinson.  In addition, he is the owner of the music history walking tour Walkin' Nashville, a radio correspondent for BBC Glasgow and a cartoonist whose work has been published by Reader's Digest and Funny Times. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7bB32vult4uY4TTaLa6X08?si=6fafbae7c9834d61 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/456

Pat Arnold (born Patrica Ann Cole in 1946 in Los Angeles), professionally known as P.P. Arnold, is a soul singer who enjoyed considerable success in the United Kingdom in the 60s and beyond. Born into a family of gospel singers, PP married early, had two children, worked a series of menial jobs until the early 60s, when her friends contacted her with an offer she couldn't refuse. The girls had managed to arrange an audition for them to replace the original Ikettes, the vocal and dancer/singer troupe behind the Ike and Tina Turner Revue. One of the girls didn't show up and PP was asked to fill in. The three girls were offered the job on the spot. PP defied her husband, placed her children in the care of her parents and joined Ike & Tina Turner. She came to England in 1966 on tour in support of The Rolling Stones. Mick Jagger was impressed by her soulful voice and convinced Stones manager Andrew Oldham to sign PP to record with his newly founded record label. PP quit the Turner band to establish a solo career. She also had a fling with Jagger. PP enjoyed several major British hits, including songs written for her by Steve Marriott of The Small Faces. She also sung backing vocals on the their hit "Tin Soldier" and toured with them in 68. PP toured with Jimi Hendrix, The Who, The Kinks, Blind Faith, David Bowie and others, and scored several hits including a cover version of "The First Cut Is the Deepest" and "Angel of the Morning". After the collapse of record label in the late 60s, PP released two singles produced by Barry Gibb of The Bee Gees, but a planned album with Gibb was never completed. In 1970 she moved to the musical stage, and contributed session musician backing vocals to many notable UK sessions. During these sessions she met bassist Fuzzy Samuels of Crosby, Stills, Nash & Young. They married and had a son. The couple returned to Los Angeles. PP''s marriage to Samuels ended and two weeks after the split, her daughter Debbie was killed in a car accident. She withdrew from public life, re-emerging in 1978 when she was reunited with Barry Gibb and teamed up with Andy Gibb for a duet recording of the Carole King song "Will You Still Love Me Tomorrow". She returned to England in 1982 to raise her son there. In 1984 she joined the cast of the musical Starlight Express. She appeared on Roger Waters' album in 1992, providing vocals on the song "Perfect Sense". In 1994 she joined the cast of the award-winning musical Once On This Island. While the production was playing in Birmingham she met leading UK band Ocean Colour Scene, one of the new wave of latter-day mod groups who (like their mentor Paul Weller), idolised The Small Faces. Her friendship with OCS led to her singing the lead vocal, backed by Primal Scream, on a cover of The Small Faces' "Understanding", which was included on a successful Small Faces tribute album. She also worked extensively with Ocean Colour Scene on their 1997 album. This success led to plans for her to record her first solo album in decades, but once again it was not completed. Deciding to put together a new band to promote her material, Arnold joined forces with Chaz Jankel, former pianist with Ian Dury and The Blockheads. This was followed by an invitation to tour widely with Roger Waters. She was a backup vocalist on his 1999–2000 tour as well as the 2006–2008 tour, Dark Side of the Moon Live. In mid 2007 she released her first recorded work for several years. The album is a duet with The Blow Monkeys frontman Dr. Robert and has been met with critical acclaim, as have their live performances at several venues.

Bill DeMain has been making his mark in the music world for over thirty years. As one half of the pop duo Swan Dive, he has released ten acclaimed albums with his singing partner Molly Felder, enjoying several Top 5 singles and tours of Japan, Thailand and Korea. He's also written songs for and with many other artists, including Curtis Stigers, Marshall Crenshaw, Teddy Thompson & Kelly Jones, David Mead, Bleu, Kim Richey and Jill Sobule. His songs have appeared on TV shows like Sons of Anarchy, Private Practice and The L Word, and in commercials for Laneige Cosmetics, Unicef and Sky Mobile.DeMain is also a much-published music journalist, who's written for MOJO, Uncut, Entertainment Weekly and Classic Rock. He has written five books, including 2017's Amazon best-seller Sgt. Pepper At 50, and two of collections of interviews with noted songwriters such as David Bowie, Stevie Nicks, Dolly Parton, Barry Gibb, Kate Bush and Smokey Robinson. In addition, he is the owner of the music history walking tour Walkin' Nashville, a radio correspondent for BBC Glasgow and a cartoonist whose work has been published by Reader's Digest and Funny Times.https://www.facebook.com/p/Swan-Dive-100063301053463/https://www.instagram.com/bdmcartoonshttps://www.walkinnashville.com/Host - Trey MitchellIG - treymitchellphotographyIG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Sponsorship Information  -  ftsunashville@gmail.comTheme Song - The Wanshttps://www.thewansmusic.com/https://www.facebook.com/thewansmusic/https://www.instagram.com/thewans/?hl=en

