Podcast appearances and mentions of Bobby Hebb

El prolífico guitarrista sueco no para de publicar discos. Escuchamos grabaciones de los editados en estos primeros meses de 2025. De 'Sofo session', en trío con Martin Höper al contrabajo y Ola Bothzén en la batería, escuchamos 'Bossa for Miles', 'Once I loved' de Jobim, 'Sunny' de Bobby Hebb, 'La tranquilidad', 'Sommar' y 'Monicas vals' de Bill Evans -con la voz de su hija Tea-; del homenaje a Billie Holiday, 'For Billie', grabado a dúo, voz y guitarra, con Tea, los clásicos 'I´ll be seeing you', 'Lover man', 'My romance' y 'Blue moon'; de 'Live at Jamboree', en concierto en Barcelona, con el bajista Camil Arcarazo y el baterista Jorge Rossy, 'It could happen to you' y 'Skylark'; de 'Sunbeam', en cuarteto con Pär-Ola Landin (bajo), Karl-Henryk Ousbäck (batería) y Britta Virves (piano), 'October song'. Escuchar audio

Sintonía: "Señor Lobo" - Los 300”Jeanette” - WADE FLEMONS”Bread” - BOBBY HEBB”(They Call Me) Jessie James" - THE DREAMS”He Was Really Saying Something” - THE VELVELETTES"I Need a Woman Of My Own“ - TOMMY HUNT”Sing What You Wanna “ - SHORTY LONG“I Can Feel Your Love” - FELICE TAYLOR”I Only Got This Feeling“ - CHUCK JACKSON”Would You Believe” - JON LUCIEN“Speed Up” - BETTY MOORE“He Ain’t Doing Bad” - JEAN WELLS“Don’t Make Promises” - GEORGIE FAME Sr. Lobezno managementTodas las músicas seleccionadas y presentadas por el Sr. Lobezno (Isidro Sánchez Marín) desde RNE en Granada. Muchísimas gracias a Juan Carlos por su eterna predisposición y buen hacerContacto: srlobezno@afrodisiaclub.comEscuchar audio

100% LIFESTYLE - Tous les jeudis : - De 19H à 20H sur RDL 103.5 FM en Centre Alsace - A l'écoute partout à cette heure sur le direct live sur www.rdl68.fr - En PODCAST sur SOUNDCLOUD chaque JEUDI à 21H Dans ce numéro, Anne-Claire & Yann vous proposent : - En route pour l'aventure (voyage/Yann): A la découverte des 7 merveilles du monde antique - La minute soignante (santé & bien-être/Anne-Claire): Les remèdes naturels face aux troubles intestinaux - Chanson Story (histoire d'un tube/Yann): "Sunny", Boney M, 1977 - La question des auditeurs: Antoine du Bonhomme demande quel est le mieux: beurre ou margarine ? - Trucs & Astuces (Anne-Claire): Secret Santa ERRATUM: Vers 58'30, la question sur ce que transportait la frégate Isère n'a pas la bonne date. Il s'agit de 1885 et non 1985 ! Toutes nos excuses. MUSIQUES: "S'élance", Nade, 2024 "Sunny", Boney M, 1977 "Never knew love like this before", Quinze feat Bob Sinclar, 2023 EXTRAITS: "La petite Bill, elle est malade", Alain Souchon, 1977 "Sunny", Bobby Hebb, 1963 (version originale) "Sunny", Bobby Hebb, 1976 (version disco) "Bon appetit", Katy Perry 2017 "La cuisine au beurre", André Verchuren, 1963 "Noel (Brahms)", Elsa Esnoult, 2020 "Mon plus beau cadeau", Dorothée, 1991 Important: Je ne touche aucun droits d'auteur sur ces chansons. Les droits reviennent intégralement aux auteurs/compositeurs/interprètes. Diffusion: Jeudi 19H - 20H en direct sur RDL (103.5 FM dans le Centre Alsace) ecouterradioenligne.com/rdl-colmar/ Une production RDL 103.5 FM Tous droits réservés

Diese Sendung hat Musikredakteur Jörg Müller-Jahns zusammengestellt. Das LIVE- Anspiel ist diesmal: „Sunny” – der Klassiker von Bobby Hebb. Folgende Titel sind zu hören: 1. The Minor goes muggin' – D. Ellington with T. Dorsey & his Orchestra 3:03 2. Get Happy – Rebecca Ferguson 2:49 3. Faust auf Faust – Klaus Lage (Big Band Projekt) 4:24 4. Michelle – Gretchen Parlato 6:54 5. Bring me Joy – Al Jarreau feat. George Duke 4:36 6. Sunny – George Benson 2:52 7. Happiness is where you are – Oddgeir Berg Trio 3:12 8. I'm beginning to see the Light – Seal feat. The Puppini Sisters 3:07 9. Blues in the Closet – Toots Thielemans & Shirley Horn Trio 4:08 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

At this week's rehearsal, Pamela Bowen, our manager/videographer, captured a couple more of the tunes that we are considering for inclusion in that new album we hope to start working on later this year.And, without our intending it, the two songs she videoed just happened to share the theme of rainy days and sunny days. That's a hoot, even if it was unplanned.About the SongsThe first song on today's “video extra” is The Flood's take on Bob Dylan's composition “Make You Feel My Love,” which debuted on Bob's Time Out of Mind album in 1997. As we reported earlier, this tune attracted a celebrated following, with covers by Billy Joel, Garth Brooks, Neil Diamond and Adele.It also has a prominent position in “Girl from the North Country,” the Tony-award-winning musical that currently is touring the U.S. The play centers on the music and lyrics of 28 songs Dylan wrote over the past 60 years.The second song on Pamela's video is Randy Hamilton's treatment of the Bobby Hebb classic, “Sunny.” As we wrote earlier, the song that Hebb wrote on that cold November night in 1963 not only sustained his career for a lifetime, but has become one of the world's most beloved jazzy anthems to optimism and joy. Its back story is fascinating.About the GraphicsBy the way, the graphics used throughout today's video are products of Charlie Bowen's new online toy. Have you heard about Google's new ImageFX software?ImageFX is new standalone artificial intelligence image generator that Google released three months ago as part of its AI Test Kitchen. It creates graphics from simple text phrases entered at the prompt, and it's all free. It's a ball to play with. Just type in ideas for a picture and see what it comes up with. For instance, we typed in “heart drawn on a rain-streaked window” and got four variations on this:All the pictures used to illustrate the two songs in Pamela's video were generated by ImageFX. But Back to the Songs….Back to The Flood's studio project, this will be our first new album since Paul Martin put together Speechless in 2021, and it will be the first to feature our newest Floodsters, Danny Cox and Jack Nuckols.We'd love to have your help to planning it. Send us your suggestions — just drop an email to Charlie at designbybowen@gmail.com — and we'll keep you posted as the work continues. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Andy is back with another of his eclectic mixes that he likes to call Groovy Soul. Kicking off with the vocal power of Steve Marriott, he brings you a couple of rare tracks from the GWP label; a couple of new ones from Black Pumas and Robert Finley and couple of pure gold belters from Barbara Lynn and Bobby Hebb.There's a classic from Mr Bowie and the end song is for all those sad Liverpool fans!!Tune into new broadcasts of Groovy Soul, LIVE, Sunday 12 - 2 PM EST / 5 - 7 PM GMT.For more info and tracklisting, visit :https://thefaceradio.com/groovy-soul//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Hoy el Mata Rolas versión La Mata o la Rescata, "Sunny" una canción de Bobby Hebb interpretada tambien por Luis Miguel

Ever since it came together decades ago, The Flood has always sought a rich diversity in its repertoire. So late last year when Danny Cox asked, “Has the band ever done the song ‘Sunny'?” he heard an invitation in the enthusiasm of the answer: “No!” Danny worked out the chords, Jack took up the rhythm, we turned the vocals over to Randy, and suddenly the song was in the works. In fact, now it's even picking up fans among the visitors. On this particular track, for instance, Floodster Emeritus Paul Martin happened to be in the room and happily took a ride on one of the choruses. Here, then, is the progress report on Project Sunny.About the SongThe song that soul singer Bobby Hebb wrote one cold November night in 1963 not only sustained his career for a lifetime, but has become one of the world's most beloved jazzy anthems to optimism and joy.Out of GriefBut in truth, “Sunny” was written in response to tragedy. To two of them, actually.The first was a national tragedy: President John F. Kennedy's assassination on Nov. 22, 1963. The second was a deeply personal tragedy. The night after JFK's death, Bobby's older brother was murdered in a knife fight outside a Nashville nightclub.How then, after such grief, did Hebb write a song about bright days and sunshine?“It was dark when I started working on the song,” Hebb told an interviewer years later, “and the sun was rising, and it was a different color. The sky was like purple.”That flash of morning light inspired him. “The president had been assassinated and the very next day my brother got killed,” he said. “Everybody was feeling rather negative at that time, and I think we all needed a lift.”EasyThe song came quickly and easily. “The lyric and the melody came to me at the same time,” Hebb said. “The lyric spoke for itself; it produced the melody. It was just right there, under my fingers. All I had to do was just play it.“I was at the right place at the right time,” he said, “in the right frame of mind. I was ready to receive what was being offered.“'Sunny' is your disposition,” he said. “Instead of confusing and building chaos, let's make this day a nice day for everyone. Spread that type of news, so you can become a little more relaxed and not filled with chaos, because chaos can become a killer.”Pre- and Post-”Sunny”Hebb already was an accomplished guitarist by the time he wrote “Sunny.” Born to blind musician parents in Nashville, Bobby as a child was performing on local television, and in 1950 as a teenager he was invited by Roy Acuff to play on the Grand Ole Opry.As part of a song-and-dance team with his older brother, Bobby sang backup for Bo Diddley, and later he was part of the jazz scene in New York City.But there's success and then there's post-“Sunny” success. Hebb's jazzy tune made it to No. 1 on the Cashbox charts. BMI ranked it at No. 25 in its “Top 100 Songs of the Century.” On the strength of that one song, he even became an opening act for The Beatles' final tour in 1966.Hebb wrote other songs after “Sunny,” of course. The best known was Lou Rawls' 1971 hit "A Natural Man,” co-written with comedian Sandy Baron.Hebb continued to live in his hometown of Nashville until his death at age 72 in 2010.His legacy is “Sunny,” which remains one of the most performed and recorded songs of all times. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

