Podcast appearances and mentions of bobby smith

My co-host today is expert fisherman Jay Angel.  Jay host a podcast Let's Talk Fishing. You can watch his podcast live on Wednesdays 6 PM central time, or recorded anytime  Lets Talk Fishing with Jay AngelNational Siblings day.  Entertainment from 2003.  Mt. Tambora erupted created year without a summer, Fastest wind speed ever measured, Safety pin invented1st human shot out of a cannon.  Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Seagal, Brian Setzer, Orlando Jones, Mandy Moore, Haley Joel Osment, Daisey Ridley.  Sam Kinison died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ We are family - Sister SledgeIn da club - 50 CentHave you forgotten - Daryl WorleyPurple people eater - Sheb WooleyWorking my way back to you babe - The SpinnersRock this town - Stray CatsI wanna be with you - Mandy MooreWild thing - Sam KinisonExit - It's a southern thing - Shane Owens    https://shaneowensmusic.com/about/countryundergroundradio.comhttps://www.coolcasts.cooolmedia.com/

On this week's episode of Eco Insights, Joe speaks to Bobby Smith of Energy Storage Ireland about the topic of energy storage Hosted on Acast. See acast.com/privacy for more information.

We loved talking with our radio colleague Bobby Smith from B101 Philly about the Philadelphia Eagles winning the Super Bowl!

David, Sue and Kendra had some fun with our radio colleague, Bobby Smith, at our sister station B101 PHILLY about the BIG GAME happening on Sunday!

Real centre forwards were old fashioned battering rams like Nat Lofthouse, Ted Drake of the great Arsenal side of the 1930s and Bobby Smith the rampaging leader of the Spurs double winning attack.  As football has become more skilful, they have largely been replaced by False 9s as they are now called or deep-lying centre forwards as they were in the days of Don Revie and the Hungarian Hidegkuti.  Jon Holmes, Patrick Barclay and Jon Holmes panel discuss the impact on the game of the change and surprisingly all three of them retain a nostalgic love of the centre forwards of their youth. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It is time for the eight episode of our newest feature on Morning Focus, Energising Clare. This new feature will be about educating you, the listener, on renewables. On this week's episode, Alan Morrissey was joined by the Head of Energy Storage Ireland, Bobby Smith and Joseph Devlin, who is Senior Analyst at Energia Group to discuss energy storage & green hydrogen.

Today, ESB Networks has announced that it has 1,000 MW (one Giga Watt) of electricity storage connected to Ireland's network. This figure includes 731.5 MW of battery storage projects and 292 MW from Turlough Hill pumped storage power station - which is celebrating its 50th anniversary this year. Energy storage facilities are connected across the grid, to both the Transmission and Distribution systems, managed by EirGrid and ESB Networks. One Giga Watt of energy storage is enough to power the equivalent of approximately 450,000 homes for one hour, typically during peaks in demand or when frequency support is needed at times of low levels of renewable generation. For context, the peak demand on Ireland's electricity system is approximately 5.5 GW. Electricity storage systems such as utility-scale battery projects also provide essential backup services to the grid that help to keep the electricity supply secure, reduce carbon emissions and ultimately reduce costs to the consumer. With a strong pipeline of further energy storage projects, Ireland's electricity system is becoming more flexible and agile, facilitating the greater integration of cheaper renewable wind and solar power necessary to decarbonise the electricity system and meet Ireland's climate targets. Eamon Ryan TD, Minister for the Environment, Climate and Communications, said: "Ireland is on a journey that will see us reduce our reliance on imported fossil fuels in the move to cleaner sources of energy. Energy storage, like the large-scale battery projects we are seeing emerge across the country combined with the technology at sites like ESB's Turlough Hill, will be crucial to providing more affordable, sustainable electricity and ensuring security of supply. 1 GW is an incredible milestone but the growth in energy storage projects simply must continue for the benefit of all across society and the wider economy to allow us to effectively balance our new, homegrown supply of clean electricity." Nicholas Tarrant, Managing Director of ESB Networks, commented on the importance of this on the country's journey to net zero: "This really is a significant milestone for us at ESB Networks and our partners involved in connecting one Giga Watt of energy storage to Ireland's electricity network. The figure includes sites like ESB's Turlough Hill hydroelectric station, but what we have seen in recent years is a major push by the wider industry to deliver large-scale battery energy storage projects that we have been able to support through network connections. As this will no doubt continue, we at ESB Networks are proud to be playing our part in helping to deliver the infrastructure required on the journey to a net zero future where clean sources of electricity backed by flexible storage options will be the cornerstone of a cleaner electricity system for Ireland." Bobby Smith, Head of Energy Storage Ireland, remarked: "Energy storage is a key enabler of our clean energy future, and this achievement is a big step on that journey. Our members are delivering the energy storage projects alongside ESB Networks that are needed to reduce the use of fossil fuels and drive down energy prices while ensuring a secure, stable electricity system. The energy storage industry is ready to help deliver on Ireland's net-zero ambitions."

