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Phish's three-night run at Alpine ValleyLarry Mishkin features a Grateful Dead concert at a "funky" venue on July 29, 1994, at Buckeye Lake, Ohio.  The Grateful Dead opened with "Rain" by the Beatles, reflecting their admiration for the Beatles' music. "Rain," primarily written by John Lennon, was a song exploring themes of reality and illusion and was notable for its use of reverse audio effects. The Grateful Dead incorporated several Beatles songs into their performances, demonstrating their appreciation for the band.The conversation touches on the Grateful Dead's setlist, which included several opening songs like "Feel Like a Stranger" and "Bertha." The speakers recall personal experiences and the excitement of attending these concerts, sharing memories of Buckeye Lake as a vibrant venue despite unpredictable weather. The conversation transitions to "Wang Dang Doodle," a blues standard written by Willie Dixon and performed by artists like Howlin' Wolf and Koko Taylor. The Grateful Dead's affinity for blues music and their ability to blend various musical influences into their performances is highlighted. Larry changes his focus and shifts to a discussion about the band Phish, detailing a recent three-night run at Alpine Valley. He express his excitement and nostalgia for the venue, sharing experiences of attending concerts there over the years. The recap of Phish's performances includes a detailed analysis of the setlists, noting songs like "46 Days," "Moma Dance," "Cities," "Cavern," "Axilla," "Down with Disease," "Bathtub Gin," and a cover of Led Zeppelin's "Good Times Bad Times." Larry's enthusiasm is evident as he recount the energy and musicianship of Phish, highlighting the unique experience of attending their concerts and the connection it fosters among fans.  Grateful DeadJuly 29, 1994  (30 years ago)Buckeye Lake OhioGrateful Dead Live at Buckeye Lake Music Center on 1994-07-29 : Free Download, Borrow, and Streaming : Internet Archive  INTRO:                                 Rain                                                Track #1                                                :26 – 2:10 John Lennon wrote most of "Rain." It was his first song to get really deep, exploring themes of reality and illusion - after all, rain or shine is just a state of mind.Written by John “about people moaning about the weather all the time” as he was becoming more in tune with his role as a social leader – as is evidenced by the lines “I can show you” and “Can you hear me”Played 29 timesFirst:  December 2, 1992 at McNichols Sports Arena, Denver, CO, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:                    Wang Dang Doodle                                                Track #4                                                4:03 – 5:43 "Wang Dang Doodle" is a blues song written by Willie Dixon. Music critic Mike Rowe calls it a party song in an urban style with its massive, rolling, exciting beat.[1] It was first recorded by Howlin' Wolf in 1960 and released by Chess Records in 1961. In 1965, Dixon and Leonard Chess persuaded Koko Taylor to record it for Checker Records, a Chess subsidiary. Taylor's rendition quickly became a hit, reaching number thirteen on the Billboard R&B chart and number 58 on the pop chart.[2] "Wang Dang Doodle" became a blues standard[3] and has been recorded by various artists. Taylor's version was added to the United States National Recording Registry in 2023. In 1995, Taylor's rendition was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recording – Singles or Album Tracks" category.[17] The Foundation noted that the song was the last blues single produced by Dixon to reach the record charts, and "became Koko Taylor's signature crowdpleaser, inspiring singalongs to the 'all night long' refrain night after night".[17]Taylor's version of "Wang Dang Doodle" was selected by the Library of Congress for preservation in the National Recording Registry in 2023.[18]Chuck Berry, Bruce Hornsby, John Popper, Bob Weir of the Grateful Dead and Willie Dixon's daughter, Shirley Dixon, performed "Wang Dang Doodle" in tribute to Willie Dixon at the 1994 Rock & Roll Hall of Fame induction ceremony.In his autobiography, I Am The Blues, Willie Dixon says;Wang Dang Doodle meant a good time. Especially if a guy came in from the South. A wang dang meant having a ball and a lot of dancing, they called it a rocking style so that's what it meant to wang dang doodle. Wang Dang Doodle was first performed by the Grateful Dead in August 1983. The song was played only a few times each year through the rest of the 1980's. From 1991 onwards it was performed more often averaging about 15 performances a year through to 1995.  Played: 95 timesFirst:  August 26, 1983 at Portland Memorial Coliseum, Portland, OR, USALast:  July 8, 1995 at Soldier Field, Chicago, IL, USA  MUSIC NEWS: Phish shows, Friday and Saturday night at Alpine ValleyRIP – John Mayall  SHOW No. 2:                    Althea                                                Track #7                                                9:40 – end                                                 INTO                                                 Eternity                                                Track #8                                                0:00 – 1:39 Co-writing a song with one of your personal heroes—that seems like a dream come true.Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: “Down in the Bottom,” “I Ain't Superstitious,” “I Just Want to Make Love To You,” “Little Red Rooster,” “The Same Thing,” “Spoonful,” and “Wang Dang Doodle.” Plus a couple they only played once, or only in soundcheck.The song was written during the sessions for Rob Wasserman's Trios album. “Guitar Player” magazine ran an interview with Weir in 1993:I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them........Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the bluesPlayed:  44 timesFirst:  February 21, 1993 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 3:                    I Want To Tell You                                                Track #11                                                0:00 – 1:35 "I Want to Tell You" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written and sung by George Harrison, the band's lead guitarist. After "Taxman" and "Love You To", it was the third Harrison composition recorded for Revolver. Its inclusion on the LP marked the first time that he was allocated more than two songs on a Beatles album, a reflection of his continued growth as a songwriter beside John Lennon and Paul McCartney.When writing "I Want to Tell You", Harrison drew inspiration from his experimentation with the hallucinogenic drug LSD. The lyrics address what he later termed "the avalanche of thoughts that are so hard to write down or say or transmit".[1] In combination with the song's philosophical message, Harrison's stuttering guitar riff and the dissonance he employs in the melody reflect the difficulties of achieving meaningful communication. The recording marked the first time that McCartney played his bass guitar part after the band had completed the rhythm track for a song, a technique that became commonplace on the Beatles' subsequent recordings.George Harrison wrote "I Want to Tell You" in the early part of 1966, the year in which his songwriting matured in terms of subject matter and productivity.[2] As a secondary composer to John Lennon and Paul McCartney in the Beatles,[3] Harrison began to establish his own musical identity through his absorption in Indian culture,[4][5] as well as the perspective he gained through his experiences with the hallucinogenic drug LSD.[6] According to author Gary Tillery, the song resulted from a "creative surge" that Harrison experienced at the start of 1966. In his autobiography, I, Me, Mine, Harrison says that "I Want to Tell You" addresses "the avalanche of thoughts that are so hard to write down or say or transmit".[1][12] Authors Russell Reising and Jim LeBlanc cite the song, along with "Rain" and "Within You Without You", as an early example of the Beatles abandoning "coy" statements in their lyrics and instead "adopt[ing] an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their listeners.[13] Writing in The Beatles Anthology, Harrison likened the outlook inspired by his taking the drug to that of "an astronaut on the moon, or in his spaceship, looking back at the Earth. I was looking back to the Earth from my awareness." Played: 7 timesFirst:  July 1, 1994 at Shoreline Amphitheatre, Mountain View, CA, USALast:  May 24, 1995 at Memorial Stadium, Seattle, WA, USA MJ NEWS  SHOW No. 4:                    Standing On The Moon                                                Track #19                                                7:23 – 9:00 Garcia/Hunter tune from Built To Last (1989) Played:  76 timesFirst:  February 5, 1989 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA  OUTRO:                               Quinn The Eskimo                                                Track #21                                                2:28 – 4:17 "Quinn the Eskimo (The Mighty Quinn)" is a folk-rock song written and first recorded by Bob Dylan in 1967 during the Basement Tapes sessions. The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann,[4] which became a great success. It has been recorded by a number of performers, often under the "Mighty Quinn" title.The subject of the song is the arrival of Quinn (an Eskimo), who prefers a more relaxed lifestyle [" jumping queues, and making haste just ain't my cup of meat"] and refuses hard work ["Just tell me where to put 'em and I'll tell you who to call"], but brings joy to the people.Dylan is widely believed to have derived the title character from actor Anthony Quinn's role as an Eskimo in the 1960 movie The Savage Innocents.[5] Dylan has also been quoted as saying that the song was nothing more than a "simple nursery rhyme". A 2004 Chicago Tribune article[6] said the song was named after Gordon Quinn, co-founder of Kartemquin Films, who had given Dylan and Howard Alk uncredited editing assistance on Eat the Document.Dylan first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years. Meanwhile, the song was picked up and recorded in December 1967 by the British band Manfred Mann,[7] who released it as a single in the US on 8 January 1968 under the title "Mighty Quinn".[8] A UK single followed within a week.[8] The Manfred Mann version reached No. 1 in the UK Singles Chart for the week of 14 February 1968, and remained there the following week.[9] It also charted on the American Billboard Hot 100 chart, peaking at No. 10, and reached No. 4 in Cash Box. Cash Box called it a "funky-rock track" with "a trace of calypso [to] add zest to a tremendous effort."  Played:  59 timesFirst: December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

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"Changing Beats: Goose's Drummer Departure and New Musical Ventures"Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news. Grateful DeadFebruary 12, 1986 (38 years ago)Henry J. Kaiser Convention CenterOakland, CAGrateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive Show Title:  Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras A short Dead show by Nevilles played a set after turning it into a marathon evening of great music  INTRO:              Sugaree                           Track #3                           Start – 1:35                            Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket).  Released on the Jerry's first solo album, Garcia, in January, 1972.                            Played 362 times                           1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release                           Last played on July 8, 1995 at Soldier Field in Chicago Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.In the 1950s and 1960s the Roller Derby played there hundreds of times. Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957. On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[                    SHOW No. 1:    Tons of Steel                           Track # 4                           1:07 – 2:40               A “new” Brent song, released on In The Dark in 1987.  Love the harmonizing with Phil – “She wasn't built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.”  Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn't get enough of him. David Dodd:Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?So, it's a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He's Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime).                           Played 29 times                           First played December 28, 1984 S.F. Civic Auditorium (NYE run)                           Last played September 23, 1987 at the Spectrum, Philly  SHOW No. 2:    Cassidy                           Track #6                           2:20 – 4:09 "Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]The song was quoted in the admiring and admirable obituary of Barlow in The Economist.One of my favorite songs, a great sing a long.I really like this version because it gets nice and trippy.  Always good for a helping define the mood of the show, usually about mid to late first set.  A very fun tune.                           Played 339 times                           1st:  March 23, 1974 at the Cow Palace in Daley City, just outside S.F.                           Last:  July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis   SHOW No. 3:    Willie and the Hand Jive                           Track # 14                           1:23 – 3;05 Played with the Neville Bros. but without Phil who left the stage for this one song. Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart. The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance. Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence. George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points. Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th                            To my surprise, played 6 times by the band, all in '86 and once in ‘87                           This is the fist time they ever played it                           Last:  April 4, 1987 at the Centrum in Worcester, MA                SHOW No. 4:   In the Midnight Hour                           Track # 16                           2:20 – 4:01                            Played with the Nevilles, Phil back on stage                           Again, Jerry's playing really stands out.  "In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts. Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn't know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]Pickett re-recorded the song for his 1987 album American Soul Man."In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame. Covers:·        The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan.  It was occasionally the Dead's “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight.                            57 times played                           1st: December 10, 1965 at the Fillmore in S. F.                           Last:  October 17, 1994 at MSG, NYC OUTRO:            Johnny B. Goode                           Track #17                          Start – 1:40               We just featured this song from a different show, but this version demands recognition.  Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time). Chuck Berry tune                                                                            Dead played it 283 times                        First played: September 7, 1969 at The Family Dog at the Great Highway, S.F.                        Last played:  April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio"Larry Mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a Garcia/Saunders show:October 2, 1973 (50 years ago)Winterland, S.F.Garcia & Saunders 1973 Winterland SF KSAN : KSAN : Free Download, Borrow, and Streaming : Internet ArchiveBand members:Jerry – guitar and vocalsMerle – KeyboardJohn Kahn – bassBill Vitt – drumsGuests:Sara Fulcher – vocalsMatt Kelly – harmonicaRoger “Jellyroll” Troy – bass, vocalsMartin Fierro – saxBill Atwood - trumpet     INTRO:                  It Takes A Lot To Laugh It Takes A Train To Cry                                (this one is really from 10.12.1973 at Keystone because the Archive.org show is missing this song as the opener and this is the one closes in date I could find)                                Jerry Garcia/Merl Saunders • It Takes A Lot To Laugh, It Takes A Train To Cry 10/12/73 Fixed SBD - YouTube                                7:35 – 9:09                                 "It Takes a Lot to Laugh, It Takes a Train to Cry" is a song written by Bob Dylan, that was originally released on his album Highway 61 Revisited released Aug. 30, 1965. It was recorded barely a month earlier on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled Bob Dylan's Greatest Hits 2.An earlier, alternate version of the song has been released, in different takes, beginning with the appearance of one take on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991.Covered by Steven Stills, Leon Russell, Marianne Faithful, Taj Mahal, Paul Westerberg, Robyn Hitchcock and Lucinda Williams Dylan's live debut of the song came as part of Dylan's controversial electric set, backed by members of The Paul Butterfield Blues Band and Al Kooper, at the Newport Folk Festival on July 25, 1965, after "Maggie's Farm".[2][4][5][7] After being heckled during the electric set, and especially during "It Takes a Lot to Laugh, It Takes a Train to Cry", by fans who wanted Dylan to play acoustic folk music, Dylan returned to play acoustic versions of "Mr. Tambourine Man" and "It's All Over Now, Baby Blue".[4][7] The Newport performance of "It Takes a Lot to Laugh, It Takes a Train to Cry" features jamming by guitarist Bloomfield and organist Al Kooper.[4] Dylan played it live as part of his set in the August 1971 Concert for Bangladesh. This version was included in the concert film and Grammy Award-winning album of the same title.[2]A.         Dead played it 7 times:first time on June 10, 1973 at RFK Stadium (D.C.) with Allman Brothersfive times in 1991 and once on March 16, 1992 at the Spectrum, Philly Released on Dead album:  Postcards of the Hanging (March, 2002) B.         Jerry's various bands played it about 60 times,first time on January 15, 1972 at Keystone Korner in S.F. w/Merle SaundersLast time by JGB: March 4, 1995 at the Warfield in S.F.                                SHOW #1:           Finders Keepers                                Track No. 1                                3:00 – 4:13                 Finders Keepers was performed over 20 times by Jerry Garcia with the Garcia/Saunders band, Legion of Mary and Reconstruction between 1973 and 1979.On the 1973 Garcia/Saunders Keystone double album the song is called Finders Keepers and is correctly credited to Johnston and Bowen. The song was written by General Johnson, a member of the group Chairmen Of The Board, and Jeffrey Bowen, the producer of the Chairmen Of The Board recording. The song was originally released by the Chairmen Of The Board as a single with a vocal version of the song on the A side and an instrumental version on the B-side.  Chairmen of the Board is an American-Canadian, Detroit, Michigan-based soul musicgroup, who saw their greatest commercial success in the 1970s.  SHOW #2:           The Harder They Come                                Track No. 2                                1:05 – 2:18 "The Harder They Come" is a reggae song by the Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, in which it is supposed to have been written by the film's main character, Ivanhoe Martin. In 1969, singer Jimmy Cliff met film director Perry Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2]The actual recording of the track, at Dynamic Sounds (Muscle Shoals, 1971), was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson (piano), Winston Wright (organ), Winston Grennan (drums), Linford "Hux" Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson (bass).[2]Reggae track recorded in Jamaica in 1972 Covered by:  JGB (Kean College 2.2.80), Cher, Keith Richards (b-side to his single, Run Rudolph Run 1978), Rancid, Joe Strummer, Wayne Kramer, moe., Willie Nelson, Guster, Widespread Panic and many others The Harder They Come was performed over 350 times by Jerry Garcia/Merl Saunders groups and by the Jerry Garcia Band between 1973 and 1995. The lyrics and music for the song are included in the Jerry Garcia Songbook. Also played by Phil Lesh & Friends, Billy & The Kids, Voodoo Dead and Bob Weir with Soul Ska.                                SHOW #3:           That's All Right Mama                                Track No. 3                                2:20 – 3:59                                Featuring:  Bill Atwood on Trumpet and Sara Fulcher on vocals                                                              The song was written by Arthur "Big Boy" Crudup, and originally recorded by him in Chicago on September 6, 1946, as "That's All Right". Some of the lyrics are traditional blues verses first recorded by Blind Lemon Jefferson in 1926.[5][6] Crudup's recording was released as a single in 1947 on RCA Victor 20–2205, but was less successful than some of his previous recordings. One of the experts who consider the Crudup recording to be the "first rock and roll song" is Southeastern Louisiana University rock historian Joseph Burns, who adds that "this song could contain the first ever guitar solo break". Elvis Presley's version was recorded in July 1954.[10] While recording an album as part of a trio called The Blue Moon Boys, the band played "That's All Right" in between takes, and the uptempo style characteristic of rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded.[11] Its catalogue number was Sun 209.[12] The song was released under its original title, "That's All Right", and names the performers as Elvis Presley, Scotty, and Bill.[13] The Presley version was not identical to Crudup's since it was "at least twice as fast as the original".[2] His version is considered by some music critics as one of the records that was the first in the rock n'roll genre.  A 2004 article in The Guardian argues that rather than Presley's version being one of the first records of rock and roll, it was simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before [...] a raucous, driving, unnamed variant of rhythm and blues". Covered by the Grateful Dead once with allman Brothers on June 10, 1973 (RFK great version with Jerry and Dickey Betts trading off lead licks) and once om April 18, 1986 at Berkeley Community TheaterPlayed regularly by JGB and other versions from the ‘70's until the end in 1995.                               SHOW #4:           Second That Emotion                                Track No. 5                                7:00 – 8:29 "I Second That Emotion" is a 1967 song written by Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles on the Tamla/Motown label in 1967, "I Second That Emotion" was later a hit single for the group duet Diana Ross & the Supremes and The Temptations, also on the Motown label. One morning in 1967, Robinson and Cleveland were shopping at Hudson's, a Detroit department store. Robinson found a set of pearls for his wife, Claudette. "They're beautiful." he said to the salesperson. "I sure hope she likes them." Cleveland then added "I second that emotion." Both songwriters laughed at Cleveland's malapropism; he had meant to say "I second that motion." The two were immediately inspired to write a song using the incorrect phrase. Was performed a handful of times (7) by the Grateful Dead in April, 1971First:  April 8, 1971 at The Music Hall, BostonLast:  April 29, 1971 at Fillmore East NYC Part of Jerry's bands repertoire between 1973 and 1994 (played almost 200 times)  OUTRO:                Sweet Little Angel                                Track #7                                2:20 – 3:59                 Written by BB King and Jules Taub in September, 1956                Some say it is an adaption of Black Angel Blues written by Lucille Bogan in December, 1930 In 1956, B.B. King recorded "Sweet Little Angel" (RPM Records 468). According to King, "I got the idea for 'Sweet Little Angel' from Robert Nighthawk's 'Sweet Black Angel', though I later discovered that the song had been recorded by someone before Nighthawk. At the time 'black' was not a popular word, as it is now. Instead of using the old title, I changed it to 'Sweet Little Angel'—and that was a pretty big record for me".[6] King's version, which included a horn section, was a stylistic shift for the song and it became a hit, reaching number eight on the Billboard R&B chart.[7] In 1957, he re-recorded "Sweet Little Angel" for his first album Singin' the Blues. Both versions prominently feature B.B. King's guitar work, with his note-bends "sounding almost like a lap steel in places.”