Deep into the pandemic, drummer AC Paterra and his musical partner in Zombi, bassist-keyboardist Steve Moore also went deep; deep into the sounds and songs that created who they have become today as a pillar of Relapse Records, a label often associated with noisy artists. However the songs that moved AC and Steve over these covid days were the yachti-rock based sounds of Gerry Rafferty, Paul Davis, Steely Dan and Barry Gibb. So faithful were these renditions that many assumed they were singing over the original tracks. This attention to detail doesn't escape their own original music they make as Zombi, a band releasing it's 7th album, Direct Inject, again on Relapse in late March '22. Sure, their band reflects the sounds of the 90's Pittsburgh heros such as Trans AM and a dash of Don Caballero, (to wit Phil Manley of TA guests on Direct Inject) but it would be short-sighted to assume this band is a cookie cutout of those giants. AC goes out of his way to avoid math in his deep grooves. In fact, Zombi continues to expand their sound and even include a touch of the yacht into their songs with Steve Moore's sax. AC is also busy as keyboardist for Grails and tours with them as well. He is living his best life as a full time musician who also happens to be making the best music of his life. 

CNN, HBO MaxLegendary US singer Dionne Warwick has announced she will perform at eight special shows in the UK.The news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster.  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

OK, it isn't rock music, but the Soundtrack to "Saturday Night Fever" was a tremendously successful album both commercially and critically, and it had a major impact in popular culture of the later 70's.  The theatrical release of the movie actually went back to December of 1977, but it was the winner of the Grammy Award for Album of the Year in February 1979, one of only three soundtrack albums to do so.  Composed by the Bee Gees and prominently featuring that band, this soundtrack is the second-best selling of all time behind "The Bodyguard."  The Bee Gees actually didn't get involved with the film until it was in post-production.  John Travolta was dancing to Stevie Wonder and Boz Scaggs when the scenes were filmed.  Columbia Records refused legal clearance for Scaggs material because they were pursuing another disco movie at the time, and the Bee Gees were commissioned to write the songs for the film.  The brothers Gibb wrote the songs primarily in a single weekend.  The resulting success would change the trajectory of both the Bee Gees and actor John Travolta.  The Bee Gees would become a group often compared to the Beatles in the late 70's.  Travolta, already well known for his role in the television series "Welcome Back, Kotter," would become an A-list celebrity and a household name.In 2013 the album was added to the National Recording Registry in the Library of Congress for preservation.Lynch is responsible for this travesty, as the other participants do so under protest.  Support your local rock band, folks! Night FeverThis song was originally called "Saturday Night," but Robin Gibb was concerned about that name because of the number of songs already bearing the name.  "Night Fever" was inspired by Percy Faith's "Theme from 'A Summer Place'", and it spent 8 weeks at the top of the Billboard charts.How Deep Is Your LoveThis pop ballad was released in September of 1977, ahead of the movie.  It had hit the top of the Billboard Hot 100 by Christmas Day of 1977, remained there for 3 weeks, and spent 17 total weeks in the top 10.  Barry Gibb has commented that this is his favorite Bee Gees song.  It won Best Pop Performance by a Group at the February 1978 Grammy awards.You Should Be DancingPrior to their involvement with the "Saturday Night Fever" soundtrack, the Bee Gees first released this track on their album "Children of the World" in 1976.  This is the song playing when Travolta takes over the disco dance floor. Jive Talkin'Here is another song that had been previously issued before the soundtrack was released.  The lead single from the album "Main Course" was released in May 1975, long before "Saturday Night Fever."  The song was originally called "Drive Talking," and the rhythm was inspired by the sound the band's car made crossing the Julia Tuttle Causeway as they traveled to the studio in Miami. ENTERTAINMENT TRACK:Dancing Queen by ABBAA mockumentary called "ABBA:  The Movie" was in the theatres at this time in the U.S. STAFF PICKS:Is She Really Going Out with Him by Joe JacksonWayne gets the staff picks going with a song that asks why good looking women date horrible men.  Joe Jackson is often confused with Elvis Costello, another artist releasing albums at the time.  This is Jackson's debut single from his debut album, "Look Sharp."The Gambler by Kenny RogersBruce brings us Kenny Roger's signature song.  Songwriter Don Schlitz wrote this song in 1976 and it was recorded by several musicians including Johnny Cash before Rogers took it to number 1 on the country charts and number 16 on the Billboard Hot 100.  The gambler looks through life through the lens of poker, knowing "every hand's a winner, and every hand's a loser," and of course "you've got to know then to hold 'em, know when to fold 'em."Stumblin' In by Chris Norman and Suzi QuatroRob's staff pick is the sole top 40 hit by female rock pioneer Suzi Quatro, and Norman's only hit outside of his previous band, Smokie.  This duet made it to number 4 on the Billboard Hot 100.  Both singers have a smoky vocal sound.Do You Think I'm Sexy? by Rod StewartLynch notes Stewart's ability to surf the waves of popularity with this staff pick.  While Rod Stewart honed his craft in the rock genre, he achieved both popularity and notoriety with his polarizing choice of embracing disco music in the late 70's.  Today this song remains one of his most popular tunes. INSTRUMENTAL TRACK:Pegasus by The Allman Brothers BandThe Allman Brothers were decidedly NOT a disco band in this instrumental jam. 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 we have alot to discuss, from teeth removals, Fish Sperm , The Wonderous ridebag that was Barry Gibb, and so much more....And of course our Rotters of The Week! Follow us on instagram :https://www.instagram.com/pettylittlethingspod/Victoria Secret:https://www.instagram.com/victoriasecretdublin/Davina Devine:https://www.instagram.com/davina.devine/ Hosted on Acast. See acast.com/privacy for more information.

