Podcasts about Be My Baby

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

| Sunrise Forever (Michael Gray Remix)  | Change, Tanya Michelle Smith | Slow Down (Philip Ward Extended Version)  | Yvonne Gage | Rhapsody  | Mr Maph | Candlelight  | S-Tone Inc. feat. Laura Fedele | Love Supreme (Dance Mix)  | Jessie Laine Powell | Life Of My Party  | Keneisha | Honey (Chris Baxter & The Realm 'Body Fusion' Remix)  | Tanya Nolan | Act Like You Want Me  | Willie Clayton | Never Gonna Give You Up  | Poppeye  | Be My Baby  | Poppeye  | Treat You Right (T-Groove Remix)  | Devon Howard | Why?  | Alli' Starr | You Take Me Higher  | Soul Ladies | Keep Shinin' Your Light  | Al Chestnut | My Sweet Polly  | The Scott Brothers | Everybody Push And Pull  | Judson Moore & The Al-Tog Staff | Go Slow (Chris Baxter 'Open Your Heart' 2025 Rework)  | Natasha Watts  | Can I Get Ur Numba (The JE Heartbreak Mix)  | Everis | The Way That I Love You (feat. Martin Connor)  | The 745s | Too Little Too Late (feat. Martin Connor)  | The 745s | Try My Love  | Ingram Street  | Whispers  | David Margam feat. Diego Calcagno, Andres Garcia & Jorge Pinelo | Sunset  | Brandon Marceal, Ilya Serov | Just Keep Movin' (Philip Ward Smooth Edit)  | Point 5 ve | Be With You  | JLake | It's Looking Up  | D.S. Wilson | I Got You  | Dia Grover | Drive Slow (Gedi Clean Edit)  | Safa | Cool Summer  | Special EFX, Chieli Minucci | Meant To Be  | Special EFX, Chieli Minucci | Lets Lay Back (Groove Mix)  | Mike De'Cole | Lip Service (Show Me)  | Jerrica Knicole | Inner Peace  | Rhona Bennett  | When I Saw That Woman  | Tyree Neal | Can't Get Over You  | Walter Chatman | The Journey  | Walter Chatman | Let's Get Lost  | Blake Aaron | Love On The Line  | Echol Simpson | Man After Your Heart  | So'lo | Choose U (Philip Ward Extended Version)  | Tyrand | Tonight (Philip Ward Extended Version)  | Tyrand | Set Me Free  | Chavonna Adams | Wheels In Motion  | Mark Jaimes | Magic Night  | The Paradise Projex | Over And Over And Over  | Vince Broomfield | Fooling Around  | Joseph Wiggins | Can I Have This Groove  | Kenyon Dixon | Soft (Gedi Clean Edit)  | *aya

A finales de los 50, principios de los 60, hacer llegar al público una cancion en EEUU tan sencillo como acercarte a un edificio en el 1619 de Broadway en la calle 49 de Manhattan, en Nueva York. Once pisos con todo lo necesario, músicos, autores, editores, salas de ensayo...una autentica "fabrica de sueños" comandada por Don Kirshner. Nombres establecidos como Jerry Leiber y Mike Stoller o jovenes promesas como Goffin&King , autores de “¿Will You Still Love Me Tomorrow ?“ para las Shirelles como Jeff Barry y Ellie Greenwich de ”Be My Baby” para las Ronettes.Una miriada de famosos desconocidos como Barry Mann-Cynthia Weil, Doc Pomus-Mort Shuman o Bacharach y David, la inequívoca señal de que estabas en el lugar adecuado. Te asombrará saber las maravillas que produjeron y cómo. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

A finales de los 50, principios de los 60, hacer llegar al público una cancion en EEUU tan sencillo como acercarte a un edificio en el 1619 de Broadway en la calle 49 de Manhattan, en Nueva York. Once pisos con todo lo necesario, músicos, autores, editores, salas de ensayo...una autentica "fabrica de sueños" comandada por Don Kirshner. Nombres establecidos como Jerry Leiber y Mike Stoller o jovenes promesas como Goffin&King , autores de “¿Will You Still Love Me Tomorrow ?“ para las Shirelles como Jeff Barry y Ellie Greenwich de ”Be My Baby” para las Ronettes.Una miriada de famosos desconocidos como Barry Mann-Cynthia Weil, Doc Pomus-Mort Shuman o Bacharach y David, la inequívoca señal de que estabas en el lugar adecuado. Te asombrará saber las maravillas que produjeron y cómo. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Fathom invites you to Be My Baby... Roughly thirty thousand feet above sea level, two pilots have a normal conversation minutes before landing in San Juan. Then, a sound. A strange sound. The captain hears it. Who else hears it? Do you hear it? Somebody else must hear it. It can't only be me. Can it?

This episode features Canadian legend Randy Bachman revealing the unexpected twists that led to the creation of "American Woman." Plus, hear Andy Kim share a secret about "Be My Baby" and feel the energy of Sass Jordan's "Tell Somebody." Dive into the vinyl grooves and discover the tales behind the tunes. Don't miss out!See omnystudio.com/listener for privacy information.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Be My Baby by The Ronettes (1963)Song 1: Can't Let Go by Lucinda Williams (1998)Song 2: Heart Tattoo by Joyce Manor (2014)Song 3: Roxanne's Revenge by Roxanne Shante (1984)Song 4: Adult Diversion by Alvvays (2014)Song 5: Ruby by Kaiser Chiefs (2007)Song 6: Somebody Kill Me by Adam Sandler (1998)Song 7: The Magnificent Dance by The Clash (1980)Song 8: Popcorn by Hot Butter (1972)Song 9: Rocky Top by The Osborne Brothers (1967)Song 10: Me Voy by Julieta Venegas (2006)

It's Episode 66 of the Friday Night Karaoke Podcast, and the theme of the week was #FNKIconic. Lights, camera, SING! This week's episode of the Friday Night Karaoke Podcast is all about those unforgettable movie moments that come to life through music. Join Mike and Joe as they dive into the magic of Iconic Movie Songs, featuring incredible performances from our FNK community. These are the songs that made movie scenes legendary, and now our talented members are putting their own spin on them! From heartfelt ballads to high-energy singalongs, this episode will have you reliving your favorite movie memories while singing along to the hits that defined the silver screen. FEATURED IN THIS EPISODE ALONGSIDE HOSTS Mike Wiston AND Joe Rubin: Paul Bright & Heather Gurnari kick things off with a powerhouse duet of "Suddenly Seymour" from Little Shop of Horrors. It's the perfect mix of fun and drama! Eric Dubrofsky slows things down with a soulful rendition of "If I Could Change The World" from Phenomenon. Get ready to feel all the emotions! Bonnie Richelle takes us back to the dance floor with her cover of "Be My Baby" from Dirty Dancing. You won't want to stay seated for this one! Chris Gonzales brings classic romance with "I Just Called To Say I Love You" from Woman in Red. It's sweet, smooth, and oh-so-timeless. Mimi Walt lights up the mic with "I Love You Baby" from 10 Things I Hate About You. It's playful, it's fun, and it'll have you singing along in no time. Rick Mendoza rocks out with "Fox on the Run" from Guardians Of The Galaxy Vol. 2. Get ready for some serious space vibes and classic rock energy! Marc Cross rounds out the episode with a high-octane performance of "East Bound & Down" from Smokey and the Bandit. It's a fast-paced, foot-tapping good time! So grab some popcorn, turn up the volume, and join us for a musical journey through the most iconic movie songs of all time. Whether you're a fan of the big screen or just love great music, this episode is packed with fun, nostalgia, and FNK magic. Let's hit play and sing along! Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!See omnystudio.com/listener for privacy information.

Please rate & review The Movies on Spotify, Apple Podcasts, or wherever else you listen to the show!--- APARTMENT 7A follows in 2024's tradition of independent directors helming prequels to successful horror franchises. We had THE FIRST OMEN and A QUIET PLACE: DAY ONE. Now, Natalie Erika James takes the reins to ROSEMARY'S BABY, revealing the story preceding Roman Polanski's iconic 1968 movie.This story follows Terry Gionofrrio (Julia Garner), a New York dancer toughing her way through a marathon of auditions to try and land work. It's already difficult to stand out in New York, but doing so right after sustaining a severe foot injury? Impossible.Coping using pain pills, Terry goes on a bender, and after one particularly bad night, is scooped off the street by the wealthy, doting Castavets - Minnie (Dianne Weist) and Roman (Kevin McNally). The childless couple, drawn to the struggling artist, become her benefactors, offering her a gorgeous apartment in the opulent Bramford building: rent-free. (Daniel, stop drooling. You're embarassing yourself.)But as the days and weeks pass, with more pain pills, impossible auditions, and a one-night experience of which Terry can't quite place the details regarding how she ended up in another's bed, she encounters these bizarre nightmares, hallucinatory and threatening in scope. The once high ceilings of her apartment appear to slowly shrink in size. She swears she sees presences lurking round every corner. And the Castavets? They're a bit too friendly, a bit too doting, a bit too...possessive.Natalie Erika James' movie is surreal, theatrical. At times, I'd dare even say, pulpy. The camera bobs and weaves through musical sequences and hallucinations, borrowing from films such as THE RED SHOES and ALL THAT JAZZ. But the sinister beating heart lies in the real-life horror befalling Terry, one about bodily autonomy, sexual assault and an obsession for success that grows to prevail over one's own wellbeing. This grounds the movie so bitterly that I find the surrounding silliness to often be a welcome tonal reprieve from an otherwise all-too-real nightmare. Mix all this with rich, textural photography, a color palette of decadent chestnuts, mustards and moss greens & costumes that teleport me to 1960s New York. The result's a hazy, tense thriller that breathes new life into a nearly 60-year-old franchise, posing James as an exciting new voice in horror.---Follow The Movies on Twitter: @TheMovies_Pod and Facebook: The MoviesCredit Song: "Be My Baby"- The Ronettes