In this episode of the GoFor2, the boys totally lean into the Taylor Swift craze that has swept the NFL landscape. Jordan and Drew with guest hosts Teddy and Goph recap the first 5 weeks of the season and preview the next weeks using Taylor Swift song titles to analyze what has transpired in the NFL season thus far and what to expect moving forward. The titles we covered include Bad Blood, I Knew You Were Trouble, Anti Hero, Shake It Off, Cruel Summer, Mean, and I Forgot That You Existed. Additionally, Teddy finally drops his Jimmy G parody to the stylings of Sunny by Bobby Hebb! Enjoy the chaos!

Two more action-packed hours of soul, R&B, and other 1960s dance tunes! You'll hear Gene Chandler, The Velvelettes, Lou Johnson, James Carr, J.J. Barnes, Tina Britt, Billy Stewart, Bobby Hebb, two by Chubby Checker, a silly thing about The Beatles, Northern Soul classics by The Valentines and Tony Clarke, plus one from somebody just called Tim? Originally broadcast September 17, 2023 Willie Mitchell / That Driving BeatMitty Collier / Do It With ConfidenceThe Human Beinz / Nobody But MeOtis Redding / Don't Mess With CupidThe Velvelettes / These Things Will Keep Me Loving YouGene Chandler / A Song Called SoulThe Impressions / You've Been Cheatin'Smokey Johnson / I Can't Help It (Part 1)Lynn Martini & the Jolly Jax / NowThe Valentines / BreakawayTony Clarke / Landslide Louis Curry / I'll Try Again TomorrowLong John Baldry / Let Him Go (And Let Me Love You)Lou Johnson / If I Never Get To Love YouBilly Stewart / SummertimeErnie K-Doe / Mother In LawPaul Revere & The Raiders / Have Love, Will TravelChubby Checker / Back In The U.S.S.R.The Contours / Just a Little MisunderstandingThe Olympics / Do the Slauson ShuffleEdwin Starr / Agent Double-O-SoulJackie Wilson And Count Basie / Chain GangChubby Checker / (At the) DiscothequeJimmy George / It Was Fun While it LastedJ. J. Barnes / Real HumdingerRay Charles / If You Were MineJames Carr / That's What I Want To KnowThe Best Of Both Worlds / Moma Bakes BuiscuitsLittle Carl Carlton / Competition Ain't Nothin'Gerry and the Pacemakers / JambalayaMartha & The Vandellas / One Way OutTina Britt / LookThe Elgins / Heaven Must Have Sent YouThe Patty Cakes / I Understand Them (A Love Song to The Beatles)Bobby Hebb / Love, Love, LoveTim / I Need Your LoveDobie Gray / Out on the FloorLen Barry / 1-2-3 Hosted on Acast. See acast.com/privacy for more information.

I followed the Beatles on their 1966 tour here in the United States. One of the concerts was at the Chicago amphitheater on Aug. 12. Bobby Hebb was a warmup act for the show. He was a singer, songwriter, and instrumentalist from Nashville. Bobby was featured on the Grand Ole Opry at age 12. He talks about his start and his only top 10 hit. As you will hear, we were backstage for this interview.

Rex Garvin & The Mighty Cravers, Arthur Conley, Mitty Collier, Bobby Hebb, Cher, Lita Torello, Richard Anthony, James Brown & Marva Whitney, Boney M, Manu Chao, Steve Lucky & The Rhumba Bum, Marcia Ball, Country Gazette, Los Hermanos Cubero, Michael Sardou, Louane, Irene Grandi, Coldplay, Heart.

Au programme de ce mardi 23 mai dans la tranche information de So good Radio: aux États-Unis, l'accord historique de sept États pour protéger le sempiternel fleuve du Colorado; au Festival de Cannes, un compte Twitter qui traque les yachts ultra-polluants des milliardaires; et enfin en Espagne, les énergies renouvelables ont mis une claque aux énergies fossiles pendant neuf heures d'affilée.Et chaque jour, en plus de votre fil info feel good, retrouvez L'appel du good avec Mélodie qui organise des Cafés poly à Nice pour parler polyamour, Le peigne dans l'maillot, la formule secrète pour s'endormir un peu moins con consacrée au roman graphique Fille d'alcoolo de Camilla Gallapia, et enfin, la chanson qui va bien avec Sunny de Bobby Hebb. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Douglas Stuart's debut novel Shuggie Bain won him The Booker Prize in 2020. It centres around an alcoholic single mother and her gay son navigating life on a Glasgow estate and it reflects Douglas' own troubled upbringing. After near homelessness he earned a place at The Royal College of Art…and went on to land in the epicentre of New York fashion, working for huge brands. In this edition of the podcast Douglas discusses how the music of Nick Drake helped spark romance between him and his now husband, and why Bobby Hebb's "Sunny" keeps the spirit of his late brother alive. Music Inherited - Pink Moon by Nick Drake Pass on - Sunny by Bobby Hebb Producers: Ben Mitchell and Catherine Powell

The Cyrkle  band was formed by guitarists and lead singers Don Dannemann and Tom Dawes (who also played bass guitar), and Jim Maiella (the original drummer), who all met while studying at Lafayette College in Easton, Pennsylvania. Dannemann enlisted in the US Coast Guard in 1966. The other members were Earle Pickens on keyboards and Marty Fried on drums. They were originally a "frat rock" band called The Rhondells but were later discovered and managed by Brian Epstein, who was best known as manager of the Beatles. Epstein found out about the band when his business partner, New York attorney Nathan Weiss, heard them in Atlantic City, New Jersey, on Labor Day of 1965. Epstein became their manager and renamed them, as a reference to the circular roundabout known as Centre Square, located in downtown Easton. John Lennon provided the unique spelling of their new name. They were produced by John Simon. In the summer of 1966, they opened on 14 dates for the Beatles during their US tour. On August 28, they headed the opening acts performing prior to The Beatles at Dodger Stadium. The other artists who appeared were Bobby Hebb, the Ronettes, and the Remains. Before touring with The Beatles, the Cyrkle had an engagement at the Downtown Discothèque in New York City. They were also on the bill for the final Beatles concert at Candlestick Park on August 29, 1966. The Cyrkle is best known for their 1966 song "Red Rubber Ball", which went to No. 2 on the Billboard Hot 100 chart. It sold over one million copies, and was awarded a gold disc. It was co-written by Paul Simon, of Simon and Garfunkel, and Bruce Woodley of The Seekers, and was released by Columbia Records. Later in 1966, the band had one more Top 20 hit, "Turn-Down Day" (No. 16). After the release of their debut album, Red Rubber Ball, they recorded a second album, Neon, in late 1966, and a movie soundtrack, The Minx, in 1967 (not released until 1970). They followed that with various singles and then disbanded in mid-1968. Both Dawes and Danneman became professional jingle writers after the Cyrkle disbanded. Dawes wrote the famous "plop plop fizz fizz" jingle for Alka-Seltzer. Danneman wrote jingles for Continental Airlines and Swanson Foods. He penned the original 7Up "Uncola" song. Dawes produced two albums for the band Foghat, Rock & Roll (1973) and Energized (1974), and co-wrote the song "Wild Cherry" on the latter. Marty Fried left the music business to attend law school and graduated from Wayne State University in Detroit in 1972. He worked as a bankruptcy attorney in suburban Detroit. Earle Pickens became a surgeon (retired) in Gainesville, Florida.