"Marijuana Magic: Enhancing Exercise and Easing PainLarry Mishkin discusses the debut of the song "Sugaree" by the Grateful Dead, sharing interesting facts about its origins and performance history. Additionally, he presents three stories from Marijuana Moment, highlighting how medical marijuana is linked to reduced pain and lower opioid dependency in chronic pain patients, enhances the runner's high and reduces pain during exercise, and improves the quality of life for military veterans while reducing their prescription drug use. Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast  July 31, 1971: Astronauts Drive on the Moon1971: Apollo 15 astronauts David Scott and James Irwin drive the Lunar Roving Vehicle on the surface of the moon. It's the first off-planet automobile ride. Rumor has it that sometime during the show, Jerry stopped playing, pointed to the moon, and said, “just think, right now there are men sleeping on THAT” Confession, I listened to almost the entire show and was not able to locate that moment so I cannot confirm Jerry said it, but it sounds like something he might say and either way is just another cool Dead story to pass along. INTRO:                Sugaree                           Track No. 3                           Start – 1:14                            Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released in January 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.[2]The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University,Even though it was on Jerry's solo album, it was clearly a Dead song from the start and here it is debuted by the Dead six months before the Garcia album's release. Maybe not the best version ever, but it is the first. Ultimately played 361 times by the Dead. Last played on July 8, 1995, the penultimate Dead show Always one of good buddy Mikey's favorite Dead songs, “What's shaking Sugaree?”.  Shout out to Mikey, Alex, Andy, Lynn, Harold who just saw Tedeschi Truck this past weekend at Red Rocks.  My wife and I had to miss it this year, but I know they all rocked out.  And, they were joined by Lori and Monte, more good Chicago friends, and Lori was part of the group at the Joanie Jam with Judy and Andy.  So lots of great musical cross relationships developing all the time.  THAT IS WHY WE GO TO SHOWS!   SHOW #1:                   Mr. Charlie                                    Track No. 4                                    Start – 1:15             This is also the breakout version of this song.  It was played a total of 50 times after its debut on 7/31/71 in New Haven, the same show at which Sugaree debuted. It was played at all 22 shows of the Europe '72 tour, including its last performance on May 26, 1972 at the Lyceum Ballroom in London, the last show of that famous tour. Lyrics by Robert Hunter, music by Pigpen.  It was Pig's song and as his time in the band dwindled, so did some of his tunes.  No post-Pig resurrection of the song by the band.Never released on a studio album, there are rumors of a planned album following Workingman's and American Beauty that would have included this song as well as Bertha, He's Gone, Loser, Brown Eyed Women, Ramble on Rose, Tennessee Jed, The Stranger (Two Souls in Communion), etc.  Might have even been enough tunes for a double album. Story is that the Dead abandoned it when they decided to get out of their Warner Bros. record deal. SHOW #2:          Hard to Handle                             Track No. 12                             Start – 1:06           "Hard to Handle" is a 1968 song written by American soul singer Otis Redding along with Al Bell and Allen Jones. Originally recorded by Redding, it was released in 1968 as the B-side to "Amen" (shortly after the singer's sudden death in 1967). The song also appears on the 1968 album The Immortal Otis Redding. Redding's version reached number 38 on the Billboard R&B chart and number 51 on the pop chart.[1]American rock band the Black Crowes covered the song for their 1990 debut album, Shake Your Money Maker, reaching number 26 on the Billboard Hot 100 with their rendition.Hard To Handle was performed by the Grateful Dead about 90 times between March 15, 1969 at the Black and White Ball, opened the show with it (The ball is the Bay Area's largest black-tie street party and a tradition since 1956 - a night for high society and just plain folks to mingle in gowns and tuxedoes around Civic Center Plaza to listen to music. ) and August 1971. It was subsequently performed only twice, on December 30 and 31, 1982, with Etta James taking the vocals and support from the Tower of Power horns.Another fun Pig lead that, like most of his other songs, died with him. SHOW #3:                  Sugar Magnolia                                    Track No. 24                                    3:10 – 4:23Still relatively new in the Dead's repertoire, I like the musical jam in this version and so does the crowd. We all know the lyrics but it is this kind of jamming that made this a Dead standard and favorite among Deadheads.  This version is still early enough that it appears in the middle of the second set, not yet having moved to its almost always spot as a second set closer.  Always sad when they get to the obvious set closer, but when it was Sugar Mag we all felt a lot better.   Notes from Deadheads mentioned this as one of the highlights of the show. SHOW #4:                  Darkness Jam                                    Track No. 28                                    0:56 – 2:06the 'Darkness' jam from the 1969 Youngbloods song, Darkness, Darkness which was done a few times in 1970; the most well-known version is in the 9/19/70 Not Fade Away where it's very clear. (They also do the China Cat riff in that NFA, which they did frequently (and at greater length) in the fall of 1971.). Played 4 times by the Dead in concert.  This is the LAST one. Darkness Darkness - Darkness, Darkness" is a song written by Jesse Colin Young in 1969, which has been covered by many artists. Young's band The Youngbloods released a version on their 1969 album Elephant Mountain. They released a version of the song as a single twice: in 1969, which reached #124 on the Billboard chart,[1] and in 1970, which reached #86 on the chart.[2] One of the various themed jams played by the Dead in their early years also including:Feelin' Groovy Jam - is basically four chords based on the 1966 Simon & Garfunkel song, and was frequently done in Dark Stars from '69-'72.Tighten Up Jam - The Tighten Up jam was a very common Latin-style jam theme in 1970. It's often called a proto-Eyes jam since Weir plays two repeating jazzy chords that are rhythmically similar to the opening of Eyes of the World; but they were commonly thought to be from Archie Bell & the Drells' 1968 tune.Mind Left Body Jam:      The Mind Left Body jam originated in the Planet Earth Rock n Roll Orchestra (PERRO) sessions (The Planet Earth Rock and Roll Orchestra (PERRO) is a nickname given to some artists who recorded together in the early 1970s.[1] They were predominantly members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills, Nash & Young .[2] ), where we can hear an early, faster version of the four descending chords. Paul Kantner took this riff for his 1973 song 'Your Mind Has Left Your Body,' which Garcia played pedal steel on. Garcia in turn adapted it into a Grateful Dead theme, which first showed up on occasion in '72, but started regularly entering the jams in fall '73. It added a transcendental feeling to many shows up through '74Spanish Jam:       Weir based the Spanish Jam on the song 'Solea' on Miles Davis' album Sketches of Spain, sometime in late '67 when the Dead started recording Anthem of the Sun. As it was, a little bit of the Spanish Jam actually got on the album, in the form of a short Davis-flavored trumpet break from Phil in the middle of Born Cross-Eyed (after the verse, "Think I'll come back here again, every now and then, from time to time"). For a moment, it seems like Garcia and the band are about to break into the Spanish Jam, but they quickly cut back to the song.... OUTRO:       Uncle John's Band                        Track No. 30                        1:28 – 2:44             An early version of an all time classic.  Already a crowd favorite, clapping, sing along.  Can't go wrong with an Uncle John's Band at the end of a show – actually closed out with Johnny B. Goode – no encore.  Other great stories of this show at Yale, runs in with the cops, gate crashers, gallons of electric Kool Aid at the gates.  Just another typical Dead show, but at one of the country's most prestigious schools.  Even the Ivies loved the Dead.      Still working on stories John Mayer says goodbye:            “These tours with @deadandcompany exist on an almost otherworldly plane – everyone, on stage and in the crowd, meets up in this shared dream, and on the last night, after the final note is struck, we leave it all on the stage. We bow, we hug, we share our love for one another and then… we disappear. I fly through the dead of night and wake up at home, where my ears ring, my heart sings, and I'm left with this mix of fatigue, joy, accomplishment, and deep appreciation for what I was able to be a part of,” Mayer shared. “I can feel the connected, collective experience of thousands of others who wake up feeling the same. I'll never get over the profound beauty and uniqueness of this, and we'll never in our lifetime see the likes of @bobweir@mickeyhart and @billkreutzmann, playing beyond all perceived limitations and expectations. It's nothing short of remarkable. Thank you one and all for allowing me a seat on this transcendent ride. ”     “Dead & Company is still a band – we just don't know what the next show will be,” Mayer wrote on social media. “I speak for us all when I say that I look forward to being shown the next shaft of light… I know we will all move towards it together.”

Before his solo work, before Blind Faith, before Traffic, a 14-year old known then as Stevie Winwood joined The Spencer Davis Group as a guitarist and lead singer.  This blues-oriented British band released their first LP, conveniently called Their First LP in June of 1965 to British and European audiences.  We are covering it in August 1965, but the album itself was not released in the United States at the time.  Most of the songs would make it to the US market in compilation albums released years later.The Spencer Davis Group was Spencer Davis on vocals, guitar, and harmonica; Steve Winwood on lead vocals, harmonica, guitar, and piano; Muff Winwood (Steve's older brother) on vocals and bass; and Pete York on drums.  Additional personnel included Kenny Salmon on organ for a couple of tracks, and one track found Peter Asher on piano and Millie Small on vocals.The album didn't enter the UK albums chart until January 1966, but it would reach number 6 on that chart after a single entitled "Keep On Running" from their second album entered the UK singles charts.  "Their First LP" is blues driven, and much of the album consists of covers from blues artists.  However, there are also some original pieces composed by Spencer Davis and by Steve Winwood.  Spencer Davis went on to solo and collaborative work after The Spencer Davis Group, eventually becoming an executive for Island Records.  Steve Winwood would of course move on to a storied career as a rock musician.Bruce brings this blues-laced proto-rock album to the podcast. My BabeThis track leads off the album.  While the Spencer Davis Group did not release this as a single, it reached number 75 on the Billboard Hot 100 in October 1963 when it was originally released by its writers, Bobby Hatfield and Bill Medley.  Hatfield and Medley are better known as The Righteous Brothers.DimplesThis cover was the first single released from the album, preceding the album by almost a year.  The original was written and recorded by blues artist John Lee Hooker in 1956 as an ensemble piece.  It was the first Hooker record to appear on the British record charts, though it would take until 1964 to reach the charts.  While the Hooker single charted, the Spencer Davis Group cover did not chart.Sittin' and Thinkin'Here is an original song amongst an album dominated by covers.  Spencer Davis wrote this song.  It was released as a single, the fourth from the album, but only in the Netherlands.It Hurts Me SoThe closing track to the album was written by Steve Winwood.  It was not released as a single, but it is an example of Winwood's early blues-influenced work.  ENTERTAINMENT TRACK:The Night Before by the Beatles (from the motion picture "Help!" )This film showcased the Beatles in a comedy adventure as the group tries to protect Ringo from an eastern cult. STAFF PICKS:Agent Double-O-Soul by Edwin StarrJames Bond is the obvious inspiration for Wayne's staff pick.  Edwin Starr was singing with The Bill Dogett Combo when he went to the cinema to watch the Bond feature, "Thunderball."  He wound up watching it 3 times before going back to his hotel room to write this song.  Bill Dogett rejected his pitch to sing solo on this tune, so Starr left the group to become a solo act.I Want Candy by The StrangelovesRob brings us a tune by songwriters Bob Feldman, Jerry Goldstein, and Richard Gottehrer.  They took on the persona of Australian sheep farmer brothers turned band members Giles, Miles, and Niles Strangelove for this group.  This song with a Bo Diddley beat was inspired by dancer Candy Johnson who was seen at the 1964 Worlds Fair.  Bow Wow Wow would have a hit with a cover of this song in the 80's.Since I Lost My Baby by The Temptations Lynch's staff pick comes from Motown in the form of a lover's lament written by Smokey Robinson and Warren Moore.  It hit number 17 on the US charts.  The Temptations would be a huge hitmaker in the 60's both with David Ruffin and Dennis Edwards on lead vocals.Same Old Song by The Four TopsBruce's staff pick features an American vocal quartet from Detroit who helped to define the Motown sound.  This Holland-Dozier-Holland song hit number 5 on the Billboard Hot 100, and number 2 on the Billboard R&B chart.  Lead singer Levi Stubbs was joined by Duke Fakir, Obie Benson, and Lawrence Payton to form the quartet, and they would remain together from 1953 until 1997 without a change in personnel. INSTRUMENTAL TRACK:The "In" Crowd by The Ramsey Lewis TrioThis jazz single hit number 2 on the R&B chart and number 5 on the Billboard Hot 100.  The Ramsey Lewis Trio would receive a Grammy Award for the album of the same name in 1966.

Damion Hall returns to Halftime Chat to talk about the upcoming Legacy Tour featuring Guy, Keith Sweat and New Edition. Damion also speaks about his solo projects and charity work. Damion Hall, also known as Damion "Crazy Legs" Hall is an American R&B singer. He is a member of the new jack swing group Guy and is the brother of Guy member, Aaron Hall. He has released one solo album, Straight to the Point in 1994, which spawned one single, "Satisfy You", featuring Chanté Moore. That song managed to reach No. 48 on the Billboard R&B charts.   #DamionHall #Guy #NewJackSwing Hosted by Music Broadcaster, Psychotherapist and Life Coach, Nnamdi E.S. Okoye (PGDip (CBT), PG Cert (Low Intensity Psychological Interventions) Watch all episodes on YouTube: https://www.youtube.com/@HalftimeChat Social Follow: Instagram: https://www.instagram.com/halftimechat Facebook: https://www.facebook.com/halftimechat Twitter: https://twitter.com/halftime_chat LinkedIn: https://www.linkedin.com/in/nesoul/ Cash App: https://cash.app/£halftimechat PayPal: https://www.paypal.com/paypalme/nesoul

Back on the scene – and topping the charts – the singing/song writing talent, Cassandra Lucas.  Cassandra is best known as one-half of the 90's platinum-selling R&B vocal duo Changing Faces, who gave us hits such as “Foolin' Around,” “Stroke You Up” and “G.H.E.T.T.O.U.T.”  Their debut self-titled CD hit #1 on the Billboard R&B charts, and throughout their notable career, they sold millions of records, with 3 singles in the Top Ten on the Billboard charts, rare for a vocal duo.   She's returned in 2019 with her new, self-penned single, “Name On It,” which reached Top 20 on the Billboard Urban Adult Contemporary chart, bringing something new to her older fans and introducing her to large numbers of new fans.  It's a ballad of the type that's been missing in R&B music lately.  This graduate of the “Fame” high school in New York, who hails from East Harlem, will release her debut solo CD in Spring 2019, titled “Long Way Home,” on CRC Musik.  #CassandraLucas #ChangingFaces #UnSung #NewJackSwing #RnBMusic #RnB #SoulMusic #Music #RnBPodcast #NewJackSwingPodcast #MusicIndustry #MusicBusiness Halftime Chat is your home for RnB, New Jack Swing and Old School Hip Hop. Dropping  Interviews with your favourite R&B artists & Music videos from the 80s, 90s and 2000s  We Love the 80s, 90s & 00s! Intro Music Music: Secret Sauce Musician: Jeff Kaale End Credits Music Music: You Know Musician: Jeff Kaale Want to Donate or support the production of Halftime Chat?

1979 FIRST TIME AROUND 1980 HIGH 1980 HERE'S TO YOU 1980 SKYYZOO 1981 CALL ME (#1 BILLBOARD R&B) 1982 LET'S CELEBRATE 1982 WHEN YOU TOUCH ME 1986 GIVIN' IT TO YOU 1989 START OF A ROMANCE (#1 BILLBOARD R&B) 1989 REAL LOVE (#1 BILLBOARD R&B) 1992 UP AND OVER Denise, Dolores and Bonne Dunning are the original female vocalists of the Funk R&B Band SKYY. With a music career that spans 45 years, these women continue the legacy of SKYY's music delivering a dynamic stage show driven by original soundtracks and all the way live vocals. Their chart topping hits are guaranteed to take you back to when life was fun and music was funky. SKYY's The Limit! CONCERT VENUES HONDA ANAHEIM ARENA - CALIFORNIA SOB'S - NEW YORK GARDNERS BASIN - ATLANTIC CITY CLARIDGE HOTEL - ATLANTIC CITY AUGUST WILSON AACC - PITTSB URGH PALA CASINO - CALIFORNIA CENTRAL PARK SUMMERSTAGE - NEW YORK TV SHOWS TV ONE UNSUNG CBS2 Spotlight www.ladiesofskyyepk.com

"DON'T RUSH" by J. BROWN @jbrownmusiconly featuring TANK @therealtank is the #15 R&B Song in the country this week, according to Billboard.com. This marks J. BROWN's 5th Top 20 Billboard R&B song in the last 3 years. "I am beyond thrilled to know that my new song, "Don't Rush", featuring my musical idol, TANK on it, is a Top 20 single," mentions J. Brown. "To think that this is my 5th Top 20 song of my career is proof that dreams can come true, and I do not have enough words to thank everyone involved, from radio, to magazines, bloggers, to my fans, to listeners around the world and of course to my team and Tank," he adds. June is Black Music Month! My @theqchat_podcast interview with Detroit Native J. Brown drops next Tuesday! Subscribe to The Q-Chat Podcast and the Geaux Queen TV YouTube Channel today! In celebration of Black Music Month, check out my past interviews with: Raheem DeVaughn @raheem_devaughn Eric Roberson @erro44 Freda Payne @iamfredapayne Rudy Currence @rudycurrence Planet L*A*W @planet12law Jay Watts @imjaywatts Jackie Bouvier Akbar the Gr8 @akbartheg8 JADE @thisisjadej Malika ENT @malikaent Anu Da Sun @iamanudasun Nubia Soul Goddess @officialnubiasoulgoddess 80 Empire @80empire https://www.queenvisionnetwork.com https://www.instagram.com/theqchat_podcast/ https://www.instagram.com/iam_geauxqueen/ This Podcast is Sponsored by Queen's Arrogance LLC  2022 (c) #blackmusicmonth #selflovepodcast --- Send in a voice message: https://anchor.fm/the-q-chat/message Support this podcast: https://anchor.fm/the-q-chat/support

Intro by: Gail NoblesVoice actor: Gail NoblesCover Collage Design: Gail NoblesCat Bear: You're. listening to the Cat Bear. Thinking of the musical days of Heatwave. Heatwave vibes.CB: Heatwave! Remember the song, Boogie Nights? Gail Nobles: Yea! I remember.CB: That's when the boogie get downCB & GN: Cause Boogie Nights are always the best in town.CB: Got to keep on dancing'. Keep on Dancin'.GN: The Band is known for their singles Boogie Nights, The Groove Line, and Always and Forever.CB: I like The Groove Line(Singing)GN: The song Groove Line is a 1978 single. It was written by Rod Temperton. He was an awesome an English songwriter, musician, vocalist, and record producer. He was the keyboardist and main songwriter for the 1970s pop music, disco, and funk band Heatwave, He also wrote Always and Forever and Boogie Nights.The Groove Line song charted at number 12 in the UK Singles Chart and number 7 in the Billboard Hot 100. It also appeared on U.S. Billboard R&B at number 3. The single was certified Platinum by the RIAA in 2001. It is ranked as the 49th biggest US hit of 1978.Boogie Nights is a 1977 single. The song became one of the best known disco songs by a British group and charted at #2 on the UK Singles chart. In the US, "Boogie Nights" also peaked at #2 on the Billboard Hot 100. ] It appeared on US Billboard R&B and dance charts during 1977. The single was certified platinum by the Recording Industry Association of America (RIAA).And Always and Forever. It was released in 1977. The song reached number 18 on the US Billboard Hot 100 in March 1978 after peaking at number two on the US Billboard R&B chart, The song was certified platinum by the RIAA on September 6, 2001.I'm Gail NoblesCB: And you're listening to the Cat Bear.