Les classiques du jour : - Hole "Celebrity Skin" - Aerosmith "Janie's Got A Gun" Les nouveautés du jour : - The Jesus and Mary Chain "Pop Seeds" - Future Islands "Glimpse" - Halsey "Ego" Le journal de la musique : - Le biopic sur Janis Joplin se précise - Le Fyre Festival est de retour ? - Les membres de Radiohead se sont retrouvés pour répéter - Toto annonce une tournée La cover : Dee Dee Ramone reprend "Be My Baby" de The Ronettes Le live du jour : OneRepublic "Counting Stars" (Live From iHeartRadio Jingle Ball 2023)

Dee Dee Ramone reprend "Be My Baby" de The Ronettes

Open up your heart! Open up your heart! Open up your heart, let Kimbra pull you out!On this episode, Kirk goes for a swim in the extra-buoyant waters of Kimbra's 2011 pop stomper "Cameo Lover." It's an intricate musical narrative told through shifting time-feels, retro drum beats, leaping vocals, and sneaky key changes, and it's just the song to raise our spirits after a long, dark winter.Written by: Kimbra JohnsonAlbum: Vows (2011)Listen/Buy: Apple Music | Amazon | SpotifyALSO FEATURED/DISCUSSED:“Somebody That I Used to Know” by Gotye from Making Mirrors, 2011“Settle Down,” “Plain Gold Ring” and “Sally I Can See You” by Kimbra (Plain Gold Ring by George Stone) from Vows, 2011“In My Bones” by Jacob Collier from Djesse Vol. 3, 2020“Be My Baby” by Jeff Barry, Ellie Greenwich, and Phil Spector as performed by The Ronettes, 1963OUTRO SOLOIST: Dan NervoThis episode's outro soloist is the fantastic Dan Nervo. Dan plays guitar in the San Francisco Bay Area in bands like Neon Velvet, and also teaches private guitar lessons. Hit him up if you want to get good at guitar: https://www.facebook.com/DanNervoGuitarLessons/----LINKS-----RECAST RECOMMENDATION: "Fade to Black" by Howard Levy & Chris Siebold from Art + Adrenaline, 2018(also featuring "Chip Monkey" by Kick the Cat (YouTube) and "Sinister Minister" by Bela Fleck and the Flecktones from Live Art, 1995)SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------SEPTEMBER 2024 WHOLE-NOTE PATRONSMeryl AllisonRobyn MetcalfeBrian TempletCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallJay SwartzMiriam JoyRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerNathaniel BauernfeindPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreySEPTEMBER 2024 HALF-NOTE PATRONSLawrenceSy JacobsirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattle Trans & Nonbinary Choral EnsembleKevin MarceloMatt CSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizMichael YorkClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan Laserbrian john peterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyAlan BroughRandal VegterGo Birds!Robert Granatdave malloyNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Angela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

This week, Sadie introduces us to Eleanor Greenwich, known as Ellie, who was the hit songwriter behind many of the greatest songs of the sixties pop charts. Stauney and Sadie discuss her life, the songwriting scene at the time, her undeniable talent and the mark she left on the music industry and pop culture itself with hits like "Da Doo Ron Ron", "Be My Baby", "Maybe I Know", "Then He Kissed Me", "Do Wah Diddy Diddy", "Christmas (Baby Please Come Home)", "Hanky Panky", "Chapel of Love", "Leader of the Pack", and "River Deep – Mountain High", among others. We also discuss the Ballerina Farms situation and our thoughts on relationships, sacrifice, and the arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

link Трек-лист: 01. punktò — la la la 02. Pepe Deluxe — Before You Leave 03. Mattafix — Big City Life 04. Vanessa Paradis — Be My Baby 05. Protassov — A Bird's Party 06. Freedom Fry — Stayin' Alive 07. De-Phazz — The Mambo Craze (DJ Cam Remix) 08. Jamie Cullum — Domn't Stop … Продолжить чтение Lofstrom loop 379 (05.07.2024)

