Podcasts about Brother Ray

Send us a textOur guest today is none other than Brother Ray. Ray was once deeply entrenched in the dangerous world of gang life in Oklahoma. For 20 years, he was bound by this destructive lifestyle, fully immersed in its chaos and violence. His life led him in and out of prison time and time again, a cycle that seemed never-ending. But during his final time in prison, something incredible happened. He finally realized that God had always been with him, even in the darkest moments. From that moment on, Brother Ray has walked with the Lord, finding redemption and purpose in His grace.

Texan Cindy Walker already was a well-established songwriter in the fall of 1955 when she attended Nashville's annual disc jockey convention.By then, she had worked with Bing Crosby, not to mention Gene Autry and Bob Wills. She had even scored her own hit in 1944 with her recording of Wiley Walker and Gene Sullivan's "When My Blue Moon Turns to Gold Again."But Cindy Walker's greatest contribution to American pop music was only now about to happen.How the Song Came to BeYears later, Walker would recall that day. She was leaving the Nashville conference when she was approached by country singing star Eddy Arnold.“He said, 'I've been wanting to see you. I've got a song title,'” she remembered. “He said, ‘I've showed it around a little bit and I haven't had any luck, but I know it's a good title.'” Walker liked the title Arnold suggested — “You Don't Know Me” — but at first she couldn't figure out what to do with it. Back home, though, “I was just sitting there and all of a sudden, here comes, 'You give your hand to me and then you say hello'.” "But I couldn't find any way to finish it,” she told a writer decades later during her Grammy Foundation Living History interview. “Maybe two or three weeks went by and nothing happened. Then one day, I thought, 'You give your hand to me and then you say goodbye' and when I said that, I knew exactly where it was going. I couldn't wait to get to the phone to call Eddy."Crossover GoldWalker's resulting song was a definitive crossover hit. The first rendition of “You Don't Know Me” was released by pop singer Jerry Vale, who in early 1956 carried it to #14 on Billboard's pop chart. Two months later, it entered the country music world when Eddy Arnold's version made it to #10.Then along came Brother Ray. In 1962, Ray Charles included the tune on his #1 pop album Modern Sounds in Country and Western Music. His single of “You Don't Know Me” (the song's overall biggest-selling version ever) went all the way to #2 on Billboard's “Hot 100.” That same year it also topped the Easy Listening chart for three weeks.Later the song was used in the 1993 comedy film Groundhog Day, and it was the 12th No. 1 country hit for Mickey Gilley in 1981.Walker's fellow Texan Willie Nelson honored her with his album You Don't Know Me: The Songs of Cindy Walker in 2006, the year she died at age 88. In her obituary, The New York Times noted that Walker had Top 10 hits in every decade from the 1940s to the 1980s.Our Take on the TuneMichelle Hoge brought her band mates this song about a decade ago. It immediately found a place on the next album they were working on and it became a standard feature in most of The Flood's shows. These days, the guys don't see Michelle so often — she and her husband Rich live more than two hours away — but whenever she rambles back this way, as she did last week, this enduring classic is sure to make an appearance.More from MichelleFinally, if you would like to fill your Friday with little more from the one whom the late Joe Dobbs lovingly dubbed “The Chick Singer,” tune in the Michelle Channel in the free Radio Floodango music streaming service.Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Bob Colling Jr. & Dallas Gridley head into the hundred-and-twenty-fourth episode of TNA iMPACT! from November 9, 2006 on Spike TV at the Impact Zone in Orlando, Florida. The Fight For The Right Tournament concludes as AJ Styles faces Ron Killings & Robert Roode with the winner moving in to fight "The Monster" Abyss in the final match in the main event! Plus, Petey Williams in a 3-Way X-Division Match against Austin Starr and Johnny Devine! Also, Shane Douglas confronts Brother Ray, Sting, Kurt Angle, LAX, AMW, and we hear from Christian Cage & Rhino before their Barbed Wire Six Sides Of Steel Match next week on the Prime Time special and so much more! You won't want to miss this episode as we march towards Genesis! More TNA Cross The Line Podcast: tnacrosstheline.com Follow us on Twitter @CrossTheLineTNA Follow us on Facebook @TNACrossTheLinePod Follow us on Instagram @CrossTheLineTNA Subscribe to our YouTube Channel Shop at our Pro Wrestling Tees Store

Silver Quintette - "Sinner's Crossroads" [0:00:00] Cross-Road Singers - "Sing Till the Power of the Lord Comes Down" [0:03:32] Ozark Mountain Gospel Singers - "If You Want to Get Heaven" [0:07:34] CBS Trumpeteers - "I Want to Know" [0:15:09] Flying Clouds of Detroit - "Jez E Bell" [sinner and Brother Ray to the right, live in the studio.] [0:17:36] Fireside Gospel Singers - "Get Your Soul Right" [0:20:53] Holmes Sisters - "Son of Man" [0:23:54] Sons of Jehovah - "The Holy Bible" [0:27:58] Bevins Specials - "Everybody Ought to Pray" [0:30:19] Brother TS Small and the Sunrising Four of Summerville, S.C. - "Sweet Jesus" [0:36:13] Leo Richburg and the Gospel Four - "Lord You Been So Good to Me" [0:40:26] Gospel Skylifters - "Lord I'm Holding On" [0:47:12] Flossie and the Active Gibson Singers - "Repent and Be Baptized" [0:49:24] Linen Singers - "I've Got to Take Jesus" [0:49:36] Shepherds of Joy - "There Will Be Peace" [0:53:14] Madame Edna Gallmon Cooke - "At the Gate" [0:58:18] https://www.wfmu.org/playlists/shows/145176

A new MP3 sermon from Huntingdon Missionary Baptist Church is now available on SermonAudio with the following details: Title: Funeral Service: Brother Ray Smith Speaker: Various Speakers Broadcaster: Huntingdon Missionary Baptist Church Event: Funeral Service Date: 9/12/2024 Length: 74 min.

Our man Mario returns (with a special surprise appearance by Brother Ray at the tail end) to throw down with us on Cashiers du Cinéma #2 and Josh Bayer from Obvious Fake Press, Roadside Daydream by Ding Pao-yen from Mangasick via 50 Watts Books, Vendetta: Holy Vindicator by Steve McArdle from Floating World, Symbiote Spider-Man 2099 by Peter David and Rogé Antonio, The Clitoris by Rikke Villadsen from Fantagraphics, From the DC Vault: Death in the Family: Robin Lives and Rick Leonardi, Millennium and New Guardians, The Day the Clan Came to Town by Bill Campbell and Bizhan Khodabandeh from PM Press, Dynamite Diva #4: The Engine Whispers by Jasper Jubenvill, One Piece: Ace's Story Volume 2 and Boichi, Nemesis: Rogues Gallery, Doom Patrol by Arnold Drake and Bruno Premiani, The Midnight Order and Mathieu Bablet, plus a whole mess more!

Rehearsal is always important, of course, but sometimes leaving a song alone for a while also has interesting effects.For instance, it's been probably a year or more since the Ray Charles classic “Hard Times (Who Knows Better Than I)” has made an appearance at a Flood rehearsal. It's a great tune, but for some reason it just didn't come to mind for while.However, the song hasn't been stagnating, as it turns out. When the tune finally did roll around again at last week's gathering, it had been percolating in everyone's memory. That was obvious, because all kind of exciting new ideas came out as the solos went around the room.About the SongAs reported earlier, in 1961 Atlanta Records commemorated Ray Charles's near-decade of dedication to that label with the release of an album called The Genius Sings The Blues. It was a welcome compilation of some of Brother Ray's earlier singles, plus some previously unreleased stuff, like this perfect Ray Charles composition.“Hard Times” had the distinction of being the A-side of the only single released to promote that album. It also is the standout number in the entire collection. The tune has gone on to be covered by everybody from David Clayton-Thomas to Eric Clapton. Here's The Flood's 2024 rendition of it. More? Gotcha CoveredIf you'd like more from the blues column on our menu, just click the “Blues” button on our free Radio Floodango music streaming service.Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Clip of the Week-"Peter's Denial" Brother Ray Smith Reading from Mark 14:29-31 in Camp Meeting 1962, Bro. Ray preached on “Peter's denial before Christ was crucified”. The disciples lacked the power to follow Jesus before Pentecost, in spite of their genuine love and determination to follow him. He shows how this experience is shared among all believers who are converted if they do not seek for power from on high. Brother David Cosby

Silver Quintette - "Sinner's Crossroads" [0:00:00] Day Singers - "Traveling Upwards" [0:03:24] Pilgrim Angels - "Show Signs" [0:07:13] Gospel Echoes - "When Jesus Comes Down" [0:12:54] Mission Light Singers - "I'm His Child" [0:14:11] Collins Brothers - "It's Going To Rain" [Photo is of message board regular Brother Ray of Pensacola, FL.] [0:17:59] Pilgrim Wonders - "I Don't Know Why" [0:21:09] Wiley Johnson - "I Told The Lord I Wanted Religion" [0:25:43] Trumphs of Zion - "Move Out Satan" [0:28:15] Gales of Joy - "Six Months" [0:33:47] Gabrielaires - "You Don't Know Where Death Is" [0:38:39] Rev Eugene T. Williams and the Williams Singers - "Alleluia" [0:38:58] Gospel Paraders - "Up Above My Head" [0:42:17] Linen Singers - "Jesus Is My Everything" - I've Been Changed [0:46:01] Florida Spiritualaires - "What The World Needs Is Jesus" - Give God The Glory [0:54:09] Glory Aires - "Something Inside of Me" [0:58:20] https://www.wfmu.org/playlists/shows/139063

Have you ever felt a pull towards something greater, a nudge from the divine in the midst of your everyday life? Brother Ray Gosa rejoins us on the Called by God Podcast for a heartfelt discussion that traverses the mystical to the practical aspects of answering a higher calling. Together, we reminisce about Moses' unforgettable encounter with the burning bush and contemplate the mysterious ways God summons us to action. Brother Ray's wisdom shines as we share personal narratives of spiritual awakening, akin to the steadfast flame within Moses' bush, revealing our own passions and purposes. We ponder the skepticism that might greet such inexplicable events as the burning bush in our current era, while recognizing the individualized nature of these divine moments. Through our exchanges, we invite you to unearth the extraordinary within the ordinary and discover your own 'burning bush' moments that beckon you towards a path less traveled.Closing our episode, we turn our attention to the boldness required to confront injustices, drawing inspiration from Moses' return to his roots. The conversation evolves into a reflection on the 'killer instinct' necessary to champion righteousness and the distinct roles we can embody as catalysts for change. With a note of encouragement, we leave you with thoughts on the beauty of life, the importance of awakening with a thankful heart, and the unwavering love of God and Jesus Christ. Join us on this journey of faith and introspection, and perhaps find the spark to ignite your own divine call to action. A Call to SalvationSupport the showSocial Media/Follow Us: Website:https://www.calledbygodpodcast.com/IG: https://www.instagram.com/cbg.podcast/Twitter: https://twitter.com/CalledbyGodPodTikTok: https://www.tiktok.com/@calledbygodpodcast

Sandor "the Hound" Clegane lives a peaceful life with the pacifist community of Brother Ray; Jon Snow, Sansa Stark and Davos Seaworth attempt to build an army; Margaery Tyrell convinces her grandmother to leave the capital despite Cersei's appeal to stay; Jaime Lannister attempts to negotiate with the Blackfish; and Arya Stark is ambushed in Braavos.If you want to keep the fun going with us throughout the week, come join our Facebook group. THE WATCH DEM THRONES FACEBOOK GROUPhttps://www.facebook.com/groups/126567443834910/?ref=share&mibextid=NSMWBTTO WATCH AND SUBSCRIBE:Facebook:https://www.facebook.com/blackwithnochaser/Twitter:https://twitter.com/BeBlackNoChaser?t=pVFV06lBFdZRu72ot4uCjA&s=09Twitter:https://twitter.com/WatchDemThrones?t=q0ngrYPlugf0ttzM2jo39A&s=09Apple Music: https://podcasts.apple.com/us/podcast/watch-dem-thrones-by-black-with-no-chaser/id1641754247Spotify:https://open.spotify.com/show/1qI1bJ1vIlobu502w6zrtN?si=mtsa3gZYRZW_3FmlCrv7UgBWNC RADIO: https://apps.apple.com/us/app/bwnc-radio/id6443800363Amazon Musichttps://music.amazon.com/podcasts/45279c3a-c09f-47d1-a3a3-88e6e2507230/watch-dem-thrones-by-black-with-no-chaserIHeartRadiohttps://www.iheart.com/podcast/269-watch-dem-thrones-by-black-101286659/?cmp=android_share&sc=android_social_share&pr=false#gameofthrones #demdragons #blackwithnochaser #houseofthedragonhbo #dragonseeds #theblacks #thegreens #houseofthedragon #youtube #targaryens #podcast #podsincolor #applemusic #spotifymusic #podsincolor #starks #lannisters #Velaryon

2 Timothy 2:20-21 20   But in a great house there are not only vessels of gold and of silver, but also of wood and of earth; and some to honour, and some to dishonour.  21   If a man therefore purge himself from these, he shall be a vessel unto honour, sanctified, and meet for the master's use, and prepared unto every good work.  Ephesians 2:19 Now therefore ye are no more strangers and foreigners, but fellowcitizens with the saints, and of the household of God;  Acts 9:15 But the Lord said unto him, Go thy way: for he is a chosen vessel unto me, to bear my name before the Gentiles, and kings, and the children of Israel:  2 Timothy 2:19 Nevertheless the foundation of God standeth sure, having this seal, The Lord knoweth them that are his. And, Let every one that nameth the name of Christ depart from iniquity. 

Our collaboration podcast with our brothers from Revival Fire Ministries  Brother Nox, Brother Ray and Ps Ben. Hosted by our co-host Middian - Praise the Lord. This episode is a MUST WATCH! Thank you Jesus for bringing us together to speak on such an important topic especially at a time like this! Matthew 4:17 KJV From that time Jesus began to preach, and to say, Repent: for the kingdom of heaven is at hand.

Tercer capítulo dedicado a recordar y reivindicar las Mod Jazz Series, compilaciones que fueron editadas por la escudería Ace Records, a partir de 1996 y manufacturadas por el Ady Croasdell, director del sello Kent Records.Playlist;(sintonía) FREDDIE McCOY “Collard greens”MERL SAUNDERS “My train”CHRIS COLUMBO “You can’t sit down”LITTLE JOHN TAYLOR “You win, I lose”WILLIS JACKSON “Brother Ray”THE YOUNG HOLT TRIO “Ain’t there something that money can’t buy”WOODY HERMAN “Hush”COUNT BASIE “Hang on sloopy”JACKIE WILSON and COUNT BASIE “Uptight (Everything's alright)”ELLA FITZGERALD “Get ready”SHARON CASH “Fever”THE CALS “Another plan for school mix up”ERMA FRANKLIN “Light my fire”MARK MURPHY “Senor blues”BOBBY BLAND “Honey child”B.B. KING “Bad luck soul”LOU DONALDSON “Musty Rusty”RICHARD GROOVE HOLMES “Livin’ soul” Escuchar audio

John 12:21 The same came therefore to Philip, which was of Bethsaida of Galilee, and desired him, saying, Sir, we would see Jesus.  John 12:23-26 23   And Jesus answered them, saying, The hour is come, that the Son of man should be glorified.  24   Verily, verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit.  25   He that loveth his life shall lose it; and he that hateth his life in this world shall keep it unto life eternal.  26   If any man serve me, let him follow me; and where I am, there shall also my servant be: if any man serve me, him will my Father honour.  2 Corinthians 5:21 For he hath made him to be sin for us, who knew no sin; that we might be made the righteousness of God in him.  Mark 8:34 And when he had called the people unto him with his disciples also, he said unto them, Whosoever will come after me, let him deny himself, and take up his cross, and follow me.   