King starting the independent record label JAY Records to release the Timex Social Club hit ‘Rumors' and ushered in the biggest selling single of 1986 (3.5 million copies) and becoming the #1 R&B single on the Billboard Charts. With a Top 10 single on the Billboard Pop charts for over 56 weeks, King watched his life change as his music became an unprecedented hit. What he'd produced was history-making, as nobody had before taken an R&B song from an indie label to such heights.   Such moves from a 24 year old entrepreneur made the year 1986 even more memorable, as he quickly followed up with a label/production deal with Warner Brother Records and his King Jay Records label, subsequently releasing the first Club Nouveau single ‘Jealousy' and the album, ‘Life, Love & Pain'.    After ‘Jealousy' went to #8 on the Billboard R&B charts in September of 1986, followed by ‘Situation #9' (#4 Billboard R&B charts), 1987 came in with an even bigger bang when ‘Lean On Me' was released in February and became #1 Billboard Pop/#2 Billboard R&B platinum single, winning a Grammy for R&B Song of The Year  #TimexSocialClub #ClubNouveau #MusicIndustry #rnb #rnbpodcast #rnbmusic #newjackswing #hiphop #hiphopmusic  #DJCassidy #PassTheMic #HalftimeChat

Damion Hall, also known as Damion "Crazy Legs" Hall is an American R&B singer. He is a member of the new jack swing group Guy and is the brother of Guy member, Aaron Hall. He has released one solo album, Straight to the Point in 1994, which spawned one single, "Satisfy You", featuring Chanté Moore. That song managed to reach No. 48 on the Billboard R&B charts. New Jack Swing #NewJackSwing #Guy #Jodeci #HalftimeChat #UptownRecords #RnB #SoulMusic #HipHop #RnBPodcast #TeddyRiley #Blackstreet #rnb #rnbpodcast #rnbmusic #newjackswing #hiphop #hiphopmusic  #DJCassidy #PassTheMic #HalftimeChat

  #koolandthegang #celebration #funkdisco Bio: https://www.koolandthegang.com/history Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and, at the age of 49, the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albums. In 1964, Ronald Bell and his brother, Robert “Kool” Bell, joined Jersey City neighborhood friends Robert “Spike” Mickens, Dennis “Dee Tee” Thomas, Ricky Westfield, George Brown, and Charles Smith to create a unique musical blend of jazz, soul and funk. At first calling themselves the Jazziacs, the band went through various names – The New Dimensions, The Soul Town Band, Kool & the Flames – before settling on their famous moniker. Over the next several years they solidified their musical chemistry on the rough-and-tumble East Coast music scene supporting acts like Bill Cosby, Ritchie Havens and Richard Pryor. Their self-titled 1969 debut album introduced their signature instrumental sound and fierce horn arrangements and spawned their first Billboard R&B charted single, Kool & the Gang.

One half of the hip hop group Tag Team Cecil "DC The Brain Supreme" Glenn joins TruthSeekah in this episode of The TruthSeekah Podcast as they discuss the comeback of Whoomp!!! There It Is! or should we say "Scoop!!! There It Is!" which in now back in the billboard charts after more than 25 years due to the success of creating a parody version for a Geico commercial. During the episode they also talk about websites, graphic design and promo which are both passions of Cecil Glenn and TruthSeekah.The iconic old school hip hop duo Tag Team released their debut single “Whoomp! There It Is.” in a historic Atlanta blizzard weeks ahead of Freaknic in the spring of 1993. Not too long after that, DC (The Brain Supreme) Glenn and Steve (Rolln) Gibson were #1 on the Billboard R&B chart and at the top of the Billboard sales charts. They took up residence there for the next 2 years shattering several Billboard records at the time. Next thing you know the childhood friends from Denver, CO now living in Atlanta, GA where on top of the music industry and traveling the world. They have become pop culture icons and ambassadors across every continent bringing worldwide attention to booty shake music from the south.https://www.tagteambackagain.com/TruthSeekah's Book Spirit Realm: Angels Demons, Spirits and the Sovereignty of God (Foreword by Jordan Maxwell) https://amzn.to/31g9ydRTruthSeekahs Guided Meditation | The Throneroom Visualization https://www.TruthSeekah.com/MeditationsHelp Keep The TruthSeekah Podcast On The Air!⭐️ Become A Patron And Support TruthSeekah

One half of the hip hop group Tag Team Cecil "DC The Brain Supreme" Glenn joins TruthSeekah in this episode of The TruthSeekah Podcast as they discuss the comeback of Whoomp!!! There It Is! or should we say "Scoop!!! There It Is!" which in now back in the billboard charts after more than 25 years due to the success of creating a parody version for a Geico commercial. During the episode they also talk about websites, graphic design and promo which are both passions of Cecil Glenn and TruthSeekah.The iconic old school hip hop duo Tag Team released their debut single “Whoomp! There It Is.” in a historic Atlanta blizzard weeks ahead of Freaknic in the spring of 1993. Not too long after that, DC (The Brain Supreme) Glenn and Steve (Rolln) Gibson were #1 on the Billboard R&B chart and at the top of the Billboard sales charts. They took up residence there for the next 2 years shattering several Billboard records at the time. Next thing you know the childhood friends from Denver, CO now living in Atlanta, GA where on top of the music industry and traveling the world. They have become pop culture icons and ambassadors across every continent bringing worldwide attention to booty shake music from the south.https://www.tagteambackagain.com/TruthSeekah's Book Spirit Realm: Angels Demons, Spirits and the Sovereignty of God (Foreword by Jordan Maxwell) https://amzn.to/31g9ydRTruthSeekahs Guided Meditation | The Throneroom Visualization https://www.TruthSeekah.com/MeditationsHelp Keep The TruthSeekah Podcast On The Air!⭐️ Become A Patron And Support TruthSeekah

Success came quickly for Murdock with the release of her gold-selling debut LP, Shirley Murdock! ... on Elektra Records. After her initial hit, "No More," stormed the dance charts, the tender ballad "As We Lay" shot up to #5 on the Billboard R&B singles chart and also charted nicely on both the Top 40 adult contemporary and pop charts in 1986. A chance meeting with Bishop T.D. Jakes at a post-service gathering at Murdock's pastor's home, led to her recording "The Lady, Her Lover, and Lord," on his Sacred Love Songs, project in 1999.  "I told Bishop Jakes that I always wanted to do a gospel CD, so when he launched his record label, Dexterity Sounds, he called me and said, "...here's your chance to do that CD.'"   The Home project received a warm embrace from the gospel world and reached #9 on the Billboard Top Gospel albums chart in 2002. It was a dream come true that Murdock feels may have never happened were it not for her secular career. "I never pursued a secular career," she testifies. "It came to me. It opened an opportunity for me to take the gospel into the secular arena in ways that many gospel artists cannot. 

The original version of the song was released in 1960 and had a strong blues influence, after it was a local hit around Detroit. Berry Gordy decided that the song needed to be re-recorded to achieve wider marketing and commercial appeal. The second version reached number one on the Billboard R&B chart and number two on the Billboard hot 100 chart.Time to answer a quick 4-question survey? Click to answer; thank you!https://docs.google.com/forms/d/1pfdA_6_7YzUnyolusOJy0lJeU0gNm07HIOMFyM2YCT4/editIf you like the Podcast please do three simple things for me: rate, subscribe, and write a review. Thank you!Amazon Associate ID is thedoctorofdi-20

Hosts Gail Mitchell (Executive Director of Billboard R&B and Hip-Hop) and Jordyn Rolling (Host of Billboard News) helm the "In the Lead" podcast series, an audio storytelling platform from Honda Stage where some of music's leading women execs come to share their stories of imagination and determination. In each episode, our guests will reflect on their respective paths to success, the challenges they overcame along the way and the words of advice they have to share with music's aspiring execs of the future --- Today's guest is Towalame Austin, the EVP of Philanthropy and Social Impact at Sony Music! Towalame joined Gail and Jordyn to discuss her early philanthropy work with Magic Johnson, her transition to the intersection of social impact and entertainment, working with a host of Roc Nation artists like Rihanna and Meek Mill to further their charitable efforts, Sony Music's "Your Voice, Your Power, Your Vote" initiative and much more! 

Hosts Gail Mitchell (Executive Director of Billboard R&B and Hip-Hop) and Jordyn Rolling (Host of Billboard News) helm the "In the Lead" podcast series, an audio storytelling platform from Honda Stage where some of music's leading women execs come to share their stories of imagination and determination. In each episode, our guests will reflect on their respective paths to success, the challenges they overcame along the way and the words of advice they have to share with music's aspiring execs of the future --- Today's guest is Phylicia Fant, the co-head of urban music at Columbia Records! Phylicia joined Gail and Jordyn to discuss her path into entertainment PR, her role breaking Jojo and the impact it had on her career , the importance of storytelling in building an artist's brand and her team's push to affect social change within and beyond the halls of Sony Music following Blackout Tuesday.

Hosts Gail Mitchell (Executive Director of Billboard R&B and Hip-Hop) and Jordyn Rolling (Host of Billboard News) helm the "In the Lead" podcast series, an audio storytelling platform from Honda Stage where some of music's leading women execs come to share their stories of imagination and determination. In each episode, our guests will reflect on their respective paths to success, the challenges they overcame along the way and the words of advice they have to share with music's aspiring execs of the future --- Today's guest is Dayna Frank, the CEO of First Avenue, one of Minneapolis' most storied music venues. Dayna joined Gail and Jordyn to discuss her early foray into the TV and film industry, her move back to Minneapolis to take over the family business, the role independent venues play in launching artists careers, her pivotal work as President of the National Independent Venues Association, and her favorite acts to ever hit the First Avenue stage - from Lizzo to Prince and many in between!

Hosts Gail Mitchell (Executive Director of Billboard R&B and Hip-Hop) and Jordyn Rolling (Host of Billboard News) helm the "In the Lead" podcast series, an audio storytelling platform from Honda Stage where some of music's leading women execs come to share their stories of imagination and determination. In each episode, our guests will reflect on their respective paths to success, the challenges they overcame along the way and the words of advice they have to share with music's aspiring execs of the future --- Today's guest is Fadia Kader, Instagram's Music Partnerships Lead! Fadia joined Gail and Jordyn to discuss her multi-national upbringing, her transition into music from fashion, the significance of trend forecasting throughout her career, her experience educating artists from Billie Eilish to Tierra Whack on how to best connect with their social audiences and the Verzuz phenomenon that's dominated Instagram Live throughout an otherwise tumultuous 2020.

VPR Radio got the chance to interview the legendary, Grammy-award-winning group The System. Mic Murphy and David Frank stopped by to chop it up with DJ FMI and Qianathegoddess just days before the election. The duo was promoting their new hit single- People Get Up! featuring Sandra St. Victor and hip-hop artist Melle Mel. The timely track encourages Americans of all ages, genders and belief systems to hit the polls. The pair told VPR how they came together in the 1980's when Mic, who was a road manager and David a keyboardist for the band Kleeer met. Later in New York City, David Frank was working on a session that evolved into a track called "It's Passion" which was to feature a pre-stardom Madonna on vocals.  However, due to creative differences, Madonna bowed out. Frank then remembered Murphy's soulful vocal ability and invited him work to on it. The results were so impressive that Atlantic Records offered Murphy and Frank a recording deal of their own. Murphy came up with the band's name, and within weeks "It's Passion" was receiving massive radio airplay in New York.Their first two albums featured hits like  "Sweat," "I Won't Let Go" and the iconic "You Are In My System", which became a number ten R&B smash. In 1983, Mic and David also wrote and produced Pump the Nation, a one-off album for a project called Attitude. Attitude featured Khris Kellow, who worked on many of the later The System albums and appears as a member of the band in Beat Street video clip for Baptize the Beat. "Promises Can Break", "I Wanna Make You Feel Good" and "I Can't Take Losing You." The System also appeared in the 1984 breakdancing film Beat Street and the soundtrack, performing Baptize The Beat.Their version of the Marc Benno song "Rock N' Roll Me Again" became famous in the 1984 action comedy Beverly Hills Cop with Eddie Murphy. The soundtrack album would go on to win a Grammy. They would also reach No. 23 on Billboard's R&B chart with the title track from the 1988 Eddie Murphy film Coming to America. All of this success occurred while they were contributing their talents to projects such as the Scritti Politti album Cupid & Psyche 85, Phil Collins' "Sussudio," Chaka Khan's "I Feel for You," and "This Is My Night," and Mtume's "Juicy Fruit," among many others.The System's greatest success came in 1987 with the release of the single "Don't Disturb This Groove," from the album of the same name and the duo achieved their biggest US Pop hit, "Don't Disturb This Groove". The single reached No. 1 on the Billboard R&B chart and No. 3 on the Hot 100. The follow-up single, "Nighttime Lover," was also a top 10 R&B hit, peaking at No. 7.The duo came back together in 2000 and are in the process of crafting more projects together that will be releasing in 2020 and 2021. Follow The System- @TheSystemMusic @Thesystemmicmurphy @davidfrankthesystem and www.thesystemmusic.com Follow Hosts- @Qianathegoddess @DJFMI + @VPR_Radio--- Support this podcast: https://anchor.fm/vpr-radio/support

Her name is PORCELAN! Recording artist and songwriter, born and Raised in the Westwood area of South Memphis, TN. is today's contemporary urban/R&B “It Girl”. PORCELAN couldn’t help but ultimately pursue her musical aspirations, having immediately absorbed her historic musical surroundings from a young age while growing up in a family of instinctively musical people. “I don’t really remember it being anything I heard on the radio; I really remember it being my family, like my Mom singing,” recalls the breakout songstress, when asked about the source of her first musical impression. “My parents are singers and musicians, so at family reunions it was really like `a thing'. Spurred by the encouragement of a fifth grade teacher who heard her voice early on, along with long car rides with her Mom listening and singing along to the likes of Bobby Womack, Al Green, Stevie Wonder, Aretha Franklin and Marvin Gaye, school-aged PORCELAN found herself auditioning and performing for school graduation ceremonies which soon thereafter uncovered another musical gift…writing. “I started writing poetry in middle-school and realized I was good at it,” PORCELAN recounts. In keeping with that momentum, PORCELAN focused on building her reputation in music circles, doing everything from appearing on BET’s 106th & Park, collaborating on material with super-producer Timbaland, opening for Tank and gaining invaluable performance experience via a three-month tour of China with a cover band. “Doing show bands is totally different from being an original artist, so I had to learn how to entertain in that realm. Even though I was new to it, I started being around a lot of seasoned people who showed me the ropes." PORCELAN soon found herself in the studio with David Porter and fellow Made In Memphis songwriters/producers Hamilton Hardin and DeNarious Holmes recording her smoothed-out adult R&B debut single “The Real Thing Don’t Change” (along with “The One” and “Can You Hear Me Now”), which soon thereafter facilitated notable and buzz-worthy live bookings at SXSW (South By Southwest) and Essence music festivals. Once audience members and radio programmers increasingly grew aware of her simultaneously promoted EP, response to her second single release – the infectiously sumptuous beat ballad, “Lois Lane” – PORCELAN found her dream unfolding as she made her way up the Billboard R&B chart straight into the Top 15. While newfound fans await the forthcoming debut album, "Mood Ring", scheduled to be released on October 30th. Porcelan will also be re-releasing her debut Christmas album, "Joyful Hearts: A Season of Love", this Holiday season. A most contemporary-sounding Christmas set which further displayed her knack for composing vibrantly soulful songs amidst thoroughly-pleasing, contemporary production.

Music by: Gail NoblesVocals by: Gail NoblesJames Brown's hit song “It's a Man's World” gives the meaning to what man's world is all about.“It's a man's world”, said James Brown, and it is. We can see that. Children, they need their fathers. Women, they need their husbands. God made the man the head of the woman. He meant for families to be complete. That's my point of view, but lets look at James Brown's point of view. He said that a man's world wouldn't be nothing without a woman or a girl. James named out all the inventions that man made like Noah made the ark. But the sad thing he told us was how lost man is in the world of man and how he's lost in bitterness.James Brown recorded, “It's a Man's World”, on Feb. 16, 1966 in a New York City studio. It reached №1 on the Billboard R&B chart and №8 on the Billboard Hot 100. When we look at the world today, we can see what James Brown said….

