Podcasts about Can You Feel

Consider the following: What if this were a universe where what was fun was good? That's what we'll be exploring in this episode. Instead of covering the best picture nominees plus other critically acclaimed films, we'll be looking at films that are just fun from 1998. So please, join us, as we enter an alternate reality where fun is good.Notes: SPOILERS - we talk through the full plots of all the movies we cover.Timestamps are approximate:8:15 - Armageddon (+ Deep Impact)Ben Affleck CommentaryMichael Bay freaking out about space suits18:40 - The Wedding Singer25:05 - You've Got Mail31:20 - The Parent Trap37:45 - Mulan46:35 - Spice World55:50 - Rushmore59:10 - Ever After1:01:25 - Rating the FilmsThe Prince of Egypt note: it turns out we were both sort of right about “Can You Feel the Love Tonight” in The Lion King. It is not the Elton John version in the film, but it is also not the characters singing the song. It is Kristle Edwards.1:17:25 - Our Fun Oscar Nominees1:21:55 - Daniel Day Lewis Drive1:25:40 - Next Time--------------------------Want to see what episode we're currently prepping and suggest non-nominees that we should watch? Check us out on instagram at oscarswrongpod.

Exclusive LIVE interview with Mike Hughes, the founder of Lisa Lisa and Cult Jam! Mike will be answering viewer questions about the iconic group's journey, their impact on the music scene, and sharing behind-the-scenes stories from their rise to fame.We'll also dive into the recent Lifetime TV movie, "Can You Feel the Beat: The Lisa Lisa Story", as Mike responds to the film's portrayal of the band and offers his unique insights.Got questions for Mike? Drop them in the live chat—this is your chance to connect with a legend of the New Jack Swing era!Don't miss out—subscribe, hit the notification bell, and join us live!#LisaLisaAndCultJam #NewJackSwing #CanYouFeelTheBeat #LiveInterview #MusicLegends

You Are Changing. Can You Feel it? – Energetic Shifts and Self-Sufficiency Episode SummaryIn this episode, we dive deep into the upcoming major energetic + astrological transits between now and 2027 (even into 2030). We're witnessing some intense energetic waves from the cosmos, with each one designed to crack open your self-awareness, deepen your resilience, and guide you to tap into your innate power. These shifts invite us to step out of dependency and into full self-sufficiency, a journey of rediscovering our strength, purpose, and connection to the collective. Key Astrological Shifts Covered: Pluto in Aquarius (2024 - 2044) - Pluto's move into Aquarius brings transformation through technology and community. It's time to examine our relationship with the digital world, power structures, and what it means to truly belong. This shift empowers you to embrace community but with individuality and authenticity. Chiron in Aries (ongoing until 2027) - Chiron's influence highlights the wounds in our self-worth and identity. We're encouraged to honor our personal journey and to heal by taking ownership of our stories. This period teaches us the power of vulnerability and self-compassion as we reclaim our sense of worth. Uranus in Gemini (starting July 2025) - Expect breakthroughs in communication, learning, and intellectual freedom. Uranus in Gemini wants you to rethink how you share ideas and embrace an adaptable mindset, awakening the innovative and expressive side of you. Saturn in Aries (2025 - 2028) - Saturn in Aries grounds our ambitions, urging us to act with responsibility and clarity in pursuing our goals. It's all about finding balance between independence and discipline. This influence encourages you to cultivate resilience and embrace the power of intentional action. Neptune in Aries (2025 - 2039) - Neptune shifts from Pisces to Aries, signaling a call for spiritual independence. We're urged to release illusions, step out of traditional molds, and connect with the raw truth of who we are. This transit inspires a new wave of spiritual and creative freedom focused on authenticity and fearless self-expression. Channeled Messages & Guidance:Throughout the episode, I've shared channeled insights to guide you on embodying the lessons these transits bring. Tap into these messages to reconnect with your inner wisdom, release old patterns, and step into your personal power. This is a time for shedding the weight of limiting beliefs and embracing your highest potential. iORIGINS - The Soul Alignment Masterclass Natal Chart + Human Design Introductory Masterclass Apply to Work Together: 1:1 Mysticship Instagram: @SHELLYSAUNIER Website: www.shellythemystic.com

Please stop, I’m melting. PLAYLIST: 1:03 – GaMetal – Panic Puppet Act 1 (Sonic 3D Blast [GEN] :: YouTube) 9:31 – RoBKTA, Tiggs – Can You Feel the Sunshine? (Sonic R [SAT] :: Firaga Records) 13:15 – Audio Sprite – Azure Lake 2P (Sonic the Hedgehog 3 [GEN] :: Bandcamp) 15:46 – IsabelleChiming – Aqua ...Continue reading ‘Nitro Game Injection #572: October Heat’ »

Send us a textIntro song: Praise Him by LL Cool J & Nas5. Falling So Hard by Atlas Genius4. Little Cup by Arrested Youth3. The Table by Rex Orange County2. Horse to Water by The Cold Stares1. Scattered by David GilmourOutro song: Can You Feel the Love Tonight by Simple Plan & Disney

 In this latest edition, discover the perfect soundtrack for your step-father step-daughter dance with our curated list of 22 heartfelt songs!    This podcast is for engaged couples who are stressed out with wedding planning and family expectations but want a fun wedding day.   Transform your wedding dance into a tradition that celebrates unique family bonds with these songs & tips to make your special day unforgettable.   Listen now and get inspired for your stress-free wedding planning journey!    Stress-free Wedding Planning Podcast #112: Top 22 Step-father and Step-daughter Wedding Dance Songs Host: Sal & Sam Music: "Sam's Tune" by Rick Anthony   TIMESTAMP 00:00 Introduction to Top 22 Step-father and Step-daughter Wedding Songs 03:00 The Evolution of Wedding Traditions 04:15 Historical Context of the Father-Daughter Dance 05:30 Rob Thomas, "Little Wonders." 06:00 Brad Paisley, "He Didn't Have To Be." 06:30 Bill Withers, "Lean On Me." 07:00 Kelly Clarkson, "Piece by Piece.”  08:00 Elton John, “Can You Feel the [00:08:00] Love Tonight?" 08:15 Winstons, "Color Him Father" 09:00 Wedding Tip Wednesday 11:00 Alternatives for Step-father-Step-daughter AND Father Daughter Wedding Dance 12:00 Cody Johnson, “God Bless The Boy, Cori's Song” 12:30 Luther Vandross, "Dance With My Father" 13:00 Tyler Wood, “Dad” 14:00 Elvie Shane, "My Boy, My Girl version" 15:00 Fleetwood Mac, “Landslide” 16:00 Christine Aguilera, "I Turn To You" 17:00 Zac Brown Band, "I'll Be Your Man" 17:30 Final Thoughts 18:00 Conclusion and Community Engagement 18:30 Podcast Wrap-up and Close   Get your FREE no-obligation report TODAY: "8 QUESTIONS YOU MUST ASK A WEDDING PROFESSIONAL BEFORE BOOKING THEM" http://forms.aweber.com/form/55/756659955.htm Music List Giveaway  https://www.afterhourseventsofne.com/guestcontact *** Join us in the Stress-free Wedding Planning Facebook group https://urlgeni.us/facebook/stress-free-wedding-planning Wedding Tip Wednesday on the Stress-free Wedding Planning Podcast is sponsored by EMERGE Cosmetics – 10% OFF promo code: SF1 https://shopemergecosmetics.com/ Copyright © 2024 Atmosphere Productions LLC All Rights Reserved. Produced By Atmosphere Productions in association with After Hours Events of New England https://atmosphere-productions.com https://www.afterhourseventsofne.com #stressfreeweddingplanning #stressfreeweddingplanningpodcast #ctweddingdj #atmosphereproductions #afterhourseventsofne #cvpevents #clearvisionproductions #theclearvisionagency #dreamwedding #WalkDownTheAisle #WeddingEtiquette #100th #celebrate

 In this latest edition, discover the perfect soundtrack for your step-father step-daughter dance with our curated list of 22 heartfelt songs!    This podcast is for engaged couples who are stressed out with wedding planning and family expectations but want a fun wedding day.   Transform your wedding dance into a tradition that celebrates unique family bonds with these songs & tips to make your special day unforgettable.   Listen now and get inspired for your stress-free wedding planning journey!    Stress-free Wedding Planning Podcast #112: Top 22 Step-father and Step-daughter Wedding Dance Songs Host: Sal & Sam Music: "Sam's Tune" by Rick Anthony   TIMESTAMP 00:00 Introduction to Top 22 Step-father and Step-daughter Wedding Songs 03:00 The Evolution of Wedding Traditions 04:15 Historical Context of the Father-Daughter Dance 05:30 Rob Thomas, "Little Wonders." 06:00 Brad Paisley, "He Didn't Have To Be." 06:30 Bill Withers, "Lean On Me." 07:00 Kelly Clarkson, "Piece by Piece.”  08:00 Elton John, “Can You Feel the [00:08:00] Love Tonight?" 08:15 Winstons, "Color Him Father" 09:00 Wedding Tip Wednesday 11:00 Alternatives for Step-father-Step-daughter AND Father Daughter Wedding Dance 12:00 Cody Johnson, “God Bless The Boy, Cori's Song” 12:30 Luther Vandross, "Dance With My Father" 13:00 Tyler Wood, “Dad” 14:00 Elvie Shane, "My Boy, My Girl version" 15:00 Fleetwood Mac, “Landslide” 16:00 Christine Aguilera, "I Turn To You" 17:00 Zac Brown Band, "I'll Be Your Man" 17:30 Final Thoughts 18:00 Conclusion and Community Engagement 18:30 Podcast Wrap-up and Close   Get your FREE no-obligation report TODAY: "8 QUESTIONS YOU MUST ASK A WEDDING PROFESSIONAL BEFORE BOOKING THEM" http://forms.aweber.com/form/55/756659955.htm Music List Giveaway  https://www.afterhourseventsofne.com/guestcontact *** Join us in the Stress-free Wedding Planning Facebook group https://urlgeni.us/facebook/stress-free-wedding-planning Wedding Tip Wednesday on the Stress-free Wedding Planning Podcast is sponsored by EMERGE Cosmetics – 10% OFF promo code: SF1 https://shopemergecosmetics.com/ Copyright © 2024 Atmosphere Productions LLC All Rights Reserved. Produced By Atmosphere Productions in association with After Hours Events of New England https://atmosphere-productions.com https://www.afterhourseventsofne.com #stressfreeweddingplanning #stressfreeweddingplanningpodcast #ctweddingdj #atmosphereproductions #afterhourseventsofne #cvpevents #clearvisionproductions #theclearvisionagency #dreamwedding #WalkDownTheAisle #WeddingEtiquette #100th #celebrate

Lynn & Carl welcome musician, comedian & host, Tim Convy, who has a Punk Rock Disney Show May 11th - Can You Feel the Punk Tonight? at the Pageant. They then are joined by Joe Hanrahan & Lucy Cashion from The Midnight Company's production "Spirits to Enforce" starting May 2nd. Lynn has seen the new releases: The Fall Guy, The Idea of You & (finally) Anyone But You. Plus Moulin Rouge is at the Fabulous Fox.

