Podcasts about bout you

1) Lil Nas X & Jack Harlow - INDUSTRY BABY 2) Ookay & Fox Stevenson - Lighthouse 3) Messiah, Nicky Jam Y Ozuna - Millonario (Remix) 4) KingJet - Zone 5) Tyga - Mrs. Bubblegum (DJCiRCLE K Edit) 6) Whales ft Dutch Melrose - Souvenir 7) Fabolous ft Nate Dogg vs Ape Drums - Can't Deny It Bootleg 8) Sean Paul & J Balvin - Contra La Pared 9) Young Thug & Chris Brown - Go Crazy 10) Andy Mineo - Momma Taught Me 11) Tory Lanez ft Snoop Dogg - Beauty In The Benz  (Twerk Remix) 12) Terror Squad ft Fat Joe - Lean Back (Robin Roij Bootleg) 13) Bobby Brown - Don't Be Cruel (MR. COLLIPARK Remix) 14) The Notorious B.I.G. - Hypnotize (Dennis Blaze Go Brooklyn Party Break) 15) Dennis Blaze - James Brown Tribute 16) Silk Sonic, Bruno Mars & Anderson .Paak - Skate 17) Justin Timberlake ft Clipse - Like I Love You 18) Dua Lipa - Break My Heart (Moon Boots Remix) 19) The Weeknd - Take My Breath 20) Schmarx & Savvy - Somebody Real 21) Drake vs BIJOU & Party Favor - All Me 22) Matroda - Forget It 23) Niko The Kid (feat. Tia Simone)- Thinkin' Bout You 24) EDX feat Jess Ball - Neptune (I Found You) 25) Moodshift ft Oliver Nelson, Lucas Nord & flyckt - Dang 26) Seeb ft K Camp, Tim North & Marty James - Run It Up 27) CID & Kaskade - Sweet Memories 28) Audien feat. Lady Antebellum - Something Better 29) SNBRN & Autograf - Move All Night (feat. Kole) 30) Y2K & bbno$ - Lalala (Oliver Heldens Remix)

Tercera entrega de canciones con banjo de protagonista o de base principal. Earl Scruggs uno de los grandes del instrumento que nos dejó hace 9 años. The Hillbenders llevando al blue grass la ópera-rock “Tommy” de Pete Townshend. Un momento cinematográfico con Kirk Douglas. Taylor Swift revisando su álbum más popular y retomando hacia las raíces. ¡Prefab Sprout y los sueños de vaqueros! Kacey Musgraves, Nanci Griffith… Mumford & Sons elogiados por Emmylou Harris por haber ha impulsado la importancia del banjo… Y atención a esa maravilla que cantan Emmylou y Linda con las hermanas Kate y Anna McGarrigle, tocando el banjo Kate. Y Bruce Hornsby y The Nitty Gritty Dirt Band preguntándose de nuevo s DISCO 1 THE ELMER SNOWDEN QUARTET Midwest Gospel Radio (Cara 1 Corte 1) DISCO 2 THE HILLBENDERS Pinball Wizard (12) DISCO 3 MUMFORD & SONS I Will Wait (3) DISCO 4 EMMYLOU HARRIS, LINDA RONSTADT & KATE & ANNA MCGARRIGLE Golden Ring (CD 3 - 10) DISCO 5 YONDER MOUNTAIN STRING BAND How 'Bout You? (3) DISCO 6 TAYLOR SWIFT Love Story (Taylor's Version) (ORDENADOR) DISCO 7 MICHAEL MURPHEY Carolina In The Pines (Cara 1 - Corte 2) DISCO 8 RICE, RICE, HILLMAN & PEDERSEN Lord Won't You Help Me (2) DISCO 9 THE EARL SCRUGGS REVUE Bye Bye Love (Cara 2 Corte 4) DISCO 10 NANCI GRIFFITH Lone Star State Of Mind (Cara 1 Corte 1)¡ DISCO 11 PREFAB SPROUT Cowboy Dreams (1) DISCO 12 YONDER MOUNTAIN STRING BAND Midwest Gospel Radio (10) DISCO 13 KACEY MUSGRAVES Biscuits (6) DISCO 14 BRUCE HORNSBY & THE NITTY GRITTY DIRT BAND The Valley road (Cara 4 Corte 3 DISCO 15 KIRK DOUGLAS And The Moon Grew Brighter (19) Hombre sin Rumbo Escuchar audio

Daisy Spratt was born in Queensland, Australia, but raised in the south and mid-west of the United States. Her draw to music started at a young age with artists like Shania Twain and Kenney Chesney, and even Aussie bands like INXS. However, it wasn't until she moved back to Down Under where she learned to play guitar, started writing music and began getting vocal coaching. Her parents didn't see her perform for the first time until she was 15 years old. By 18, she was gigging in local pubs and cafes along the Mornington Peninsula in Victoria. She took every opportunity to perform, and even competed in local and national competitions. In 2016, Daisy released her debut single "Love Like That" which reached the top 10 on the iTunes Country charts. She went on to release a 7-song EP, which featured her fun single "Soda Pop". In 2019, she wrote and recorded in Nashville, where she released her single "Think Again Boy". Following the COVID-19 Pandemic in 2020, Daisy pivoted from country music to indie pop, with her hit single "Thinkin' Bout You", which was, and still is, raising awareness about mental health. In 2021, she is back in action with a new single releasing on March 19th, which was written with Rob Amoruso and Alice Blake. ------------------------- Watch this episode on Youtube: https://youtu.be/mDg8cPB0bx0 Subscribe to Discernable on Youtube: https://www.youtube.com/discernable?sub_confirmation=1 Stay connected in case we disappear: https://www.discernable.io/crew https://www.instagram.com/daisysprattmusic https://www.facebook.com/DaisySprattMusic www.daisysprattmusic.com ------------------------- 2:00 A lawyer and a professional musician 4:04 Figuring out what you want in life 8:55 Switching between analytical and creative 11:00 A sample of Daisy's music 14:04 Taking care of your mental health 15:05 Do creatives need pain and/or drugs to be creative? 16:55 How to come up with a song (live demo) 23:51 Raw talent vs a shiny brand 27:50 What is brand? 31:32 Being raw and authentic – showing the messy and ugly parts of life 35:00 Daisy hates showering 40:10 Attitudes of younger generations 45:55 The ethics of a COVID-19 world 50:11 Political pressure in the creative industry 52:57 Not selling out to popularity 53:40 Cultural impact of music 56:10 Social enterprise café – training and supporting young people 1:00:00 Looking back on your life at 25 1:02:26 Trapped by fame 1:06:05 The electrification of aviation and robotic vacuum cleaners 1:08:38 Podcasts 1:11:22 The future will be blurry 1:17:25 Daisy's Magic Wand 1:20:12 Chocolate fish ‘Sprats'