Energy storage is one of the fastest growing segments within the power sector. This growth is mainly driven by battery storage, but other forms of energy storage such as green hydrogen are also becoming prominent, all of which will prove crucial to unlocking Ireland's full renewable potential.   By developing more energy storage capacity, Ireland can reduce dependence on fossil fuels more rapidly, ensure lights stay on and help reduce energy costs. Although battery storage is an established and proven technology, the potential of energy storage is not yet well known in Ireland.   Last September, a KPMG report commissioned by ESI and Greentech Skillnet outlined that the energy storage sector has a key role to play in helping Ireland reduce carbon emissions and provide cleaner, cheaper energy to Irish consumers. It also stated that the sector could create thousands of new jobs by 2035. One person who can provide insights into this is Bobby Smith, Head of Energy Storage Ireland and Ronan recently spoke to him. Bobby talks about his background, what Energy Storage Ireland does, the KPMG report commissioned by ESI and Greentech Skillnet and more. More about Energy Storage Ireland: Energy Storage Ireland represents over 50 organisations from across the energy storage supply chain, and their members include both private sector enterprises and state-owned companies such as Coillte and the ESB.

Energy storage is one of the fastest growing segments within the power sector. This growth is mainly driven by battery storage, but other forms of energy storage such as green hydrogen are also becoming prominent, all of which will prove crucial to unlocking Ireland's full renewable potential. By developing more energy storage capacity, Ireland can reduce dependence on fossil fuels more rapidly, ensure lights stay on and help reduce energy costs. Although battery storage is an established and proven technology, the potential of energy storage is not yet well known in Ireland. Last September, a KPMG report commissioned by ESI and Greentech Skillnet outlined that the energy storage sector has a key role to play in helping Ireland reduce carbon emissions and provide cleaner, cheaper energy to Irish consumers. It also stated that the sector could create thousands of new jobs by 2035. One person who can provide insights into this is Bobby Smith, Head of Energy Storage Ireland and Ronan recently spoke to him. Bobby talks about his background, what Energy Storage Ireland does, the KPMG report commissioned by ESI and Greentech Skillnet and more. More about Energy Storage Ireland: Energy Storage Ireland represents over 50 organisations from across the energy storage supply chain, and their members include both private sector enterprises and state-owned companies such as Coillte and the ESB. See more stories here. More about Irish Tech News Irish Tech News are Ireland's No. 1 Online Tech Publication and often Ireland's No.1 Tech Podcast too. You can find hundreds of fantastic previous episodes and subscribe using whatever platform you like via our Anchor.fm page here: https://anchor.fm/irish-tech-news If you'd like to be featured in an upcoming Podcast email us at Simon@IrishTechNews.ie now to discuss. Irish Tech News have a range of services available to help promote your business. Why not drop us a line at Info@IrishTechNews.ie now to find out more about how we can help you reach our audience. You can also find and follow us on Twitter, LinkedIn, Facebook, Instagram, TikTok and Snapchat.