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Glenn McDonald, author of the new book You Have Not Yet Heard Your Favorite Song: How Streaming Changes Music.I've followed Glenn's work for years now, and this book is the result of decades of work in the field, and comes from a perspective not only of technology's bleeding edge but also a sincere, personal love of music. We spoke about the mechanics of tracking genre data, how streaming has impacted listening trends, and how the model's economics are holding up.The book can be found everywhere books are sold.This interview has been condensed and edited. Glenn McDonald. Thank you so much for coming on. You are the author of You Have Not Yet Heard Your Favorite Song, which is a really compelling title all about the streaming revolution, but more importantly about this really fascinating moment in music data that for much of the past decade, you have been at the front seat for, or even in the driver's seat for. Your work goes back to a really interesting company called The Echo Nest.For new listeners and folks who maybe are unfamiliar with your story, can you just tell me a little bit of the history of this field and your place in it? The Echo Nest was a really fascinating company and I think more people ought to know about it.I had been doing software design for a long time and had worked on a bunch of different things that all had to do with making sense of data for people. None of them had been specific to music data, but I would always use my work tools on my record database or my other various music-related projects. Those were the things that I was really interested in.At some point I ended up tabulating the Village Voice critics music poll every year. This was what big data was for music in the era before streaming: It was like 800 music critics typing 10 album votes into blanks, with typos and everything. The companies I worked for kept getting acquired and my projects would get shut down or something, so every few years I'd need a new job.When this happened in about 2011, I just knew through contacts that there was this company in Somerville a couple of media lab people had started called The Echo Nest, which was trying to do something with music data because there suddenly was a lot more music data. The Echo Nest was trying to do recommendations and categorization stuff for streaming services. This was pre-Spotify launching in the U.S., so 7Digital and Rdio at the time were some of the existing players. And I had done enough music data things to convince them that I was a worthwhile person to add to this effort.I remember my first task at The Echo Nest. I showed up for my first day and they were like, “Oh, Glenn, you're here. Good. We're doing these radio stations for Spotify, this company we're trying to entice into using our services, and we're putting cartoon noises on the Franz Liszt classical station. Can you please figure out why we're doing that and make it stop?”So that was the beginning of the journey. We did not succeed initially at getting Spotify as a customer, because Spotify recognized, correctly, that to do a really good job we had to have listening data, and there was no way they were going to give us listening data when we were also powering their competitors, even though their competitors were small. I remember we tried really hard to convince them. We were like, “We'll keep your data on a server on the totally other side of the closet where we have our servers.” That obviously didn't fly. After a couple of years of doing a lot of other things along the way, it was a race to see whether Spotify would develop their own recommendations and not need us or whether they would just get enough money to buy us first.The money happened faster. We got acquired in 2014 and basically officially became the personalization team at Spotify. A bunch of the things we did had to do with understanding music and understanding taste so that you could do personalization, but it wasn't all directly involved with personalization.That's about when you got on my radar, because I was at the time doing pop culture stuff at 538. I think music was always a bit of an enigma to me, just because there was so much of it, and obviously all the challenges that you were facing at an industrial scale, I was facing on a journalistic scale.When I saw what you were doing — I don't think people really appreciate enough the moment when The Echo Nest got bought by Spotify. Very soon after, that's when you started seeing the level of personalization on the platform skyrocket. Do you want to speak a little bit about that?It was a combination of things, because some of that stuff was stuff that we brought, The Echo Nest, but that acquisition was also Spotify's moment where they bought into the idea that personalization was going to be a big part of this Spotify experience. Discover Weekly, for example, which came along shortly after that, was not an Echo Nest thing. That was done by people who had already been at Spotify, and some of them were annoyed that that feature was described as if it somehow came from the Echo Nest work.But basically everything that came about was because Spotify decided, “All right, personalization is going to be a thing.” At the same time, they acquired another company called Tunigo that was a playlist-making editorial company. And that was the beginning of, “All right, we're really going to have an editorial effort, too.” That was the beginning of both of those areas at once in Spotify's existence.A lot of the interesting stuff in your book comes out of the complications of using algorithms as opposed to taste, and just the serendipity of some of it. I want to play something, because I think it shows the moment that completely shattered something about how I thought about music and how I thought about what the tech was that y'all were building.I have a lot of Spotify playlists, just as anyone else does, and I was on a kick and I added a few songs in a row. The following week, all 10 recommended songs had this kick to start it. It's the “Be My Baby” kick. There's no way you could ask a DJ or even an expert, “Hey, can you find me 10 songs that all have this kick that I'm apparently into right now?”But lo and behold, I would go down this recommended songs list and it would all be that. And that showed me that, man, there's a level of depth here that not only could we never accomplish before, but that is going to change the way we really consume a lot of this stuff. I always found it really fascinating how you were really on the front of that for so much of the time at Spotify.One of the most interesting things to realize for me in this journey was that finding those patterns often comes about not the way you think.How did that happen?You imagine that the computer knows there are those drumbeats, it's found that you like them, and knows these songs contain them and lines them up. In fact, in this feature, that's not happening at all. It's just patterns of playlist making.That recommended feature at the bottom, it uses the playlist title when you don't have anything, but then as soon as you've got stuff in your playlist, it's really just doing a complicated search of songs and playlists from other people that overlap with what you put. Here's what else they did. I found over and over that it was more effective to basically mine listening for the implicit signal that people have created by listening in nonrandom ways than it was to try to find the thing you're actually looking for.If you try to find bands from Estonia, you get screwed up by metadata mistakes and missing data all the time. But if you can find a few bands that you know are from Estonia and use them to find an audience and use that audience to find what's different about those people's listening, then you find all the rest of the bands from Estonia without having to rely on metadata. Even the system doesn't know what it's doing. People have encoded that knowledge implicitly by listening.So I did find someone who'd been on a kick of listening to all the “Be My Baby” hooks in a row. It's fascinating stuff.I want to take it to the book now, because that speaks to a chapter specifically all about how you talk about genres and how genres don't really exist; they're just words that people use to talk about things. You describe them as “distributed communities of interest.” Do you want to speak a little bit about what genres are?We got into this genre thing at The Echo Nest because we promised somebody that we had genre radio. It was the era of Pandora. Algorithmic radio was mostly track and artists seated. That was how people mostly thought about it.We had some customer — I've long since forgotten who they were — who was like, that's too complicated. I just want like 16 buttons. It should just say rock and you hit it and it plays some rock music. And we were like, “Oh yeah, totally. We totally have that.” And then we went back to the office and we were like, we don't actually have that. But we better make it really quick.What we did have was this vast database of word frequencies. We knew what artists were written about in what vocabulary, so we were like, this will be fine. We'll just line up the artists for whom rock is a disproportionately occurring term and we'll sort them by popularity and hit play.We did that and then Rihanna came out and we were like, ah crap. People do say rock about Rihanna. I mean, she has a song called “Rockstar.” It's not crazy, but it was definitely not what these people wanted to have happen.So we had a few days, and I'm like, all right, there's cultural knowledge here. It's not complicated what rock is. We just have to mine this very basic cultural knowledge. We had a table full of interns from Tufts, so I'm like, “Here's what we're going to do. Interns, go for each of these 17 or however many genres we want to demo, and just go find a list of the most obvious artists. Look it up on Wikipedia or Google — don't do anything sophisticated. When someone says rock, what are they probably thinking of? Then we'll take five or 10 of those artists, and because we have this good graph of artist similarity, we'll say, what are the other artists that are collectively similar to those five or 10 seed artists for each genre? That'll probably get us close.”And that was right. That basically worked. If you feed in that what we mean by rock is The Who and Lynyrd Skynyrd and Led Zeppelin, you get a set of artists out. If you say, no, what I meant was The Black Keys and the Foo Fighters and Coldplay, then you get a different set of artists out. So that was where we began. I didn't have a theoretical framework for what I was doing; I just had a thing that we needed to produce really quickly.But as I got into it and tried to extend this from 16 to 300 and then to 1,000, what I realized I was doing was scouring the planet to find communities, literal communities. Sometimes of artists, sometimes of listeners, usually of both but not always, and usually with some element of practice to them, but not like a list of criteria in the classic musical logical sense. You can describe the difference between Baroque music and ragtime in informal music theory terms, but that's not really helpful because people's interest is much more specific than that. You can't just say this is definitely formally a hip-hop song, and therefore you as a hip-hop fan are going to like it, because if it's in Turkish and you only speak Bulgarian, it's probably useless to you.Once I understood that, then it became easier to think about how we proceeded: that we're trying to find communities and show them back to themselves. And they usually have names for themselves. Sometimes we would find communities that didn't yet have a self-identification and we would have to make up names for them, but the goal of doing that was to be able to show those people, here you are, here's your taste. You're an audience, you have a taste. If you think of a name for it, tell me and I'll replace it. But I gave it a name so that we can at least talk about it.It also gets at a big issue with music in general. Even going back to radio times, there are a lot of genres that truly don't exist, that are entirely manufactured. Things like classic rock or oldies are referendums on not just what you played, but how long ago you played it. And even things like indie rock says more about the economics of the people who distributed your record than perhaps you yourself. But nevertheless, these communities are constituencies that have an expectation that if they press an indie rock button, they want to hear some indie rock.Indie rock is a great example where there are 12 good answers to that depending on who you are, and we couldn't call them all indie rock. Some of the exercise in making up names was like, all right, how am I going to differentiate between 12 historical, regional, philosophical variations that each think of themselves as indie rock? I have to tell the story a little differently.Yeah, I dig that. That's a really exciting challenge.I want to talk a little bit about some of the things that make streaming unique as a distribution format and a distribution medium. Whenever you have a new medium emerge, you have new intersections of how people work with that and consume it. You see it time and time again that technology can inform what's done.You have a whole chapter in your book about this: “Chill is the new music.” It talks about essentially background and foreground sounds, whether that's lo-fi hip-hop radio, which is fairly well known, or things like a peaceful piano playlist. Things that would not exist in any previous iteration of the music industry are now dominant forms of consumption for lots of people. Do you want to speak to how this emerged and how you assess the space?My favorite example of this is nature sounds. I had a CD of rainforest noises, and I would play it sometimes, but I was never going to buy another one. I think this is true of most people. I think most people had zero or one background noise CD in the CD era. The worldwide market of rainforest noises was probably a dozen, and you could compete between those dozen which was going to be the one that an individual user bought, but you couldn't go much further than that.Streaming has made it possible to have that for no additional costs. It's like, it's not that I was against hearing a different rainforest. Costa Rica was superior to Indonesia.Borneo is lovely this time of year.One of the finest rainforests to listen to. But we unlocked that because now I can just put on a playlist of rainforest noises and I can hear new rainforest noises.Does it really matter in rainforest noises? No, but it matters more in lo-fi hip-hop, where it is sort of a substance and you may prefer to hear new examples of the same form. That suddenly became totally viable. Peaceful piano is another one of those. I think a lot of people owned one classical CD and they would it put on when they needed something in the background. “I'll put on the classical music I own.”Not only did streaming unlock the rest of the classical catalog, but then suddenly people were like, not all classical music works that well. I can just make stuff that's perfect for this mode. It's the perfect size and it's exactly as soothing, and it's not going to do some interesting thing that Chopin did because Chopin was interesting. Let's make it all fit this need. And I think there are a lot of needs that you wouldn't have spent a lot of money to satisfy, but they're needs you will spend a little bit of time to satisfy if it's free and it's easy to find them.Fascinating. The rise of that has just been such an interesting side effect of the business model, in some way, but also a side effect in terms of how people want to listen to something pleasant in the background but not necessarily shell out for it. It just seems like it's a novelty of the distribution format that I enjoy, but can really only exist at this time in history.Yeah. And it's not just streaming, too, because it's a synergy of streaming and having phones with you and earbuds and the expectation of music in all parts of your day. The idea that not only do you have earbuds, but everybody has earbuds, so it's normal for you to have your music in a public environment without bothering other people.I want to talk a little bit about another side effect of the streaming model. This is one of the first times I've seen someone who was actually inside the house recount what this looks like, but streaming fraud has a lot of folks in the industry on edge or concerned —folks who are trying to manipulate the eventual rankings of things or the eventual performances of artists, whether it's for financial reasons, they want their artists to get more money, or they just want more people to see the person for whom they belong to the Army.I thought this was just a really interesting look inside a company that has to deal with this and how obvious it can look at you. You had a story about Beyoncé in there that was fascinating, but I would love to hear about what streaming fraud and Army-style tactics look like from the inside.I never intended to be involved in fighting streaming fraud at all. But as I explain in the book, I fell into it just because I was looking for patterns and sometimes the patterns that I'd find would make no sense. I'd be like, what? In one of the earliest examples, I was starting to try to look at what was different about listening in each city, and a lot of cities made sense. I could say, all right, I know what people in that region like and I can see it in the city.And then Buffalo, New York, was all church music. I've realized in this process that I don't know that much about the world, and I've been surprised many times by things that turn out to be real features of how people move around the planet. So I tried not to jump to conclusions. I was like, okay, maybe Buffalo's a really religious place and it's a really common usage to have organ music that you play off Spotify. That theory didn't hold up very long. It was obviously not what was actually happening. I found that a lot of times, whenever I would go looking for interesting patterns in small subsets of people, whether they be geographic or by age or demographic or whatever, some of them would be weird. I realized that I'd found a subset of accounts, but not a subset of people.Having spent 10 or 12 years at this, depending on how you look at it, if I wanted to live a life of crime, this is definitely the life of crime I am best prepared to enter into, and I would not do it. That's my message to aspiring fraudsters: shoplift, go do something else. Anything is better than this. This is a really bad way to try to earn money, because anything that you do that earns enough money forms obvious patterns and it's just trivially easy to detect. Sometimes it took me half an hour to figure out the exact pattern that some new cluster of bots was using to manipulate things in slightly different ways, but it never took long. It was always trivial to block them. It depended on the magnitude, whether Spotify would care and go after them in any punitive sense, but blocking whatever they were trying to do was never hard once it reached any magnitude where it would matter.I always knew, and have been saying for years, that Buffalo Bills-based organ music was an industry plant. Thank you for confirming that for me.That is actually a fun segue, because one of the most interesting chapters in here, I think, was about how the streaming model has winners and it has losers, and it has genres that are in fact losers. I know we've already agreed that genres are mere communities of sound, but for all intents and purposes, but let's go back to the more traditional sense here.You write a lot about how genres like jazz, classical, experimental music, these aren't really being well served by the streaming model. And you actually write a little about whether streaming actually makes discovery of this stuff easier or harder. What got you aware of this potential side effect of the model and how do you assess where it's at?This was always interesting to me because although I like Taylor Swift and I have some Ed Sheeran songs that I love, my taste includes a lot of obscure things. I'm very attached to those things existing and the people who make those things managing to somehow live in such a way that they get to keep making, you know, extremely florid gothic symphonic metal albums, or weird wedding music from Limpopo, or Filipino pop punk.As a human, I want all these things to be viable whether they are super popular or not. The genre project could have stopped at 300 if it only cared about the popular genres. It kept going to 6,000 because I think everything deserves to have the same chance to find its audience, whether that audience is small or not.As I say in the book, I think the way royalties work now in streaming is, in economic terms, actually slightly progressive. It's hard to guess this, but I didn't have to guess. I could run the numbers on the whole Spotify. I could run alternate economic models on literally all the Spotify data. That doesn't always tell you how the future will be, because sometimes when you change things, people change behavior, but I could definitely evaluate other proposals for how the existing money should be divvied up. What I found was that the model we're currently using is a slight subsidy of less popular artists by the most popular artists in practice, which is the opposite of what some people surmise, which was interesting in itself.And really, the headline is that it's a small factor. It doesn't actually matter very much. But every medium, like you say, has winners and losers by the nature of the format. There was a sort of artist that would appeal to the people who bought the most CDs, and in the CD era, I spent thousands of dollars. I was one of those people that spent thousands of dollars a year in order to discover all the music I was curious about, because I had software jobs and I could afford it. Therefore, I had a lot of economic power in that model. People like me exerted a lot of economic power. As an artist, if you were the kind of artist that I bought, that was excellent.Now I spend $10 or $11 a month on streaming like everybody else, so that power has been distributed a lot more broadly. It's a lot less concentrated now, which I think is good on the whole. I think that's good for society. But it does mean there were people who thrived very specifically in the CD era, and they could put out limited editions and CD singles. This seems crazy to me in retrospect. I would spend $12 on an imported UK CD single to get one B-side that I hadn't heard, and now that's a whole month of my listening. The crazy part of that was the former state, paying $12 to hear one B-side. That's crazier than the current model.But it's true that with a lot of things, when individual artists tell a sad story of how they used to have a career and now they don't, sometimes it's for this reason. They had found a niche and that niche went away and there are new niches. The system overall is producing as much money and it supports obscure things in general just as readily, but they're not necessarily the same obscure things to the same level.Interesting. And that $12 single, you can't be alone. They released it for a reason. There must've been a critical mass that in the aggregate means now they have to spend another day on the road, or rely on superfans. The main way you can reach them these days, if everybody's only tithing $15 or so a month through their streaming, is through appearances or tours or other kinds of onerous things.It's true, but also availability is totally different now. I think people sometimes fall into the trap of trying to compare the money as if the behavior is the same. They're like, a person would have bought my CD for $10 at my show, and now they're going to stream my song once and I only get a third of a cent. Not very many people are going to come to your show, and of them, only a few are going to buy your CD, and the number of people who are going to buy that $12 CD single to hear that B-side is really small.That B-side now could be on a playlist and a million people who've never heard of you could come across it. The dynamics are now completely different, and not everybody adapts to them immediately, but you now have a very, very broad potential casual audience that is only going to spend a third of a cent on you, but there are a lot of them. Maybe 10% of them will spend 12 cents on you by listening to a whole album a couple times, and a few of them will listen to your whole catalog and they'll buy tickets to see you when you come.Overall it's about the same money. The music industry is, in absolute terms, now past the CD peak. Adjusted for inflation, it's not quite there, so we're not quite as far into the streaming era as the CD peak was in the CD era. It seems possible still that the CD peak will be surpassed by the streaming peak in overall money, which is good, I think.That's neat. To back out a little bit, the book is excellent. People can find it wherever books are sold, and it's called You Have Not Yet Heard Your Favorite Song.You are also known for another project, Every Noise at Once. You've since departed Spotify, and as a result of that departure, the availability of Every Noise was in jeopardy for a little bit there. You mentioned that you have a lot of physical media and I would love your view on this: How do we preserve our understanding of how music works at this point in time? Down the line, things are going to be fundamentally shifted, as the industry inherently does. You've been involved in a number of projects that have relied on some of these big players to fuel their data.Where do you come down on how we can preserve a lot of this discovery and a lot of this understanding moving forward, even if we are losing the data through our fingers as it comes in?Part of it is understanding what the data is and what we've accomplished. I got laid off from Spotify, and I'd been there for a good long time, so for me I could be like, that's fine. Twelve years is longer than I had at any other job. I can do something else now and that's all right.But it definitely hurt because I built this thing and my attachment to it was very heavily tied up in its ability to constantly change. We were still adding genres to it and one of my, and a lot of people's, favorite features of it was a thing that took every week's new release list and organized it by genre. That immediately stopped working, for no good reason. It's not confidential information that the Spotify API is not arranged in such a way that you can get the information out, even though it would be in Spotify's interest to have people better able to find new releases. When I worked at Spotify, I could route around the structural problem and just ship a CSV file to my website and then everybody could see those things.I lost that ability and initially I was like, oh, the website is dead, but then with 30 seconds more thought I realized that this is what happens to most things. They build for a while, and then they reach a state and that's the end of building them, but now they're real. That map of 6,200 genres remains a map of world listening up until 2023, and there's more music in that than you'll ever be able to listen to or discover; for practical purposes, if what you care about is exploring the world, it's still a very interesting map that will help you do that.If what you care about is organizing what happened last week, then for now I don't have the tools to help do that in public in a way that I wish I did. But I'm still hopeful that we'll get that back. We only need one music service to say, “All right, you can get a list of this week's new releases from our API now, and it's not limited to 1,000,” and then I'll be able to revive that.Amazing. Glenn, I really love the book. Why don't you tell folks where they can find it, where they can find you, and why they should check it out.It's on Bookshop.org and Amazon. The original publisher is British, so if you are in the U.K. you might be able to find it in stores. If you are somewhere else you might have to order it, but that's how most things get out now. There's a Kindle version if you don't care about paper, and if you do, it's got a blue cover. It's nice.It's a good-looking cover. Hey, thanks so much for coming on. I really appreciate it. Again, I've been such a fan of yours for so long, and just to see this finally come out is really cool.Thanks for reading.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

