Podcast appearances and mentions of bell records

Label: Philly Groove 175Year: 1973Condition: M-Price: $12.00 Note: This beautiful copy comes in a vintage Bell Records factory sleeve. It has light storage wear that lowers the Labels and Vinyl grades to Near Mint. The audio sounds pristine Mint.

Label: Bell 672Year: 1967Condition: MLast Price: $30.00. Not currently available for sale.Wow! The A side is a decent cover of the Jerry Butler & Impressions classic, but wait'll you get a load of the powerhouse on the B side! Talk about a dance master... you'll have 'em up on the floor in no time flat. Note: This beautiful copy comes in a vintage Bell Records factory sleeve.

Zilch#190 with Glenn Gretlund and Mark Kleiner of "7a" discuss Davy Jones “The Bell Records Story” as Zilch celebrates it's 10th Anniversary, Monkees News as we say "So Long and Happy Trails" Thank you for listening and being part of it all.  please visit: https://www.7arecords.com/Originally aired 3/18/24"7a" can be found at https://www.7arecords.com/  Join our Facebook page If you cannot see the audio controls, listen/download the audio file here Download (right click, save as)We were born to love one another. Support Zilch, get a cool shirt! www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-art

Story by: Gail NoblesIntro by: Gail NoblesToday's topic on Radiea Applis Soul is Bill Moss: Socket It To Em Soul Brother. Hello! I'm Gail Nobles. Welcome to Sound Flave. You're listening to the Radiea Applis Soul podcast edition.Bill Moss was a local singer and DJ at WVKO in Columbus. Short for Capital City Soul, the Columbus Ohio Capsule label's history spans only five years throughout the 1970s founded by Bill Moss. Eccentric Soul: The Capsule Label is a compilation of 19 tracks spanning the label's all but forgotten history.One of the songs on the compilation album was titled Socket It To Him Soul Brother by Bill Moss. In the song, he mentioned that he once had the pleasure of meeting Dr. King, and he asked the question: What I say?” Then the back up group would back him up by saying: Socket It To Him So Brother. The song was released on the Bell Records label in 1969. I won't say that it's an instrumental record, and I won't say that it's a rap record as far as rhyming. But it has that rap style. It's a soul record in the soul genre.On the compilation album released in 2004 or other songs by other music artist by the label The Numero Group.I would like to add that the single Socket To Him Soul Brother was also released on the Pama Records Label. I don't know if the song was a hit, but it sure sounds like a hit.Thank you for listening to Radiea Applis Soul. I'm Gail Nobles.

Label: T-A 186Year: 1969Condition: M-Price: $12.50This is the original version of the song produced by the songwriters themselves, not the one (recorded by Coven) that became the theme song from 'Billy Jack.' Frankly, this is not only the original, but also by far the best, version. Be sure to check out the uptempo, Northern Soul-style dancer on the flip. Note: This beautiful copy comes in a vintage Bell Records factory sleeve. The labels have a clean drillhole making them Near Mint. The vinyl (styrene) also grades Near Mint. Fortunately, the grooves preserve pristine Mint sound! (This scan is a representative image from our archives--the copy for sale has a drillhole)

In this episode,  we get a behind the scenes look at the start of the historic reconstruction of the 1877 Cavaille-Coll organ at Manchester's Town Hall with Andrew Caskie, Managing Director of Nicholson Organs.https://www.manchester.gov.uk/info/500354/our_town_hall/7676/heritage_and_art/7Tom Bell talks about his latest project of recording Oliver Messiaen's 18 movement 'Livre du Saint Sacrement' at Blackburn Cathedral.https://www.tombell-organist.net/aboutMargaret Phillips talks about her life and career, and demonstrates some of the instruments in her extraordinary collection of historic pipe organs. http://www.margaretphillips.org.uk/index.htmhttps://www.rco.org.uk/

Episode Notes S5E1 -- Join us we chat with the legendary Kathy Garver. She'll take us on her journey from "The Ten Commandments" to "Family Affair" and beyond Kathy Garver is an American actress most remembered for having portrayed the teenaged orphan, Catherine "Cissy" Davis, on the popular 1960s CBS sitcom, Family Affair. Before that, she was cast by Cecil B. DeMille in the film The Ten Commandments (1956), and after that, she provided the voice of Firestar in the animated television series Spider-Man and His Amazing Friends (1981–83). Garver authored The Family Affair Cookbook (2009), Surviving Cissy: My Family Affair of Life in Hollywood (2015), and X Child Stars: Where are They Now? (2016). NEWS FLASH You can now purchase Toking with the Dead full novel here https://a.co/d/7uypgZo https://www.barnesandnoble.com/.../toking.../1143414656... You can see all your past favorite episodes now streaming on https://redcoraluniverse.com/ OR Show your support by purchasing FB stars. Send stars to the stars fb.com/stars Toking with the Dead: https://www.stilltoking.com/ https://www.facebook.com/TokingwiththeDead?tn=-]C-R https://www.instagram.com/stilltokingwith/?hl=en https://twitter.com/thetoking?lang=en https://pinecast.com/feed/still-toking-with Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Sponsorship Opportunities https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow our guest https://www.kathygarver.com/ https://www.instagram.com/kgcissy/ https://en.wikipedia.org/wiki/Kathy_Garver https://www.imdb.com/name/nm0308744/bio/ https://www.facebook.com/kathygarverfanpage ———————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 MORE ABOUT OUR GUEST: Garver was born in Long Beach, California, the daughter of Rosemary (Schmoker) and Hayes Garver.She was raised Roman Catholic and attended a Catholic primary school. Garver recalled that her mother began getting her into acting from a young age: "I started singing and dancing at the Meglin Studios in Hollywood, at three years old, as was Shirley Temple, who was also discovered there. I think my mom had the vision of her little daughter as Shirley Temple."When she was nine, she was cast in I'll Cry Tomorrow, but her most famous movie role was one of the young slaves in The Ten Commandments. Garver was cast as an extra in The Ten Commandments, but during filming director Cecil B. DeMille noticed her and wrote her into the movie. During the 1950s Garver did voice work on radio dramas, including Whispering Streets and Heartbeat Theater. In 1969, Garver released a Christmas song called "Lem, the Orphan Reindeer" on the Aquarian label, distributed by Bell Records. The song was written by Tommy Boyce, Bobby Hart, and E. Justin, and arranged by Jimmie Haskell.[citation needed] In 1966, while studying at UCLA, she auditioned for, and won, the role of "Cissy" Davis, the eldest of the three siblings on Family Affair. Garver provided the voices of Firestar, Storm and other female guest characters on the Saturday morning cartoon Spider-Man and His Amazing Friends. In the 1990s Spider-Man cartoon series, she played the voice of Miss America. Garver was the voice of Alice Mitchell in the Dennis the Menace cartoon special Mayday for Mother and Pepper in Chuck Norris: Karate Kommandos. Her other voice roles included the television series Fonz and the Happy Days Gang; The Tom & Jerry Kids Show; Droopy, Master Detective; The New Yogi Bear Show; The Richie Rich/Scooby-Doo Show; The All-New Super Friends Hour and the cartoon special Marvin: Baby of the Year. In addition to her television work, Garver has lent her voice talents to numerous commercials, toys, and audiobooks.