Episode seventy-six of A History of Rock Music in Five Hundred Songs looks at "Stagger Lee" by Lloyd Price, and how a barroom fight 125 years ago led to a song performed by everyone from Ma Rainey to Neil Diamond. 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 "That Crazy Feeling" by Kenny Rogers. I have also beeped out some expletives in the song excerpts this week, so as not to be censored by some podcast aggregators, and so I've uploaded an unbeeped version for backers. 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. The bulk of the information in this episode came from Stagolee Shot Billy, by Cecil Brown, the person who finally identified Lee Shelton as the subject of the song. I also got some information from Get Your Ass in the Water and Swim Like Me: African-American Narrative Poetry from the Oral Tradition by Bruce Jackson, Unprepared to Die by Paul Slade, and Yo' Mama!: New Raps, Toasts, Dozens, Jokes and Children's Rhymes from Urban Black America edited by Onwuchekwa Jemie. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don't buy the "Kindle edition" at that link, because it's just the sheet music to the song, which Amazon have mislabelled) but he's also written a book of essays with his thoughts on race, some of which shed light on his work. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 . And you can get the Snatch and the Poontangs album on a twofer with Johnny Otis' less explicit album Cold Shot. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start today's episode, a brief note. Firstly, this episode contains a description of a murder, so if you're squeamish about that sort of thing, you may want to skip it. Secondly, some of the material I'm dealing with in this episode is difficult for me to deal with in a podcast, for a variety of reasons. This episode will look at a song whose history is strongly entwined both with American racism and with black underworld culture. The source material I've used for this therefore contains several things that for different reasons are difficult for me to say on here. There is frequent use of a particular racial slur which it is not okay under any circumstances for me as a white man to say; there are transcripts of oral history which are transcribed in rather patronising attempts at replicating African-American Vernacular English, which even were those transcripts themselves acceptable would sound mocking coming out of my English-accented mouth; and there is frequent use of sexual profanity, which I personally have no problem with at all, but would get this podcast an explicit rating on several of the big podcast platforms. There is simply no way to tell this story while avoiding all of those things, so I've come up with the best compromise I can. I will not use, even in quotes, that slur. I will minimise the use of transcripts, but when I have to use them, I will change them from being phonetic transcripts of AAVE into being standard written English, and I will include the swearing where it comes in the recordings I want to use but will beep it out of the version that goes up on the main podcast feed. I'll make an unexpurgated version available for my Patreon backers, and I'll put the unbleeped recordings on Mixcloud. The story we're going to tell goes back to Christmas Day 1895, but we're going to start our story in the mid 1950s, with Lloyd Price. [Excerpt: Lloyd Price, “Stagger Lee”] You may remember us looking at Lloyd Price way back in episode twelve, from Christmas 2018, but if you don't, Price was a teenager in 1952, when he wandered into Cosimo Matassa's studio in New Orleans, at the invitation of his acquaintance Dave Bartholomew, who had produced, co-written, and arranged most of Fats Domino's biggest hits. Price had a song, "Lawdy Miss Clawdy", which was loosely based around the same basic melody as Domino's earlier hit "The Fat Man", and they recorded it with Bartholomew producing, Domino on piano, and the great Earl Palmer on drums: [Excerpt: Lloyd Price, "Lawdy Miss Clawdy"] That was one of the first R&B records put out on Specialty Records, the label that would later bring Little Richard, Larry Williams, Sam Cooke and others to prominence, and it went to number one on the R&B charts. Price had a couple more big R&B hits, but then he got drafted, and when he got back the musical landscape had changed enough that he had no hits for several years. But then both Elvis Presley and Little Richard cut cover versions of "Lawdy Miss Clawdy", and that seemed to bring Price enough extra attention that in 1957 he got a couple of songs into the lower reaches of the Hot One Hundred, and one song, "Just Because" went to number three on the R&B charts: [Excerpt: Lloyd Price, "Just Because"] But it wasn't until 1958 that Price had what would become his biggest hit, a song that would kickstart his career, and which had its roots in a barroom brawl in St. Louis on Christmas Day 1895: [Excerpt: Lloyd Price, "Stagger Lee"] The Lee Line was a line of steamboats that went up and down the Mississippi, run by the Lee family. Their line was notorious, even by Mississippi riverboat standards, for paying its staff badly, but also for being friendly to prostitution and gambling. This meant that some people, at least, enjoyed working on the ships despite the low pay. There is a song, whose lyrics were quoted in an article from 1939, but which seems to have been much older, whose lyrics went (I've changed these into standard English, as I explained at the start): Reason I like the Lee Line trade Sleep all night with the chambermaid She gimme some pie, and she gimme some cake And I give her all the money that I ever make The Lee Line was one of the two preferred steamboat lines to work on for that reason, and it ended up being mentioned in quite a few songs, like this early version of the song that's better known as "Alabamy Bound", but was here called "Don't You Leave Me Here": [Excerpt: Little Harvey Hull and Long Cleve Reed, "Don't You Leave Me Here"] The line, "If the boat don't sink and the Stack don't drown" refers to one of the boats on the Lee Line, the Stack Lee, a boat that started service in 1902. But the boat was named, as many of the Lee Line ships were, after a member of the Lee family, in this case one Stack Lee, who was the captain in the 1880s and early 90s of a ship named after his father, James Lee, the founder of the company. In 1948 the scholar Shields McIlwayne claimed that the captain, and later the boat, were popular enough among parts of the black community that there were "more colored kids named Stack Lee than there were sinners in hell". But it was probably the boats' reputation for prostitution that led to a thirty-year-old pimp in St. Louis named Lee Shelton taking on the name "Stack Lee", at some time before Christmas Day 1895. On that Christmas Day, a man named Bill Lyons entered the Bill Curtis Saloon. Before he entered the saloon, he stopped to ask his friend to give him a knife, because the saloon was the roughest in the whole city, and he didn't want any trouble. Bill Lyons was known as "Billy the Bully", but bully didn't quite, or didn't only, mean what it means today. A "bully", in that time and place, was a term that encompassed both being a pimp and being a bagman for a political party. There was far more overlap in the late nineteenth and early twentieth centuries between politics and organised crime than many now realise, and the way things normally operated in many areas was that there would be a big man in organised crime whose job it would be to raise money for the party, get people out to vote, and tell them which way to vote. Lyons was not a popular man, but he was an influential man, and he was part of a rich family -- one of the richest black families in St. Louis. He was, like his family, very involved with the Republican Party. Almost all black people in the US were Republicans at that time, as it was only thirty years since the end of the Civil War, when the Republican President Lincoln had been credited with freeing black people from slavery, and the Bridgewater Saloon, owned by Lyons' rich brother-in-law Henry Bridgewater, was often used as a meeting place for local Republicans. Lyons had just ordered a drink when Lee Shelton walked into the bar. Shelton was a pimp, and seems to have made a lot of money from it. Shelton was also a Democrat, which in this time and place meant that he was essentially a member of a rival gang. [Excerpt: Duke Ellington, "Stack-A-Lee Blues"] Shelton was very big in the local Democratic party, and from what we can tell was far more popular among the black community than Lyons was. While the Democrats were still the less popular of the two major parties among black people in the area, some were starting to feel like the Republicans talked a good game but were doing very little to actually help black people, and were considering taking their votes elsewhere. He was also a pimp who seems to have had a better reputation than most among the sex workers who worked for him, though like almost everything in this story it's difficult to know for certain more than a hundred and twenty years later. When he walked into the bar, he was wearing mirror-toed shoes, a velvet waistcoat, an embroidered shirt, and gold rings, and carrying an ebony cane with a gold top. He had a slightly crossed left eye, and scars on his face. And he was wearing a white Stetson. Lee asked the crowd, "Who's treating?" and they pointed to Lyons. There was allegedly some bad blood between Lyons and Shelton, as Lyons' step-brother had murdered Shelton's friend a couple of years earlier, in the Bridgewater Saloon. But nonetheless, the two men were, according to the bartenders working there, who had known both men for decades, good friends, and they were apparently drinking and laughing together for a while, until they started talking about politics. They started slapping at each other's hats, apparently playfully. Then Shelton grabbed Lyons' hat and broke the rim, so Lyons then snatched Shelton's hat off his head. Shelton asked for his hat back, and Lyons said he wanted six bits -- seventy-five cents -- for a new hat. Shelton replied that you could buy a box of those hats for six bits, and he wasn't going to give Lyons any money. Lyons refused to hand the hat back until Shelton gave him the money, and Shelton pulled out his gun, and told Lyons to give him the hat. Lyons refused, and Shelton hit him on the head with the gun. He then threatened to kill Lyons if he didn't hand the hat over. Lyons pulled out the knife his friend had given him, and said "You cock-eyed son of a bitch, I'm going to *make* you kill me" and came at Shelton, who shot Lyons. Lyons staggered and clutched on to the bar, and dropped the hat. Shelton addressed Lyons using a word I am not going to say, and said "I told you to give me my hat", picked it up, and walked out. Lyons died of his wounds a few hours later. [Excerpt: Fred Waring's Pennsylvanians, "Stack O' Lee Blues"] Shelton was arrested, and let go on four thousand dollars bail -- that's something like a hundred and twenty thousand in today's money, to give you some idea, though by the time we go that far back comparisons of the value of money become fairly meaningless. Shelton hired himself the best possible lawyer -- a man named Nat Dryden, who was an alcoholic and opium addict, but was also considered a brilliant trial lawyer. Dryden had been the first lawyer in the whole of Missouri to be able to get a conviction for a white man murdering a black man. Shelton was still at risk, though, simply because of the power of Henry Bridgewater in local politics -- a mob of hundreds of people swamped the inquest trying to get to Shelton, and the police had to draw their weapons before they would disperse. But something happened between Shelton's arrest and the trial that meant that Bridgewater's political power waned somewhat. Shelton was arraigned by Judge David Murphy, who was regarded by most black people in the city as on their side, primarily because he was so against police brutality that when a black man shot a policeman, claiming self defence because the policeman was beating him up at the time, Murphy let the man off. Not only that, when a mob of policemen attacked the defendant outside the court in retribution, Murphy had them jailed. This made him popular among black people, but less so among whites. [Excerpt: Frank Westphal and his Orchestra, "Stack O'Lee Blues"] The 1896 Republican National Convention was held in St. Louis, and one of the reasons it was chosen was that the white restaurants had promised the party that if they held the convention there, they would allow black people into the restaurants, so the black caucus within the party approved of the idea. But when the convention actually happened, the restaurants changed their minds, and the party did nothing. This infuriated many black delegates to the convention, who had seen for years how the system of backhanders and patronage on which American politics ran never got so far as to give anything to black people, who were expected just to vote for the Republicans. James Milton Turner, one of the leaders of the radical faction of the Republicans, and the first ever black US ambassador, who was a Missouri local and one of the most influential black politicians in the state, loudly denounced the Republican party for the way it was treating black voters. Shortly afterwards, the party had its local convention. Judge Murphy was coming up for reelection, and the black delegates voted for him to be the Republican nominee again. The white delegates, on the other hand, voted against him. This was the last straw. In 1896, ninety percent of black voters in Missouri voted Democrat, for the first time. Shelton's faction was now in the ascendant. Because Murphy wasn't reselected, Shelton's trial wasn't held by him, but Nat Dryden did an excellent job in front of the new judge, arguing that Shelton had been acting in self-defence, because Lyons had pulled out a knife. There was a hung jury, and it went to a retrial. Sadly for Shelton, though, Dryden wasn't going to be representing him in the second trial. Dryden had hidden his alcoholism from his wife, and she had offered him a glass of sherry. That had triggered a relapse, he'd gone on a binge, and died. At his next trial, in late 1897, Shelton was convicted, and sentenced to twenty-five years in prison -- presumably the influence of his political friends stopped him from getting the death penalty, just as it got him paroled twelve years later. Two years after that, though, Shelton was arrested again, for assault and robbery, and this time he died in prison. But even before his trial -- just before Dryden's death, in fact -- a song called "Stack-A-Lee" was mentioned in the papers as being played by a ragtime pianist in Kansas City. The story gets a bit hazy here, but we know that Shelton was friends with the ragtime pianist Tom Turpin. Ragtime had become popular in the US as a result of Scott Joplin's performance at the 1893 Chicago World's Fair -- the same fair, incidentally, that introduced the belly dancers known as "Little Egypt" who we talked about in the episode on the Coasters a few weeks back. But a year before that, Turpin, who was a friend of Joplin's, had written "Harlem Rag", which was published in 1897, and became the first ragtime tune written by a black man to be published: [Excerpt: Ragtime Dorian Henry, "Harlem Rag"] Turpin was another big man in St. Louis politics, and he was one of those who signed petitions for Shelton's release. While we can't know for sure, it seems likely that the earliest, ragtime, versions of the "Stagger Lee" song were written by Turpin. It's been suggested that he based the song on "Bully of the Town", a popular song written two years earlier, and itself very loosely based on a real murder case from New Orleans. That song was popularised by May Irwin, in a play which is also notable for having a love scene filmed by Edison in 1897, making it possibly the first ever love scene to be filmed. Irwin recorded her version in 1909, but she uses a racial slur, over and over again, which I am not going to allow on this podcast, so here's a 1920s version by Gid Tanner and his Skillet Lickers: [Excerpt: Gid Tanner and his Skillet Lickers, "Bully of the Town"] That song, in its original versions, is about someone who goes out and kills a bully -- in the same sense that Billy Lyons was a bully -- and so becomes the biggest bully himself. It's easy to see how Turpin could take that basic framework and add in some details about how his friend had done the same thing, and turn it into a new song. By 1910, the song about Stack Lee had spread all across the country. The folklorist and song collector John Lomax collected a version that year that went "Twas a Christmas morning/The hour was about ten/When Stagalee shot Billy Lyons/And landed in the Jefferson pen/O lordy, poor Stagalee". In 1924, two white songwriters copyrighted a version of it, called "Stack O'Lee Blues", and we've heard instrumental versions of that, from 1923 and 24, earlier in this episode -- that's what those instrumental breaks were. Lovie Austin recorded a song called "Skeg-A-Lee Blues" in 1924, but that bears little lyrical resemblance to the Stagger Lee we know about: [Excerpt: Ford & Ford, "Skeg-A-Lee Blues"] The first vocal recording of the song that we would now recognise as being Stagger Lee was by Ma Rainey, in 1925. In her version, the melody and some of the words come from "Frankie and Johnny", another popular song about a real-life murder in St. Louis in the 1890s: [Excerpt: Ma Rainey, "Stack O'Lee Blues"] According to Wikipedia, Louis Armstrong is playing cornet on that song. It doesn't sound like him to me, and I can't find any other evidence for that except other sites which get their information from Wikipedia. Sites I trust more say it was Joe Smith, and they also say that Coleman Hawkins and Fletcher Henderson are on the track. By 1927, the song was being recorded in many different variants. Long Cleve Reed and Little Harvey Hull recorded a version that clearly owes something to "the Bully of the Town": [Excerpt: Long Cleve Reed and Little Henry Hull -- Down Home Boys, "Original Stack O'Lee Blues"] And in possibly the most famous early version, Mississippi John Hurt asks why the police can't arrest that bad man Stagger Lee: [Excerpt: Mississippi John Hurt, "Stack O'Lee (1928 version)"] By this point, all connection with the real Lee Shelton had been lost, and it wouldn't be until the early nineties that the writer Cecil Brown would finally identify Shelton as the subject of the song. During the thirties and forties, the song came to be recorded by all sorts of musicians, almost all of them either folk musicians like Woody Guthrie, blues musicians like Ivory Joe Hunter, or field recordings, like the singer known as "Bama" who recorded this for the Lomaxes: [Excerpt: Bama, "Stackerlee"] None of these recorded versions was a major hit, but the song became hugely well known, particularly among black musicians around Louisiana. It was a song in everyone's repertoire, and every version of the song followed the same basic structure to start with -- Stagger Lee told Billy Lyons he was going to kill him over a hat that had been lost in a game of craps, Billy begged for his life, saying he had a wife and children, and Stagger Lee killed him anyway. Often the bullet would pass right through Billy and break the bartender's glass. From there, the story might change -- in some versions, Lee would go free -- sometimes because they couldn't catch him and sometimes because crowds of women implored the judge to let him off. In other versions, he would be locked up in jail, and in yet other versions he would be sentenced to death. Sometimes he would survive execution through magical powers, sometimes he would be killed, and crowds of women would mourn him, all dressed in red. In the versions where he was killed, he would often descend to Hell, where he would usurp the Devil, because the Devil wasn't as bad as Stagger Lee. There were so many versions of this song that the New Orleans pianist Doctor John was, according to some things I've read, able to play "Stagger Lee" for three hours straight without repeating a verse. Very few of these recordings had any commercial success, but one that did was a 1950 New Orleans version of the song, performed by "Archibald and His Orchestra": [Excerpt: Archibald and His Orchestra, "Stack A'Lee"] That version of the song was the longest ever recorded up to that point, and took up both sides of a seventy-eight record. It was released on Imperial Records, the same label that Fats Domino was on, in 1950, and was recorded at Cosimo Matassa's studio. It went top ten on the Billboard R&B charts, and was Archibald's only hit. That's the version that, eight years later, inspired Lloyd Price to record this: [Excerpt: Lloyd Price, "Stagger Lee"] That became a massive, massive hit. It went to number one on both the Hot One Hundred and the R&B charts -- which incidentally makes Lloyd Price the earliest solo artist to have a number one hit on the Hot One Hundred and still be alive today. Price's career was revitalised -- and "Stagger Lee" was brought properly into the mainstream of American culture. Over the next few decades, the song -- in versions usually based on Price's -- became a standard among white rock musicians. Indeed, it seems to have been recorded by some of the whitest people in music history, like Huey Lewis and the News: [Excerpt: Huey Lewis and the News, "Stagger Lee"] Mike Love of the Beach Boys: [Excerpt: Mike Love, "Stagger Lee"] and Neil Diamond: [Excerpt: Neil Diamond, “Stagger Lee”] But while the song had hit the white mainstream, the myth of Stagger Lee had an altogether different power among the black community. You see, up to this point all we've been able to look at are versions of the song that have seen commercial release, and they all represent what was acceptable to be sold in shops at the time. But as you may have guessed from the stuff about the Devil I mentioned earlier, Stagger Lee had become a folkloric figure of tremendous importance among many black Americans. He represented the bad man who would never respect any authority -- a trickster figure, but one who was violent as well. He represented the angry black man, but a sort of righteous anger, even if that anger was chaotic. Any black man who was not respected by white society would be thought of as a Stagger Lee figure, at least by some -- I've seen the label applied to everyone from O.J. Simpson to Malcolm X. Bobby Seale, the leader of the Black Panther Party, named his son Malik Nkrumah Stagolee Seale, and was often known to recite a version of "Stagger Lee" at parties. In an interview, later, Seale said "Now I transformed Stagolee, more or less in my own mind, into brothers standing on the block and all of the illegitimate activity. In effect, they were the lumpen proletariat in a high-tech social order, different from how 'lumpen' had been described historically. My point is this; that Malcolm X at one time was an illegitimate hustler. Later in life, Malcolm X grows to have the most profound political consciousness as far as I'm concerned. To me, this brother was really getting ready to move. So symbolically, at one time he was Stagolee." The version of Stagger Lee that Seale knew is the one that came from something called "toasts". Toasting is a form of informal storytelling in black American culture, usually rhyming, and usually using language and talking about subjects that would often be considered obscene. Toasting is now generally considered one of the precursors of rapping, and the style and subject matter are often very similar. Many of the stories told in toasts are very well known, including the story of the Signifying Monkey (which has been told in bowdlerised forms in many blues songs, including Chuck Berry's "Jo Jo Gunne"), and the story of Shine, the black cook on the Titanic, who swims for safety and refuses to help the Captain's daughter even after she offers sex in return for his help. Shine outswims the sharks who try to eat him, and arrives back on land before anyone there even knew the ship was sinking. Shine is, of course, another Stagger Lee style figure. These toasts remained largely unknown outside of the less respectable parts of the black community, until the scholar Bruce Jackson published his seminal book "Get Your Ass in the Water and Swim Like Me: African-American Poetry from Oral Tradition", whose title is taken from a version of the story of Shine and the Titanic. Jackson's field recordings, mostly recorded in prisons, have more recently been released on CD, though without the names of the performers attached. Here's the version of Stagger Lee he collected -- there will be several beeps in this, and the next few recordings, if you're listening to the regular version of this podcast: [Excerpt: Unknown field recording, "Stagger Lee"] After Jackson's book, but well before the recordings came out, Johnny Otis preserved many of these toasts in musical form on his Snatch and the Poontangs album, including "The Great Stack-A-Lee", which clearly has the same sources as the version Jackson recorded: [Excerpt: Snatch and the Poontangs, "The Great Stack-A-Lee"] That version was used as the basis for the most well-known recentish version of the song, the 1995 version by Nick Cave and the Bad Seeds: [Excerpt: Nick Cave and the Bad Seeds, "Stagger Lee"] Cave has later said in interviews that they improvised the music and used the lyrics from Jackson's book, but the melody is very, very, close to the Johnny Otis version. And there's more evidence of Cave basing his version on the Johnny Otis track. There's this line: [Excerpt: Nick Cave and the Bad Seeds, "Stagger Lee"] That's not in the versions of the toast in Jackson's book, but it *is* in a different song on the Snatch and the Poontangs album, "Two-Time Slim": [Excerpt: Snatch and the Poontangs, "Two-Time Slim"] This is the Stagger Lee of legend, the Stagger Lee who is the narrator of James Baldwin's great poem "Stagolee Wonders", a damning indictment of racist society: [Excerpt: James Baldwin, reading an excerpt from "Stagolee Wonders" on "Poems for a Listener",] Baldwin's view of Stagger Lee was, to quote from the interview from which that reading is also excerpted, "a black folk hero, a singer essentially, who actually truly comes out of the auction block, by way of the cotton field, into the beginning of the black church. And Stagger Lee's roots are there, and Stagger Lee's often been a preacher. He's one who conveys the real history.” It's a far cry from one pimp murdering another on Christmas Day 1895. And it's a mythos that almost everyone listening to Lloyd Price's hit version will have known nothing of. As a result of "Stagger Lee", Lloyd Price went on to have a successful career, scoring several more hits in 1959 and 1960, including the song for which he's now best known, "Personality": [Excerpt: Lloyd Price, "Personality"] Price also moved into other areas, including boxing promotion -- he was the person who got Don King, another figure who has often been compared to Stagger Lee, the chance to work with Mohammed Ali, and he later helped King promote the famous "Rumble in the Jungle" fight. Lloyd Price is eighty-seven years old, now, and released his most recent album in 2016. He still tours -- indeed, his most recent live show was earlier this month, just before the current coronavirus outbreak meant live shows had to stop. He opened his show, as he always does, with "Stagger Lee", and I hope that when we start having live shows again, he will continue to do so for a long, long time.