Au programme de ce mercredi 15 mars dans la tranche information de So good Radio : la Corée du Sud va indemniser les victimes du travail forcé durant la guerre contre le Japon ; à Hong Kong, des chercheurs développent un robot liquéfié à usage médical ; et en France, une marche de clowns pour défendre le droit à l'enfance et à l'émerveillement.Et chaque jour, en plus de votre fil info feel good, retrouvez La minute du sale sacrément salée, L'appel du good avec Céline pour sa marque Rebelle de bonbons plus sains, Le peigne dans l'maillot, la formule secrète pour s'endormir un peu moins con consacrée au livre Et si les femmes avaient le droit de vieillir comme les hommes ? de Amanda Castillo, et enfin, la chanson qui va bien avec Sunny de Bobby Hebb. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Join Zach and Jasmin as they discuss the fascinating story of a doo-wop group that formed from within the walls of the Tennessee State Penitentiary, The Prisonaires. Best known for their hit "Just Walkin' in the Rain," released by Sun Records in 1953, The Prisonaires inspired the likes of Elivs, Bobby Hebb, Hank Williams, and dozens of musical artists. The Clement Podcast claims no rights to any of the music played in this episode. It is for educational purposes only under Free Use. Just Walkin' in the Rain - The PrisonairesJust Walking in the Rain - Johnnie RayRolling Stone - The MarigoldsWhat About Clement? - The Prisonaires Support the showFor more information on anything related to the Clement Railroad Hotel Museum, please visit: https://linktr.ee/crhm_dicksonPodcast Production by: Dark Nostalgia WorksMusic: Last Bar Guests (ID 1137) - Remastered by Lobo Loco is licensed under a Attribution-NonCommercial-ShareAlike 4.0 International License.

This episode looks at the history and connections in Disco including Boney M. Bobby Hebb, A Taste of Honey, The Gibson Brothers, Who's Who, Daniel Vangarde, Ottawan, Earth, Wind & Fire.Wise Choice is an official Wise Music Group podcast celebrating 50 years of Wise Music and taking the opportunity to delve into the vast catalogue of incredible songs and artists that are part of the Wise family. The show is hosted by Wise Music songwriting and composing team Adam and Paula Pickering aka The Daydream Club. They asked the Wise Music teams from all over the world to choose their absolute favourite songs from the Wise Music catalogue (their Wise Choice). From this list Adam & Paula look into the history surrounding the songs and where the story leads them with connections to other notable versions, covers and samples.New episodes every other Wednesday.If you liked this you might also enjoy Composing Myself - an official Wise Music podcast featuring interviews with composers and songwriters, taking an in-depth look at their process.Tracklist:Sunny - Boney M.Sunny - Bobby HebbOoh Wee - Mark Ronson feat Ghostface Killer, Nate Dog, Trife & SaigonBoogie Oogie Oogie - A Taste of HoneyCuba - The Gibson BrothersHypnodance - Who's WhoD.I.S.C.O - OttawanLet's Groove - Earth Wind & Fire Hosted on Acast. See acast.com/privacy for more information.

Episode 9 has George Michael as our Featured Artist! Frankie has the story of Sammy Johns, and his big hit from the spring of 1975...A terrific 1-Hit Wonder from Bobby Hebb is in the spotlight from the late summer of '66. Bobby was "how old" when he made his debut at the Grand Ole Opry? You'll find out! Also, Blue Swede checks in from 1974 (Frankie's favorite year of music!) with a couple of Top-10 Hits. And, in our new segment, "Hall of Fame Albums," Frank's is from Don Henley--Tim's is a huge debut album from fall of '76. Thanks for listening!!

El guitarrista estadounidense Benji Kaplan, en solitario, con clásicos como 'The song is you' o 'So in love' y, en cuarteto, con obras suyas como 'Chorando sete cordas' o 'A joyful stroll'. Gilberto Gil acompañado por hijos y nietos en el disco 'Em casa com os Gil' recordando canciones como 'Palco', 'Back in Bahia', 'Drão', 'Sereno' o 'Realce'. Y otro bahiano, Bruno Capinan, con 'Meu preto', 'Mafuã' y 'Deuses deusas' de su disco 'Tara rara'. Despide el saxofonista Houston Person con una versión en concierto del famoso tema de Bobby Hebb 'Sunny'. Escuchar audio

| Turn Us Back Around  | Sir Spencer feat. Chrissi Poland  | 2022 | My Love Song  | Ronald Isley & The Isley Brothers  | 2022 | Right Way  | Ronald Isley & The Isley Brothers  | 2022 | Something Inside My Head (feat. Phillippe Wynne)  | Gene Dunlap  | 1981 | Giving Love  | The Voices Of East Harlem  | 1973 | What A Difference She Made  | Jalen Ngonda  | 2022 | Good Good Lovin'  | Bobby Hebb  | 1966 | Unloved, Unwanted Me  | Barbara Lynn  | 2022 | Merry Go Round  | Oscar Perry  | 1986 | That Feeling  | Coline Creuzot  | 2022 | Special Lady  | Erskine Williams  | 1987 | I Can't Stop Loving You  | Such  | 2022 | All That Matters  | Michigan Avenue  | 1983 | Fly  | Telica feat. Amalie Bryde  | 2022 | For The First Time  | Bloodstone  | 1974 | Who You Sleeping With  | Jesse James  | 2022 | Body And Soul (That's The Way It's Got To Be)  | Soul Generation  | 1972 | The Girl Next Door  | The Mansion  | 2022 | Stop, Let Your Heart Be Your Guide  | The Mansion  | 2022 | Like A Flower  | Terry Harris  | 2022 | If You Bout It  | Terry Harris  | 2022 | Why Should We Stop Now  | The Natural Four  | 1969 | I Never Knew Love (Could Feel This Way)  | Platypus  | 2022 | When You Dance (Gedi Clean Edit)  | Tank  | 2022 | Come Over  | Chandra Raye  | 2022 | I Found Love (When I Found You)  | Spinners  | 1977 | I'm Riding Your Shadow (Down To Love)  | Spinners  | 1977 | Late Night With You  | Jarvis Greene  | 2022 | Don't Leave Me Baby  | Ray Gant & Arabian Knights  | 1971 | It Ain't No Fun  | Shirley Brown  | 1974

Nella puntata di oggi:il compleanno dell'attrice Susan Sarandon (1946), blackout siti internet e applicazioni (2021), morte della cantante Janis Joplin (1970), disco d'oro per "Sunny" di Bobby Hebb (1966), lettera di Paul McCartney a George Michael, in carcere per droga (2010).

It's rare that 9/11 falls on a Sunday, and yet 2022 is exactly that year. In honor of this tragic date in America's history and the immeasurable loss it represents, this episode of the Coast Highway Shuffle Show includes a special "head set" with 3 songs with this in mind: Toy Matinee's 'Remember My Name', The Smithereens' 'Especially for You' and Warren Zevon's 'Keep Me in Your Heart'. Beyond this, this edition of the CHSS contains many great songs by artists like Twiddle, Bobby Hebb, ZZ Top, Steve Miller, Genesis, WIngs, Guster, Tom Petty, Heart, The Doobie Brothers and SO many more! Please enjoy this show, as always, but with a special consideration and respect for all those people whose trauma related to 9/11 will never go away.

Cocinamos una nueva entrega de grandes clásicos del pop y el rock del siglo XX en forma de versiones. Playlist; (sintonía) LOS STRAITJACKETS “My heart will go on” (Celine Dion) BART MENDOZA “Sunny” (Bobby Hebb) STIV BATORS “It’s cold outside” (The Choir) DAN SARKA and THE SOMETIMES WHY “Starry eyes” (The Records) HUW GOWER “Do anything you wanna do” (Eddie and the Hot Rods) EDDIE and THE HOT RODS “Time won’t let me” (The Outsiders) RAMONES “Somebody to love” (Jefferson Airplane) THE CURE “Hello I love you” (The Doors) ALPHA BOY SCHOOL “Boy’s don’t cry” (The Cure) HUGH CORNWELL “For what it’s worth” (Buffalo Springfield) LOCKSLEY “It’s no use” (The Byrds) TY SEGALL “Isolation” (John Lennon) ROBYN HITCHCOCK “Let me roll in” (Paul McCartney & Wings) REM “First we take Manhattan” (Leonard Cohen) Escuchar audio

Le selezioni di Vito Santamato, dai Calibro 35 a Kendrick Lamar, passando per Bobby Hebb.

It seems Carmela is pretty dang good at this game! Join us as Carmela sits in the contestant chair once again and goes for win #3. Here are today's clues: 1. Porridge, Flo, Roughness, Southern. 2. Hop, Bobby, Wind, Tube. 3. Hitters, Chinese, Tokens, Researchers. 4. Positive, Bobby Hebb, Bright, Delight.

Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 8 de Abril de 2022. En el recorrido de hoy descubrimos novedades de Liam Gallagher, Placebo, The Len Price 3, Monophonics, Track Dogs, Sophie and the broken things y Billie Eilish. Rescatamos tesoros enterrados de Marion Black, The Remains y Bobby Hebb y llegamos al puerto de Liverpool como siempre con una canción de los Beatles, hoy "You're Gonna Lose that girl", una de las mejores canciones del album ´Help´. Gracias por viajar con nosotros, viajeros del rock and roll. Con Andrés Jiménez e Iván Ramos.