Fervent fans of The Doughboys know their whole history, detailed on the Rock N' Raw DVD – they first got together in ‘64 and played in various permutations through the rest of the 60's. They gigged incessantly, won a battle-of-the-bands on Zacherle's Disc-o-Teen TV show, were the house band at the legendary Café Wha? in New York City in the summer of '68. They opened for every act imaginable including The Beach Boys, and released two 45's, Rhoda Mendelbaum and Everybody Knows My Name, on Bell Records (which later became Arista Records) before splitting up for what they thought was for good. The band members went their separate and interesting ways – Myke Scavone fronted hard rock ensemble Ram Jam who scored an international hit with Black Betty; Richie Heyman played drums for the likes of Link Wray, Brian Wilson and Jonathan Richman while simultaneously pursuing an acclaimed career as a singer/songwriter (under his full moniker Richard X. Heyman); Mike Caruso landed session work with such notable pop producers as Bo Gentry and Kenny Laguna, and even jammed with Jimi Hendrix!Mike CarusoSince the band re-formed in 2000 at a surprise birthday party for drummer Richie Heyman's birthday, The Doughboys have released six albums (Is It Now?, Act Your Rage, Shakin' Our Souls, Hot Beat Stew, Front Street Rebels and Running For Covers), numerous singles, and a documentary film with accompanying live disc (Rock N' Raw). They've played up and down the eastern half of the country, often sharing bills with such luminaries as The Pretenders, The Yardbirds, The Electric Prunes, Roberta Flack, Robin Trower and many others. They performed at the historic “Who Shot Rock n' Roll?” exhibition at the Allentown Museum, at an all-star tribute to George Harrison at the New York Society for Ethical Culture, at the “Long May You Run” benefit at The Hamilton Live in Washington, DC, and have appeared at prestigious venues like B.B. King's, the Sellersville Theater, the Stone Pony and the Starland Ballroom. Lead singer Myke Scavone is now also a member of The Yardbirds, touring the world as they continue to spread the gospel of the golden era of Rock n' Roll.In 2005, Gar Francis (of Stones tribute band Sticky Fingers fame, as well as work with Billy Idol and Mark Lindsay of Paul Revere and The Raiders) entered the picture after the untimely passing of founding member and brilliant guitarist Willy Kirchofer. When Gar joined the band, The Doughboys branched out into recording their own original material, and it wasn't long before they entered the recording studio and laid down tracks for Is It Now?, the first album of their long and storied career.The Doughboys' songs have become huge favorites on radio around the world, especially with Little Steven Van Zandt, who named Shakin' Our Souls his favorite album of 2012, and who has bestowed the much sought after rank of “Coolest Song In The World” on eight of The Doughboys' songs on his Underground Garage channel on Sirius/XM radio. Additionally, Doughboys music is used extensively in film, television and advertising, including in such TV shows as “The Big Bang Theory”, “Californication,” “Breaking Amish” and “The Good Guys” and in the film “Coming Through The Rye.”

During their brief lifespan, the Box Tops earned a reputation as one of the best blue-eyed soul groups of the '60s, even if their recorded legacy wasn't as large or consistent as, say, the Righteous Brothers or the Rascals. Today they're remembered not only for their smashes "The Letter" and "Cry Like a Baby," but as the launching pad for singer Alex Chilton, who went on to become one of rock's most revered cult figures thanks to his groundbreaking power pop unit Big Star. In his teenage years, Chilton was an amazingly gritty Memphis soul belter akin to an American version of the Spencer Davis Group's Stevie Winwood. The Box Tops' music also encompassed touches of pop and psychedelia, although the group's own lack of control over it eventually led to their split-up. The Box Tops began life as the Devilles, a white R&B group featuring guitarists Gary Talley and John Evans, bassist Bill Cunningham, and drummer Danny Smythe. After the band's local popularity blossomed, teenage singer Alex Chilton joined up, and the Devilles quickly caught the attention of songwriters/producers Chips Moman and Dan Penn, who were on the lookout for a Stevie Winwood-type white soul singer. Changing their name to the Box Tops to avoid confusion with a different group of the same name, they signed with Bell Records and began recording at Moman's Memphis-based American Studio. The first single the group cut, "The Letter," rocketed to the top of the charts in 1967, not only spending four weeks at number one but ending up as Billboard magazine's number one single of the year. (Chilton was all of 16 at the time.) With a hit on their hands, Penn began to exert more control over the group; in the wake of "The Letter," he frequently used session musicians on the Box Tops' recordings, sometimes replacing the whole band behind Chilton, sometimes just individual members. Frustrated, Evans and Smythe both left the band to return to school in early 1968, and were replaced by Rick Allen (ex-Gentrys) and Tom Boggs, respectively. The follow-up to "The Letter," "Neon Rainbow," didn't do nearly as well, but the Box Tops managed another massive hit in 1968 with the Dan Penn/Spooner Oldham tune "Cry Like a Baby," which went to number two on the pop charts. Although a couple of minor hits followed in "I Met Her in Church" and "Choo Choo Train," Chilton was rapidly growing dissatisfied with the inconsistency of the material the Box Tops were handed (which was clear on the three LPs the group had released through 1968). As a result, Chilton was chafing at Penn's extreme reluctance to allow him to record his own original compositions. By the time of the Box Tops' fourth and final LP, 1969's Dimensions (an attempt to make a more cohesive album), Penn had bowed out and moved on to other projects. Several Chilton songs appeared on Dimensions, including "I Must Be the Devil," and the group had one last minor hit with "Soul Deep." Cunningham subsequently departed, also to go back to school, and the Box Tops began to disintegrate. When their contract expired in February 1970, they officially disbanded, and Chilton moved to Greenwich Village for a while. Not finding the creative hospitality he'd hoped for, Chilton soon returned to Memphis and joined an Anglo-pop outfit run by his friend Chris Bell; they morphed into Big Star, one of the most revered and mercurial bands in power pop (or, for that matter, underground rock & roll) history.