Episode one hundred and fifteen of A History of Rock Music in Five Hundred Songs looks at “House of the Rising Sun” by the Animals, at the way the US and UK music scenes were influencing each other in 1964, and at the fraught question of attribution when reworking older songs. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Memphis” by Johnny Rivers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Erratum A couple of times I mispronounce Hoagy Lands’ surname as Land. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Information on the Animals comes largely from Animal Tracks  by Sean Egan. The two-CD set The Complete Animals isn’t actually their complete recordings — for that you’d also need to buy the Decca recordings — but it is everything they recorded with Mickie Most, including all the big hits discussed in this episode. For the information on Dylan’s first album, I used The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald, the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period. I also referred to Chronicles Volume 1 by Bob Dylan, a partial, highly inaccurate, but thoroughly readable autobiography; Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon; and Revolution in the Air, by Clinton Heylin. Transcript Today we’re going to look at a song that, more than any other song we’ve looked at so far, shows how the influence between British and American music was working in the early 1960s. A song about New Orleans that may have its roots in English folk music, that became an Appalachian country song, performed by a blues band from the North of England, who learned it from a Minnesotan folk singer based in New York. We’re going to look at “House of the Rising Sun”, and the career of the Animals: [Excerpt: The Animals, “House of the Rising Sun”] The story of the Animals, like so many of the British bands of this time period, starts at art school, when two teenagers named Eric Burdon and John Steel met each other. The school they met each other at was in Newcastle, and this is important for how the band came together. If you’re not familiar with the geography of Great Britain, Newcastle is one of the largest cities, but it’s a very isolated city. Britain has a number of large cities. The biggest, of course, is London, which is about as big as the next five added together. Now, there’s a saying that one of the big differences between Britain and America is that in America a hundred years is a long time, and in Britain a hundred miles is a long way, so take that into account when I talk about everything else here. Most of the area around London is empty of other big cities, and the nearest other big city to it is Birmingham, a hundred miles north-west of it. About seventy miles north of that, give or take, you hit Manchester, and Manchester is in the middle of a chain of large cities — Liverpool, Manchester, Leeds, and Sheffield, and the slightly smaller Bradford, are more or less in a row, and the furthest distance between two adjacent cities is about thirty-five miles. But then Newcastle is another hundred miles north of Leeds, the closest of those cities to it. And then it’s another hundred miles or so further north before you hit the major Scottish cities, which cluster together like the ones near Manchester do. This means Newcastle is, for a major city, incredibly isolated. Britain’s culture is extraordinarily London-centric, but if you’re in Liverpool or Manchester there are a number of other nearby cities. A band from Manchester can play a gig in Liverpool and make the last train home, and vice versa. This allows for the creation of regional scenes, centred on one city but with cross-fertilisation from others. Now, again, I am talking about a major city here, not some remote village, but it means that Newcastle in the sixties was in something of the same position as Seattle was, as we talked about in the episode on “Louie, Louie” — a place where bands would play in their own immediate area and not travel outside it. A journey to Leeds, particularly in the time we’re talking about when the motorway system was only just starting, would be a major trip, let alone travelling further afield. Local bands would play in Newcastle, and in large nearby towns like Gateshead, Sunderland, and Middlesborough, but not visit other cities. This meant that there was also a limited pool of good musicians to perform with, and so if you wanted to be in a band, you couldn’t be that picky about who you got on with, so long as they could play. Steel and Burdon, when they met at art school, were both jazz fanatics, and they quickly formed a trad jazz band. The band initially featured them on trumpet and trombone, but when rock and roll and skiffle hit the band changed its lineup to one based around guitars. Steel shifted to drums, while Burdon stopped playing an instrument and became the lead singer. Burdon’s tastes at the time were oriented towards the jazzier side of R&B, people like Ray Charles, and he also particularly loved blues shouters like Jimmy Witherspoon and Big Joe Turner. He tried hard to emulate Turner, and one of the songs that’s often mentioned as being in the repertoire of these early groups is “Roll ‘Em Pete”, the Big Joe Turner song we talked about back in episode two: [Excerpt: Big Joe Turner, “Roll ’em Pete”] The jazz group that Burdon and Steel formed was called the Pagan Jazz Men, and when they switched instruments they became instead The Pagans R&B Band. The group was rounded out by Blackie Sanderson and Jimmy Crawford, but soon got a fifth member when a member from another band on an early bill asked if he could sit in with them for a couple of numbers. Alan Price was the rhythm guitarist in that band, but joined in on piano, and instantly gelled with the group, playing Jerry Lee Lewis style piano. The other members would always later say that they didn’t like Price either as a person or for his taste in music — both Burdon and Steel regarded Price’s tastes as rather pedestrian when compared to their own, hipper, tastes, saying he always regarded himself as something of a lounge player, while Burdon was an R&B and blues person and Steel liked blues and jazz. But they all played well together, and in Newcastle there wasn’t that much choice about which musicians you could play with, and so they stayed together for a while, as the Pagans evolved into the Kansas City Five or the Kansas City Seven, depending on the occasional presence of two brass players. The Kansas City group played mostly jump blues, which was the area of music where Burdon and Steel’s tastes intersected — musicians they’ve cited as ones they covered were Ray Charles, Louis Jordan, and Big Joe Turner. But then the group collapsed, as Price didn’t turn up to a gig — he’d been poached by a pop covers band, the Kon-Tors, whose bass player, Chas Chandler, had been impressed with him when Chandler had sat in at a couple of Kansas City Five rehearsals. Steel got a gig playing lounge music, just to keep paying the bills, and Burdon would occasionally sit in with various other musicians. But a few members of the Kon-Tors got a side gig, performing as the Alan Price Rhythm & Blues Combo as the resident band at a local venue called the Club A Go-Go, which was the venue where visiting London jazzmen and touring American blues players would perform when they came to Newcastle. Burdon started sitting in with them, and then they invited Steel to replace their drummer, and in September 1963 the Alan Price Rhythm And Blues Combo settled on a lineup of Burdon on vocals, Price on piano, Steel on drums, Chandler on bass, and new member Hilton Valentine, who joined at the same time as Steel, on guitar. Valentine was notably more experienced than the other members, and had previously performed in a rock and roll group called the Wildcats — not the same band who backed Marty Wilde — and had even recorded an album with them, though I’ve been unable to track down any copies of the album. At this point all the group members now had different sensibilities — Valentine was a rocker and skiffle fan, while Chandler was into more mainstream pop music, though the other members emphasised in interviews that he liked *good* pop music like the Beatles, not the lesser pop music. The new lineup was so good that a mere eight days after they first performed together, they went into a recording studio to record an EP, which they put out themselves and sold at their gigs. Apparently five hundred copies of the EP were sold. As well as playing piano on the tracks, Price also played melodica, which he used in the same way that blues musicians would normally use the harmonica: [Excerpt: The Alan Price Rhythm & Blues Combo, “Pretty Thing”] This kind of instrumental experimentation would soon further emphasise the split between Price and Burdon, as Price would get a Vox organ rather than cart a piano between gigs, while Burdon disliked the sound of the organ, even though it became one of the defining sounds of the group. That sound can be heard on a live recording of them a couple of months later, backing the great American blues musician Sonny Boy Williamson II at the Club A Go Go: [Excerpt: Sonny Boy Williamson II and the Animals, “Fattening Frogs For Snakes”] One person who definitely *didn’t* dislike the sound of the electric organ was Graham Bond, the Hammond organ player with Alexis Korner’s band who we mentioned briefly back in the episode on the Rolling Stones. Bond and a few other members of the Korner group had quit, and formed their own group, the Graham Bond Organisation, which had originally featured a guitarist named John McLaughlin, but by this point consisted of Bond, saxophone player Dick Heckstall-Smith, and the rhythm section Jack Bruce and Ginger Baker. They wouldn’t make an album until 1965, but live recordings of them from around this time exist, though in relatively poor quality: [Excerpt: The Graham Bond Organisation, “Wade in the Water”] The Graham Bond Organisation played at the Club A Go Go, and soon Bond was raving back in London about this group from Newcastle he’d heard. Arrangements were quickly made for them to play in London. By this time, the Rolling Stones had outgrown the small club venues they’d been playing, and a new band called the Yardbirds were playing all the Stones’ old venues. A trade was agreed — the Yardbirds would play all the Alan Price Rhythm & Blues Combo’s normal gigs for a couple of weeks, and the Alan Price Rhythm & Blues Combo would play the Yardbirds’. Or rather, the Animals would. None of the members of the group could ever agree on how they got their new name, and not all of them liked it, but when they played those gigs in London in December 1963, just three months after getting together, that was how they were billed. And it was as the Animals that they were signed by Mickie Most. Mickie Most was one of the new breed of independent producers that were cropping up in London, following in Joe Meek’s footsteps, like Andrew Oldham. Most had started out as a singer in a duo called The Most Brothers, which is where he got his stage name. The Most Brothers had only released one single: [Excerpt: The Most Brothers, “Whole Lotta Woman”] But then Most had moved to South Africa, where he’d had eleven number one hits with cover versions of American rock singles, backed by a band called the Playboys: [Excerpt: Mickie Most and the Playboys, “Johnny B Goode”] He’d returned to the UK in 1963, and been less successful here as a performer, and so he decided to move into production, and the Animals were his first signing. He signed them up and started licensing their records to EMI, and in January 1964 the Animals moved down to London. There has been a lot of suggestion over the years that the Animals resented Mickie Most pushing them in a more pop direction, but their first single was an inspired compromise between the group’s blues purism and Most’s pop instincts. The song they recorded dates back at least to 1935, when the State Street Boys, a group that featured Big Bill Broonzy, recorded “Don’t Tear My Clothes”: [Excerpt: The State Street Boys, “Don’t Tear My Clothes”] That song got picked up and adapted by a lot of other blues singers, like Blind Boy Fuller, who recorded it as “Mama Let Me Lay It On You” in 1938: [Excerpt: Blind Boy Fuller, “Mama Let Me Lay it On You”] That had in turn been picked up by the Reverend Gary Davis, who came up with his own arrangement of the song: [Excerpt: Rev. Gary Davis, “Baby, Let Me Lay It On You”] Eric von Schmidt, a folk singer in Massachusetts, had learned that song from Davis, and Bob Dylan had in turn learned it from von Schmidt, and included it on his first album as “Baby Let Me Follow You Down”: [Excerpt: Bob Dylan, “Baby Let Me Follow You Down”] The Animals knew the song from that version, which they loved, but Most had come across it in a different way. He’d heard a version which had been inspired by Dylan, but had been radically reworked. Bert Berns had produced a single on Atlantic for a soul singer called Hoagy Lands, and on the B-side had been a new arrangement of the song, retitled “Baby Let Me Hold Your Hand” and adapted by Berns and Wes Farrell, a songwriter who had written for the Shirelles. Land’s version had started with an intro in which Lands is clearly imitating Sam Cooke: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] But after that intro, which seems to be totally original to Berns and Farrell, Lands’ track goes into a very upbeat Twist-flavoured song, with a unique guitar riff and Latin feel, both of them very much in the style of Berns’ other songs, but clearly an adaptation of Dylan’s version of the old song: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] Most had picked up that record on a trip to America, and decided that the Animals should record a version of the song based on that record. Hilton Valentine would later claim that this record, whose title and artist he could never remember (and it’s quite possible that Most never even told the band who the record was by) was not very similar at all to the Animals’ version, and that they’d just kicked around the song and come up with their own version, but listening to it, it is *very* obviously modelled on Lands’ version. They cut out Lands’ intro, and restored a lot of Dylan’s lyric, but musically it’s Lands all the way. The track starts like this: [Excerpt: The Animals, “Baby Let Me Take You Home”] Both have a breakdown section with spoken lyrics over a staccato backing, though the two sets of lyrics are different — compare the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] and Lands: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] And both have the typical Bert Berns call and response ending — Lands: [Excerpt: Hoagy Lands, “Baby Let me Hold Your Hand”] And the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] So whatever Valentine’s later claims, the track very much was modelled on the earlier record, but it’s still one of the strongest remodellings of an American R&B record by a British group in this time period, and an astonishingly accomplished record, which made number twenty-one. The Animals’ second single was another song that had been recorded on Dylan’s first album. “House of the Rising Sun” has been argued by some, though I think it’s a tenuous argument, to originally date to the seventeenth century English folk song “Little Musgrave and Lady Barnard”: [Excerpt: Martin Carthy, “Little Musgrave and Lady Barnard”] What we do know is that the song was circulating in Appalachia in the early years of the twentieth century, and it’s that version that was first recorded in 1933, under the name “Rising Sun Blues”, by Clarence Ashley and Gwen Foster: [Excerpt: Clarence Ashley and Gwen Foster, “Rising Sun Blues”] The song has been described as about several things — about alcoholism, about sex work, about gambling — depending on the precise version. It’s often thought, for example, that the song was always sung by women and was about a brothel, but there are lots of variants of it, sung by both men and women, before it reached its most famous form. Dave van Ronk, who put the song into the form by which it became best