National Siblings day.  Entertainment from 1971.  Mt. Tambora erupted created year without a summer, Fastest wind speed ever measured, Safety pin invented1st human shot out of a cannon.  Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Seagal, Brian Setzer, Orlando Jones, Mandy Moore, Haley Joel Osment, Daisey Ridley.  Sam Kinison died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Geico commercialWe are family - Sister SledgeJust my imagination - The SpinnersEmpty arms - Sonny JamesBirthdays - In da club - 50 CentPurple people eater - Sheb WooleyWorking my way back to you babe - The SpinnersRock this town - Stray CatsI wanna be with you - Mandy MooreWild thing - Sam KinisonExit - Its not love - Dokken 

North Portland's Albina neighborhood used to be home to a thriving music scene, where Black musicians would perform nightly in nightclubs and community spaces. Urban renewal bulldozed many of those neighborhoods in the '60s and '70s, but thanks to the Albina Music Trust, we're now all able to dig into the past through a new digital community archive. Today we're talking with the project's lead archivist Bobby Smith and Norman Sylvester, a longtime musician who grew up playing in the Albina music scene.  Links From Today's Show: Rated X performing “Rated X” from the Albina Community Archive Events:  Norman Sylvester at iliani Casino, March 21 Norman Sylvester at Waterfront Blues Festival, July 4 - 7 Albina Music Trust at Summer Free For All Save the Date: Albina Music Trust and the Interstate Firehouse Cultural Center present: “Time Sound,” August 24 Become a member of City Cast Portland today! Get all the details and sign up here.  Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

Earlier this month, the Albina Music Trust launched a digital archive containing thousands of photographs, audio recordings and film and video clips documenting the culture and history of the Albina neighborhood. Black Portlanders built a thriving community in the Albina until redevelopment projects such as the construction of the I-5 freeway more than 60 years ago destroyed the neighborhood, shuttering businesses, demolishing homes and displacing residents. The Albina Community Archive is more than just a repository of sights and sounds from a bygone era. It also helps keep that history alive by allowing users to add their own memories or information about a photograph or recording. Joining us to talk about the archive is Bobby Smith, co-founder and lead archivist of the Albina Music Trust, and Ken Berry, co-founder and emeritus consulting producer of the World Arts Foundation, who donated items from his personal collection to the archive.

Albina in its heyday was a mecca for music in Black Oregon, and the Albina Music Trust is dedicating to preserving the music and the memories. Bobby Smith, Albina Music Trust Co-Founder (with Calvin Walker) is the lead archivist and producer of the trust's various projects.

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We're back after a week off with episode 15 — The Bob­by Smith! The fel­las tell you about this for­mer North Star, Hab and Ottawa 67 who had a tidy lit­tle career, putting up almost a point per game dur­ing his 1000 plus game career! He was the first (???) Nova Sco­tia born play­er to go #1 over­all, and it's true that he once even beat the Great One in a scor­ing race by 10 points — nice job Robert! Then we break down the recent devel­op­ments in the hor­ri­ble Team Cana­da scan­dal in con­nec­tion with an inves­ti­ga­tion into an alleged sex­u­al assault by sev­er­al mem­bers of Canada's 2018 world junior team. And final­ly, the Win­nipeg Jet's recent swoon has got­ta have fans feel­ing a lit­tle déjà vu — can Old Bones right the ship post-All Star Break?

You are listening to the LA Artist Aftershow! Where we chat with artists about anything and everything, most of which we probably forgot to mention during the podcast, so this is all bonus content just for you! Welcome to the cooking section of the show haha we start talking about our favorite foods and how they influence us. We like food and enjoy the process of cooking and the satisfaction of doing it. Follow Artist on these platforms: https://www.instagram.com/onlyrobertcsmith/ www.robertchristophersmith.com http://www.vengeanceturns.com/ Follow the Host: https://www.instagram.com/mrdavidruano Follow the Podcast at: Instagram@LAArtistPodcast Instagram@LosRuanoGallery Official Podcast Wesite: http://laartistpodcast.com/ Official LA Artist Podcast Merch HERE

Bobby Smith is a Consultant Child & Adolescent Psychiatrist who is clinical lead at three adolescent addiction services in Dublin. He is also a Clinical Professor in Trinity College Dublin. He is a member of the National Oversight Committee of the National Drugs Strategy. After leaving Clongowes in 1985, he studied medicine in UCD. His career as a doctor has involved periods of time working in Dublin, Waterford, Liverpool & Brisbane. He is a husband to Mary, stepdad to two adult children and has two teenage sons. Enjoys cycling & snowboarding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/portraitsofclongowes/message

Misguided Saltwater Fishing Podcast EP 3.10 welcomes Capt Bobby Smith, proprietor of Savage Inlet Oysters. Bobby has been fishing out of the Oregon Inlet Fishing Center since 1985. To say he is a waterman is an understatement. Bobby not only owns and operates the Fishing Fool, an inshore charter boat, but also has an oyster growing operation as well.  There are not many people that can say they spend more time on the water than Bobby Smith. Savage Inlet Oysters have quickly become the standard for oysters on the Outer Banks of North Carolina.

"The Melodic Journey of Ronnie 'Raheem' Moss: From Flint to Fame with The Spinners"In this captivating episode of "The Travel Wins" podcast, we embark on a musical odyssey with Ronnie "Raheem" Moss, whose extraordinary journey from the streets of Flint, Michigan, to the global stages with The Spinners is nothing short of inspiring. Over the past decade, Ronnie has not only been a pivotal member of this iconic group but has also immersed himself in the cultural tapestry of each location they've toured.Ronnie's story begins in Flint, where his exceptional skills as a singer and percussionist first illuminated his path to musical fame. His early days with The Velvetones, a revival of the legendary group, set the stage for his future endeavors. His talents were further showcased through collaborations with prominent jazz bands like Masterpiece and Orange Lake Drive.Marvin Taylor of The Spinners recognized Ronnie's extraordinary talents, leading to his inclusion in the group after the passing of co-founder Bobby Smith in 2013. Since then, Ronnie has been an integral part of The Spinners, contributing to their rich legacy of soul and rhythm. In a crowning moment of their illustrious career, The Spinners were inducted into the Rock'n'Roll Hall of Fame this year, a testament to their enduring influence and contribution to the music world. This prestigious recognition not only honors their decades of soulful melodies and rhythmic brilliance but also highlights the impactful journey of each member, including Ronnie 'Raheem' Moss. Ronnie's role in the band has been pivotal in maintaining their legacy while infusing new energy into their performances. The induction into the Hall of Fame is not just a milestone for The Spinners; it's a celebration of their journey from being a beloved Motown ensemble to becoming icons of the music industry. This honor reflects their exceptional talent and the deep connection they've forged with fans across generations, resonating with a spirit that transcends time and trends.His approach to touring is unique; Ronnie takes extra time to delve into the local culture, history, and music of each destination. This enriches his experience and influences his musical style, blending traditional Spinners' sounds with the diverse influences he gathers from around the world.Join us in this episode as we explore the last decade of Ronnie's travels with The Spinners, a journey filled with music, discovery, and the endless pursuit of harmony, both in sound and in life.