DURGA McBROOM LEGENDARY PINK FLOYD BACKUP SINGER REVERED FOR “GREAT GIG IN THE SKY,” AND THE VOICE OF BRIT DUO ‘BLUE PEARL' ZOOM SPECIAL EDITION ON INTERVIEWING THE LEGENDS! Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. After working as an actress, dancer and singer in the United States, Durga McBroom and her sister Lorelei McBroom worked with Pink Floyd as backing vocalists. She went on to have a long stint with them, being the only backing vocalist to appear consistently on all of their shows starting from the November 1987 concert at Omni Arena of A Momentary Lapse of Reason Tour up to the final concert of The Division Bell Tour in October 1994. She also performed on their appearance at the 1990 Knebworth festival and has provided vocals for the Pink Floyd live albums Delicate Sound of Thunder, and Pulse, and the Pink Floyd studio albums The Division Bell, and The Endless River, as well as David Gilmour's 2001 solo tour. Around 1989, McBroom formed the band Blue Pearl with record producer Youth, singing, playing some keyboards and co-writing all of their material. As part of Blue Pearl, she had several hit songs in the early 1990s, including "Naked in the Rain" (UK #4 in July 1990), "Little Brother" (UK #31 in October 1990), and a cover version of Kate Bush's "Running Up That Hill", all taken from the album Naked, released in 1990 on the Big Life label. Subsequent singles included "(Can You) Feel the Passion" (UK #14 in January 1992). She currently tours the world singing with various bands and has recorded a second Blue Pearl album with Youth. Another album is currently in the works with her sister Lorelei (produced by Dave Kerzner), including some cover songs as well as original material. She and her sister Lorelei are also featured on Steve Hackett's latest album At the Edge of Light, being featured on the chart-topping single “Underground Railroad”. PLEASE WELCOME THE INCREDIBLE AND REVERED BACKGROUND SINGER FOR PINK FLOYD DURGA McBROOM TO INTERVIEWING THE LEGENDS …     PURCHASE BLACK FLOYD BY THE McBROOM SISTERS BUY IT NOW! ON BAND CAMP https://sonicelements.bandcamp.com/album/black-floyd ON AMAZON https://www.amazon.com/Black-Floyd-McBroom-Sisters/dp/B08D3K46YS ON ITUNES https://music.apple.com/us/album/black-floyd/1523793536 This is the debut album of The McBroom Sisters called "Black Floyd," “titled to honor the roots of Rock and Roll, as we revisit the genre.” The McBroom Sisters are Durga McBroom and Lorelei McBroom, former backing vocalists for the legendary Pink Floyd and many others. On this album they sing both lead and backing vocals on a combination of classic Pink Floyd covers and their own original songs co-written with Jon Carin, Guy Pratt, Lemmy Kilmister, Paul Litteral, Dave Kerzner and more. Credits Black Floyd by The McBroom Sisters features vocals by Lorelei McBroom, Durga McBroom and special guest vocalists Louise Goffin, Lara Smiles and Emily Lynn. Guitars by David Domminney Fowler, Fernando Perdomo, Randy McStine, Billy Sherwood and Steve McElroy. Keyboards by Dave Kerzner, Jon Carin, Jason Sawford, Dave Innis, David Domminney Fowler and Paul Grant. Bass by Fernando Perdomo, Ricky Howard and drums by Derek Cintron, Paul Bonney, Nick Mason and David Domminney Fowler. Trumpet Paul Litteral, Saxophone Mike Kidson and Violin by Lili Haydn.   FOR MORE INFORMATION ABOUT DURGA McBROOM VISIT https://mcbroomsisters.com/ The McBroom Sisters official website https://www.facebook.com/themcbroomsisters/ Facebook https://www.instagram.com/themcbroomsistersofficial/ Instagram https://sonicelements.bandcamp.com/album/black-floyd Bandcamp https://www.youtube.com/channel/UCHnJa1_HDL-Yx9V1rV3gtuw YouTube channel https://www.facebook.com/DurgaMcBroomHudson/ Durga McBroom Facebook   First bonded by blood, then later by music, The McBroom Sisters have created an extraordinary musical experience entitled Black Floyd, based on a shared reverence for the iconic tunes of Pink Floyd . . . And beyond. Durga McBroom toured with Pink Floyd from 1987 through 2005 and appeared on the last four albums: Delicate Sound Of Thunder, The Division Bell, PULSE and The Endless River. Lorelei McBroom has toured with Pink Floyd, The Rolling Stones, Rod Stewart, and many others. Sung from their unique perspective, Black Floyd is their first release, and it encompasses cover versions of classic Pink Floyd songs, as well as originals co-written with Jon Carin, Guy Pratt, Lemmy Kilmister, and Dave Kerzner, and featuring performances by a host of talented friends.   Support us on PayPal!

Tim Rice returns to the show to offer a masterclass in songwriting as he talks about writing the lyrics for the three Oscar-nominated songs from the animated movie The Lion King. He details how the song "Can You Feel the Love Tonight" changed and why writing a song for a warthog shouldn't feel much different from writing for "the wife of an Argentinian dictator."

Miami Vice actor Philip Michael Thomas, coined the term EGOT: someone who'd be lucky to win an Emmy, Grammy, Oscars, and Tony. The latest celebrity joining this high honor, is Elton John! Representing the music he's won these awards, listen and take music notes of this special playlist.Theme Song: "Dance Track", composed by Jessica Ann Catena"Goodbye Yellow Brick Road" (1973)Farewell from Dodger Stadium (2022) concert, book"Goodbye Yellow Brick Road" (2022)- video"That's What's Friends Are For" - Dionne and Friends (1986)"Basque" - James Galway, Vincent Fanuele, feat. Elton John (1991)"Candle in the Wind 1997" (1997)"Can You Feel the Love Tonight" (1994)"Can You Feel the Love Tonight - (The Lion King scene)The Lion King"(I'm Gonna) Love Me Again" - feat. Taron Egerton (2019)Rocketman"The Gods Love Nubia" - Aida Ensemble, Heather Headley, Schele Williams (2000)Aida Broadway showingAdam PascalRelated Episode: Ep. 175 - Burt Bacharach Top 20

《Can You Feel the Love Tonight》是经典动画电影《狮子王》的插曲，由英国歌手艾尔顿·约翰作曲并演唱，一举获得了第67届奥斯卡最佳电影歌曲奖、金球奖最佳歌曲奖。这首动人的情歌，让人瞬间回到经典影片《狮子王》中，开启新生的壮阔世界，体验爱与冒险的生命感动！

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth

It's Episode 55 of the Friday Night Karaoke Podcast, and the theme of the week was #FNKAnimated!  Ready to be "Part of Our World" on this animated karaoke adventure?  In this episode of Friday Night Karaoke, we're lighting up the skies with iconic anthems that defined our cartoon-filled days! From Toy Story's promise "You've Got a Friend in Me" to the romantic tones of "Can You Feel the Love Tonight," our FNK family is belting out pure magic. Dive deep with Ariel, soar high with Pocahontas' "Colors of the Wind," and "See the Light" with Rapunzel. And hey, who could resist the nostalgic jingles of "The Flintstones" and "Darkwing Duck"? Whether you're waiting for "Someday My Prince Will Come" or just vibing with "Jack's Lament", this episode promises animated bliss. Don't just hum along, be a part of this animated journey and sing with us under our FNK stars!  FEATURED IN THIS EPISODE ALONGSIDE HOSTS MIKE WISTON AND JOE RUBIN: Jeff Matusicky with You Got a Friend in Me from Toy Story Dianne Knight with Part of Your World from The Little Mermaid Mimi Walt with Colors of the Wind from Pocahontas Marcos Muñoz and Tyler Turcotte with The Flintstones from The Flintstones Brett Arellano and Simone Tellier with Can You Feel the Love Tonight from The Lion King Niki Brown with I Won't Say I'm in Love from Hercules Eric Dubrofsky with Darkwing Duck from Darkwing Duck Paul Bright with Jack's Lament from The Nightmare Before Christmas Charley Jaeger with Someday My Price Will Come from Snow White Katie Rose with I See the Light from Tangled Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!See omnystudio.com/listener for privacy information.