known, believed at first that it was a song about a brothel, but he later decided that it was probably about the New Orleans Women’s Prison, which in his accounting used to have a carving of a rising sun over the doorway. Van Ronk’s version traces back originally to a field recording Alan Lomax had made in 1938 of a woman named Georgia Turner, from Kentucky: [Excerpt: Georgia Turner, “Rising Sun Blues”] Van Ronk had learned the song from a record by Hally Wood, a friend of the Lomaxes, who had recorded a version based on Turner’s in 1953: [Excerpt: Hally Wood, “House of the Rising Sun”] Van Ronk took Wood’s version of Turner’s version of the song, and rearranged it, changing the chords around, adding something that changed the whole song. He introduced a descending bassline, mostly in semitones, which as van Ronk put it is “a common enough progression in jazz, but unusual among folksingers”. It’s actually something you’d get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum’s “A Whiter Shade of Pale” ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this: [demonstrates] And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F. [demonstrates] This is a trick that’s used in hundreds and hundreds of songs later in the sixties and onward — everything from “Sunny Afternoon” by the Kinks to “Go Now” by the Moody Blues to “Forever” by the Beach Boys — but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll. Of course, it sounds rather better when he did it: [Excerpt, Dave van Ronk, “House of the Rising Sun”] “House of the Rising Sun” soon became the highlight of van Ronk’s live act, and his most requested song. Dylan took van Ronk’s arrangement, but he wasn’t as sophisticated a musician as van Ronk, so he simplified the chords. Rather than the dissonant chords van Ronk had, he played standard rock chords that fit van Ronk’s bassline, so instead of Am over G he played C with a G in the bass, and instead of Am over F# he played D with an F# in the bass. So van Ronk had: [demonstrates] While Dylan had: [demonstrates] The movement of the chords now follows the movement of the bassline. It’s simpler, but it’s all from van Ronk’s arrangement idea. Dylan recorded his version of van Ronk’s version for his first album: [Excerpt: Bob Dylan, “House of the Rising Sun”] As van Ronk later told the story (though I’m going to edit out one expletive here for the sake of getting past the adult content rating on Apple): “One evening in 1962, I was sitting at my usual table in the back of the Kettle of Fish, and Dylan came slouching in. He had been up at the Columbia studios with John Hammond, doing his first album. He was being very mysterioso about the whole thing, and nobody I knew had been to any of the sessions except Suze, his lady. I pumped him for information, but he was vague. Everything was going fine and, “Hey, would it be okay for me to record your arrangement of ‘House of the Rising Sun?’” [expletive]. “Jeez, Bobby, I’m going into the studio to do that myself in a few weeks. Can’t it wait until your next album?” A long pause. “Uh-oh.” I did not like the sound of that. “What exactly do you mean, ‘Uh-oh’?” “Well,” he said sheepishly, “I’ve already recorded it.” “You did what?!” I flew into a Donald Duck rage, and I fear I may have said something unkind that could be heard over in Chelsea.” van Ronk and Dylan fell out for a couple of weeks, though they later reconciled, and van Ronk said of Dylan’s performance “it was essentially my arrangement, but Bobby’s reading had all the nuance and subtlety of a Neanderthal with a stone hand ax, and I took comfort thereby.” van Ronk did record his version, as we heard, but he soon stopped playing the song live because he got sick of people telling him to “play that Dylan song”. The Animals learned the song from the Dylan record, and decided to introduce it to their set on their first national tour, supporting Chuck Berry. All the other acts were only doing rock and roll and R&B, and they thought a folk song might be a way to make them stand out — and it instantly became the highlight of their act.  The way all the members except Alan Price tell the story, the main instigators of the arrangement were Eric Burdon, the only member of the group who had been familiar with the song before hearing the Dylan album, and Hilton Valentine, who came up with the arpeggiated guitar part. Their arrangement followed Dylan’s rearrangement of van Ronk’s rearrangement, except they dropped the scalar bassline altogether, so for example instead of a D with an F# in the bass they just play a plain open D chord — the F# that van Ronk introduced is still in there, as the third, but the descending line is now just implied by the chords, not explicitly stated in the bass, where Chas Chandler just played root notes. In the middle of the tour, the group were called back into the studio to record their follow-up single, and they had what seemed like it might be a great opportunity. The TV show Ready Steady Go! wanted the Animals to record a version of the old Ray Charles song “Talking ‘Bout You”, to use as their theme. The group travelled down from Liverpool after playing a show there, and went into the studio in London at three o’clock in the morning, before heading to Southampton for the next night’s show. But they needed to record a B-side first, of course, and so before getting round to the main business of the session they knocked off a quick one-take performance of their new live showstopper: [Excerpt: The Animals, “House of the Rising Sun”] On hearing the playback, everyone was suddenly convinced that that, not “Talking ‘Bout You”, should be the A-side. But there was a problem. The record was four minutes and twenty seconds long, and you just didn’t ever release a record that long. The rule was generally that songs didn’t last longer than three minutes, because radio stations wouldn’t play them, but Most was eventually persuaded by Chas Chandler that the track needed to go out as it was, with no edits. It did, but when it went out, it had only one name on as the arranger — which when you’re recording a public domain song makes you effectively the songwriter. According to all the members other than Price, the group’s manager, Mike Jeffrey, who was close to Price, had “explained” to them that you needed to just put one name down on the credits, but not to worry, as they would all get a share of the songwriting money. According to Price, meanwhile, he was the sole arranger. Whatever the truth, Price was the only one who ever got any songwriting royalties for their version of the song, which went to number one in the UK and the US. although the version released as a single in the US was cut down to three minutes with some brutal edits, particularly to the organ solo: [Excerpt: The Animals, “House of the Rising Sun (US edit)”] None of the group liked what was done to the US single edit, and the proper version was soon released as an album track everywhere The Animals’ version was a big enough hit that it inspired Dylan’s new producer Tom Wilson to do an experiment. In late 1964 he hired session musicians to overdub a new electric backing onto an outtake version of “House of the Rising Sun” from the sessions from Dylan’s first album, to see what it would sound like: [Excerpt: Bob Dylan, “House of the Rising Sun (1964 electric version)”] That wasn’t released at the time, it was just an experiment Wilson tried, but it would have ramifications we’ll be seeing throughout the rest of the podcast. Incidentally, Dave van Ronk had the last laugh at Dylan, who had to drop the song from his own sets because people kept asking him if he’d stolen it from the Animals. The Animals’ next single, “I’m Crying”, was their first and only self-written A-side, written by Price and Burdon. It was a decent record and made the top ten in the UK and the top twenty in the US, but Price and Burdon were never going to become another Lennon and McCartney or Jagger and Richards — they just didn’t like each other by this point. The record after that, “Don’t Let Me Be Misunderstood”, was written by the jazz songwriters Benny Benjamin and Horace Ott, and had originally been recorded by Nina Simone in an orchestral version that owed quite a bit to Burt Bacharach: [Excerpt: Nina Simone, “Don’t Let Me Be Misunderstood”] The Animals’ version really suffers in comparison to that. I was going to say something about how their reinterpretation is as valid in its own way as Simone’s original and stands up against it, but actually listening to them back to back as I was writing this, rather than separately as I always previously had, I changed my mind because I really don’t think it does. It’s a great record, and it’s deservedly considered a classic single, but compared to Simone’s version, it’s lightweight, rushed, and callow: [Excerpt: The Animals, “Don’t Let Me Be Misunderstood”] Simone was apparently furious at the Animals’ recording, which they didn’t understand given that she hadn’t written the original, and according to John Steel she and Burdon later had a huge screaming row about the record. In Steel’s version, Simone eventually grudgingly admitted that they weren’t “so bad for a bunch of white boys”, but that doesn’t sound to me like the attitude Simone would take. But Steel was there and I wasn’t… “Don’t Let Me Be Misunderstood” was followed by a more minor single, a cover of Sam Cooke’s “Bring it on Home to Me”, which would be the last single by the group to feature Alan Price. On the twenty-eighth of April 1965, the group were about to leave on a European tour. Chas Chandler, who shared a flat with Price, woke Price up and then got in the shower. When he got out of the shower, Price wasn’t in the flat, and Chandler wouldn’t see Price again for eighteen months. Chandler believed until his death that while he was in the shower, Price’s first royalty cheque for arranging “House of the Rising Sun” had arrived, and Price had decided then and there that he wasn’t going to share the money as agreed. The group quickly rushed to find a fill-in keyboard player for the tour, and nineteen-year-old Mick Gallagher was with them for a couple of weeks before being permanently replaced by Dave Rowberry. Gallagher would later go on to be the keyboard player with Ian Dury and the Blockheads, as well as playing on several tracks by the Clash. Price, meanwhile, went on to have a number of solo hits over the next few years, starting with a version of “I Put A Spell On You”, in an arrangement which the other Animals later claimed had originally been worked up as an Animals track: [Excerpt: The Alan Price Set, “I Put A Spell On You”] Price would go on to make many great solo records, introducing the songs of Randy Newman to a wider audience, and performing in a jazz-influenced R&B style very similar to Mose Allison. The Animals’ first record with their new keyboard player was their greatest single. “We Gotta Get Out Of This Place” had been written by Barry Mann and Cynthia Weill, and had originally been intended for the Righteous Brothers, but they’d decided to have Mann record it himself: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] But before that version was released, the Animals had heard Mann’s piano demo of the song and cut their own version, and Mann’s was left on the shelf. What the Animals did to the song horrified Cynthia Weill, who considered it the worst record of one of her songs ever — though one suspects that’s partly because it sabotaged the chances for her husband’s single — but to my mind they vastly improved on the song. They tightened the melody up a lot, getting rid of a lot of interjections. They reworked big chunks of the lyric, for example changing “Oh girl, now you’re young and oh so pretty, staying here would be a crime, because you’ll just grow old before your time” to “Now my girl, you’re so young and pretty, and one thing I know is true, you’ll be dead before your time is due”, and making subtler changes like changing “if it’s the last thing that we do” to “if it’s the last thing we ever do”, improving the scansion. They kept the general sense of the lyrics, but changed more of the actual words than they kept — and to my ears, at least, every change they made was an improvement. And most importantly, they excised the overlong bridge altogether. I can see what Mann and Weill were trying to do with the bridge — Righteous Brothers songs would often have a call and response section, building to a climax, where Bill Medley’s low voice and Bobby Hatfield’s high one would alternate and then come together. But that would normally come in the middle, building towards the last chorus. Here it comes between every verse and chorus, and completely destroys the song’s momentum — it just sounds like noodling: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] The Animals’ version, by contrast, is a masterpiece of dynamics, of slow builds and climaxes and dropping back down again. It’s one of the few times I’ve wished I could just drop the entire record in, rather than excerpting a section, because it depends so much for its effect on the way the whole structure of the track works together: [Excerpt: The Animals, “We Gotta Get Out Of This Place”] From a creators’ rights perspective, I entirely agree with Cynthia Weill that the group shouldn’t have messed with her song. But from a listener’s point of view, I have to say that they turned a decent song into a great one, and one of the greatest singles of all time “We Gotta Get Out Of This Place” was followed by another lesser but listenable single, “It’s My Life”, which seemed to reinforce a pattern of a great Animals single being followed by a merely OK one. But that was the point at which the Animals and Most would part company — the group were getting sick of Most’s attempts to make them more poppy. They signed to a new label, Decca, and got a new producer, Tom Wilson, the man who we heard earlier experimenting with Dylan’s sound, but the group started to fall apart. After their next single, “Inside — Looking Out”, a prison work song collected by the Lomaxes, and the album Animalisms, John Steel left the group, tired of not getting any money, and went to work in a shop. The album after Animalisms, confusingly titled Animalism, was also mostly produced by Wilson, and didn’t even feature the musicians in the band on two of the tracks, which Wilson farmed out to a protege of his, Frank Zappa, to produce. Those two tracks featured Zappa on guitar and members of the Wrecking Crew, with only Burdon from the actual group: [Excerpt: The Animals, “All Night Long”] Soon the group would split up, and would discover that their management had thoroughly ripped them off — there had been a scheme to bank their money in the Bahamas for tax reasons, in a bank which mysteriously disappeared off the face of the Earth. Burdon would form a new group, known first as the New Animals and later as Eric Burdon and the Animals, who would have some success but not on the same level. There were a handful of reunions of the original lineup of the group between 1968 and the early eighties, but they last played together in 1983. Burdon continues to tour the US as Eric Burdon and the Animals. Alan Price continues to perform successfully as a solo artist. We’ll be picking up with Chas Chandler later, when he moves from bass playing into management, so you’ll hear more about him in future episodes. John Steel, Dave Rowberry, and Hilton Valentine reformed a version of the Animals in the 1990s, originally with Jim Rodford, formerly of the Kinks and Argent, on bass. Valentine left that group in 2001, and Rowberry died in 2003. Steel now tours the UK as “The Animals and Friends”, with Mick Gallagher, who had replaced Price briefly in 1965, on keyboards. I’ve seen them live twice and they put on an excellent show — though the second time, one woman behind me did indignantly say, as the singer started, “That’s not Eric Clapton!”, before starting to sing along happily… And Hilton Valentine moved to the US and played briefly with Burdon’s Animals after quitting Steel’s, before returning to his first love, skiffle. He died exactly four weeks ago today, and will be missed.