Today, 2/25/2020, we pay homage to the late great James Brown... James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, dancer, musician, record producer and bandleader. A progenitor of funk music and a major figure of 20th century music and dance, he is often referred to as the "Godfather of Soul" and "Soul Brother No. 1".[1] In a career that lasted over 50 years, he influenced the development of several music genres.[2] Brown began his career as a gospel singer in Toccoa, Georgia.[3] He joined a rhythm and blues vocal group, the Gospel Starlighters (which later evolved into the Famous Flames) founded by Bobby Byrd, in which he was the lead singer.[4][5] First coming to national public attention in the late 1950s as a member of the singing group The Famous Flames with the hit ballads "Please, Please, Please" and "Try Me", Brown built a reputation as a tireless live performer with the Famous Flames and his backing band, sometimes known as the James Brown Band or the James Brown Orchestra. His success peaked in the 1960s with the live album Live at the Apollo and hit singles such as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". During the late 1960s, Brown moved from a continuum of blues and gospel-based forms and styles to a profoundly "Africanized" approach to music-making that influenced the development of funk music.[6] By the early 1970s, Brown had fully established the funk sound after the formation of the J.B.s with records such as "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". He also became noted for songs of social commentary, including the 1968 hit "Say It Loud – I'm Black and I'm Proud". Brown continued to perform and record until his death from pneumonia in 2006. Brown recorded 17 singles that reached No. 1 on the Billboard R&B charts.[7][8] He also holds the record for the most singles listed on the BillboardHot 100 chart which did not reach No. 1.[9][10] Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame in 2013 as an artist and then in 2017 as a songwriter. He also received honors from many other institutions, including inductions into the Rock and Roll Hall of Fame and Songwriters Hall of Fame.[11] In Joel Whitburn's analysis of the Billboard R&B charts from 1942 to 2010, Brown is ranked No. 1 in The Top 500 Artists.[12] He is ranked No. 7 on Rolling Stone's list of its 100 Greatest Artists of All Time. Rolling Stone has also cited Brown as the most sampledartist of all time.[13][14] #29DaysOfBlackHistory  *Putting People On Game does not own any rights to this music or images* Hit us up or send us a text 214-744-3601! Subscribe to PPOGPOD channel ► LIKE, COMMENT and SHARE ► WATCH MORE: Youtube  ► SUBSCRIBE and LISTEN to full episode on Apple Podcast ► SUBSCRIBE and LISTEN to full episode on Spotify ► FOLLOW PPOGPOD on Instagram ► FOLLOW PPOGPOD Twitter ► LIKE PPOGPOD on Facebook ► FOLLOW and LISTEN to PPOGPOD on AudioMack

Moving to LA and working his way up, working with Billy Preston, Stevie Wonder, John Patitucci, Elton John & Leon Russell… overcoming a terrible family tragedy… his first written song winning a Grammy for Smokey Robinson, moving to Nashville, having the confidence to do music, the drive for his work ethic, fame vs. desire to make music - and the difference in long-term personal growth, “The Great Disappearing Act,” and why Lou’s “Still trying to figure it all out.” Total first class act, in every way possible and a deeply talented musician who gives 110% all the time The oldest of 6 brothers & a successful session player for 4 decades, Lou’s been the keyboardist & co-vocalist of Chicago since 2010. He’s also a prolific songwriter who’s written a No. 1 Billboard R & B hit.  He’s written, produced or performed w Stevie Wonder, Patti Austin, Billy Preston, John Patitucci, Joe Sample, Robben Ford, Chick Corea, Larry Carlton, Elton John, T Bone Burnett, Leon Rueesll and many others. Support this Show: http://www.everyonelovesguitar.com/support  Subscribe https://www.everyonelovesguitar.com/subscribe/  Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ 

Topics: Gangs, Keith Sweat, Al. B. Sure!, Bobby Brown, Coming to America, A Different World (Bonus Artist: hidingtobefound)   Snapshots   1.    Ronald Reagan President (Last Year!)   2.    Jan - Doug Williams super bowl [Two weeks earlier, CBS commentator Jimmy the Greek had been fired for remarking that blacks were better at sports because of slave plantation breeding techniques: “During the slave period, the slave owner would breed his big black with his big woman so that he would have a big black kid — that’s where it all started.”]   3.    Feb – Winter Olympics: Jamaican Bobsled team! Debi Thomas 1988 winter Olympics Bronze medal - The best African American figure skater in history   4.    Jul - Jessie Jackson keep hope alive speech at the DNC   5.    Jul - The first ever edition of "Shark Week" airs on Discovery Channel.   6.    Aug - Yo! MTV Raps   7.    Sep - James Brown, while high on PCP, was involved in a high-speed chase with the police. He was eventually convicted of assaulting an officer and possession of an unlicensed firearm, among other charges. He spent three years in prison   8.    Sep – Summer Olympics: Florence Joyner She is considered the fastest woman of all time, based on the world records she set in 1988 for both the 100 m and 200 m still stand. Jackie Joyner-Kersee long jump and heptathlon, Carl Lewis, Steve Lewis, and roger kingdom   9.    Oct - Sega's two-year head start on Nintendo in the 16-bit gaming wars began on October 29, 1988, when the Sega Genesis launched   10.    Nov - George Bush elected President   11.    Dec - Mad Max Robinson dies   12.    Dec - Roots: The Gift, the third installment of the Roots series is broadcast on ABC.   13.    Open Comments:   14.    Top Pop Songs   15.    #1 - "Faith" - George Michael   16.    #2 - Need You Tonight" - INXS   17.    #3 - "Got My Mind Set on You" - George Harrison   18.    Grammy Awards   19.    Record of the Year: Bobby McFerrin for "Don't Worry, Be Happy"   20.    Album of the Year: George Michael (producer & artist) for Faith   21.    Song of the Year: Bobby McFerrin for "Don't Worry, Be Happy"   22.    Best New Artist: Tracy Chapman   23.    Best R&B Vocal Performance, Female: Anita Baker for "Giving You the Best That I Got"   24.    Best R&B Vocal Performance, Male: Terence Trent D'Arby for Introducing the Hardline According to Terence Trent D'arby   25.    Best R&B Performance by a Duo or Group with Vocal: Gladys Knight & the Pips for "Love Overboard"   26.    Best Rhythm & Blues Song: Anita Baker for "Giving You the Best That I Got" performed by Anita Baker   27.    Best Rap Performance: "Parents Just Don't Understand" – DJ Jazzy Jeff & The Fresh Prince. [The first award for Best Rap Performance was presented to DJ Jazzy Jeff & The Fresh Prince for "Parents Just Don't Understand". Jeff and Smith led a boycott in protest of the awards presentation not being televised, and some members of the rap community felt that more qualified artists were overlooked.   28.    Top 3 Movies   29.    #1 - Rain Man   30.    #2 - Who Framed Roger Rabbit   31.    #3 - Coming to America   32.    Other Notables: Big, Twins, Crocodile Dundee II, Die Hard, The Naked Gun: From the Files of Police Squad!, Cocktail, Beetlejuice, Above the Law, Colors, A Fish Called Wanda, Young Guns, Tougher Than Leather, Child's Play, The Land Before Time, Tequila Sunrise, I'm Gonna Git You Sucka, and School Daze.   33.    Top 3 TV Shows   34.    #1 - The Cosby Show   35.    #2 - Roseanne   36.    #3 - A Different World   37.    Economic Snapshots   38.    New Home: 91,777   39.    Avg Rent: 420   40.    Avg. Income: 24,457   41.    New Car: 10,432   42.    Harvard: 12,015   43.    Movie Ticket: 3.50   44.    Gas: .91   45.    Stamp: .25   46.    Social Scene: Gangs and the movie Colors   47.    Trailer: https://www.youtube.com/watch?v=WZvatzKVM2g   48.    “Bulls”: https://www.youtube.com/watch?v=LJQAKDbq0hI   49.    Stevin Levitt, Freakonomics: https://www.youtube.com/watch?v=5UGC2nLnaes 50.    @9:35 - Summary: McDonalds vs Gang   51.    Factors: Socio-political-economical, hyper masculinity and criminal justice/policing   52.    Other ethnicities “evolved” out of their “street-gang” phases, but black- brown people are dealt with differently.   53.    Open Comments:   54.    Question: would more representation in the criminal justice system help – how to counter our internal factor?   55.    Music Scene:   56.    Top Black Singles   57.    #6 - "So Emotional", Whitney Houston   58.    #11 - "One More Try", George Michael   59.    #12 - "Wishing Well", Terence Trent D'Arby   60.    #15 - "Get Outta My Dreams, Get into My Car", Billy Ocean   61.    #21, "Man in the Mirror", Michael Jackson   62.    #27, "Father Figure", George Michael   63.    #33 - "Where Do Broken Hearts Go", Whitney Houston   64.    #36 - "The Way You Make Me Feel", Michael Jackson   65.    #37 - "Don't Worry, Be Happy", Bobby McFerrin   66.    Top Black Albums   67.    Jan – Bad, Michael Jackson   68.    Jan - Characters, Stevie Wonder   69.    Feb - All Our Love, Gladys Knight & the Pips   70.    Mar - Make It Last Forever, Keith Sweat   71.    Apr - Introducing the Hardline According to Terence Trent D'Arby, Terence Trent D'Arby   72.    May - Faith, George Michael   73.    Jul - In Effect Mode, Al B. Sure!   74.    Aug - Strictly Business, EPMD   75.    Sep - Don't Be Cruel, Bobby Brown   76.    Sep - It Takes a Nation of Millions to Hold Us Back, Public Enemy   77.    Oct - Don't Let Love Slip Away, Freddie Jackson   78.    Nov - Giving You the Best That I Got, Anita Baker   79.    Nov - Any Love, Luther Vandross   80.    Vote:   81.    Featured Artists: New jack swingers   82.    Keith Sweat (@ 27 yrs. old): Known for his distinctive ‘whining’ vocal style, Sweat has established himself as one of the most successful male R&B/soul singers not only in America but also in other parts of the world. Born Keith Douglas Sweat, he was raised in Harlem and by the time he was 14 he had performed at various nightclubs in and around New York City. He graduated from the City College of New York with a BS degree in ‘communications’, after which he worked for a brief period as a successful brokerage assistant in a Wall Street firm. Despite a prosperous career at the Wall Street, he chose to pursue his passion for music and began writing songs and tried selling them to various record labels. In 1975, he began his career in music as a member of the Harlem based band called the ‘Jamilah’. In 1984, he left ‘Jamilah’ in order to begin a solo career and subsequently sang at various nightclubs in New York. He was quickly noticed and given an opportunity to record an independent album for ‘Stadium Records’. He recorded ‘My Mind Is Made Up’ for the ‘Stadium Records’ and he was also credited as the co-writer and co-producer of ‘You Are the One for Me’. On November 25, 1987 his debut solo album ‘Make It Last Forever’ was released, which sold three million copies. The biggest hit from this album was the song that inaugurated the new jack swing era "I Want Her"   83.    Bobby Brown (@ 19 yrs. old): Brown changed producers for this album and worked extensively with hit-making songwriting and production duo Babyface and L.A. Reid. Alex Henderson of AllMusic wrote: “Don't Be Cruel was to Bobby Brown what Control was to Janet Jackson – a tougher, more aggressive project that shed his "bubblegum" image altogether and brought him to a new artistic and commercial plateau. With "My Prerogative" and the title song, Brown became a leader of new jack swing”   84.    Al B. Sure!(@ 20 yrs. old): During the late '80s, Al B. Sure! enjoyed a brief run as one of new jack swing's most popular romantic singers. Born Al Brown in Boston, he grew up in Mount Vernon, NY, listening to smooth crooners like Marvin Gaye and Johnny Mathis; he later became interested in rap and added that skill to his vocal repertoire. At age ten, he and a friend performed on a song written by Ellie Greenwich for the soundtrack of Sesame Street, and later he began writing songs with his cousin Kyle West. While in high school (where he quarterbacked the football team), he became friends with Edward Ferrell, aka DJ Eddie F, who was working with rapper Heavy D at the time. Eddie F introduced the still-teenaged Al B. Sure! to Heavy D's manager/Uptown label head Andre Harrell, who had him sing backing vocals on several Heavy D tracks and helped him get a deal with Warner Brothers. In 1987, Al was selected by Quincy Jones as the first winner of the Sony Innovators Talent Search. He collaborated with Jones on various projects, most notably the platinum single “The Secret Garden (Sweet Seduction Suite)” from Jones’ double-platinum-certified album Back on the Block. On this hit, he was one of a quartet with El DeBarge, Barry White, and James Ingram. His debut album of 1988 In Effect Mode topped the Billboard R&B chart for seven consecutive weeks, selling more than two million copies.   85.    Open Comments:   86.    Question: Al B. Said “There’s a generation of women starving to be told I love you again” What happened?! Who is bringing it back?   87.    Movie Scene: Coming to America   88.    Trailer:   89.    The Hollywood Reporter's original review: “Eddie Murphy's latest Coming to America is likely to leave the wreath-bearers, the frantic faithful, the crowd herders and the legions of line-waiters in numbed, disbelieving disappointment…Distressingly, the film flops into the blandest of sitcom formats, never realizing its regal potential...Coming to America is the filmic equivalent of using a Maserati to go to the corner grocery store…Yes, there are some crazy pieces crammed into America — Murphy and Hall in their multi-roles do a running black barbershop bit that is good and nuts — but this comedy is generally tame and sappy…The plot itself is pathetic…No getting around it, while the script completely misses as a social satire, the writers have botched the romance part of America as well…Rivaling the inept screenplay is John Landis' cornball direction, which includes a TV season's worth of reactive cutaways to an ugly poodle…On a production level, at least, Coming to America gets top marks. — Duane Byrge originally published on June 24, 1988.   90.    Open Comments:   91.    Question: Is this Eddie’s best movie? Was Arsenio better than Eddie? Sequel or a remake?   92.    Television Scene: A Different World   93.    Theme song differences   94.    Debbie Allen’s influence   95.    Why didn’t any of them go onto stardom? -   96.    Vote: Best/most important/favorite pop culture item from 1988?

“What I Say” was a number one Billboard R&B hit in 1959. It was recorded by Ray Charles Robinson, known as Ray Charles. He was a singer, songwriter, and musician. Brother Ray was often referred to as “the ‘”genius. He told me what it was like growing up sightless and about his incredible music.