趁着七夕的赶脚，必须分享一些甜甜的、意想不到的恋爱往事。全程高甜预警！！生活酸苦不要紧，今天必须来点甜～本期声音：Tadashi阿正、Wailam阿林牛郎织女在农历七月初七这一天鹊桥相会，一年才见一次面的凄美故事竟然成了现代人的“情人节”？！谈情说爱，似乎在都市人的眼里变得越来越难，本期节目，Steppy的编辑——阿正和阿林，分享出自己的恋爱往事，回忆当初的美好，还有令人难懂的情话。每个人的情感道路上少不了“外人的指导”，比如一首情歌、一部电影或是一位路人，阿正和阿林也拿出自己的影片精选和情歌分享给大家，让我们暂时逃离生活的苦痛，尝尝七夕的甜蜜时刻。欢迎听众朋友们留下你们认为最印象深刻且甜蜜的恋爱往事，我们评论区见～Timeline：02:45 美其名曰是“七夕特辑”，其实是“八卦特辑”！10:38 阿正最印象深刻的甜蜜事件竟然是......女朋友不喜欢收花？！15:10 在台湾街头的机车 Goodbye-Kiss，平淡且浪漫17:16 因为男朋友不喜欢拍照，阿林选择用恋爱漫画的形式记录甜蜜瞬间28:07 原来我们的主编喜欢纯爱电影！！39:07 最喜爱的爱情电影，连英文原著小说也不放过！43:48 越土的土味情话，越是生活的具像化48:55 小时候同学之间的“男女速配”游戏，大家配对的cp竟然成真了！59:44 游戏环节！七夕海龟汤！！【电影&歌曲分享】阿正推荐：电影｜《花与爱丽丝》——岩井俊二（勘误：《花与爱丽丝》电影中，主角“花”的扮演者是铃木杏，“铃木吉”是阿正嘴瓢了）歌曲｜《Nico》——advantage Lucy阿林推荐：电影｜《你好, 陌生人》[泰国]电影｜《Love, Rosie》（中译名：爱你，罗茜）[英国]歌曲｜《Can You Feel The Love Tonight》——Elton John【七夕海龟汤】汤面：我今天去了游乐场，玩了过山车之后，我，不辞而别了。汤底：节目内容即有揭晓～BGM：L-O-V-E——Nat King Colefish in the pool・花屋敷——ヘクとパスカルNico——advantage Lucy相逢何必曾相识(粤语)——蒋志光,韦绮姗Can You Feel the Love Tonight (End Title)——Elton JohnO'Sanity (Remastered 2010)——小野洋子Shownote：岩井俊二：日本电影导演、映像作家及纪录片导演。1995年，凭借青春爱情电影《情书》和多数作品的抒情主题掀起了强大的亚洲风潮。Elton John：英国国宝级歌手、钢琴家和作曲家。他的音乐和表演技巧对当代流行音乐有着重大影响，音乐代表作《Your Song》、《Tiny Dancer》、《Rocket Man》等等。最后也欢迎大家搜索微信公众号：Steppy潮流周志，关注我们的文字内容。

Harvey Brownstone conducts an in-depth interview with Sir Tim Rice, Legendary Lyricist and EGOT Winner About Harvey's guest: Today's very special guest, Sir Tim Rice, is a man whose monumental contributions to the world of musical theatre can hardly be overstated.   His collaborations with composer Andrew Lloyd Webber on the phenomenally successful and beloved shows, “Joseph and the Amazing Technicolour Dreamcoat”, “Jesus Christ Superstar” and “Evita”, brought him worldwide acclaim, as one of the greatest and most innovative lyricists of the modern age.    He went on to co-write “Blondel” with Stephen Oliver, and “Chess”, with Benny Anderson and Bjorn Ulvaeus from ABBA.  With Sir Elton John, he wrote “The Lion King”, “Aida”, and “The Road to El Dorado”.   He collaborated with Alan Menken on “Aladdin”, “King David”, and the theatrical production AND live action re-make of “Beauty and the Beast”, which is the highest-grossing live action musical of all time.   He co-wrote a musical called “Heathcliff”, based on Emily Bronte's “Wuthering Heights”, which produced a wonderful album featuring Sir Cliff Richard and the late Olivia Newton-John.   And with composer Stuart Brayson, he co-wrote the musical production, “From Here to Eternity”, based on the 1953 James Jones novel.    This man's list of accomplishments is nothing short of jaw-dropping.    His shows have broken box office records in the West End, on Broadway, and around the world.    Many of his songs have become global #1 hits, including “Jesus Christ Superstar”, “I Don't Know How to Love Him”, “Don't Cry for me Argentina”, “I Know Him So Well”, “Someday Out of the Blue” – and he even wrote the lyrics to my favourite song from a James Bond movie, “All Time High”, from “Octopussy”, recorded by Rita Coolidge.    And speaking of #1 hits, he's won THREE Academy Awards and THREE Golden Globe Awards for his songs “A Whole New World” from “Aladdin”, “Can You Feel the Love Tonight” from “The Lion King”, and “You Must Love Me”, from the 1996 movie, “Evita”.  He received 2 more Oscar nominations for “Circle of Life” and “Hakuna Matata” from “The Lion King”.  He's been nominated for 9 Tony Awards and won 3 – 2 for “Evita” and 1 for “Aida”.  In fact, “Evita” was the 1st British musical to win the Tony award for Best Musical.  He's been nominated for 12 Grammy awards, and won FIVE.   And, in 2018, when he won an Emmy award for the live TV performance of “Jesus Christ Superstar”, he became an EGOT winner, one of only 18 people in the world to have won the Emmy, Grammy, Oscar and Tony awards.   He's been inducted into the Songwriters Hall of Fame, and the American Theatre Hall of Fame.  And in recognition of his work in film and theatre, he was inducted as a Disney Legend.  He's received a star on the Hollywood Walk of Fame.   And last but most certainly not least, in 1994 he was knighted by Queen Elizabeth the 2nd. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Sir Tim Rice, go to:http://www.timrice.co.uk/https://www.facebook.com/TimRiceWords/https://twitter.com/SirTimRice#TimRice  #SirTimRice  #harveybrownstoneinterviews

Indecent Noise plays... is back! Please enjoy Ultimate ATB Mix! E.F.F. - Beach Vibes Bob Marley vs. Funkstar Deluxe - Sun Is Shinning (ATB Remix) A-Ha - Minor Earth, Major Sky (ATB Remix) ATB - Summer Rain (132 BPM Mix) ATB - Bring It Back ATB - 9PM (Till I Come) (9PM Mix) Love And Fate - Love And Fate (Part 1) Sequential One - Angels (ATB Club Mix) ATB - Emotion E.F.F. - Guitano (Sunvibe Mix) York - Farewell To The Moon (ATB Remix) Tukan - Light A Rainbow (ATB Remix) ATB - Klangwelt Vernon's World - Wonderer (ATB Remix) Sequential One - Imagination (Inspiration Mix) Enigma - Push The Limits (ATB Remix) ATB - I Don't Wanna Stop Sarah Brightman vs. ATB - A Whiter Shade Of Pale ATB - You're Not Alone ATB - IntenCity (New Clubb Version) ATB - Dedicated Moby - Why Does My Heart Feel So Bad (ATB Remix) Trance Allstars - Ready To Flow (ATB Remix) United DJ's For Central America - Too Much Rain (ATB vs. Woody Van Eyden Mix) ATB - Gentle Melody Love And Fate - Deeper Love (Heaven Mix) ATB - Here With Me (A&T Remix) Schiller mit Mila Mar - Liebe (ATB Dub Mix) ATB - Marrakech (Revolution Mix) ATB - Fall Asleep ATB - The Summer Future Breeze - Why Don't You Dance With Me (Sequential One Remix) ATB - I Wanna Cry Kai Tracid - 4 Just 1 Day (ATB Remix) ATB - Sunset Girl (Limited Clubb Mix 2.3) Chicane - Daylight (ATB Remix) SQ-1 - Music So Wonderful (ATB Remix) ATB - Loose The Gravity Sequential One - Dreams (ATB Mix) Woody van Eyden - Time Now (ATB Mix) Kalvian - Fly Guy (Daniel G. Sarr Mix) Miss Jane - It's A Fine Day (ATB Remix) ATB - Halcyon ATB - Nightwatch Toccata - Heartland (Clubb Mix) William Orbit - Barber's Adagio For Strings (ATB Version) ATB - Believe In Me (Clubb Mix) York feat. Alaska - Yesterday (Silence) (ATB Remix) Daniel G. Sarr - I Want U (SQ-1 Mix) ATB - Let U Go (Album Version) ATB - Let U Go (Clubb Mix) ATB - Hold You (Clubb Mix 2) ATB feat. York - The Fields of Love Ayla - Liebe (ATB Remix) ATB - My Dream ATB - Basic Love ATB - Mysterious Skies ATB - I Will Not Forget ATB - Movin Melodies Blank & Jones - Cream (ATB Remix) Taucher - Science Fiction (ATB Remix) Trance Allstars - Go (ATB Remix) Signum - First Strike (ATB Remix) Sequential One - Moments In Atmosphere Inferno DJs - Tower Inferno (Sequential One Remix) Unit 2 - Tanztablette (Tanz Mix) Ramirez - El Gallinero (SQ-1 Remix) Kosmonova pres. Mike Brings - Acid Folk 2000 (ATB Remix) Bass Bumpers - (Keep Me) Runnin' (Sequential One Remix) Sequential One - I Wanna Make U (Club Mix) Sequential One - My Love Is Hot Red 5 - Da Beat Goes... (Sequential One Remix) Real McCoy - One More Time (Sequential One Remix) Maggie Reilly - Listen To Your Heart (Sequential One Remix) Candy Beat - Sax'y '99 (ATB Remix) C-Mania - Cross My Mind (ATB Remix) SQ-1 - Dance (Live Mix) Sequential One - Inspiration Vibes (Club 98 Mix) Sequential One - All 4 Me Sequential One - Get Down (Club Mix) Phantasma - Welcome To The Club (Sequential One Remix) Bossi - Funky Technician (Sequential One Remix) 666 - Alarma (Sequential One Remix) Technotronic - Pump Up The Jam (Sequential One Remix) Miss Peppermint - Welcome To Tomorrow (Woody Van Eyden meets ATB Remix) Sash! - Colour The World (ATB Remix) Spacekid meets ATB - Tune C-Mania - Dominating (Sequential One Remix) Sequential One - Hypnotize SQ-1 - Can You Feel... SQ-1 - One, Two, Three (Club Mix) SQ-1 - Balare (1st Clubb Mix) Nino Lopez Project - Experience (ATB Remix) Trance Allstars - Lost In Love (ATB Remix) Rank 1 - Airwave (ATB Remix) Gouryella - Tenshi (ATB Remix) Trance Allstars - The First Rebirth (ATB Remix) Mellow Trax - Phuture Vibes (ATB Remix) Inferno DJs - Why Don't You (ATB meets Woody van Eyden Remix) ATB - In Love With The DJ (New Vocal Clubb Mix) Farrago - Union (1st Clubb Mix) ATB - Killer (Killer 2000 Mix) ATB - Don't Stop (Clubb Mix) ATB - Long Way Home ATB - Ecstasy (Club Mix) ATB - Trilogy

Travel to the pridelands of Africa with host Laya DeLeon Hayes to go behind the stories of the Disney hit song, “Can You Feel The Love Tonight” from The Lion King. Can you feel the love? 