Cette semaine, on va voir ensemble comment intégrer la vidéo dans ton business, de façon à la fois pro et simple. Parce qu'à l'ère de TikTok, Insta, Linkedin, YouTube et autres lives, on n'a pas fini de devoir montrer nous montrer sur ce format "star" des réseaux sociaux. Mais pour briller en vidéo, il faut bien comprendre codes et les techniques, sinon on peut vite faire un bide ou se perdre dans des heures de travail inutile! Tu es pret·e pour devenir le Tarantino du freelancing? Le Kubric de l'entrepreneuriat? Le Truffaut du management? Le Gondry de la recherche d'emploi? 3... 2... 1.... action

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Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. 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 "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

Jess Gillam and pianist George Harliono share the music they love. George introduces us to the fascinating world of Soviet composer Mikael Tariverdiev as well as Bobby Hebb's joyous dedication to his brother 'Sunny'. Missy Mazzoli writes a chorus inspired by Sardinian folk music and Itzhak Perlman lovingly performs Elgar's Salut d'amour. Plus we'll hear heart-wrenching music from Anthony and the Johnsons and Saint-Saëns PLUS Dvořák's playful piano quintet. Playlist: Antonín Dvořák - Piano Quintet No. 2, Op. 81 (3rd mvt) (Andreas Haefliger - piano, Takács Quartet) Missy Mazzoli - Vesper Sparrow (Roomful of Teeth) Mikael Tariverdiev - Prelude from 17 moments of Spring (Mikael Tariverdiev - piano) Edward Elgar - Salut d'amour (Itzhak Perlman - violin, Samuel Sanders - piano) Bobby Hebb – Sunny Jean Sibelius - Andante Festivo (Gothenburg Symphony, Neeme Jarvi - conductor) Antony and the Johnsons - Hope There's Someone Camille Saint-Saëns - Samson et Dalila, Op. 47, Act II: Mon coeur s'ouvre à ta voix (Anita Rachvelishvili - soprano, Orchestra Sinfonica di Torino della RAI, Giacomo Sagripanti - conductor)

Wer dachte, Yesterday von Beatles sei der Song mit den meisten Coverversionen, hat sich geirtrt. Tatsächlich ist es dieser Song von einem quasi Varitee Künstler aus Nashville, der einfach wollte, dass die Sonne wieder scheint - für ihn und auch für alle anderen - in einer traurigen Zeit. Jetzt die ganze Story - inklusive Löffelschlagen :) - in der neuen Episode. Das erwähnte Interview: https://www.youtube.com/watch?v=ytiLztvZGJg&t=1s Mein aktueller PartnerLink zum Ausprobieren - 1 Monat kostenlos Readly: https://de.readly.com/musiklegenden Mein Facebook Profil: https://www.facebook.com/markus.dreesen Mein Instagram Profil: https://www.instagram.com/markusdreesen/?hl=de Könnt mir gerne folgen, gibt da immer wieder Updates zum Podcast und sonst so ... Offizielle Playlists: https://music.apple.com/de/playlist/100malmusiklegenden/pl.u-JjM2F9Nv5z (Apple) https://open.spotify.com/playlist/6RGcoNO671nOMpYRkTTQLV (Spotify) Songvorschläge, Episodensuche und T-Shirts unter 100malmusiklegenden.de! Infos zu möglichen Werbekooperationen unter https:100malmusiklegenden.de/werbung

As broadcast August 5, 2021 complete with extra dance moves for your podcast disco feet.  We mark this date in history when The Rolling Stones went to #1 with "Miss You" by playing an edit by em vee t/n Marcel Vogel of the famed disco-infused cut & kept it in that vein for the rest of part 1 with some rarities and one very well-known 12".  We got to some new stuff to begin part 2, with tunes from Pip Millett, The Rugged Nuggets, and Holy Hive all portending new larger releases coming, then went back to the old school with Black Heat & Bobbi Humphrey doing the honors.  We rounded that off with a great new remix from Bassically of the 1982 classic "Nuclear War" by Sun Ra, and then we kissed our asses goodbye as our AMPED hour went off as usual with Dan Lloyd providing the tunes, but not being in the studio as he's on vacation for the week.  Great new tunes & covers from Amyl & The Sniffers, Poppy, Chubby & The Gang, and Weezer along with a tribute to ZZ Top bassist Dusty Hill, who passed on July 28.#feelthegravityTracklisting:Part I (00:00)The Rolling Stones – Miss You (em vee edit)Yambu – SunnyAged In Harmony – You're A Melody (extended disco vers)Cloud One – Atmosphere StrutLeo's Starshipp – Give Me The Sunshine Part II (34:15)Pip Millett – Hard LifeThe Rugged Nuggets – The Wait Is OverHoly Hive – Deadly ValentineBlack Heat – Zimba KuBobbi Humphrey – Blacks & Blues Sun Ra – Nuclear War (Bassically Kick & Bass Remix) Part III (63:53)Amyl & The Sniffers – SecurityWeezer – Enter SandmanPoppy – FluxMeet Me @ The Altar – Brighter Days (Are Before Us)Tremonti – Marching In TimePart IV (93:56)ZZ Top – La GrangeOTTTO – Ride LowThe World Is A Beautiful Place and I Am No Longer Afraid To Die – Invading the World of the Guilty as the Spirit of VengeanceAngels & Airwaves – Losing My MindChubby & The Gang – I Hate The RadioTy Segall – Harmonizer 

As broadcast August 3, 2021 with plenty of jokessss for you podcast punters.  We pay tribute to "Sunny" originator Bobby Hebb, who on this date in 2010 passed away aged 72.  Thus, what better time to play his live TV rendition of the famed song from 1972 performed with Ron Carter?  After that, Prince Paolo once again brings in his burlap sack of indie truffles freshly picked, and there's lots to go through with new tunes from 53 Thieves, Parcels, Black Marble, and a host of other very worthy candidates.  #feelthegravityTracklisting:Part I (00:00)Bobby Hebb & Ron Carter – Sunny (Live)53 Thieves – heightsVolleyball – AlooshSWANES – Hikikomori In LoveSoft Top Intrepid – Some SameBlack Marble – Somewhere Part II (35:27)Magic City Hippies - High Beams feat NafetsJoseph Reuben – DREAMLANDHylander - Crane Games (feat Laya)Parcels - ComingbackFair Visions - Modern KidsCiara O'neill - Le SoleilPart III (62:25)The Joy Formidable - IntervalDamn Jackals - Lovely NuthinForester - She SaidKingsman Khan - Just SureAbby Diamond - Cool WaterWinston Surfshirt - All Of The Little Things (feat Ramirez) Part IV (92:40)Nemo Cee - Sunday AfternoonEZIA - HandsTRINIX - She SaidYUM YUCK - Bet It AllAbbie CW - Different DesireMargot & The Midnight Tenants - I Will Make Some Noise 

Urodzeni: La Scala, Tony Bennett, B.B. Dickerson (War), Tasmin Archer, Ed Roland (Collective Soul), James Hetfield (Metallica).Zmarli: Emile Berliner, Stefan Rachoń (foto), Bobby Hebb.Nagranie z roku 2021.

La pression démographie en Afrique continue d'augmenter. Deux milliards d'habitants d'ici 2050, c'est la projection officielle si rien ne change. Or nous verrons que la tendance est plutôt positive ces dernières années. En fin d'émission nous rendrons hommage à Bobby Hebb, auteur et interprète de l'inoubliable chanson : « Sunny ». Mais tout d'abord un mot du jour de circonstance : Médaille...

As Bob Burtman would say, "Icksnay on the uck-fay" as the Parliament Funkadelic live version of "Tear The Roof Off" commenced to play.  Some songs that James Brown made famous and then decided to rerecord. Cocaine is a hell of a drug.   James Brown - I Feel Good (1975) Not the version you're used to hearing.  James Brown - Problems (1975) If you Google "James Brown" and "Problems", it will take a LONG time to get to this song.  James Brown - It's A New Day (1970) My favorite song by JB.  Parliament-Funkadelic - Tear The Roof Off (Live 1976) Do not listen if the swears offend you.  The Clash - Radio Clash (Remix) (1980) African Music Machine - Mr. Brown (1974) Chuck Brown - B.A.D. (1984) George McCrae - I Get Lifted (1974) From Wikipedia: He was about to return to college to study law enforcement, when Richard Finch and Harry Wayne Casey of KC and the Sunshine Band invited him to sing the lyrics for a song that they had recorded for the band, but could not reach the high notes that were required for the song. The original intention was that Gwen, his wife, should record it, but she was late for the session and George recorded alone. The rest is history! Finch and Casey began their decade-long chart dominance. People don't recall what a big influence the Miami Sound had on dance floors and AM radios all over the country. You just can't fake those grooves.  Jimmy “Bo” Horne - Let Me (Be Your Lover) (1978) Sampled by Stereo MC's to fine effect.  Jimmy “Bo” Horne - Dance Across The Floor (1978)  Ron Louis Smith - Make Me Know It (1978) Ronald Louis Smith is the original KC and the Sunshine Band trumpet player and the leader of the horn section and choreographer. He created all the dance moves the band was famous for. The Sunshine Band was formerly called the Ocean Liner Band. Ronald Louis Smith wrote/produced the hit disco record "Spank" artist Jimmy Bo Horne. He arranged and played the trumpet parts in the big reggae record "Buffalo Soldier" by Bob Marley. He also worked with Gloria Estefan and the Miami Sound Machine at Miami Sound Studio. Chicago - What's This World Coming To (1973) I love Chicago albums V, VI, and VII. As good a trio of records any group recorded in the '70s consecutively, except for Stevie.  Bobby Rydell - Sway (1976) This is not the original 1960 hit, but an attempt to modernize through the demon known at the time as Disco. Many, many artists rode the train to sadness. Sinatra, Sammy Davis, Kate Smith, Bobby Hebb, so so many.  Frank Sinatra - All Or Nothing At All (1977) This is not the original 1939 hit, but an attempt to modernize through the demon known at the time as Disco. Many, many artists rode the train to sadness. Bobby Rydell, Sammy Davis, Kate Smith, Bobby Hebb, so so many.  The Beach Boys - Here Comes The Night (1979)  This is not the original 1967 song, but an attempt to modernize through the demon known at the time as Disco. Many, many artists rode the train to sadness. Ringo Starr, Rod Stewart, The Hollies, so so many. Osmonds - I, I, I (1979) Produced by Maurice Gibb. No answer from Robin or Barry.  Jeff Lynne - Goin' Down To Rio (1977) From his two-sided dance single. Attendant dance steps on the cover. He was in The Move.  Bobby Hebb - Sunny '76 (1976) Neil Diamond - Dancing In The Streets (1979) Elton John - Thunder In The Night (1979) Lawrence Hilton Jacobs - Kiss and Tell (1979) Maureen McGovern - I'm Happy Just To Dance With You (1979) Sammy David Jr. - We'll Make It This Time (Theme from "Kojak") (1976) Tom Jones - Don't Cry For Me, Argentina (1979)