"Thinkin' Bout You" by Daisy Spratt. Written with Rob Amoruso and Alice Blake. The song was written and recorded in July 2020, and was created to share a message about something I was experiencing in this season, which was supporting family members with their mental health.  From Daisy: "I was born in Queensland, Australia, but raised in the United States until I was 10 years old. I consider myself a Melbourne girl though, and have been in Melbourne ever since. I started playing guitar at 10, and my dad helped teach me chords growing up. I didn't start singing until I was 13, and then songwriting followed close behind. I started writing songs as poems, and then learned to apply chords and melodies from my guitar as a teenager. Growing up, I looked up to artists like Shania Twain. I remember watching her music video for "I'm Gonna Getcha Good" when I was about 5, and thinking "I'd love to do that one day". I've always been torn between my passion for law, and music. I'll soon be a fully qualified lawyer, but love to write music and sing. I'd love to find a way to use both of those passions together somehow in the future. I wrote and recorded my single "Think Again Boy" in Nashville last year. The new single "Thinkin' Bout You" is the most vulnerable I have been with listeners, and it feels good to be able to share something so personal with them. I hope that my music spreads a positive message, and people feel uplifted through my social media and songs." Find more of Daisy:  Instagram: @daisysprattmusic Twitter: @daisyspratt  Website: www.daisysprattmusic.com --------------------------------------------------------------------------------------------------------------- Created during a time of quarantine in the global Coronavirus pandemic, A Moment Of Your Time's mission is to provide a space for expression, collaboration, community and solidarity. In this time of isolation, we may have to be apart but let's create together.  Follow Us: Instagram | Twitter Created by CurtCo Media Concept by Jenny Curtis Theme music by Chris Porter A CurtCo Media Production See omnystudio.com/listener for privacy information.