Hello and welcome to the Enchanted Ears Podcast, where we discuss anything and everything Disney. Before we jump into the main topic, it's time for a little Disney News! As an added perk for Disney+ subscribers, they got early access to new merch this week. A lot of it sold out fast before it could be released to the general public! The parks have switched over to their holiday offerings. The gingerbread houses are back at some of the hotels! Over in Disney World, the Grand Floridian Contemporary, and Jambo House at Animal Kingdom Lodge, and at Disneyland the Grand Californian all have displays. And you can see even more inside the Haunted Mansion in Disneyland. This week, we did a music-themed “You Can only keep one” episode where we had to make some hard choices between 3 key songs from some of our favorite Disney animated movies: The Lion King, Encanto, Tarzan, Moana, and the Frozen movies. So what gets to stay, “Hakuna Matata,” “I Just Can't Wait to Be King,” or “Can You Feel the Love Tonight?”?  As always, thank you so much for listening! Don't forget to check us out on Facebook and Youtube or submit a question/topic for us to discuss on a future episode or support us on Patreon. Have a magical week!

Pat and Tom kick off the episode recapping some recent US mini golf tournament results before turning thier attention to episode 5 and episode 6. They marvel at how good an episode of reality television episode 6 was, especially when contrasted to the rather bland episode 5. There was plenty of talk of completed obstacles, putt offs, high stakes betting and of course what might have been the most entertaining Distractor ever with Travis Kelce of the Kansas City Chiefs. Find visuals and context for our conversations on social media on Instagram (https://www.instagram.com/puttcastmini/) | Twitter (https://twitter.com/puttcastmini) | Facebook (https://www.facebook.com/puttcastmini) Follow A Coulple of Putts at @coupleputts on Instagram (https://instagram.com/coupleputts), Twitter (https://twitter.com/coupleputts) & Facebook (https://www.facebook.com/CouplePutts/) and The Putting Penguin on Twitter (https://twitter.com/puttingpenguin), Instagram (https://www.instagram.com/theputtingpenguin/), Facebook (https://www.facebook.com/theputtingpenguin) as well. Episode Hosts: Tom (https://www.instagram.com/tomrloftus) (aka Mr. Tee) of A Couple of Putts (https://www.acoupleofputts.com/) I Pat (https://twitter.com/accountingninja) of The Putting Penguin (http://www.theputtingpenguin.com/) Holes Ep 5- Can You Feel the Urge?: Trap-Tee-Ze | King Parthur's Court | The Pecker | Hole # 2 | Corn Hole | Polecano | Fishing Hole Holes Ep 6- Is that Iron Man?: Dutch Courage en Fuego | The Distractor | Donut Hole | The Pecker | Trap-Tee-Ze | Corn Hole | Polecano Competitors Ep 5: Anthony Fullman | Makaila Nichols | JC Hammons | Andrea Barbuscia | Mike McNeil | Lizz Henderson | Dennis Escoto | Rick Anderson Competitors Ep 6: Paddy Blanchette | Ashley Nagy | Maggie Noel | Bryan Anthony | Dylan Bolhke | Tony Starks | Kate Loeffler | Leroya

Episode 118 - The Dining Reservation I'm most looking forward to… The Dining Reservation I'm most looking forward to… Hey everyone, I'm Mike, she's Sophie, that's Brenda, and and he's Grogu, and we're On the Road with Mickey! This is episode 118 for April 18, 2022, and today our feature topic is The Dining Reservation I'm most looking forward to. We're taking a look at reservations at Disney and are thinking about those reservations that you just have to have, and can't wait to get one day. Grab your favorite beverage, sit back, and relax, and tell us in the comments below what you think! Here's the rundown of what we talked about: Cheddar from the Big CheeseSophie: Giancarlo Esposito, also known as Moff Gideon in The Mandalorian, teased us with a possible season 3 opening date sometime this summer! No official date is released, but can you imagine if it were to come out, say, July 1st? Wow!Sophie: Also, I know that we don't talk about Bruno…but today, we're going to talk about Bruno! The hit song from Encanto has become the best performing Disney song to date, beating out Elton John's version of “Can You Feel the Love Tonight” from The Lion King in 1994. Also, Bruno spent five weeks at the top of the Billboard Hot 100 chart! That's phenomenal! Brenda: Cast Member Previews for Guardians of the Galaxy: Cosmic Rewind begin today, April 18th, 2022!Mike: On the Road with Mickey would like to extend our deepest sympathies to the family of Gilbert Gottfried. Known best in Disney circles as Iago in the movie Aladdin, he passed away at age 67 on April 12th. Our thoughts and prayers go out to his family, his children, and all those that knew him. All of us have been asked to please keep laughing as loud as possible in Gilbert's honor.Connect with us! Here's how: Facebook: https://facebook.ontheroadwithmickey.comFacebook Group: https://facebookgroup.ontheroadwithmickey.comYouTube: https://www.youtube.com/c/OntheRoadwithMickeyInstagram: On the Road with MickeyEmail: info@ontheroadwithmickey.comFeature Topic: The Dining Reservation I'm most looking forward to…Grogu: Looking forward to eating drinking at Oga's CantinaSophie: Raglan Road at Disney Springs. For the June trip, looking forward to getting to ‘Ohana for dinner.Brenda: The Chef's Table Experience at Victoria and Alberts. Another on her list is Teppan EdoMike: Victoria and Alberts dinner for our 25th Anniversary. Also want to try Le Cellier in the Canada Pavilion.Listener Feedback:John is looking forward to eating at Whispering Canyon CafeJen added her favorite: “I love Mama Melrose's. I know it is a Disney Olive Garden, but I like it!!”Chrissy said: “Space 220, Topalinos, and eventually I'd like to get Chris and Billy to want to try Mori's”Sandi chimed in with her favorite: “Liberty Tree Tavern ... quiet and good food. We have lunch reservations. The other fav is Kona Cafe...good food and better coffee and the wait staff are always nice.”Stephanie said “Boathouse brunch at Disney Springs, it's the best!”Cindy added her input: “The Rose and Crown for dinner to have a view of Harmonious. The California Grill.”This Day in Disney History for April 18:1882: Birth of Leopold Anthony StokowskiDisney Who's Who CharacterGill from Finding NemoA little bit of Walt“While the rights and privileges of youth today are far greater than ever before, in entertainment as in other sides of their home and public life, it is still the parents who, in the main, decide what their growing youngsters may see on the screen. So it is the parents and other adult guardians of children's welfare we must satisfy.” - Walt Disney Watch us on YouTube!

The Festival of the Lion King is an Animal Kingdom Must do for most, opening in 1998. The show was relocated from Camp Minnie-Mickey to an indoor seating location in Animal Kingdom's Africa in 2014 to make way for Pandora the World of Avatar. The show isn't a recreation of the movie, but rather a celebration of music and culture of the Lion King. Post pandemic, the show returned as "A Celebration of Festival of the Lion King” a modified version mindful of the continuing pandemic conditions at the time, Adjustments took place onstage and backstage, including updates to choreography and temporarily pausing some show elements to allow for appropriate physical distancing. Most notably, the tumble monkeys. Disney recently announced the return of the original production in the summer 2022, this recording is the post-pandemic, “socially” distanced version. The show includes classic songs like “Hakuna Matata” and “Can You Feel the Love Tonight?” and a finale including “Circle of Life.” https://youtu.be/gByKq_t0ZI0

The 12 Days of Disney Music: Day 11Intro/Outro: Dos Oruguitas from Encanto5. I've Got a Dream from Tangled (Aaron)5. I Just Can't Wait To Be King from The Lion King (Andrew)4. Kiss the Girl from The Little Mermaid (Aaron)4. I Won't Say (I'm In Love) from Hercules (Andrew)3. Can You Feel the Love Tonight from The Lion King (Aaron)Vote on your favorite Disney song from today's episode

Can You Feel the Change In the Air? Electric Cellos by Rafael Krux Link: https://filmmusic.io/song/5636-electric-cellos- License: https://filmmusic.io/standard-license Mentioned in this episode: Podapalooza March Podapalooza, this Friday March 5th. Learn all about podcasting and get interviewed in the Podatorium. https://www.guywhoknowsaguy.com/links Get my MP3 I have read The Guy Who Knows a Guy into audio format on MP3, and I want to give it to you. Go to https://www.guywhoknowsaguy.com, give me your email, and I'll send it right out.