We're back it is Friday at the 35 acres and a microphone podcast farm I'm Aaron Goodwin, you are already here if you are within the sound of my voice. If you would do me a solid and share with a friend or post on a wall or tweet about this podcast that pays tribute to the true school of hip hop. Old school.. Real throwbacks. Not the 90's. I've said before the years we research are from 1980ish to 1989. And new jack swing's start signaled the movements end as radio play for the format rhythm chr or rhymthmic had been born. It was a Latino hispanic based format that eventually turned to a more afro-centric type feel as teddy Riley/ guy.. jodeci, and so many more... started taking the lead I qualify myself as a radio historian. Being in rhythm radio at the beginning and a fan of it, prior to. I live in a very agricultural area of central California and have retired from radio and now do parties and weddings asa mobile dj. This podcast is a labor of love for the fans and it helps me cope with all the crazy in the world and the actual action of producing voice and the types of things I did at radio I can do through this lil project. season 2 after a one year hiatus. 10 thousand downloads world wide weekly and it is neat being here in a America. Northern California.. and seeing the messages from our socials or the adds at the Facebook page and the foreign folks around the world. Names in other languages. How the culture invaded the far away china as American culture spawned there in the 80's and how asians rule the breakdance world in my opinion its all very cool and that drives me to the work to make this thing happen. All for Love is the third studio album by American R&B quintet New Edition, released by MCA Records on November 8, 1985. The album was certified platinum by the Recording Industry Association of America (RIAA). Also, this would be the final studio album to feature original group member Bobby Brown, who would shortly depart for a solo career until he would later return for their 1996 comeback album with the group, Home Again. By Spring 1985, New Edition was one of the biggest pop acts in the world after the success of their self-titled second album released the year before. However, the group was now in mortgage to MCA Records, as a result of having borrowed money from the label to disentangle themselves from a stifling production deal they mistakenly signed during the recording of their previous album. As a result, All for Love would become the first in a cluster of albums the group would be forced to record during this period to work off its debt. And While most of the members were comfortable with the group's direction, Bobby Brown was becoming increasingly discontent and unappreciative with its bubblegum pop image. Brown was also agitated at having not been more prominently featured as a lead vocalist on the album. Vincent Brantley, the album's main producer, had originally sought to give Brown more solo spots. However, MCA balked at this idea — insisting that Ralph Tresvant continue to be used on principal vocals. During a national tour in Oakland, California to promote the album, Brown often cut in on Tresvant's leads, performing more raunchily onstage, compared to his band mates. Also, Brown angered the group's management by disrespectfully throwing his mike in the air and being ungrateful when not getting his way onstage. Growing tension between Brown and his band mates eventually reached a standoff, which contributed to his being terminated from the group in December 1985. Following Brown's departure, New Edition would continue to promote All for Love as a quartet. Lets get to the singles which are some of the strongest the new edition ever did. The neat thing about rhythm in these days is you didn't know the name and artist but you sure knew the songs by sound. Made everyone an a&r person back then. Because you knew what you were hearing was genius and Ralph tresvant might very well be the best ever and beyond Michael Jackson as far as some were concerned back then as the best voice in r and b. And when you go back and listen. You can totally see the reason for the comparison and why Mca made the decision to keep him as lead once they secured them for the mortgage albums as the band thought. Without knowing the drama, I think in my mind these were some of the best bubble gummy bad ass tunes that were coming out tracks like "Count Me Out", "Count Me Out" was released as a single in September 1985 on the MCA . Much like the group's earliest single, "Cool It Now", again, lead singer Ralph Tresvant is warned by his friends (co-members Bobby Brown, Ronnie DeVoe, Ricky Bell and Michael Bivins) to not fall for a girl after he told them to "count him out" of any activities that they had planned to do much to his friends' dismay. The song's music video was notable for Brown's absence as he had broken from the group around the time of the video. Only Tresvant, DeVoe, Bell, and Bivins were in the video and parts of the song that originally belonged to Brown were lipsynced by Bell. Brown's vocals remain on the song. Despite a modest showing at number fifty-one on the pop singles chart, the song reached number two on the Billboard R&B singles chart. And here again as we talk about rhythm radio and the eighties the overt racism by mgrs and ads at radio opted to not buy in in markets like where I live a predominantly at the time white area. Older white male owners. Simply like the vote in California where you see the big cities they had radioes there and in those big cities new edition got played due to demographics   This is the second week of the new edition feature on my podcast the old school rewind last week's is posted and maybe in your downloads go check it out. We're parlaying and displaying.. the type of term you'd have heard back then. Car culture lowrider, The language has changed And the new edition are going through times in their life where they are old for sophomoric bubblegum tracks, but due to them each taking equal loans to buy out themselves from the prior deal they were in debt. And for me and my listening these are the magical songs and the music was progressing as it should The next single up from all for love is a little bit of love is all it takes. A favorite of mine and as I wiki'd to find some information on this single. There I nothing out there. Which to me is perplexing. Save that for another podcast. Let your ears do the listening and you'll feel the feel of new edition more than many of their tracks.. play a little bit of love is all it takes This is the second episode where one wasn't enough to feature the stellar work of the new edition. We're up to and maybe because I was a sophomoric kid going through the high school years I'm more clued into the broken heart girls being true to your girl. Alll of the things you'd expect from a ballad that is what NE was so good at doing Play "With You All the Way". Toward the year's end, Christmas All Over The World, a holiday EP, was released as well as an oldies album of tunes from the '50s sung by the group with an '80s production style. Earth Angel feat lil Anthony By 1987, New Edition was a group in transition. The band members were aging out of their teens into their twenties, and sought for their image and sound to reflect their coming of age. In addition to employing the famed production team of Jimmy Jam & Terry Lewis to help steer the music in a new direction, they also recruited Washington, D.C.-based baritone/tenor Johnny Gill—who, in 1984, had scored a hit with R&B singer Stacy Lattisaw on "Perfect Combination". The New Edition members had actually known Gill since they released their hit "Candy Girl" in 1983 and Gill released his R&B Top 30 hit "Super Love" that same year. They had joked that they would let him in the group if he could improve his dancing skills. Prompting Gill’s entrance into the group was when lead singer Ralph Tresvant considered recording a solo album. To circumvent New Edition being left without a lead singer, Michael Bivins suggested bringing in 20-year-old Gill to replace him. Gill accepted the invitation, joining the group in the spring of 1987. Tresvant, however, wasn’t ready to leave— resulting in New Edition, inadvertently, becoming a quintet again as they began production on their fifth album, Heart Break.[5] While most of Heart Break features principal vocals by Tresvant, with occasional solos by Ricky Bell, Gill’s voice is significantly displayed as the secondary lead throughout the album. Gill took the lead on the track “Boys to Men”- a song in which the singer initially resisted and resented recording, feeling it was too juvenile. "Boys To Men" became one of the album's most popular numbers, despite it never being officially released as a single.[6] Another standout album track was “Competition,” a song written by Tresvant that addresses the disappointment felt over the departure of Bobby Brown two years earlier. One song in particular, "Where It All Started", was a thinly veiled jab at New Kids on the Block. The group was discovered by their former producer Maurice Starr as a direct response to New Edition severing ties with him on less than amicable terms.[7] In an ironic twist, Jam & Lewis- the writers and producers behind the song- would also work with New Kids on the Block's lead singer Jordan Knight on his 1999 self-titled debut a little over a decade later. The two groups would later team up for a duet on the latter's 2008 reunion album The Block. "If It Isn't Love" from 1988 and the first single from Heart Break. The song became the biggest hit from that album, getting into the top ten of the US Billboard Hot 100, peaking at number seven, and reached the second position on the Hot Black Singles chart. Its chart performance and well-received music video garnered the quintet their first nomination for Best R&B Performance by a "Duo or Group with Vocals" at the 31st Grammy Awards in February 1989. The song and video is also notable for being the introduction of fellow R&B singer Johnny Gill as a new member of the R&B quintet. Many have called this particular album the most seminal New Edition album. Four fans from Philadelphia in particular were inspired by one of the songs on the album. "Boys to Men", the song that Johnny Gill hated recording, ended up becoming the name of the group who changed their name to Boyz II Men. The group would end up being managed and mentored by Michael Bivins. Boyz II Men names New Edition as one of their most influential bands. The album also saw a successful concert tour for the group as well. Through 1988 and 1989, New Edition toured all over the world with opening acts, ex-New Edition member Bobby Brown (who had also found big time success with his breakthrough album, Don't Be Cruel) and Al B. Sure!.[5] Interesting note the R&B group Jagged Edge named their sophomore album J.E. Heartbreak as a tribute to Heart Break The new edition album. Here's the first single Play if it isn't love We're up to the second single Written and produced by Jimmy Jam & Terry Lewis with Ralph Tresvant, Johnny Gill and Ricky Bell on lead vocals, this mid-tempo song is about a man being fancied by a woman who he thinks is not his type, and is trying to gently let her down. His friends, meanwhile, can’t understand his lack of interest in said female, who they believe is a catch. No matter all the success Though the song was a sizable hit on urban radio, peaking at #3 on the R&B charts in the fall of 1988— unlike its predecessor, “If It Isn’t Love,” it failed to make the same impression on Billboard’s Hot 100 singles chart—where it peaked at #95. The radio still hasn't changed but has made mark-ed progress at this time in 1988.. The music video for “You’re Not My Kind of Girl” is set to a concert performance of the song (which was led in by the music video for “If It Isn’t Love.”) The concert was held at Sony Pictures Studios in Culver City, California. New Edition held a radio contest for tickets to the taping, which were won by LA resident, Viveca McGuire. Play. You're Not My Kind of Girl" this is the second of two episodes of new edition being highlighted here on the podcast for the true school. The old school rewind. new edition is on and the album heart break is up I'm Aaron Goodwin. If you like what you hear or think you know someone who would appreciate the show. Share and subscribe for me. Add and subscribe at Apple Podcasts iTunes. Or wherever you get your podcasts I-heart. Stitcher audio is also posted to youtube search old school rewind podcast copy tweet insta. Snapchat spread the word and thank you again for your ear time.. One of new editions best songs   "Can You Stand the Rain" was released on December 13, 1988 by MCA Records as the third single from their fifth studio album, Heart Break. It was Written and produced by Jimmy Jam and Terry Lewis with Johnny Gill, Ralph Tresvant and Ricky Bell on lead vocals and Michael Bivins with a spoken piece, "Can You Stand the Rain" is about a relationship presently going well, but the man is asking the woman if he can count on her to remain by his side, in case things should ever become stormy. Despite "Can You Stand The Rain" failing to reach the Hot 100 top forty, peaking instead at number 44, it became New Edition's fourth single to top Billboard's R&B singles chart. when you watch the video, much like the stuff from the solo career of Ralph sings great. He cannot dance. He looks like he dances to fast lol aww just clownin right now "Can You Stand the Rain" was sampled by New Edition themselves covered by Boyz II Men for their 1997 album, Evolution. In 2001, freestyle singers Safire & Cynthia turned the song into a freestyle/club jam, In 2003, the song was also covered by Guy Sebastian, the first winner of Australian Idol, Was on making the band In 2008, gospel group The Murrills covered the song with alternative lyrics for their album, "Can You Stand the Rain" was sampled by Big Sean for his single "My Last" featuring Chris Brown. Netflix series featured during the Lip-synching scene in the 2013 holiday film, The Best Man Holiday Even featured in the season 15 of the The Voice performed by contestants from team Adam Play Can you stand the rain Final track and closer for this weeks show. "N.E. Heart Break" fifth and final single from their sixth studio album Heart Break (1988). "N.E. Heart Break" peaked at number 13 on the Billboard R&B singles chart. The music video for the song depicts the group members riding mopeds after finishing their Heart Break tour. The music video featured cameos from Malcolm Jamal Warner (who also directed the video), Heavy D & The Boyz (The group's labelmate), Shanice Wilson, The Boys, Robert Townsend, and Brooke Payne, who also appeared in the "If It Isn't Love" video. The version of the song featured in the video is the single version, rather than the one featured on the studio album.

The Godfather of Soul, James Brown was an American singer, songwriter, dancer, musician, and record producer.  In Joel Whitburn’s analysis of the Billboard R&B charts from 1942 to 2010, Brown is ranked number one in the top 500 artists. He gave me a wild and wooly interview with singing and words of wisdom.

  The Old School Rewind Podcast Features Jody Watley his week. Welcome Back Jody Vanessa Watley (born January 30, 1959 is an American singer, songwriter, record producer, and artist whose music crosses genres including pop, R&B, jazz, dance, and electronic soul. In 1987, she won the Grammy Award for Best New Artist and has been nominated for three Grammy awards.Jody Vanessa Watley (born January 30, 1959 is an American singer, songwriter, record producer, and artist whose music crosses genres including pop, R&B, jazz, dance, and electronic soul. In 1987, she won the Grammy Award for Best New Artist and has been nominated for three Grammy awards.In 2008, she was the recipient of a Lifetime Achievement Award from Billboard magazine, and was also prominently featured in the historic black issue of Vogue Italia in 2008. Her early music influences are Diana Ross, Marvin Gaye, Stevie Wonder, Michael Jackson, The Jackson 5, The Carpenters, Roberta Flack, Prince, Grace Jones and various jazz artists including Nancy Wilson.  In December 2016 Billboard ranked her as the 21st most successful dance artist of all-time. and in 2017 Black Music Honors TV special recognized Watley as Crossover Music Icon Honoree for her groundbreaking achievements and influence. In August 2018 Billboard ranked Jody Watley as one of the top female artists of all-time, at number 53. Jody's Early career1977–1984: Soul Train and ShalamarWatley was born in Chicago, Illinois and made her first stage appearance at 8 years old with family friend and godfather Jackie Wilson. (CLIP JACKIE WILSON) She got her entertainment start on the TV dance show Soul Train at the age of 14. Documented by Ebony magazine in 1977 as a part of "The New Generation," Jody Watley was one of the most popular dancers on the show and recognized as a trendsetter for her style and dance moves. As standouts on the television show, Watley and fellow Soul Train dancer Jeffrey Daniel were selected to join Gary Mumford and become original members of the R&B group Shalamar, which was created by soul trains Don Cornelius. (Mumford was shortly replaced by Gerald Brown, and Brown himself was soon replaced by Howard Hewett as lead vocalist).  So The lineup now in shalamar of Hewett, Watley, and Daniel would be the most successful. Jody Watley remained with Shalamar from 1977 to 1983. In that time, The trio released several albums and scored several hits including the US Top 20 "Dead Giveaway", and the R&B hits "The Second Time Around", "For The Lover In You", and "A Night To Remember". A show exclusively for Shalamar up in a few weeks so I didn't mean to tease you their wit den jammies but few weeks we'll hook up with shalamars music..  after all of this and Because of conflicts within the group, disagreements about the artistic direction of Shalamar with Dick Griffey, and lack of payment from Solar Records, Jody Watley finally leaves the group in 1983, prior to the release of Shalamars "The Look" album. Here we are in post Shalamar mode for Jody watley as she moved to England, and while there, she recorded a guest vocal with British Jamaican roots reggae group Musical Youth for their album, Different Style!.(clip) remember them,  She also recorded with Gary Langan, Anne Dudley and J.J Jeczalik (who later became Art of Noise).(clip)  She had a brief stint with Phonogram Records where two singles were released (in the UK, Europe and Australia – though crucially not America) under the moniker "Jody" (no second name), "Where the Boys Are" and "Girls Night Out". Also during this era, and after departing the group, she took part in Bob Geldof's Band Aid recording of "Do They Know It's Christmas", which included Bono, Boy George, Sting, George Michael, Phil Collins, Status Quo, Paul Weller, Bananarama and other prominent UK artists. After two and a half years in England, Watley returned to America and secured a recording deal with MCA Records, eager to establish her own identity.[29] Her debut solo studio album, titled Jody Watley, was released in March 1987, and she co-wrote six of the album's nine songs. In an interview with Rolling Stone, Watley would say that she wanted to showcase her voice against "really funky hard dance tracks."[29] The album's lead single, "Looking for a New Love", became a hit and was certified Gold by the Recording Industry Association of America (RIAA).[30] The album peaked at number ten on the US Billboard 200, number one on the Top R&B/Hip-Hop Albums chart, and sold 2 million copies in the United States and a total of 4 million copies worldwide. It produced five uptempo dance and R&B singles that charted on the Billboard Hot 100, with three peaking within the top-ten: The first being "Looking for a New Love"  was a #2 hit for Jody and was released in January 1987 as the first single from her debut album. The song became one of the biggest pop and R&B singles of 1987. The single hit number two for four consecutive weeks on the Billboard Hot 100 in May 1987 and spent four weeks at number-one on the Billboard R&B chart.[1] It is the only single between 1985 and 1990 in the United States to have spent four weeks in the runner-up position and not have reached the number one. The single was kept out of the top spot of the Hot 100 by Cutting Crew's "(I Just) Died in Your Arms" and U2's "With or Without You", and would itself keep Club Nouveau's Hot 100 number-one single "Lean on Me" out of the top spot of the R&B chart. It ranked number 16 on Billboard's year-end chart for 1987. The song also reached number-one on the RPM Singles Chart in Canada. In 1988 the song was nominated for two Soul Train Music Awards for Best R&B/Soul or Rap Music Video, and Best R&B/Soul Single, Female. She was also nominated for a Grammy Award for Best Female R&B Vocal Performance. The single lookin for a new love came about  While listening to a tape of instrumental tracks given to her by producer André Cymone, Watley reflected on a recent sour romantic breakup. Fusing her own feelings of "I'll show you" with the feel of the track, Watley came up with the basic premise of "Looking for a New Love." The released record is the eight-track demo of the song; that way the emotional urgency of Watley's vocal was still intact. One of the song's key phrases became a popular saying: "Hasta la vista, baby." It wound up on innumerable answering machines and was used by Arnold Schwarzenegger in the 1991 film Terminator 2: Judgment Day (see Hasta la vista, baby). This is what the kids now days would call a banger. Jody wattle lookin for new love on this weeks old school rewind podcast CLIP Lookin for a new love We are tracking jody watleys hits on the Old School rewind  I'm Aaron from the 35 acres and a microphone podcast farm..  The three most noted singles for jody chart wise were that you just heard lookin for a new love   next up a song called still a thrill got to #56 on the top 100. Higher at the r&b radio stations While the #56 (US chart) peaking "Still a Thrill" didn't necessarily match the pop chart success of its blockbuster predecessor, it was, however, a major hit on both the R&B and dance charts in 1987. Watley employed a deep lower register on this uptempo R&B / dance song, which she co-wrote. It was produced by Andre Cymone and David Z. There have been CoversFrom Indie Neo-soulsters, Soulscream, on their 2001 album, Prototype @lpha1 2001 Neophunk. Synth-pop artist, Matthew Duffy, covered "Still a Thrill" on his album, Here I Come. Here it is from jody now on the old school rewind podcast. Still a thrill CLIP still a thrill We're messing around in the lab and hookin you up with some jams to hear, and the stories from the singers and songs from the True School Days of Old School and we're featuring jody wattle. Next up for jody was my favorite song I played on KWIN in Stockton back in those days was this one which reached #6. The song "don't you want me.  I can remember like yesterday Christmas of 87 I was doing a lot of filling in for vacationing Dj's and this was actually the footings of Dance and Rhythm music to start taking down the white nature of top 40 radio It was released on August 10, 1987 as the third single from the Jody Watley album. The song was produced by Bernard Edwards of Chic-fame, and written by Franne Golde, David Paul Bryant and Jody herself. "Don't You Want Me" was a huge hit in the United States, reaching position number six on the Billboard Hot 100 and number one and three on the Dance Club Songs and Hot R&B/Hip-Hop Songs charts, respectively. Watley's previous single, "Still a Thrill," fared well in dance and R&B markets,  but less-so in the mainstream. This is the race thing I bring up a lot on this show. It was a lil too much for the radio.  That was enough  and prompted her label, MCA Records, to go in a more pop-friendly direction. "Don't You Want Me" was one of the biggest crossover singles for the year 1987, reaching the top-ten of the Billboard pop and R&B charts. The single was also popular in nightclubs, reaching the top spot of the Billboard dance chart.Some more chart chatter for you Chart performance"Don't You Want Me" landed in the Top 40 of the US Billboard Hot 100 the week of October 24, 1987, advancing from number 56 to 40. The single reached number six on December 19, 1987 and remained there for three consecutive weeks. Theres been some Sample usage "Don't You Want Me" sampled extensively on the 49ers' 1990 hit "Don't You Love Me?". Remixed eurodance versions have appeared on the Dancemania series albums, including Dancemania SPEED 2 issued in 1999. So far Jody had me at hello with this one, Don't you want me from me Aaron Goodwin and theeee old school rewind podcast (CLIP)don't you want me  Jody watley featured on this weeks old school rewind. Im Aaron Goodwin thank you for subscribing if your just arriving share to a friend and let em know old school still lives on, here, on one of the only podcast focused on true old school or true school. 82-89. And how it all got on the radio and ending up starting the culture that has enveloped the world..  The next song we'll hit for you is Jodys "Some Kind Of Lover  Her third top 10 pop single from the album, and third number-one of the US dance chart, though the single found huge success in the US, outside the states, the single only reached number 81 on the UK charts. Some Kind of Lover advanced into the top 40 of the U.S. Billboard Hot 100 singles chart during the week of February 27, 1988, finally stalling at #10 the week of April 16, 1988. "Some Kind of Lover" kept Watley in the Top 20 of the singles chart for six weeks. The music video premiered in January 1988 and was nominated for two MTV Video Music Awards, for Best Female Video and Best New Artist in a Video, she also performed "Some Kind of Lover" at the award show that year. (CLIP)some kind of lover I am Aaron Goodwin and by the look of the numbers here I am talking week by week to folks worldwide we have numbers in the thousands subscribed to my podcast the old school rewind. Share subscribe tell a friend. Jody watley's next single is "most of all" released on April 18, 1988 as the fifth and final single from the Jody Watley self titled...   "Most of All" was the least successful of the five singles released from the Jody Watley album. It peaked at number 60 on the US Billboard Hot 100 but did find success on the Dance Club Songs and Hot R&B/Hip-Hop Songs charts, where it reached numbers eight and eleven, respectively. The song was produced by Patrick Leonard and was co-written by Gardner Cole, both of whom had been involved with Madonna's 1986 album, True Blue. The accompanying black and white music video for "Most of All" was directed by famous Hollywood director David Fincher.   David fincher (thinking) where have I heard that name before.. David fincher.  Oh I know do you watch jimmy Fallon, when Nicole Kidman went on and said that she went around Jimmy a couple of times and sort of liked him and Fallon knew nothing of it..  the mutual friend is David finches   that would make sense. I'm pondering out loud sorry. That isn't confirmed either but. I think that was that guys name For me. the songs kept getting better and I thought the melody of most of all and the hook were incredible. This was a real artist.   (CLIP) most of all At the 30th Annual Grammy Awards of 1988, Watley won the award for Best New Artist, and was nominated for Best Female R&B Vocal Performance. That same year, she also received nominations for four MTV Video Music Awards and three Soul Train Awards.  Heres a note.  After Shalamar she had two singles released under the name of "Jody", without her last name even though adverts in UK pop magazine, Smash Hits, mentioned that she was "Formerly of Shalamar". This "technicality" (no second name), allowed her controversially to be considered a "New Artist" at the Grammy's, beating Breakfast Club, Cutting Crew, Terence Trent D'Arby and Swing Out Sister. Shortly after winning the Grammy, Watley would be featured in Harper's Bazaar magazine photographed by Francesco Scavullo. Things than became "LARGER THAN LIFE" for Jody watley. that is a play on words a bit as it is the name of jody's next album or sophomore effort.  In the spring of 1989, Watley released her second studio album, Larger than Life, co-writing eleven of the album’s twelve songs. The album sold over 4 million copies worldwide, reaching number 16 on the Billboard 200, and produced four singles: "Real Love" (US #2, #1 R&B, #2 Dance, UK #31), a Gold-certificated single and her first Top 40 UK single since "Looking for a New Love" in 1987;  "Friends" featuring Eric B. & Rakim, (US #9, #3 R&B, #7 Dance, UK #21); and "Everything" (US #4, #3 R&B), her first ballad released as a single. The album's fourth and final single, "Precious Love", was a minor hit, peaking at number 87 on the Billboard Hot 100.[33] "Friends" is notable for being the first multi-format hit single to include the formula of a pop star featuring a guest rapper with the custom full 16-bar verses and bridge concept, and distinguishable from the rap "Intro" by Melle Mel on Chaka Khan's notable cover of Prince's song "I Feel for You". The successful "Friends" formula would become a mainstay formula in commercial pop music and was added as a category at the Grammy's under Grammy Award for Best Rap/Sung Collaboration in 2002. During the summer of 1989, the "Real Love" video, directed by famous Hollywood director David Fincher, was nominated for seven MTV Video Music Awards including Breakthrough Video, Best Art Direction, Best Dance Video and Best Female Video at the 1989 ceremony. That record was held until Michael Jackson and Janet Jackson's video "Scream" received 11 VMA nominations in 1995. The next year, she was nominated for two Soul Train Awards, an NAACP Image Award for Outstanding Female Artist, and a Narm Award for Best Selling R&B Female Album. While riding high on her Larger Than Life World Tour, a remix album, titled You Wanna Dance with Me?, was released in October 1989 and achieved Gold status in America. 1989 also saw Watley featured in Harper’s Bazaar "Ten Most Beautiful Women" issue, photographed by Matthew Rolston. That same year Watley appeared on the cover of the Japanese high fashion magazine SPUR for its debut issue.[37] Watley released the million selling "Dance to Fitness" a first for an African-American woman and artist. Tell a friend to share listen and subscribe..  as I play our final track this week on the old school rewind featuring jody watley.   Eric b and rakim.. Jody is so responsible for the rhythm movement. So many firsts what a talent..   CLIP  