Looking for the Magic is a cultural-historical remix, a fresh perspective on how Arista Records reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. The label sounded like the city it was at the geographical center of. From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott-Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this. Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting-edge jazz (Anthony Braxton) and its embrace of rock royalty (Lou Reed, the Grateful Dead). Mitchell Cohen has written about music and film for Creem, High Fidelity, Film Comment, the Village Voice, Musician and Phonograph Record. He began working at Arista Records in the late ‘70s as a publicity and advertising copywriter and then as one of the label's A&R executives. Martin's interview with Mitchell Cohen was recorded on June 22nd, 2022.

discussing "Bell Records"..also Pink Floyd and one hit wonders..and a review of Dwight Yoakam's album "Under the Covers" and Mark's album reveal and much more --- Send in a voice message: https://podcasters.spotify.com/pod/show/perry--dedovitch/message

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of. From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this. Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead). Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of.From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this.Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead).Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of. From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this. Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead). Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

Label: Bell 672Year: 1967Condition: M-Price: $25.00Wow! The A side is a decent cover of the Jerry Butler & Impressions classic, but wait'll you get a load of the powerhouse on the B side! Talk about a dance master... you'll have 'em up on the floor in no time flat. Check out the mp3 "snippet"! Note: This beautiful copy has two small drillholes and comes in a vintage Bell Records factory sleeve. The vinyl grades very close to Mint in appearance, and the powerful audio is stone Mint!

Label: Big Tree 133Year: 1972Condition: MLast Price: $12.00. Not currently available for sale.From a warehouse find, this is a new, unplayed stock copy, in its original Bell Records factory sleeve. Top notch early hard rock single from this Canadian group, which returned with a string of hits starting in the late 1970's. The excellent B side is a non-album track. We like the A side so much it earns a 2-star recommendation (our highest)... Check out the mp3 "snippet" of "Lady". Note: This beautiful copy has Near Mint labels and pristine Mint vinyl and audio.

Label: Philly Groove 175Year: 1973Condition: M-Price: $12.00Absolutely essential proto-Disco dance number... not to be missed! Note: This beautiful copy comes in a vintage Bell Records factory sleeve. It has Mint labels and pristine sound. (This scan is a representative image from our archives.)

"I AM THERE FOR YOU" is "Loose Bruce" Kerr's original song, a jazz-scat-big band sound. Bruce records his songs one instrument & vocal at a time, layering to get the final song. In this one, he sings, plays bass & piano "for real," then uses his synthesizer to compose & play each trombone, trumpet, saxophone, & set of drums, one drum or cymbal per track, then mixes it all together. "Loose Bruce" Kerr spent 20 years as a performer of music, comedy, and parodies. His parodies have been played on national TV (CNN News), radio (Dr. Demento, over 100 plays; Jim Bohannon Program, Larry King). He opened for "Weird Al" Yankovic. Eventually, Bruce resumed his earlier law practice which he had suspended and after a career at Oracle and formerly Assistant General Counsel of Sun Microsystems is semi-retired in northern California taking atty contract work from time to time. In the mid-late 60's, Bruce was a vocalist & bass player in rock band "The 5 Bucks" which became the "Byzantine Empire" during college at the University of Michigan. Several 45's were released, the last several on Bell Records. Before that, in high school, Bruce was in a folk group in Waukesha, Wisconsin (home of Les Paul), "The Coachmen." In the late 70's, Bruce was a guitarist, vocalist, and songwriter in the New England area rock band, "Spud City" (with Waukesha, WI's fellow townie, Steve Hoeft). Many of Bruce's parody videos from 2006-on are viewable on youtube, as well as on this podcast site. email Bruce at: BKerrLaw@aol.com

So I'm in the Southern Studio again this weekend, which means I don't have a good handle on the way the show sounds until long after I've posted it. Also, I tried something very different with my workflow this week so I'm curious to know what you think of the way the shows sounds at your end. I won't be upset if you think it stinks, promise. Next week I'll be back in Baltimore, sounding more typical. To tell the story of "Knock Three Times" we had to dive a little bit into the early career of Tony Orlando and how he got that way. Orlando had actually retired from singing and was doing well with producing and working in Columbia Records' music publishing department, when someone asked him a favor: could you please record this for us? Orlando said, "No thanks. You're not even a Columbia label. " They said, "Please? We'll give you three thousand dollars." And Orlando said, "Don't put my name on this or there'll be trouble." So Bell Records kept their promise and released the record under the name Dawn. They even took the time to fake a photo of the band for the 45's picture sleeve. Look at those guys over there. None of them are on this record. They're literally just four guys in a photograph. The band was composed of session musicians and a couple of backup singers, including Toni Wine, who co-wrote the song. This wound up being a good news/bad news thing, because "Candida" was a pretty huge hit worldwide, and Bell Records got hot for a follow-up track. Orlando went back into the studio with the same session players and made an entire album, including a second single, "Knock Three Times." That song was an even bigger hit, and Orlando was forced to come out in the open, hire some genuine members of Dawn and go on tour. But I'm pretty sure it worked out okay for him in the end, yeah? Click here for a transcript of this episode. Click here to become a patron of the show.

Label: Bell 45361Year: 1973Condition: M-Price: $10.00Here's a beautiful copy of this hard-to-find 1973 Sweet single. Note: This 45 record comes in a vintage Bell Records factory sleeve. It has pristine Mint sound. (This scan is a representative image from our archives.)

Label: Philly Groove 162Year: 1970Condition: MLast Price: $12.00. Not currently available for sale. Note: This beautiful copy has a small drillhole and comes in a vintage Bell Records factory sleeve. Aside from the drillhole, this 45 record has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).

Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at “The Loco-Motion” by Little Eva, and how a demo by Carole King’s babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Duke of Earl” by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I’ve used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King’s autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva’s material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva’s only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins — there is some mention of domestic violence in this episode. If that’s something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we’re going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we’re going to look at Little Eva and “The Loco-Motion”, and the short history of Dimension Records: [Excerpt: Little Eva, “The Loco-Motion”] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We’ve mentioned the Cookies earlier, in the episode on “What’d I Say”, but we didn’t look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York — Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we’ve looked at). They were seen at that contest by Jesse Stone, who gave them the name “The Cookies”. He signed them to Aladdin Records, and produced and co-wrote their first single, “All-Night Mambo”. That wasn’t commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, “In Paradise”, did chart, making number nine on the R&B chart: [Excerpt: The Cookies, “In Paradise”] But the B-side to that record would end up being more important to their career in the long run. “Passing Time” was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka’s recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, “Passing Time”] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like “Lipstick, Powder, and Paint” by Big Joe Turner: [Excerpt: Big Joe Turner, “Lipstick, Powder and Paint”] “It’s Too Late” by Chuck Willis: [Excerpt: Chuck Willis, “It’s Too Late”] And “Lonely Avenue” by Ray Charles: [Excerpt: Ray Charles, “Lonely Avenue”] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies — Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she’d rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles’ new backing group, the Raelettes, and they would play a major part in the sound of Charles’ records for the next few years. It’s Margie, for example, who can be heard duetting with Charles on “The Right Time”: [Excerpt: Ray Charles, “The Right Time”] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene’s sister Earl-Jean into the group — Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they’re the same person — and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah’s before Margie had taken her place.  This new version of the Cookies didn’t really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they’d also become increasingly interested in record production after Carole had been involved in the making of “Will You Love Me Tomorrow?” Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. “Halfway to Paradise” by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, “Halfway to Paradise”] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters’ records at this time, and would provide backing vocals for most of Atlantic’s artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music — as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, “Breaking Up is Hard to Do”] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, “Taking That Long Walk Home”, a song that was very much “Will You Love Me Tomorrow?” part two: [Excerpt: Dorothy Jones, “Taking That Long Walk Home”] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth.  They weren’t the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one.  And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn’t also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance — her friend’s husband’s sister — had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean’s acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial “fourth Cookie”, and was soon in the studio on a regular basis too — and when she was, that meant that Eva’s sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner’s attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn’t always possible.  Cameo-Parkway had, after the success they’d had with “The Twist”, fully jumped on the dance-craze bandwagon, and they’d hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of “The Twist”, Brown had had a hit with a song about it “(Do the) Mashed Potatoes”, which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, “(Do the) Mashed Potatoes”] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit — and in fact they’d mashed up, if you’ll pardon the expression, two recent hits. In this case, they’d taken the sound of “Please Mr. Postman”, slightly reworked the lyrics to be about Brown’s dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, “Mashed Potato Time”] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like “The Monster Mash” by Bobby “Boris” Pickett: [Excerpt: Bobby “Boris” Pickett and the Crypt-Kickers, “The Monster Mash”] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like “Mashed Potato Time”, and got Goffin and King to write one to submit to her.  Unfortunately for him, he’d assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn’t need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn’t going to be recording Goffin and King’s song.  When he listened to the demo, Don Kirshner was astonished that they hadn’t taken the song. It had “hit” written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva — now renamed “Little Eva” — had sung: [Excerpt: Little Eva, “The Loco-Motion”] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn’t really question whether what she was doing counted as production too until much later — and anyway, getting the sole credit was apparently important to Gerry. “The Loco-Motion” was such a big hit that it inspired its own knockoffs, including one song cheekily called “Little Eva” by a group called “The Locomotions”  — so the record label would say “Little Eva, The Locomotions”, and people might buy it by mistake. You’ll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, “Little Eva”] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn’t keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out “Everybody’s Got a Dance But Me” by Big Dee Irwin, a song that excerpted “The Loco-Motion”, “Wah Watusi”, “Hully Gully” and “Twist and Shout” among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, “Everybody’s Got a Dance But Me”] That wasn’t a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, “It Might as Well Rain Until September”, which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, “It Might as Well Rain Until September”] Her solo performing career wouldn’t properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called “Chains” for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, “Chains”] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, “Chains”] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it’s not the only Goffin and King song from this period that does — there’s a 1964 B-side they wrote for Eva called “Please Hurt Me”, which is fairly blatant: [Excerpt: Little Eva, “Please Hurt Me”] But the BDSM comparison has also been made — wrongly, in my opinion — about one of the most utterly misguided songs that Goffin and King ever wrote — a song inspired by Little Eva telling them that her boyfriend beat her up. They’d asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write “He Hit Me (And It Felt Like A Kiss)”, an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won’t be excerpting that one here, though it’s easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King’s material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don’t think that “He Hit Me” should be talked about in those terms. I don’t want anything I’ve said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva’s follow-up to “The Loco-Motion” was going to be “One Fine Day”, another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn’t come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King’s piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, “One Fine Day”] Instead, Goffin and King gave Eva “Keep Your Hands Off My Baby”. This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn’t as big a hit as “The Loco-Motion”: [Excerpt: Little Eva, “Keep Your Hands Off My Baby”] And Eva also appeared on another Cookies record, “Don’t Say Nothing Bad About My Baby”, which made the top ten: [Excerpt: The Cookies, “Don’t Say Nothing Bad About My Baby”] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they’d made for other artists.  This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva’s sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, “Hula Hoppin'”: [Excerpt: Idalia Boyd, “Hula Hoppin'”] For Eva’s third single, Gerry Goffin and Jack Keller wrote a song called “Let’s Turkey Trot”, which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn’t a problem — no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark’s Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of “Swinging on a Star” with Big Dee Irwin, though she wasn’t credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, “Swinging on a Star”] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn’t have destroyed the careers of Eva or the Cookies, who the Beatles admired — they recorded a cover of “Chains”, and they used to play “Keep Your Hands Off My Baby” in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, “I’m Into Something Good”] But then Herman’s Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work — most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva “Makin’ With the Magilla”] But Dimension Records was not a priority for anyone — Columbia already owned their own labels, and didn’t need another one — and the label was being wound down. And then Al Nevins, Don Kirshner’s partner in Aldon, died. He’d always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money — she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, “The Loco-Motion” was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, “The Loco-Motion”] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue’s own successful pop career: [Excerpt: Kylie Minogue, “The Loco-Motion”] That record becoming a hit got a series of “where are they now?” articles written about Eva, and she was persuaded to come out of retirement and start performing again — though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she’d left the contracts on her table for eight months before signing them — but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.

Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at "The Loco-Motion" by Little Eva, and how a demo by Carole King's babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Duke of Earl" by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I've used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva's material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva's only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins -- there is some mention of domestic violence in this episode. If that's something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we're going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we're going to look at Little Eva and "The Loco-Motion", and the short history of Dimension Records: [Excerpt: Little Eva, "The Loco-Motion"] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We've mentioned the Cookies earlier, in the episode on "What'd I Say", but we didn't look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York -- Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we've looked at). They were seen at that contest by Jesse Stone, who gave them the name "The Cookies". He signed them to Aladdin Records, and produced and co-wrote their first single, "All-Night Mambo". That wasn't commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, "In Paradise", did chart, making number nine on the R&B chart: [Excerpt: The Cookies, "In Paradise"] But the B-side to that record would end up being more important to their career in the long run. "Passing Time" was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka's recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, "Passing Time"] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like "Lipstick, Powder, and Paint" by Big Joe Turner: [Excerpt: Big Joe Turner, "Lipstick, Powder and Paint"] "It's Too Late" by Chuck Willis: [Excerpt: Chuck Willis, "It's Too Late"] And "Lonely Avenue" by Ray Charles: [Excerpt: Ray Charles, "Lonely Avenue"] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies -- Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she'd rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles' new backing group, the Raelettes, and they would play a major part in the sound of Charles' records for the next few years. It's Margie, for example, who can be heard duetting with Charles on "The Right Time": [Excerpt: Ray Charles, "The Right Time"] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene's sister Earl-Jean into the group -- Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they're the same person -- and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah's before Margie had taken her place.  This new version of the Cookies didn't really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they'd also become increasingly interested in record production after Carole had been involved in the making of "Will You Love Me Tomorrow?" Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. "Halfway to Paradise" by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, "Halfway to Paradise"] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters' records at this time, and would provide backing vocals for most of Atlantic's artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music -- as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, "Breaking Up is Hard to Do"] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, "Taking That Long Walk Home", a song that was very much "Will You Love Me Tomorrow?" part two: [Excerpt: Dorothy Jones, "Taking That Long Walk Home"] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth.  They weren't the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one.  And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn't also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance -- her friend's husband's sister -- had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean's acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial "fourth Cookie", and was soon in the studio on a regular basis too -- and when she was, that meant that Eva's sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner's attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn't always possible.  Cameo-Parkway had, after the success they'd had with "The Twist", fully jumped on the dance-craze bandwagon, and they'd hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of "The Twist", Brown had had a hit with a song about it "(Do the) Mashed Potatoes", which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, "(Do the) Mashed Potatoes"] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit -- and in fact they'd mashed up, if you'll pardon the expression, two recent hits. In this case, they'd taken the sound of "Please Mr. Postman", slightly reworked the lyrics to be about Brown's dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, "Mashed Potato Time"] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like "The Monster Mash" by Bobby "Boris" Pickett: [Excerpt: Bobby "Boris" Pickett and the Crypt-Kickers, "The Monster Mash"] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like "Mashed Potato Time", and got Goffin and King to write one to submit to her.  Unfortunately for him, he'd assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn't need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn't going to be recording Goffin and King's song.  When he listened to the demo, Don Kirshner was astonished that they hadn't taken the song. It had "hit" written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva -- now renamed "Little Eva" -- had sung: [Excerpt: Little Eva, "The Loco-Motion"] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn't really question whether what she was doing counted as production too until much later -- and anyway, getting the sole credit was apparently important to Gerry. "The Loco-Motion" was such a big hit that it inspired its own knockoffs, including one song cheekily called "Little Eva" by a group called "The Locomotions"  -- so the record label would say "Little Eva, The Locomotions", and people might buy it by mistake. You'll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, "Little Eva"] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn't keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out "Everybody's Got a Dance But Me" by Big Dee Irwin, a song that excerpted "The Loco-Motion", "Wah Watusi", "Hully Gully" and "Twist and Shout" among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, "Everybody's Got a Dance But Me"] That wasn't a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, "It Might as Well Rain Until September", which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, "It Might as Well Rain Until September"] Her solo performing career wouldn't properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called "Chains" for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, "Chains"] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, "Chains"] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it's not the only Goffin and King song from this period that does -- there's a 1964 B-side they wrote for Eva called "Please Hurt Me", which is fairly blatant: [Excerpt: Little Eva, "Please Hurt Me"] But the BDSM comparison has also been made -- wrongly, in my opinion -- about one of the most utterly misguided songs that Goffin and King ever wrote -- a song inspired by Little Eva telling them that her boyfriend beat her up. They'd asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write "He Hit Me (And It Felt Like A Kiss)", an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won't be excerpting that one here, though it's easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King's material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don't think that "He Hit Me" should be talked about in those terms. I don't want anything I've said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva's follow-up to "The Loco-Motion" was going to be "One Fine Day", another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn't come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King's piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, "One Fine Day"] Instead, Goffin and King gave Eva "Keep Your Hands Off My Baby". This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn't as big a hit as "The Loco-Motion": [Excerpt: Little Eva, "Keep Your Hands Off My Baby"] And Eva also appeared on another Cookies record, "Don't Say Nothing Bad About My Baby", which made the top ten: [Excerpt: The Cookies, "Don't Say Nothing Bad About My Baby"] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they'd made for other artists.  This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva's sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, "Hula Hoppin'": [Excerpt: Idalia Boyd, "Hula Hoppin'"] For Eva's third single, Gerry Goffin and Jack Keller wrote a song called "Let's Turkey Trot", which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn't a problem -- no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark's Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of "Swinging on a Star" with Big Dee Irwin, though she wasn't credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, "Swinging on a Star"] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn't have destroyed the careers of Eva or the Cookies, who the Beatles admired -- they recorded a cover of "Chains", and they used to play "Keep Your Hands Off My Baby" in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, "I'm Into Something Good"] But then Herman's Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work -- most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva "Makin' With the Magilla"] But Dimension Records was not a priority for anyone -- Columbia already owned their own labels, and didn't need another one -- and the label was being wound down. And then Al Nevins, Don Kirshner's partner in Aldon, died. He'd always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money -- she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, "The Loco-Motion" was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, "The Loco-Motion"] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue's own successful pop career: [Excerpt: Kylie Minogue, "The Loco-Motion"] That record becoming a hit got a series of "where are they now?" articles written about Eva, and she was persuaded to come out of retirement and start performing again -- though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she'd left the contracts on her table for eight months before signing them -- but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.

Rumours about the US presidential election abound: is voting by mail secure, can Donald Trump postpone it, will the United States Postal Service be able to deliver ballots in time. Gideon Rachman sorts through what is fact and what is fiction in a discussion with Judith Kelley, Dean of the Sanford School of Public Policy at Duke University, and Edward Luce, the FT's US national editor. Review clips: C-SPAN, Democratic National Convention, ABC News, Reuters, Tony Orlando and Dawn - “Tie A Yellow Ribbon Round the Ole Oak Tree”  Bell Records (1973)  See acast.com/privacy for privacy and opt-out information.

Label: Bell 45251Year: 1973Condition: M-Last Price: $10.00. Not currently available for sale.Besides the hit side, be sure to also check out the catchy, harder-rocking B side, which is why I rate this single 2 stars! Have a listen to the mp3 "snippet" which I finally got around to posting. Note: This beautiful copy comes with a vintage Bell Records sleeve. It has Near Mint labels, and the vinyl (styrene) looks Near Mint as well. The audio sounds pristine Mint!