Para hablar sobre el origen del House tenemos que remontarnos a los años dorados de la música Disco. En aquellos años poco a poco fue ganando protagonismo el DJ que hasta entonces solo era el tío que ponía una canción detrás de otra. Pero surgió una nueva generación de pinchadiscos que comenzaron a experimentar con cajas de ritmo, secuenciadores, samplers para lograr versiones diferentes de las que sonaban en las demás discos, uno de los pioneros fue el gran Frankie Knuckles que pinchaba en el Warehouse de Chicago, (simultáneamente en New York Larry Levan estaba haciendo algo similar), todos iban a bailar allí para escuchar todas esas versiones que no se conseguían en ninguna tienda de discos (cuenta la leyenda que todos los que iban al Warehouse querían comprar aquellas versiones raras que sonaban en la disco, y se comenzó a hablar de Warehouse's music, la música del Warehouse, de allí se abrevio a House Music). Estamos a comienzos de los 80s en Chicago, y ya eras varios los DJ y productores que experimentaban con las maquinas, llegamos al '84 y se produce el lanzamiento de (supuestamente) primer single de House, “On and On” de Jesse Saunders, un hipnótico tema en 4x4 con una línea de bajo de la 303 y vocales mínimas. El tema fue un éxito en la ciudad, y pronto se fundó el primer sello discográfico dedicado exclusivamente a publicar singles de 12 pulgadas de canciones House, estamos hablando de TRAX RECORDS y poco a poco comienzan a publicarse los que hoy consideramos himnos del género como Move Your Body, Can You Feel it?, Your Love, etc. Fue en el año 86 cuando el tema “Love Can't Turn Around” de Farley Jackmaster Funk llego a los primeros puestos en el Reino Unido y se produjo la invasión del House de Chicago en Inglaterra, principalmente en Londres y Manchester donde enloquecieron con ese sonido. A partir de aquí el fenómeno se expandió por toda Europa, principalmente Ibiza, Japón, Latinoamérica y se convirtió en un fenómeno de masas que modifico la forma de entender la música de baile, la música electrónica, las discotecas, etc. Comenzaron los lanzamientos de producciones europeas de House, el New Beat Belga que se originó más o menos al mismo tiempo que el House de Chicago, también se vio influenciado por este sonido, en el Inglaterra fue tal la revolución que causó el House que durante el verano del '88 se habla del “Segundo Verano del Amor” (en referencia al famoso Verano del Amor del año '67 en plena revolución Hippie). El resto ya es conocido por todos, y pertenece a otro Podcast, el House llega para quedarse e infectar al planeta entero ramificándose en miles de subgéneros que hoy en día seguimos bailando. En este Podcast podréis escuchar una parte de aquel sonido que se origino en la ciudad de Chicago allá por los 80s, esta es la primera parte, dependiendo de la cantidad de escuchas que tenga subiré una segunda más adelante. TRACKLIST: 01 - Frankie Knuckles & Jamie Principle - Your Love 02 - Mr. Fingers - Can You Feel It 03 - Raze - Break 4 Luv (Original 12'' Mix) 04 - Farley Jackmaster Funk & Jessie Saunders - Love Can't Turn Around 05 - Marshall Jefferson - Move Your Body (The House Music Anthem) 06 - Kraze - The Party 07 - The Todd Terry Project - Back To The Beat 08 - Royal House - Can You Party 09 - The Housemaster Boyz - Housenation 10 - The Night Writers - Let The Music (Use You) 11 - Ralphi Rosario feat. Xavier Gold - You Used to Hold Me 12 - Joe Smooth - Promised Land (Club Mix) 13 - Ten City - That's The Way Love Is (Acieed Mix Extended Version) 14 - Lil Louis & The World - French Kiss 15 - Maurice - This is Acid (Radio Mix) 16 - Jesse Saunders - On and On 17 - Farley JackMaster Funk - Jack the Bass

Para hablar sobre el origen del House tenemos que remontarnos a los años dorados de la música Disco. En aquellos años poco a poco fue ganando protagonismo el DJ que hasta entonces solo era el tío que ponía una canción detrás de otra. Pero surgió una nueva generación de pinchadiscos que comenzaron a experimentar con cajas de ritmo, secuenciadores, samplers para lograr versiones diferentes de las que sonaban en las demás discos, uno de los pioneros fue el gran Frankie Knuckles que pinchaba en el Warehouse de Chicago, (simultáneamente en New York Larry Levan estaba haciendo algo similar), todos iban a bailar allí para escuchar todas esas versiones que no se conseguían en ninguna tienda de discos (cuenta la leyenda que todos los que iban al Warehouse querían comprar aquellas versiones raras que sonaban en la disco, y se comenzó a hablar de Warehouse’s music, la música del Warehouse, de allí se abrevio a House Music). Estamos a comienzos de los 80s en Chicago, y ya eras varios los DJ y productores que experimentaban con las maquinas, llegamos al ’84 y se produce el lanzamiento de (supuestamente) primer single de House, “On and On” de Jesse Saunders, un hipnótico tema en 4x4 con una línea de bajo de la 303 y vocales mínimas. El tema fue un éxito en la ciudad, y pronto se fundó el primer sello discográfico dedicado exclusivamente a publicar singles de 12 pulgadas de canciones House, estamos hablando de TRAX RECORDS y poco a poco comienzan a publicarse los que hoy consideramos himnos del género como Move Your Body, Can You Feel it?, Your Love, etc. Fue en el año 86 cuando el tema “Love Can’t Turn Around” de Farley Jackmaster Funk llego a los primeros puestos en el Reino Unido y se produjo la invasión del House de Chicago en Inglaterra, principalmente en Londres y Manchester donde enloquecieron con ese sonido. A partir de aquí el fenómeno se expandió por toda Europa, principalmente Ibiza, Japón, Latinoamérica y se convirtió en un fenómeno de masas que modifico la forma de entender la música de baile, la música electrónica, las discotecas, etc. Comenzaron los lanzamientos de producciones europeas de House, el New Beat Belga que se originó más o menos al mismo tiempo que el House de Chicago, también se vio influenciado por este sonido, en el Inglaterra fue tal la revolución que causó el House que durante el verano del ’88 se habla del “Segundo Verano del Amor” (en referencia al famoso Verano del Amor del año ’67 en plena revolución Hippie). El resto ya es conocido por todos, y pertenece a otro Podcast, el House llega para quedarse e infectar al planeta entero ramificándose en miles de subgéneros que hoy en día seguimos bailando. En este Podcast podréis escuchar una parte de aquel sonido que se origino en la ciudad de Chicago allá por los 80s, esta es la primera parte, dependiendo de la cantidad de escuchas que tenga subiré una segunda más adelante. TRACKLIST: 01 - Frankie Knuckles & Jamie Principle - Your Love 02 - Mr. Fingers - Can You Feel It 03 - Raze - Break 4 Luv (Original 12'' Mix) 04 - Farley Jackmaster Funk & Jessie Saunders - Love Can't Turn Around 05 - Marshall Jefferson - Move Your Body (The House Music Anthem) 06 - Kraze - The Party 07 - The Todd Terry Project - Back To The Beat 08 - Royal House - Can You Party 09 - The Housemaster Boyz - Housenation 10 - The Night Writers - Let The Music (Use You) 11 - Ralphi Rosario feat. Xavier Gold - You Used to Hold Me 12 - Joe Smooth - Promised Land (Club Mix) 13 - Ten City - That's The Way Love Is (Acieed Mix Extended Version) 14 - Lil Louis & The World - French Kiss 15 - Maurice - This is Acid (Radio Mix) 16 - Jesse Saunders - On and On 17 - Farley JackMaster Funk - Jack the Bass

sent $$$ this week to a few folks in need of mutual aid.follow instagram.com/blackwomenexhale for requests.DOWNLOAD RECORDINGsubscribe to the podcast here: http://feeds.feedburner.com/5432fun(intro by omar)Ahem “Air Supply” Chutes and LaddersMatchess “Ossify Them” SacracorpaLas Densas “BESTIA” N O TRome Is Not A Town “Can You Feel the Rush” Can You Feel the Rush/Nothing To ClaimSavage Mansion “Document” Document EPTrust Fund “King of CM” Bringing the backlineNylex “Violent Action” S/TMaria Minerva “Turn Me On (Working On Full Powwa)” Sacred & Profane LoveGrape Room “Yankee on the Run” Heart of GumWonder Bread “1011” Complete Solid Gold Hits 7"Colour Me Wednesday “Exposure” Counting Pennies in the AfterlifeHouse and Land “Precious Jewels” Across The FieldBlowdryer “Insulated” s/tThem Are Us Too “Floor” AmendsLandline “Funny” LandlineDaylight Robbery “Superstition” Signal Bleed EPWayside Ghost “carry” s/tFake Buildings “Atlantic Haze” Thin Edges

Graham and I talk "The Circle of Life," "Hakuna Matata," and "Can You Feel the Love Tonight." Episode Notes: - Guest Alex Holroyde at 1:02:23 - Jesus in Movies, "The Lion King" video - The Bible Project, Shalom - Peace video - Tim Keller, Every Good Endeavor - Sid Druen (NorthCross Church), "Mirror Mirror" sermon - C.S. Lewis, The Screwtape Letters - Martin Luther King, Jr., "Letter from Birmingham Jail" - Shai Linne, "Mission Accomplished" - "O Come O Come Emmanuel," "Come Thou Long Expected Jesus" hymns - C.S. Lewis, The Chronicles of Narnia: the Lion, the Witch, and the Wardrobe

MUSICALS MOODS Aflevering 33 – 14 augustus 2021 Korte speellijst: 1. “Maria” – Placido Domingo Uit de musical West Side Story 2. “One Hand, One Heart” – Kiri Te Kanawa, Jose Carreras Uit de musical West Side Story 3. “Memory” – José Carreras Uit de musical Cats 4. “The Heart Is Slow To Learn” – Kiri Te Kanawa Uit de musical The Beautiful Game 5. “All I Ask Of You” – Renée Fleming, Bryn Terfel Uit de musical The Phantom Of The Opera 6. “ If I Were A Rich Man“ – Bryn Terfel Uit de musical Fiddler on the Roof 7. “ I Loves You, Porgy ” - Audra McDonald, Norm Lewis Uit de musical Porgy and Bess 8. “ People Will Say We're In Love” – Simon Keenlyside, Scarlett Strallen Uit de musical Oklahoma! 9. “ You'll Never Walk Alone ” – Josh Groban Uit de musical Carousel 10. “ I Want To Be A Prima Donna ” - Lesley Garret Uit de musical The Enchantress 11. “ J'avais reve d'une autre vie” – Katherine Jenkins de musical Les Misérables 12. “Can That Boy Foxtrot!” – Elly Ameling Uit de musical Follies 13. “ Can You Feel the Love Tonight ” – Il Divo, Lea Salonga Uit de musical The Lion King

起初电影《狮子王》的制片人打算将《Can You Feel the Love Tonight》交由剧中的两名谐角彭彭和丁满来演唱，但该计划受到了歌曲的创作者埃尔顿·约翰和蒂姆·莱斯的反对。埃尔顿·约翰反对这种充斥喜剧效果的安排，并表示该曲是能承袭先前迪士尼动画中经典情歌精神的作品。他希望能将该曲应用于剧情中的狮子辛巴及娜娜彼此不靠交谈，而用心情来感受对方表现的桥段里。该曲也曾一度被放弃使用在电影中，经过埃尔顿·约翰的游说才又用重新被采用。