Welcome to the 16th episode of "Talkin' with Andrew and Chris"! We are back with another very special episode, today's guest is Juan Calixto, professional rock drummer and musician for hire! Juan "Jay Cali" Calixto is a self taught drummer born and raised in Rochester, NY. Juan started playing the drums at age 11 and just a few short years later he would find himself playing in a band that would mold his career. Joining Rock band "A thousand Shades of cold, it was here where Juan landed his first record deal with Amherst records, licensed music to T.V. including UFC, Kung Fu Factory Games as well as A Nationally Released Debut Album with many many shows to follow.  Juan relocated to Los Angeles, CA in 2013 to explore more opportunities in music as a live, Touring and session player. With his Diverse playing ability, he was quickly a sought after player having played with LA based bands like Paper Chains, Australian top 10 Charting rock band "Dakara Dirt", as well as playing for Rapper TahMac and Redman among many others.  Juan has lent his talents to other LA Based Acts as a live/touring member such as "The Bad Dreamers" who are a Synth Wave Pop Band with a big buzz right now having toured with top acts in the genre such as, The Midnight, Fm-84 and others, with more tour dates coming in for may 2019 as well. In early 2018 Juan was also recruited to work with celebrity Tariq Nasheed, contributing live drums on his group "Mink Slide's" debut album, performing in his debut music video which has over 200,000 views and also perform for his live shows. The album "Egyptian Musk" debuted at #12 on Billboard R&B charts and top 10 on many other digital retailers. Juan Calixto has just wrapped up a 28 full U.S. tour with "Worldwide Panic" supporting "MushroomHead". Keep up to date with Juan: Instagram: https://www.instagram.com/jaycalidrums/ Keep up to date with Andrew and Chris: Instagram: Andrew: www.instagram.com/not_awgyomai/ Chris: www.instagram.com/christianevanko/ Twitter: Andrew: twitter.com/awgyomai Chris: twitter.com/ChristianEvanko Follow Andrew and Chris's band "The Stash": smarturl.it/fgtnwr Listen to Andrew and Chris's band "The Stash": smarturl.it/fgtnwr Subscribe to "Talkin' with Andrew and Chris" Podcast: Apple | Spotify | Google Play | YouTube | SoundCloud As always, "Stay Sweet!" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkin-with-andrew--chris/support

The Commodores co-founder and lead guitarist Thomas McClary was with the band for 15 years, after forming in 1968.  The band was nominated for 8 Grammy awards, during his stint.  In 2003 , they were inducted into the Vocal Group Hall of Fame.  After leaving the group, Thomas signed a solo contract with Motown releasing an album with a Billboard R&B charting tune.  In recent years, he's performed with several members of his talented family and released A Revolution Not A Revival in 2008.  His latest single is titled Do It, with great undertones of his days with the Commodores.  Award-winning program director Ray White, catches up with Thomas in June of 2018 and talked with him about the startup of the Commodores, their heyday, and the high energy music he performs today.  Our dynamo hostess, Lisa Davis, features the Rock and Roll Hall of Famers' The O'Jays in our showcase segment.  They're still going strong with their latest single I Got You!  Coool CAT - "Where Old School Is New School...Again"!  Check us out!!

Songwriters Hall of Famer, half of the legendary Ashford & Simpson, and one of Rolling Stone magazine's 100 Greatest Songwriters of All Time chats about "Ain't Nothing Like the Real Thing," "I'm Every Woman," "Solid," and more of her many hits! PART ONE Scott and Paul belatedly announce the winner of the Mark Otis Selby CD contest from our recent Tia Sillers episode. PART TWO -  3:18 mark Paul gets the lowdown from Scott on how he managed to pull the Valerie Simpson interview together despite the obstacles! PART THREE - 14:02 mark Scott goes on location in New York to sit down with Valerie Simpson to chat about how meeting a homeless stranger at church opened the door to her songwriting career; why she and Nick Ashford didn't want to be performers at first; the song she told Dusty Springfield she couldn't record; why she was more focused on getting an advance than scoring a hit; which of her tunes was inspired by playing an instrument she doesn't really play; why Berry Gordy didn't want Motown to release "Ain't No Mountain High Enough" as a single; how Valerie realized she and Nick were in love after eight years of working together; and how she ended up on Broadway, thanks to Alicia Keys having to miss a party. ABOUT VALERIE SIMPSON Six-time Grammy nominee Valerie Simpson is best known as one half of the songwriting, production and performing duo of Ashford and Simpson, which she formed with musical partner and eventual husband Nick Ashford after they met at a church in Harlem, New York, in the early 1960s.  After early successes with Aretha Franklin’s recording of “Cry Like a Baby” and Ray Charles’ recordings of “Let’s Go Get Stoned” and “I Don’t Need No Doctor,” Nick and Valerie signed with Motown Records, first as songwriters, where their early successes included the hit singles “Ain’t No Mountain High Enough” and “Your Precious Love,” recorded by Marvin Gaye and Tammi Terrell. They soon began both writing and producing for the duo, with hits such as “Ain’t Nothing Like the Real Thing,” “You’re All I Need to Get By,” “Good Lovin’ Ain’t Easy to Come By,” and “What You Gave Me.” Additional writing and production credits at Motown came with hits by The Supremes, The Marvelettes, The Miracles, Gladys Knight, and Diana Ross, who found success with “Reach Out and Touch (Somebody’s Hand)” “Remember Me,” “Surrender,” and a remake of “Ain’t No Mountain High Enough” that topped both the pop and R&B charts.   In addition to writing #1 hits such as Quincy Jones’s “Stuff Like That” and Chaka Khan’s “I’m Every Woman” after their Motown period, Ashford and Simpson began releasing their own recordings as a duo, landing nearly 40 songs on the Billboard R&B singles chart. Their list of Top 10 hits as artists, includes“It Seems to Hang On,” “Found a Cure,” “Love Don’t Make it Right,” “Street Corner,” “Outta the World,” “Count Your Blessings,” “I’ll Be There For You,” and “Solid.”   Ashford and Simpson were the recipients of the ASCAP Founder’s Award, which is the highest honor bestowed by the organization. They were inducted into the Songwriters Hall of Fame, named among Rolling Stone Magazine’s 100 Greatest Songwriters of All Time, and provided the inspiration for the establishment of the Soul Train Ashford & Simpson Songwriter’s Award. Following Nick’s untimely death in 2011, Valerie has continued to write, record, and even appear on Broadway in the acclaimed musical Chicago.

Check out Rahn Anthoni as he interviews Jesse James (Mr. I Can Do Bad By Myself) Jesse James is a legend Most sources state that he was born in El Dorado, Arkansas,[1][2][3] but in one interview he gave his home state as nearby Louisiana.[4] He moved to the Bay Area in California as a young child. In his late teens, while working in a chemical factory, he began singing in nightclubs in Richmond, and was given his stage name by a compere who struggled to announce his real name.[2]Initially credited as Jessie James, he recorded several singles in the early 1960s on the Shirley label before moving to the Hit label where some of his recordings featured guitar by Sly Stewart (later Sly Stone). His first commercial success came in 1967 when one of his recordings for Hit, "Believe In Me Baby", was reissued by 20th Century Fox Records, and reached #42 on the Billboard R&B chart and #92 on the pop chart.[3] The song was credited to Jesse James & the Dynamic Four, was produced by Jesse Mason Jr., and was co-written by James with Sugar Pie DeSanto, Shena Demell, and Jesse Anderson.[1][5]Later recordings for 20th Century Fox, to which he was signed by Hosea Wilson,[4] failed to chart, but he released a self-titled LP on the label in 1968, also produced by Mason.[1][6] After one single on Uni, he set up his own label, Zea, distributed by Roulette Records. His first single for the new label, the self-penned "Don't Nobody Want To Get Married", reached #18 on the R&B chart in 1970, and its follow-up, "I Need You Baby", reached #47 R&B.[3] After Zea's distribution deal ended, he re-launched the label as Zay, and had another R&B hit (#25) with his version of "At Last", arranged and produced by Willie Hoskins and previously a hit for Etta James.[3][1] In 1974, he returned to the 20th Century label,[2] and the following year had a minor R&B hit (#73) with "If You Want a Love Affair".[3]He continued to record for various labels through the 1970s and 1980s, and his final chart success came in 1987, when "I Can Do Bad By Myself", on the TTED label, reached #61 on the R&B chart.[3] He released one album on TTED, It Takes One To Know One (credited to Mr. Jessie James), followed by several on Gunsmoke, for whom he signed in 1988.[4] His first album on Gunsmoke, I Can Do Bad By Myself (1988), included a collaboration with Harvey Scales, and was followed by Looking Back (1990). He has continued to release albums on Gunsmoke, including Operator Please Put Me Through (1993), It Just Don't Feel The Same (1997), Versatility (1998), It's Not So Bad After All (2006), Get In Touch With Me (2009), Do Not Disturb (2012), and I Lost My Baby On Facebook (2014).[2][1]

AFTERBUZZ TV - AfterBuzz TV's Concert Experience edition, is a long form interview series featuring Musicians discussing their upcoming projects as well as their thoughts, passions and journeys. In this episode host Ronnie Jr. interviews Musiq Soulchild. ABOUT MUSIQ: Musiq Soulchild is a hip-hop soul artist that was born in Philadelphia, Pennsylvania. He built a reputation for being musically gifted, beat boxing for MC’s, free styling on the open mic circuit or just performing acappella for strangers on the streets. Deeply inspired by the R&B/Soul sound of the 70’s he uses the name “Soulchild” as a way to show respect and admiration to his biggest musical influences such as Stevie Wonder, Donny Hathaway, Marvin Gaye and many others. In April 2016 he released his 7th studio album entitled “Life On Earth” leading with the new hit single “I Do”. The album peaked at #2 on Billboard R&B album charts and # 3 on the Top Hip-Hop R&B album charts. He --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today we speak to Keri Davis BBC scriptwriter about the joys of working from home. "Retrograde" is a song by English electronic music producer and singer-songwriter James Blake. The song was released as a digital download on 11 February 2013 as the lead single from his second studio album Overgrown "Should I Stay or Should I Go" is a song by the English punk rock band the Clash, from their album Combat Rock. It was written in 1981 and featured Mick Jones on lead vocals. It became the band's only number-one single on the UK Singles Chart, a decade after it was originally released. Easy" by Commodores was Released in March 1977, reaching #1 on the Billboard R&B chart, The success of "Easy" paved the way for similar Lionel Richie ballards, this remix uses Tinie Tempah’s Pass Out to kick things up a little. See acast.com/privacy for privacy and opt-out information.

JOSH X's Top 20 debut single single, "HEAVEN ON MY MIND" featuring R&B chanteuse, Cheri Dennis. "HEAVEN ON MY MIND" is the first single to be released from JOSH X's upcoming debut album, "I Am Josh X", due out this summer. This single is currently the #21 song on the Billboard R&B charts. On Valentine's day, JOSH X will release an exclusive free download preview of his upcoming album for the fans entitled, "The Prelude - I Am Josh X". This exclusive release will consist of six songs and will be available for free download at www.JoshXantusMusic.com. JOSH X has worked with some of today's top recording artists including Lil Wayne, Jim Jones, Swizz Beatz, Jadakiss and now Cardi B. to name a few. Josh also co-wrote "Ready to Go" for FOX's EMPIRE and PEPSI. He is currently on a 10-city promotional tour in support of "Heaven On My Mind", cities include; New York, Washington DC, Chicago, Los Angeles, Atlanta, Dallas, Houston, Detroit and Miami. Later this month Josh will embark on a Haiti national tour with Haiti's own, Sandro Martelly, son of Hait's former President.

A guitar player’s guitarist, Frank aka “Deville” Greenfield is both a Grammy nominated, award winning Producer and performer, currently on tour with The Gap Band throughout 2017. He started his musical training as a student of classical guitar at Westminster Conservatory under Dr Robert Trent and jazz with Josef Federico.  As one of the creative partners of “The DentMakers”, and Conjuction Entertainment, Franks’ career broke with the release of Timbalands’ “Shock Value” which went six times Platinum and reached #3 on Billboard R&B. The following year brought two Grammy nominations for Tri-ni-tee 5:7 and a GMA/DOVE Award for Best Urban Recorded Song of the Year for “Listen” which peaked at #9 on Billboard Gospel.   He also has been writing music and putting his guitar touches on a who’s who of Pop/R&B Artists such as; Beyonce, Usher, Kelly Rowland, Timbaland, Mindless Behavior,and Onyx .  Christine Storm which resulted in the single " Shoulda Coulda Woulda" which had been on Billboard Top 40 for 8 weeks and peaked at #32 .  Partial Lists for T.V and Film credits include: Our Big wedding, Drillbit Taylor, Secret Life of an American Teenager, The Good Wife, Shameless, New Girl, Lincoln Heights, Night Rider, Entourage , Community,Bad Girls Club,Ben and Kate and The Reluctant Fundamentalist. Frank recently wrote the theme song for the hit television series, Brooklyn nine-nine which won a Golden Globe award.  Guitarist for The Gap Band, Multi platinum guitarist and producer at Universal Music Group

 Regina Belle.Debuts Music  from Her New Album     " The Day Life Began" The Album will Be available on January 22, 2016 Regina Belle  singer-songwriter from Englewood, New Jersey. At a young age she began performing at Englewood's Mount Calvary Baptist Church. She was introduced to the Manhattans by New York radio DJ Vaughn Harper and began working as their opening act. She recorded the 1986 duet, “Where Did We Go Wrong,” with the group which helped to attract the attention of Columbia Records. They eventually signed her to a record deal.  In 1987, she released her debut album, “All By Myself.” It included her first hits “So Many Tears” and “Show Me the Way.” Her follow-up album, “Stay with Me,” was then released in 1989.  Belle recorded a duet in 1991 with Johnny Mathis, “Better Together,” which appeared on his album “Better Together: The Duet Album.” Continuing her tradition of duets, Belle teamed up with Peabo Bryson for the songs “I Can't Imagine,” “Without You” and “A Whole New World,” which was the featured pop single from the soundtrack to the 1992 Disney movie “Aladdin.” The song hit #1 on the Billboard Hot 100 Singles chart and won the Grammy Award in 1993 for Best Pop Performance by a Duo or Group with Vocal as well as the Academy Award for Best Song in later that year.  Also in 1993, Belle released her platinum selling third album, “Passion.” The album featured the Disney hit “A Whole New World,” “Dream In Color” and “If I Could, “which reached # 9 on the Billboard R&B chart. Belle released “Reachin' Back” in 1995 followed by “Believe in Me” in 1998

The legenday Singer and Songwriter Joyce Sims debuted her first classic single (You are my) All and All.  She topped the R&B and Dance charts in the U.S. and the pop charts internationally. IN the UK Joyce debut album "Come Into My Life." was certified gold. In the U.S. the album charted Billboard R&B top 10. Her music is continuously sampled and she continues to give us something new. Her latest single is called "All I Want Is You" and it's sure to be a hit. We are so excited to have her come chat with us about her career and her music when she joins us for Brunch In The Basement With JaVonne.