On this new broadcast of A Bowl of Soul we celebrate not only Classic Soul and New R&B for 2024, we celebrate Kennedy Center Honorees, Dionne Warwick, Barry Gibb and Queen Latifah. Get your Classic Soul & New R&B groove on with A Bowl of Soul. #DionneWarwick #BarryGibb #QueenLatifah #RandB #HappyNewYear #ClassicSoul #newmusic You can support A Bowl of Soul by doing the following:  Get up to 2 months free podcasting service with our Libsyn code=ABOS. Sign up & bring your  podcast to life! Get on Apple & Spotify, get critical stats & all the support you need to sound your best and grow your show!! Sign up here: https://signup.libsyn.com/?promo_code=ABOS You can listen to the A Bowl of Soul Radio Network on Live365.com giving you 24/7/365 days of Soul Music. Stop on by and listen:  A Bowl of Soul Radio Network on Live365 You can support A Bowl of Soul and Buy Me A Coffee. Just click: Buy A Bowl of Soul A Cup of Coffee Purchase your A Bowl of Soul T-Shirt and other merchandise. Just click: Get Your A Bowl of Soul Merch Follow me: @abowlofsoul on Twitter                   @proftlove on Instagram                   @A Bowl of Soul A Mixed Stew of Soul Music on Facebook

Chris Hewitt from the Star Tribune joins the show to tell us about all the new movies we should be watching... Plus, a book suggestion from Chris that we were not expecting! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Chris Hewitt from the Star Tribune joins the show to tell us about all the new movies we should be watching... Plus, a book suggestion from Chris that we were not expecting! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Federal Trade Commission has proposed sweeping new changes to a decades-old law that regulates how online companies can track and advertise to children. CBS News' Jo Ling Kent reports on the details.In our series "A More Perfect Union," we'll show you how the innovative nonprofit The Unscripted Project is giving improv comedy a serious role in the classroom to help students learn confidence and other life skills. CBS News National Correspondent Jericka Duncan gave it a try at one Philadelphia school.As part of our 'Changing the Game' series, we're highlighting Naomi Winston. She is the author and founder of The Creative Representation Empire, a series of creative tools and coloring books used to establish creative representation for Black and Brown kids.​Barry Gibb was celebrated as a 2023 Kennedy Center Honoree for his poignant songwriting and one-of-a-kind vocals. Anthony Mason talks to Gibb about The Bee Gees' legacy, finding peace after losing his brothers Robin and Maurice, and the landmark career moment that he'll never forget.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We check this week's luggage on the rock and roll baggage carousel and remove the following items for inspection …  … The People v OJ Simpson and why it's worth re-watching. … the only two convincing films about magazines and journalism. … bands that look like mini-cab drivers. … David's upcoming appearance on University Challenge (cue the voice of Roger Tilling: “Middlesex Hepworth!”) ... the source of the phrase “Bring on the empty horses!” … why someone called Riley asked John McVie and Nick Mason for his life back. … who was more prolific, Michael Curtiz, Barbara Cartland or Mozart? … the eternal destination of all Peter Pan royalties. … the man who saved Po Powell from a spell in the cooler. … “Morning, Gentlemen. Nice day for murder!” … writing bands' names on school bags. … ‘I need a sheep, a psychiatrist's couch, a vet and a ticket to Hawaii!' ... the old Word magazine gang and what they're doing now. Mentioned in despatches – the Atom Heart Mother cow, a duff Barry Gibb movie, the Mark Leeman Five and Balaam And the Angel.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