You know our guest today from his iconic timeless hits "Sugar, Sugar" (Candy Girl), "Be My Baby", "Baby I Love You", and what brings us together today, the 50th anniversary of "Rock Me Gently". He is the one and only Andy Kim! The beautiful thing about this conversation is beyond Andy telling us his origin story into music and how the tracks came to be, he takes a beyond the surface perspective to genuinely talk about life, finding yourself, the importance to embrace the time we have on earth, and truly leaves us with one of our favorite segments we ever recorded.

BRITTANY SPANOS, Senior Writer at Rolling Stone and co-host of podcast ROLLING STONE'S 500 GREATEST SONGS OF ALL TIME spoke to Bill about This exclusive podcast from Rolling Stone tells the stories behind the "500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's "Dreams" to The Ronettes' "Be My Baby," and modern-era hits like The Killers' "Mr. Brightside," and Britney Spears' "...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time.

BRITTANY SPANOS, Senior Writer at Rolling Stone and co-host of podcast ROLLING STONE'S 500 GREATEST SONGS OF ALL TIME spoke to Bill about This exclusive podcast from Rolling Stone tells the stories behind the "500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's "Dreams" to The Ronettes' "Be My Baby," and modern-era hits like The Killers' "Mr. Brightside," and Britney Spears' "...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time.

We'd crossed paths previously over the years, but today Andy Kim sits down with NSTS for his first complete episode. The occasion is significant - on May 10, 2024 Andy's megahit "Rock Me Gently" turned 50.  Andy shares the tremendous story of growing up in Montreal tenement housing and hearing "Be My Baby" for the first time, which compelled him to move to New York City and co-write smash hits like "Sugar Sugar". This gave way to him being handed his gold record for "Rock Me Gently" by John Lennon, hanging out with Phil Spector, Cher, Brian Wilson of The Beach Boys and others, and forging an unforgettable career in music.        

On this week's episode of Rolling Stone's 500 Greatest Songs, hosts Brittany Spanos and Rob Sheffield discuss the story of “Be My Baby,” breaking down the song's massive impact on pop history. The song comes in at #22 on Rolling Stone's list and is as universal as a pop song can be. It's the song that made Ronnie Spector a timeless rock & roll legend, a teenage girl from Spanish Harlem who packed a lifetime of raw power into three minutes. Ever since Ronnie belted “Be My Baby” in 1963, it's been the classic that sums up the whole Sixties girl-group era, with Phil Spector's lavish Wall of Sound production – but it's never left the airwaves. It's been the foundation for artists from Brian Wilson to Bruce Springsteen to Lana Del Rey. You hear it everywhere, from Scorsese movies to goth clubs to hair metal, from the Ramones to Beyoncé. This week Rob and Brittany are joined by a true legend: Jeff Barry, who co-wrote “Be My Baby.” The Barry/Greenwich team cranked out a host of Sixties girl-group smashes for stars like the Crystals (“Then He Kissed Me”), the Dixie Cups (“Chapel of Love”), the Chiffons (“I Have a Boyfriend”), and the Shangri-Las (“Leader of the Pack”). Barry discusses the making of “Be My Baby,” the early Brill Building songwriting days, and his long career from pop to soul to country.See omnystudio.com/listener for privacy information.

** Episode 77- Live on Electromagnetic Radio** SPECIAL GUEST HOST JOI from ELECTRIC RADIO CLUB **International Women's Month Mix** Join host Jesse Karassik aka @heyyyyy_jesse as he takes you on a 2 hour sonic journey playing mixtape inspired tracks in a variety of genres- all for your listening (dis)pleasure! Tracklisting: 1. Just Friends...Amy Winehouse 2. Untouchable Face...Ani DiFranco 3. Love Is A Stranger...Eurythmics 4. Distance...YEBBA 5. Can't Let Go...Lucinda Williams 6. Be My Baby...The Ronettes 7. Pessimist...Julia Michaels 8. Prince Johnny...St. Vincent 9. Cowboys...Portishead 10. Whole Lotta Love...Ike & Tina Turner 11. Midnight Sun...Nilufer Yanya 12. That's The Way Love Goes...Janet Jackson 13. What Do Ya Know...Remy Reilly 14. Sunday Morning...No Doubt 15. Good Fortune...PJ Harvey 16. Dancing Barefoot...Patti Smith Band 17. Tape Song...The Kills 18. Moonlight Drive...Blondie 19. I Love Playin' With Fire...The Runaways 20. Work It...Missy Elliott  

This exclusive podcast from Rolling Stone tells the stories behind the “500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's “Dreams” to The Ronettes' “Be My Baby,” and modern-era hits like The Killers' “Mr. Brightside,” and Britney Spears' “...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time. Listen here and subscribe to Rolling Stone's 500 Greatest Songs of All Time on the iHeartRadio app or wherever you get your podcasts!See omnystudio.com/listener for privacy information.