Asher Bell has 8 years of experience in telecom sales, sold over 10 million in total contract value at the biggest companies AT&T and Comcast business. He started his real estate journey where he's very active in the business and already has 6 deals closed, and 10+ in the pipeline just in 6 months. He also started a record label - Ring a Bell Records. Father & Husband (family of 3) and a Christian man of faith. If you enjoyed this interview with Asher, make sure to like, subscribe and share with a friend! #AsherBell #Sales #Business Watch this interview on YouTube: https://www.youtube.com/watch?v=1_V7TXtwekI&t=714s --- Send in a voice message: https://anchor.fm/reallysocialestate/message

Today’s Bombshell (Bombshell Radio)Generating Steam HeatBombshell Radio4pm EST 9pm BST 1pm PDT bombshellradio.com #GeneratingSteamHeat #Postpunk #punk #newmusic#60sClassics #Ska #60sGarage #StitcherRadio #Itunes #BombshellRadioAndy Brown-Supersonic (GM Records 7’’ 1975)T Rex-Telegram Sam (From the Thunderwing Records album ‘Bump ’n' Grind’ 2000)David Bowie-Hang On To Yourself (From the EMI Records album ‘Bowie Art the Beeb’ 2000)Jimmy Jukebox-Motorboat (Chattahoochi Records 7’’ 1973)Ice Cream-Shout It Out (Fontana Records 7’’ 1974)The Glitter Band-Tell Him (From the Bell Records album ‘Hey!’ 1974)Hello-Star Studded Sham (Bell Records 7’’ 1976)Star Studded Sham-seventythree (Digital track 2017)Bay City Rollers-Saturday Night (Bell Records 7’’ 1973)Crunch-Lets Do It Again (Young Blood International Records 7’’ 1974)Arrows-I Love Rock n Roll (RAK Records 7’’ 1975)Imperial Drag-Boy Or A Girl (Work Records 7’’ 1996)The Glam Skanks-GLAM - 2016Angel-Little Boy Blue (Cube Records 7’’ 1974)Kenny - Heart Of Stone (RAK Records 7’’ 1973)Sweet-Peppermint Twist (RCA Records 7’’ 1974)Slade-We’re Really Gonna Raise The Roof - 1974

For the show today I have brought out a show I produced several years ago. I ran out of time this week but will have a new show for next week. This week's show is a little different from the type of show I usually do. I prefer the swing bands but I realize that lots of people enjoy bands other than the ones I like. So today we'll be hearing some music from the Ol' Professor, Kay Kyser. Kay led a very popular band and was featured on the radio and in the movies. Another band that was quite different was Sammy Kaye's outfit. He led a band that was called a sweet band. He had several hits during the swing era and he made a large number of records for Vocalion Records, RCA Victor, Columbia Records, Bell Records, and the American Decca record label. He was also a hit on radio. I hope you enjoy this encore presentation of Big Band Bash. Please visit this podcast at http://bigbandbashfm.blogspot.com

In 1966, Senator Everett McKinley Dirksen (R-IL), known by his detractors as "The Wizard of Ooze" for his unctuous demeanor, recorded an LP titled "Gallant Men: Stories of the American Adventure." The record was an unexpected success, and Dirksen recorded two more LPs.In 1969, Dirksen recorded this album for Bell Records, titled "Everett Dirksen's America," which consists of him reciting the lyrics to assorted patriotic songs, over a choral accompaniment. Dirksen died on September 7, 1969, shortly after recording the album, which was considerably less successful than his debut LP. Here is the track list.A1God Bless America2:13A2Keep The Home Fires Burning3:39A3You're A Grand Old Flag2:00A4The Battle Hymn Of The Republic3:35A5When Johnny Comes Marching Home1:44A6America The Beautiful2:27B1Yankee Doodle2:54B2Tenting Tonight3:17B3Yankee Doodle Boy2:14B4Columbia The Gem Of The Ocean2:55B5America2:47B6Tribute To Apollo 2:38 See acast.com/privacy for privacy and opt-out information.

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？ 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 谭瑞岗，新亚文化创始人 [04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试 [06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授 [07:50]朱姓教授和他的风云往事 [12:25]内容生产者经常要受制于平台方的认知能力 [15:20]知识付费产品卖得最好的还是鸡汤 [18:25]老谭非常反感两个词：「爆款」和「创业」 [20:30]嘉宾如何进入知识付费浪潮的？ [21:40]在今天，任何一个模式总能被疯狂复制直到搞烂 [22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平 [26:45]「死亡哲学」与临终关怀 [28:40]业界觉得知识付费的风口已经过去了 [30:55]高深学术与大众交流间的悖论 [32:25]从业余爱好者到专业研究者的思维改变 [37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象 [38:40]收入提高、丁克增多与人的追求更加自如 【音乐】 "Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records） 《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown） 您可以通过网易云音乐、Spotify搜索「忽左忽右 BGM」，获得节目完整歌单。 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本节目由JustPod出品】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右Leftright 微信公众号：播客一下

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】谭瑞岗，新亚文化创始人●[04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试●[06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授●[07:50]朱姓教授和他的风云往事●[12:25]内容生产者经常要受制于平台方的认知能力●[15:20]知识付费产品卖得最好的还是鸡汤●[18:25]老谭非常反感两个词：「爆款」和「创业」●[20:30]嘉宾如何进入知识付费浪潮的？●[21:40]在今天，任何一个模式总能被疯狂复制直到搞烂●[22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平●[26:45]「死亡哲学」与临终关怀●[28:40]业界觉得知识付费的风口已经过去了●[30:55]高深学术与大众交流间的悖论●[32:25]从业余爱好者到专业研究者的思维改变●[37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象●[38:40]收入提高、丁克增多与人的追求更加自如【音乐】"Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records）《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown）【logo设计】杨文骥【收听方式】本节目由喜马拉雅FM独家播出，也可通过泛用型播客客户端订阅收听《忽左忽右》。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】谭瑞岗，新亚文化创始人●[04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试●[06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授●[07:50]朱姓教授和他的风云往事●[12:25]内容生产者经常要受制于平台方的认知能力●[15:20]知识付费产品卖得最好的还是鸡汤●[18:25]老谭非常反感两个词：「爆款」和「创业」●[20:30]嘉宾如何进入知识付费浪潮的？●[21:40]在今天，任何一个模式总能被疯狂复制直到搞烂●[22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平●[26:45]「死亡哲学」与临终关怀●[28:40]业界觉得知识付费的风口已经过去了●[30:55]高深学术与大众交流间的悖论●[32:25]从业余爱好者到专业研究者的思维改变●[37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象●[38:40]收入提高、丁克增多与人的追求更加自如【音乐】"Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records）《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown）【logo设计】杨文骥【收听方式】本节目由喜马拉雅FM独家播出，也可通过泛用型播客客户端订阅收听《忽左忽右》。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】谭瑞岗，新亚文化创始人●[04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试●[06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授●[07:50]朱姓教授和他的风云往事●[12:25]内容生产者经常要受制于平台方的认知能力●[15:20]知识付费产品卖得最好的还是鸡汤●[18:25]老谭非常反感两个词：「爆款」和「创业」●[20:30]嘉宾如何进入知识付费浪潮的？●[21:40]在今天，任何一个模式总能被疯狂复制直到搞烂●[22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平●[26:45]「死亡哲学」与临终关怀●[28:40]业界觉得知识付费的风口已经过去了●[30:55]高深学术与大众交流间的悖论●[32:25]从业余爱好者到专业研究者的思维改变●[37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象●[38:40]收入提高、丁克增多与人的追求更加自如【音乐】"Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records）《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown）【logo设计】杨文骥【收听方式】本节目由喜马拉雅FM独家播出，也可通过泛用型播客客户端订阅收听《忽左忽右》。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？ 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 谭瑞岗，新亚文化创始人 [04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试 [06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授 [07:50]朱姓教授和他的风云往事 [12:25]内容生产者经常要受制于平台方的认知能力 [15:20]知识付费产品卖得最好的还是鸡汤 [18:25]老谭非常反感两个词：「爆款」和「创业」 [20:30]嘉宾如何进入知识付费浪潮的？ [21:40]在今天，任何一个模式总能被疯狂复制直到搞烂 [22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平 [26:45]「死亡哲学」与临终关怀 [28:40]业界觉得知识付费的风口已经过去了 [30:55]高深学术与大众交流间的悖论 [32:25]从业余爱好者到专业研究者的思维改变 [37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象 [38:40]收入提高、丁克增多与人的追求更加自如 【音乐】 "Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records） 《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown） 您可以通过网易云音乐、Spotify搜索「忽左忽右 BGM」，获得节目完整歌单。 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本节目由JustPod出品】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右Leftright 微信公众号：播客一下