Prepare to be enlightened on a transformative journey with Bobby Smith, the dynamic force steering Powur to its status as America's fastest-growing residential solar company. With a rich background spanning from medical education to founding the National Cancer Foundation, and as one of the world's top direct sales professionals, Bobby's expertise shines bright in the realm of solar.In this episode, we dive deep into the strategies, challenges, and leadership ethos that have driven Powur's unparalleled growth. Bobby shares glimpses into the vision and ambition of Jonathan Budd, Powur's enigmatic CEO, who has been a key figure in shaping its trajectory. Get insights into Powur's forward-thinking ventures, from the renewable energy forefront to the electric vehicle sector, and even HVAC innovations.Climate change isn't just a global concern for Bobby; it's personal. Listen to his heartfelt narrative involving his daughter, underscoring the urgency to address this existential challenge. A staunch advocate for education, Bobby emphasizes the importance of instilling environmental consciousness in the next generation, seeing them as custodians of our planet's future.The episode wraps with pearls of wisdom on the potency of a positive mindset in determining success. Bobby also decodes the game-changing role of online reviews in today's sales landscape and delves into the symbiotic relationship between timing, leadership, and business model in evaluating golden opportunities.Whether you're a nascent solar enthusiast, an entrepreneurial spirit, or a seasoned sales maven, this episode promises a treasure trove of insights, inspirations, and invaluable lessons. Ready to be powered up by the best in solar? Tune in!

Join David Oldfield, Chris Dayton and Bobby Smith as they discuss what God did through our time of worship and message on Sunday, July 30th! we pray that this encourages you! _________________________ STAY CONNECTED Website - https://www.pottershouse.org Potter's House Instagram - https://www.instagram.com/pottershousecolumbus/ Potter's House Facebook - https://www.facebook.com/pottershousecolumbus Potter's House Twitter - https://twitter.com/phcolumbus ABOUT POTTER'S HOUSE Potter's House is a place where broken people find wholeness and community through His presence, prayer and process. To help them grow in their identity, to identify God's design for their life and step into the fullness of God's Kingdom. To find a campus near you, go to: https://www.pottershouse.org/allcampuses Give Online - https://onrealm.org/pottershouse/-/give/now Subscribe to receive the PH Newsletter: https://www.pottershouse.org/newsletter Potter's House School of Ministry - https://www.pottershousesm.org/ PH Sunday Recap - July 30th | Pastor Michael Oldfield | Potter's House - Columbus

It was a beautiful sight, they were happy that night, at Tori's Winter Wonderland wedding! As you may have figured out, this week we are snowballing right into Tori Bates wedding to Bobby Smith. Listen in for the Twilight easter eggs and all the snowy trees you could want. Enjoy!

Bobby Smith ses crée sa réputations lors de sont passage dans le club de Tottenham chez ce dernier il fera des ravage finissant a quelque reprise deuxième ou troisième du championnat d'Angleterre gagnant le championnat a deux reprise aussi des coupe d'Angleterre gagné des coupe de d'Europe bref chez les bleus de Chelsea et chez les spurs il c'est crée un vrais de vrais palmarès en sélections des différance d'opinions avec certains dirigeant de la fédérations feront que il n'a pas pue espéré mieux de 15 petit cape international pour 13 but marqué la fin de sa carrière a aussi faut savoir été miné par l'addictions au paris sportif et a l'alcool des problème de beaucoup d'autre joueurs après lui aurons malheureusement allé je vous laisse écouté de nouveaux numéros de grand joueurs bonne lecture les amie.

Clinton continues his conversation with Bobby Smith of Rod Patrick Bootmakers and Miller International. Bobby discusses the lessons he learned on the road as a sale rep and shares tips for aspiring business owners and brand ambassadors.

Clinton visits with longtime horseman Bobby Smith who is president of Rod Patrick Bootmakers and vice president of Miller International. Bobby shares how growing up on the Quarter Horse show circuit put him on track for establishing a successful career.

Bobby Smith, clinical professor with the Department of Public Health in Trinity College Dublin and a consultant child and adolescent psychologist specialising in addiction services, Aodhan O'Riordan, Labour spokesman for justice and former Minister of State with responsibility for drugs

National dingus day. Pop culture from 1999. One of biggest volcanic eruptions in recorded history, safety pin invented, NY requires syphillis testing before marriage. Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Segal, Brian Setzer, Orlando Jones, Haley Joel Osment, Mandy Moore, Daisy Ridley. Sam Kinison died.

Arizona Coyotes prospect Logan Cooley is one of the 2023 Hobey Baker Award finalists alongside Minnesota Golden Gophers teammate Matthew Knies and top NHL draft prospect Adam Fantilli. Who is primed to win the top individual prize in men's NCAA hockey? And just how much does the award matter for NHL hopes? On this college-centric episode of the PHNX Coyotes Podcast, Petey, Craig and Leah take a look at the history of the Hobey Baker Award, its nominees, winners and the trajectory of their NHL careers! 0:00 Intro 3:00 Discussing the Hobey Baker award 10:30 Bobby Smith and the keynote speech 17:30 Current Hobey Baker nominees 23:45 Past winners of the Hobey Baker award 29:20 Minnesota houses the most Hobey Award winners An ALLCITY Network Production WATCH YOUR FAVORITE TEAMS HERE: www.fubotv.com/phnx SUBSCRIBE to our YouTube: https://bit.ly/phnx_youtube ALL THINGS PHNX: http://linktr.ee/phnxsports BetMGM: Download the BetMGM app and sign-up using bonus code PHNX (https://mediaserver.betmgmpartners.com/renderBanner.do?zoneId=1693757). Place a pre-game, moneyline wager in the amount of at least $10 on any market at standard odds price. You will receive $200 in Bonus Bets instantly regardless of the outcome of your wager! Just make sure you use bonus code PHNX when you sign up! Gambling problem? Call 1-800-GAMBLER (CO, DC, IL, IN, LA, MD, MS, NJ, OH, PA, TN, VA, WV, WY). Call 877-8-HOPENY or text HOPENY (467369) (NY). Call 1-800-327-5050 (MA) 21+ to wager. Please Gamble Responsibly. Call 1-800-NEXT-STEP (AZ), 1-800-522-4700 (KS, NV), 1-800-BETS-OFF (IA), 1-800-270-7117 for confidential help (MI). Visit BetMGM.com for Terms & Conditions. US promotional offers not available in DC, Nevada, New York or Ontario. PHNX: Our new PHNX Coyotes x Four Peaks collab shirt is now LIVE! Grab yours now at https://phnxlocker.com/products/four-peaks. Plus, join us for our Season Wrap Party at Four Peaks' 8th Street Pub before the Yotes' season finale on April 13th starting at 5pm. Wear your new PHNX Coyotes x Four Peaks t-shirt and you'll receive drink specials all night long! Four Peaks: Drink, eat, find, and experience Four Peaks at https://www.fourpeaks.com/. Must be 21+. Enjoy responsibly. Manscaped: Get 20% Off and Free Shipping with our code PHNX Bets at Manscaped.com. Circle K: Make sure you're not missing out on all this great stuff, and be stocked all March Madness long! Head to https://www.circlek.com/store-locator to find Circle Ks near you! OGeez!: Learn more about OGeez! at https://ogeezbrands.com//. Must be 21 years or older to purchase. Mor Furniture: Save big on the best furniture in the Valley when you head to https://morfurniture.com! Roman: Go to https://ro.co/PHNX today to get 20% off your entire first order. When you shop through links in the description, we may earn affiliate commissions. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Note: The Hockey News On The 'Q' and each of THN's podcasts are moving to new dedicated podcast channels! Visit this link to find where to subscribe to THN On The 'Q' on your preferred platform: https://thehockeynews.com/podcast/thn-on-the-q-mooseheads-sold-and-coyotes-prospects On this week's edition of The Hockey News on the 'Q' with Will MacLaren and Jamie Tozer: - The Halifax Mooseheads have a new principal owner as Bobby Smith has sold the franchise to Michigan businessman Sam Simon. How does this affect the Mooseheads and the sale of CHL franchises going forward? - The Moose have also lost forward Zachary l'Heureux for 10 games due to his incident with a fan two weeks ago. Does the punishment fit the act? - With a month to go in the regular season, Will and Jamie discuss the race for the final playoff spots in the QMJHL. - The guys go back to the mailbag to answer your questions. - The Arizona Coyotes boast QMJHL players and alumni at all levels of its system, including three players currently suiting up in the league. - This week's 2023 NHL draft prospect of the week is goaltender Quentin Miller, who has posted impressive numbers between the pipes for the powerful Quebec Remparts.