起初电影《狮子王》的制片人打算将《Can You Feel the Love Tonight》交由剧中的两名谐角彭彭和丁满来演唱，但该计划受到了歌曲的创作者埃尔顿·约翰和蒂姆·莱斯的反对。埃尔顿·约翰反对这种充斥喜剧效果的安排，并表示该曲是能承袭先前迪士尼动画中经典情歌精神的作品。他希望能将该曲应用于剧情中的狮子辛巴及娜娜彼此不靠交谈，而用心情来感受对方表现的桥段里。该曲也曾一度被放弃使用在电影中，经过埃尔顿·约翰的游说才又用重新被采用。

Join Andrew and Brandon as they journey back to June 1994 to rediscover the Disney classic, The Lion King. Andrew admits to listening to Elton John's Love Songs cassette on repeat during his childhood. Brandon brings up how inappropriately Nala is looking at Simba during Can You Feel the Love Tonight. Brandon breaks down the incredible bus jump made in Speed. And finally Brandon quizzes Andrew on what FX original shows aired on the channel during the 1990s.Like the show? Leave us a 5 star review and subscribe!Send us a tweet at @Namely90sDiscuss the show on Instagram @Namely90sFind us online at Namely90s.comConsider joining our Patreon at Patreon.com/Namely90sFollow Brandon on Twitter at @bschwittyFollow Andrew on Twitter at @NamelyAndrewOutro:Pixelland by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4222-pixellandLicense: http://creativecommons.org/licenses/by/4.0/

Youth (Martin Glover) Youth is most famous for being the bass player in Killing Joke. He left the band in 1982, and soon after founded his own commercially orientated dub funk band Brilliant, which recorded one album in 1986 before later disbanding. In 1989, Youth and Alex Paterson started the WAU! Mr. Modo label. Their early releases were industrial techno dubs and heavy sound system dubs from artists such as Napthali, Manasseh, Bim Sherman and Jah Warrior. In the early nineties, Youth formed techno and house music duo Blue Pearl together with American singer Durga McBroom. They scored a handful of hit singles including their blue vinyl debut "Naked in the Rain", which reached No. 4 in the UK Singles Chart and was also a No. 5 dance hit in the U.S. in 1990. It was followed by "Little Brother" and "(Can You) Feel the Passion". An album, Naked, was also released. In 1994, Youth rejoined Killing Joke and their album Pandemonium was released on his Butterfly Recordings label, as was the 1996 follow-up, Democracy. Youth's Butterfly Records label has produced artists such as Take That, Wet Wet Wet, Tom Jones, the Orb, System 7, Maria McKee and Heather Nova. Youth was the co-producer of the Verve's Urban Hymns and Dolores O'Riordan's 'Are You Listening?' He has also worked, produced and remixed for bands including Kate Bush, Guns N' Roses, Primal Scream, Embrace, Siouxsie and the Banshees, Gaudi, Art of Noise, Crowded House, Zoe, P.M. Dawn, Yazoo, Erasure, U2, Bananarama, INXS, James and Suns of Arqa. Great chat with Youth where he explains his creative approach which is fascinating To support the podcast and get access to features about guitar playing and song writing visit https://www.patreon.com/vichyland and also news for all the creative music that we do at Bluescamp UK and France visit www.bluescampuk.co.uk For details of the Ikaro music charity visit www.ikaromusic.com Big thanks to Josh Ferrara for the music  

After more than a year of being closed to the public, the most favorite entertainment show at Walt Disney World has reopened. Yes! The King has Returned! We look at the reopening of Festival of the Lion King to understand what is different about this revised show while exploring what has made it so special from the beginning. Along the way, we note the absence of the guest participation scenes (it's alright, you should already know what sound a giraffe makes by now) as well as the missing monkeys. Plus changes in choreography, especially in the romantic ballad, "Can You Feel the Love Tonight". Still, there's plenty of color, music, dance and spectacles as this Disney Animal Kingdom favorite returns. You can also see the show completely without commentary The reopening of the Festival of the Lion King.

With days prior to the Sega Saturn anniversary, that meant a cause for celebration. Just like last year, very few games on that system got a repeat – showing the breadth of Saturn spread and how fans and professionals alike acknowledged their 32-bit effort! Tracklistings: - Little V. - Can You Feel the Sunshine - Pixelophonia - Green Grove Zone - Takenobu Mitsoyoshi - Angels With Burning Hearts (PSO2 ver.) - Ayako Taira - A Lullaby - DiGi Valentine, Tryezz - NiGHTS into dreams... "New Jack Mantle" OC ReMix - Palpable, Diodes - Plastik Skies (Daytona USA) - Takenobu Mitsuyoshi - JACKY [Remix] from "Virtua Fighter - Naofumi Hataya - Remember R-001 - Scaredsim - Sweet as Temjin (Team 90s) - Dr Mobius - Diamonds in the Sky - The Consouls - Young Knight (Theme of Lion) - winzip84 - My Car Is Too Small - Shnabubula - Panzer Dragoon Saga - Mutation - Mykah - The Witch of the Snowy Mountains (From "Shining Force III") [Remix] - Motoi Sakuraba - The Dance of Life and Death - Saori Kobayashi - Flight ~ Episode 1 - Audio Sprite - House of the Dead - Zombification - Matt E. Waldman - Panzer Dragoon II Zwei 'Lagi's Takeoff' OC ReMix - Woodsoft [Yuji Takase] - The Justice Ray Part 2 - SEGAROCKS - Sega Saturn, Shiro!

Description: Cannabis and dating: is adding some of the sacred herb into romantic escapades a good or a bad thing? Nadeem and Derek talk all about cannabis and dating for our pre-Valentine’s Day special. If you have ever been on a date with a fellow cannabis consumer, you know how it can enhance the experience. On the other hand, if you’re a consumer and you have dated someone that does NOT partake, you may have experienced some speed bumps depending on your dose! Enjoy some funny stories from the KYD hosts on their personal experiences with courtship and cannabis, and get advice on how to talk to a significant other about your cannabis use in this exciting episode!   Show Notes (People / Products / Mentions): Long Term Dating And Cannabis Use At Home Store 10 Best Date Ideas For Stoners KYD Episode 76 - Can You Feel the Love? Cannabis, Sex, and Intimacy Weed: Can It Kill You? EP. 31 - Crucial Conversations: How to Talk to Anyone About Cannabis With Success LEAVE A REVIEW FOR A FREE SHIRT Connect With Us: Website: https://knowyourdosepodcast.com Instagram: https://instagram.com/knowyourdosepodcast  Facebook: https://facebook.com/bakedbrosthc/  Company: https://bakedbros.com  Text "JOIN KYD" to (480) 680-8792 for specials, new product updates, and more!

快要下雪的日子，夜深趴在被窝的时刻，总想找出几曲辗转流金的唱片，梦回金色故乡。你们的大内“年货阵容”三人组——有待、晓辉、划水怪再次集合完毕，他们将继续乘坐时光机，带领大家从1992年跨越到1993年。 这一年国外音乐圈，以37届格莱美获奖名单为参照，有至今仍广为传唱的《狮子王》主题曲“Can You Feel the Love Tonight”，国内音乐圈也不平静——北京音乐台成立，一头飘逸长发的有待老师迎来了首次直播，在诸多争议中尝试播放摇滚，之后又见证了《摇滚北京》专辑的发布，无数音乐人在这里留下了振聋发聩的初啼，随后却又突然消失，各自迎来不同的多舛命途。 本期节目依旧了充满了90年代正青葱的有趣灵魂，而伟大的音乐和动人的故事，永远不会被时间的尺度所定义。欢迎大密蜜们来相互碰撞啊！也许无意间又发掘出了新的的宝藏歌手呢？温馨提示：请调大音量听节目，尽情享受来自划水怪原始的呐喊。 更多精彩内容，欢迎收听本期节目~  主播 / 张有待 宋晓辉 相征封面设计 / 划水怪音频后期 / 大博 Jimi音频上传 / Observer playlistBruce Springsteen - Streets of Philadelphia@00:06:21John Parr - St. Elmo's Fire@00:09:06Elton John - Can You Feel the Love Tonight@00:10:03Elton John - Circle of Life@00:12:39All-4-One – I Swear@00:17:36Soundgarden – Black Hole Sun@00:21:08Green Day – Basket Case@00:26:17Boyz II Men – I'll Make Love to You@00:29:11Queen – Radio Ga Ga@00:36:04Soul Asylum – Runaway Train@00:50:39做梦 – 希望之光@00:59:53The Rolling Stones-The Worst@01:26:39大内密谈的各种帐号都是“大内密谈”欢迎加入 欢迎互动：）

快要下雪的日子，夜深趴在被窝的时刻，总想找出几曲辗转流金的唱片，梦回金色故乡。你们的大内“年货阵容”三人组——有待、晓辉、划水怪再次集合完毕，他们将继续乘坐时光机，带领大家从1992年跨越到1993年。 这一年国外音乐圈，以37届格莱美获奖名单为参照，有至今仍广为传唱的《狮子王》主题曲“Can You Feel the Love Tonight”，国内音乐圈也不平静——北京音乐台成立，一头飘逸长发的有待老师迎来了首次直播，在诸多争议中尝试播放摇滚，之后又见证了《摇滚北京》专辑的发布，无数音乐人在这里留下了振聋发聩的初啼，随后却又突然消失，各自迎来不同的多舛命途。 本期节目依旧了充满了90年代正青葱的有趣灵魂，而伟大的音乐和动人的故事，永远不会被时间的尺度所定义。欢迎大密蜜们来相互碰撞啊！也许无意间又发掘出了新的的宝藏歌手呢？温馨提示：请调大音量听节目，尽情享受来自划水怪原始的呐喊。 更多精彩内容，欢迎收听本期节目~  主播 / 张有待 宋晓辉 相征封面设计 / 划水怪音频后期 / 大博 Jimi音频上传 / Observer playlistBruce Springsteen - Streets of Philadelphia@00:06:21John Parr - St. Elmo's Fire@00:09:06Elton John - Can You Feel the Love Tonight@00:10:03Elton John - Circle of Life@00:12:39All-4-One – I Swear@00:17:36Soundgarden – Black Hole Sun@00:21:08Green Day – Basket Case@00:26:17Boyz II Men – I'll Make Love to You@00:29:11Queen – Radio Ga Ga@00:36:04Soul Asylum – Runaway Train@00:50:39做梦 – 希望之光@00:59:53The Rolling Stones-The Worst@01:26:39大内密谈的各种帐号都是“大内密谈”欢迎加入 欢迎互动：）

快要下雪的日子，夜深趴在被窝的时刻，总想找出几曲辗转流金的唱片，梦回金色故乡。你们的大内“年货阵容”三人组——有待、晓辉、划水怪再次集合完毕，他们将继续乘坐时光机，带领大家从1992年跨越到1993年。 这一年国外音乐圈，以37届格莱美获奖名单为参照，有至今仍广为传唱的《狮子王》主题曲“Can You Feel the Love Tonight”，国内音乐圈也不平静——北京音乐台成立，一头飘逸长发的有待老师迎来了首次直播，在诸多争议中尝试播放摇滚，之后又见证了《摇滚北京》专辑的发布，无数音乐人在这里留下了振聋发聩的初啼，随后却又突然消失，各自迎来不同的多舛命途。 本期节目依旧了充满了90年代正青葱的有趣灵魂，而伟大的音乐和动人的故事，永远不会被时间的尺度所定义。欢迎大密蜜们来相互碰撞啊！也许无意间又发掘出了新的的宝藏歌手呢？温馨提示：请调大音量听节目，尽情享受来自划水怪原始的呐喊。 更多精彩内容，欢迎收听本期节目~  主播 / 张有待 宋晓辉 相征封面设计 / 划水怪音频后期 / 大博 Jimi音频上传 / Observer playlistBruce Springsteen - Streets of Philadelphia@00:06:21John Parr - St. Elmo’s Fire@00:09:06Elton John - Can You Feel the Love Tonight@00:10:03Elton John - Circle of Life@00:12:39All-4-One – I Swear@00:17:36Soundgarden – Black Hole Sun@00:21:08Green Day – Basket Case@00:26:17Boyz II Men – I’ll Make Love to You@00:29:11Queen – Radio Ga Ga@00:36:04Soul Asylum – Runaway Train@00:50:39做梦 – 希望之光@00:59:53The Rolling Stones-The Worst@01:26:39大内密谈的各种帐号都是“大内密谈”欢迎加入 欢迎互动：）

ATB vinyl tribute set recorded live on Twitch (voiceovers were edited out) Tracklist: Sequential One - Imagination (Inspiration Mix) ATB - 9PM (Till I Come) (9PM Mix) Bob Marley vs. Funkstar De Luxe - Sun Is Shining (ATB Club Mix) Miss Jane - It's A Fine Day (ATB Club Mix) ATB - Don't Stop (Clubb Mix) ATB - Killer 2000 (Killer Mix) Trance Allstars - Ready To Flow (ATB Club Mix) Love And Fate - Love And Fate (Part 1) Enigma - Push The Limits (ATB Remix) United Deejays For Central America - Too Much Rain (ATB vs. Woody Van Eyden Remix) ATB feat. York - Fields of Love (Original Club Mix) Sequential One - Angels (ATB Mix) Moby - Why Does My Heart Feel So Bad? (ATB Remix) Sequential One - Moments In Atmosphere Sequential One - Inspiration Vibes (Club 98 Mix) Atlantic Ocean - Waterfall 2002 (ATB Remix) William Orbit - Adagio For Strings (ATB Version) York - Farewell To The Moon (ATB Remix) Love And Fate - Deeper Love (Heaven Mix) ATB - The Summer (Clubb Mix) Sequential One - Dreams (ATB Mix) Sequential One - Get Down (Club Mix) Sequential One - I Wanna Make U... (Club Mix) Sequential One - My Love Is Hot (Hot Mix) Spacekid ‎- Tune (SQ-1 Clubb Mix) Inferno DJs - Why Don't You... (Woody Van Eyden Meets ATB Mix) Blank & Jones - Cream (ATB Remix) Ayla - Liebe (ATB Remix) Trance Allstars - The First Rebirth (ATB Club Mix) Trance Allstars - Go (ATB Club Mix) Trance Allstars - Lost In Love (ATB Club Mix) Vernon's World - Wonderder (ATB Club Mix) Chicane - Daylight (ATB Remix) ATB - Long Way Home (Original Mix) ATB - In Love With The DJ (New Vocal Clubb Mix) ATB - Hold You (Clubb Mix 2) ATB - Let You Go (Clubb Mix) ATB - Marrakech (Revolution Mix) ATB - Sunset Girl (Limited Clubb Mix 2.3) ATB - You're Not Alone (1st Clubb Mix) SQ-1 - Can You Feel... (Original Mix) Nino Lopez - Experience (ATB Remix) SQ-1 - Balare (1st Clubb "Live" Mix) SQ-1 - Dance (Live Mix)

Party Favorz is serving up a heaping pile of 90's House Music classics with volume two of the year's 1992 through 1993. There's a boatload of dancefloor sizzlers and number ones in this set that I'd be hard-pressed to pick any favorites. This set kicks off with the glorious "Love You All My Lifetime" by goddess and previous Diva Hall of Fame inductee Chaka Khan quickly followed by another inductee Martha Wash ("Give It To Me") who was fresh off her work with Black Box and C + C Music Factory that parlayed those massive successes into a record deal. Lil' Louis who already had a string of successes starting with "French Kiss" in 1989 (featured on volume three of 1988 - 1992) generated two chart toppers with "Club Lonely" and "Saved My Life" (featuring Joi Cardwell) from his brilliant Sony Music sophomore effort "Journey With The Lonely." We also get introduced to new artists like Saint Etienne ("Nothing Can Stop Us"), Opus III ("It's A Fine Day"), Sunscreem ("Love U More"), and Blue Pear ("[Can You] Feel the Passion") all of who found massive success on the dance floor and the charts. [youtube v="VSesIUk-5Yw"] Perhaps the biggest smash in this volume is "It's Gonna Be A Lovely Day" by The S.O.U.L. S.Y.S.T.E.M. a product of C + C Music Factory featuring the vocals of Michelle Visage. The song was originally featured on mega-selling "Bodyguard" soundtrack and went on to be a certifiable worldwide smash on the dance charts. After refreshing my memories on many of these tracks — it dawned on me that there was a period of time when many of the biggest hits never had a break in the middle nor the end to mix out of. This doesn't make it impossible to mix tracks (unless there's a DJ friendly edit by Ultimix or Hot Tracks) as long as there are enough songs that have them. In fact, none of the songs featured in these sets have a middle break to transition out of as if it fell out of favor with DJs at the time. It was used extensively in the 80's and makes a comeback later in this decade before falling out of favor again in the mid-millennium with the spotifycation of quick radio edits (don't get me started). Overall, I'm really stoked about how well these sets are turning out. The mixing is flawless, the music is EPIC and the remastering of these timeless treasures is a time-consuming effort but well worth it. We've got one more set to go for this two-year period and will pick back up with 1994 - 1995 in January because I've got to get back on track with fresh releases in Dance Club and Circuit & Anthems before closing out the year with our annual Top Dance Club Songs of the Year and Blow Your Own Horn series. At the moment, I realize that life can feel pretty bleak for many of you but I assure you, there's light at the end of this tunnel. Just know that Party Favorz is here to help you get through it all. It's my promise to keep myself safe so that I can be that one constant in your life that hasn't changed. Until the next time...ENJOY! I want to give a MASSIVE shout out to our longtime friend Anthony S. for his generous donation. I'm sorry I didn't mention it earlier but I was going through some email reconfigurations that screwed everything up for a hot moment when it came through.  Album : The Ultimate 90's House Classics [1992 – 1993] Vol. 2 Genre : 90's Classic House Year : 2020 Total Time : 2:55:26 1. Chaka Khan - Love You All My Lifetime (Garage Mix with Strings) 2. Martha Wash - Give It To You (Momo's Klub Mix) 3. Robert Owens - I'll Be Your Friend (David Morales Def Mix) 4. Juliet Roberts - Free Love (Morales Classic Mix) 5. CeCe Peniston - Keep On Walkin' (Ultimix) 6. Lonnie Gordon - Happenin' All Over Again (Jewel & Stone Club Mix) 7. Arrested Development - Mr Wendel (Perfecto Mix) 8. Lil' Louis & The World - Club Lonely (Bellbottoms & Platforms Mix) 9. Kathy Sledge - Take Me Back To Love Again (Shelter Me Mix) 10. Desiya - Comin' On Strong (Spagatini Mix)

Play Pause Support the PodcastDownloadShare var srp_player_params_677258bfdbb3f = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258bfdbb3f = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258bfdbb3f"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258bfdbb3f"); } Get ready to groove as Party Favorz dishes out the second volume of 90s House Music Classics, covering the magical years of 1992 to 1993. This volume is packed with dance floor heat, chart-toppers, and timeless sensations that can awaken any dance enthusiast's soul. Kicking things off with Chaka Khan's string-infused Garage Mix of "Love You All My Lifetime," this set pays homage to the Diva Hall of Fame inductees. Martha Wash follows suit with "Give It To You" (Momo's Klub Mix), a testament to her fresh success following collaborations with Black Box and C + C Music Factory. The journey continues with chart-toppers from Lil' Louis, like "Club Lonely" and the soul-stirring "Saved My Life" featuring the fabulous Joi Cardwell. The spotlight then shifts to newcomers who dominated the charts such as Saint Etienne's "Nothing Can Stop Us," Opus III's "It's A Fine Day," Sunscreem's "Love U More" (Farley & Heller Heavy Club Mix), and Blue Pearl's "[Can You] Feel the Passion." One track that stands tall in this volume is "It's Gonna Be A Lovely Day" by The S.O.U.L. S.Y.S.T.E.M., a global dance sensation stemming from C + C Music Factory and gracing the famed "Bodyguard" soundtrack. The David Morales Def Mix of "I'll Be Your Friend" by Robert Owens, Maurice's Club Mix of "Hey Mr. D.J." by Zhane, and the Union City Mix of "The New Anthem" by Reel 2 Real featuring Erick More are just a few of the tunes that make this collection shine. These 90s House Music Classics reflect a time when DJs were experimenting with transitions, moving away from the middle breaks popular in the 80s. It's a detail that only adds to the charm of this collection, capturing a unique musical moment in time. The flawless mixing, epic music, and painstaking remastering of tracks like the Kenlou B Boy Mix of "Only Love Can Break Your Heart" by Saint Etienne and David Morales' 12" Dance Mix of Pet Shop Boys' "Where The Streets Have No Name" (I Can't Take My Eyes Off You) showcase why these sets are so thrilling. While we await the final set of this two-year exploration, Party Favorz assures that this musical escape is here to help you through life's challenges. Let the melodies be that unchanging constant, bringing light to the tunnel. Until the next time...ENJOY! Album : The Ultimate 90's House Classics [1992 – 1993] Vol. 2Genre : 90's Classic HouseYear : 2020Total Time : 2:55:26 1. Chaka Khan - Love You All My Lifetime (Garage Mix with Strings) 2. Martha Wash - Give It To You (Momo's Klub Mix) 3. Robert Owens - I'll Be Your Friend (David Morales Def Mix) 4. Juliet Roberts - Free Love (Morales Classic Mix) 5.