Tracklist: 1. Don Diablo - Inside My Head (Voices) 2. Bancali - Nothing To Do 3. Conor Ross - Thinkin' Bout You 4. Tom & Jame - Alright Don't Stop 5. Oliver Heldens, Rowetta - Rave Machine 6. Jay Hardway - Vibes 7. JLV & Jawedsway & Jerry Island - Come My Way 8. Sam Feldt feat. Ella Henderson - Hold Me Close (Shift K3Y Remix) 9. CamelPhat x ARTBAT feat. Rhodes - For a Feeling 10. Tchami - Born Again 11. Disclosure - ENERGY (Edit) 12. BLR - Meduse 13. Duke Dumont - Love Song 14. Gorgon City, Sofi Tukker - House Arrest 15. Niall Horan;Diplo - Nice To Meet Ya (Diplo Remix) 16. Handsome Habibi;Yung Baby Tate - Don't Waste My Time (Fresh Mode Remix) 17. AVICII - The Nights (Mike Mago Remix) #ftoradio |twitter |facebook |instagram

Tracklist: 1. Don Diablo - Inside My Head (Voices) 2. Bancali - Nothing To Do 3. Conor Ross - Thinkin' Bout You 4. Tom & Jame - Alright Don't Stop 5. Oliver Heldens, Rowetta - Rave Machine 6. Jay Hardway - Vibes 7. JLV & Jawedsway & Jerry Island - Come My Way 8. Sam Feldt feat. Ella Henderson - Hold Me Close (Shift K3Y Remix) 9. CamelPhat x ARTBAT feat. Rhodes - For a Feeling 10. Tchami - Born Again 11. Disclosure - ENERGY (Edit) 12. BLR - Meduse 13. Duke Dumont - Love Song 14. Gorgon City, Sofi Tukker - House Arrest 15. Niall Horan;Diplo - Nice To Meet Ya (Diplo Remix) 16. Handsome Habibi;Yung Baby Tate - Don't Waste My Time (Fresh Mode Remix) 17. AVICII - The Nights (Mike Mago Remix) #ftoradio |twitter |facebook |instagram