What's on the other side of Death? It's an age old question with no real, solid answers. BUT my guest this week has come back after a Near Death Experience (known as an NDE) and she has some stories to tell! June is a woman of many talents and is very open to reminding us all that on the other side? It's all LOVE. Are we surprised by this? Should we be? So many religions and belief systems have tried to tell us, in the end all that is left, or all that should be in our hearts, is LOVE. June has many other stories to tell of course, but  here is another good reminder that this world and what's on the other side of it, should be filled with love. June, like most humans, is comprised of many different facets...she's a relationship coach, has many books (another author!!) has helped those with missing loved ones find them...and helped so many find sweet resolution in so many different ways. I hope you enjoy meeting her because I loved our conversation! Here's June's website-I really encourage you to check it out! This week I'm sharing a poem about love...by Maya Angelou. Please click here to read "Come and Be My Baby." It's a poem about our modern world, about isolation and how we, as humans, can find each other and find belonging...I just love descending down into the gorgeous world she's creating in this powerful poem. Thanks for listening...and remember to share the podcast! Grateful to everyone who listens and everyone out there making this world a more beautiful place!! See you in a few days for another delicious episode of the pod!

What's on the other side of Death? It's an age old question with no real, solid answers. BUT my guest this week has come back after a Near Death Experience (known as an NDE) and she has some stories to tell! June is a woman of many talents and is very open to reminding us all that on the other side? It's all LOVE. Are we surprised by this? Should we be? So many religions and belief systems have tried to tell us, in the end all that is left, or all that should be in our hearts, is LOVE. June has many other stories to tell of course, but  here is another good reminder that this world and what's on the other side of it, should be filled with love. June, like most humans, is comprised of many different facets...she's a relationship coach, has many books (another author!!) has helped those with missing loved ones find them...and helped so many find sweet resolution in so many different ways. I hope you enjoy meeting her because I loved our conversation! Here's June's website-I really encourage you to check it out! This week I'm sharing a poem about love...by Maya Angelou. Please click here to read "Come and Be My Baby." It's a poem about our modern world, about isolation and how we, as humans, can find each other and find belonging...I just love descending down into the gorgeous world she's creating in this powerful poem. Thanks for listening...and remember to share the podcast! Grateful to everyone who listens and everyone out there making this world a more beautiful place!! See you in a few days for another delicious episode of the pod!

This exclusive podcast from Rolling Stone tells the stories behind the “500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's “Dreams” to The Ronettes' “Be My Baby,” and modern-era hits like The Killers' “Mr. Brightside,” and Britney Spears' “...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time. Listen here and subscribe to Rolling Stone's 500 Greatest Songs of All Time on the iHeartRadio app or wherever you get your podcasts!See omnystudio.com/listener for privacy information.

This exclusive podcast from Rolling Stone tells the stories behind the “500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's “Dreams” to The Ronettes' “Be My Baby,” and modern-era hits like The Killers' “Mr. Brightside,” and Britney Spears' “...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time. Listen here and subscribe to Rolling Stone's 500 Greatest Songs of All Time on the iHeartRadio app or wherever you get your podcasts!See omnystudio.com/listener for privacy information.

This exclusive podcast from Rolling Stone tells the stories behind the “500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's “Dreams” to The Ronettes' “Be My Baby,” and modern-era hits like The Killers' “Mr. Brightside,” and Britney Spears' “...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time. Listen here and subscribe to Rolling Stone's 500 Greatest Songs of All Time on the iHeartRadio app or wherever you get your podcasts!See omnystudio.com/listener for privacy information.

Notre 1ère invitée s'appelle Laryssa Kim.Basée à Bruxelles, Laryssa Kim est une chanteuse et compositrice italo-congolaise. Son premier album, Contezza, est sorti en 2024 sur le label City Tracks. Contezza représente le chemin de la prison mentale à la libération, vers un amour mature vaste et inconditionnel pour la vie, pour soi-même et pour les autres. Ses premières incursions dans la musique ont eu lieu à Rome où elle écrivait et se produisait avec des musiciens de reggae et des DJ. Une période qui lui a permis de consolider ses forces instinctives à travers le live. En 2008, elle déménage à Amsterdam et s'immerge dans la danse contemporaine et le théâtre. Basée à Bruxelles depuis 2013, Laryssa a confirmé son intérêt pour l'électroacoustique en complétant un programme de master au Conservatoire Royal de Mons en composition musicale acousmatique.On pénètre dans « Contezza » comme on sombre dans un sommeil duveteux. Durant ces trois premières pistes, Laryssa Kim nous emmène donc aux confins de sa contezza, un mot italien ancien et éculé signifiant « conscience ». Jouant avec les langues comme avec les sons, comme autant d'artefacts invisibles témoignant de ses origines italo-congolaises, Laryssa se meut dans l'hybride et les contrastes.Carrefour où se rencontrent Brian Eno, Enya et Erykah Badu, Contezza est donc affaire de voyage intérieur. Le résultat d'un repli qui, comme pour la majorité des humains en 2020, survient avec la pandémie de Covid-19. Certaine de devoir mettre un terme à sa carrière, Laryssa profite surtout de cette pause forcée pour approfondir sa connaissance des pratiques de méditation et sa curiosité pour l'ésotérisme, l'astrologie, la magie, les oracles chinois. Tout en gardant farouchement les pieds sur terre, Laryssa s'autorise à jouer avec les signes et les sens. Instinctivement, c'est d'amour qu'elle veut parler sur ce nouvel album. L'amour et ses déceptions, mais aussi ce qu'il peut nous apprendre sur nous-mêmes, lorsqu'il s'évanouit comme un rêve, comme une marée faite de plaisirs et d'angoisses, miroirs de nos failles les plus mystérieuses. À l'instar des grands maîtres d'une esthétique clair-obscur, par-delà bien et mal, que sont David Lynch et Miyazaki. Très vite, elle conçoit l'album comme un processus rituel, magique : un exorcisme par la beauté lui permettant d'éloigner un mauvais œil qu'elle suspecte lui coller à la peau. Loin de donner des leçons, Laryssa invite humblement à l'introspection créative, à l'invention perpétuelle de soi, sans répit, au gré du jeu et de l'ouverture aux détails infinis du quotidien. Comme le bourdonnement du frigo ou l'horloge des toilettes de sa mère, à Rome, qui trouvent une nouvelle place dans les mini-univers oniriques de la contezza de Laryssa, à la fois ancienne et tournée vers les techniques de composition les plus contemporaines. Une exploration spirituelle en soi-même que Laryssa envisage à la manière d'un Jodorowski : profonde et fondamentalement ludique à la fois, loin des certitudes et des dogmes dangereux…Morceaux interprétés au grand studio- L'Attente Live RFI- Blue Velvet, extrait de l'album- Ma Chi Sei Live RFI. Line Up : Laryssa Kim, voix, machines.Son : Mathias Taylor & Jérémie Besset.► Album Contezza (City Tracks 2024). Puis nous recevons l'artiste québécoise Terez Montcalm pour la sortie de Step OutEn plus de trente ans de carrière, la Québécoise Thérèse Montcalm (Térez à la scène) publie enfin son dixième album Step Out. Elle a pris le temps pour le concevoir, puisque son prédécesseur date de neuf ans déjà. Et comme elle aime surprendre, après avoir alterné disques en français («Risque», «Parle Pas Si Fort», «Quand On S'Aime»…) et en anglais, oscillant tour à tour entre jazz, rock et chanson («Voodoo», «Songs For Shirley Horn»), c'est en compagnie du fameux guitariste français Jean-Marie Ecay (et sous l'égide du producteur Régis Ceccarelli, fils d'André, dit «Dédé», ainsi que de l'ingénierie du célèbre Dominique Blanc-Francard) qu'elle nous revient pour un album cédant cette fois la part belle à cette bonne vieille soul intemporelle. S'ouvrant sur la même rhythm pattern que le «What's Going On» de Marvin Gaye (qu'évoque également «Holding On»), la plage titulaire démontre que le temps n'a pas de prise sur le timbre rauque, puissant et écorché de la grande Térez. La guitare d'Ecay et les arrangements de Ceccarelli s'appuient fermement sur le groove qu'y imprime la paire rythmique que constituent les excellents Laurent Vernerey (Laurent Voulzy, Jean-Louis Aubert, Albin de la Simone… basse) et Nicolas Viccaro (batterie). Au registre des covers particulièrement bien senties, on distinguera celles du «She's Not There» des Zombies (également repris en son temps par Santana), du «Be My Baby» de Spector via les Ronettes (en deux versions, une langoureuse et une exaltée), du «Don't Make Me Over» de David et Bacharach (tel qu'adapté chez nous par les Surfs sous le titre «T'en Vas Pas Comme Ça»), ainsi que du «Reach Out I'll Be There» des Four Tops (dont Claude François fit ce «J'attendrai» qu'elle interprète également ici d'une poignante manière), du «T.R.O.U.B.L.E» de Leiber et Stoller via Elvis et du «Lady Day And John Coltrane» du regretté Gil Scott-Heron (avec le trombone de Philippe Georges).Morceaux interprétés au grand studio- J'attendrai Live RFI- Lady Day, extrait de l'album- Be my Baby Live RFI voir clip. Line Up : Terez Montcalm, guitare-voix, Jean-Marie Ecay à la guitare. Son : Benoît Letirant & Mathias Taylor.► Album Step out (Spectra Music / Side Street Music / L'autre Dist. 2024).Concert 26 mars 2024 au studio de l'Ermitage.