It is the night before the Festival of Beltane, bonfires blaze as theotherworldly cast is close at hand, druids march to protect the living fires by way of their mystical chants. Jen and Johnny, the star-crossed lovers, attempt to flee from her father’s henchmen, but are caught and hanged. The Eve of Beltane then jumps centuries into the present, where our long lost lovers meet again as students at Notre Dame. This time Jenny proudly returns home with Johnny to her father’s blessing but Derry O’Leary, now a prominent politician in modern day Dublin, still refuses to allow his daughter to marry beneath her social class. This time, however, Dr. Kelson O’Leary, a transmigrated Merlin becomes their advocate and thus aligns the stars in their favor, allowing Derry to see the fire of love that burns beyond all worldly limitation. Part 1 Eve Of Beltane Cast: Nellie O’Brien as Jenny O’LearyNellie O’Brien - has performed in many national and local venues including the Kennedy Center, Lincoln Center, The Westchester Broadway Theatre, Tarrytown Music Hall, The Emelin Theatre, White Plains Center for the Performing Arts, Salt City Center and The Performing Arts Foundation. She has TV, radio, voiceovers, comedy improv and cabaret to her credit and was a recipient of the Irene Ryan Award for Excellence in Acting. A former TV and Radio anchor, producer and correspondent, she is the president of Compelle! Communications, a company specializing in media training, presentation skills, spokeswork and message development. .Richard Mazda as Johnny Aiden MillerRichard Mazda is a writer, director, producer, actor, singer and musician. Born in the UK and now residing in NYC. Mazda received an award American Society of Composers, Authors and Producers (ASCAP) award for the Billboard R&B hit, “How Long.” Film Mazda appeared in major films, including Harry Potter and Philospher’s Stone, Saving Private Ryan, Love Actually, and Batman Begins as well as TV shows like BBC’s Eastenders and the ITV prison drama Bad Girls. London stage includes Canterbury in Edward II, Polonius in Rosencrantz and Guildenstern are Dead and Jimmy in Home James. In early 2005 he founded The Queens Players, an acting troupe that would go on to produce over 40 main-stage productions such as Macbeth, Cyrano De Bergerac, Edward II, As You Like It, Othello, The Importance of Being Earnest as well as original plays by Mazda, including All The Wild Horses, Pirate Pete, Touch of Death, and The Poacher’s Game. In 2007 Mazda founded the Secret Theatre, a 50-seat black box performance space in Long Island City, Queens. Two years later he expanded it to include a second 99-seat house. Currently, the Secret Theatre complex houses three performance rehearsal spaces and one studio/rehearsal space. The Secret Theatre and The Queens Players have become fixtures in the arts scene in Queens. Recent directing credits include a sold out run of Hair, Much Ado About Nothing. Mazda received praise for playing Richard in Richard III for the Queens Players. As a writer Mazda is the author of Pirate Pete’s Parrot and Princess Particular which are the longest running children’s shows in Queens with 72 and 56 consecutive dates respectively with no sign of the shows popularity fading.Mary Ellen Ashley as Dinah O’LearyMaryEllen has performed since she was 4 years old in all areas of the performing arts which includes all the early radio soap operas and half hour dramas. She was in the original Annie Get Your Gun as the little Oakley sisters opposite Ethel Merman along with 5 other musicals by the time she was a teenager.She had her own children's half hour TV show on ABC network-The Tootsie Hippodrome as Judy Ann the Tootsie Roll Sweatheart-sponsored by yes of course Tootsie Roll Candies. Later on she was seen in triple rolls in Yentle On Broadway, multiple 42nd Sts, MAma Rose in Gypsy, Mame, 13 different productions of Hello Dolly as Dolly and Mrs Lovett inSweeney Todd. These are only a few of all the Broadway, Off Broadway, regional and tours you mitt have seen her in. In more recent few she can be seen in film and TV such as The Producers, several Law and Order and Law and Order SVU, Fringe, Best MAn In The Dark, and a half dozen film touring the festivals as we speak. She has just completed two Pilots to be released in near future.Michael Muldoon as Derry O’LearyMichael Muldoon is the Executive Vice-President for M&M Performing Arts Co.,the resident theater company of Lyndhust. He is delighted to be asked back by Coni & Joe to be a part of their wonderful play. He has appeared at the Carriage House Theater at Lyndhurst in Barrymore, and Travels With My Aunt and has directed Show People and Mistletoe and Menorahs. This past December, he appeared in the Lyndhurst Mansion as Charles Dickens and sixteen other characters in Mr. Dickens Tells a Christmas Carol at Lyndhurst. NYC Theater: The Living Theater, Theatre for the New City and Manhattan Repertory. Regional: NJ, PA, KY, GA, CT and NY. Television: One Life to Live, All My Children, As the World Turns, Saturday Night Live and Late Night With Jimmy Fallon (recurring). He is a member of the Board of Directors for YCP TheaterWorks and lives in Yorktown Heights, NY with his favorite director/actress/tennis & business partner; Melinda O’Brien. AEA, SAG-AFTRA website: michaelmuldoon.infoLarry Daggett as KelsonLarry Daggett (Professor Kelson O’Leary). Credits include Ragtime (original Broadway cast), Candide (New York City Opera), plus regional productions of Amadeus, This Wonderful Life, My Fair Lady, Man of La Mancha, Souvenir, Damn Yankees, The Full Monty, Follies, Mystery/Drood, Sunset Boulevard, A Little Night Music, Sweeney Todd, and many more at theatres which includeActors Theatre of Louisville, Arkansas Repertory , Asolo Theatre, Barnstormers Theatre, Barrington Stage, Cape Fear Regional Theatre, Cape May Stage, Capital Repertory, Cleveland Play House, East Lynne Theatre Co., Fulton Opera House, Florida Repertory, Goodspeed Opera House, Lyric Stage of Boston, Music Theatre of Connecticut, New Harmony Theatre, North Shore Music Theatre, Pittsburgh Public Theatre, Portland Center Stage, Sierra Repertory, Virginia Musical Theatre, and more. For more information visit www.larrydaggett.comAriel Eliaz as LiamAriel Eliaz – Has most recently appeared on Blue Bloods on CBS, and Dig on USA Network. He has received multiple awards including Best of Festival for his performance in Boiled Alive! At The Player’s Theatre in New York City and a TANYS (Theater Association of New York State) Award for his portrayal of The Cat in the Hat in Suessical the Musical. Other favorites include John Proctor in The Crucible; Tom Wingfield in The Glass Menagerie; James Bates in Book of Days; Lenny Ganz in Rumors; Charlie Brown in You’re a Good Man Charlie Brown; Pseudolus in A Funny Thing Happened On The Way To The Forum; and Ali Hakim in Oklahoma!. Ariel continues to hone his craft with master teachers Wynn Handman, Terry Schreiber, and Bob Krakower. This spring, Ariel will appear in his solo show, Unspoken Acts in a developmental reading at The Dramatist Guild on Broadway.Marina Barry as NARRATORMARINA BARRY is an actress, writer, director/producer, AEA, SAG-AFTRA, member of the Dramatists Guild., MFA in performance from FSU (Asolo Theatre)Recently seen as 'The Nurse' in Romeo & Juliet for Pulse Ensemble's Shakespeare in the Park, 'Faith' in Christmas Guest with Spiral Theatre Studio, Regional: The Royal Family, The Man who Came To Dinner, The Ruling Class, Tony Pastor Presents: Lillian Russell, one woman show. Directed: reading of Eve of Beltane at the Dramatists Guild, several short play festivals, and participated as a writer in The Barrow Groups 24 Hour Play Festival. Currently coaching actors and singers ~ JUST YOU ~ to refine and work on audition material for the right fit that's JUST YOU. mbs789@verizon.net

It is the night before the Festival of Beltane, bonfires blaze as theotherworldly cast is close at hand, druids march to protect the living fires by way of their mystical chants. Jen and Johnny, the star-crossed lovers, attempt to flee from her father’s henchmen, but are caught and hanged. The Eve of Beltane then jumps centuries into the present, where our long lost lovers meet again as students at Notre Dame. This time Jenny proudly returns home with Johnny to her father’s blessing but Derry O’Leary, now a prominent politician in modern day Dublin, still refuses to allow his daughter to marry beneath her social class. This time, however, Dr. Kelson O’Leary, a transmigrated Merlin becomes their advocate and thus aligns the stars in their favor, allowing Derry to see the fire of love that burns beyond all worldly limitation. Part 1 Eve Of Beltane Cast: Nellie O’Brien as Jenny O’LearyNellie O’Brien - has performed in many national and local venues including the Kennedy Center, Lincoln Center, The Westchester Broadway Theatre, Tarrytown Music Hall, The Emelin Theatre, White Plains Center for the Performing Arts, Salt City Center and The Performing Arts Foundation. She has TV, radio, voiceovers, comedy improv and cabaret to her credit and was a recipient of the Irene Ryan Award for Excellence in Acting. A former TV and Radio anchor, producer and correspondent, she is the president of Compelle! Communications, a company specializing in media training, presentation skills, spokeswork and message development. .Richard Mazda as Johnny Aiden MillerRichard Mazda is a writer, director, producer, actor, singer and musician. Born in the UK and now residing in NYC. Mazda received an award American Society of Composers, Authors and Producers (ASCAP) award for the Billboard R&B hit, “How Long.” Film Mazda appeared in major films, including Harry Potter and Philospher’s Stone, Saving Private Ryan, Love Actually, and Batman Begins as well as TV shows like BBC’s Eastenders and the ITV prison drama Bad Girls. London stage includes Canterbury in Edward II, Polonius in Rosencrantz and Guildenstern are Dead and Jimmy in Home James. In early 2005 he founded The Queens Players, an acting troupe that would go on to produce over 40 main-stage productions such as Macbeth, Cyrano De Bergerac, Edward II, As You Like It, Othello, The Importance of Being Earnest as well as original plays by Mazda, including All The Wild Horses, Pirate Pete, Touch of Death, and The Poacher’s Game. In 2007 Mazda founded the Secret Theatre, a 50-seat black box performance space in Long Island City, Queens. Two years later he expanded it to include a second 99-seat house. Currently, the Secret Theatre complex houses three performance rehearsal spaces and one studio/rehearsal space. The Secret Theatre and The Queens Players have become fixtures in the arts scene in Queens. Recent directing credits include a sold out run of Hair, Much Ado About Nothing. Mazda received praise for playing Richard in Richard III for the Queens Players. As a writer Mazda is the author of Pirate Pete’s Parrot and Princess Particular which are the longest running children’s shows in Queens with 72 and 56 consecutive dates respectively with no sign of the shows popularity fading.Mary Ellen Ashley as Dinah O’LearyMaryEllen has performed since she was 4 years old in all areas of the performing arts which includes all the early radio soap operas and half hour dramas. She was in the original Annie Get Your Gun as the little Oakley sisters opposite Ethel Merman along with 5 other musicals by the time she was a teenager.She had her own children's half hour TV show on ABC network-The Tootsie Hippodrome as Judy Ann the Tootsie Roll Sweatheart-sponsored by yes of course Tootsie Roll Candies. Later on she was seen in triple rolls in Yentle On Broadway, multiple 42nd Sts, MAma Rose in Gypsy, Mame, 13 different productions of Hello Dolly as Dolly and Mrs Lovett inSweeney Todd. These are only a few of all the Broadway, Off Broadway, regional and tours you mitt have seen her in. In more recent few she can be seen in film and TV such as The Producers, several Law and Order and Law and Order SVU, Fringe, Best MAn In The Dark, and a half dozen film touring the festivals as we speak. She has just completed two Pilots to be released in near future.Michael Muldoon as Derry O’LearyMichael Muldoon is the Executive Vice-President for M&M Performing Arts Co.,the resident theater company of Lyndhust. He is delighted to be asked back by Coni & Joe to be a part of their wonderful play. He has appeared at the Carriage House Theater at Lyndhurst in Barrymore, and Travels With My Aunt and has directed Show People and Mistletoe and Menorahs. This past December, he appeared in the Lyndhurst Mansion as Charles Dickens and sixteen other characters in Mr. Dickens Tells a Christmas Carol at Lyndhurst. NYC Theater: The Living Theater, Theatre for the New City and Manhattan Repertory. Regional: NJ, PA, KY, GA, CT and NY. Television: One Life to Live, All My Children, As the World Turns, Saturday Night Live and Late Night With Jimmy Fallon (recurring). He is a member of the Board of Directors for YCP TheaterWorks and lives in Yorktown Heights, NY with his favorite director/actress/tennis & business partner; Melinda O’Brien. AEA, SAG-AFTRA website: michaelmuldoon.infoLarry Daggett as KelsonLarry Daggett (Professor Kelson O’Leary). Credits include Ragtime (original Broadway cast), Candide (New York City Opera), plus regional productions of Amadeus, This Wonderful Life, My Fair Lady, Man of La Mancha, Souvenir, Damn Yankees, The Full Monty, Follies, Mystery/Drood, Sunset Boulevard, A Little Night Music, Sweeney Todd, and many more at theatres which includeActors Theatre of Louisville, Arkansas Repertory , Asolo Theatre, Barnstormers Theatre, Barrington Stage, Cape Fear Regional Theatre, Cape May Stage, Capital Repertory, Cleveland Play House, East Lynne Theatre Co., Fulton Opera House, Florida Repertory, Goodspeed Opera House, Lyric Stage of Boston, Music Theatre of Connecticut, New Harmony Theatre, North Shore Music Theatre, Pittsburgh Public Theatre, Portland Center Stage, Sierra Repertory, Virginia Musical Theatre, and more. For more information visit www.larrydaggett.comAriel Eliaz as LiamAriel Eliaz – Has most recently appeared on Blue Bloods on CBS, and Dig on USA Network. He has received multiple awards including Best of Festival for his performance in Boiled Alive! At The Player’s Theatre in New York City and a TANYS (Theater Association of New York State) Award for his portrayal of The Cat in the Hat in Suessical the Musical. Other favorites include John Proctor in The Crucible; Tom Wingfield in The Glass Menagerie; James Bates in Book of Days; Lenny Ganz in Rumors; Charlie Brown in You’re a Good Man Charlie Brown; Pseudolus in A Funny Thing Happened On The Way To The Forum; and Ali Hakim in Oklahoma!. Ariel continues to hone his craft with master teachers Wynn Handman, Terry Schreiber, and Bob Krakower. This spring, Ariel will appear in his solo show, Unspoken Acts in a developmental reading at The Dramatist Guild on Broadway.Marina Barry as NARRATORMARINA BARRY is an actress, writer, director/producer, AEA, SAG-AFTRA, member of the Dramatists Guild., MFA in performance from FSU (Asolo Theatre)Recently seen as 'The Nurse' in Romeo & Juliet for Pulse Ensemble's Shakespeare in the Park, 'Faith' in Christmas Guest with Spiral Theatre Studio, Regional: The Royal Family, The Man who Came To Dinner, The Ruling Class, Tony Pastor Presents: Lillian Russell, one woman show. Directed: reading of Eve of Beltane at the Dramatists Guild, several short play festivals, and participated as a writer in The Barrow Groups 24 Hour Play Festival. Currently coaching actors and singers ~ JUST YOU ~ to refine and work on audition material for the right fit that's JUST YOU. mbs789@verizon.net

Summer-Break...Show Re-Run The NEW True Purpose Development Show (2-HOURS) to INSPIRE * EDUCATE * ENTERTAIN! 1st Hour:  KARYN WHITE, the phenomenal Grammy Nominee female singer/songwriter who etched herself into music history with her Billboard R&B, and certified Gold Song of the year, “Superwoman”, in 1989 is back and UNBREAKABLE, as noted on her NEW CD: Carpe Diem~Seize the Day! Don’t miss this Exclusive and Intimate interview and conversation with Karyn White as she shares her Story and Journey since her last CD released in 1994 (Make Him Do Right) and more about what Karyn is doing today! 2nd Hour:  Join us for “Keepin’ It Real w/ the Doc and MoMoB” as we keep it real as only we can Sistah-to-Sistah.  This week’s QOD:  What are some top-reasons a relationship loses its flame?  Hopefully, we can inspire some love-fires to be rekindled w/ hot music and real…conversation!   More about Karyn White:  http://karynwhite.me  More about Bountiful Opportunities Group: http://bountifulgroup.com

Terry was a graduate at the Duke Ellington School of the Arts in Washington. He landed backing vocalist jobs for the R&B/pop group, Sweet Sensation, and hip-hop group The Boogie Boys. In 1987, he signed a recording contract with Epic/CBS Records. Terry's first single, "She's Fly", was released the same year, and peaked at number 10 on the Billboard R&B singles chart. Forever Yours, Terry's debut album for Epic, was released in 1988, and reached the Top 40 of Billboard's R&B albums chart. The follow-up single, "Lovey Dovey", reached number four on the R&B charts, and "Forever Yours" climbed into the R&B Top 20. Terry's second album, a self-titled release, included the single "With You" (his biggest hit) which reached the Top 20 of the U.S. Billboard Hot 100, as well as the Top 10 on the R&B chart. "Everlasting Love", was a number-six R&B hit

Pastor William Becton Many people were first introduced to him in 1995 when he released the smash gospel hit single, "Be Encouraged" from the CD entitled “Broken”. The song took Pastor Becton from anonymity to notoriety almost overnight.  The project amazed the gospel and R&B communities by debuting on the Billboard Gospel chart at #3 and the album propelled to #1 for over 11 weeks.  It also hit the Billboard R&B singles chart at #59 for 21 weeks, allowing secular listeners to experience music with an underlying Christian message.  The “cross over” success of “Be Encourage” set a new trend in gospel music and paved the way for upcoming gospel artist who also had crossover hits.

  The NEW True Purpose Development Show (2-HOURS) to INSPIRE * EDUCATE * ENTERTAIN! 1st Hour:  KARYN WHITE, the phenomenal Grammy Nominee female singer/songwriter who etched herself into music history with her Billboard R&B, and certified Gold Song of the year, “Superwoman”, in 1989 is back and UNBREAKABLE, as noted on her NEW CD: Carpe Diem~Seize the Day! Don’t miss this Exclusive and Intimate interview and conversation with Karyn White as she shares her Story and Journey since her last CD released in 1994 (Make Him Do Right) and more about what Karyn is doing today! 2nd Hour:  Join us for “Keepin’ It Real w/ the Doc and MoMoB” as we keep it real as only we can Sistah-to-Sistah.  This week’s QOD:  What are some top-reasons a relationship loses its flame?  Hopefully, we can inspire some love-fires to be rekindled w/ hot music and real…conversation!   More about Karyn White:  http://karynwhite.me  More about Bountiful Opportunities Group: http://bountifulgroup.com

Debut her Hot New Track featuring Rico Love and T. Neal "That's All Me" Also Check Out Season 2 of “Love And Hip Hop” Starring Teairra Mari on November 14!  Born and raised in the motor city of Detroit, Teairra has been singing and entertaining since the age of 12. In October 2003, at the tender age of 16, she released her first album though Def Jam Records entitled” Get Away.” The album was a notable success, leading to an introduction with famed producer Daryl Simmons. Teairra's sophomore album, “Roc-A-Fella Presents: Teairra Mari,” was released in 2005, and received critical acclaim for the song “Make Her Feel Good.” The album reached the #5 position on the Billboard 200 albums chart and #2 on the Billboard R&B charts. It was at this point that her true road to stardom began. Teairra has since released several mixed tapes, and is working on the release of her third album, slated for 2012. Her most popular song to date has been “Sponsor” featuring Gucci Mane and Soulja Boy. Like most artists, Teairra is a jack of all trades, yet a master of many. Not only is she vocally talented, but she has proven that she can act as well. In 2010, she starred in the film “Lottery Ticket” as the unattainable love interest of rapper/co-star Bow Wow. Switching from the big screen to the TV screen, Teairra Mari will be starring in the second season of “Love and Hip Hop”, scheduled to air on November 14, 2011 at 9PM ET/PT on VH1.Teairra Marie will also be staring in the Movie "Mac & Devin go to HighSchool' 2012 Release

Brian Cook performed at The Billboard R&B hip Hop conference awards