Playlist N°14 Du 28 mars au 4 avril 2020INTRO : Kevin Fowler : Mousturdonus Jesse Daniel: Rollin' On (Rollin' On-2020) Ellinor-Springstrike: This_Fire (Single-2020) Bob Marshall: Caught Me Looking (That’s The Way It Should Be-2020) Sina Theil: I Feel Fine Today (Reflections of a Celtic Heart-2020) Tris Munsick & the Innocents: Roots (EP-2020) Sarah McAdams: Train Wreck Hearts (Train Wreck Hearts-2020) Golden Promise: Last Call For Alcohol (Long Days, Sleepless Nights-2020) Jordan Robert Kirk: Seven Nation Army (Single-2020) Mark Kelley: Blonde in a Black Lexus (Sounds Good To Me-2020) Coco O'Connor: Rocky Top (When I Was Your World-2020) Andrew Millsaps: Pour, Pour, Pour (Drinkin' Bout You-2020) Honkytonk Special: Home To Texas (Single-2020) Gabe Lee: Honky Tonk Hell (Honky Tonk Hell-2020) Gina Jones: My Next Ex (Single-2020) Mickey Lamantia: Another Chance (Honky Tonk Confessions Chapter One-2020) Asleep At The Wheel: Walking the Floor Over You (Western Standard Time-1988) OUTRO : Campfire

This week, Andrew and Richard tackle the 3 M's. The first "M" they discuss is the recent Miss Universe Pageant. They then move onto the newly released Apple Mac Pro which has taken the world by the wallet. Finally, it wouldn't be a When it Rains Podcast without somehow talking about Popeyes! That leads us to the 3rd M, the Migos and Popeyes collaboration.The intro song for this weeks episode is "Bout You" by our very own AreDoubleYou aka Richard. Written, Produced, Performed, Mixed & Mastered by AreDoubleYou. This song will be available Wednesday December 18th on all streaming platforms! New Song every Wednesday!

CHAOS THEORY 8 TRACK MIX 1. Aaia & Gallo - Drive 2. Eli Brown - Another Dimension 3. Carmelo Carone - Innercity Rebels 4. Westend - Thinking ‘Bout You 5. Alan Cross - Seraphim (Candy Flux) 6. ArtLec - Void & Crown 7. Moonwalk - Galactic 8. Milhalis Safras - Rewrite It