Notre 1ère invitée s'appelle Laryssa Kim.Basée à Bruxelles, Laryssa Kim est une chanteuse et compositrice italo-congolaise. Son premier album, Contezza, est sorti en 2024 sur le label City Tracks. Contezza représente le chemin de la prison mentale à la libération, vers un amour mature vaste et inconditionnel pour la vie, pour soi-même et pour les autres. Ses premières incursions dans la musique ont eu lieu à Rome où elle écrivait et se produisait avec des musiciens de reggae et des DJ. Une période qui lui a permis de consolider ses forces instinctives à travers le live. En 2008, elle déménage à Amsterdam et s'immerge dans la danse contemporaine et le théâtre. Basée à Bruxelles depuis 2013, Laryssa a confirmé son intérêt pour l'électroacoustique en complétant un programme de master au Conservatoire Royal de Mons en composition musicale acousmatique.On pénètre dans « Contezza » comme on sombre dans un sommeil duveteux. Durant ces trois premières pistes, Laryssa Kim nous emmène donc aux confins de sa contezza, un mot italien ancien et éculé signifiant « conscience ». Jouant avec les langues comme avec les sons, comme autant d'artefacts invisibles témoignant de ses origines italo-congolaises, Laryssa se meut dans l'hybride et les contrastes.Carrefour où se rencontrent Brian Eno, Enya et Erykah Badu, Contezza est donc affaire de voyage intérieur. Le résultat d'un repli qui, comme pour la majorité des humains en 2020, survient avec la pandémie de Covid-19. Certaine de devoir mettre un terme à sa carrière, Laryssa profite surtout de cette pause forcée pour approfondir sa connaissance des pratiques de méditation et sa curiosité pour l'ésotérisme, l'astrologie, la magie, les oracles chinois. Tout en gardant farouchement les pieds sur terre, Laryssa s'autorise à jouer avec les signes et les sens. Instinctivement, c'est d'amour qu'elle veut parler sur ce nouvel album. L'amour et ses déceptions, mais aussi ce qu'il peut nous apprendre sur nous-mêmes, lorsqu'il s'évanouit comme un rêve, comme une marée faite de plaisirs et d'angoisses, miroirs de nos failles les plus mystérieuses. À l'instar des grands maîtres d'une esthétique clair-obscur, par-delà bien et mal, que sont David Lynch et Miyazaki. Très vite, elle conçoit l'album comme un processus rituel, magique : un exorcisme par la beauté lui permettant d'éloigner un mauvais œil qu'elle suspecte lui coller à la peau. Loin de donner des leçons, Laryssa invite humblement à l'introspection créative, à l'invention perpétuelle de soi, sans répit, au gré du jeu et de l'ouverture aux détails infinis du quotidien. Comme le bourdonnement du frigo ou l'horloge des toilettes de sa mère, à Rome, qui trouvent une nouvelle place dans les mini-univers oniriques de la contezza de Laryssa, à la fois ancienne et tournée vers les techniques de composition les plus contemporaines. Une exploration spirituelle en soi-même que Laryssa envisage à la manière d'un Jodorowski : profonde et fondamentalement ludique à la fois, loin des certitudes et des dogmes dangereux…Morceaux interprétés au grand studio- L'Attente Live RFI- Blue Velvet, extrait de l'album- Ma Chi Sei Live RFI. Line Up : Laryssa Kim, voix, machines.Son : Mathias Taylor & Jérémie Besset.► Album Contezza (City Tracks 2024). Puis nous recevons l'artiste québécoise Terez Montcalm pour la sortie de Step OutEn plus de trente ans de carrière, la Québécoise Thérèse Montcalm (Térez à la scène) publie enfin son dixième album Step Out. Elle a pris le temps pour le concevoir, puisque son prédécesseur date de neuf ans déjà. Et comme elle aime surprendre, après avoir alterné disques en français («Risque», «Parle Pas Si Fort», «Quand On S'Aime»…) et en anglais, oscillant tour à tour entre jazz, rock et chanson («Voodoo», «Songs For Shirley Horn»), c'est en compagnie du fameux guitariste français Jean-Marie Ecay (et sous l'égide du producteur Régis Ceccarelli, fils d'André, dit «Dédé», ainsi que de l'ingénierie du célèbre Dominique Blanc-Francard) qu'elle nous revient pour un album cédant cette fois la part belle à cette bonne vieille soul intemporelle. S'ouvrant sur la même rhythm pattern que le «What's Going On» de Marvin Gaye (qu'évoque également «Holding On»), la plage titulaire démontre que le temps n'a pas de prise sur le timbre rauque, puissant et écorché de la grande Térez. La guitare d'Ecay et les arrangements de Ceccarelli s'appuient fermement sur le groove qu'y imprime la paire rythmique que constituent les excellents Laurent Vernerey (Laurent Voulzy, Jean-Louis Aubert, Albin de la Simone… basse) et Nicolas Viccaro (batterie). Au registre des covers particulièrement bien senties, on distinguera celles du «She's Not There» des Zombies (également repris en son temps par Santana), du «Be My Baby» de Spector via les Ronettes (en deux versions, une langoureuse et une exaltée), du «Don't Make Me Over» de David et Bacharach (tel qu'adapté chez nous par les Surfs sous le titre «T'en Vas Pas Comme Ça»), ainsi que du «Reach Out I'll Be There» des Four Tops (dont Claude François fit ce «J'attendrai» qu'elle interprète également ici d'une poignante manière), du «T.R.O.U.B.L.E» de Leiber et Stoller via Elvis et du «Lady Day And John Coltrane» du regretté Gil Scott-Heron (avec le trombone de Philippe Georges).Morceaux interprétés au grand studio- J'attendrai Live RFI- Lady Day, extrait de l'album- Be my Baby Live RFI voir clip. Line Up : Terez Montcalm, guitare-voix, Jean-Marie Ecay à la guitare. Son : Benoît Letirant & Mathias Taylor.► Album Step out (Spectra Music / Side Street Music / L'autre Dist. 2024).Concert 26 mars 2024 au studio de l'Ermitage.

This exclusive podcast from Rolling Stone tells the stories behind the “500 Greatest Songs of All Time." Hosts Brittany Spanos and Rob Sheffield dissect Rolling Stone's iconic list and explore the magic and mythology behind the songs on this in-depth new series. From classics like Fleetwood Mac's “Dreams” to The Ronettes' “Be My Baby,” and modern-era hits like The Killers' “Mr. Brightside,” and Britney Spears' “...Baby One More Time," we talk to artists and insiders about what makes these the greatest songs of all time.See omnystudio.com/listener for privacy information.

This one's a doozy - 4 versions of "Be My Baby" and a close relative! The first-born by The Ronettes is so good it's disqualified from the Bo Diddley Awards. We discuss Ronnie's "vibrato in a phone booth," Hal Blaine's boom-crash, the smiley backing vocals and so much more! The second child comes from the same year of 1963, it's by The Georgettes. Girl group workhorse Rickie Page makes you almost forget the absence of the Wall of Sound! A visit from a kissin' cousin comes third, "Don't Worry Baby" by The Beach Boys. Is Brian Wilson's homage to Ronnie and Spector about a love triangle between a boy, his car, and his girl? The difficult middle child is by Antipodean adorables The Pleazers. Jangle & fuzz, what else do you need? Well, this one has more than even that! The baby of the bunch is by Reperata and the Delrons, who rebel against the dirtbag sound of 1970 by evoking the Golden Age of Girl Groups. This one will make you happy, just wait & see!!

Born in Edinburgh in 1963, Roy grew up an only child and always knew he was adopted, or as his adoptive mother, Mollie, would tell him, “chosen”. Whilst loved unconditionally by Mollie and her husband Peter, the stigma of being an adopted teenager in 1970s Scotland resulted in Roy being bullied and spat on in school. At sixteen, he left Mollie a note asking if she had any information about his blood parents. She supplied a form his birth mother had filled in at the adoption agency that gave some details but omitted others, including his father's name. Roy became a father himself in his mid-forties, his newborn son being the first blood relation he had consciously laid eyes on. In his early fifties, having had his full adoption papers opened, Roy discovered his mother had made a Transatlantic trip to give birth to him before swiftly returning to her home in Toronto, keeping her pregnancy a lifelong secret. Within a few months, he had found the identity of his father and traveled to Canada, meeting close family on both sides he'd never known he had.Roy has since published a series of poems, Be My Baby, and released a CD, Songs from Be My Baby, relating to his adoption and experiences of neurodiversity which further marked him out as "different" at school and continue to impact his life. Writing and performing help him feel closer to both sets of parents and to understanding himself.I Would Meet You Anywhere by Susan Kiyo Ito.Use Discount  MAKINGOF  for 30% off.Magic Mind - The World's First Productivity Shot™You get 1 month for free when you're subscribing for 3 months at:https://www.magicmind.com/JANmakingofmeCODE: ADOPTION20: It's an extra 20% off, which gets you to a 75% off. This only lasts until the end of January, so hurry up before it goes away.Available in all Sprouts in January 2024Thank you to our sponsor S12F.Gregory Luce and Adoptees Rights LawJoe Soll & other adoptee resourcesFireside Adoptees Facebook GroupReckoning with the Primal Wound DocumentaryTo learn more about: CAAR visit the Facebook PageIf you want to support our show, visit our Patreon Page.Our Patrons:  Laura Christensen, Barbara Frank, Ramona Evans, Linda Pevac, Blonde Records, Daphne Keys, Denise Hewitt, Michelle Styles, Emily Sinagra, Linda David, John Frey, Eric David, Beth Figuls, Ron Schneider, Tony Corsentino, Kristi Reed,  Kristen Steinhilber, Jane Bofenkamp, Kelley Brickfield, Sandra de Quesada, The Harpy, Kristan Higgin, Lisa Thompson,  Michelle Goodwine, Jesper Laursen, Julie Malone, Rivi Shocket , Robert Perrino,  Colleen McCall, Janet MacDonald, Robin Wells, Lynn Grubb, Mikki Jackson-Brown, Sharon Katzmann, Carol Levitt, Elizabeth McDonald, Diane Moore, Darra RobinsSupport the showTo support the show - Patreon.

Tina Turner, Brian Wilson, Cher - most people know those names of the iconic stars whose music defined a generation and continue to be chart-toppers. Basically, they wrote bops. But did you know that those artists probably wouldn't have written said bops if not for a core group of session musicians who played an instrumental role (the pun was necessary, we promise) in rock and roll sound?Ray teaches Daniel and Rob all about “The Wrecking Crew,” a select group of musicians whose reliability and talent made them beloved throughout the industry; what made Phil Spector's “Wall of Sound” such a revolution; why Hal Blaine's mistake made the opening of “Be My Baby” that much better; the names behind some of Rob's most beloved TV theme songs; and whether session musicians nowadays have the same clout or opportunities as they did in days gone by.If you like what we're doing, please support us on Patreon, or you can subscribe to our bonus content on Apple Podcasts. And we'd love to find even more listeners, so if you have time, please leave us a rating or review on Apple Podcasts, Spotify, or wherever you listen to podcasts. And if you have any other thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to email us or send us a message on social media. Thank you as always for your support, and if you have any thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to send us a message on social media! And we'd love to find even more listeners, so if you have a second, please leave us a rating or review on Apple Podcasts.TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergNatalie DeSaviaEPISODE CLIPSFrank Sinatra - Strangers in the Night | Lyrics Meaning | @FrankSinatraThe Mamas & the Papas - California Dreamin'The Beach Boys - Good Vibrations (Official Music Video)The...

Aujourd'hui, nous allons parler du disque qui, plus que tout autre, a assuré la place de Phil Spector dans l'histoire de la musique populaire - un disque qui a changé la vie de plusieurs personnes qui l'ont écouté pour le meilleur, qui a changé la vie de sa chanteuse pour le pire, et qui possède l'intro de batterie la plus imitée de tous les temps. Nous allons nous pencher sur un chef d'oeuvre intemporel, sur une intro de batterie reconnaissable entre mille : "Be My Baby" des Ronettes The Ronettes, "Be My Baby" Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love ?" Ronnie and the Relatives, "I Want a Boy" Ronnie and the Relatives, "I'm Gonna Quit While I'm Ahead" Joey Dee and the Starliters, "The Peppermint Twist" Bob B. Soxx and the Blue Jeans, "Zip-a-Dee-Doo-Dah". Connie Francis, "Second-Hand Love" Veronica, "Why Don't They Let Us Fall In Love ?" The Crystals, "The Twist"The Crystals, " The Wah-Watusi "Jeff Barry, "It's Called Rock and Roll" Sam Cooke, "Teenage Sonata" Ray Peterson, "Tell Laura I Love Her" Ellie Gaye, "Silly, Isn't It ?" Jay and the Americans, "This is It" Darlene Love, "(Today I Met) The Boy I'm Gonna Marry" Bob B. Soxx and the Blue Jeans, "Why Do Lovers Break Each Others' Hearts ?" Ellie Greenwich "Doo Wah Diddy Diddy (demo)" The Ronettes, "Be My Baby"" The Ronettes" (The Wrecking Crew), Tedesco and Pitman". The Ronettes, "Baby I Love You" The Ronettes Featuring Veronica, "Walking in the Rain" The Ronettes, "I Can Hear Music" Ronnie Spector, "Try Some, Buy Some" Southside Johnny and the Asbury Dukes, "You Mean So Much To Me" Ronnie Spector et le E-Street Band, "Say Goodbye to Hollywood" Eddie Money, "Take Me Home Tonight"

Currently Natalie is working at Players Circle Theatre doing a Christmas Concert/Cabaret called Ho! Ho! Ho! The Christmas Show. It is a one act, 90 minute performance full of some of the greatest Christmas and Holiday songs of all times! From Silent Night to Feliz Navidad and even a special visit from Elvis, it's a great way to spend your time enjoying the season and doing something festive if you are going to be in Fort Myers anytime during the month of December. The show runs from now until December 23rd, 2023. The theatre is located off of McGregor Blvd, and you can go to playerscircletheater.com for tickets and information. This is the last show she is in with them for a little while, but you can check out the rest of their season on the website or on FB/Instagram!Next she will be performing in one of the hottest jukebox musicals that is currently out there - Beehive! According to Theatrical Rights Worldwide: "BEEHIVE celebrates the powerful female voices of the 1960's with such timeless hits as “My Boyfriend's Back,” “Be My Baby,” “Son of a Preacher Man,” and “Me and Bobby McGee.” Told from the perspective of six young women who come of age in this enigmatic decade, BEEHIVE takes us from their first Beehive Dance to the challenges we faced as a nation." This show will be held at Florida Repertory Theatre, in downtown Fort Myers, FL. You can access information and tickets at floridarep.org, and it runs from January 9th-28th, with a possible extension to the 31st.Right after Beehive, Natalie will be jumping into rehearsals for Beautiful: The Carole King Musical at The Broadway Palm Dinner Theatre, also in Fort Myers, FL. This theatre does a lot of big musicals, so definitely check out their website to see what other exciting shows you'd be interested in seeing this next year! Broadwaypalm.com. And the food there is quite delicious, as it is a dinner theatre after all. She will be playing Betty and other ensemble roles, while understudying the Carole King role. The show runs from February 23rd-April 4th. Go check out your local theatre scene, whether you're in Fort Myers or elsewhere!

Harvey Brownstone conducts an in-depth Interview with Andy Kim, Iconic Pop Music Star About Harvey's guest: Today's special guest, Andy Kim, is an iconic singer and songwriter who's given us numerous Top 40 hit songs including “How'd We Ever Get This Way”, “Shoot ‘em up Baby”, “Baby I Love You”, “So Good Together”, “Be My Baby”, “Fire, Baby I'm on Fire”, “I Forgot to Mention” - and, of course, “Rock Me Gently”, which went straight to #1 on the Billboard charts and remained on the charts for a staggering 4 months.   He also co-wrote and sang on the enduring classic pop song, ”Sugar, Sugar” for the fictitious pop group “The Archies”, which stayed at No. 1 for 4 weeks and became Billboard's Record of the Year and the biggest-selling record of 1969, AND the song ranks at number 90 on Billboard's list of the Greatest Songs of All Time.    Our guest has received top industry honours including two JUNO Awards.  In fact, in 1970 he received the very first JUNO Award ever given out, and it was for Male Vocalist of the Year.  In 2004, he was voted by Canadian Music Week as the Best Solo Indie Artist of the Year.   He's been inducted into the Songwriters Hall of Fame, the Canadian Music Hall of Fame, and Billboard's Hit Parade Hall of Fame.   He has a star on the Canadian Walk of Fame, and in 2017, for the 2nd time in their 70-year history, the Society of Composers, Authors and Music Publishers of Canada – better known as SOCAN - honoured our guest with their Cultural Impact Award.   Over his epic career, he has sold over 30 million records, and has had over half a billion streams on Spotify and YouTube.   And if all of that weren't enough, I'm absolutely THRILLED to share the recent announcement that our guest will be appointed an Officer of the Order of Canada for his contributions to Canadian music as a trailblazer and legendary artist.    And for those of you living in the Toronto area, our guest will be returning to Massey Hall for his 19th annual Christmas show on Wednesday, December 6, for an unforgettable evening celebrating the magic of the season, with performances from our guest, along with some of Canada's top music stars, with all proceeds donated to the Centre for Addiction and Mental Health.  For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Andy Kim, go to:http://www.andykimmusic.comhttps://www.facebook.com/AndyKimMusic/ https://www.instagram.com/andykim.co/https://twitter.com/AndyKimMusic #AndyKim    #harveybrownstoneinterviews

What's up, dudes? I've got award winning singer Rehya Stevens here to talk about her brand new Christmas album “Santa's Takin' Over the Town!” From the acoustic ballad ‘Early Winter' to the quasi-12 bar blues title track, each song is expertly crafted and orchestrated! And be sure to hit up ‘Be My Baby by Christmas Night!' Its uptempo flair and catchy melody are sure to have you tappin' your toes! This album's guaranteed to fill your home with cozy Christmas feels and make you smile! The 6/8 orchestral ‘Christmas is Near' immediately brings to mind Victorian carols and conjures images of Christmastide that are rich and vibrant! You gotta check it out!Rehya StevensFB: @rehya.stevens IG: @stevensrehya Spotify: Rehya StevensCheck us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Helen and Gavin chat about Loki, Priscilla, and The Persian Version, and it's Week 96 from the list of Rolling Stone's 500 Greatest Songs Ever, numbers 25 to 21; Runaway by Kanye West, A Day in the Life by The Beatles, Heroes by David Bowie, Be My Baby by The Ronettes, and Strange Fruit by Billie Holiday.