Kavalier House Lounge 002 01. LOU REED - Walk On The Wild Side (Rocco Raimundo Extended Edit) 02. BRONSKI BEAT – Smalltown Boy (Dan Grassler Edit) 03. SADE - Couldnt Love You More (Mr. Jools remix) 04. DIRE STRAITS - Six Blade Knife (Daniel Zuur edit) 05. BOBBY HEBB vs PAPIK - Sunny (Francesco Cofano Remix) 06. GEORGE MICHAEL, WHAM - Club Tropicana (Master Chic Mix) 07. JANE VANDERBILT - Wishing On A Star (Yan Garen Remix) 08. BILLY OCEAN - One Of Them Nights (MAM Alternative Mix) 09. SADE, SOUL CLAP & AHMED - Give It Up 10. PATRICE RUSHEN, JONAS WOOLF - Remember Thanks to all the labels and artist for their music. All tracks selected and mixed by Alex Kentucky Don't forget the opportunity to enjoy the full experience and visit us at KavalierHaus Langenargen. Encoded by MUSICZONE PODCAST SERVICES.

Michael Jackson, Nona en Bobby Hebb. Dit en nog veel meer chille muziek in Licence 2 Chill. Dat is Cooling Down, New York-style met Jeroen Kijk in de Vegte.

David “Radio Dave” Milberg, from Rare & Scratchy Rock ‘N Roll’ podcast, joined Bob Sirott to share some factoids on some of the most recognized love songs of all time. Songs that are featured: Bobby Hebb – “Sunny,” Carpenters – “We’ve Only Just Begun,” Jerry Butler – “Moon River,” Celine Dion – “My Heart Will […]

"MUSIQUE ! - Comment sont nés vos tubes préférés ?" La liste des chansons racontées puis diffusées dans l'émission : "Casatschok", Rika Zarai, 1969 "Sunny", Boney M, 1977 "Destinée", Guy Marchand, 1982 "J't'emmène au vent", Louise Attaque, 1997 "Tired of being sorry (Laisse le destin l'emporter)", Enrique Iglesias feat Nadiya, 2008 + "Dynamite", BTS, 2020 + "Belleville", Guy Marchand, 2020 + "In my bones", Ray Dalton, 2020 Extraits chansons également diffusés dans l'émission : "Katioucha", Lidia Rouslanova, 1938 "Daddy Cool", Boney M, 1976 "Rivers of Babylon", Boney M, 1978 "Sunny", Bobby Hebb, ORIGINAL VERSION, 1963 "Sunny", Bobby Hebb, DISCO VERSION, 1976 "J't'emmène au vent", Michael Greilsammer, VERSION HEBREU "Tired of being sorry", Enrique Iglesias, SOLO VERSION, 2007 "Tired of being sorry", The Ringside, ORIGINAL VERSION, 2005 "Miss you", Nadiya feat Enrique Iglesias, 2009 Réécoutez vos tubes préférés et découvrez-les sous un autre jour ! Toutes les émissions ici: soundcloud.com/yann-fadigas/sets/musique-comment-sont-nes-vos Concept: Animée par Yann FADIGAS, "MUSIQUE !" raconte dans chaque numéro la naissance des grands tubes français et internationaux par décennie des années 60 à 2010 à travers des histoires et des anecdotes. L'émission commence par les anecdotes puis la diffusion d'une chanson des années 60 puis 70, 80, 90, 2000 et 2010 pour finir par deux chansons récentes datant de la décennie actuelle. Le tout montre l'évolution musicale de ces cinquante dernières années ! Réécoutez vos tubes préférés et découvrez-les sous un autre jour ! Important: Je ne touche aucun droits d'auteur sur ces chansons. Les droits reviennent intégralement aux auteurs/compositeurs/interprètes. Diffusion: Mercredi 10h-11h sur RDL (103.5 dans le Centre Alsace) ou sur le direct du site : rdl68.fr www.vestaradio.net/playerhttps/tre…t.php?radio=271 Tous droits réservés

【嘉宾】罗罗（豆瓣@罗罗）【主播】小树（豆瓣@树儿）【剪辑】大卫【封面】咩咩【运营】ACE（微博@逍遥醉梦仙THEATRE）【文案】小树 这是一期特别的节目，小树邀请到后浪剧场的好朋友罗罗，以给彼此写信的方式复盘了一下2020年，各自找到了一个主题词：生长、重塑。 选择写信的方式，是因为这一年小树和罗罗一直在通信，不管彼此人在哪里，一直在通过有声信件交流，交流很多内心真实的想法。 至于为什么是罗罗，常听我们节目的听众都知道，罗罗的故事特别励志，她简直是后浪剧场的缪斯！ 自从2019年端午节第一次走进我们的表演工作坊之后，一年半时间，罗罗上了后浪剧场的8次工作坊，而且每一次变化都很大，变得越来越喜欢自己，越来越享受生活，从2020年9月13日开始，她又变身带领者，在后浪剧场办起了集体训练日，试图把训练中的那些美好体验传递给其他朋友，并在此过程中触发彼此人生的种种可能性。 （32分钟之后有一个话筒出了问题，部分音质会稍微差点，请大家见谅。） 本期歌单插曲：Sensitive Kind所属专辑：Gold作曲：J.J. Cale演唱：J.J. Cale 插曲：Love所属专辑：Acoustic作词：Lennon作曲：Lennon编曲：Lennon制作人：Phil Spector厂牌：Capitol Records 片尾曲：Sunny作词：Bobby Hebb作曲：Bobby Hebb改编：罗罗演唱：罗罗2019.6丁一滕表演工作坊 摄影：Ace，后期：莫急2019.7李浩表演工作坊第8期 摄影：塔苏2019.8俄罗斯戏剧工作坊 摄影：Ace2019.10王梦凡舞蹈剧场工作坊 摄影：Ace2019.11后浪X蓬蒿丨大势已去 ——关于张羞《鹅》的一次高疯朗读会 摄影：宫哲2019.12后浪剧场X中间剧场 弗兰肯斯坦表演工作坊 摄影：Ace2019.12邵斯凡表导演工作坊 摄影：Ace2019.12.24 关于罗罗的一期节目上线：https://www.ximalaya.com/renwenjp/12154265/2392163252020.6丁一滕表演工作坊2期 摄影：和英楠2020.11后浪剧场训练日day4 摄影：谢闻歌2020.12后浪剧场训练日day5 摄影：Ace【听友群】 欢迎大家加入我们的听友群，一起聊与艺术有关的一切~~入群方式：1、保存下图，用微信扫码即可加入群聊。2、在后浪剧场公众号右侧菜单栏“联系我们”点击“交流社群”，即可获得群二维码，扫码即可加入群聊。3、在后浪剧场公众号后台回复“群”“社群”“交流群”“后浪剧场听友群”，即可获得群二维码，扫码即可加入群聊。4、添加后浪剧场小浪浪vx（langpostwave），备注来源的播客平台，会邀请您入群。

【嘉宾】罗罗（豆瓣@罗罗）【主播】小树（豆瓣@树儿）【剪辑】大卫【封面】咩咩【运营】ACE（微博@逍遥醉梦仙THEATRE）【文案】小树 这是一期特别的节目，小树邀请到后浪剧场的好朋友罗罗，以给彼此写信的方式复盘了一下2020年，各自找到了一个主题词：生长、重塑。 选择写信的方式，是因为这一年小树和罗罗一直在通信，不管彼此人在哪里，一直在通过有声信件交流，交流很多内心真实的想法。 至于为什么是罗罗，常听我们节目的听众都知道，罗罗的故事特别励志，她简直是后浪剧场的缪斯！ 自从2019年端午节第一次走进我们的表演工作坊之后，一年半时间，罗罗上了后浪剧场的8次工作坊，而且每一次变化都很大，变得越来越喜欢自己，越来越享受生活，从2020年9月13日开始，她又变身带领者，在后浪剧场办起了集体训练日，试图把训练中的那些美好体验传递给其他朋友，并在此过程中触发彼此人生的种种可能性。 （32分钟之后有一个话筒出了问题，部分音质会稍微差点，请大家见谅。） 本期歌单插曲：Sensitive Kind所属专辑：Gold作曲：J.J. Cale演唱：J.J. Cale 插曲：Love所属专辑：Acoustic作词：Lennon作曲：Lennon编曲：Lennon制作人：Phil Spector厂牌：Capitol Records 片尾曲：Sunny作词：Bobby Hebb作曲：Bobby Hebb改编：罗罗演唱：罗罗2019.6丁一滕表演工作坊 摄影：Ace，后期：莫急2019.7李浩表演工作坊第8期 摄影：塔苏2019.8俄罗斯戏剧工作坊 摄影：Ace2019.10王梦凡舞蹈剧场工作坊 摄影：Ace2019.11后浪X蓬蒿丨大势已去 ——关于张羞《鹅》的一次高疯朗读会 摄影：宫哲2019.12后浪剧场X中间剧场 弗兰肯斯坦表演工作坊 摄影：Ace2019.12邵斯凡表导演工作坊 摄影：Ace2019.12.24 关于罗罗的一期节目上线：https://www.ximalaya.com/renwenjp/12154265/2392163252020.6丁一滕表演工作坊2期 摄影：和英楠2020.11后浪剧场训练日day4 摄影：谢闻歌2020.12后浪剧场训练日day5 摄影：Ace【听友群】 欢迎大家加入我们的听友群，一起聊与艺术有关的一切~~入群方式：1、保存下图，用微信扫码即可加入群聊。2、在后浪剧场公众号右侧菜单栏“联系我们”点击“交流社群”，即可获得群二维码，扫码即可加入群聊。3、在后浪剧场公众号后台回复“群”“社群”“交流群”“后浪剧场听友群”，即可获得群二维码，扫码即可加入群聊。4、添加后浪剧场小浪浪vx（langpostwave），备注来源的播客平台，会邀请您入群。

Get ready to have journey to Ibiza without leaving home, now you will have the chance to enjoy anywhere at any time the Nassau Beach Club sounds by Alex Kentucky. NASSAU BEACH CLUB IBIZA nbci212 01. BARDEUX - When We Kiss (BoomCardona Edit) 02. COL LAWTON, SKYLINE TIGERS - Love Me Better (Manuel Costela Remix) 03. FILLE V - Transcending 04. AMILLIONSONS - Misti Blu (Schmoov vocal mix) 05. BLONDISH & Climbers feat. Forrest - Back to Back 06. CRAZY P - Clouds (Original Mix) 07. HIRES & PETER DENNIS - Give Me A Sign 08. BOBBY HEBB vs PAPIK - Sunny (Francesco Cofano Remix) 09. FRANCESCO PICO & ROYAL SAPIEN - You Changed My Way (Dousk Mix) 10. PILLOWTALK - The Come Back http://www.alexkentucky.com http://www.nassaubeachclub.com Encoded and Host by MUSICZONE RECORDS

Desde Bienvenido a los 90 sentimos verdadera pasión por Mark Oliver Everett y su forma de entender el mundo, por eso hoy será el propio músico quien ponga sus canciones favoritas. Prepárate para vivir un viaje alucinante seas o no seas seguidor de Eels. Tengo que agradecer especialmente a MÓNICA por el fantástico trabajo en la traducción, sin ella no hubiera sido posible. 🙏 Suenan: 01. Aretha Franklin - The Fool On The Hill  02. Glen Campbell - Gentle On My Mind 03. Aretha Franklin - Gentle On My Mind 04. Aretha Franklin - Didn't I (Blow Your Mind This Time) 05. Lee Marvin - Wand'rin Star 06. Curtis Mayfield - Think 07. Gilberto Gil - Procissao 08. Gal Costa - Baby  09. James Brown - Something 10. PJ Harvey - The Devil 11. The Archies - Sugar, Sugar 12. The Kinks - Shangri-La   13. Prince - Good Love 14. Prince - I Wonder U 15. Prince - Alphabet St. 16. Prince - Gett Off 17. David Bowie - I Dig Everything 18. David Bowie - Kooks 19. The Faces - Glad and Sorry 20. Small Faces - Lazy Sunday 21. John Parish - Add To The List 22. Tom Waits - Chicago 13. Joe Cocker - Sandpaper Cadillac 14. Bobby Hebb - Sunny 15. Z Berg - I Fall For The Same Face Every Time 16. Fleetwood Mac - That's All For Everyone 17. Bobby Womack - Fire And Rain  18. Bob Dylan - Spanish Is The Loving Tongue Espacio patrocinado por: CARMEN VENTURA, NORBERTO BLANQUER, JORDI, ROSA RIVAS, INFESTOS, 61 GARAGE, MR.KAFFE, ISRAEL, TOLO SENT, ANXO, RAUL SANCHEZ, VICTORGB, EDUARDO MAYORDONO, BARON75, EDUARDO VAQUERIZO, LIP, ALEJANDRO GOMEZ, DANI RM, JOCIO, RULKTO, AYTIRO SAKI, MARCOS, PABLO ARABIA, CARLOS CONSEGLIERI, JEKY LOSABE, CESMUNSAL, LARUBIAPRODUCCIONES, RUBIO CARBÓN, PILAR DÍEZ, ALFONSO MOYA, JON LÓPEZ, FERNANDO MASERO, RODRIGO GUADIÁN y varios oyentes anónimos. ¡¡¡GRACIAS!! 🅱️9️⃣0️⃣

Desde Bienvenido a los 90 sentimos verdadera pasión por Mark Oliver Everett y su forma de entender el mundo, por eso hoy será el propio músico quien ponga sus canciones favoritas. Prepárate para vivir un viaje alucinante seas o no seas seguidor de Eels. Tengo que agradecer especialmente a MÓNICA por el fantástico trabajo en la traducción, sin ella no hubiera sido posible. 🙏 Suenan: 01. Aretha Franklin - The Fool On The Hill  02. Glen Campbell - Gentle On My Mind 03. Aretha Franklin - Gentle On My Mind 04. Aretha Franklin - Didn't I (Blow Your Mind This Time) 05. Lee Marvin - Wand'rin Star 06. Curtis Mayfield - Think 07. Gilberto Gil - Procissao 08. Gal Costa - Baby  09. James Brown - Something 10. PJ Harvey - The Devil 11. The Archies - Sugar, Sugar 12. The Kinks - Shangri-La   13. Prince - Good Love 14. Prince - I Wonder U 15. Prince - Alphabet St. 16. Prince - Gett Off 17. David Bowie - I Dig Everything 18. David Bowie - Kooks 19. The Faces - Glad and Sorry 20. Small Faces - Lazy Sunday 21. John Parish - Add To The List 22. Tom Waits - Chicago 13. Joe Cocker - Sandpaper Cadillac 14. Bobby Hebb - Sunny 15. Z Berg - I Fall For The Same Face Every Time 16. Fleetwood Mac - That's All For Everyone 17. Bobby Womack - Fire And Rain  18. Bob Dylan - Spanish Is The Loving Tongue Espacio patrocinado por: CARMEN VENTURA, NORBERTO BLANQUER, JORDI, ROSA RIVAS, INFESTOS, 61 GARAGE, MR.KAFFE, ISRAEL, TOLO SENT, ANXO, RAUL SANCHEZ, VICTORGB, EDUARDO MAYORDONO, BARON75, EDUARDO VAQUERIZO, LIP, ALEJANDRO GOMEZ, DANI RM, JOCIO, RULKTO, AYTIRO SAKI, MARCOS, PABLO ARABIA, CARLOS CONSEGLIERI, JEKY LOSABE, CESMUNSAL, LARUBIAPRODUCCIONES, RUBIO CARBÓN, PILAR DÍEZ, ALFONSO MOYA, JON LÓPEZ, FERNANDO MASERO, RODRIGO GUADIÁN y varios oyentes anónimos. ¡¡¡GRACIAS!! 🅱️9️⃣0️⃣

XTRAFIT Lounge 153 Alex Kentucky inspires and motivates you with his live mix from the paradise island of Ibiza. If you are in Germany, come and visit one of our fitness studios, fully equipped for all your fitness needs. Find out more: www.xtrafit.de Secret Weapons by Alex KENTUCKY: 01. SADE - Couldnt Love You More (Mr. Jools remix) 02. MARVIN GAYE - If This World Were Mine (Claes Rosen Remix) 03. PATRICK SWAYZE- She's Like The Wind (Anton Ishutin Rework) 04. GEORGE MICHAEL - Amazing (Ken Walker Remix) 05. WALLY CALLERIO -Tainted Jazz feat. Delmos Wade (Original Mix) 06. BOBBY HEBB vs PAPIK - Sunny (Francesco Cofano Remix) 07. DEPECHE MODE - Cover Me (Dixon Remix) 08. MARVIN GAYE - Whats Going On 2011 09. DAVID BOWIE & METHENY - This Is Not America (DK THIS ENGLAND MIX) 10. SUPER FLU - Super Flu 3 Isaac Thanks to all the labels and artist for his music. All tracks selected and mixed by Alex Kentucky www.alexkentucky.com Encoded by MUSICZONE PODCAST SERVICES

TRACK LIST: 01. FRANKIE BOSSY & KWAMEY - Everybody Wants To Rule The World 02. MELODY GARDOT - Our Love Is Easy (Timo Jahns Remix) 03. BARDEUX - When We Kiss (BoomCardona Edit) 04. MIKA OLSON - Illusion 05. BOBBY HEBB vs PAPIK - Sunny (Francesco Cofano Remix) 06. SADE - By Your Side (Ben Watt Lazy Dog Remix) 07. LOW DEEP T - Sunshine & Love (Eric Faria & TIMID Remix) 08. BARRY WHITE - Cant Get Enough Of Your Love Baby (Eric Faria Remix) 09. LOVERDOSE - God Save The King (Original Mix) 10. MICHAEL JACKSON, ROBERTO CALZETTA & TWIN SOUL - Get You Home Thanks to all the labels and artist for his music. All tracks selected and mixed by Alex Kentucky www.alexkentucky.com Encoded by MUSICZONE PODCAST SERVICES.

"Cuando Calienta el sol", la más famosa canción del verano, que su autor, Carlos Gastón Perez, vendió por cantidad irrisoria o "Sunny" , tan luminosa, dedicada por Bobby Hebb a su hermano muerto -el dia del asesinato de Kennedy- en la BSO. Junto a perlas del Pacifico, diamantes africanos, Beatles en lounge por Rita Lee. Sorpresas, como la de Robert Mitchum, cantando calipso o despedidas como la de Angelines Pedrós, "una de las nuestras"."El Largo y Cálido Verano", además, una película tórrida y sensual, Paul Newman del 58, para un verano caliente pero que también puede helar el corazón. Escuchar audio

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. Первая Эфирная Русскоязычная Развлекательная радиостанция в Лондоне Matryoshka Radio основана в 2015 году. В настоящее время радиостанция остаётся полностью независимой коммерческой радиостанцией, не входящей ни в один из радиохолдингов. В рамках реализации проекта Matryoshka Radio Global, кроме эфира в наиболее перспективном цифровом эфирном формате DAB в Лондоне, в 2018-м году радиостанция организовала эфирное вещание в городах Glasgow (Scotland) и Marbella (Spain). Откуда Ноты Растут Boney M - Sunny История создания песни Bobby Hebb - Sunny Bobby Hebb - Sunny Откуда Ноты Растут

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. Первая Эфирная Русскоязычная Развлекательная радиостанция в Лондоне Matryoshka Radio основана в 2015 году. В настоящее время радиостанция остаётся полностью независимой коммерческой радиостанцией, не входящей ни в один из радиохолдингов. В рамках реализации проекта Matryoshka Radio Global, кроме эфира в наиболее перспективном цифровом эфирном формате DAB в Лондоне, в 2018-м году радиостанция организовала эфирное вещание в городах Glasgow (Scotland) и Marbella (Spain). Откуда Ноты Растут Boney M - Sunny История создания песни Bobby Hebb - Sunny Bobby Hebb - Sunny Откуда Ноты Растут

Es el momento de disfrutar, Se trata de hacer nuevas las cosas antiguas.Está bien mirar hacia atrás por un momentoPor ello te invitamos a este Show con Grover Washington JrSu gran oportunidad llegó cuando el saxo Hank Crawford no se presentó para grabar con Kudu Records, la casa discográfica de Creed Taylor.2 La sesión de grabación le brindó la oportunidad de grabar su primer disco, Inner City Blues, consolidándose como músico profesional.Aunque conocido entre los músicos de jazz, no fue hasta su cuarto álbum, Mister Magic (1974), que tuvo un reconocimiento comercial. El álbum llegó al puesto número 10 en Billboard Top 40 y la canción del mismo título alcanzó el puesto 16 en las listas R&B y el puesto 54 en las listas de pop Su siguiente álbum, Feels So Good (1975), también llegó al puesto número 10. Su álbum Winelight (1980), que incluye una colaboración con Bill Withers, "Just The Two of Us", fue clasificado disco platino en 1981, y consiguió dos Premios Grammy en 1982 (Best R&B Song por "Just the Two of Us" y Best Jazz Fusion Performance por "Winelight").1Ayudó a promocionar a una nueva generación de músicos como Kenny G. Murió el 17 de diciembre de 1999 tras sufrir un infarto de miocardio en los estudios CBS en Nueva York,Fourplay and Bob James:•Piano y teclados: Bob James•Bajo: Nathan East•Batería: Harvey Mason•Guitarra: Chuck Loeb, Larry Carlton, Lee RitenourSaxo Kirk WhalumDavid Grusin & Lee RitenourContribuyó a fundar GRP Records, que se convirtió en una de las mejores compañías de jazz contemporáneo y fusión, con grabaciones de artistas como The Rippingtons, Spyro Gyra, David Benoit, Lee Ritenour y Tom Scott. Grusin continuó grabando en los '80s y '90s, en numerosos proyectos, desde la fusión y el pop a trabajar con orquestas sinfónicas. También dirigió la GRP Big Band, en bandas sonoras como "The Fabulous Baker Boys", y grabando sesiones a dúo con su hermano, Don, y Lee Ritenour.Joseph Leslie "Joe" Sample:Sample fue un pianista influido por Horace Silver y McCoy Tyner, con conceptos melódicos muy establecidos y reminiscencias de la música religiosa negra, que adoptó su estilo a las exigencias de la trayectoria musical del grupo The Crusaders. Sin embargo, cuando actuaba como acompañante de músicos de jazz, revelaba una poderosa energía de verdadero "bopper"El grupo "The Jazz Crusaders" fue formado por el trombonista Wayne Henderson, el saxofonista Wilton Felder, el teclista Joe Sample y el baterista Stix Hooper, a los que se unieron el guitarrista Roy Gaines y el contrabajista Jimmy BondJoe Mcbride:Joe ha grabado 9 álbumes como líder y ha grabado e interpretado con quién es quién del jazz, incluidos Philip Bailey, Dave Koz, Grover Washington Jr., Peter White, Rick Braun, Kirk Whalum, Jonthan Butler y la lista sigue y sigue. Ha sido uno de los favoritos en Ciudad del Cabo, Sudáfrica, donde su nueva versión de "Sunny" de Bobby Hebb con Stanley Turrentine se convirtió en un clásico del Cabo entre los fanáticos del jazz. Su último lanzamiento discográfico es "Looking For A Change" y hace que Joe vuelva a visitar las clásicas canciones y arreglos de R&B y Pop en un estilo de trío de jazz más tradicional.Para terminar con el gran productor y bajista J. Cirt Gill extraido de su único álbum Smooth for you

My guest on this episode is Joe Renzetti, who started in the studio band of the Cameo Parkway label in Philadelphia playing on hits like “Let’s Twist Again,” “South Street,” Palisades Park,” and “Limbo Rock.” He then moved to New York where he worked as an arranger on huge hits like “Sunny” by Bobby Hebb and Barry Manilow’s breakout hit “Mandy.” After a move West, Joe immediately found success in Hollywood, winning an Academy Award for The Buddy Holly Story, and scoring a wide variety of films and television shows. He won accolades for his scores on horror films like Dead & Buried, Poltergeist III, and Child’s Play, and many others. During the interview we spoke about being in the Wrecking Crew of Philadelphia, recording in mono, arrangers as mixers, making the transition from session musician to composer, and much more. On the intro I’ll take a look at new government funding to help musicians and artists, and Fender no longer using ash in its guitars.

My guest on this episode is Joe Renzetti, who started in the studio band of the Cameo Parkway label in Philadelphia playing on hits like “Let’s Twist Again,” “South Street,” Palisades Park,” and “Limbo Rock.” He then moved to New York where he worked as an arranger on huge hits like “Sunny” by Bobby Hebb […]

Der Stuttgarter Rapper Cro kam 2012 wie aus dem Nichts und schaffte es mit "Easy" gleich bis auf Platz 2 der deutschen Single-Charts. Sein Erfolgsgeheimnis: der Mix aus frischen Beats, dem lässigen Text und dem Sample aus dem Klassiker "Sunny" von Bobby Hebb. Ganz nebenbei erschuf Cro mit "Raop", seiner ganz eigenen Verbindung aus "Rap" und "Pop" gleich noch ein neues Mini-Genre.