Happy New Year! It's time to listen to the best EDM tracks of 2018. Stay tuned to get one more Year Mix in 2 weeks with Dubstep and Hardstyle tracks of 2018 in one mix. Subscribe! 20th episode with new music of 2019 is coming next week. Tracklist: 1. Illenium - Take You Down 2. Vicetone - Way Back (feat. Cozi Zuehlsdorff) 3. Yellow Claw - Summertime (feat. San Holo) 4. Volac - Russian Style 5. FISHER - Losing It 6. StadiumX & Metrush - Do It Again (feat. BISHØP) 7. MOGUAI & Zonderling- Lee /w KSHMR - House Of Card (Acapella) 8. Keanu Silva - Fine Day 9. Valentino Khan - Lick It 10. Brohug - Charlie 11. Dropgun – Drought (feat. Nevve) 12. Sidney Samson & Oliver Heldens - Riverside 2099 13. Tiesto & Matisse & Sadko - Dawnbreaker 14. Matisse & Sadko & Raiden - Light Me Up 15. Retrovision - Found You 16. Lumberjack & Hreez - Forever 17. CID - I Miss You 18. Matt Nash & Bout - You 19. Don Diablo - Anthem (We Love House Music) 20. Zonderling & Don Diablo - No Good 21. David Guetta, Martin Garrix & Brooks - Like I Do 22. KSHMR - Carry Me Home (feat. Jake Reese) 23. Tiesto & Dzeko - Jackie Chan (feat. Preme & Post Malone) 24. Quintino & Curbi - Get Down 25. Notion - Real 26. Swanky Tunes - In The Club 27. Tiesto - WOW 28. Chuckie x Steve Andreas - Latino 29. Nicky Romero - Duality 30. Tiesto & John Christian - I Like It Loud (feat. Marshall Master x The Ultimate MC) 31. Sandro Silva & Quintino - Epic (Garmiani Remix) 32. W&W - Rave Culture 33. Dropgun - Dark Sky 34. Breathe Carolina & Dropgun - Sweet Dreams (feat. Kaleena Zanders) 35. KIIDA & Alex - Dandelion 36. Mike Williams & Mesto - Wait Another Day 37. Mike Williams - The Beat 38. Martin Garrix - High on Life (feat. Bonn) 39. JLV - Something Good 40. METAFO4R - Best Part Of Me 41. Blasterjaxx- 1 Second 42. Hardwell & Blasterjaxx - Bigroom Never Dies (feat. Mitch Crown) 43. Dimitri Vegas & Like Mike & Hardwell - Unity 44. Hardwell & Maddix - Bella Ciao 45. Armin van Buuren - Blah Blah Blah (Bassjackers Remix) 46. Armin van Buuren, Vini Vici & Alok - United (feat. Zafrir) 47. Timmy Trumpet & JETFIRE - Flamenco (feat. Rage) 48. KSHMR & 7 Skies - Neverland 49. Don Diablo - People Say (feat. Paije) 50. Martin Garrix - Ocean (Martin Garrix & Cesqeaux Remix) 51. Dimitri Vegas & Like Mike & Wiz Khalifa - When I Grow Up

21.10.18 Post Roast Session – Autumn 1930HRS (UK) this Sunday was the Autumnal session full of positive vibes and Love… soulful jazzy grooves with some seasonal sounds & edm! Download / Listen Again NOW! #musicislove x POST ROAST SESSION ON NOVA LUJON DAVID JAZZY DAWSON ON NOVA LUJON REWIND /// POST ROAST SESSIONS CONTACT THE SHOW DIRECT (E-MAIL) Playlist: 1 A Time for Love – the Singers Unlimited 2 Inner Truth – The Michael Waldrop Big Band 3 Afternoon of a Faun – Walter Murphy 4 Bend Your Head Low – Geoffrey Stoner 5 The Space Between – Joanna Brouk 6 Euphrates – The Main Ingredient 7 Blues Away – The Jacksons 8 Start Again – The Floacist feat. Raheem Devaughn 9 Hold It Down – 4Hero 10 Love Me For Real – Rim And Kasa 11 A Vida Em Seus Métodos Diz Calma – Di Melo 12 Didn’t You Know – Fabio Nobile 13 Oh Quelle Histoire (Triple 1 Edit Extended by Paul Murphy) – Jeanne Moreau 14 Untitled – Kenny Dope 15 Everybody Say Yeah (Album Cut) – The Rebirth 16 Falling – Gaelle 17 Woods (Original Mix) – &ME 18 Break Up (Original Mix) – Sasse 19 Hamba (feat. Lebohang) – DJ Micks 20 Carnivalé (Original Mix) – City Soul Project 21 Good times – Higgins 22 Thinkin’ Bout You – Hush Hush 23 Inside Your Love (Swales’ In Detroit Edit) – Houseum 24 Ain’t that peculiar (A Cappella) – Marvin Gaye 25 Cocaine Blues (GW Edit) […] The post 21.10.18 Post Roast Session – Autumn appeared first on Radio Nova Lujon.

ALEX HART presents VOKIN RADIO 015 1. R-Jay - Why Got the Funk (Club Mix) 2. Leandro Da Silva - Samba De Janeiro (Extended Mix) 3. Niko The Kid - Thinkin' Bout You (feat. Tia Simone) [Extended Club Mix] 4. Faderx - No Rush 5. Catch 22, XenontiX - Close your eyes (Original Mix) 6. Flash Finger - Flashback (Original Mix) 7. Shapov & Trouze - The Way (Sini & RMA Extended Remix) 8. twoloud - All About That Bass (Raveboiz Remix) 9. CID, Sizzy Rocket - Bad For Me feat. Sizzy Rocket (Extended Mix) 10. Nicky Romero, Spyder - PRTCL (ft. Spyder) 11. Notalike - Do You Wanna (Micha Moor Extended Edit) 12. Luca Debonaire & Mekki Martin - Feelin In The Air (Original Mix) 13. Tindaro & Jimcash - Mama Papa (Original Mix) 14. Bobby Puma & Morgan Page - Backroom (Extended Mix) 15. Siks,Steff Da Campo - Make Me Feel (Extended Mix) 16. Jose De Mara, Crusy, Corey James - 12 O'clock (Original Mix) 17. Marzon, Kroshwell - GYPSY (Extended Mix) Subscribe to my channel now! → www.youtube.com/channel/UCQ0NT… Join me on Facebook → www.facebook.com/djalexhart/ Subscribe the Vokin Radio by Alex Hart on Apple Podcasts: itunes.apple.com/ru/podcast/dj… For more info check: www.promodj.com/djalexhart www.facebook.com/djalexhart www.twitter.com/djalexhart www.soundcloud.com/djalexhart www.instagram.com/djalexhart

Welcome to City Of Angels Radio Show. Tyron Dixon presents the hottest sounds around the globe. Be open for a new journey! Tracklist: — Tyron Dixon´s Warm Up Tracks — 01. Willy Beaman - Her Problem 02. BLR, Rave & Crave - Taj 03. Shift K3Y - Only You (Offaiah Remix) — Tyron Dixon In The Mix — 04. Bingo Players & Goshfather - Everybody 05. D.O.D - Bones 06. Sam Feldt - Sensational (Zonderling Remix) 07. Yves V & Hiddn - Magnolia 08. Dropgun - Dark Sky 09. MDE - No Fakers 10. Lush & Simon - Breaking Down 11. GTA & Damien N-Drix - Dun Dun 12. Matt Nash & Bout - You — Tyron Dixon´s Track Of The Day — 13. East & Young & Lucky Charmes - Paint It Black ---------------------------------------------- 14. Offaiah - Private Show 15. Bob Sinclar & Mani Lapussh - Turn Me One (Genairo Nvilla Remix) 16. Nico De Andrea - The Shape 17. A-Trak & Lil Yachty ft. Quavo - Believe (Ninetoes Remix)