Julia Fox: Another lady hanger-on is out and about promoting her book so of course she is dragging her famous ex through the mud. Messi: What is so special about Messi!? Please explain it to us! How about The Fishing Addict?! Palette Cleansers: We watch and react to a lady cop getting owned for covering up a Ring camera and a Jersey Mike's employee that has had enough. FUCK YOU WATCH THIS!, THE BEAR!, BE MY BABY!, THE RONETTES!, BARBARIAN!, ISRAEL!, J-BOYS!, CAPITALIST PIG DOG!, UKRAINE!, SELFISH!, GOLD DIGGER!, JULIA FOX!, KANYE!, YE!, UNCUT GEMS!, SAFDIE BROTHERS!, NEW YORK FASHION!, YOU'RE A SURVIVOR!, BOOK!, DOWN THE DRAIN!, BUY MY BOOK!, I'M FUCKED UP!, CAMERON DIAZ!, CAPTAIN PHILLIPS!, DRUG USE!, EXTERNAL DRESS SHIRT!, SUBOXONE!, OPIOIDS!, VOCAL FRY!, THE ARTIST!, LAWSUIT!, ATTENTION!, DATE!, RAW DOGGED!, GEORGE CLOONEY!, MICHAEL FASSBENDER!, DOMESTIC ABUSE!, WIFE!, HOSPITAL!, MESSI!, APPLE TV!, JORDAN!, LEBRON!, SOCCER!, GRETZKY!, HIGHLIGHTS!, GOALS!, ASSISTS!, MESSI MEETS AMERICA!, THE FISHING ADDICT!, SUBSCRIBERS!, RING CAMERA!, COP COVERS DOORBELL CAMERA!, CUSSED OUT!, TOLD OFF!, OWNS!, DASHCAMS!, F-SLUR!, JERSEY MIKE'S!, KAREN!, CELIAC DISEASE!, CHANGE GLOVES!, DISRESPECT!, NOT CUTE!, UPSET!, TACO BELL!, CARL'S JR!, FUCKED UP!, STEALING!, JAKOB!, SIX DOLLAR BURGER!, N WORD!, EXPENSIVE!, MOBILE ORDER!, RECORDING!, GREETING!, TRUDEAU!, CROOK!, BOOPAC!, ACRONYMS!, PATREON!  You can find the videos from this episode at our Discord RIGHT HERE!

The list of giant hit records that Desmond Child has written is staggering...Kiss's "I Was Made for Lovin' You"; Joan Jett & the Blackhearts' "I Hate Myself for Loving You"; Bon Jovi's "You Give Love a Bad Name", "Livin' on a Prayer",[1] "Bad Medicine", and "Born to Be My Baby"; Aerosmith's "Dude (Looks Like a Lady)", "Angel", "What It Takes" and "Crazy"; Cher's "We All Sleep Alone" and "Just Like Jesse James"; Alice Cooper's "Poison"; Michael Bolton's "How Can We Be Lovers?"; and Ricky Martin's "The Cup of Life" and "Livin' la Vida Loca"....just to name a few. He tells his life story in the new book, "Livin' On A Prayer: big Songs, Big Life"...and we luckily got the chance to spend more time to find out more this morning!

It's a fact that Desmond Child has written some of the most recognizable songs of all time.  Like what? Well...Kiss's "I Was Made for Lovin' You"; Joan Jett & the Blackhearts' "I Hate Myself for Loving You"; Bon Jovi's "You Give Love a Bad Name", "Livin' on a Prayer",[1] "Bad Medicine", and "Born to Be My Baby"; Aerosmith's "Dude (Looks Like a Lady)", "Angel", "What It Takes" and "Crazy"; Cher's "We All Sleep Alone" and "Just Like Jesse James"; Alice Cooper's "Poison"; Michael Bolton's "How Can We Be Lovers?"; and Ricky Martin's "The Cup of Life" and "Livin' la Vida Loca"....just to name a few.And now he tells his life story in the new book, "Livin' On A Prayer: big Songs, Big Life"...and we got to talk to him about it this morning!

Este é só um trechinho da aula de número 229 da série "Aprenda Inglês com Música" com "Be My Baby" sucesso com The Ronettes, que você encontra aqui no podcast

Este é só um trechinho da aula de número 229 da série "Aprenda Inglês com Música" com "Be My Baby" sucesso com The Ronettes, que você encontra aqui no podcast

Este é só um trechinho da aula de número 229 da série "Aprenda Inglês com Música" com "Be My Baby" sucesso com The Ronettes, que você encontra aqui no podcast

Este é só um trechinho da aula de número 229 da série "Aprenda Inglês com Música" com "Be My Baby" sucesso com The Ronettes, que você encontra aqui no podcast

Well everyone, we had to hold off a week for our final summer tour episode because we heard from our good friend, Paul Shaffer, about an upcoming charity event he and Jeff Barry are having for Paul's daughter Victoria and her Pup Culture Rescue, a dog/puppy rescue service out of Los Angeles. We talk of that event coming up Wednesday, September 13th at the Write-off Room at 11502 Ventura Blvd in Studio City, CA called Doo Wah Ditties for Doggies. Jeff Barry will also guest with Paul. Jeff Barry wrote or co-wrote "Chapel of Love", "Leader of the Pack", "Do Wah Diddy Diddy", "Hanky Panky", "Sugar, Sugar", "I Honestly Love You", "Da Doo Ron Ron", and "Be My Baby" to name a few so enough said there". Enjoy this awesome episode and learn some surprising factoids about Mr. Paul Shaffer himself!

Today's guest is a songwriting legend who helped shape the sound of American pop music. Originally setting out to be a recording star, this guest became one of the most respected pop songwriters within the Brill Building complex of the '60s. A struggling New Yorker, this writer's fortunes changed considerably when he met his future wife and songwriting partner, Ellie Greenwich, at a party in 1962. Within a short time of teaming up, the duo had an appointment at Don Kirshner's songwriting factory, New York City's famous Brill Building. Ushered into the business by Leiber & Stoller, this duo began writing and arranging for the groups signed to Phil Spector's Philles label. The smash hits “Da Do Ron Ron” and “Be My Baby” resulted from the time spent with Spector and, by 1964, the duo were an integral part of the staff at Leiber and Stoller's newly formed Redbird Records. Largely regarded by pop aficionados as the mecca for the “girl group” sound, the staff at Redbird, produced tightly crafted, musically sophisticated songs. The duo also penned “Leader of the Pack,” which became a number one hit. They continued to write hit records throughout the '60s, such as the seminal “River Deep, Mountain High” and the Beach Boys' 1969 hit “I Can Hear Music,” their songs changing with the times, but still retaining the essence of their earlier Brill Building days. After the marriage broke up, their creative partnership did as well and while Greenwich went on to become a session vocalist, our guest became a staff producer at A&M Records. Throughout the '70s, he worked with Neil Diamond, the Monkees, and Van Morrison, among other. Overall, this guest's credits—as a writer, co-writer, producer, or a combination—extend to a mix of different genres. His song "Out of Hand" by Gary Stewart was the longest-charted country record of its year. He also wrote many other country tunes, including "If It Ain't Love by Now," sung by Jim Ed Brown and Helen Cornelius, who later won the Country Music Association's Best Country Duo award. One of this writer's most successful songs of all was Olivia Newton-John's 1974 worldwide smash hit "I Honestly Love You," which won "Song of the Year" at the American Music Awards, and, for Newton-John, GRAMMY Awards for Record of the Year and Best Female Pop Performance. While mainly influential to the pop world, this writer's impact spans throughout all genres and all corners of the music industry. #AndTheWriterIs... Jeff Barry !!Watercolor by: @artofmrw Hosted on Acast. See acast.com/privacy for more information.

Noah and Bill get rizzed and shwifty and whatever the hell else you kids do these days. @noahandbillshow -- @williamscurry -- @noahtarnow This week's theme: "Be My Baby” by The Ronettes. New episodes every Monday morning on Spotify, Soundcloud, iTunes, Stitcher, and GooglePlay!

Matt and Samer are back with Volume Two of Acoustic Covers!  Songs you love either re-imagined by the original artists or by someone completely different!1. Just a Girl (Radio 1 Live Acoustic Version) by No Doubt2. Just a Girl by No Doubt3. Freak on a Leash (feat. Amy Lee) [Live At MTV Studio, NYC, 2006] by Korn4. Freak On a Leash by Korn5. Walk On (Ukraine) [Songs Of Surrender] by U26. Walk On by U27. Limbo (Orchestral version) by Royal Blood8. Limbo by Royal Blood9. Be My Baby by Lowland Hum10. Be My Baby by The Ronettes11. Ramble On (Acoustic) by Train12. Ramble On by Led Zeppelin13. Blinding Lights (Acoustic Cover) by Nick Fradiani14. Blinding Lights by The Weeknd15. 1979 (Acoustic Version) by The Smashing Pumpkins16. 1979 by The Smashing Pumpkins17. Dreams by chloe moriondo18. Dreams by Fleetwood Mac19. Orion (Remastered) by Rodrigo y Gabriela20. Orion by Metallica21. Gangsta's Paradise by Kina Grannis22. Gangsta's Paradise (feat. L.V.) by Coolio23. Come As You Are (Live Acoustic) by Nirvana24. Come As You Are by Nirvana Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

We continue our series of great music interviews from our archive with "The Godfather of Soul," "the Hardest Working Man in Show Business," "Soul Brother #1" — James Brown. He spoke with Terry Gross in 2005.Also, we hear Terry's 1986 interview with songwriter Ellie Greenwich. She collaborated on teenage pop hits from the early '60s like "Be My Baby," "Leader of the Pack" and "Da Doo Ron Ron."And, Justin Chang reviews the new film Three Thousand Years of Longing by director George Miller who made the Mad Max films. It stars Idris Elba and Tilda Swinton.