This week music from Curtis Lee, Bobby Hebb, Kim Weston, Jackie Wilson, & Omar to name a few.Artist of the week is Otis Redding, Tune of the week, Diggin Our Discs, as well as the Chillout zone.Tune into Tizzy Terrell's Eastside Soul, every Thursday from 1 PM - 3 PM EST / 6 PM - 8 PM GMT.For a complete track listing, visit: https://thefaceradio.com Instagram: https://www.instagram.com/eastside.soulMixcloud: https://www.mixcloud.com/tizzyeastsidesoul/Twitter: https://twitter.com/eastsidesoulWeb: http://eastsidesoul.co.uk Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

In 1966 The Rolling Stones were not the giants that they would come to be in the rock world, but their third album, Aftermath would start their transformation. While their two previous albums had consisted of a significant volume of cover songs (much like the Beatles' early work), Aftermath would be the first album with all original material, primarily written by Mick Jagger and/or Keith Richards, and is considered the group's breakthrough album. Brian Jones would be a multi-instrumentalist on this album, though the estrangement from the rest of the band was already beginning to set in. He would leave the band in 1969, and die a month later at the age of 27.Brian walks us through this feature and breakout album from one of the greatest groups of the rock era. We hope you enjoy this mid-60's session. Paint it BlackThis track opens the US version of the album. As the title suggests, it is a dark, minor key song. It deals with depression, and the feelings that the individual has that he wants the world to reflect his own dark mood.Stupid GirlThis deeper cut has been used as an example of misogyny in the music of the Stones, and it is easy to see why. The inspiration is said to be Mick Jagger's rocky relationship with model and actress Chrissie Shrimpton, It's a pretty venomous, with lyrics like "It doesn't matter if she dyes her hair, or the color of the shoes she wears. She's the worst thing in the world. Well, look at that stupid girl."Lady JaneAnother deep cut, this song might be about Jane Seymour, third wife to Henry VIII, and lady in waiting to Anne Boleyn, the executed second wife of Henry VIII.Under My ThumbThis is their biggest hit off the album, and if you're looking for proof of male chauvinism in The Rolling Stones, this would be it. "It's down to me, the way she talks when she's spoken to. Down to me, the change has come, she's under my thumb." ENTERTAINMENT TRACK:The theme to the television series “Ultraman” This Japanese science fiction/monster series came to the US with English dubbed in. The show would spawn multiple adaptations over time. STAFF PICKS:“Hungry” by Paul Revere and the RaidersWayne's staff pick was produced by Terry Melcher. Melcher worked with a number of groups including The Byrds and was a session musician on The Beach Boys "Pet Sounds" He was introduced to ex-con and aspiring musician Charles Manson through Beach Boy Dennis Wilson. Later on, the Manson Family murders would take place in the home in which Melcher had been living, and which had recently been rented to Roman Polanski and Sharon Tate. Melcher believed that Manson wanted to kill Melcher when Sharon Tate was killed, and went into hiding. "Hungry" and the Manson murders made it into the film "Once Upon A Time In Hollywood." “Sunny” by Bobby HebbRob features a constantly covered classic. Hebb wrote "Sunny" in the days after the JFK assassination and after his older brother Harold was killed. He channeled his grief into a positive direction in writing the lyrics and music of this song - looking for a brighter day.“Cool Jerk” by The CapitolsBruce's staff pick from the Detroit trio was based on a dance craze called "the jerk" A particularly sexual version was known as "the pimp jerk," but the band didn't think that name would make it onto the airwaves. Instead, the called it "cool jerk." You may be more familiar with the version by The Go-Go's. It also made an appearance in "Home Alone 2."“Everybody Loves a Nut” by Johnny CashBrian features The Man in Black taking a more comedic turn. This was off his 23rd album of the same name, consisting largely of novelty songs. This one was written by Jack Clement COMEDY TRACK:"They're Coming to Take Me Away, Ha-Haa!" by Napoleon XIVYou may have heard this on Dr. Demento. The original came out in 1966.

Bobby Hebb was a unique One Hit Wonder…In 1963 he was hit by a double tragedy. John F Kennedy was assassinated on November 22, and his brother Herold was stabbed to death on November 23rd. He was down and out and looking for solace. He would write one of the most recorded songs in music history See acast.com/privacy for privacy and opt-out information.

Kyle Decker joins Josh Berman, Freedle Coty, and Conor Smith to discuss 2012’s Sunny, including filming urban in Achorage, Kyle's mild hazing of LJ, beefing with snowboarders in the Whistler backcountry, and what this movie means to them.  Go watch the movie for free at www.podcast.level1.ski to get the most out of this podcast. Intro track: “Sunny” - Bobby Hebb. First aired 9-22-19.

Après La même mais pas pareil, on avait encore des choses à dire sur Sunny. La chanson de Bobby Hebb a traversé la Francophonie, en laissant quelques pépites, alors notre chercheur en VOSTFR a creusé, et creusé, a pris le p'tit dej avec Eddy, et s'est retrouvé soudainement au Québec. Voici la deuxième parenthèse, grâce à Quoi la Baise ! L'originale : https://www.youtube.com/watch?v=tEMPwJ9ScBw La Richie Antoine : https://www.youtube.com/watch?v=0_SjvZhgtWI Les phénomènes canadiens : https://www.dailymotion.com/video/x7hc90 L'avis d'Eddy : https://www.youtube.com/watch?v=MVenuyOXmJ0 Les soeurs coquettes : https://www.youtube.com/watch?v=Wg9vptO5Ob4 Bonne dégustation à tous et faites tourner la tartine !

Après La même mais pas pareil, on avait encore des choses à dire sur Sunny. La chanson de Bobby Hebb a traversé la Francophonie, en laissant quelques pépites, alors notre chercheur en VOSTFR a creusé, et creusé, a pris le p'tit dej avec Eddy, et s'est retrouvé soudainement au Québec. Voici la deuxième parenthèse, grâce à Quoi la Baise !  L'originale :  https://www.youtube.com/watch?v=tEMPwJ9ScBw  La Richie Antoine :  https://www.youtube.com/watch?v=0_SjvZhgtWI Les phénomènes canadiens :  https://www.dailymotion.com/video/x7hc90  L'avis d'Eddy :  https://www.youtube.com/watch?v=MVenuyOXmJ0  Les soeurs coquettes :  https://www.youtube.com/watch?v=Wg9vptO5Ob4  Bonne dégustation à tous et faites tourner la tartine ! 

Vous êtes vous déjà demandé s'il y avait quelque chose avant le soleil ? Il nous est apparu en 1966, pour donner un peu d'optimisme au monde, et n'a cessé de briller depuis. Mais en fait, on l'avait déjà aperçu de l'autre côté du globe quelques mois avant. Si vous voulez comprendre d'où viennent toutes ces incohérences, venez prendre votre vitamine D, dans La même mais pas pareil. La version authentique :  https://www.youtube.com/watch?v=tEMPwJ9ScBw    La première version :  https://youtu.be/7HsRXOTRaCY  La piquette :  https://youtu.be/WMPXAlAzpxA La chère :  https://www.youtube.com/watch?v=2d8zkEVudQY L'Allemande des Caraïbes :  https://www.youtube.com/watch?v=8ywsGdyeyMY  L'auto-reprise disco :  https://www.youtube.com/watch?v=n7aJxqe83wM  L'inspiration pluviale :  https://www.youtube.com/watch?v=8DOdqOkYjtA    Bonne dégustation à tous !

On Christmas day, a friend of mine messaged me, saying that he had been reading my blogs and noticed that there was a subliminal tribute to the music my parents… Continue reading "Uncle Eddy's Mixtapes: Volume 18 – A Tribute to Eddy’s Parents"

On Christmas day, a friend of mine messaged me, saying that he had been reading my blogs and noticed that there was a subliminal tribute to the music my parents… Continue reading "Uncle Eddy’s Mixtapes: Volume 18: A Tribute to Eddy’s Parents"

Cette semaine, David vous raconte l’histoire de Sunny de Bobby Hebb (1966).   En référence, des extraits de Sunny par : • Mieko Hirota (1965) sur l’album Hit Kit Miko, Vol. 2 • Dave Pike (1966) sur l’album Jazz For The Jet Set • Bobby Hebb (1966) sur l’album Sunny et 1976 pour Sunny ’76 • Boney […]

A renowned guitarist and producer with four Grammy nominations to his credit, Denny Jiosa has worked with the likes of Phil Keaggy, Yolanda Adams, Bobby Hebb, Kirk Whalum, Chester Thomson, and Crystal Gayle, to name a few.

We touch on Nashville’s rich African American musical heritage and focus on the story of Harold Hebb and his brother Bobby, famous for writing and recording the hit song “Sunny.” Believe it or not, this is still a true crime episode.See our sources for this episode here: notrightpodcast.net/show-notes/2017/9/15/episode-22-harold-bobby-hebbTheme music written and performed by Preston Garland. If you'd like more information or your own theme song, send an email to preston.garland@gmail.comFind usFacebook: goo.gl/W87DT6Instagram: goo.gl/o6x9Dcnotrightpodcast.netPatreon: goo.gl/jH6jbaMerch: goo.gl/Lxm2vmnotrightpodcast@gmail.com

Robert ten Brink brengt om 21:00 uur een heerlijk uurtje RadioRobert op 40UP Radio. Muziek van George Harrison, Paul McCartney, John Lennon, Amy Winehouse, Tim Hardin, Bobby Hebb en Billy Holiday.

Für Boney M war "Sunny" 1976 der zweite Nummer-eins-Hit in Deutschland. Das Original von Bobby Hebb ist 1963 entstanden und wurde zu einem der meistgecoverten Titel der Popgeschichte. Der Song hat einen traurigen Hintergrund.

Today Dave and Kellen sit down and play some tunes from across the musical spectrum, featuring Vampire Weekend, Bobby Hebb, Jackie Mittoo, The Police, Jay Z, The Beatles, Dave Swirsky, Jeff & Spencer Tweedy, Leo Sayer, Luis Enrique, Linda Jones, and ZIDtheKID!SUBSCRIBE: iTunes TWITTER: @MusicFirstPcastFACEBOOK: Music First PodcastEMAIL: MusicFirstPodcast@gmail.com