Joshua 7:1-26 1   But the children of Israel committed a trespass in the accursed thing: for Achan, the son of Carmi, the son of Zabdi, the son of Zerah, of the tribe of Judah, took of the accursed thing: and the anger of the LORD was kindled against the children of Israel.  2   And Joshua sent men from Jericho to Ai, which is beside Bethaven, on the east side of Bethel, and spake unto them, saying, Go up and view the country. And the men went up and viewed Ai.  3   And they returned to Joshua, and said unto him, Let not all the people go up; but let about two or three thousand men go up and smite Ai; and make not all the people to labour thither; for they are but few.  4   So there went up thither of the people about three thousand men: and they fled before the men of Ai.  5   And the men of Ai smote of them about thirty and six men: for they chased them from before the gate even unto Shebarim, and smote them in the going down: wherefore the hearts of the people melted, and became as water.  6   And Joshua rent his clothes, and fell to the earth upon his face before the ark of the LORD until the eventide, he and the elders of Israel, and put dust upon their heads.  7   And Joshua said, Alas, O Lord GOD, wherefore hast thou at all brought this people over Jordan, to deliver us into the hand of the Amorites, to destroy us? would to God we had been content, and dwelt on the other side Jordan!  8   O Lord, what shall I say, when Israel turneth their backs before their enemies!  9   For the Canaanites and all the inhabitants of the land shall hear of it, and shall environ us round, and cut off our name from the earth: and what wilt thou do unto thy great name?  10   And the LORD said unto Joshua, Get thee up; wherefore liest thou thus upon thy face?  11   Israel hath sinned, and they have also transgressed my covenant which I commanded them: for they have even taken of the accursed thing, and have also stolen, and dissembled also, and they have put it even among their own stuff.  12   Therefore the children of Israel could not stand before their enemies, but turned their backs before their enemies, because they were accursed: neither will I be with you any more, except ye destroy the accursed from among you.  13   Up, sanctify the people, and say, Sanctify yourselves against to morrow: for thus saith the LORD God of Israel, There is an accursed thing in the midst of thee, O Israel: thou canst not stand before thine enemies, until ye take away the accursed thing from among you.  14   In the morning therefore ye shall be brought according to your tribes: and it shall be, that the tribe which the LORD taketh shall come according to the families thereof; and the family which the LORD shall take shall come by households; and the household which the LORD shall take shall come man by man.  15   And it shall be, that he that is taken with the accursed thing shall be burnt with fire, he and all that he hath: because he hath transgressed the covenant of the LORD, and because he hath wrought folly in Israel.  16   So Joshua rose up early in the morning, and brought Israel by their tribes; and the tribe of Judah was taken:  17   And he brought the family of Judah; and he took the family of the Zarhites: and he brought the family of the Zarhites man by man; and Zabdi was taken:  18   And he brought his household man by man; and Achan, the son of Carmi, the son of Zabdi, the son of Zerah, of the tribe of Judah, was taken.  19   And Joshua said unto Achan, My son, give, I pray thee, glory to the LORD God of Israel, and make confession unto him; and tell me now what thou hast done; hide it not from me.  20   And Achan answered Joshua, and said, Indeed I have sinned against the LORD God of Israel, and thus and thus have I done:  21   When I saw among the spoils a goodly Babylonish garment, and two hundred shekels of silver, and a wedge of gold of fifty shekels weight, then I coveted them, and took them; and, behold, they are hid in the earth in the midst of my tent, and the silver under it.  22   So Joshua sent messengers, and they ran unto the tent; and, behold, it was hid in his tent, and the silver under it.  23   And they took them out of the midst of the tent, and brought them unto Joshua, and unto all the children of Israel, and laid them out before the LORD.  24   And Joshua, and all Israel with him, took Achan the son of Zerah, and the silver, and the garment, and the wedge of gold, and his sons, and his daughters, and his oxen, and his asses, and his sheep, and his tent, and all that he had: and they brought them unto the valley of Achor.  25   And Joshua said, Why hast thou troubled us? the LORD shall trouble thee this day. And all Israel stoned him with stones, and burned them with fire, after they had stoned them with stones.  26   And they raised over him a great heap of stones unto this day. So the LORD turned from the fierceness of his anger. Wherefore the name of that place was called, The valley of Achor, unto this day. 

Joshua 6:18-19 18   And ye, in any wise keep yourselves from the accursed thing, lest ye make yourselves accursed, when ye take of the accursed thing, and make the camp of Israel a curse, and trouble it.  19   But all the silver, and gold, and vessels of brass and iron, are consecrated unto the LORD: they shall come into the treasury of the LORD.  Joshua 7:1-26 1   But the children of Israel committed a trespass in the accursed thing: for Achan, the son of Carmi, the son of Zabdi, the son of Zerah, of the tribe of Judah, took of the accursed thing: and the anger of the LORD was kindled against the children of Israel.  2   And Joshua sent men from Jericho to Ai, which is beside Bethaven, on the east side of Bethel, and spake unto them, saying, Go up and view the country. And the men went up and viewed Ai.  3   And they returned to Joshua, and said unto him, Let not all the people go up; but let about two or three thousand men go up and smite Ai; and make not all the people to labour thither; for they are but few.  4   So there went up thither of the people about three thousand men: and they fled before the men of Ai.  5   And the men of Ai smote of them about thirty and six men: for they chased them from before the gate even unto Shebarim, and smote them in the going down: wherefore the hearts of the people melted, and became as water.  6   And Joshua rent his clothes, and fell to the earth upon his face before the ark of the LORD until the eventide, he and the elders of Israel, and put dust upon their heads.  7   And Joshua said, Alas, O Lord GOD, wherefore hast thou at all brought this people over Jordan, to deliver us into the hand of the Amorites, to destroy us? would to God we had been content, and dwelt on the other side Jordan!  8   O Lord, what shall I say, when Israel turneth their backs before their enemies!  9   For the Canaanites and all the inhabitants of the land shall hear of it, and shall environ us round, and cut off our name from the earth: and what wilt thou do unto thy great name?  10   And the LORD said unto Joshua, Get thee up; wherefore liest thou thus upon thy face?  11   Israel hath sinned, and they have also transgressed my covenant which I commanded them: for they have even taken of the accursed thing, and have also stolen, and dissembled also, and they have put it even among their own stuff.  12   Therefore the children of Israel could not stand before their enemies, but turned their backs before their enemies, because they were accursed: neither will I be with you any more, except ye destroy the accursed from among you.  13   Up, sanctify the people, and say, Sanctify yourselves against to morrow: for thus saith the LORD God of Israel, There is an accursed thing in the midst of thee, O Israel: thou canst not stand before thine enemies, until ye take away the accursed thing from among you.  14   In the morning therefore ye shall be brought according to your tribes: and it shall be, that the tribe which the LORD taketh shall come according to the families thereof; and the family which the LORD shall take shall come by households; and the household which the LORD shall take shall come man by man.  15   And it shall be, that he that is taken with the accursed thing shall be burnt with fire, he and all that he hath: because he hath transgressed the covenant of the LORD, and because he hath wrought folly in Israel.  16   So Joshua rose up early in the morning, and brought Israel by their tribes; and the tribe of Judah was taken:  17   And he brought the family of Judah; and he took the family of the Zarhites: and he brought the family of the Zarhites man by man; and Zabdi was taken:  18   And he brought his household man by man; and Achan, the son of Carmi, the son of Zabdi, the son of Zerah, of the tribe of Judah, was taken.  19   And Joshua said unto Achan, My son, give, I pray thee, glory to the LORD God of Israel, and make confession unto him; and tell me now what thou hast done; hide it not from me.  20   And Achan answered Joshua, and said, Indeed I have sinned against the LORD God of Israel, and thus and thus have I done:  21   When I saw among the spoils a goodly Babylonish garment, and two hundred shekels of silver, and a wedge of gold of fifty shekels weight, then I coveted them, and took them; and, behold, they are hid in the earth in the midst of my tent, and the silver under it.  22   So Joshua sent messengers, and they ran unto the tent; and, behold, it was hid in his tent, and the silver under it.  23   And they took them out of the midst of the tent, and brought them unto Joshua, and unto all the children of Israel, and laid them out before the LORD.  24   And Joshua, and all Israel with him, took Achan the son of Zerah, and the silver, and the garment, and the wedge of gold, and his sons, and his daughters, and his oxen, and his asses, and his sheep, and his tent, and all that he had: and they brought them unto the valley of Achor.  25   And Joshua said, Why hast thou troubled us? the LORD shall trouble thee this day. And all Israel stoned him with stones, and burned them with fire, after they had stoned them with stones.  26   And they raised over him a great heap of stones unto this day. So the LORD turned from the fierceness of his anger. Wherefore the name of that place was called, The valley of Achor, unto this day.   

Nehemiah 6:1-14 1   Now it came to pass, when Sanballat, and Tobiah, and Geshem the Arabian, and the rest of our enemies, heard that I had builded the wall, and that there was no breach left therein; (though at that time I had not set up the doors upon the gates;)  2   That Sanballat and Geshem sent unto me, saying, Come, let us meet together in some one of the villages in the plain of Ono. But they thought to do me mischief.  3   And I sent messengers unto them, saying, I am doing a great work, so that I cannot come down: why should the work cease, whilst I leave it, and come down to you?  4   Yet they sent unto me four times after this sort; and I answered them after the same manner.  5   Then sent Sanballat his servant unto me in like manner the fifth time with an open letter in his hand;  6   Wherein was written, It is reported among the heathen, and Gashmu saith it, that thou and the Jews think to rebel: for which cause thou buildest the wall, that thou mayest be their king, according to these words.  7   And thou hast also appointed prophets to preach of thee at Jerusalem, saying, There is a king in Judah: and now shall it be reported to the king according to these words. Come now therefore, and let us take counsel together.  8   Then I sent unto him, saying, There are no such things done as thou sayest, but thou feignest them out of thine own heart.  9   For they all made us afraid, saying, Their hands shall be weakened from the work, that it be not done. Now therefore, O God, strengthen my hands.  10   Afterward I came unto the house of Shemaiah the son of Delaiah the son of Mehetabeel, who was shut up; and he said, Let us meet together in the house of God, within the temple, and let us shut the doors of the temple: for they will come to slay thee; yea, in the night will they come to slay thee.  11   And I said, Should such a man as I flee? and who is there, that, being as I am, would go into the temple to save his life? I will not go in.  12   And, lo, I perceived that God had not sent him; but that he pronounced this prophecy against me: for Tobiah and Sanballat had hired him.  13   Therefore was he hired, that I should be afraid, and do so, and sin, and that they might have matter for an evil report, that they might reproach me.  14   My God, think thou upon Tobiah and Sanballat according to these their works, and on the prophetess Noadiah, and the rest of the prophets, that would have put me in fear. 

Join us “LIVE” on an upcoming Performance Upgrade MasterClass > www.risingkings.com.au/masterclassLearn more about the RISING KINGS EXPERIENCE > https://go.rising-kings.com/apply-vid—-----------------IN THIS EPISODE:Check out the latest 'Inside the Brotherhood episode of the RISING KINGS podcast as we chat with Ray Pollard and hear his extraordinary journey. In this episode, Ray shares his inspirational story of transformation that goes into the depths dark depths of fighting cancer and his remarkable re-growth from the pits of hell.With raw vulnerability, Ray unveils the true reality of his downward spiral prior to joining RISING KINGS and boldly declares that he is now living his best life. Prepare to be moved as we delve into the power of self-love in driving personal growth, the profound impact of a real brotherhood of men and accountability, and the life-altering changes that unfold when you wholeheartedly commit to going all in on life. If you're yearning to unleash your true potential and elevate every facet of life, this episode is an absolute must-listen.If you found this episode valuable, don't forget to share it, rate and review it. Want to know more about RISING KINGS and what we do, visit https://www.risingkings.com.au/ Want to work with RISING KINGS - Visit www.risingkings.com.au/rise-upAnd of course don't forget to follow us on social @RISINGKINGSFinally we invite you to join our FREE private online community.If you found value in this episode make sure to LIKE, SHARE and SUBSCRIBE. Oh and tell us how we're doing, are you liking the podcast? What topics would like for us to talk about? What can we do better? Send us an email at Support@rising-kings.com

Notes:  Galatians 6:1-5 1   Brethren, if a man be overtaken in a fault, ye which are spiritual, restore such an one in the spirit of meekness; considering thyself, lest thou also be tempted.  2   Bear ye one another's burdens, and so fulfil the law of Christ.  3   For if a man think himself to be something, when he is nothing, he deceiveth himself.  4   But let every man prove his own work, and then shall he have rejoicing in himself alone, and not in another.  5   For every man shall bear his own burden.  Matthew 4:21 And going on from thence, he saw other two brethren, James the son of Zebedee, and John his brother, in a ship with Zebedee their father, mending their nets; and he called them.  Mark 1:19 And when he had gone a little further thence, he saw James the son of Zebedee, and John his brother, who also were in the ship mending their nets.  John 13:5-10 5   After that he poureth water into a bason, and began to wash the disciples' feet, and to wipe them with the towel wherewith he was girded.  6   Then cometh he to Simon Peter: and Peter saith unto him, Lord, dost thou wash my feet?  7   Jesus answered and said unto him, What I do thou knowest not now; but thou shalt know hereafter.  8   Peter saith unto him, Thou shalt never wash my feet. Jesus answered him, If I wash thee not, thou hast no part with me.  9   Simon Peter saith unto him, Lord, not my feet only, but also my hands and my head.  10   Jesus saith to him, He that is washed needeth not save to wash his feet, but is clean every whit: and ye are clean, but not all. 

Notes:  Galatians 6:1-5 1   Brethren, if a man be overtaken in a fault, ye which are spiritual, restore such an one in the spirit of meekness; considering thyself, lest thou also be tempted.  2   Bear ye one another's burdens, and so fulfil the law of Christ.  3   For if a man think himself to be something, when he is nothing, he deceiveth himself.  4   But let every man prove his own work, and then shall he have rejoicing in himself alone, and not in another.  5   For every man shall bear his own burden.  1 Corinthians 12:12-27 12   For as the body is one, and hath many members, and all the members of that one body, being many, are one body: so also is Christ.  13   For by one Spirit are we all baptized into one body, whether we be Jews or Gentiles, whether we be bond or free; and have been all made to drink into one Spirit.  14    For the body is not one member, but many.  15   If the foot shall say, Because I am not the hand, I am not of the body; is it therefore not of the body?  16   And if the ear shall say, Because I am not the eye, I am not of the body; is it therefore not of the body?  17   If the whole body were an eye, where were the hearing? If the whole were hearing, where were the smelling?  18   But now hath God set the members every one of them in the body, as it hath pleased him.  19   And if they were all one member, where were the body?  20   But now are they many members, yet but one body.  21   And the eye cannot say unto the hand, I have no need of thee: nor again the head to the feet, I have no need of you.  22   Nay, much more those members of the body, which seem to be more feeble, are necessary:  23   And those members of the body, which we think to be less honourable, upon these we bestow more abundant honour; and our uncomely parts have more abundant comeliness.  24   For our comely parts have no need: but God hath tempered the body together, having given more abundant honour to that part which lacked:  25   That there should be no schism in the body; but that the members should have the same care one for another.  26   And whether one member suffer, all the members suffer with it; or one member be honoured, all the members rejoice with it.  27   Now ye are the body of Christ, and members in particular.  John 1:12 But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name:  1 John 1:8 If we say that we have no sin, we deceive ourselves, and the truth is not in us. 