SATURDAY NIGHT FEVER ANNIVERSARY SPECIAL Songs played. NIGHTS ON BROADWAY Candi Staton 1977 MORE THAN A WOMAN Tavares 1977 WHAT KIND OF FOOL Barbra Streisand & Barry Gibb 1980 HOW... LEARN MORE The post TTBA Replay 15DEC2023 Pt. 2 appeared first on Turn the Beat Around.

While lecturing about global warming, blowhard John Kerry (allegedly) releases his own hot air. James Carville blasts clouds of paranoia with claims that Speaker Johnson and at least two Supreme Court justices are a greater threat to the U.S. than al-Qaeda. And speaking of blowing, Hillary Clinton blames global warming for killing everyone. Joe Biden struggles to honor Barry Gibb. A house in Arlington, Virginia, explodes after police reportedly approached it with a search warrant. Greg Gutfeld calls out the "censorship industrial complex" while broadcasting on Fox News. And we continue to give away thousands of dollars' worth of prizes as we count down the "12 (Working) Days of Christmas."Sponsor: MDHearing: Because you deserve medical-grade hearing aids for 90% less. LIMITED TIME: If you want MDHearing's smallest hearing aid ever, go to https://mdhearing.com and use promo code RICKBUBBA to get their NEW Buy 1/Get 1 $149.99 EACH offer when you buy a pair. Plus, they are adding a FREE Extra Charging Case, a $100 value, just for listeners of the Rick & Bubba Podcast. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

While lecturing about global warming, blowhard John Kerry (allegedly) releases his own hot air. James Carville blasts clouds of paranoia with claims that Speaker Johnson and at least two Supreme Court justices are a greater threat to the U.S. than al-Qaeda. And speaking of blowing, Hillary Clinton blames global warming for killing everyone. Joe Biden struggles to honor Barry Gibb. A house in Arlington, Virginia, explodes after police reportedly approached it with a search warrant. Greg Gutfeld calls out the "censorship industrial complex" while broadcasting on Fox News. And we continue to give away thousands of dollars' worth of prizes as we count down the "12 (Working) Days of Christmas." Learn more about your ad choices. Visit megaphone.fm/adchoices

Main Course (1975) es el decimotercer álbum de los Bee Gees, lanzado en 1975, y su último álbum lanzado por Atlantic Records en los Estados Unidos bajo el acuerdo con Robert Stigwood. Este álbum significó un cambio para los Bee Gees ya que fue su primer disco en incluir éxitos de música disco. Trabajando con el productor de Atlantic Arif Mardin, quien había además producido el álbum anterior, Mr. Natural, y el ingeniero Karl Richardson en Criteria Studios en Miami, su música se volvió mucho más influenciada por el R & B. Main Course además marca el debut del falsetto de Barry Gibb.  La famosa portada del álbum fue diseñada por la artista estadounidense Drew Struzan. 

Holmberg's Morning Sickness - Friday October 6, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

A woman was scammed out of thousands of dollars from her retirement fund by a man pretending to be Barry Gibb.

The guys are joined by Ryan repeat revisitors Paula Kelley & Aaron Tap to discuss “Cucumber Castle” from Bee Gees.  Well, at least Barry and Maurice.  Other discussion including Wayne warming up to this album, Matchbox 20, self-promotion (or the lack thereof), dog sports/dog agility, levels of alpha, The Boy Joys, Robin's absence on this album (and his solo album), “nobody's leaving Barry Gibb” and wait…who sings the high harmony parts?  Check out Paula Kelley at: https://paulakelley.bandcamp.com/Check out Aaron Tap at: https://aarontap.com/Check out Bee Gees at: https://www.beegees.com/Check out other episodes at RecordsRevisitedPodcast.com, Apple Podcasts, Stitcher, Castbox, iHeartMedia, Google Podcasts and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with country superstar, Kelly Lang!Kelly discusses winning Star Search as a teen,  her close friendship with Olivia Newton-John,  performing with Barry Gibb, and much more!