ALL THE VIDEOS, SONGS, IMAGES, AND GRAPHICS USED IN THE VIDEO BELONG TO THEIR RESPECTIVE OWNERS AND I NOR THIS CHANNEL CLAIMS ANY RIGHT OVER THEM.THIS SHOW IS INTENDED FOR ADULTS AND MATURE AUDIENCES!!!LORD WE THANK YOU FOR OUR GIFTS!!!Mic Talkers, get ready for it! Special guests: Paul K, Ivory, and Bobby Smith! MIC TALKERS, THIS IS FOR YOU!

Hey. I have recovered enough from back surgery to make it over to my desk and start a whole new round of Coffeeshop Conversations episodes via Skype and other methods. I hope to be sitting in the Artichoke Café in another month. I said hope to. I know that today our guest is Bobby Smith, XRAY radio DJ (and he'll make some news about that). He's archivist for the Albina Music Trust who, along with World Arts Foundation will be presenting a series of concerts and discussions and spoken word events all over town this summer. They're calling it Summer of Sound. It's a celebration of Portland's Black music…past and present. We'll find out all about that and all of Bobby's fine work. Meet Bobby Smith.

Memorial Day is a day of remembrance. Tracy Pressley interviews Dave Branch to open our service and Bobby Smith leads the message.

Through this series, we're taking a deeper look at the four guiding values that define who we are as a church family. This week's: We practice extravagant generosity.

Through this series, we're taking a deeper look at the four guiding values that define who we are as a church family. This week's: We encourage each other to take Next Steps.

Through this series, we're taking a deeper look at the four guiding values that define who we are as a church family. This week's: We love our neighbors and welcome them home.

Simple Rhythms is designed to give you a simple and steady diet of God's Word. We want you to be consistent in your Bible in-take and application.

This week, Bob and David are doing something a little bit different during the episode. They'll be talking about Bob Iarusci's Ultimate XI — Bob's pick of the best 11 players he played alongside. Bob explains his decisions around why he chose which players. The names on this team are simply unreal, talk about a list of exceptional talent...but who made the final cut? On this episode: ● The formation Bob chose when forming his team. ● Who Bob chose for his goalkeeper and why. ● How ball distribution changes over time have influenced goalkeepers today. ● How many seasons Bob played alongside his chosen goalkeeper. ● One of the strongest defenders Bob ever played with or against. ● The important, intangible skills and characteristics every team needs. ● Who Bob calls Canada's finest talent of all time. ● The players David was sure Bob would pick. ● How Carlos Alberto acted like glue for the Cosmos team. ● The skill most great defenders have. ● How Carlos Alberto influenced who ended up on the field. ● What made Bobby Smith indispensable. ● The players Bob left out of his picks and why. ● Why it's surreal for Bob to share and explain the people he played with. ● The player who broke curfew and ended up in exile. ● Why Wim Jansen didn't make it on the team but deserve to be mentioned. ● The mentors Bob had in Toronto. ● One of the few players capable of slide tackling on artificial turf. ● The relationship Bob had with Eusébio and why he calls him a friend. ● Who showed up to Eusébio's tribute game in Portugal. ● The player that always showed up with a big entourage. ● How misconceptions built up between opposing players. ● Bob's pick for the manager of the team.

We had such a blast reconnecting with Helen Hayes Award winning actor, Bobby Smith! We chat about Titanic, Midwestern Gothic, Forever Plaid, and just life in general in these two Pandemic years. Grab your “nabs” for a snack and listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/connerandsmithshow/message

Episode LVIII: Of all people, the person not named BOBBY SMITH got a piece of his identity stolen. Zach and Bobby answered last week's question, shower farts are scaled, gas prices are insane and fake watches in films are not helping the watch culture at large. The boys drop the scoop on their solid weekend chillin' with the crew at Short Fuse Brewery! Stay Saucy… --- Support this podcast: https://anchor.fm/alwayssaucy/support

For the inaugural episode of Spotlight I interviewed Bobby Smith and Calvin Ross the owners of Upstage Comedy Lounge. Its a brand new comedy spot here in my hometown of San Antonio. Check out this interview and whenever you're in town be sure to check out a show and let them know you heard about them here. Support Upstage Comedy Lounge - Hit the links!!! WEBSITE : https://www.upstagecomedylounge.net/ FACEBOOK : https://www.facebook.com/Upstagecomedy/ TWITTER : https://twitter.com/bsmittyc Visit our sponsor : https://www.nomadnetwork.app/chingasos Email me for interview suggestions : loslibertinos@gmail.com Follow Los Libertinos on Social Media: https://www.facebook.com/LosLibertinos https://twitter.com/llibertinos https://www.youtube.com/channel/UCBfYYGqx0SFaJ1EnY-RFhqw

On this week's podcast:What Gaz got wrong last week in particularRTV UpdateShout Outs: Happy birthdays to Rob Ferguson and Ishbel Searle!Congratulations to Bobby Smith on being inducted as NARSA Honorary PresidentThanks to my nephew, Paul!Las Vegas 2022: Tickets just about ready to get out there (for real)NARSA 2023: Toronto Midtown RSCOther business:George Davison Sarnia RSC - looking likely to close their doors  Vancouver Downtown RSC have a new home!Interviews: Andy Gray interview coming later this weekCommunications recap:Recap of meeting with Rangers' SLO, Greg MarshallTav's open letter to fans about continuing to take the kneeHeart & Hand: Official Media Partners with RFC - what is it, and why is it good for Rangers?Stewart Robertson interview on RTV: https://www.rangers.co.uk/video/video-new-stewart-robertson-interview/3xjHWlKRsyfhMXuPT5nJLXUEFA Goal of the Season (Roofe finished 3rd) - https://www.uefa.com/uefachampionsleague/news/026b-12dea8d6ba9f-2281d9f217f8-1000--taremi-wins-goal-of-the-season/Managers Dinner: Competition on its way! Please share with your membership. This will also be shared on our new Facebook and WhatsApp groups, and via our social media too. It can also be downloaded on whatever podcast platform you use.

Mary Kate and Adam Feit - The Do-It-All Strength & Conditioning Couple. Mary Kate and Adam just finished their PhD work at Springfield College, where they are professors and coaches in the Strength & Conditioning Department. Both Mary Kate and Adam have years of experience in the field at all different levels. Mary Kate grew up training and working at Mike Boyle Strength & Conditioning and went on to work at University of Iowa, University of Louisville, and several different private facilities. Adam has worked at several different Division 1 football programs, the Carolina Panthers, and both Adam and Mary Kate started RYPT with Bobby Smith in New Jersey. Mary Kate and Adam bring loads of experience and information to this conversation. Adam discusses how they help their children make more informed, independent decision rather than telling them what to do, and Mary Kate discusses the importance of female mentorship in the S&C profession so that young female coaches know that being a mom and a strength coach is a possibility.

Lou Nanne had decided he would leave his position as senior vice president for the North Stars in April 1991 to take a job in the corporate world. But Lou's plans changed, at least temporarily, when the North Stars went on a shocking run to the Stanley Cup Finals. In this episode, Lou recalls how the North Stars got on a roll, how gratifying it was to see Mike Modano and Bobby Smith involved in the success and if it was odd to watch Bobby Clarke and Bob Gainey running the show. Yes, Louie also tells some fantastic Norm Green stories.