Singer, Songwriter, Super Producer, and one of the architects of the Philly Sound, Kenny Gamble, will continue our salute to Black Music Month. Before we hear from Kenny, Music Publicist Ira Tucker Jr. will check into our classroom, Ira's dad was a member of the Dixie Hummingbirds & his sister was a member of the Supremes. Before Ira, Civil Rights activist Brother Ray. Learn More About The 54 Countries of Africa Text "DCnews" to 52140 For Local & Exclusive News Sent Directly To You! The Big Show starts on WOLB at 1010 AM, wolbbaltimore.com, WOL 95.9 FM & 1450 AM & woldcnews.com at 6 am ET., 5 am CT., 3 am PT., and 11 am BST. Call-In # 800 450 7876 to participate, & listen liveSee omnystudio.com/listener for privacy information.

Nehemiah 6:1-14 1   Now it came to pass, when Sanballat, and Tobiah, and Geshem the Arabian, and the rest of our enemies, heard that I had builded the wall, and that there was no breach left therein; (though at that time I had not set up the doors upon the gates;)  2   That Sanballat and Geshem sent unto me, saying, Come, let us meet together in some one of the villages in the plain of Ono. But they thought to do me mischief.  3   And I sent messengers unto them, saying, I am doing a great work, so that I cannot come down: why should the work cease, whilst I leave it, and come down to you?  4   Yet they sent unto me four times after this sort; and I answered them after the same manner.  5   Then sent Sanballat his servant unto me in like manner the fifth time with an open letter in his hand;  6   Wherein was written, It is reported among the heathen, and Gashmu saith it, that thou and the Jews think to rebel: for which cause thou buildest the wall, that thou mayest be their king, according to these words.  7   And thou hast also appointed prophets to preach of thee at Jerusalem, saying, There is a king in Judah: and now shall it be reported to the king according to these words. Come now therefore, and let us take counsel together.  8   Then I sent unto him, saying, There are no such things done as thou sayest, but thou feignest them out of thine own heart.  9   For they all made us afraid, saying, Their hands shall be weakened from the work, that it be not done. Now therefore, O God, strengthen my hands.  10   Afterward I came unto the house of Shemaiah the son of Delaiah the son of Mehetabeel, who was shut up; and he said, Let us meet together in the house of God, within the temple, and let us shut the doors of the temple: for they will come to slay thee; yea, in the night will they come to slay thee.  11   And I said, Should such a man as I flee? and who is there, that, being as I am, would go into the temple to save his life? I will not go in.  12   And, lo, I perceived that God had not sent him; but that he pronounced this prophecy against me: for Tobiah and Sanballat had hired him.  13   Therefore was he hired, that I should be afraid, and do so, and sin, and that they might have matter for an evil report, that they might reproach me.  14   My God, think thou upon Tobiah and Sanballat according to these their works, and on the prophetess Noadiah, and the rest of the prophets, that would have put me in fear.  1 Peter 5:8 Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour: 

1 Timothy 6:10-12 10   For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.  11   But thou, O man of God, flee these things; and follow after righteousness, godliness, faith, love, patience, meekness.  12   Fight the good fight of faith, lay hold on eternal life, whereunto thou art also called, and hast professed a good profession before many witnesses.   

Notes:  Philippians 2:1-5 1   If there be therefore any consolation in Christ, if any comfort of love, if any fellowship of the Spirit, if any bowels and mercies,  2   Fulfil ye my joy, that ye be likeminded, having the same love, being of one accord, of one mind.  3   Let nothing be done through strife or vainglory; but in lowliness of mind let each esteem other better than themselves.  4   Look not every man on his own things, but every man also on the things of others.  5    Let this mind be in you, which was also in Christ Jesus:  Philippians 4:8 Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.  Genesis 6:5 And GOD saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually.  Galatians 2:20 I am crucified with Christ: nevertheless I live; yet not I, but Christ liveth in me: and the life which I now live in the flesh I live by the faith of the Son of God, who loved me, and gave himself for me.  Titus 2:12 Teaching us that, denying ungodliness and worldly lusts, we should live soberly, righteously, and godly, in this present world;   

Joshua 1:1-9 KJV 1   Now after the death of Moses the servant of the LORD it came to pass, that the LORD spake unto Joshua the son of Nun, Moses' minister, saying,  2   Moses my servant is dead; now therefore arise, go over this Jordan, thou, and all this people, unto the land which I do give to them, even to the children of Israel.  3   Every place that the sole of your foot shall tread upon, that have I given unto you, as I said unto Moses.  4   From the wilderness and this Lebanon even unto the great river, the river Euphrates, all the land of the Hittites, and unto the great sea toward the going down of the sun, shall be your coast.  5   There shall not any man be able to stand before thee all the days of thy life: as I was with Moses, so I will be with thee: I will not fail thee, nor forsake thee.  6   Be strong and of a good courage: for unto this people shalt thou divide for an inheritance the land, which I sware unto their fathers to give them.  7   Only be thou strong and very courageous, that thou mayest observe to do according to all the law, which Moses my servant commanded thee: turn not from it to the right hand or to the left, that thou mayest prosper whithersoever thou goest.  8   This book of the law shall not depart out of thy mouth; but thou shalt meditate therein day and night, that thou mayest observe to do according to all that is written therein: for then thou shalt make thy way prosperous, and then thou shalt have good success.  9   Have not I commanded thee? Be strong and of a good courage; be not afraid, neither be thou dismayed: for the LORD thy God is with thee whithersoever thou goest. 

Joshua 1:1-9 1   Now after the death of Moses the servant of the LORD it came to pass, that the LORD spake unto Joshua the son of Nun, Moses' minister, saying,  2   Moses my servant is dead; now therefore arise, go over this Jordan, thou, and all this people, unto the land which I do give to them, even to the children of Israel.  3   Every place that the sole of your foot shall tread upon, that have I given unto you, as I said unto Moses.  4   From the wilderness and this Lebanon even unto the great river, the river Euphrates, all the land of the Hittites, and unto the great sea toward the going down of the sun, shall be your coast.  5   There shall not any man be able to stand before thee all the days of thy life: as I was with Moses, so I will be with thee: I will not fail thee, nor forsake thee.  6   Be strong and of a good courage: for unto this people shalt thou divide for an inheritance the land, which I sware unto their fathers to give them.  7   Only be thou strong and very courageous, that thou mayest observe to do according to all the law, which Moses my servant commanded thee: turn not from it to the right hand or to the left, that thou mayest prosper whithersoever thou goest.  8   This book of the law shall not depart out of thy mouth; but thou shalt meditate therein day and night, that thou mayest observe to do according to all that is written therein: for then thou shalt make thy way prosperous, and then thou shalt have good success.  9   Have not I commanded thee? Be strong and of a good courage; be not afraid, neither be thou dismayed: for the LORD thy God is with thee whithersoever thou goest.        Find us on Facebook - https://www.facebook.com/rbcyoungharris Mentioned by Brother Ray - Harold B. Sightler - "Can God?" - Can God? - Dr. Harold B. Sightler - YouTube

- Matthew 5:3 

- Matthew 5:4 

 I Samuel 20:1-2, 18-22

 I Samuel 20

One of Ray Charles's first hits was “Mess Around,” released on Atlantic Records back in 1953, but actually in this case, Brother Ray was a little late to the party.Many of the ideas for that song can been heard in a whole mess of New Orleans boogie piano riffs, starting as early as, say, Cow Cow Davenport's playing in the late 1920s. But if you want to go back even further — and, well, we generally do — there are references to dances called a “mess around” as far back the earliest days of jazz. For instance, in his wonderful autobiography called Trumpet on the Wing, the great New Orleans jazzman Wingy Manone talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image. Our Take on the TuneAs reported here earlier, the good-time hokum tunes of the 1920s and ‘30s have been part of The Flood's oeuvre since its earliest days, and here — from a recent rehearsal — is testimony to the fact that that tradition is alive and rocking.Our mess around — “4th Street Mess Around” — is the tune we learned from a spring 1930 recording by long-time Flood heroes, the remarkable Memphis Jug Band. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Welcome back! This PPV wasn't as terrible and offensive as normal (barring comments from Brother Ray). Tiger Mask is as cool as ever and New Japan finally got some of their heat back in this one. Check us out! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/takingliberties/support

Every title is on the line...in 1 match! Enemies of Kurt Angle (World Champion) & Samoa Joe (X-Division Champion) team up to take on Team 3D (Tag-Team Champions) where the person who wins the fall gets the loser's title(s). Will Kurt Angle's arrogance get the better of him or will he get all the gold? Will Samoa Joe fall down the TNA ladder or get closer to the top? Or will Brother Ray or Brother Devon get a singles title to go along with their Tag Titles? On top of that, VKM finally gets a female companion to help them fend off Christy Hemme. That companion is...um...interesting. We get a "new debut" of someone who has already been in TNA twice before. Yeah, that's a true story. We also get some great X-Division action in Ultimate X to open the show and the Motor City Machine Guns take on Bob Backlund and Jerry Lynn.In the news, we talk about the fallout on news programs after the Benoit family tragedy. WWE also competes with CMLL for an audience in Mexico. Also, TNA talks about expanding their tour across the globe.ALL PODCAST, SOCIAL MEDIA, & MERCHANDISE LINKS: linktr.ee/MainEventMarksCHECK OUT OUR MERCHANDISE: MainEventMarks.redbubble.com & bonfire.com/store/maineventmarksGET FUELED WITH SHOCKED ENERGY: https://shockedenergy.com/collections/all?sca_ref=1814354.mOXH7RrwKh&sca_source=MainEventMarks (promo code: MainEvent for 10% off)GET AWESOME SPORTS T-SHIRTS: intheclutch.com/MAINEVENT (use code "MAINEVENT" for 10% off)ORDER FROM SWIFT LIFESTYLES: SwiftLifestyles.com, use PROMO CODE: MainEventMarks at checkout for 15% offLISTEN EVERY WEDNESDAY AT 9PM EST: tikilive.com/channel/BURNS

Every title is on the line...in 1 match! Enemies of Kurt Angle (World Champion) & Samoa Joe (X-Division Champion) team up to take on Team 3D (Tag-Team Champions) where the person who wins the fall gets the loser's title(s). Will Kurt Angle's arrogance get the better of him or will he get all the gold? Will Samoa Joe fall down the TNA ladder or get closer to the top? Or will Brother Ray or Brother Devon get a singles title to go along with their Tag Titles? On top of that, VKM finally gets a female companion to help them fend off Christy Hemme. That companion is...um...interesting. We get a "new debut" of someone who has already been in TNA twice before. Yeah, that's a true story. We also get some great X-Division action in Ultimate X to open the show and the Motor City Machine Guns take on Bob Backlund and Jerry Lynn.In the news, we talk about the fallout on news programs after the Benoit family tragedy. WWE also competes with CMLL for an audience in Mexico. Also, TNA talks about expanding their tour across the globe.ALL PODCAST, SOCIAL MEDIA, & MERCHANDISE LINKS: linktr.ee/MainEventMarksCHECK OUT OUR MERCHANDISE: MainEventMarks.redbubble.com & bonfire.com/store/maineventmarksGET FUELED WITH SHOCKED ENERGY: https://shockedenergy.com/collections/all?sca_ref=1814354.mOXH7RrwKh&sca_source=MainEventMarks (promo code: MainEvent for 10% off)GET AWESOME SPORTS T-SHIRTS: intheclutch.com/MAINEVENT (use code "MAINEVENT" for 10% off)ORDER FROM SWIFT LIFESTYLES: SwiftLifestyles.com, use PROMO CODE: MainEventMarks at checkout for 15% offLISTEN EVERY WEDNESDAY AT 9PM EST: tikilive.com/channel/BURNS Learn more about your ad choices. Visit megaphone.fm/adchoices

The sideplots continue with Season 6, Episode 7, "The Broken Man." This episode is special for a variety of different reasons, but namely, because it features the return of a fan favorite character who was previously thought dead by many, Sandor "The Hound" Clegane. The episode chronicles his stay with a small commune of Riverland civilians led by the charismatic Brother Ray, portrayed in a guest spot by Deadwood's Ian McShane, and shows the Hound returning to the fold by refusing to remain broken and helpless as the forces that be continue to terrorize the innocents of the realm. In the North, Jon & Sansa continue their recruitment of their allies to take back Winterfell, but find more opposed to them than previously thought, forcing Sansa to make a desperate move. In King's Landing, Margaery begs Olenna to remove herself from harm's way, while Cersei attempts to make amends, only for Olenna to throw it back at her face. Jaime arrives at Riverrun to treat with the Blackfish, but finds him to be not at all hospitable. Theon & Yara stop off for a quick drink and a pep talk. Arya struts her way down the docks of Braavos, throwing gold ay any sailor willing to take her home, and then seems surprised when the Waif pops out of nowhere and stabs her, but the grace of the Many Faced God allows her to magically survive. It's all here on another action packed episode of Talkin' Thrones only on the #talkintvpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkintvpodcastgmailcom/support

Pan African & Reparations advocate, Dr. David Horne returns to our classroom on Monday morning. Dr. Horne will examine the new deal on Gun Laws. Dr. Horne will also discuss, The January 6th hearings, the Mid-term elections, his recent trip to Ethiopia, the Summit of the Americas, and more. Before  Dr. Horne. a Fathers Day message from Commissioner Frank Malone of the 100 Fathers Inc. Starting the week with a report on the move to Save a Black cemetery in Bethesda, Maryland.  See omnystudio.com/listener for privacy information.

It's 2008 in TNA Wrestling and the Main Event Mafia is running strong, but they have some opposition from the TNA Originals, The Front Line! Brother Ray confronts Kurt Angles and challenges him to a main event match. This time, the Main Event Mafia and The Front Line will leave the building. The match ends in a double count out, however this leads to one of the most infamous moments in TNA history, Kurt Angle screaming YEAH!!! The DEADLOCK Q&A returns to the podcast as the boys answer some of the most important questions asked by the Patrons. Plus on AEW Dynamite, MJF drops a Pipebomb “shoot” promo and asks Tony Khan for his release, Miro returns to AEW, Hiroshi Tanahashi from NJPW debuts, and Daniel Garcia Battles Jon Moxley in the Main Event! Deadlock Discord: https://discord.gg/E4BvR4W Deadlock Shop: https://shop.deadlockpw.com Deadlock Patreon: https://patreon.com/deadlockpw Deadlock Twitter: https://twitter.com/deadlockpw Deadlock Instagram: https://instagram.com/deadlockwrestling Deadlock Reddit: https://reddit.com/r/deadlockpw Deadlock Pro Wrestling: http://deadlockpro.com

Preaching from the pulpit of Woodland Baptist Church – Winston Salem, NC * Please feel free to visit our website at woodlandbaptistnow.com

Phillip Beltran, owner of Brother Ray's Salsa & Seasonings (starting a business close to retirement) , guides us on fostering community relationships, running your business off-the-cuff, growing beyond the farmer's market, starting a business close to retirement...and a love for trains can help your business?