知识付费在17、18年大放光彩，但业内有人觉得，好日子快到头了。创办了@新亚文化 的谭瑞岗，本身是社科院近史所的博士生在读，他出品了一系列现象级知识付费产品，将汪荣祖、王子今、邓小南等一线学术大家带入知识付费。作为一个生意人兼学术圈内人，他如何看待学问与知识付费？【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】谭瑞岗，新亚文化创始人●[04:25]百家讲坛是一次学术圈中游学者走进大众的早期尝试●[06:05]汪荣祖属于极少数可以在美国大学讲授美国史的华裔教授●[07:50]朱姓教授和他的风云往事●[12:25]内容生产者经常要受制于平台方的认知能力●[15:20]知识付费产品卖得最好的还是鸡汤●[18:25]老谭非常反感两个词：「爆款」和「创业」●[20:30]嘉宾如何进入知识付费浪潮的？●[21:40]在今天，任何一个模式总能被疯狂复制直到搞烂●[22:50]简单地用「贩卖焦虑」概括，对很多知识付费用户并不公平●[26:45]「死亡哲学」与临终关怀●[28:40]业界觉得知识付费的风口已经过去了●[30:55]高深学术与大众交流间的悖论●[32:25]从业余爱好者到专业研究者的思维改变●[37:00]选择读博这件事颠覆了程衍樑对老谭过去的印象●[38:40]收入提高、丁克增多与人的追求更加自如【音乐】"Tie a Yellow Ribbon Round the Ole Oak Tree"（Dawn featuring Tony Orlando·Tie a Yellow Ribbon·1973·Bell Records）《大时代过客》（郑少秋·郑少秋世纪之选·2001·Crown）【logo设计】杨文骥【收听方式】本节目由喜马拉雅FM独家播出，也可通过泛用型播客客户端订阅收听《忽左忽右》。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

Our month long series of legendary labels starts with Bell Records, one of the greatest labels of the seventies! Discover the amazing journey of a Belgian bitch-slap that sold 10 million copies, why Barry Manilow feared Brandy, and why Tony Orlando feared for his day job. Learn why Tony Burrows had a better 1970 than anyone else ever. All this and a French lesson too!

Steve Cooper talks with former child actor Rodney Allen Rippy. Rodney appeared in TV commercials for the fast-food chain Jack in the Box in the early 1970s, as well as in numerous roles in television and movies. In the advertisements, Rippy was seen trying to wrap his mouth around the super-sized Jumbo Jack hamburger. The tag line "It's too big to eat!" (pronounced "It's too big-a-eat!") became a catch-phrase. Another spot showed Rippy giggling while singing the song Take Life a Little Easier, which was released as a single by Bell Records in the fall of 1973 in the wake of the commercial's popularity. He subsequently had guest-roles in many popular television shows, including The Six Million Dollar Man, Marcus Welby, MD, Police Story, and The Odd Couple (where Rodney played the owner of the building where Oscar and Felix lived). He also appeared frequently on talk shows such as The Tonight Show Starring Johnny Carson and Dinah's Place with Dinah Shore and had a co-starring role on the CBS Saturday morning children's show The Harlem Globetrotters Popcorn Machine. He now is a partner in the film production company, Bow Tie Productions, and spokesman for Hurricane Housing Relief. He worked at KABC-TV in Los Angeles, California. A resident of Carson, California, he has served as Master of Ceremonies for the Carson Relay For Life. He is also a national director of marketing with Metro Networks.

"I AM THERE FOR YOU" is "Loose Bruce" Kerr's latest original song, a jazz-scat-big band sound. A snippet can be heard here and an html link is being provided to take you to the site where you can download the entire song. Bruce records his songs one instrument & vocal at a time, layering to get the final song. In this one, he sings, plays bass & piano "for real," then uses his synthesizer to compose & play each trombone, trumpet, saxophone, & set of drums, one drum or cymbal per track, then mixes it all together. "Loose Bruce" Kerr spent 20 years as a performer of music, comedy, and parodies. His parodies have been played on national TV (CNN News), radio (Dr. Demento, over 100 plays; Jim Bohannon Program, Larry King). He opened for "Weird Al" Yankovic. Eventually, Bruce resumed his earlier law practice which he had suspended and is now a lawyer working for Oracle in Northern California's Silicon Valley. In the mid-late 60's, Bruce was a vocalist & bass player in rock band "The 5 Bucks" which became the "Byzantine Empire" during college at the University of Michigan. Several 45's were released, the last several on Bell Records. Before that, in high school, Bruce was in a folk group in Waukesha, Wisconsin (home of Les Paul), "The Coachmen." In the late 70's, Bruce was a guitarist, vocalist, and songwriter in the New England area rock band, "Spud City." Many of Bruce's parody videos from 2006-on are viewable on youtube at email Bruce at: BKerrLaw@aol.com