Together with American Songwriter, we had the pleasure of interviewing Missio over Zoom video!"Missio" is Latin for mission. And what at one time began as a side project for singersongwriter Matthew Brue has now shifted into the main mission. Accompanied by producer and instrumentalist David Butler, MISSIO sports an alternative/electronic sound with beatdriven hip-hop undertones. Atmospheric and expressive, this electro-alternative act is keen on a spirit of experimentation.Based in Austin, Texas, MISSIO broke out in 2017 with their single “Middle Fingers” whichreached top 10 at U.S. Alternative Radio, later leading to an appearance on the late night’sCONAN amid the launch of their debut album Loner. That same album also spawned heavily rotated songs like “Bottom of the Deep Blue Sea,” “Everybody Gets High,” and “Twisted,” which all reached over 50 million streams each (and counting) on streaming platforms.MISSIO released their second album The Darker the Weather // The Better the Man in mid2019, broadening their sonic palette with songs like “I See You” which was the #1 song onthe Sirius XM Alt 18 for 9 total weeks. During this album campaign, their streaming audience tripled and they capped off their album cycle by releasing the single “Sing to Me” as part of the soundtrack to the global video game phenomenon Death Stranding alongside artists such as Chvrches, Major Lazer, Khalid, & Bring Me the Horizon. The band decided to document their creative process and personal growth during the recording process of this album, and ended up also releasing a documentary with accompanying soundtrack which they wrote and scored titled Love Me Whole.MISSIO has now accumulated close to one billion streams within three years and two albumreleases.Beginning the next stage in their music evolution, Matthew and David landed back in theirhome base of Austin, Texas this past November with their producer, co-writer, and creativepartner Dwight Baker, and over a feverish 21 day period wrote and recorded the entirety oftheir new album, Can You Feel The Sun (via 2B Recordings / BMG).The band started with a range of demos that eventually snowballed into being a complete and finished full-length album.“We worked until we felt like we were done and then one day woke up and knew we had afinished album”, says David. “Even from the very beginning of the process I already knewthat ‘Can You Feel the Sun’ was one of the best songs we’d ever written and knew that wehad something special.”MISSIO have toured the United States extensively as headliners, and through several largesupport slots for the likes of MUSE, 30 Seconds to Mars, Yungblud, and K. Flay. The duo have also performed at major festivals like Lollapalooza, Austin City Limits, Firefly, Hangout, Bottle Rock, and Voodoo Fest. As part of a wider European tour, they made their sold-out UK live debut at London’s Old Blue Last in May 2019. Their high energy live performances and custom-built light shows easily set them apart from their peers.MISSIO returned overseas in early March 2020, but the second half of their European tourwas cancelled as the band were pulled off their tour bus at 2AM whilst crossing the Czechborder, so that men in hazmat suits could check their temperatures to ensure that the touring party didn’t have COVID-19. They raced to get home on the final day before the U.S. borders were closed.Regardless of not being able to tour for the rest of the year, the band have decided to forge ahead with releasing their new music. They put out first single “Wolves” on June 24, which reached #1 on the Sirius XM Alt Nation ‘Top 18’ within three weeks. This is their 4th #1 single on the countdown to date.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

Can You Feel the Love Tonight by Elton John.

The Mix Sessions Underground brings you hard to find cutting edge deep house and techno grooves from dance floors around the globe. seansavage.ca/radio twitter: @themixsessions facebook: @themixsessions 01. Pianos of Gold (Ian Pooley Remix) - Jovonn 02. Can You Feel it (New York Dub) - Chez Damier 03. I Love You (Manoo and Francois Remix) - Unity 04. What They Say - Maya Jane Coles 05. Rainbow ft. Xoli M (DJ Spen Remix) - Black Motion 06. Envision (Argy Vocal Mix) - Osunlade 07. Feels So Right - Solution 08. Want It Back (Saison Re-edit) - Lumoon 09. Sunshine Hearts (Nathan G Re-Feel) - LTS 10. Gimme Some More (Saison Remix) - Art Of Tones

The Mix Sessions Underground brings you hard to find cutting edge deep house and techno grooves from dance floors around the globe. seansavage.ca/radio twitter: @themixsessions facebook: @themixsessions 01. Pianos of Gold (Ian Pooley Remix) - Jovonn 02. Can You Feel it (New York Dub) - Chez Damier 03. I Love You (Manoo and Francois Remix) - Unity 04. What They Say - Maya Jane Coles 05. Rainbow ft. Xoli M (DJ Spen Remix) - Black Motion 06. Envision (Argy Vocal Mix) - Osunlade 07. Feels So Right - Solution 08. Want It Back (Saison Re-edit) - Lumoon 09. Sunshine Hearts (Nathan G Re-Feel) - LTS 10. Gimme Some More (Saison Remix) - Art Of Tones

What do N'Sync, Usher, Jessica Simpson, Smash Mouth, Aaron Carter, S Club 7, and Christina Aguilera all have in common? They were all featured on Disney's 2002 pop album "DisneyMania"!! And the time has come for us to give this teeny-boppy-pep-rally-fever-dream of an album a review 18 years after its release. "Someday My Prince Will Come" Anastacia (6:06)"Under the Sea" A*Teens (8:36)"You'll Be in My Heart" Usher (11:17)"When You Wish Upon a Star" *NSYNC (14:27)"Colors of the Wind" Ashanti & Lil' Sis Shi Shi (16:30)"I Wan'na Be Like You" Smash Mouth (18:24)"Part of Your World" Jessica Simpson (20:45)"I Just Can't Wait to Be King" Aaron Carter (22:47)"Can You Feel the Love Tonight" S Club (25:10)"Hakuna Matata" Baha Men (27:16 )"The Tiki Tiki Tiki Room" Hilary Duff (29:00)"Beauty and the Beast" Jump5 (31:29)"Kiss the Girl" No Secrets (33:22)"Reflection" Christina Aguilera (34:45)"Circle of Life" Ronan Keating (41:39)

Noel catches up with Lisa Velez, better known as Lisa Lisa. The Hell's Kitchen native is one of ten children. She would sneak out of the house as she started her music career. There, she would meet Mike Hughes and Alex Moseley of Cult Jam and the rest is history. Lisa was the queen of freestyle before it was even a term, with hits such as "I Wonder If I Take You Home", "Can You Feel the Beat?" and "All Cried Out." The band hit the mainstream with their second album, "Spanish Fly", topping the charts with "Head to Toe" and "Lost in Emotion."

ESCUCHAR CON CASCOS/AURICULARES Bienvenid@, en esta ocasión te presento esta hermosa lista de reproducción de canciones de Disney con piano y en formato 8D multisensorial. Cierra los ojos y déjate llevar por estas hermosas canciones de Disney. Recuerda que en mi canal MIXER puedes escuchar música relajante las 24 horas del día. https://mixer.com/SoundsGo 1. A Whole New World- Alladin - (Menken/Rice) 2. Part of Your World -The Little Mermaid- (Ashman/Menken) 3. Beauty and the Beast - Same as title- (Ashman/Menken) 4. Can You Feel the Love Tonight? - Lion King- (John/Rice) 5. Colors of the Wind - Pocahontis - (Menken/Schwartz) 13:16 SHEET MUSIC AVAILABLE! http://mnot.es/2GUeOuX 6. Bella Notte - Lady and the Tramp - (Lee/Burke) 7. A Dream is a Wish - Cinderella - (David/Hoffman/Livingston) 8. Someday My Prince Will Come - Snow White - (Morey/Churchill) 9. So This is Love - Cinderella - (David/Hoffman/Livingston) 10. Once Upon a Dream - Sleeping Beauty - (Fain/Lawrence) 11. Winnie the Pooh - The Many Adventures of Winnie the Pooh - (Sherman/Sherman) 12. Cruella De Vil - 101 Dalmations - (Leven) 13. It's a Small World - Attraction at the Magic Kingdom and Disneyland - (Sherman/Sherman) 14. When You Wish Upon a Star - Pinocchio - (Washington/Harline) 15. Mickey Mouse March - Mickey Mouse Club TV Show - (Dodd)

Happy Wednesday, March 27th Everyone! Weather in the parks today is cloudy with a high of 72 degrees On this day in the year 1995 - Elton John Wins the Oscar for Best Song in a Motion Picture for the song "Can You Feel the Love Tonight" from the film The Lion King. Also on this day in the year 2007, The Soundtrack for Disney's Meet the Robinson's was released on Walt Disney Records. All New Character Posters released yesterday for the All New Avengers End Game. Avengers End Game hits theaters next month, April 26th. And All New Character Posters released this morning for Disney's Live Action Aladdin which hits theaters May 24th. Disneyland Welcomes Back Spring with the return of Eggstravaganza, April 5th - 21st. This Fun, Egg themed scavenger hunt that will cost guests $6.99 plus tax and will come with a Map & Stickers. As always, return your completed map to a redemption location to claim your Surprise. For More Minnie Mice Minute Updates, Subscribe on Itunes, SoundCloud or Google Play! Again, I'm Mama Mouse Cynthia, co-host of The Minnie Mice Show, Make sure you check us out at @TheMinniemice Thanks for listening…. This is the Minnie Mice sounding off! Until Next time, Be Kind & Spread Some Magic!