Pc offers this Living Waters episode where brother Ray Comfort talks with a young homosexual boy about what the bible says about homosexuality. The boy was open to hearing the gospel as he had never heard the good news. Living Waters YT https://www.youtube.com/thewayofthemaster/featuredLiving Waters website http://www.LivingWaters.com _________________________________________________________________________JOIN US TODAY IN EXPOSING THE CRIMINALS & ARRESTING THE CRIMINALS!!!"STAND FOR SOMETHING OR DIE FOR NOTHING"Go to GOD for discernment and wisdom. Know the Truth as the Truth will make you free! (John 8:32)If you don't know Jesus, I pray you get to know him. Seek and ye shall find.Jesus LOVES you! And so do I!Get close to GOD!!!We are an independent reporting Patriot group focused on Truth!!!"Speaking Truth against the lies"All podcast episodes on our website.  https://neo420.com/http://neo420.com/talks-podcast/DONATE at top of page(s) https://neo420.com/shop-cbd/donation/OrBuy our hemp oil drop bottles {#360Win}https://neo420.com/shop-cbd/Our Odysee.com channel is NEO420TALKShttps://odysee.com/@NEO420TALKS:4Join! Like! Share!__________________________________________________________________________NEVER FORGET!!!9/11 was a day that global*cabal*conspired to take our freedoms!!!Celebrate the lives of any lost that day!!! Keep good thoughts about them!!!This planes are part of a pysop (psychological operation) that was pulled by the criminals who have been trying to take down US for decades. The criminal*coup*cabal consists of military, finance, politicians, fake media, and other criminals in line with UNagenda2030 plus other multi layered cabal plans that they are conspiring on.Rumsfeld admitted $2.3 Trillion missing from Pentagon.  https://www.youtube.com/watch?v=IVpSBUgbxBUPlanes did NOT bring down the two towers.AE911Truth.orgThe criminal*cabal uses Mass Hypnosis & Trauma Based Mind Control to keep people from doing anything REAL against the criminal*coup*cabalGeorge Bush Sr was CIA director before being Vice President then President. George Bush Jr did not know b/c he is stupid and the criminals in control wanted to have him respond genuinely. MANY are a part of this crime against US.Towers that fell:-Building 1-Building 2-Building 7 (seldom reported even though BBC reporter reported building down before it happened) https://www.youtube.com/watch?v=J0VFMqinkcsSTOP watching paid actors & STOP listening to useful idiots about what to do during this criminal*coup against US!!!Support the show (https://neo420.com/shop-cbd/donation/)

Thank you for joining us for Night two of our Revival. Tonights sermon is The Gospel of Christ (Romans 1:16). Join us for our second night of Revival as we listen to Brother Ray preach the word.  Have questions about BBC? Visit our website at www.burlingtonbaptist.orgSupport the show

Thank you for joining us for the first night of Revival. Tonight Bro. Ray Woodie will be focusing on the Gospel of God (Romans 1:1-7). Join us for our first night of Revival as we listen to Brother Ray preach the word.  Have questions about BBC? Visit our website at www.burlingtonbaptist.orgSupport the show

** #028 Affixed x 3 ** :: Lehi is glitching again... :: We wanted to get an outsider's opinion of the Book of Mormon, so this week's guest, Brother Ray, was raised without any religion! Hear his take on 2 Nephi 2. :: Highlights include: :: v10 Lehi becomes affixed in a loop of saying "affixed". v11 Smitty wanted to write Jane Austen fan fiction, but had "neither sense nor insensibility". v14 Lehi discovers Newtonian Physics while refusing to die. v15 Nephi discovers that his father once made a porno "The Eternal Purposes In The End Of Man". Brother Paul and Sister Patience sing Paula Abdul hits. Good is good, and bad is bad. #Reasons to stay home this Sunday# - https://bookofboredom.com/reasons/ #Join the Blasphemy# - https://facebook.com/groups/BookOfBoredom #Patreon (Bonus Episodes)# - https://patreon.com/BookOfBoredom #Twitter# - https://twitter.com/BookOfBoredom #TikTok# - https://tiktok.com/@BookOfBoredomPodcast #Instagram# - https://instagram.com/BookOfBoredomPodcast #YouTube# - https://www.youtube.com/channel/UCMjDavWoT73Cev3IAie_XBA #Website# - https://bookofboredom.com/ A nice review on any podcast platform will help frustrate the Heavenly Father's boring plans for your future.

Brother Ray has been putting work in the community for years. His music has touched us all. His commitment to reach the lost through his music is remarkable. Walk with me, Talk with me... Lazarus Radio, Transformers..LETS GOOOO!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

As broadcast June 10, 2021 with extra fabric for the podcast fitting room.  On the 17th anniversary of Ray Charles' transformation, we pay tribute to start the show, noting the incredible work of a man who didn't just revolutionize a couple of genres, but all of them.  For the rest of our funk & soul first hour, there's new tunes out from Polo & Pan, Robert Glasper, and Otis Kane just to name a few, and we dusted a few old school joints in there as well for good measure while also sending some positive energy towards the victims of a horrific accident that happened in Gwangju yesterday.  Dan Lloyd joins us for the 2nd hour on our AMPED feature, and with big albums out tomorrow from Garbage, Sleater-Kinney, and a host of others in the rock world, there is a ton to explore there as well.#feelthegravityTracklisting:Part I (00:00)Ray Charles – I've Got News For YouPolo & Pan feat Channel Tres – TunnelLucky Daye – Running BlindOtis Kane feat KALLITECHNIS – Good LoveDeRobert & The Half Truths – Walk ForwardBacao Rhythm & Steel Band – I Need Somebody to Love Tonight Part II (31:55)Donald Byrd – Christo RedentorRobert Glasper feat Alex Isley – Main ThemeDorothy Ashby – Come Live with MeMaston feat L'éclair – SouvenirOliver Nelson – Skull SessionDonald Byrd – Woman of the World Part III (60:40)AFI – Far Too NearGarbage – No Gods No MastersJim Ward – Paper FishSleater-Kinney – High in the GrassMammoth WVH – Mammoth Part IV (90:43)Descendents – NightageTom Morello and the Bloody Beetroots – Radium GirlsVolbeat – Wait a Minute My GirlLaura Stevenson – StateNoel Gallagher's High Flying Birds – Flying on the GroundJoey Cape – It Could Be Real 

La primera emisión de El Jazzensor se abrió con un tema de David Sanborn, y no fue por causalidad. David nos gusta mucho, muchísimo, desde hace muchos años. Hemos ido retrasando el episodio dedicado a su música pero, por fin, ha llegado el día. Se nos ha quedado corto, porque después más de 50 años de carrera, 25 discos y más de 500 colaboraciones con otros artistas, era imposible resumir su talento en 60 minutos. Escuchamos a: Michael Kamen (Concerto For Sanborn And Orchestra. 3rd Movement); David Sanborn (The Peeper; Bang Bang; Tin Tin Deo; Spanish Joint; Capetown Fringe; Brother Ray); David Sanborn & Lizz Wright (Don't Let Me Be Lonely Tonight); David Sanborn & Sam Moore (I've Got News For You); David Sanborn & Joss Stone (I Believe It To My Soul); David Sanborn (Hard Times); Larry Goldings, Maceo Parker & David Sanborn (Boogie On Reggae Woman).

 One of Ray Charles’s first hits was “Mess Around,” released on Atlantic Records back in 1953, but actually Brother Ray was a little late to the party with that tune. Many of the ideas for that song can been heard in a whole mess of New Orleans boogie piano riffs, starting as early as, say, Cow Cow Davenport’s playing the late 1920s. But if you want to go have even further — and, well, we generally do — there are references to dances called a “mess around” as far back the earliest days of jazz. For instance, in his wonderful autobiography called “Trumpet on the Wing,” the great New Orleans jazzman Wingy Manone talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City. Said Wingy, “The mess-around was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that’s a picture. Here’s a mess-around we learned from a Memphis Jug Band piece that was actually recorded 91 years this week.

On this episode of Navigating Life with Coach Lo Podcast, Raymond Smith aka. Bro.Ray will share with Coach Lo how his life experiences made clear to him what real influence would cost him. As humans we have the idea that we want certain material things, positions and titles without counting the cost. However, when you were created to influence like Raymond you don't always have the desire, it's just the journey life takes you on. On this journey you evolve into this person that everyone else desires to become, having no idea the pain and the price it would cost to possess the power of influence. I invite you to sit back, relax and listen in as Brother Ray shares his journey with us and how he uses his life experiences to help the youth, families and all those he come in contact with to discover the greatness within them and develop it for positive influence and encouragement to others. Bro. Ray as he is known to all, is a native of Chicago, Illinois he has been a resident of Providence, Rhode Island for 16 years. Bro. Ray is known to many as the “Hood Preacher. “ While Bro. Ray heard the call to ministry, he ran fast toward the call, (the assignment) with half the instructions to the Davey Lopes Recreation Center, in Providence. There he met the director Mr. George Lindsey, the man in a dream that God said would say yes to every request he had to bringing the Gospel to the City of Providence. Brother Ray is actively involved in the mission that God assigned him to, to bring harmonious unity to the Community. Philippians 4:9 is the word he stood on and it became life to him. As he still stands on this very Word. Bro. Ray is married to Chuckie Marie, has 5 adult children(2 from marriage and 3 from previous relationships) and 16 grandchildren. Bro. Ray has served in ministry since June of 2001. In 2003 he began to experience the birth pains of “Young Leaders Fellowship”, (YLF) which began to trinkle over into the Providence Street worker Program where Bro. Ray served as their first Program Director in 2005. In February 2006 he resigned and launched the YLF program as Founder/CEO. Bro. Ray is known throughout Providence as an advocate in the streets, courts, RITS, ACI, PPSD and in community churches. He is known to many as a positive male role model with abilities to mentor both male and female, children and adults. The mission of YLF is the Restoration of families through positive interaction with our youth. Assisting them with the building of positive support teams and coaching them on how to utilize them. In his own words he states “I'm God's anointed, appointed son of encouragement”. He could be found at any given time at the table of some of the city's most influential decision makers. In January 2009, Challenge for Change Ministries (CFC) was birth, whose focus is on the family unit. Remembering the call ...and He said unto him or her, go into all the world and preach and publish openly the Good News (the Gospel) to every creature of the whole human race. Contact Information: Follow Brother Ray: Facebook:@ Ray Smith Email: broraysmith_2006@yahoo.com Follow and Contact Navigating Life with Coach Lo: FB: Navigating Life/Coach Lo/ Navigating The Heart IG: @Instagram.com/Navigatingtheheart YouTube: Navigating Life with Coach Lo Please purchase the Promise Devotional @: www.navigatingtheheart.com Email: Lolita@navigatingtheheart.com Website:www.navigatingtheheart.com Tech Support- @Rafael Barlowe Music By: Ronnie B. “Ride or Die CD Thank You for Listening , Coach Lo

Brother Soul kicks this set of with a legend in soul music, Born in 1930s, Albany, Georgia, Ray Charles Robinson - I Got a Woman. Did you know that Mr Robinson Preferred to be called Brother Ray. so we started off with some soul and ended with some Jamiroquai - Something Good.. Have Listen Genre free he said. "he ain't neva lied on that..lolol. You never know what your gonna hear literally. Loan Your Ears. Catch Him Live: 3pm to 5pm GMT / UK Time https://labr.online/dancefloor/ & https://labr.online On the Go? Take Us With You!! Do a search for LABR and there you are!! Android Users: RadioDroid app also Please Subscribe to our Podcast here, https://podcasts.google.com/feed/aHR0cHM6Ly9kYXljb25tdXNpYy5wb2RvbWF0aWMuY29tL3JzczIueG1s?sa=X&ved=0CA0QlvsGahcKEwjAssuuwvTtAhUAAAAAHQAAAAAQAg iPhone Users: Triode Radio app also Please Subscribe to our Podcast here, https://podcasts.apple.com/gb/podcast/jaeh-daycons-podcast/id1139272805 and please leave a rating. WE Thank so much in Advance. We thank you ALL for your support, love, and ears A.G c/o Brother Soul

 Sixty years ago this October, Ray Charles released his last album for Atlantic Records called “The Genius Sings the Blues,” The album compiled a dozen tunes Brother Ray had recorded over an eight-year period at the Atlantic studios, showcasing piano blues, jazz and southern R&B. A standout cut on that remarkable  album was the second tune on side 1 — “Hard Times (No One Knows Better Than I),” a tune that’s since been covered by everybody from David Clayton-Thomas to Eric Clapton. And last night, it was the first tune we tackled at the first rehearsal of the new year.

The autobiography of Ray Charles was the last book I read in 2020 and it might be the most inspiring and entertaining. He was a legend. What a comet of a person whose light Earth was lucky to experience. I cannot express enough how awesome this dude was.Ray Charles is an example of someone understanding what he was born to do and went after it. No excuses. No feeling sorry for hisself. He certainly could have. Everyone would understand. But he didn’t. He found a way.Life is short. We know we have to figure out why we’re here and then do it. Pay attention to that internal flame. If Ray Charles could do it, so can we.

It is time to pop a couple of cold ones and enjoy as our two brothers, Alan (@alanross84TBK) and Thom (@Mr_MMAction) provide their 54th #WrestlingCompanion as they sit back and watch TNA iMPACT! 182 from December 20th 2007 (https://www.youtube.com/watch?v=aaPQSr_fxe0).   Also featured are promos for Powerslam Wrestling Network (@PowerslamTV), Get Cho! Wrestling Podcast (@GetChoPodcast) and View From the Top Rope Podcast (@ViewFromTopRope).   TNA iMPACT! 182 (20/12/2007) Card: - Six Sides of Steel Cage Eight Man Tag Team Match: The Rock ‘n Rave Infection (Jimmy Rave and Lance Hoyt) (with Christy Hemme), James Storm (with Jackie Moore) and Robert Roode (with Ms. Brooks) vs. Booker T, Scott Steiner and The Latin American Exchange (Hernandez and Homicide) - Double North Pole Match: Johnny Devine and Team 3D (Brother Devon and Brother Ray) vs. Jay Lethal and The Motorcity Machine Guns (Alex Shelley and Chris Sabin) - Non-title Santa's Workshop Street Fight: Jackie Moore vs. Ms. Brooks vs. OBD vs. Awesome Kong vs. Angelina Love vs. Velvet Sky vs. Christy Hemme vs. Gail Kim vs. Roxxi Laveaux   - Silent Night, Bloody Night Four Way Hardcore Match: Abyss vs. Rellik vs. Black Reign vs. Shark Boy - Loser Wears Reindeer Suit Ladder Match: Kaz vs. AJ Styles   Visit rogueenergy.com and use the code ‘2702' to get 10% off products. Rogue Energy is a premium energy and focus supplement designed to optimize your mental and physical performance.   Visit laxedy.com and use the code ‘BRO247' to get 15% off products. Laxedy can enhance your performance with their analog grips. These grips can be used on PlayStation, Xbox and Nintendo Switch.   Visit triumphchairs.com and use the code ‘BRO247' to get 10% off products. Triumph Chairs is a gaming chair company specializing in comfort and performance.   Visit cinchgaming.com and use the code ‘BRO247' to get 5% off products. Cinch Gaming manufactures custom professional gaming controllers for Xbox One and PlayStation 4 consoles.   Visit playeronecoffee.com and use the code ‘BRO247' to get 5% off products. Player One Coffee develop coffee recipes custom-tailored to gamers, creatives, developers and just about anybody who really enjoys a cup of coffee.   Visit victoriouseyewear.com and use the code ‘BRO247' to get 10% off products. Victorious Eyewear develop blue light blocking gaming glasses designed to eliminate digital eye strain and help you remain comfortable and focused.   More info? Apple iTunes: The BroKast Podcast Podbean: The BroKast Podcast Spotify: The BroKast Podcast Castbox: The BroKast Podcast HiCast: The BroKast Podcast Twitter: @TheBrokast Instagram: The BroKast Podcast E-mail: brokast2@gmail.com

The boys venture forth into uncharted territory for them this week, with a look at TNA Lockdown 2008 to celebrate Lockdown v3 here in the North West of England. On the card; TNA X-Division Title Xscape Steel Cage Match Jay Lethal (c) vs. Shark Boy vs. Curry Man vs. Sonjay Dutt vs. Johnny Devine vs. Consequences Creed Reverse Steel Cage Match to crown the first Queen of the Cage, featuring Traci Brooks vs. Jacqueline vs. Christy Hemme vs. Angelina Love vs. Velvet Sky vs. Salinas vs. Rhaka Khan vs. Roxxi Laveaux with the winner receiving a #1 Contenders shot at the TNA KNockout's Champion Steel Cage Match BG James vs. Kip James Six Way Tag Team Steel Cage Match Petey Williams & Scott Steiner vs. Kaz & Super Eric vs. Black Reign & Rellik vs. The Latin American Exchange (Hernandez & Homicide) vs. The Motor City Machine Guns (Alex Shelley & Chris Sabin) vs. The Rock 'n Rave Infection (Jimmy Rave & Lance Hoyt) Knockouts Tag Team Steel Cage Match Gail Kim & ODB vs. Awesome Kong & Raisha Saeed Mixed Tag Team Steel Cage Match Booker T & Sharmell vs. Payton Banks & Robert Roode Lethal Lockdown Steel Cage Match Team Cage (Christian Cage, Kevin Nash, Matt Morgan, Rhino & Sting) vs. Team Tomko (AJ Styles, Brother Devon, Brother Ray, James Storm & Tomko) (w/Jacqueline) and TNA World Heavyweight Title Steel Cage Match Kurt Angle (c) vs. Samoa Joe As always with our watch-along episodes, we'd love for you to join us via FITE.TV, who offer a 30 day free trial to new customers, and lots of content we aren't paid to plug. The boys sink a few beers and also shoot the shit on politics, Black Lives Matter, Donald Trump, Chris Jericho, and much more.

Guest Preacher Ray Meier talk about Eternal Security Once saved always saved so come check it out. about 50 mins long I invite you to Church on Facebook live @ South Heights Baptist Church Facebook pageSunday Morning @ 11am and 6:30 pm and Wednesday night @7pmhttps://www.facebook.com/SouthHeightsBaptistChurchOfSapulpa/Website for prayer list and Podcast https://godspathwaytolife.faith/I'm a member of SHBC the Church doesn't support this podcast with any kind of money i do this to help you find God and to reconnect with Jesus and it helps me to because we are in this together and i want to help you get a understand so we can grow in Christ God Bless you all.prayer List Email address godspathwaytolife@gmail.comhello if you would like to donate to the Church there's a link below tithe.ly linknot asking but if God has laid it on your heart to here a place Donate goes straight to a real ChurchSupport the show (https://tithe.ly/give_new/www/#/tithely/give-one-time/433047)

Today, 2/15/2020, we pay homage to Ray Charles  Ray Charles Robinson (September 23, 1930 – June 10, 2004) was an American singer, songwriter, pianist, and composer. Among friends and fellow musicians he preferred being called "Brother Ray". He was often referred to as "The Genius."[3][4] Charles started losing his vision at the age of 6 due to glaucoma.[2] Charles pioneered the soul music genre during the 1950s by combining blues, rhythm and blues, and gospel styles into the music he recorded for Atlantic.[2][5][6] He contributed to the integration of country music, rhythm and blues, and pop music during the 1960s with his crossover success on ABC Records, notably with his two Modern Sounds albums.[7][8][9] While he was with ABC, Charles became one of the first black musicians to be granted artistic control by a mainstream record company.[5] Charles' 1960 hit "Georgia On My Mind" was the first of his three career No. 1 hits on the Billboard Hot 100. His 1962 album, Modern Sounds In Country And Western Music, became his first album to top the Billboard 200.[10] Charles had multiple singles reach the Top 40 on various Billboardcharts: 44 on the US R&B singles chart, 11 on the Hot 100 singles chart, 2 on the Hot Country singles charts.[11] Charles is a 17-time Grammy Award winner.[10] He was honored with the Grammy Lifetime Achievement Award in 1987; 10 of his recordings have been inducted into the Grammy Hall of Fame.[10] Charles cited Nat King Cole as a primary influence, but his music was also influenced by Louis Jordan and Charles Brown.[12] He became friends with Quincy Jones. Their friendship lasted until the end of Charles's life. Frank Sinatra called Ray Charles "the only true genius in show business," although Charles downplayed this notion.[13] Billy Joel said, "This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley".[14] In 2002, Rolling Stone ranked Charles #10 on their list of the "100 Greatest Artists of All Time,"[3] and #2 on their list of the "100 Greatest Singers of All Time" in 2008.[15]   #29DaysOfBlackHistory    *Putting People On Game does not own any rights to this music or images* Hit us up or send us a text 214-744-3601! Subscribe to PPOGPOD channel: http://bit.ly/ppogpod ► LIKE, COMMENT and SHARE ► WATCH MORE: https://www.youtube.com/user/theppog ► SUBSCRIBE and LISTEN to full episode on Apple Podcast: http://bit.ly/ppogpodapple ► SUBSCRIBE and LISTEN to full episode on Spotify: http://bit.ly/ppogpodspotify ► FOLLOW PPOGPOD on Instagram: https://www.instagram.com/ppogpod/ ► FOLLOW PPOGPOD Twitter: https://twitter.com/ppogpod ► LIKE PPOGPOD on Facebook:https://www.facebook.com/ppogpod/ ► FOLLOW and LISTEN to PPOGPOD on AudioMack:http://bit.ly/ppogpodaudiomack

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

Welcome to episode thirty-two of A History of Rock Music in Five Hundred Songs. This one looks at "I Got A Woman" by Ray Charles. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. For more on Charles Brown and Nat Cole, Patreon backers might want to listen to the Christmas Patreon-only episode. Most of the information here comes from Charles' autobiography, Brother Ray, which gives a very clear view of his character, possibly not always in the ways he intended. All the Ray Charles music used in this podcast, and the Guitar Slim track, are on The Complete Swing Time and Atlantic Recordings. Charles' work from 1955 through about 1965 covers more genres of American music than any other body of work I can think of, and does so wonderfully. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Let's talk about melisma. One of the major things that you'll notice about the singers we've covered so far is that most of them sound very different from anyone who's been successful as a pure vocalist in the last few decades. There's a reason for that. Among the pop songwriters of the thirties, forties, and fifties -- not the writers of blues and country music so much, but the people writing Broadway musicals and the repertoire the crooners were singing -- melisma was absolutely anathema. Melisma is a technical musical term, but it has a simple meaning -- it's when you sing multiple notes to the same syllable of lyric. This is something that has always existed since people started singing -- for example, at the start of "The Star-Spangled Banner", "Oh say...", there are two notes on the syllable "oh". That's melisma. But among the songwriters who were registered with ASCAP in the middle of the last century, there was a strongly-held view that this was pure laziness. You wrote one syllable of lyric for one note of melody, and if you didn't, you were doing something wrong. The lyricist Sammy Cahn used to talk about how he wrote the lyric to "Pocketful of Miracles" -- "Practicality doesn't interest me" -- but then the composer wrote a melody with one more note per line than he'd written syllables for the lyric. Rather than let the song contain melisma, he did this: [Excerpt: Frank Sinatra, "Pocketful of Miracles", with Sinatra singing "pee-racticality dee-oesn't interest me"] That was the kind of thing songwriters would do to avoid even the hint of melisma. And singers were the same. If you listen to any of the great voices of the first part of the twentieth century -- Sinatra, Bing Crosby, Tony Bennett -- they will almost without exception hit the note dead on, one note per syllable. No ornamentation, no frills. There were a few outliers -- Billie Holiday and Ella Fitzgerald, for example, would both use a little melisma (Holiday more than Ella) to ornament their sound -- but generally that was what good singing *was*. You sang the notes, one note per syllable. And this was largely the case in the blues, as well as in the more upmarket styles. The rules weren't stuck to quite as firmly there, but still, you'd mostly sing the song as it was written, and it would largely be written without melisma. There was one area where that was not the case – gospel, specifically black gospel. [Excerpt: Rosetta Tharpe, "Precious Lord, Take My Hand"] We looked at gospel already, of course, but we didn't talk about this particular characteristic of the music. You see, in black gospel -- and pretty much only in black gospel music, at the time we're talking about -- the use of melisma was how you conveyed emotion. You ornamented the notes, you'd sing more notes per syllable, and that was how you showed how moved you were by the spirit. And these days, that style is what people now think of as good or impressive singing. There are a *lot* of class and race issues around taste in this that I'm not going to unpick here -- we've got a whole four hundred and sixty-eight more episodes in which to discuss these things, after all -- but when you hear someone on The Voice or American Idol or The X Factor trying to impress with their vocals, it's their command of melisma they're trying to impress with. The more they can ornament the notes, the more they fit today's standards of good singing. And that changed because, in the 1950s, there was a stream of black singers who came out of the gospel tradition and introduced its techniques into pop music. Before talking about that, it's worth talking about the musical boundaries we're going to be using in this series, because while it's called "A History of Rock Music in 500 Songs", I am not planning on using a narrow definition of "rock music", because what counts as rock tends to be retroactively redefined to exclude branches of music where black people predominate. So for example, there's footage of Mohammed Ali calling Sam Cooke "the greatest rock and roll singer in the world", and at the time absolutely nobody would have questioned Cooke being called "rock and roll", but these days he would only be talked about as a soul singer. And much of the music that we would now call "soul" was so influential on the music that we now call rock music that it's completely ridiculous to even consider them separately until the late seventies at the earliest. So while we're going to mostly look at music that has been labelled rock or rock and roll, don't be surprised to find soul, funk, hip-hop, country, or any other genre that has influenced rock turning up. And especially don't be surprised to see that happening if it was music that was thought of as rock and roll at the time, but has been retroactively relabelled. So today, we're going to talk about a record that's been widely credited as the first soul record, but which was released as rock and roll. And we're going to talk about a musician who cut across all the boundaries that anyone tries to put on music, a man who was equally at home in soul, jazz, R&B, country, and rock and roll. We're going to talk about the great Ray Charles. [Excerpt: Ray Charles, “I Got a Woman”] Ray Charles had an unusual upbringing -- though perhaps one that's not as unusual as people would like to think. As far as I can tell from his autobiography, he was the product of what we would now call a polyamorous relationship. His father was largely absent, but he was brought up by his mother, who he called "Mama", and by his father's wife, who he called "Mother". Both women knew of, approved of, and liked each other, as far as young Ray was concerned. His given name was Ray Charles Robinson, but he changed it when he became a professional musician, due to the popularity of the boxer Sugar Ray Robinson, whose peak years were around the same time as Charles' -- he didn't want to be confused with another, more famous, Ray Robinson. From a very young age, he was fascinated by the piano, and that fascination intensified when, before he reached adolescence, he became totally blind. That blindness would shape his life, even though -- and perhaps because -- he had a strong sense of independence. He wasn't going to let his disability define him, and he often said that the three things that he didn't want were a dog, a cane, and a guitar, because they were the things all blind men had. Now, I want to make it very clear that I'm not talking here about the rights and wrongs of Charles' own attitude to his disability. I'm disabled myself, but his disability is not mine, and he is from another generation. I'm just stating what that attitude was, and how it affected his life and career. And the main thing it did was make him even more fiercely independent. He not only got about on his own without a cane or a dog, he also at one point even used to go riding a motorbike by himself. Other than his independence, the main thing everyone noted about the young Ray Charles Robinson was his proficiency on the piano, and by his late teens he was playing great jazz piano, inspired by Art Tatum, who like Ray was blind. Tatum was such a proficient pianist that there is a term in computational musicology, the tatum, meaning "the smallest time interval between successive notes in a rhythmic phrase". [Excerpt; Art Tatum, "I Wish I Were Twins"] Charles never got quite that good, but he was inspired by Tatum's musicality, and he became a serious student of the instrument, becoming a very respectable jazz pianist. When his mother died, when he was fifteen, Charles decided to leave school and set up on his own as a musician. Initially, he toured only round Georgia and Florida, and early on he made a handful of records. His very earliest recordings, oddly, sound a lot like his mature style -- his first record, "Wondering and Wondering", was almost fully-formed mature Ray Charles: [Excerpt: Ray Charles, "Wondering and Wondering"] But he soon changed his style to be more popular. He moved to the West Coast, and unsuccessfully auditioned to play piano with Lucky Millinder's band, and would occasionally play jazz with Bumps Blackwell and Dizzy Gillespie. But while his association with Bumps Blackwell would continue long into the future, playing jazz wasn't how Ray Charles was going to make his name. On the West Coast in the late forties and early fifties, the most popular style for black musicians was a particular kind of smooth blues, incorporating aspects of crooning alongside blues and jazz. Two of the biggest groups in the R&B field were the Nat "King" Cole Trio and Johnny Moore's Three Blazers featuring Charles Brown. Both of these had very similar styles, featuring a piano player who sang smooth blues, with an electric guitarist and a bass player, and sometimes a drummer. We've heard Nat "King" Cole before, playing piano with Les Paul and Illinois Jacquet, but it's still hard for modern listeners to remember that before his massive pop success with ballads like "Unforgettable", Cole was making music which may not have been quite as successful commercially, but which was incredibly influential on the burgeoning rock music field. A typical example of the style is Cole's version of "Route Sixty-Six": [Excerpt: Nat "King" Cole Trio, "Route Sixty Six"] You'll note, I hope, the similarity to the early recordings by the Chuck Berry Trio in particular -- Berry would often say that while Louis Jordan music was the music he would play to try to make a living, Nat "King" Cole was the musician he most liked to listen to, and the Chuck Berry Trio was clearly an attempt to emulate this style. The other group I mentioned, The Three Blazers, were very much in the same style as the Nat Cole Trio, but were a couple of rungs down the entertainment ladder, and Charles Brown, their singer, would be another huge influence on Ray Charles early on. Charles formed his own trio, the McSon Trio (the "Son" came from the Robinson in his own name, the "Mc" from the guitarist's name). [Excerpt: The McSon Trio "Don't Put All Your Dreams In One Basket"] The McSon Trio quickly changed their name to the Ray Charles Trio, as their pianist and singer became the obvious star of the show. Charles soon tired of running his own trio, though, and went fully solo, travelling to gigs on his own and working with local pickup bands rather than having his own steady musicians. This also gave him the opportunity to collaborate with a wider variety of other musicians than having a fixed band would. Around this time Charles was introduced by Bumps Blackwell to Quincy Jones, with whom he would go on to collaborate in various ways for much of the rest of his career. But his most important collaboration in his early career was with the blues musician Lowell Fulson. Fulson was one of the pioneers of the smooth West Coast blues sound, and Charles became his pianist and musical director for a short time. Charles didn't perform on many of Fulson's sessions, but you can get an idea of the kind of thing that he would have been playing with Fulson from Fulson's biggest record, "Reconsider Baby", which came out shortly after Charles' time with Fulson: [Excerpt: Lowell Fulson, "Reconsider Baby"] So Charles was splitting his time between making his own Nat Cole or Charles Brown style records, touring on his own, and touring with Fulson. He also worked on other records for other musicians. The most notable of these was a blues classic, by another of the greats of West Coast blues, "The Things That I Used To Do" by Guitar Slim. [Excerpt: "The Things That I Used To Do" by Guitar Slim] Slim was one of the great blues guitarists of the 1950s, and he was also one of the great showmen, whose performance style included things like a guitar cord that was allegedly three hundred and fifty feet long, so he could keep his guitar plugged into the amplifier but walk through the crowd and even out into the street, while still playing his guitar. Slim would later be a huge influence on musicians like Jimi Hendrix, but "The Things That I Used To Do", his most famous record, is as much Charles' record as it is Guitar Slim's -- Charles produced, arranged, and played piano, and the result sounds far more like the work that Charles was doing at the time than it does Guitar Slim's other work, though it still has Slim's recognisable guitar sound. He finally got the opportunity to stand out when he moved from Swing Time to Atlantic Records. While several of the Swing Time recordings were minor successes, people kept telling him how much he sounded like Nat Cole or Charles Brown. But he realised that it was unlikely that anyone was telling Nat Cole or Charles Brown how much they sounded like Ray Charles, and that he would never be in the first rank of musicians unless he got a style that was uniquely his. Everything changed with "Mess Around", which was his first major venture into the Atlantic house style. "Mess Around" is credited to Ahmet Ertegun, the owner of Atlantic Records, as the writer, but it should really be credited as a traditional song arranged by Ray Charles, Jesse Stone, and Ertegun. Ertegun did contribute to the songwriting -- rather surprisingly, given the habit of record executives of just taking credit for something that they had nothing to do with. Ertegun told Charles to play some piano in the style of Pete Johnson, and Charles responded by playing "Cow Cow Blues", a 1928 song by Cow Cow Davenport: [Excerpt: Cow Cow Davenport, "Cow Cow Blues"] Ertegun came up with some new words for that, mostly based around traditional floating lyrics. Jesse Stone came up with an arrangement, and the result was titled "Mess Around": [Excerpt: Ray Charles and his Orchestra, "Mess Around"] For his next few records, Charles was one of many artists making records with the standard Atlantic musicians and arrangers -- the same people who were making records with Ruth Brown or LaVern Baker. By this point, he had gained enough confidence in the studio that he was able to sing like himself, not like Charles Brown or Nat Cole or anyone else. The music he was making was generic R&B, but it didn't sound like anyone else at all: [Excerpt: Ray Charles, "It Should Have Been Me"] "Mess Around" and "It Should Have Been Me" were Charles' two biggest hits to date, both making the top five on the R&B charts. His breakout, though, came with a song that he based around a gospel song. At this time, gospel music was not much of an influence on most of the rhythm and blues records that were charting, but as Charles would later say, "the church was something which couldn’t be taken out of my voice even if I had wanted to take it out. Once I decided to be natural, I was gone. It’s like Aretha: She could do “Stardust,” but if she did her thing on it, you’d hear the church all over the place." Charles had now formed his own band, which was strongly influenced by Count Basie. The Count Basie band was, like Lionel Hampton's, one of the bands that had most influenced early R&B, and its music was exactly the kind of combination of jump band and classy jazz that Charles liked: [Excerpt: Count Basie, "One O'Clock Jump"] Charles' own band was modelled on the Basie band, though slimmed down because of the practicalities of touring with a big band in the fifties. He had three sax players, piano, bass, drums, two trumpets, and a trombone, and he added a girl group, called the Raelettes, who were mostly former members of a girl group called the Cookies (who would go on to have a few hits themselves over the years). Charles was now able to record his own band, rather than the Atlantic session musicians, and have them playing his own arrangements rather than Jesse Stone's. And the first recording session he did with his own band produced his first number one. Charles' trumpet player, Renald Richard, brought Charles a set of blues lyrics, and Charles set them to a gospel tune he'd been listening to. The Southern Tones were a gospel act recording for Duke Records, and they never had much success. They'd be almost forgotten now were it not for this one record: [Excerpt, The Southern Tones, "It Must Be Jesus"] Charles took that melody, and the lyrics that Renald Richard had given him, and created a record which was utterly unlike anything else that had ever been recorded. This was a new fusion of gospel, the blues, big band jazz, and early rock and roll. Nobody had ever done anything like it before. In the context of 1954, when every fusion of ideas from different musics, and every new musical experiment, was labeled "rock and roll", this was definitely a rock and roll record, but in later decades they would say that this music had soul: [Excerpt, "I Got a Woman", Ray Charles] That song was close enough to gospel to cause Charles some very real problems. Gospel singers who went over to making secular music were considered by their original fans to be going over to the side of the Devil. It wasn't just that they were performing secular music -- it was very specifically that they were using musical styles that were created in order to worship God, and turning them to secular purposes. And this criticism was applied, loudly, to Charles, even though he had never been a gospel singer. But while the gospel community was up in arms, people were listening. "I Got a Woman" went to number one on the R&B charts, and quickly entered the stage repertoire of another musician who had church music in his veins: [Excerpt, Elvis Presley, "I Got a Woman"] Even as it kicked off a whole new genre, "I Got A Woman" became a rock and roll standard. It would be covered by the Everly Brothers, the Beatles, the Monkees... Ray Charles was, in the minds of his detractors, debasing something holy, but those complaints didn't stop Charles from continuing to rework gospel songs and turn them into rock and roll classics. For his next single, he took the old gospel song "This Little Light of Mine": [Excerpt: Etta James, "This Little Light of Mine"] And reworked it into "This Little Girl of Mine": [Excerpt: Ray Charles: "This Little Girl of Mine"] Ray Charles had hit on a formula that any other musician would have happily milked for decades. But Ray Charles wasn't a musician who would stick to just one style of music. This wandering musical mind would ensure that for the next few years Ray Charles would be probably the most vital creative force in American music, but it also meant that he would swing wildly between commercial success and failure. After a run of huge hits in 1954, 55, and 56 -- classic songs like "Hallelujah, I Love Her So", "Drown in My Own Tears", and "Lonely Avenue" -- he hit a dry patch, with such less-than-stellar efforts as "My Bonnie" and "Swanee River Rock". But you can't keep a good man down for long, and when we next look at Ray Charles, in 1959, we'll see him once again revolutionise both rock and roll and the music he invented, the music that we now call soul.

Welcome to episode thirty-two of A History of Rock Music in Five Hundred Songs. This one looks at “I Got A Woman” by Ray Charles. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. For more on Charles Brown and Nat Cole, Patreon backers might want to listen to the Christmas Patreon-only episode. Most of the information here comes from Charles’ autobiography, Brother Ray, which gives a very clear view of his character, possibly not always in the ways he intended. All the Ray Charles music used in this podcast, and the Guitar Slim track, are on The Complete Swing Time and Atlantic Recordings. Charles’ work from 1955 through about 1965 covers more genres of American music than any other body of work I can think of, and does so wonderfully. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Let’s talk about melisma. One of the major things that you’ll notice about the singers we’ve covered so far is that most of them sound very different from anyone who’s been successful as a pure vocalist in the last few decades. There’s a reason for that. Among the pop songwriters of the thirties, forties, and fifties — not the writers of blues and country music so much, but the people writing Broadway musicals and the repertoire the crooners were singing — melisma was absolutely anathema. Melisma is a technical musical term, but it has a simple meaning — it’s when you sing multiple notes to the same syllable of lyric. This is something that has always existed since people started singing — for example, at the start of “The Star-Spangled Banner”, “Oh say…”, there are two notes on the syllable “oh”. That’s melisma. But among the songwriters who were registered with ASCAP in the middle of the last century, there was a strongly-held view that this was pure laziness. You wrote one syllable of lyric for one note of melody, and if you didn’t, you were doing something wrong. The lyricist Sammy Cahn used to talk about how he wrote the lyric to “Pocketful of Miracles” — “Practicality doesn’t interest me” — but then the composer wrote a melody with one more note per line than he’d written syllables for the lyric. Rather than let the song contain melisma, he did this: [Excerpt: Frank Sinatra, “Pocketful of Miracles”, with Sinatra singing “pee-racticality dee-oesn’t interest me”] That was the kind of thing songwriters would do to avoid even the hint of melisma. And singers were the same. If you listen to any of the great voices of the first part of the twentieth century — Sinatra, Bing Crosby, Tony Bennett — they will almost without exception hit the note dead on, one note per syllable. No ornamentation, no frills. There were a few outliers — Billie Holiday and Ella Fitzgerald, for example, would both use a little melisma (Holiday more than Ella) to ornament their sound — but generally that was what good singing *was*. You sang the notes, one note per syllable. And this was largely the case in the blues, as well as in the more upmarket styles. The rules weren’t stuck to quite as firmly there, but still, you’d mostly sing the song as it was written, and it would largely be written without melisma. There was one area where that was not the case – gospel, specifically black gospel. [Excerpt: Rosetta Tharpe, “Precious Lord, Take My Hand”] We looked at gospel already, of course, but we didn’t talk about this particular characteristic of the music. You see, in black gospel — and pretty much only in black gospel music, at the time we’re talking about — the use of melisma was how you conveyed emotion. You ornamented the notes, you’d sing more notes per syllable, and that was how you showed how moved you were by the spirit. And these days, that style is what people now think of as good or impressive singing. There are a *lot* of class and race issues around taste in this that I’m not going to unpick here — we’ve got a whole four hundred and sixty-eight more episodes in which to discuss these things, after all — but when you hear someone on The Voice or American Idol or The X Factor trying to impress with their vocals, it’s their command of melisma they’re trying to impress with. The more they can ornament the notes, the more they fit today’s standards of good singing. And that changed because, in the 1950s, there was a stream of black singers who came out of the gospel tradition and introduced its techniques into pop music. Before talking about that, it’s worth talking about the musical boundaries we’re going to be using in this series, because while it’s called “A History of Rock Music in 500 Songs”, I am not planning on using a narrow definition of “rock music”, because what counts as rock tends to be retroactively redefined to exclude branches of music where black people predominate. So for example, there’s footage of Mohammed Ali calling Sam Cooke “the greatest rock and roll singer in the world”, and at the time absolutely nobody would have questioned Cooke being called “rock and roll”, but these days he would only be talked about as a soul singer. And much of the music that we would now call “soul” was so influential on the music that we now call rock music that it’s completely ridiculous to even consider them separately until the late seventies at the earliest. So while we’re going to mostly look at music that has been labelled rock or rock and roll, don’t be surprised to find soul, funk, hip-hop, country, or any other genre that has influenced rock turning up. And especially don’t be surprised to see that happening if it was music that was thought of as rock and roll at the time, but has been retroactively relabelled. So today, we’re going to talk about a record that’s been widely credited as the first soul record, but which was released as rock and roll. And we’re going to talk about a musician who cut across all the boundaries that anyone tries to put on music, a man who was equally at home in soul, jazz, R&B, country, and rock and roll. We’re going to talk about the great Ray Charles. [Excerpt: Ray Charles, “I Got a Woman”] Ray Charles had an unusual upbringing — though perhaps one that’s not as unusual as people would like to think. As far as I can tell from his autobiography, he was the product of what we would now call a polyamorous relationship. His father was largely absent, but he was brought up by his mother, who he called “Mama”, and by his father’s wife, who he called “Mother”. Both women knew of, approved of, and liked each other, as far as young Ray was concerned. His given name was Ray Charles Robinson, but he changed it when he became a professional musician, due to the popularity of the boxer Sugar Ray Robinson, whose peak years were around the same time as Charles’ — he didn’t want to be confused with another, more famous, Ray Robinson. From a very young age, he was fascinated by the piano, and that fascination intensified when, before he reached adolescence, he became totally blind. That blindness would shape his life, even though — and perhaps because — he had a strong sense of independence. He wasn’t going to let his disability define him, and he often said that the three things that he didn’t want were a dog, a cane, and a guitar, because they were the things all blind men had. Now, I want to make it very clear that I’m not talking here about the rights and wrongs of Charles’ own attitude to his disability. I’m disabled myself, but his disability is not mine, and he is from another generation. I’m just stating what that attitude was, and how it affected his life and career. And the main thing it did was make him even more fiercely independent. He not only got about on his own without a cane or a dog, he also at one point even used to go riding a motorbike by himself. Other than his independence, the main thing everyone noted about the young Ray Charles Robinson was his proficiency on the piano, and by his late teens he was playing great jazz piano, inspired by Art Tatum, who like Ray was blind. Tatum was such a proficient pianist that there is a term in computational musicology, the tatum, meaning “the smallest time interval between successive notes in a rhythmic phrase”. [Excerpt; Art Tatum, “I Wish I Were Twins”] Charles never got quite that good, but he was inspired by Tatum’s musicality, and he became a serious student of the instrument, becoming a very respectable jazz pianist. When his mother died, when he was fifteen, Charles decided to leave school and set up on his own as a musician. Initially, he toured only round Georgia and Florida, and early on he made a handful of records. His very earliest recordings, oddly, sound a lot like his mature style — his first record, “Wondering and Wondering”, was almost fully-formed mature Ray Charles: [Excerpt: Ray Charles, “Wondering and Wondering”] But he soon changed his style to be more popular. He moved to the West Coast, and unsuccessfully auditioned to play piano with Lucky Millinder’s band, and would occasionally play jazz with Bumps Blackwell and Dizzy Gillespie. But while his association with Bumps Blackwell would continue long into the future, playing jazz wasn’t how Ray Charles was going to make his name. On the West Coast in the late forties and early fifties, the most popular style for black musicians was a particular kind of smooth blues, incorporating aspects of crooning alongside blues and jazz. Two of the biggest groups in the R&B field were the Nat “King” Cole Trio and Johnny Moore’s Three Blazers featuring Charles Brown. Both of these had very similar styles, featuring a piano player who sang smooth blues, with an electric guitarist and a bass player, and sometimes a drummer. We’ve heard Nat “King” Cole before, playing piano with Les Paul and Illinois Jacquet, but it’s still hard for modern listeners to remember that before his massive pop success with ballads like “Unforgettable”, Cole was making music which may not have been quite as successful commercially, but which was incredibly influential on the burgeoning rock music field. A typical example of the style is Cole’s version of “Route Sixty-Six”: [Excerpt: Nat “King” Cole Trio, “Route Sixty Six”] You’ll note, I hope, the similarity to the early recordings by the Chuck Berry Trio in particular — Berry would often say that while Louis Jordan music was the music he would play to try to make a living, Nat “King” Cole was the musician he most liked to listen to, and the Chuck Berry Trio was clearly an attempt to emulate this style. The other group I mentioned, The Three Blazers, were very much in the same style as the Nat Cole Trio, but were a couple of rungs down the entertainment ladder, and Charles Brown, their singer, would be another huge influence on Ray Charles early on. Charles formed his own trio, the McSon Trio (the “Son” came from the Robinson in his own name, the “Mc” from the guitarist’s name). [Excerpt: The McSon Trio “Don’t Put All Your Dreams In One Basket”] The McSon Trio quickly changed their name to the Ray Charles Trio, as their pianist and singer became the obvious star of the show. Charles soon tired of running his own trio, though, and went fully solo, travelling to gigs on his own and working with local pickup bands rather than having his own steady musicians. This also gave him the opportunity to collaborate with a wider variety of other musicians than having a fixed band would. Around this time Charles was introduced by Bumps Blackwell to Quincy Jones, with whom he would go on to collaborate in various ways for much of the rest of his career. But his most important collaboration in his early career was with the blues musician Lowell Fulson. Fulson was one of the pioneers of the smooth West Coast blues sound, and Charles became his pianist and musical director for a short time. Charles didn’t perform on many of Fulson’s sessions, but you can get an idea of the kind of thing that he would have been playing with Fulson from Fulson’s biggest record, “Reconsider Baby”, which came out shortly after Charles’ time with Fulson: [Excerpt: Lowell Fulson, “Reconsider Baby”] So Charles was splitting his time between making his own Nat Cole or Charles Brown style records, touring on his own, and touring with Fulson. He also worked on other records for other musicians. The most notable of these was a blues classic, by another of the greats of West Coast blues, “The Things That I Used To Do” by Guitar Slim. [Excerpt: “The Things That I Used To Do” by Guitar Slim] Slim was one of the great blues guitarists of the 1950s, and he was also one of the great showmen, whose performance style included things like a guitar cord that was allegedly three hundred and fifty feet long, so he could keep his guitar plugged into the amplifier but walk through the crowd and even out into the street, while still playing his guitar. Slim would later be a huge influence on musicians like Jimi Hendrix, but “The Things That I Used To Do”, his most famous record, is as much Charles’ record as it is Guitar Slim’s — Charles produced, arranged, and played piano, and the result sounds far more like the work that Charles was doing at the time than it does Guitar Slim’s other work, though it still has Slim’s recognisable guitar sound. He finally got the opportunity to stand out when he moved from Swing Time to Atlantic Records. While several of the Swing Time recordings were minor successes, people kept telling him how much he sounded like Nat Cole or Charles Brown. But he realised that it was unlikely that anyone was telling Nat Cole or Charles Brown how much they sounded like Ray Charles, and that he would never be in the first rank of musicians unless he got a style that was uniquely his. Everything changed with “Mess Around”, which was his first major venture into the Atlantic house style. “Mess Around” is credited to Ahmet Ertegun, the owner of Atlantic Records, as the writer, but it should really be credited as a traditional song arranged by Ray Charles, Jesse Stone, and Ertegun. Ertegun did contribute to the songwriting — rather surprisingly, given the habit of record executives of just taking credit for something that they had nothing to do with. Ertegun told Charles to play some piano in the style of Pete Johnson, and Charles responded by playing “Cow Cow Blues”, a 1928 song by Cow Cow Davenport: [Excerpt: Cow Cow Davenport, “Cow Cow Blues”] Ertegun came up with some new words for that, mostly based around traditional floating lyrics. Jesse Stone came up with an arrangement, and the result was titled “Mess Around”: [Excerpt: Ray Charles and his Orchestra, “Mess Around”] For his next few records, Charles was one of many artists making records with the standard Atlantic musicians and arrangers — the same people who were making records with Ruth Brown or LaVern Baker. By this point, he had gained enough confidence in the studio that he was able to sing like himself, not like Charles Brown or Nat Cole or anyone else. The music he was making was generic R&B, but it didn’t sound like anyone else at all: [Excerpt: Ray Charles, “It Should Have Been Me”] “Mess Around” and “It Should Have Been Me” were Charles’ two biggest hits to date, both making the top five on the R&B charts. His breakout, though, came with a song that he based around a gospel song. At this time, gospel music was not much of an influence on most of the rhythm and blues records that were charting, but as Charles would later say, “the church was something which couldn’t be taken out of my voice even if I had wanted to take it out. Once I decided to be natural, I was gone. It’s like Aretha: She could do “Stardust,” but if she did her thing on it, you’d hear the church all over the place.” Charles had now formed his own band, which was strongly influenced by Count Basie. The Count Basie band was, like Lionel Hampton’s, one of the bands that had most influenced early R&B, and its music was exactly the kind of combination of jump band and classy jazz that Charles liked: [Excerpt: Count Basie, “One O’Clock Jump”] Charles’ own band was modelled on the Basie band, though slimmed down because of the practicalities of touring with a big band in the fifties. He had three sax players, piano, bass, drums, two trumpets, and a trombone, and he added a girl group, called the Raelettes, who were mostly former members of a girl group called the Cookies (who would go on to have a few hits themselves over the years). Charles was now able to record his own band, rather than the Atlantic session musicians, and have them playing his own arrangements rather than Jesse Stone’s. And the first recording session he did with his own band produced his first number one. Charles’ trumpet player, Renald Richard, brought Charles a set of blues lyrics, and Charles set them to a gospel tune he’d been listening to. The Southern Tones were a gospel act recording for Duke Records, and they never had much success. They’d be almost forgotten now were it not for this one record: [Excerpt, The Southern Tones, “It Must Be Jesus”] Charles took that melody, and the lyrics that Renald Richard had given him, and created a record which was utterly unlike anything else that had ever been recorded. This was a new fusion of gospel, the blues, big band jazz, and early rock and roll. Nobody had ever done anything like it before. In the context of 1954, when every fusion of ideas from different musics, and every new musical experiment, was labeled “rock and roll”, this was definitely a rock and roll record, but in later decades they would say that this music had soul: [Excerpt, “I Got a Woman”, Ray Charles] That song was close enough to gospel to cause Charles some very real problems. Gospel singers who went over to making secular music were considered by their original fans to be going over to the side of the Devil. It wasn’t just that they were performing secular music — it was very specifically that they were using musical styles that were created in order to worship God, and turning them to secular purposes. And this criticism was applied, loudly, to Charles, even though he had never been a gospel singer. But while the gospel community was up in arms, people were listening. “I Got a Woman” went to number one on the R&B charts, and quickly entered the stage repertoire of another musician who had church music in his veins: [Excerpt, Elvis Presley, “I Got a Woman”] Even as it kicked off a whole new genre, “I Got A Woman” became a rock and roll standard. It would be covered by the Everly Brothers, the Beatles, the Monkees… Ray Charles was, in the minds of his detractors, debasing something holy, but those complaints didn’t stop Charles from continuing to rework gospel songs and turn them into rock and roll classics. For his next single, he took the old gospel song “This Little Light of Mine”: [Excerpt: Etta James, “This Little Light of Mine”] And reworked it into “This Little Girl of Mine”: [Excerpt: Ray Charles: “This Little Girl of Mine”] Ray Charles had hit on a formula that any other musician would have happily milked for decades. But Ray Charles wasn’t a musician who would stick to just one style of music. This wandering musical mind would ensure that for the next few years Ray Charles would be probably the most vital creative force in American music, but it also meant that he would swing wildly between commercial success and failure. After a run of huge hits in 1954, 55, and 56 — classic songs like “Hallelujah, I Love Her So”, “Drown in My Own Tears”, and “Lonely Avenue” — he hit a dry patch, with such less-than-stellar efforts as “My Bonnie” and “Swanee River Rock”. But you can’t keep a good man down for long, and when we next look at Ray Charles, in 1959, we’ll see him once again revolutionise both rock and roll and the music he invented, the music that we now call soul.

Welcome to episode thirty-two of A History of Rock Music in Five Hundred Songs. This one looks at “I Got A Woman” by Ray Charles. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. For more on Charles Brown and Nat Cole, Patreon backers might want to listen to the Christmas Patreon-only episode. Most of the information here comes from Charles’ autobiography, Brother Ray, which gives a very clear view of his character, possibly not always in the ways he intended. All the Ray Charles music used in this podcast, and the Guitar Slim track, are on The Complete Swing Time and Atlantic Recordings. Charles’ work from 1955 through about 1965 covers more genres of American music than any other body of work I can think of, and does so wonderfully. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Let’s talk about melisma. One of the major things that you’ll notice about the singers we’ve covered so far is that most of them sound very different from anyone who’s been successful as a pure vocalist in the last few decades. There’s a reason for that. Among the pop songwriters of the thirties, forties, and fifties — not the writers of blues and country music so much, but the people writing Broadway musicals and the repertoire the crooners were singing — melisma was absolutely anathema. Melisma is a technical musical term, but it has a simple meaning — it’s when you sing multiple notes to the same syllable of lyric. This is something that has always existed since people started singing — for example, at the start of “The Star-Spangled Banner”, “Oh say…”, there are two notes on the syllable “oh”. That’s melisma. But among the songwriters who were registered with ASCAP in the middle of the last century, there was a strongly-held view that this was pure laziness. You wrote one syllable of lyric for one note of melody, and if you didn’t, you were doing something wrong. The lyricist Sammy Cahn used to talk about how he wrote the lyric to “Pocketful of Miracles” — “Practicality doesn’t interest me” — but then the composer wrote a melody with one more note per line than he’d written syllables for the lyric. Rather than let the song contain melisma, he did this: [Excerpt: Frank Sinatra, “Pocketful of Miracles”, with Sinatra singing “pee-racticality dee-oesn’t interest me”] That was the kind of thing songwriters would do to avoid even the hint of melisma. And singers were the same. If you listen to any of the great voices of the first part of the twentieth century — Sinatra, Bing Crosby, Tony Bennett — they will almost without exception hit the note dead on, one note per syllable. No ornamentation, no frills. There were a few outliers — Billie Holiday and Ella Fitzgerald, for example, would both use a little melisma (Holiday more than Ella) to ornament their sound — but generally that was what good singing *was*. You sang the notes, one note per syllable. And this was largely the case in the blues, as well as in the more upmarket styles. The rules weren’t stuck to quite as firmly there, but still, you’d mostly sing the song as it was written, and it would largely be written without melisma. There was one area where that was not the case – gospel, specifically black gospel. [Excerpt: Rosetta Tharpe, “Precious Lord, Take My Hand”] We looked at gospel already, of course, but we didn’t talk about this particular characteristic of the music. You see, in black gospel — and pretty much only in black gospel music, at the time we’re talking about — the use of melisma was how you conveyed emotion. You ornamented the notes, you’d sing more notes per syllable, and that was how you showed how moved you were by the spirit. And these days, that style is what people now think of as good or impressive singing. There are a *lot* of class and race issues around taste in this that I’m not going to unpick here — we’ve got a whole four hundred and sixty-eight more episodes in which to discuss these things, after all — but when you hear someone on The Voice or American Idol or The X Factor trying to impress with their vocals, it’s their command of melisma they’re trying to impress with. The more they can ornament the notes, the more they fit today’s standards of good singing. And that changed because, in the 1950s, there was a stream of black singers who came out of the gospel tradition and introduced its techniques into pop music. Before talking about that, it’s worth talking about the musical boundaries we’re going to be using in this series, because while it’s called “A History of Rock Music in 500 Songs”, I am not planning on using a narrow definition of “rock music”, because what counts as rock tends to be retroactively redefined to exclude branches of music where black people predominate. So for example, there’s footage of Mohammed Ali calling Sam Cooke “the greatest rock and roll singer in the world”, and at the time absolutely nobody would have questioned Cooke being called “rock and roll”, but these days he would only be talked about as a soul singer. And much of the music that we would now call “soul” was so influential on the music that we now call rock music that it’s completely ridiculous to even consider them separately until the late seventies at the earliest. So while we’re going to mostly look at music that has been labelled rock or rock and roll, don’t be surprised to find soul, funk, hip-hop, country, or any other genre that has influenced rock turning up. And especially don’t be surprised to see that happening if it was music that was thought of as rock and roll at the time, but has been retroactively relabelled. So today, we’re going to talk about a record that’s been widely credited as the first soul record, but which was released as rock and roll. And we’re going to talk about a musician who cut across all the boundaries that anyone tries to put on music, a man who was equally at home in soul, jazz, R&B, country, and rock and roll. We’re going to talk about the great Ray Charles. [Excerpt: Ray Charles, “I Got a Woman”] Ray Charles had an unusual upbringing — though perhaps one that’s not as unusual as people would like to think. As far as I can tell from his autobiography, he was the product of what we would now call a polyamorous relationship. His father was largely absent, but he was brought up by his mother, who he called “Mama”, and by his father’s wife, who he called “Mother”. Both women knew of, approved of, and liked each other, as far as young Ray was concerned. His given name was Ray Charles Robinson, but he changed it when he became a professional musician, due to the popularity of the boxer Sugar Ray Robinson, whose peak years were around the same time as Charles’ — he didn’t want to be confused with another, more famous, Ray Robinson. From a very young age, he was fascinated by the piano, and that fascination intensified when, before he reached adolescence, he became totally blind. That blindness would shape his life, even though — and perhaps because — he had a strong sense of independence. He wasn’t going to let his disability define him, and he often said that the three things that he didn’t want were a dog, a cane, and a guitar, because they were the things all blind men had. Now, I want to make it very clear that I’m not talking here about the rights and wrongs of Charles’ own attitude to his disability. I’m disabled myself, but his disability is not mine, and he is from another generation. I’m just stating what that attitude was, and how it affected his life and career. And the main thing it did was make him even more fiercely independent. He not only got about on his own without a cane or a dog, he also at one point even used to go riding a motorbike by himself. Other than his independence, the main thing everyone noted about the young Ray Charles Robinson was his proficiency on the piano, and by his late teens he was playing great jazz piano, inspired by Art Tatum, who like Ray was blind. Tatum was such a proficient pianist that there is a term in computational musicology, the tatum, meaning “the smallest time interval between successive notes in a rhythmic phrase”. [Excerpt; Art Tatum, “I Wish I Were Twins”] Charles never got quite that good, but he was inspired by Tatum’s musicality, and he became a serious student of the instrument, becoming a very respectable jazz pianist. When his mother died, when he was fifteen, Charles decided to leave school and set up on his own as a musician. Initially, he toured only round Georgia and Florida, and early on he made a handful of records. His very earliest recordings, oddly, sound a lot like his mature style — his first record, “Wondering and Wondering”, was almost fully-formed mature Ray Charles: [Excerpt: Ray Charles, “Wondering and Wondering”] But he soon changed his style to be more popular. He moved to the West Coast, and unsuccessfully auditioned to play piano with Lucky Millinder’s band, and would occasionally play jazz with Bumps Blackwell and Dizzy Gillespie. But while his association with Bumps Blackwell would continue long into the future, playing jazz wasn’t how Ray Charles was going to make his name. On the West Coast in the late forties and early fifties, the most popular style for black musicians was a particular kind of smooth blues, incorporating aspects of crooning alongside blues and jazz. Two of the biggest groups in the R&B field were the Nat “King” Cole Trio and Johnny Moore’s Three Blazers featuring Charles Brown. Both of these had very similar styles, featuring a piano player who sang smooth blues, with an electric guitarist and a bass player, and sometimes a drummer. We’ve heard Nat “King” Cole before, playing piano with Les Paul and Illinois Jacquet, but it’s still hard for modern listeners to remember that before his massive pop success with ballads like “Unforgettable”, Cole was making music which may not have been quite as successful commercially, but which was incredibly influential on the burgeoning rock music field. A typical example of the style is Cole’s version of “Route Sixty-Six”: [Excerpt: Nat “King” Cole Trio, “Route Sixty Six”] You’ll note, I hope, the similarity to the early recordings by the Chuck Berry Trio in particular — Berry would often say that while Louis Jordan music was the music he would play to try to make a living, Nat “King” Cole was the musician he most liked to listen to, and the Chuck Berry Trio was clearly an attempt to emulate this style. The other group I mentioned, The Three Blazers, were very much in the same style as the Nat Cole Trio, but were a couple of rungs down the entertainment ladder, and Charles Brown, their singer, would be another huge influence on Ray Charles early on. Charles formed his own trio, the McSon Trio (the “Son” came from the Robinson in his own name, the “Mc” from the guitarist’s name). [Excerpt: The McSon Trio “Don’t Put All Your Dreams In One Basket”] The McSon Trio quickly changed their name to the Ray Charles Trio, as their pianist and singer became the obvious star of the show. Charles soon tired of running his own trio, though, and went fully solo, travelling to gigs on his own and working with local pickup bands rather than having his own steady musicians. This also gave him the opportunity to collaborate with a wider variety of other musicians than having a fixed band would. Around this time Charles was introduced by Bumps Blackwell to Quincy Jones, with whom he would go on to collaborate in various ways for much of the rest of his career. But his most important collaboration in his early career was with the blues musician Lowell Fulson. Fulson was one of the pioneers of the smooth West Coast blues sound, and Charles became his pianist and musical director for a short time. Charles didn’t perform on many of Fulson’s sessions, but you can get an idea of the kind of thing that he would have been playing with Fulson from Fulson’s biggest record, “Reconsider Baby”, which came out shortly after Charles’ time with Fulson: [Excerpt: Lowell Fulson, “Reconsider Baby”] So Charles was splitting his time between making his own Nat Cole or Charles Brown style records, touring on his own, and touring with Fulson. He also worked on other records for other musicians. The most notable of these was a blues classic, by another of the greats of West Coast blues, “The Things That I Used To Do” by Guitar Slim. [Excerpt: “The Things That I Used To Do” by Guitar Slim] Slim was one of the great blues guitarists of the 1950s, and he was also one of the great showmen, whose performance style included things like a guitar cord that was allegedly three hundred and fifty feet long, so he could keep his guitar plugged into the amplifier but walk through the crowd and even out into the street, while still playing his guitar. Slim would later be a huge influence on musicians like Jimi Hendrix, but “The Things That I Used To Do”, his most famous record, is as much Charles’ record as it is Guitar Slim’s — Charles produced, arranged, and played piano, and the result sounds far more like the work that Charles was doing at the time than it does Guitar Slim’s other work, though it still has Slim’s recognisable guitar sound. He finally got the opportunity to stand out when he moved from Swing Time to Atlantic Records. While several of the Swing Time recordings were minor successes, people kept telling him how much he sounded like Nat Cole or Charles Brown. But he realised that it was unlikely that anyone was telling Nat Cole or Charles Brown how much they sounded like Ray Charles, and that he would never be in the first rank of musicians unless he got a style that was uniquely his. Everything changed with “Mess Around”, which was his first major venture into the Atlantic house style. “Mess Around” is credited to Ahmet Ertegun, the owner of Atlantic Records, as the writer, but it should really be credited as a traditional song arranged by Ray Charles, Jesse Stone, and Ertegun. Ertegun did contribute to the songwriting — rather surprisingly, given the habit of record executives of just taking credit for something that they had nothing to do with. Ertegun told Charles to play some piano in the style of Pete Johnson, and Charles responded by playing “Cow Cow Blues”, a 1928 song by Cow Cow Davenport: [Excerpt: Cow Cow Davenport, “Cow Cow Blues”] Ertegun came up with some new words for that, mostly based around traditional floating lyrics. Jesse Stone came up with an arrangement, and the result was titled “Mess Around”: [Excerpt: Ray Charles and his Orchestra, “Mess Around”] For his next few records, Charles was one of many artists making records with the standard Atlantic musicians and arrangers — the same people who were making records with Ruth Brown or LaVern Baker. By this point, he had gained enough confidence in the studio that he was able to sing like himself, not like Charles Brown or Nat Cole or anyone else. The music he was making was generic R&B, but it didn’t sound like anyone else at all: [Excerpt: Ray Charles, “It Should Have Been Me”] “Mess Around” and “It Should Have Been Me” were Charles’ two biggest hits to date, both making the top five on the R&B charts. His breakout, though, came with a song that he based around a gospel song. At this time, gospel music was not much of an influence on most of the rhythm and blues records that were charting, but as Charles would later say, “the church was something which couldn’t be taken out of my voice even if I had wanted to take it out. Once I decided to be natural, I was gone. It’s like Aretha: She could do “Stardust,” but if she did her thing on it, you’d hear the church all over the place.” Charles had now formed his own band, which was strongly influenced by Count Basie. The Count Basie band was, like Lionel Hampton’s, one of the bands that had most influenced early R&B, and its music was exactly the kind of combination of jump band and classy jazz that Charles liked: [Excerpt: Count Basie, “One O’Clock Jump”] Charles’ own band was modelled on the Basie band, though slimmed down because of the practicalities of touring with a big band in the fifties. He had three sax players, piano, bass, drums, two trumpets, and a trombone, and he added a girl group, called the Raelettes, who were mostly former members of a girl group called the Cookies (who would go on to have a few hits themselves over the years). Charles was now able to record his own band, rather than the Atlantic session musicians, and have them playing his own arrangements rather than Jesse Stone’s. And the first recording session he did with his own band produced his first number one. Charles’ trumpet player, Renald Richard, brought Charles a set of blues lyrics, and Charles set them to a gospel tune he’d been listening to. The Southern Tones were a gospel act recording for Duke Records, and they never had much success. They’d be almost forgotten now were it not for this one record: [Excerpt, The Southern Tones, “It Must Be Jesus”] Charles took that melody, and the lyrics that Renald Richard had given him, and created a record which was utterly unlike anything else that had ever been recorded. This was a new fusion of gospel, the blues, big band jazz, and early rock and roll. Nobody had ever done anything like it before. In the context of 1954, when every fusion of ideas from different musics, and every new musical experiment, was labeled “rock and roll”, this was definitely a rock and roll record, but in later decades they would say that this music had soul: [Excerpt, “I Got a Woman”, Ray Charles] That song was close enough to gospel to cause Charles some very real problems. Gospel singers who went over to making secular music were considered by their original fans to be going over to the side of the Devil. It wasn’t just that they were performing secular music — it was very specifically that they were using musical styles that were created in order to worship God, and turning them to secular purposes. And this criticism was applied, loudly, to Charles, even though he had never been a gospel singer. But while the gospel community was up in arms, people were listening. “I Got a Woman” went to number one on the R&B charts, and quickly entered the stage repertoire of another musician who had church music in his veins: [Excerpt, Elvis Presley, “I Got a Woman”] Even as it kicked off a whole new genre, “I Got A Woman” became a rock and roll standard. It would be covered by the Everly Brothers, the Beatles, the Monkees… Ray Charles was, in the minds of his detractors, debasing something holy, but those complaints didn’t stop Charles from continuing to rework gospel songs and turn them into rock and roll classics. For his next single, he took the old gospel song “This Little Light of Mine”: [Excerpt: Etta James, “This Little Light of Mine”] And reworked it into “This Little Girl of Mine”: [Excerpt: Ray Charles: “This Little Girl of Mine”] Ray Charles had hit on a formula that any other musician would have happily milked for decades. But Ray Charles wasn’t a musician who would stick to just one style of music. This wandering musical mind would ensure that for the next few years Ray Charles would be probably the most vital creative force in American music, but it also meant that he would swing wildly between commercial success and failure. After a run of huge hits in 1954, 55, and 56 — classic songs like “Hallelujah, I Love Her So”, “Drown in My Own Tears”, and “Lonely Avenue” — he hit a dry patch, with such less-than-stellar efforts as “My Bonnie” and “Swanee River Rock”. But you can’t keep a good man down for long, and when we next look at Ray Charles, in 1959, we’ll see him once again revolutionise both rock and roll and the music he invented, the music that we now call soul.

The Rock N Roll Archaeologist sits down with founding member, Ed Jurdi to discuss the origins of the band and their newest album, a re-imagining of Ray Charles’ 1972 political record “A Message from the People”. Ed tells us given the current political climate in America, he and the band wanted to comment without being overt or preachy. They looked to Brother Ray for inspiration and decided since you can’t out genius the great man, perhaps you could recreate it for a new generation.

The Rock N Roll Archaeologist sits down with founding member, Ed Jurdi to discuss the origins of the band and their newest album, a re-imagining of Ray Charles’ 1972 political record “A Message from the People”. Ed tells us given the current political climate in America, he and the band wanted to comment without being overt or preachy. They looked to Brother Ray for inspiration and decided since you can’t out genius the great man, perhaps you could recreate it for a new generation.

Scotty & Jamie are joined by FTP regular, "Brother" Ray Slade and they cover a bunch of topics from Black Friday shopping, to Holiday Movies to the wave of Political Correctness and more. And it's a rematch between Ray & Scotty in the For the Pops POP Quiz!

Check out the video promo of our Riffin On Jazz episode saluting the "Jazz Genius of Ray Charles". 

A tribute to the KING of American Music, Ray Charles!!!  Sit back and listen as Howard and Malvin take you on a journey through the life of this music icon.  Riffin on Jazz salutes the late great Ray Charles. 

No retorno do Podcasteros, Ana Carol Alves, Angélica Hellish e Marcos Noriega comentam as cenas do primeiro episódio da 7ª temporada de Game of Thrones. ESSE PODCAST É APRESENTADO POR Floreios e Dragões: http://www.floreiosedragoes.com Twitter Ana: @rhuubarbidoo Twitter Angélica: @angelmasmorra Twitter Marcos: @noriegamarcos COMENTAMOS NESTA EDIÇÃO LIVRO: O Jogo das Contas de vidro - Herman Hesse  Guerra dos Reis de Nove Moedas (por Brother Ray) http://bit.ly/2gR396X Por Dentro do Episódio: Dragonstone http://bit.ly/2uJvpOn Vídeo que deu o spoiler sobre os gigantes https://goo.gl/EFtyGV Edd Doloroso http://bit.ly/2tx817o Sinopse HBO fala sobre "ondas congeladas" (waves are frozen) http://itsh.bo/2vtCJLJ Vidro de dragão cura escamagris? https://goo.gl/q5Y9Kh História e Tradição: Escamagris e os Homens de Pedra, por Qyburn https://youtu.be/AJ7hhJgG1ts George R. R. Martin sobre escamagris https://youtu.be/9Wsc-o9K_PM Adaga de Mindinho Ensaio da EW https://goo.gl/pNKS90 Podcast e site brasileiro sobre Outlander http://bit.ly/2vthCcm Cine Masmorra http://bit.ly/1UkDlaK Assine o podcast no iTunes: https://itun.es/i6Fc37J ou instale o BeyondPod, busque por Podcasteros e assine lá. Se preferir, use esse feed: http://feeds.feedburner.com/soundcloud/TWhV pra assinar no programa que você gosta de usar pra ouvir podcasts. Para escutar em streaming no seu iPhone/iPod/iPad, baixe o app do Soundcloud. Para escutar em streaming no seu Android, baixe o app do Souncloud aqui. Curta o Podcasteros no Facebook. Curta a Floreios e Dragões no Facebook e Instagram. Emails para anacarolina@gameofthronesbr.com - e escreva [podcast] no assunto.

Morning Service

Als anfangs 1955 der Song «I Got a Woman» erscheint, ist es passiert: Ray Charles hat getan, was viele für ein Sakrileg hielten damals. Er hat kirchliche und weltliche Musik miteinander vermischt. Gleichzeitig hat er mit dieser und anderen Aufnahmen von Mitte der 50er Jahre aber auch seinen eigenen Sound gefunden, seinen ganz eigenen Soul-Sound, mit dem er zu einer der grössten Figuren der amerikanischen Musik werden sollte. Ein «Genius», «Brother Ray», eine Referenz für Generationen von R&B-, Soul- und Rock-Musikern nach ihm. Keine Frage: Mit seiner Musik hat Ray Charles ein Monument geschaffen, das man kaum überschätzen kann. Der Blues-Musiker und Songwriter Philipp Fankhauser bespricht das Jahrhundertwerk Ray Charles – als Gast von Jodok Hess in der Jazz Collection.

✖ Nesta semana, Ana Carol Alves, Angélica Hellish, Rafa Bacellar e Marcos Noriega discutem: O discurso de Brother Ray, a Irmandade sem Estandartes, Margaery bela recatada e do lar, Peixe Negro dropping the mic, Lyanninha das Trevas, o Tour Stark 2016, o que raios foi essa cena com as Ninguém e muito mais! O play fica logo ali: (Pauta principal começa em: 18 min e 19 seg.) ✖ O CINE MASMORRA PRECISA DE VOCÊ! Colabore no Padrim! http://bit.ly/1XsKmgq Escute os podcasts! http://bit.ly/1UkDlaK ✖ Links: Vladimir Furdik, que faz o Rei da Noite, também foi dublê na cena da Torre da Alegria http://i.imgur.com/cw5lSIf.png Kusarigama https://pt.wikipedia.org/wiki/Kusarigama Série: Pilares da Terra (Tem na Netflix)https://youtu.be/ONprw25Me20 Série Deadwood (HBO) https://youtu.be/RfMSxf6P_AM Ian McShane deu os spoilers muito antes http://goo.gl/MDFS0o Rory McCann foi visto em Belfast no ano passado http://goo.gl/kFNlOn Podcast que lemos o discurso do Meribald http://goo.gl/kDkcfx Maria Antonieta lendo Rousseau https://youtu.be/sEzAPD4OaZQ A Bela e a Fera de George R. R. Martin com Linda Hamilton https://youtu.be/gYV4h0dRZpI Lem Lemoncloak série X livros http://imgur.com/a/H7j1x Cena final de Mad Men http://dai.ly/x2r38l9 Thoros de Myr estará de volta http://goo.gl/adhQpK Ilustração de Olenna com os irmãos Direito e Esquerdo (por Diego Gisbert Llorens) https://imgur.com/9K8fm4G Olenna e outro personagem improvável irão se encontrar nesta temporada http://bit.ly/1OhTSQ8 Baby da Família Dinossauros escolhendo a violência https://youtu.be/AsHaptJfchU Filme: A Jovem Rainha Vitória (com Emily Blunt/2009) https://youtu.be/ZquJwXMeuIw Filme: Michael Kohlhaas - Justiça e Honra (com Mads Mikkelsen/2013)http://bit.ly/1U0KPQJ Kit Harington sem barba http://bit.ly/21e6SHG PARKOUR! https://youtu.be/lDqlasyMJog Bastidores da cena embaixo na água http://goo.gl/s4vxWK Margaret Jackman http://goo.gl/geJHdz Rosto de mulher que Arya toca na quinta temporada é da mãe de um dos produtores http://goo.gl/CZTuLj ✖ Problemas com o podcast no iPhone? Se você não escuta podcasts há algum tempo, talvez tenha problemas ao tentar baixar e assinar o Podcasteros e outros programas de outros sites também. Isso porque a atualização do iOS censurou conteúdo explícito em músicas e podcasts. Para resolver isso: Settings > General > Restrictions > Music & Podcasts > Habilitar o “Explicit”. ✖ Assine o podcast no iTunes: https://itun.es/i6Fc37J ou instale o BeyondPod, busque por Podcasteros e assine lá. ✖ Se preferir, use esse feed aqui pra assinar no programa que você gosta de usar pra ouvir podcasts. ✖ Para escutar em streaming no seu iPhone/iPod/iPad, baixe o app do Soundcloud. ✖ Para escutar em streaming no seu Android, baixe o app do Souncloud aqui. ✖ Curta o Podcasteros no Facebook. http://www.gameofthronesbr.com

We spoke to Brother Ray of Team 3D about his upcoming match at TNA Lockdown against Beer Money.The interview will air on this weekend's abbreviated version of the Ringside Report radio show but is available for podcast right now. Download the compelling interview that was conducted today in the Ringside Report podcasts section.Brother Ray of Team3D talks about his upcoming tag-team challenge at the Lockdown pay-per-view this Sunday with Beer Money Inc.

The Main Event Mafia (Sting (c), Kevin Nash, Scott Steiner, and Booker T ) versus The TNA Frontline (A.J. Styles, Samoa Joe, Brother Ray, Brother […]