2013 marks the 40th year of existence for Hottest Band in the Land. So, it makes perfect sense for us to use episode 73 (as in, 1973) as a chance to time travel to numerous destinations that played a part in the overall history of KISS. Joining on this global KISS trek is author Chris Epting. Chris is the perfect guest for this conversation as he's written a number of travel-related books on different eras of pop culture as well as his recently-released e-book, 'All I Need to Know I Learned from KISS: Life Lessons from the Hottest Band in the Land.' This book is filled with stories of how being a KISS fan shaped Chris' life and affects him even today. If you are a hardcore KISS fan, this book is definitely for you as it will certainly elicit some familiar emotions. 1. 10 E. 23rd Street - The Loft The birthplace of KISS. This location is the spot where Paul, Gene, & Peter first auditioned Ace Frehley and the band took shape. The location is now next door to a comic book store that has an inventory that includes KISS comic books. Go figure. 2. 108 116 W. 43rd St. - Hotel Diplomat The location that allowed KISS to secure management as Bill Aucoin, Sean Delaney, & Eddie Kramer all witnessed this hungry, young band that wore lots of makeup and electrified the audience in this downtrodden ballroom. A great history of the Hotel Diplomat can be found HERE. 3. 47-03 Queens Blvd. - Coventry Site of some of the earliest KISS shows before they became a touring act. Coventry changed their name from 'Popcorn' just as KISS began their run playing the location. Footage of one of their Coventry performances is on the KISSOLOGY series of DVDs. A fantastic in-depth history can be found HERE 4. 4 Pennsylvania Plaza - Madison Square Garden The site where KISS' dream was realized. During the band's earliest years, while performing at dive bars all over the country to sparse crowds, the band would psyche themselves up by imagining that that night's venue was "the Garden." This is also the site of this week's guest Chris Epting's first concert in 1977. 5. Starwood Ampitheatre - July 21, 1990 The site of Chris Czynszak's first KISS concert, Starwood is no longer in existence but it provided a venue for many KISS tours during the 90's and early 2000's. 6. 1919 Alliant Energy Center Way, Madison, WI - Veterans Memorial Coliseum The site of Aaron Camaro's first KISS concert on the Revenge tour in 1992 on December 2, 1992. 7. 106 E. 86th Street - Park Avenue United Methodist Church The front door of this church in Manhattan was the inspiration for the door used on the Music from the Elder album cover. 8. 400 Linden Street, Cadillac, MI - Cadillac High School The site of the infamous KISS invasion of Cadillac! What a lot of us would give to time travel back! 9. 124 Broadway, Amityville, NY - The Daisy The site of KISS' foray into the makeup characters we know and love today. It's rumored that their first show at the venue, which was sparsely attended, featured the band covering 'Go Now' by The Moody Blues. 10. 126 E. 14th Street, NYC - Academy of Music/The Palladium A very KISStoric site as it was the venue that hosted the band's "coming out" party to a shocked group of industry onlookers as the band upstaged headliners Iggy Pop and Blue Oyster Cult. This venue was also the site of Eric Carr's debut performance with KISS in 1980. 11. 6230 Sunset, Hollywood - Aquarius Theatre  Site of tv taping for ABC's In Concert hosted by Dick Clark in 1974.  KISS' earliest television appearance. 12. 1032 N. Sycamore Avenue, LA, CA - The Record Plant Site of recording for parts of Paul Stanley (1978 solo album), Killers, and Creatures of the Night. 'Nuff said. 13. 1616 Butler Avenue, LA, CA - The Village Recorder Site of recording for Hotter than Hell & parts of Paul Stanley (1978 solo album). 14. 26101 Magic Mountain Parkway, Valencia, CA - Magic Mountain Now owned by Six Flags Corp, Magic Mountain was the shooting location of the infamous KISS Meets the Phantom of the Park television movie from 1978. Loved and hated by the fan base, the park still features the Colossus roller coaster that is featured prominently in the film. 15. 5th & Market Streets, Philadelphia, PA - KYW-TV Studios Site of KISS' appearance on the Mike Douglas show. Filmed in the basement studio, the show featured a bizarre interview panel with Gene Simmons on stage with comedian Robert Kline and comedienne Totie Fields who skewered the demon in front of a national audience. 16. 30 Rockefeller Plaza, NBC Productions Studios, New York, NY - The Tomorrow Show While '30 Rock' is well known for a whole host of famous television moments, none is more important to KISS fans than what took place on Halloween night in 1979 as Ace Frehley stole the show much to Gene & Paul's horror and Peter's delight. 17. 237 West 54th Street, NY,NY - Bell Sound Studios The home recording studio of Bell Records with a history dating back to Buddy Holly, the band used this studio to record their self-titled debut album in 1974. 18. 52 W. 8th Street, NY,NY - Electric Lady Studios The house that Hendrix built has been the home to many important moments in KISStory including the Wicked Lester recordings, first album demos, Dressed to Kill, Peter Criss (1978 solo album), Dynasty, and Asylum to name a few. 19. 105 2nd Avenue, NY, NY - Filmore East The site of KISS' debut to the press in a special concert presented in January of 1974. 20. 2-3 Kitanomarukōen, Chiyoda, Tokyo - Budokan A very pivotal location in KISS' history as the band broke attendance records in the 70's previously held by the Beatles and has hosted the band in each decade since to much fanfare. Japan's love of KISS is timeless. 21. Morumbai Stadium, Sao Paulo, Brazil The site of KISS last show in makeup (at the time). While the band had hit a major low point in popularity in America, the fans in South America were only too happy to fill mammoth soccer stadiums and show the band that they 'love it loud.' 22. 2000 E. Gene Autry Way, Anaheim, CA - Anaheim Stadium Site of KISS' first-ever stadium show in 1976, this appearance seemed to help mark KISS' transition from popular group to superstars. 23. West 46th Avenue & 12th Avenue, Pier 86 - USS Intrepid Location of the official announcement of KISS' reformation in 1996. The event was emceed by Conan O'Brien and attended by fans and press from all over the world. 24. 665 West Jefferson Blvd, LA, CA - Shrine Auditorium Location of KISS' first appearance in makeup with the original band at the 1996 Grammy Awards. The band only showed up to present an award with Tupac Shakur and didn't tip their hand regarding a reunion. But the writing was clearly on the wall. 25. 460 West 54th Street, NY, NY -Sony Studios Site of KISS' appearance on MTV Unplugged, the night ended on a high note with Peter Criss and Ace Frehley joining the band for a few songs and encores and sparking the reunion that would take shape shortly after. 26. Brooklyn Bridge NY, NY Site of KISS' appearance on the 1996 MTV Video Music Awards, KISS originally chose Ellis Island for their appearance but couldn't secure proper permits in time. Instead, they put on a blistering performance in the shadow of the Brooklyn Bridge that has gone down as one of the musical highlights from the reunion of the original band. 27. 314 Hermitage Avenue, Nashville, TN - Muther's Music Emporium  An 800 seat facility in Nashville in the early 1970's that hosted a number of lesser-known acts working their way up the ladder that included Ted Nugent, Bruce Springsteen, and a face-painted group known as KISS on their first tour. Die hard KISS fans will recognize the venue name due to a handful of photos of Ace Frehley donning their logo on a t-shirt in the 70's. Buy Music! KISS Get Chris Epting's new E-book 'All I Need to Know I Learned from KISS'! Contact Us! Rate, Review, and Subscribe in iTunes Join the Fan Page Follow on Twitter E-mail Us Comment Below Direct Download