Tracklist:01. Jack Wins feat. Caitlyn Scarlett - Freewheelin'02. Scotty Boy & Lizzie Curious - Groove Is In The Heart (Tom Staar Remix)03. Jack Note - Banshee04. Drop Department & SOVTH - Boogie Monstah05. Clean Bandit feat. Julia Michaels – I Miss You (Kryder Remix)06. Pete K - Insomnia ft. CAYO (Original Mix) 07. Steve Angello - Rave N Roll (Last 3 Digits 5am Remix)08. Sunnery James & Ryan Marciano, Thomas Newson - I'll House You w/ Eminem - Nobody Listen To Techno (Acapella)09. Matt Caseli David Jimenez vs Groove Junkies & Alexander Polinsky - Losing My MindFoxa X Bazzflow - Find YouMerk Kremont - Turn It Around09. Antoine Delvig - Cinco10. Matt Nash & Bout - You11. Antoine Delvig & Felicity - Jack That Body w/ Will K - Cafe Leche (Acapella)12. Dr. Shiver x Solberjum - Bla Bla Bla13. Will K feat. Thayana Valle - Tasty14. Maximals x Robert Miles x Zedd & Maren Morris - Don't Know The Middle Children (Fuerte & B-Rather MashUp)15. Camelphat & Elderbrook - Cola (Teamworx Remix)16. Sunstars - Darkside17. David Guetta, Martin Garrix, Brooks - Like I Do18. Norii - Seeya19. Corey James x Crusy & Jose De Mara - 12 O'clock

Hello Everyone, First off I want to say thank you for tuning in to the Chocolate Soul podcast for all these years. I really appreciate you all for taking the time to listen since 2008. As promised, here's another Nu~Soul mix for your ears! I've been listening to these and other tracks for over a year now, and finally decided to lay them down in a mix. Be sure to look out for these artists on the internet and support them! If you are located here in Columbus, Ohio, stay tuned as we'll be bring this type of vibe to the uptown area soon live! We hope to see you in person as well, and please let me know what you think of the latest. Take care and remember to subscribe on iTunes to get the latest downloaded to your device as soon as the mixes are uploaded! Here's the tracking list: (1) "Bout You" (Tall Black Guy Remix) ~ Rainy Milo (2) "Turnin' Me Up" ~ BJ The Chicago Kid (3)"Under The Sun" ~ Missoless ft Eric Rico (4) "Nothing Like Your Touch" ~ Vikter Duplaix (5) "Girl" ~ The Internet (6) "Want It Back" (Marc Rapson Remix)~ Deborah Jordan (7) "Footsteps In The Dark" (King Britt Scuba Remix)3 (8) "It's Whatever" ~ Black Einstein ft Baby Sol (9) "What You Gotta Do" ~ Dwele ft. Raheem DeVaughn (10) "Dear Love" ~ Tay Walker (11) "Sober" (A Colors Show Remix) ~ Mahalia (12) "Closer {TalkBox}" ~ ChromadaData (13) "It's All Over Your Body" (Oddisee Remix) ~ Jose James (14) "Drama" ~ Erykah Badu (15) "Imagine" (Moods Remix) ~ Jordan Rakei (16) "Rampant Wild Free" (Tall Black Guy Remix) ~ Noah Slee (17) "The List" ~ Moonchild Peace Fam.

Guest Info/Bio: This week we cap off our series on religious pluralism with our guest, Saumya Arya Haas. Saumya is the Digital Outreach Coordinator for Agape Editions, an imprint of Sundress Publications. She was an early adopter of Social Media for interfaith and social outreach and has been nominated as a Twin Cities Titan in Social Media. While pursuing her Religious Studies degree at Harvard University, she founded Headwaters/Delta Interfaith, which facilitated interfaith/intergroup dialogue and advised organizations on diversity, inclusiveness, and intergroup cooperation; she worked extensively in New Orleans but this work has taken her everywhere from West Africa to the White House. She worked with the Parliament of World Religions, The UN World Council of Religious Leaders, and The UN Peace Initiative. Guest Publications: Saumya writes regularly for The Huffington Post, State of Formation, and The Good Men Project as well as various other websites and print media. Guest Website/Social Media: https://goodmenproject.com/author/saumya-arya-haas https://www.stateofformation.org/author/saumya-arya-haas https://www.huffingtonpost.com/saumya-arya-haas www.nsomniasaum.blogspot.com Twitter: @nsomniasaum Facebook: @saumyaaryahaas Special guest music on this episode provided by: Verite www.veriteofficial.com Facebook: @veritemusic https://soundcloud.com/veritemusic Twitter: @verite Instagram: @verite Enjoy the songs? Songs featured on this episode were: “Rest & Living” from the EP Living. “Phase Me Out & Bout You” off of the forthcoming album “Somewhere In Between” available everywhere good music is sold on June 23, 2017! Go grab that album and tell her we sent ya! Verite’s music is available on iTunes, Spotify, Pandora, YouTube, Soundcloud, iHeartRadio, TuneIn, & Apple Music. The Deconstructionist’s Podcast is mixed and edited by Nicholas Rowe at National Audio Preservation Society: A full service recording studio and creative habitat, located in Heath, Ohio. Find them on Facebook and Twitter or visit their website for more information. www.nationalaudiopreservationsociety.weebly.com www.facebook.com/nationalaudiopreservationsociety Twitter: @napsrecording Donation: If you’re digging what we’re doing here consider making a small donation. Maintaining a podcast isn’t cheap and every dollar donated helps us to keep this thing going. Money donated goes to helping to purchase research materials, maintenance of the website, storage of episodes, etc. Click the link below to donate: https://squareup.com/store/thedeconstructionists Brand new T-Shirts now available! An original design by Joseph Ernst (@joernst1 on Instagram), this limited edition uni-sex t-shirt is soft and durable poly/cotton in charcoal grey with white screen printed graphic. Grab one to support your favorite podcast and remember when you embraced the beauty of your deconstruction. https://squareup.com/store/thedeconstructionists Find us on social media! www.thedeconstructionists.com Twitter: @deconstructcast Facebook: deconstructionistsanonymous Instagram: deconstructionistspodcast Support this podcast at — https://redcircle.com/the-deconstructionists/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy