Podcast appearances and mentions of Carlos Alomar

Send us a textNeville Keighley a.k.a. Belouis Some stops by the show, and we step back in time. We talk about touring with Frankie Goes To Hollywood and Queen. The spicy video for Imagination and more.*******Belouis Some (real name Neville Keighley), singer-songwriter from London, released his first album Some People in 1985 on Capitol EMI Records. After initial recording in London, the album was produced in New York by Steve Thompson and Michael Barbiero. Carlos Alomar arranged and played on the tracks and brought together a lineup that included Bernard Edwards and Tony Thompson (Chic), Carmine Rojas, Robin Clark, Chester Kamen, and Guy Fletcher (Dire Straits). The album contained the worldwide hit singles Imagination and Some People with the video for Imagination, directed by Storm Thorgerson, causing controversy as it contained full nudity.In 1985, Belouis Some was sponsored by Swatch in North America and opened for Frankie Goes To Hollywood on their US tour. The Some People video was also simultaneously running as a nationwide Swatch TV commercial. In 1986, Belouis Some headlined the “Swatch Live” show at the Beacon Theatre in New York.In 1986, Belouis Some supported Queen on their “Magic” stadium tour, including opening the famous Knebworth concert, one of the largest concerts ever held in the UK and Freddie Mercury's last ever live performance with Queen.The Belouis Some song Round Round, produced by Bernard Edwards, was included in the 1986 John Hughes movie Pretty In Pink, the platinum-selling soundtrack album is on Rolling Stone magazine's “25 Greatest Soundtracks of All Time”.He'll be performing on the “Lost 80s Live” tour of North America in the summer of 2025. Get your tickets and more info here: https://www.belouissome.com/*******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

Returning to albumtoalbum for a long-overdue reunion is renowned actor, occasional Dalek and author of The Complete David Bowie, Nicholas Pegg. Nick's an old friend of the podcast and has tackled some of David Bowie's most acclaimed albums in previous episodes - as well as exploring entire eras (our 198More series of chats take an overview of Bowie's singles, soundtracks and various off-extramural activities 1981 - 1989). Now, he's back to tackle one of the most challenging artefacts in the Bowie oeuvre - the much-maligned 1984 album Tonight. A rag-tag bag of semi-sentient cover versions, marimbas, an absolutely bracingly brilliant long-form promo video (very 1984) a couple of superb Bowie evergreens, some blue-and-brown-eyed reggae and uncharacteristically insipid production, Tonight might not be the worst album of 1984, but it fell short of what long time Bowie fans had come to expect. Clearly geared to what Bowie assumed were his new Let's Dance-era fans, the album was recorded almost straight after the massive Serious Moonlight tour, without the satisfying thwack that conceptual cohesion and creative conviction characterising Bowie's best work to date. Here, Bowie opted to work with a young British producer, Derek Bramble, who had little awareness of Bowie's work. As Nick says in this episode, Bramble's lack of public profile might have appealed to Bowie, after the megawatt presence of Nile Rogers on Let's Dance. Fair enough. But then, getting happening, in-demand producer, most recently with The Police, Hugh Padgham on board, in the junior role of engineer, wasn't Bowie's brightest idea. In this episode, we kick off by looking back at the lead-up to the album's recording (in Canada), a cast of characters including Derek Bramble, Hugh Padgham, Iggy Pop and Carlos Alomar and the album's first three tracks - Loving The Alien, Don't Look Down and the unforgettable cover version of the Beach Boys' God Only Knows.  With thanks to Nicholas Pegg, and Leah Kardos for the background music. During the conversation, we have references from Chris O'Leary, Charles Shaar Murray and that Bowie resource par excellence, bowiebible.com

Whether you know it or not, you've been listening to Fonzi Thornton for almost 50 years. As teenagers he and Luther Vandross formed a lifelong friendship and devoting their lives to music pays off for both - Luther becomes a giant among giants and Fonzi becomes one of the most sought after backup singers ever. Starting in Listen My Brother with Luther and friends Carlos Alomar and Robin Clark turns into a stint singing with Chic and then a lifelong partnership with Roxy Music and Bryan Ferry. Along the way there's been Bowie, Aretha, Scritti Politti, Candi Staton and tons more. Don't forget to watch him in the excellent new documentary Luther: Never Too Much that will be premiering on CNN on New Year's Day. Enjoy!  www.luther.film www.patreon.com/c/thehustlepod  

The wonderful Carlos Alomar returns to discuss the new Luther Vandross documentary, Luther: Never Too Much. Carlos and his wife Robin Clark have been friends with Luther since high school and that friendship extends from their first group together, Listen Up Brother, to them all being introduced to David Bowie for the Young Americans album and beyond. The film shows his launch as one of the greatest male r&b vocalists in history, his many talents as a writer and arranger, his battles with weight, his untimely death, and his complicated personal life. You only have to hear Luther's voice to recognize he's one of the best there's ever been. This incredible film allows us to get to know the man who was as beautiful as his voice and Carlos fleshes it all out for us. 

Send us a textDavid Bowie's “Scary Monsters (and Super Creeps)” is, for many fans, his last great album. Mick regards it as one of Bowie's best, with the singles "Ashes to Ashes" and "Fashion".  Mick and Jeff talk through what makes this album great, and look at the music environment as Bowie, along with many other 70's greats, faced the changes and challenges of the 80's.“Knockin' on Heaven's Door” offers a long line of new entrants to Rock'n'Roll Heaven including Herbie Flowers, Tito Jackson, Kris Kristofferson and Liam Payne from One Direction. Our Album You Must Listen to Before you Die, fresh from Robert Dimery's book, is Dexy's Midnight Runners' “Don't Stand Me Down”, a massive failure on release in 1985 but receiving a fresh critical re-evaluation in modern times.  We didn't like it!  Not least because of their complete rip-off of “Werewolves of London” by Warren Zevon.   Episode PlaylistScary Monsters (and Super Creeps) - just the album__________________________________More Trump! One of those things – Dexy's  Bowie interview - “My Phil Collins Years”  Bowie – Ashes to Ashes live on Jools Holland  Pete Townshend   Glass Spider LiveOther References Alt Rock Chick – fabulous insightful reviews across the rock spectrum  References:  Angie Bowie, Eno, Lodger, Outside, Joy Division, Kate Bush, Gary Numan, New Romantic, “Are “Friends Electric?”, The Pleasure Principle, “Cars”, “It's No Game”, Pete Townshend, “Because You're Young”, Robert Fripp, “Heroes”, Carlos Alomar, George Murray, Dennis Davis, Tony Visconti, Kellogg's Corn Flakes, Edward Bell, Pierrot, "Ashes to Ashes", Brian Duffy, Natasha Korniloff, Lindsay Kemp, Pierrot in Turquoise, Berlin Trilogy, Phil Collins, Let's Dance, Nile Rodgers, “In the air tonight”, Alt Rock Chick, Major Tom, Fripp's skronky guitar work, “Scary Monsters (and Super Creeps)”, “Fashion”, “Scream Like a Baby”, “Kingdom Come”, Tom Verlaine, Neil Young, “Hey Hey My My” 

John Williams, London Symphony Orchstra [00:23] "The Desert and The Robot Auction" Star Wars 20th Century Records 2T-541 1977 Pretty much every aspect of this soundtrack is seared into my Gen X nerd mind. Silver Jews [03:15] "Advice to the Graduate" Starlite Walker Drag City DC55 1994 The debut outing from David Berman and friends, here including partners in crime Steve Malkmus, Bob Nastanovich, and even Steve West. There is also a lovely cover of this song by The Pastels (https://youtu.be/tQ1vuKAGmUo?si=y7G-DZUy094zyJUf) (recorded for a Peel session). Lena Lovich [06:30] "I Think We're Alone Now" Stateless Stiff Records SEEZ 7 1978 (1979 reissue) From the original UK Stiff Records release of Stateless, a very first-wave New Wave version of "I Think We're Alone Now", originally recorded by Tommy James and the Shondells. Also available in Japanese! (https://youtu.be/URPtOAs_eMc?si=zX0h-wST3jcLzadK) Lena Lovich [09:18] "Lucky Number" Stateless Stiff-Epic JE 36102 1979 The US version changes up the track order, and has a number of songs remixed by Roger Bichirian. David Bowie [13:47] "Golden Years" Station to Station RCA Victor AQL1-1327 1976 (1986 reissue) Carlos Alomar and Earl Slick laying down the funky guitars. The cover features a photograph of Bowie by Steve Shapiro from Nicholas Roeg's The Man Who Fell to Earth (1976) (https://youtu.be/KarWCgIw3Wk?si=52k2oqnxkEJ2HNah). Sinéad O'Connor [17:46] "Some Day My Prince Will Come" Stay Awake (Various Interpretations of Music from Vintage Disney Films) A&M Records B0029005-01 1988 (2018 reissue) The late great Sinéad O'Connor interpreting Snow White's ballad accompanied by the late great Andy Rourke from the late great Hal Willner. Willner was one of the most imaginative music producers, responsible for so many excellent tribute albums, and one of the most innovative music shows on network television: Night Music (https://youtu.be/ChPPW6NbsFk?si=AusrNnmpxTl4mWUI). Graham Parker and the Shot [18:55] "Wake Up (Next to You)" Steady Nerves Elektra 9 60388-1 1985 Graham gets all romantic in a Motown sorta way. This single made it as high as 39 on the Hot 100. Graham Parker and the Rumour [24:00] "I'm Gonna Tear Your Playhouse Down" Stick to Me Mercury SRM-1-3706 1977 Graham and company do a fine rendition of this song that was initally a hit for Ann Peebles (https://youtu.be/cyMsvE8UcbI?si=VqkTZdDF9ubuspVT). The Rolling Stones [29:35] "Dead Flowers" Sticky Fingers Rolling Stones Records COC 59100 1972 The first album the Stones recorded after being freed from their Decca Records obligation. This copy has one of the actual working zippers, as designed by Andy Warhol. Many listeners will also be familiar with Townes van Zandt's acoustic version that appears on his live album Roadsongs, and was subsequently used in The Big Lebowski (Coen, 1998). The Aquadolls [33:40] "Tweaker Kidz" Stoked on You Burger Records BRGR390 2014 Fun track from the debut Aquadolls album. Talking Heads [36:06] "Once in a Lifetime" Stop Making Sense Sire 1-25186 1984 There was a very cute promo (https://youtu.be/R2gVgpHIDz0?si=UfreL9mJCNr_K3iC) for the A24 re-release of the film recently. Nadja [42:03] "The Stone" The Stone Is Not Hit by the Sun, Nor Carved with a Knife Gizeh Records GZH70 2016 As usual, more heavy dreamy goodness from one of my favorite duos. Music behind the DJ: "Gomez" by Vic Mizzy

Nueva Temporada con la Dra. Enid López, Directora Operacional del Centro de Salud Conductual San Lucas y el Dr. Carlos Alomar, Médico Generalista

Baxie talks with 80's Pop/New Wave/MTV sensation Belouis Some! In this interview Belouis (ne: Neville Keighly) talks about his fascinating journey from being a virtually ignored solo artist to recording his first album in 1985 with the likes of Carlos Alomar and Earl Slick (both from David Bowie's band) as well as Bernard Edwards and Tony Thompson from Chic. That first album would yield two international hits (“Imagination” and the title track “Some People). Belouis talks about the release of his controversial music videos and about being handpicked to support Queen on tour the following year. He also talks openly about walking away from music in 1995 and why he made an incredible comeback after 24 years! Belouis Some was to begin touring the US with The Alarm and Jay Ashton's Gene Loved Jezebel later this month! That tour which as to include stops in Northampton and New Haven has been postponed. But the Belouis Some story is so amazing that it needs to be told! Listen on Apple Podcasts, SoundCloud, Spotify, and on the Rock102 website Brought to you by Metro Chrysler, Dodge, Jeep, Ram of Chicopee!

Amb la col·laboració d'en Román Gil, per primera vegada a Crema d'estrelles fem un especial dedicat a un artista en concret. Bé, més que a un artista, on posem el focus és en els seus guitarristes i deixem per a una altra ocasió les seccions habituals. En aquest programa, doncs, no hi ha Rànquing 107 ni Una de Frank Zappa (Tot i que el bo d'en Zappa fa un cameo), ni 2 Graus de Separació (Tot i que hi ha una cançó que s'assembla a una altra), ni La Teva Cançó (Tot i que he recordat el teu nom mentre sonaven cançons de Bowie), ni Discos Revisitats (Tot i que revisitem la discografia d'en Bowie), ni Absències (Tot i que recordem en Bowie)... Una anècdota: el dia tres de maig de 2014 vaig conèixer en Román Gil. La Marina, una amiga en comú, em va oferir la possibilitat d'anar a un concert de Mike Garson al Jamboree i, òbviament, vaig acceptar la proposta (Mike Garson és el pianista de Aladdin Sane, però sobretot l'estimo perquè toca a I'm Deranged, també de David Bowie, i que obre la pel·licula Lost Highway de David Lynch). La Marina havia quedat amb en Román Gil allà. Ella canta en el disc "Vía Láctea" d'en Román i, en aquest mateix disc, toca el piano en Mike Garson. Vam viure un concert meravellós, dels millors que viscut en la meva vida, aquí podeu llegir la meva ressenya i veure les fotos que va fer la Marina d'aquell dia: https://lilvia.blogspot.com/2014/05/mike-garson-en-jamboree-352014.html Doncs bé, fa uns mesos en Román em va proposar fer un programa de guitarristes que han tocat amb David Bowie. La idea em va semblar adient pel programa, però no ho vam tornar a parlar. Fins que el passat dijous al matí, mentre ell i jo fèiem unes proves de so per un altre projecte, ens vàrem engrescar i vam quedar que l'endemà podríem gravar alguna cosa pel pòdcast Crema d'estrelles. A la tarda ens vàrem engrescar encara més mitjançant missatges de whatsapp quan ell va suggerir de nou el programa de guitarristes d'en Bowie. Així doncs, el divendres a les 9.30 del matí vam començar a gravar, i aquí teniu el resultat. La coincidència ha estat gravar aquest programa el dia tres de maig de 2024, quan feia just deu anys que ens vam conèixer. És una casualitat, jo encara estic flipant. Però el més flipant està en el programa, no només per les cançons i les curiositats que hi trobareu, també en Román té uns vincles molt estrets amb David Bowie. Per aquí desfilen Mick Ronson, Earl Slick, Carlos Alomar, Robert Fripp, Adrian Belew, Reeves Gabrels, Gerry Leonard i molts guitarristes coneguts que us sorprendran. Moltes gràcies a Román Gil per la seva col·laboració. https://roman.bandcamp.com/ Jordi Via, Terrassa, maig de 2024 Des del Pòdcast (https://go.ivoox.com/sq/1363038) La Capsa de ritmes, que recomano a tothom, amb Silvia Solans i Javier Costa, ens recomanen aquest vídeo sobre la producció de Heroes: https://youtu.be/7Q2scPrc1WE?si=xIeE1dFKdmqcDBlR

Back in 1974, Earl Slick was a 22-year old jobbing session guitarist fast developing a reputation for his supple, searing style and versatility in all idioms. Hired by Bowie to join his Diamond Dogs tour, Slick then had to suddenly pivot from apocalypto-rock to sleek Philly soul at a moment's notice - but acquitted himself so well, he was invited to play on tracks destined for Young Americans before forming the core band, alongside Carlos Alomar, Dennis Davis, George Murray and Roy Bittan to cut the extraordinary Station to Station, in LA, during October 1975. Bringing his charismatic flair to the sessions, Slick rose each time to Bowie's demands for an esoteric sonic palette, turning in one bravura performance after another despite, by his own admission, almost matching Bowie's ridiculous drug consumption levels at the time. Although his boss's directions could be at times gnomic - Bowie instructed him on one occasion to simply play a Chuck Berry riff repeatedly throughout a track - the pair sparked off each other, forging a deep bond. Despite a contretemps between Bowie's management and Slick at the end of the sessions, Earl returned to the Bowie band in 1983 for Serious Moonlight and then again during the early 2000s, when he became again, a key member of the group, up to The Next Day.  Today, Station to Station stands out as one of Bowie's finest records, the pivot from Young Americans' funk and soul to the electronic abstractions and experimental textures which would emerge fully with Low. Despite the frenzied sessions, the album's six tracks are each mini-masterpieces. In this episode, the first of two devoted to the album, we take a leisurely stroll down memory lane and begin with Earl's reminiscences of pre-Beatles America, his first audition for Bowie and Visconti, bafflement at the Philly soul era, meeting and forgetting (and then meeting again) John Lennon, and the intense sessions that made up the first side of Station to Station. Thanks to Earl, Oliver and of course the regal Tank for all their time and help in assembling this episode and as ever, please do let me know what you think of our chat and share this podcast far and wide! Follow Earl Slick on Instagram and Facebook Intro/Outro music by Leah Kardos

This week we speak with Carlos Alomar, a renowned guitarist, producer, and David Bowie collaborator. Carlos shares his journey from Puerto Rico to the Bronx, some of his experiences with music legends, and opens up about his role as Bowie's musical director. We also discuss the power of music therapy, his first gig at the Apollo Theater, and the ever-evolving music industry. Carlos is currently the Distinguished Artist in Residence of the Music & Technology program at Stephens Institute of Technology in Hoboken, NJ where his extensive experience in the industry offers invaluable insights to students aspiring to careers in music. carlosalomar.com instagram.com/theofficialcarlosalomar ********************************* Hungry for more? Check us out at ⁠⁠⁠⁠⁠isbreakfast.com⁠⁠⁠⁠⁠ *********************************

Jérôme Soligny in conversation with David Eastaugh In David Bowie Rainbowman, Jérôme Soligny tells the story of David Bowie the musician with the help of those intimately involved with the creation of his music. This uniquely exhaustive work on Bowie's 1967-1980 albums draws on over 150 interviews with the musicians, producers and friends who knew Bowie best, including Robert Fripp, Hermione Farthingale, Lou Reed, George Underwood, Mick Ronson, Carlos Alomar, Trevor Bolder, Mike Garson, Woody Woodmansey and many, many others. With an essay by Soligny on each album followed by oral histories from the most trusted and influential figures in Bowie's musical life, David Bowie Rainbowman is the definitive guide to a singular and mercurial genius - the Rainbowman himself.

Bowie reunites with some of his most important and influential collaborators, including Brian Eno, Mike Garson, Carlos Alomar, Reeves Gabrels for this ambitious project. We welcome the incredibly creative and talented musician Teenage Waitress to the show to help us tackle this horrifying masterpiece. SONGS IN THIS EPISODE: Leon Takes Us Outside Outside The Heart's Filthy Lesson A Small Plot of Land Segue - Baby Grace (A Horrid Cassette) Hallo Spaceboy The Motel I Have Not Been to Oxford Town

David Bowie would leave the glam rock genre of his previous albums for a more soulful sound with his ninth studio album, Young Americans.  This album features blue eyed soul, or what Bowie would refer to as "plastic soul."  David Bowie moved to the United States in 1974 during a time when tax concerns were driving many artists out of the UK.  He was living in New York City at the time, and starting production on the album in Philadelphia where he worked with guitarist Carlos Alomar.  A funk guitarist, Alomar had worked as a session musician at the Apollo Theater and would become a collaborator and band leader for Bowie over the next decade.  In addition to Carlos Alomar, Bowie worked on this album with a number of artists including Robin Clark, Ava Cherry, saxophonist David Sanborn, and a new musician named Luther Vandross.He would also collaborate on this album with ex-Beatle John Lennon who was recording in New York at the same time as Bowie's recording moved there.  Bowie and Lennon had met previously at a party hosted by Elizabeth Taylor.  Lennon collaborated with Bowie during his "lost weekend" period.Young Americans contains elements of soul, funk, and R&B, and was a deliberate attempt to garner more success in the U.S. market.  It certainly achieved this result, though critics would deliver mixed reviews.  The transition from glam rock to blue-eyed soul would not be one which all fans embraced, but David Bowie would follow his own creative muse.  It would not be the last time we would see a significant stylistic change from Bowie.  It was nevertheless a commercial success, going to number 9 on the US albums chart, remaining on the charts for almost a year.Rob brings us this funky example of “plastic soul.” Young AmericansThe title track was recorded in Philadelphia, and hit number 18 on the Billboard Hot 100, Bowie's second-highest chart success to this date.  Then unknown singer Luther Vandross conceived the backing vocal arrangement.  The song provides impressions of American life through the eyes of an English man.  David Sanborn provides the saxophone work.Across the UniverseThis cover of the Beatles song also found collaboration with Beatles' alumnus John Lennon.  Backing vocals and guitar are provided by Lennon, who considered this song a better version than his own.  Critics tend to disagree, as reviews on the Bowie version were primarily negative.FascinationThis track began as a jam by Luther Vandross entitled “Funky Music (Is a Part of Me)” which was performed before the Bowie concerts in 1974.  When Vandross was retained from the “Diamond Dogs” tour, the two collaborated to create the song “Fascination.”  The song was an homage to the Philadelphia funk sound.FameThis single hit number 1 on the US charts, the first Bowie song to do so.  Composed by Bowie, Alomar, and Lennon, the high backing “Fame” vocalizations are provided by John Lennon.  Bowie would describe it as a “nasty, angry” song directed at management with which he had previous issues. ENTERTAINMENT TRACK:Ease On Down the Road by Consumer Rapport (from the motion picture The Wiz)A soulful take on The Wizard of Oz featured Diana Ross as Dorothy and Michael Jackson as the Scarecrow. STAFF PICKS:Judy Mae by Boomer Castleman Wayne initiates the staff picks with a controversial song that went to number 33 on the Billboard Hot 100.  The lyrics tell of a father to a 17 year-old girl who marries a woman half his age.  When an affair ensures between the stepmother and the daughter, the father dies of an accident shortly thereafter.  It feels like a racier version of “The Night the Lights Went Out in Georgia.”Long Haired Country Boy by the Charlie Daniels BandBrian brings us a song about a guy with a very passive attitude about life. “I ain't asking for nobody for nuthin' that I can't get on my own.  If you don't like the way I'm livin' you just leave this long-haired country boy alone.” It was off the second album from the CDB entitled “Fire on the Mountain.”When Will I Be Loved by Linda Ronstadt Bruce features Ronstadt doing a cover originally from the Everly Brothers in 1960.  While the original peaked at number 8, Ronstadt's cover would go to number 2 on the Billboard Hot 100.  The song is a vocal trio between Ronstadt, Kenny Edwards, and Andrew Gold. Trampled Under Foot by Led Zeppelin Rob finishes the staff picks with a song John Paul Jones claims was inspired by Stevie Wonder's “Superstition.”  The lyrics were inspired by blues artist Robert Johnson's “Terraplane Blues” from  1936.  A Terraplane was a classic car that serves as a not-so-subtle source for sexual innuendo.  It is off the band's double album, “Physical Graffiti.”  COMEDY TRACK:Bertha Butt Boogie by The Jimmy Castor Bunch This funk novelty track went to number 16 on the US pop chart and number 22 on the US R&B chart.

Nació en el barrio Villa Ortúzar de la Ciudad de Buenos Aires el 11 de agosto de 1959 y fue uno de los más destacados guitarristas y cantantes del rock nacional. A partir de los `80, impulsó una movida musical y estética que estalló a nivel local pero también alcanzó imponente repercusión internacional. En 1982, junto a su compañero en la Universidad del Salvador Zeta Bosio y el baterista Charly Alberti, gestaron Soda Stereo, un terceto nacido como heredero directo de la new wave que entonces cultivaban The Police y Television. Hacia 1986 y antes de la edición de "Signos", iniciaron un periplo latinoamericano que los llevó a 22 presentaciones en 17 ciudades de siete países, y fueron aplaudidos por 200.000 espectadores. Con esa gira plasmada en el disco "Ruido Blanco", el trío forjó la "sodamanía" que atravesó a la región y donde la influencia de la banda perdura hasta nuestros días. En 1988 "Doble Vida", que produjo Carlos Alomar y "Canción animal", en 1990, fueron dos peldaños más de una escalera que el 14 de diciembre de 1991 convocó a 250.000 personas en la 9 de Julio y que, en 1992, desembocó en "Dynamo". Ese año también, Gustavo Cerati concretó su primera aventura fuera de Soda Stereo, junto a Daniel Melero para el tecno pop "Colores santos"; se casó con la modelo y dj chilena Cecilia Aménabar, con quien tuvieron a Lisa y a Benito y juntos, además, grabaron "Amor amarillo". Después de un tiempo separados, los Soda volvieron a reunirse para grabar "Sueño Stereo", giró y registró "Comfort y música para volar" y se separó tras una imponente serie de shows en el estadio de River donde inmortalizó su devolución de gentileza a los fans con la frase "gracias totales". En solitario, Cerati publicó "Bocanada" (1999), la banda de sonido de la película "+ Bien" (2001), los "11 episodios sinfónicos" con los que llegó hasta el Teatro Colón y "Ahí vamos" (2006) con el que debutó en Londres. Una década después de la separación, Soda Stereo resucitó para colmar cinco veces el Estadio Monumental con presentaciones luego volcadas en los álbumes "Me verás volver" y retomó su camino con "Fuerza natural" (2009), su obra póstuma. En la noche del 15 de mayo de 2010 padeció una isquemia cerebral tras un concierto en el auditorio de la Universidad Simón Bolívar, en Caracas, Venezuela y, ya internado, sufrió un ACV. Trasladado a la ciudad de Buenos Aires, permaneció en estado de coma y bajo respiración mecánica hasta su muerte, ocurrida el 4 de septiembre de 2014. Su despedida se llevó a cabo en la Legislatura porteña, dado que gozaba del galardón de "Ciudadano Ilustre de Buenos Aires". Lo recordamos con un informe especial elaborado por el Área de Contenidos y conservado en el Archivo Histórico de Radio Nacional.

 As a special treat, this episode features four tasty albums from the golden age of Rock Music.   Rick Wakeman's “Journey to the Centre of the Earth”, accused of hastening the arrival of punk, and of justifying the need for it, ultimately sold over 14 million copies.  Go figure! “Not Fragile” by Bachman Turner Overdrive, topped the charts in USA and Australia proclaiming that “you ain't seen nothin' yet”!  The pick of the crop, the self-titled “Bad Company” was hailed as “swing and swagger with power chords”.  Arising from the ashes of Free and Humble Pie, Bad Company was one of the first bands to be dubbed a “supergroup” Our album that “You Must Hear before you Die” is Bowie's "Young Americans" (1975), the album that first got America's attention and laid the groundwork for “Heroes”, 2 years later.   Jeff also has plenty to say about fake American “influencers”, especially at events like Coachella!   Enjoy!!  References: “Young Americans”, David Bowie, One Damn Sing, John Lennon, “Fame”, “Across the Universe”, “A Day in the Life”, Carlos Alomar, King Arthur on Ice, Jules Verne, orchestral concerts, The Who, “Tommy”, A&M Records, David Hemmings, “Grumpy Old Men”, “Not Fragile”, Randy Bachman, "You Ain't Seen Nothing Yet", “Roll on down the Highway”, “Paul Rodgers, Simon Kirke, Free, Mick Ralphs, Mott the Hoople, Boz Burrell, King Crimson, Peter Grant, Swan Song Records, "Straight Shooter”, “Shooting Star”, Led Zeppelin, “Houses of the Holy”, Hipgnosis, "Can't Get Enough", “Movin' On”, “Bad Company”, “Rock Steady”, “Ready for Love” Cochella Fashion 2023Episode Playlist

Baxie talks to guitar legend Carlos Alomar! From 1974 to 2003 Carlos Alomor was the longest serving band member during David Bowie's historic career. He served as one of the key members of Bowie's infamous D.A.M. rhythm section--playing during the most artistically power stretch of his career. But that's not all. Carlos has played on more than 30 different gold or platinum albums with an enormous resume that includes names like James Brown, Chuck Berry, Bruce Springsteen, Duran Duran, Alicia Keyes, Iggy Pop, Luther Vandross, The Pretenders, Simple Minds (featuring his wife Robin Clark), Ben E. King, The Main Ingredient, and the late Tina Turner as well. Carlos will be appearing at the upcoming David Bowie World Fan Convention in New York on June 16-18th. This is one of the most astonishingly brilliant guests that I've ever spoken to. Absolutely amazing! Listen on Apple Podcasts, SoundCloud, Stitcher, Google Podcasts, Spotify, and on the Rock102 website! Brought to you by Z&M Home Buyers!

Carlos Alomar is a true music legend. He started out playing in his Father's ministry, became a member of the house band at the famous Apollo Theatre in Harlem, where he backed everyone from Chuck Berry to James Brown, who he also toured with. He was a member of The Main Ingredient. As a studio musician at RCA Records recording studio he backed up many greats, but his life changed dramatically when he met David Bowie during a session with English pop star Lulu. He went on to tour and work with Bowie on 11 albums starting with "Young Americans" and became the leader of his band. Did we mention he recorded and co-wrote "Fame" with Bowie and John Lennon. His list of credentials is remarkable. He also worked with Paul McCartney, Mick Jagger, Cindi Lauper, Iggy Pop, Peter, Paul, and Mary, and the list goes on and on. Carlos Alomar will be at the David Bowie World Fan Convention which takes place at RACKET NYC (431 West 16th Street, New York, NY 10011) on June 17-18, 2023 Music The Charms "So Pretty"(theme song) #CarlosAlomar #DavidBowie #IggyPop Contact: twistedrico@gmail.com This episode of Blowing Smoke with Twisted Rico is supported by Joe's Albums(Worcester/Northampton MA), Baby Loves Tacos(Pittsburgh PA), and Spectacle Eyeware(Boston, MA)

Baxie talks to bass legend George Murray. From 1976 to 1980 George played with David Bowie during one of the revered periods of his career. He, along with the late Dennis Davis and Carlos Alomar made up the "D.A.M" rhythm section for Station to Station, The Berlin Trilogy (including Low, Heroes, and The Lodger), as well as on Scary Monsters. He also played on Iggy Pop's first solo album, The Idiot as well. This is an incredibly special talent who rarely grants interviews (until now!). Just awesome! Listen on Apple Podcasts, SoundCloud, Stitcher, Google Podcasts, Spotify, and on the Rock102 website! (Note: George Murray will be appearing at the David Bowie World Fan Convention in New York in June.)

It's the spring of 1985 and Paul McCartney is hard at work recording a new album at his Hog Hill Mill studio. In a shift away from his prior work in the decade, Paul sought to recreate a "band" environment with co-writing partner Eric Stewart, drummer Jerry Marotta and guitarist Carlos Alomar - along with himself and Linda - likely as a reaction to the crumbling critical reaction to his recent projects. George Harrison, meanwhile, was tip-toeing back toward the music business himself, offering up his take on Bob Dylan's I Don't Want to Do It for the Porky's Revenge movie soundtrack. But the undeniable success of this first half of 1985 was John's son Julian, embarking on a mega-successful tour to promote his album Valotte and garnering awestruck reviews in the process... Hosted on Acast. See acast.com/privacy for more information.

Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She's a Founding Member of NeueHouse where she moderates talks."I met the founders Alan and Joshua who started NeueHouse in 2013. They are lovely gentlemen, and they called me aside and said, 'We'd love to get you involved in our coworking space that we are doing.' And we really curated an interesting community of people. And have had a lot of interesting people do talks, from Paul Smith to Salman Rushdie to Wu-Tang Clan, Tom Sachs, and Ariana Huffington. And I've hosted Prince William and Princess Kate. We've had some incredible people here and I love talking to people, and I love hosting these conversations. I did one last night with my dear friend Carlos Alomar, who was the musical director and long-time collaborator with David Bowie for 30 years. And I just love people's stories. So for me, it's inspirational. The one thing I like to do is to inspire people -not me - but if I can show them someone's life, it's a way for people to learn."https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I met the founders Alan and Joshua who started NeueHouse in 2013. They are lovely gentlemen, and they called me aside and said, 'We'd love to get you involved in our coworking space that we are doing.' And we really curated an interesting community of people. And have had a lot of interesting people do talks, from Paul Smith to Salman Rushdie to Wu-Tang Clan, Tom Sachs, and Ariana Huffington. And I've hosted Prince William and Princess Kate. We've had some incredible people here and I love talking to people, and I love hosting these conversations. I did one last night with my dear friend Carlos Alomar, who was the musical director and long-time collaborator with David Bowie for 30 years. And I just love people's stories. So for me, it's inspirational. The one thing I like to do is to inspire people -not me - but if I can show them someone's life, it's a way for people to learn."Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She's a Founding Member of NeueHouse where she moderates talks.https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastPhoto: Oberon in conversation with artist and fashion designer Jason Wu at NeueHouse

Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She's a Founding Member of NeueHouse where she moderates talks."I met the founders Alan and Joshua who started NeueHouse in 2013. They are lovely gentlemen, and they called me aside and said, 'We'd love to get you involved in our coworking space that we are doing.' And we really curated an interesting community of people. And have had a lot of interesting people do talks, from Paul Smith to Salman Rushdie to Wu-Tang Clan, Tom Sachs, and Ariana Huffington. And I've hosted Prince William and Princess Kate. We've had some incredible people here and I love talking to people, and I love hosting these conversations. I did one last night with my dear friend Carlos Alomar, who was the musical director and long-time collaborator with David Bowie for 30 years. And I just love people's stories. So for me, it's inspirational. The one thing I like to do is to inspire people -not me - but if I can show them someone's life, it's a way for people to learn."https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I met the founders Alan and Joshua who started NeueHouse in 2013. They are lovely gentlemen, and they called me aside and said, 'We'd love to get you involved in our coworking space that we are doing.' And we really curated an interesting community of people. And have had a lot of interesting people do talks, from Paul Smith to Salman Rushdie to Wu-Tang Clan, Tom Sachs, and Ariana Huffington. And I've hosted Prince William and Princess Kate. We've had some incredible people here and I love talking to people, and I love hosting these conversations. I did one last night with my dear friend Carlos Alomar, who was the musical director and long-time collaborator with David Bowie for 30 years. And I just love people's stories. So for me, it's inspirational. The one thing I like to do is to inspire people -not me - but if I can show them someone's life, it's a way for people to learn."Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She's a Founding Member of NeueHouse where she moderates talks.https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastPhoto: Oberon hosting friends Duran Duran at NeueHouse for their press day in 2021

Bowie in Canada! Coming off his biggest commercial year, Bowie quickly gets back to the studio for more (insert descriptive adjective here) music. Featuring Iggy Pop, Tina Turner, Hugh Padgham and Carlos Alomar. They even do a Beach Boys song! What could go wrong? SONGS IN THIS EPISODE: Loving the Alien Don't Look Down God Only Knows Tonight

Today's episode is the incredibly fun and wide-ranging conversation I had with Jeff Slate. Jeff is an ASCAP-award-winning singer songwriter from New York City who has fronted several bands including the 80's mod punk band the Mindless Thinkers, has worked with musicians such as Earl Slick and Carlos Alomar, has opened for Sheryl Crow, toured Europe and has released numerous albums and singles both as part of different bands and as a solo artist. He's also a prolific journalist, writing for publications such as Rolling Stone, The New Yorker, The Wall Street Journal, and Esquire and has interviewed or written about artists as varied as Bob Dylan, Bob Geldof, David Bowie, Willie Nelson, and of course Tom Petty.You can find Jeff's tour dates, his music, and tons more information about the incredible body of work he's put together over the last few decades here! https://jeffslatehq.com/Check out Jeff sitting down with his frequent collaborator, Earl Slick, and Heartbreaker Ron Blair to promote the 2019 Tom Petty All Star Weekend too: https://youtu.be/gyOxdQ0ATRcIf you are able to donate financially to humanitarian aid relief efforts in Ukraine, the Red Cross is coordinating a large-scale effort which you can contribute to by visiting their website here: https://donate.redcross.ca/page/100227/donate/1The Tom Petty Project is a proud member of The Deep Dive Podcast Network, which you can find on Twitter: https://twitter.com/deepdivepodnetDon't forget to follow me on social media, like, subscribe, and please, leave a rating if you like the show:Facebook: https://www.facebook.com/thetompettyprojectTwitter: https://twitter.com/TomPettyProjectInstagram: https://www.instagram.com/thetompettyproject/YouTube: https://www.youtube.com/channel/UCt6BLRWuuAR43zHpNKIirOwAll music, including the theme song, provided by my very best friend Randy Woods. Check him out at https://www.randywoodsband.com/Logo provided Ed Booth, who you can find here: https://edboothart.com/The Tom Petty Project is not affiliated with the Tom Petty estate in any way and when you're looking for Tom's music, please visit the official YouTube channel first and go to tompetty.com for official merchandise.A last very special thanks to Paul Zollo. Without his book, Conversations with Tom Petty, this podcast wouldn't be nearly as much fun to research.Support this show http://supporter.acast.com/the-tom-petty-project. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

PANDA en RASCACIELOS . Parte 2 La segunda parte de la charla con Miguel Krochik, sin dudas, no tiene desperdicio! Un recorrido lleno de anécdotas que incluyen personajes tales como Vilas, Maradona, Olmedo y Porcel, Sabina, Scorpions, Andrew Loog Oldham, Los piojos, La Renga, Catupecu Machu, y por supuesto Charly García! La historia de porqué Soda Stereo grabó su E.P "Los Languis" luego de haber trabajado en Nueva York con Carlos Alomar... Como hacia Panda para estar siempre a la vanguardia de la tecnología y los demás estudios seguían sus pasos... Sabina llegando a Segurola a las 4am... El Diego comiéndose 2 grandes de Muzzarella de "La Universal" a las 2am, antes de grabar "La mano de Dios"... Y tantas cosas más que nos cuenta Miguel Krochik, un personaje irrepetible, en esta charla exclusiva con Rascacielos... No tenes que hacer mucho. Solo ponerte cómodo...subir el volumen, y disfrutar! Dale..! Subite al RASCACIELOS! • * Seguinos en todas nuestras redes, y dejanos tu comentario! https://www.youtube.com/watch?v=IYQHVD1MJ0g&t=47s http://www.instagram.com/rascacielosp... http://www.facebook.com/rascacielospo... - Grabado en Estudios Tunel 57. Gracias infinitas Carlos Princz!!

In 1975, David Bowie moved to Los Angeles and reinvented himself. As rock's greatest chameleon, he had already achieved success as Ziggy Stardust. But this new character would be his darkest yet: the gaunt, theatrical, slick-haired Thin White Duke. And as the Duke, he created the art-rock odyssey Station to Station. It was a record made on no sleep, a dash of black magic, and an avalanche of cocaine. Bowie rarely did press at the time, but he gave a front-row seat to teenage journalist Cameron Crowe, who captured the definitive Bowie interview of the era for Rolling Stone. The latest episode of our Amazon Original podcast Rolling Stone's 500 Greatest Albums unpacks the story of Station to Station. RS Associate Editor Angie Martoccio delves into the making of the album, with Cameron Crowe offering a glimpse at what the Thin White Duke was like in the flesh. Co-producer Harry Maslin, guitarists Earl Slick and Carlos Alomar, and pianist Roy Bittan share memories of the sessions, while Deep Purple bassist Glenn Hughes describes what it was like to have Bowie as a roommate at the time.New episodes of Rolling Stone's 500 Greatest Albums release every Tuesday, only on Amazon Music.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We only had David Bowie's Piano Man, Mike Garson, for 45 minutes, but boy did he make every second count. His stories, golden treasures, were matched by the mastery of his impromptu music. I first saw Mike play on the Diamond Dogs Tour, where Bowie soared above the audience in a cherry picker to sing Space Oddity. Here, 47 years later, Mike told the tales of that tour (and Ziggy Stardust) with Mick Ronson, Luther Vandross, David Sanborn, Carlos Alomar, and bookended the show with an original Bowie Variation of said song––stunningly beautiful, soulful, and emotional. I'm still a bit teary. From backing Mel Torme, Gregory Hines, and hundreds of singers in the Catskills starting at 14, studying with Herbie Hancock and Stan Getz amongst other jazz icons, to an 8-week gig with David Bowie that endured through 40 years, 150,000 hours of playing has sure paid off. Mike's classical training to the fore, he treated us to a few improvised gems weaved betwixt sensational stories––how he started, got the gig, played it differently every time with David's blessing, how Aladdin Sane got so avant-garde and insane, playing with Smashing Pumpkins, Nine Inch Nails, composing with Trent Razor for film and TV, recent gigs with Duran Duran and Def Leopard to name but two, Mike's Symphony Healing Suite, which evolves and continues, giving back what he's learned––teaching––improv for one, a skill he says can be learned. A most inspirational, educational, and enjoyable Game Cha-Cha-Changers, which left me wanting more. Luckily, Mike continues A Bowie Celebration (virtually through the pandemic) with other original band members. The rendition I saw at the Orpheum in 2019 was killer. I sit here moved, missing David, grateful as hell for Mike. Mike Garson on Game Changers with Vicki Abelson Wed, 2/9/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3LnFqWg All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for the best dressed. http://www.rubybegoniahairstudio.com/ Blue Microphones and Kevin Walt

Joe Simon- Come Back Home (1974) I have to play you a Joe Simon song that was used as a sample for a VERY famous Hip Hop song. Not many people know.  Helen Reddy - I Am Woman (1971) The original, superior (to my ears) version. She has appeared on my show singing in ads for cigarettes in Australia, as well as later misses like "Handsome Dudes." Barbara, The Grey Witch - Witch's Love Song (1971) Obituary Barbara Roehrs, also known as Barbara the Gray Witch of Raven House, passed away on Wednesday, June 30, 2021, at Healthwin in South Bend, IN, after suffering the long-term effects of a stroke. She was born Barbara Ann Hostetler on May 9, 1944, in South Bend. She was the youngest child to John and Anna May Hostetler, both of whom preceded her in death. Barbara was a talented and accomplished artist. She was a larger-than-life personality and public figure. She hosted a U93 radio show and appeared yearly at the Niles Haunted House. She was a beloved friend and counselor to many and had a large and loyal following. She was an animal lover. She loved spending time with her dogs – especially her beloved ‘familiar,' Gabby. She also loved back road adventures in her Volkswagen Beetle, meeting new people, and seeing new places. She loved fishing and having a good time. The family would like to extend a thank-you to the Heart to Heart Hospice team and the healthcare workers at Healthwin for caring for Barbara so well.   So for my money, the best band of the 1965-1980 period was the band that David Bowie assembled for his Station To Station/Low/"Heroes"/Lodger/Stage phase. They were loose and tight. Funky and capable. With him as a singer, there's no way the band could lose. But these dudes were special. Carlos Alomar, Dennis Davis, and George Murray. Robert Fripp and Adrian Belew functioned at a right-angle in the proceedings, but that, too, made the ensemble special. I rank them higher than Led Zeppelin for their harmonies, Bowie's lyrics, and just the bravery. Higher (ever so slightly) than The Beatles for their live performances, and the fact that their music was really one guy showing up with an unfinished idea and the band using the ideas as clay. They could jam but they never recorded anything that wasn't precise and good fun.  David Bowie - Fashion (1980) David Bowie - It's No Game (1980) David Bowie • Station To Station (Live) (1978) Children of the Night - Dracula's Undying Love (1976) This collection of 1970's "Rock & Roll" songs tells the story of a big party at Count Dracula's house. The between-song skits have a pretty cut-rate vibe throughout (Dracula sounds remarkably like Dan Ackroyd doing his SNL Yortuk Festrunk "Wild & Crazy Guy" character, The Mummy introduces himself with the lyrics to the Bob McFadden & Dor single "The Mummy")... Count Lorry & The Biters - Frankenstein Stomp (1974) David Bowie - “Heroes” (Live) (1978) Electric Food - Nosferatu (1970) German heavy prog rock band which included all Lucifer's Friend musicians except John Lawton. You know who John Lawton was. He was in Les Humphries Singers! Sang their biggest hit, "Mama Loo" and enjoyed a stint with Uriah Heep.  Dick (Ghoulardy) Knight - His Ghoul (1973) By the time this single was released, the name "Ghoulardi" was owned by Storer Broadcasting out of Cleveland, OH. Hence the different name. Go here to read about Ghoulardi, a story that could never happen now. You can see the "T.K. Productions" on the bottom of the label here. Read their story. You wouldn't know it from this but T.K. ended up owning the charts in the late '70s. The part The Bee Gees didn't devour, that is.  Iggy Pop - Sister Midnight (1977) Jimmie John - What Happens When We Die? (1964) Jo Banks and the Soul Train - The Toy Shop Killer (1979)  David Bowie - What In The World (Live) (1978) Johnny Fever - Zombie (1967) Mickey and His Mice - Cracker Jack (1970) Discogs: Wilfred "Mickey" Fields was a saxophonist from the Baltimore area, a local legend who refused to play outside his Baltimore area, although he was invited several times to take the road for tours with many famous bands. He is recognized as one of Baltimore's best-known jazz saxophonists and has mentored many other jazz musicians, including Paul H Brown. Mickey created the "Monday Night Jam Session" at Sportsman's Lounge, allowing many young jazz musicians to perform. He was also known for his constant encouragement of young artists. Fields began his career with the blues jump band The Tilters. As a solo artist, he recorded on Atlantic Records and Groove Merchant. Howard Earl Washington, a Baltimore area jazz drummer, was another member of the Tilters. The Tilters played for the great Ethel Ennis. Fields then recorded several songs with his group "Mickey And His Mice", entitled "Cracker Jack", known as one of the 100 most funky titles ever created and the popular "Little Green Apples". He then recorded an album with the great Richard "Groove" Holmes, for the label Edmar (New Jersey). Fields also played with his talented sister, Shirley Fields, who has been a singer for many years and who has also played an important role in the Baltimore Jazz Company. Monsters - Transylvania Disco Hustle (1977) Produced by the same guy that produced "Dracula's Undying Love." In fact, three of the guys that played on that record played on this!  Screen Idols - Blind Man (1979) Notable for the presence of one Woody Woodmansey, ex-Spiders From Mars drummer. Right after Woody Woodmansey's U-Boat. 

There are few people who exude such a strong presence of charm, coolness, wit, and magnetism, and Carlos Alomar is one that does it so seamlessly! His passion for music and its healing possibilities is quite transcending, and his iconic past as one of the guitarists for David Bowie mirrors with his present aspirations to connect, inspire, teach, and awe. Your devotion to the Latin community and the millions of fans you have touched are inspiring! Thank you for elevating us with your extreme passion, vibe, charisma, and overwhelming optimism and connection to mental health! Music is the soul and each of us spins it so uniquely! As he said, “We all have that song that makes us move our body and reflect upon a time that has passed." Thank you Carlos for being on the episode! You can follow him on Instagram @guitarlos1, and you can also check out his website at carlosalomar.com. What a fun interview we had, can't wait to chat before and after the David Bowie World Fan Convention in June 2022! Thank you, Coming From the Heart family, for your continued support of the podcast. Get ready for some incredible guests who'll be hoping on the podcast and on Instagram Lives as we continue with Food, Lifestyle, and Culture. Stay tuned by following our Instagram @coming_fromtheheartpodcast and look forward to two great episodes a month anywhere you listen to your podcasts. And thank you to Lindsey Metselaar (who has an incredible podcast called We Met At Acme) for chatting with us. Her episode will be airing 10/15 on so get ready for some great dating advice, amazing insight, and to hear some of Lindsey's own dating experiences that can help guide the many dating dilemmas that we all may come across! Thank you to our partners: Play Out Apparel: Use code HEARTPODCAST when you check out & 20% of the proceeds will be donated to IMMIGRATION EQUALITY which is the nation's leading LGBTQ+ Immigration Rights Organization. Greek Glasses: Use code ALBE40 for 40% off your order! Shout out to our amazing sound engineer Alex Wiederock (@ajwiede on Instagram) for editing the podcast! Also, shout out to Xixuan Hei for the original and beautiful soundtrack she composed (@xixuan_hei on Instagram). Please join our community and follow us on: Instagram: @coming_fromtheheartpodcast Twitter: @cfthpodcast Facebook: Coming From the Heart Podcast https://linktr.ee/coming_fromtheheartpodcast Please subscribe, rate, review, & share with the ones closest to your hearts!

In this very special bonus episode, Jessica skypes in with fashion expert and artist Katie Lilly of The Haunted Outfit to discuss the fashion stylings of Trent Reznor and Nine Inch Nails in the early days. It's adorable and wonderful and you don't want to miss it! Theme music by David Bowie, as interpreted by Trent Reznor, Mariqueen Maandig Reznor, Atticus Ross, Mike Garson, Carlos Alomar, Gerry Leonard, Mark Plati, Sterling Campbell, and Catherine Russell. The full episode is up now at patreon.com/auxaudio . Go there to subscribe and get Nailed bonus content, as well as bonus content for all AUX shows. Email us at nailedpod@gmail.com Nailed is on Instagram and Twitter

DJ Kingblind presents The Big Beat online radio show Podcast- This week we talk about & play the best music in a themed Podcast called "This is David Bowie" Rock star David Bowie's first hit was the song "Space Oddity" in 1969. The original pop chameleon, Bowie became a fantastical sci-fi character for his breakout Ziggy Stardust album. He later co-wrote "Fame" with Carlos Alomar and John Lennon, which became his first American No. 1 single in 1975. An accomplished actor, Bowie starred in The Man Who Fell to Earth in 1976. He was inducted into the Rock and Roll Hall of Fame in 1996. Shortly after releasing his final album, Bowie died from cancer on January 10, 2016.  Wanna find out more? visit www.djkingblind.com or search DJ Kingblind in your favorite podcast app to find out more!#podcastsonamazonmusic #podcast #music #glam #uk #rock #djkingblind #applepodcasts #googlepodcasts #art #bowie #thinwhiteduke #londonFind all links for DJ Kingblind here: https://linktr.ee/kingblindSupport the show

Derek and Kieran are joined by Belouis Some. Best known for the classic single ‘Imagination', the accompanying boundary breaking promotional video included full frontal nudity. Over his three albums, Belouis worked with a stellar roll call of musicians including Bowie guitarists Carlos Alomar and Earl Slick, Guy Fletcher of DIRE STRAITS and CHIC's Bernard Edwards and Tony Thompson. After a break of 25 years, Belouis Some has recently returned to the live arena and we spoke about his career, the challenges of getting signed, working with the late iconic PINK FLOYD artist Storm Thorgerson, plus his early links with DURAN DURAN and a fledgling TEARS FOR FEARS and our mandatory Top of the Pops story. Let Christy Take It are proud to present Belouis Some.

Chuck Berry told me, “Boy, you don’t rehearse rock ‘n roll!...” On this Carlos Alomar interview, meeting David Bowie, and why he left Bowie… growing up with a father who was a Pentecostal minister and the wisdom & openness Carlos gleaned from this relationship… working with Chuck Berry, Iggy Pop (and his incredible power), Mick Jagger, Gloria Gaynor and others… thing he’s proudest of, why you should never “Disturb the groove,” thinking like 3 guitar players, not one… golf, Greece, puppets, smiling, and why, “If you can’t explain it, you can’t defend it!” One of the smartest performers and most naturally happy people I’ve had the pleasure of meeting, this is a MUST listen! If you’d like to support this show: http://www.everyonelovesguitar.com/support Carlos Alomar worked with David Bowie as his musical director from 1975-2003. He’s also played on 11 Bowie albums, which is more than any musician, other than pianist Mike Garson. He was also a member of the Apollo house band. As a side man, Carlos has recorded or toured with with Ben E. King, Joe Simon, Roy Ayers, The Main Ingredient (“Everybody Plays The Fool), Iggy Pop (co-writes), Cyndi Lauper, Carly Simon, Mick Jagger (co-writes), Paul McCartney, John Lennon, Simple Minds, Yoko Ono, Bruce Springsteen, Alicia Keys, Gloria Gaynor, Mark Ronson & Bruno Mars (Uptown Funk), Graham Parker, Debbie Gibson, Jellybean, Dr. Dre, Tom Jones, Prefab Sprout, The Pretenders and many others. He’s played on 32 Gold and Platinum records over the years & done soundtrack work for movies and TV, including movies like Rush, Pretty Woman, Pretty In Pink, Usual Suspects. He also appeared in a new documentary, "By whatever means necessary" which just won an NAACP outstanding directors award... Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/

We're taking a brief break from the story this week. (We'll be back with our final chapter on David Bowie on Monday, May 3rd!) But today we have something very special in store: a conversation with Carlos Alomar — a funk guitar icon, and one of David's most crucial musical collaborators. He cut his teeth in the late ‘60s as one of the youngest players ever in the Apollo Theater's house band, leading to stints backing James Brown, Chuck Berry and Wilson Pickett, all while still in his teens.  Carlos' influence helped inspire David to take his famous trip to Philadelphia in 1974 to record the soul-steeped ‘Young Americans' record. To get the sound, David tapped Carlos, who in turn assembled a group of top shelf funk musicians that included his wife, vocalist Robin Clark, and an old schoolfriend named Luther Vandross. So began a musical partnership that would last almost thirty years. Carlos played on 11 of David's albums, including classics like 'Station to Station,' ‘the Berlin Trilogy, and ‘Scary Monster (and Super Creeps),' and cowrote his first American number one, “Fame.” More importantly, he was a loyal friend throughout his life.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

David Bowie está por aqui novamente! Dessa vez com o soul, R&B e funk do disco Young Americans. Um disco cheio de músicos bons, como Carlos Alomar, Luther Vandross e Johnn Lennon.Dá o play e vem dançar!Siga @discdomeupai no instagram e twitter

Our latest CAS Worldwide sees Colleen ‘Cosmo' Murphy digging deep into David Bowie Heroes. Although it was the second instalment of David Bowie's Berlin Trilogy, “Heroes” was in fact the only album to be written and recorded entirely within the city. The multi-instrumentalist Bowie was joined by many of the same musicians who had worked on his previous album, Low, including guitarist Carlos Alomar, drummer Dennis Davis, and bassist George Murray, and a similar rhythmic-rock spark ignites the group once again. Brian Eno took a place behind the keyboard, setting up his unique brand of studio know-how and synth-science in contrast to the more traditional interplay of the rhythm section. Read more: ClassicAlbumSundays.com

Our latest CAS Worldwide sees Colleen ‘Cosmo’ Murphy digging deep into David Bowie Heroes. Although it was the second instalment of David Bowie’s Berlin Trilogy, “Heroes” was in fact the only album to be written and recorded entirely within the city. The multi-instrumentalist Bowie was joined by many of the same musicians who had worked on his previous album, Low, including guitarist Carlos Alomar, drummer Dennis Davis, and bassist George Murray, and a similar rhythmic-rock spark ignites the group once again. Brian Eno took a place behind the keyboard, setting up his unique brand of studio know-how and synth-science in contrast to the more traditional interplay of the rhythm section. Read more: ClassicAlbumSundays.com

Episode 34   When Synth-Pop Ruled Britannia An exploration of synth-pop that was popular in the UK. Playlist Space, “Magic Fly” (1977 United Artists). French group led by Didier Marouani (aka Ecama) and Roland Romanelli. Flirted with electronic disco music. 4:18 Giorgio Moroder, “The Chase” (1978 Casablanca). Big synths programmed and played by Moroder. Produced in Germany. An extended play “Casablanca Disco Single.” 13:08 The Normal, “Warm Leatherette” (1978Mute). UK artist Daniel Miller. 3:21 Vice Versa, “New Girls Neutrons” (1979 Neutron Records). Electronic New Wave / Minimal Synth band from Sheffield, UK. Synthesizers, David Sydenham. 2:02 Gary Numan, “Metal” from The Pleasure Principle (1979 Beggar's Banquet). UK group. Gary Numan on keyboards, synthetic percussion. 3:28 Telex, “Moskow Diskow” from Looking For Saint Tropez (1979 Vogue). This Belgian synth group included Dan Lacksman, Marc Moulin, and Michel Moers. 4:12 Yellow Magic Orchestra, “Rydeen” from X∞Multiplies (1980 A&M Records). Japanese band featuring electronic keyboards, synthesis and processing, Ryuichi Sakamoto; Guitar, Kenji Omura; synthesis programming, Hideki Matsutake; vocals, Chris Mosdell. 4:25 Suicide, “Diamonds, Fur Coat, Champagne” from Suicide: Alan Vega · Martin Rev (1980 Antilles). UK group. Electronics, Martin Rev; vocals, Alan Vega. 3:18 Yello, “Bostich” from Bostich (1981 Stiff America). Swiss electronic band formed in 1979 in Zürich, Switzerland. Electronics, vocals, Boris Blank; lyrics, vocals, Dieter Meier; tape, Carlos Peron. 4:32 Jon Foxx, “Underpass” (1980 Metal Beat). UK artist. Electronics, John Foxx. 3:21 Visage, “Fade to Grey” (1980 Polydor). UK artist. Produced by Midge Ure (Ultravox). 3:50 The Human League, “Love Action (I Believe in Love)” (1981 A&M). Electronic band from Sheffield, England. Synthesis Philip Oakey. 3:49 Heaven 17, “Play to Win” (1981 Virgin). UK artist. Formed as a side project of the British Electric Foundation (B.E.F.), the production company formed by Ian Craig Marsh and Martyn Ware, after their departure from the The Human League in 1980. 7:26 Soft Cell, “Memorabilia” (1981 Some Bizarre). UK artist. Synthesizer, percussion, David Ball; vocals, percussion, Marc Almond. 4:48 Depeche Mode, “Just Can't Get Enough” from Speak & Spell (1981 Mute). UK group. English electronic music band formed March 1980 in Basildon, Essex. Lead vocals, Dave Gahan; keyboards, guitar, vocals, Martin Gore; keyboards, Andy Fletcher; keyboards, Vince Clarke. 3:39 Yazoo, “Don't Go” (1982 Mute). Yazoo was an English Synth-Pop duo from Basildon, Essex. Vocals, Alison Moyet; synthesizers, Vince Clarke. 4:58 Kajagoogoo, “Hang on Now” (1983 EMI). UK group.Lead vocals, Limahl; bass, Nick Beggs; E-bow and guitar, Steve Askew; synthesizers, Stuart Croxford Neale; drums and electronic programming, Jez Strode. 3:38 The Art of Noise, “Moments in Love” (1985 ZTT). UK group. Vocals, Camilla Pilkington; keyboards, Ann Dudley; engineering, Gary Langan; electronics, Fairlight CMI, J.J. Jeczalik; bass, producer, Trevor Horn. 4:32 Propaganda, “Dr. Mabuse” (1984 Island Records). German group.German group from Düsseldorf; formed in 1982 by former Die Krupps keyboarder Ralf Dörper and Andreas Thein. Produced by Trevor Horn. 4:46 Pet Shop Boys, “West End Girls” (1985 Parlophone). UK group. Lead vocals, keyboards, occasional guitar, Neil Tennant; keyboards, occasional vocals, Chris Lowe. 3:58 Bronski Beat, “Smalltown Boy” (1984 Forbidden Fruit). UK group. Keyboardists Steve Bronski, Larry Steinbachek; vocals Jimmy Somerville. 4:59 Frankie Goes to Hollywood, “Black Night White Light” from Welcome To The Pleasuredome (1984 ZTT). UK group. Lead vocals, Holly Johnson; backing vocals, Paul Rutherford; guitar, Brian Nash; bass, Mark O'Toole; drums Peter Gill; keyboards, programming, software, J. J. Jeczalik. 4:02 Prefab Sprout, “Appetite” (1985 Kitchenware Records). English pop band from Witton Gilbert, County Durham. This track produced by Thomas Dolby. 3:54 Ivan, “Fotonovela” (1984 CBS). Spanish singer, Juan Carlos Ramos Vaquero; produced by Pedro Vidal. 4:32 A-HA, “The Blue Sky” (1986 Warner Brothers). Norwegian band formed in Oslo in 1982. Lead vocals, Morten Harket; guitar, vocals, Paul Waaktaar-Savoy; keyboards, vocals, Magne Furuholmen. 3:15     Opening background music: David Bowie, “Subterraneans” from Low (1977 RCA Victor). Vocals, saxophones, guitar, ARP synthesizer, Chamberlin (tape horn and brass, synthetic strings, tape cellos), David Bowie; Minimoog, ARP, EMS Synthi AKS, piano, Chamberlin, other synthesizers, vocals, guitar treatments, synthetics, Brian Eno; rhythm guitar, Carlos Alomar; bass, George Murray; produced by David Bowie, Tony Visconti. 5:38 This list, not the recordings, originally appeared in the February 2018 edition of Classic Pop in an article by Paul Lester. Check it out!   Opening and closing sequences voiced by Anne Benkovitz.  

Welcome back to Albumto album with guest Bowie obsessive Adam Buxton!  Scary Monsters is a milestone album. It is one I have long wanted to tackle here and I have quite a few thoughts about it. Here are a few of them.  David Bowie entered 1980 restless for change and a new sense of purpose. The generally lukewarm reaction to his previous album Lodger clearly prompted an internal audit and the 33-year old artist, on the move from Europe and now soaking up the energy of New York city, felt the time had come to harness the spirit of adventure and experimentation of the ‘Berlin’ era with a scaffold of tough, catchy rock.    The songs, constructed by the dream team core combo of producer Tony Visconti, guitarist Carlos Alomar, bassist George Murray and drummer Dennis Davis, came together fast. Gone were the conceptual hi-jinks of the Eno era and instead, Bowie crafted these tracks with painterly care and attention. Each has a dynamic chiaroscuro, silhouettes and shadows are everywhere. Bowie’s interest in Expressionism and surrealism filters through these songs that tease the listener, before giving up their charms with sluttish abandon.    Bowie recorded the album at a brisk clip in spring 1980, working hard and fast at the New York Power Station studios with his band and assorted guest musicians including left field guitarists Chuck Hammer and Robert Fripp, both of whom left their distinctive fingerprints on the record. The former, with his customised guitar-synths, aroused Bowie with talk of “guitarchitecture”, the latter, a veteran of strange spontaneous sessions for Heroes and Lodger, scrawled atonic graffiti phrases across the title track, Its No Game, Fashion and so on, while a delighted Bowie would give gnomic instructions, “Play like Ritchie Blackmore, without sounding like Ritchie Blackmore!”   The lyrical content of the album gives us a fascinating insight within the author’s brain. Clear-headed, relatively sober and facing down the barrel of his 30s (many messianic men feel weird at 33, especially those of self-mythologising bent) and for the first time, seeing the results of his influences on a new wave of foppish romantics. His constituency had always been in the margins of the mainstream, but now, in the sulphurous afterburn of punk, it seemed as if his legacy was everywhere. From the so-called Blitz kids, some of whom he rather smartly re-appropriated for use in the Ashes To Ashes video to his swipes and bitchy asides aimed at the younger generation in songs like Teenage Wildlife and Because You’re Young, it seemed as if the unwilling role as older statesman of rock was sitting uncomfortably. His ambivalence to the generation of ‘Blitz kids’ who followed in his wake, was understandable. Bowie had always valued the courage to move on, look ahead and explore. His cadre of imitators that reached a peak around 1978, 1979 - pale, robotic - staccato of delivery and alienated of mien - irritated him, outweighing any personal gratification and flattery.    As Bowie the artist would tend to leg it, on achieving a degree of success and acclaim, Bowie the viable record label investment and going concern was in deep shit, thanks not only to the aftermath of his disastrous mid 70s breakup with avaricious manager Tony DeFries, but generally dismal sales figures. The need to generate serious cash with serious moonlight would dominate the years ahead, leading to questionable artistic decisions and generating much unhappiness for fans, peers, record label and not least, the actor himself.    But that was all still in the future. Looking back, we can mythologise 1980 as being the year that Bowie came of age as a recording artist. The self-referential myth-making wove throughout his year. It can be seen in the small, roughly obscured covers of Low, Heroes and Lodger on the Scary Monsters album artwork, the revisiting of ‘Space Oddity’s  Major Tom in the astonishing ‘Ashes To Ashes’. It’s the howling anguish in opener ‘It’s No Game (Part One) and the resigned indifference of the track’s reprise at the close of the record. The lurking Pierrot of the cover figure, an affectation that stretched back to Bowie’s days in mime with the Lindsay Kemp company, was also something of a marker, closing the blinds on yesterday as a ‘cunt in a clown suit’. And this was the last time the alchemical magic of Alomar, Davis, Murray and Visconti would burn in the crucible of the studio. Shortly after the album was released, on September 17, 1980, Bowie was starring in a successful Broadway run as The Elephant Man, his close friend and inspiration John Lennon would be dead and the actor would return to his Swiss fastness, to plot yet another about-face. From now on, every album featuring Bowie that was released, would be compared to ‘Scary Monsters’, a millstone around its creator’s neck who, despite the decades of artistic, critical and commercial successes and flops to come, would never again quite match its extraordinary moment and magic. For more Adam Buxton shenanigans, check out his site at: www.adam-buxton.co.uk Subscribe to his podcast here (The 2016 'Bowiewallow' episodes ate especially recommended) https://podcasts.apple.com/gb/podcast/the-adam-buxton-podcast/id1040481893 Adam's cartoon on the making of 'Warszawa'  https://www.youtube.com/watch?v=FODvjYoVEi8&t=58s Chris O'Leary's masterful Pushing Ahead Of The Dame blog special on Scary Monsters at 40  https://bowiesongs.wordpress.com/2020/10/08/scary-monsters-at-40/

El guitarrista puertorriqueño fue clave en la explosión de David Bowie en los Estados Unidos. Sus arreglos de guitarra en 'Young Americans', conectados a los arreglos vocales de Luther Vandross, le dieron a Bowie el factor crossover que necesitaba para hacerse grande en Norteamérica. En esta conversación, Alomar cuenta su historia, desde los comienzos en el Teatro Apollo, pasando por su estadía corta pero significativa en la banda de James Brown, y su tarea como productor de 'Doble Vida' de Soda Stereo, de 1987.  Presenta SONOS: comparte la alegría de escuchar en estas fiestas. Compra tu sonos de navidad AQUÍ.

1988 - Doble Vida. Nueva York: Soda Stereo acaricia la real internacionalización al grabar su cuarto álbum de estudio junto a Carlos Alomar, uno de los principales socios de David Bowie. Acompaña a Javier Vásquez y a Juan Carlos Cabrera a descubrir varias anécdotas del disco más americano del trío argentino, un cambio de rumbo y una apuesta arriesgada en un momento crucial en su carrera. ¿Cuánto costó? ¿Dónde se grabó? ¿Quiénes participaron? ¿Por qué se desarmó la confianza en el grupo más popular de rock en español? Y no olvides de seguirnos en Instagram como @cajanegracast

The legendary bass player to the stars Guy Pratt joins us for a wonderful succession of amazing tales, rock and roll anecdotage, fashion advice, Floydian digressions and hot takes on Lodger in this second part of our megachat extravaganza! 1979's 'Lodger' is an often underrated album but upon further inspection, this blend of new wave, electrorock, globally-inspired music and esoteric experimentation stands the test of time. It's a shift away from the previous two 'Berlin' albums and probably the most Eno-esque of all Bowie's records, until 1995's '1. Outside'. The tough line up of Carlos Alomar, Dennis Davis and George Murray are on top form and our man Bowie sounds, in turn, edgy, expansive, impassioned and artful.  Joining me to discuss this superb moment in Bowie's career is the legendary boss of the bass, Guy Pratt who since the early 80s has been boosting the bottom end for Robert Palmer, Bryan Ferry, The Smiths, Icehouse, Coverdale/Page and in a relationship spanning over thirty years, various permutations of Pink Floyd. Today, he plays with Nick Mason's Saucerful of Secrets band, who bring the magical era of Syd era Floyd to the stage. His 2009 autobiography, 'My Bass And Other Animals' is one of the finest, funniest and most enjoyable accounts of a life out on the wilds of the rock scene at its most debauched and delightful best.  Guy has also been in the enviable position of having supported Bowie in 1983, as part of Australian art rockers Icehouse, in the midst of a fan scrum with him in Rotterdam and having Bowie meet his mum outside a caravan full of coke-deranged Australians. He also played bass on Bowie's last ever UK appearance, when he joined Dave Gilmour and band for 'Arnold Layne' and 'Comfortably Numb' in London's Royal Albert Hall in 2006.  This recording, done under lockdown via Zoom, picks up towards the end of side one of Lodger, and makes it to the end of side two via the scenic route. I hope you enjoy it as much as I enjoyed talking to Guy! There are occasional groans from my dachshund, the worst of these have been removed. Check out guypratt.com for news, info and updates on all things Guy Pratt and look up his Lockdown Licks on YouTube and get the inside scoop on how to play some of his best-loved licks and lines. 

1979's 'Lodger' is an often underrated album but upon further inspection, this blend of new wave, electrorock, globally-inspired music and esoteric experimentation stands the test of time. It's a shift away from the previous two 'Berlin' albums and probably the most Eno-esque of all Bowie's records, until 1995's '1. Outside'. The tough line up of Carlos Alomar, Dennis Davis and George Murray are on top form and our man Bowie sounds, in turn, edgy, expansive, impassioned and artful.  Joining me to discuss this superb moment in Bowie's career is the legendary boss of the bass, Guy Pratt who since the early 80s has been boosting the bottom end with the likes of Bryan Ferry, The Smiths, Icehouse, Coverdale/Page and in a relationship spanning over thirty years, various permutations of Pink Floyd. Today, he plays with Nick Mason's Saucerful of Secrets band, who bring the magical era of Syd era Floyd to the stage. His 2009 autobiography, 'My Bass And Other Animals' is one of the finest, funniest and most enjoyable accounts of a life out on the wilds of the rock scene at its most debauched and delightful best.  Guy has also been in the enviable position of having supported Bowie in 1983, as part of Australian art rockers Icehouse, in the midst of a fan scrum with him in Rotterdam and having Bowie meet his mum outside a caravan full of coke-deranged Australians. He also played bass on Bowie's last ever UK appearance, when he joined Dave Gilmour and band for 'Arnold Layne' and 'Comfortably Numb' in London's Royal Albert Hall in 2006.  This recording, done under lockdown via Zoom, gets halfway through side one of Lodger, with many many digressions and much deviation on the way - and I hope you enjoy it as much as I enjoyed making it! Stay tuned for Part 2 imminently  Check out guypratt.com for news, info and updates on all things Guy Pratt https://www.amazon.co.uk/Bass-Other-Animals-Guy-Pratt-ebook/dp/B001NLKY5G/ref=sr_1_1?crid=FB2HVV7IX4UW&dchild=1&keywords=guy+pratt+my+bass+and+other+animals&qid=1587652109&sprefix=guy+Pratt%2Caps%2C133&sr=8-1

A special show of music from artists who recorded with David. Nile Rogers, Earl Slick, Luther Vandross, Mick Ronson, Willie Weeks, Roy Bittan, Herbie Flowers, Carlos Alomar and many more feature in tracks by Chaka Khan, Labelle, Ben E King, Stevie Nicks, Philip Bailey, Pink Floyd etc etc. A real treat to mark the anniversary of the great man's passing with Phil from Diggin' Records.Join the lads from the East Coast of England for their eclectic playlists and jolly banter opposite Tuesdays from 4 - 6 PM EST.For a complete track listing, visit: https://thefaceradio.comFacebook: Diggin' RecordsTwitter: @digginrecords_Instagram: @digginrecordsMixcloud: The Diggin' Records Show Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at “Love is Strange” by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one’s on “Ain’t Nobody’s Business” by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley’s side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia’s releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we’re going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won’t properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that’s a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure — a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we’re looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, “If You See Mary Lee”] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, “Billy’s Blues”, featured both Diddley and Diddley’s guitarist Jody Williams on guitar: [Billy Stewart, “Billy’s Blues”] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker’s birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn’t know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: “Blues After Hours”] Or, more precisely, when he saw Crayton’s Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, “I started bending strings. I was starving to death, and the blues was just a financial thing for me then.” Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker’s comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on “Need Your Love So Bad” by Little Willie John: [Excerpt, Little Willie John, “Need Your Love So Bad”] That’s some pretty good string-bending. He was also on a lot of other songs we’ve talked about in previous episodes. That’s him on guitar on “Mama, He Treats Your Daughter Mean”: [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean”] And “Shake, Rattle, and Roll”: [Excerpt: Big Joe Turner, “Shake, Rattle, and Roll”] and “Money Honey” [Excerpt: Clyde McPhatter and the Drifters, “Money Honey”] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of “I Went to Your Wedding”: [Excerpt: Little Sylvia, “I Went to Your Wedding”] Sylvia was only thirteen when she started her career, using the name “Little Sylvia” — inspired by “Little Esther”, who like her was making records for Savoy records — and her early recordings are a strange mix of different styles. For every syrupy ballad like “I Went to Your Wedding” there was a hard R&B number, more in the Little Esther style, like “Drive, Daddy, Drive”: [Excerpt: Little Sylvia, “Drive Daddy Drive”] That was the other side of the same single as “I Went to Your Wedding”, and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she’d been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters — nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia’s manager. While Sylvia’s career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson’s idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one — a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry — at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success — he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, “I’m So Glad”. It’s not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work — just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, “Se De Boom Run Dun”, while it’s also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, “Se De Boom Run Dun”] Unsurprisingly, it didn’t sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we’ve talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops — usually black-owned businesses selling to black customers — had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels — their customers weren’t interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren’t shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn’t buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his “Jump Man Jump”: [Excerpt: Piano Red, “Jump Man Jump”] They hadn’t had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic’s sessions. Mickey and Sylvia’s first single on Groove, “Walking in the Rain”, had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, “Walking in the Rain”] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, “Just Walking in the Rain”] That’s a totally different song, of course — it’s a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia’s song tanked. They still didn’t have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called “Love is Strange”, and not got round to releasing it. Jody Williams, who was in Diddley’s band at the time, had played the lead guitar on the session, and he’d reused the licks he had used for “Billy’s Blues” on the song: [Excerpt: Bo Diddley, “Love is Strange”] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, “Wyatt Earp”] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play “Love is Strange” for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, “Love is Strange”] Now, Diddley claimed that what he told the song’s publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith’s name made the credits, Williams’ didn’t, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn’t surprise him that they’d missed Williams’ name off. We’ll never know for sure what was actually in Diddley’s contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn’t prove otherwise. Williams never believed him, and the two didn’t speak for decades. Meanwhile, two other people were credited as writers on the song — Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley’s demo and the finished song, which mostly amount to Baker’s lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, “Love is Strange”, spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, “Love is Strange” was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It’s one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, “Love is Strange”. All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, “Love is Strange”] And Paul McCartney and Wings: [Excerpt: Wings, “Love is Strange”] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, “probably the worst collection of talent in the history of the world”, and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as “Love is Strange”: [Excerpt: Mickey and Sylvia, “Dearest”] But even though that wasn’t a big hit record, it was a favourite of Buddy Holly — a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both “Love is Strange” and “Dearest” — demos which were released on singles after his death: [Excerpt: Buddy Holly, “Dearest”] But “Dearest” was so obscure that when Holly’s single came out, the song was titled “Umm Oh Yeah”, and credited to “unknown” for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit… as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called “It’s Gonna Work Out Fine”, and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat “King” Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool — who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn’t been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record — and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record — Sylvia played the lead guitar part, while Mickey did the spoken “Ike” vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren’t the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, “It’s Gonna Work Out Fine”] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia’s recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn’t want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: “South of France Blues”] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, “The Blues Suite”. Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can’t excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called “Mississippi Delta Dues”, released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he’d looked down on early on by performing their songs, along with some of his own in a similar style. It’s an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson’s “Terraplane Blues”: [Excerpt: McHouston Baker, “Terraplane Blues”] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he’s using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir’s “Alabama Blues”, rewritten as “Alabama March”, which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, “Alabama March”] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included “Shame Shame Shame” for Shirley and Company: [Excerpt: Shirley and Company, “Shame Shame Shame”] That’s the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called “Footstompin'”, into “Fame”. Sylvia also had a hit of her own, with a song called “Pillow Talk” that she’d written for Al Green, but which he’d turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, “Pillow Talk”] But I’m afraid we’re going to have to wait more than two years before we find out more about Sylvia’s biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband’s gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock’s cultural place.

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at “Love is Strange” by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one’s on “Ain’t Nobody’s Business” by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley’s side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia’s releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we’re going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won’t properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that’s a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure — a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we’re looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, “If You See Mary Lee”] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, “Billy’s Blues”, featured both Diddley and Diddley’s guitarist Jody Williams on guitar: [Billy Stewart, “Billy’s Blues”] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker’s birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn’t know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: “Blues After Hours”] Or, more precisely, when he saw Crayton’s Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, “I started bending strings. I was starving to death, and the blues was just a financial thing for me then.” Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker’s comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on “Need Your Love So Bad” by Little Willie John: [Excerpt, Little Willie John, “Need Your Love So Bad”] That’s some pretty good string-bending. He was also on a lot of other songs we’ve talked about in previous episodes. That’s him on guitar on “Mama, He Treats Your Daughter Mean”: [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean”] And “Shake, Rattle, and Roll”: [Excerpt: Big Joe Turner, “Shake, Rattle, and Roll”] and “Money Honey” [Excerpt: Clyde McPhatter and the Drifters, “Money Honey”] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of “I Went to Your Wedding”: [Excerpt: Little Sylvia, “I Went to Your Wedding”] Sylvia was only thirteen when she started her career, using the name “Little Sylvia” — inspired by “Little Esther”, who like her was making records for Savoy records — and her early recordings are a strange mix of different styles. For every syrupy ballad like “I Went to Your Wedding” there was a hard R&B number, more in the Little Esther style, like “Drive, Daddy, Drive”: [Excerpt: Little Sylvia, “Drive Daddy Drive”] That was the other side of the same single as “I Went to Your Wedding”, and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she’d been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters — nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia’s manager. While Sylvia’s career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson’s idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one — a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry — at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success — he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, “I’m So Glad”. It’s not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work — just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, “Se De Boom Run Dun”, while it’s also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, “Se De Boom Run Dun”] Unsurprisingly, it didn’t sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we’ve talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops — usually black-owned businesses selling to black customers — had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels — their customers weren’t interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren’t shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn’t buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his “Jump Man Jump”: [Excerpt: Piano Red, “Jump Man Jump”] They hadn’t had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic’s sessions. Mickey and Sylvia’s first single on Groove, “Walking in the Rain”, had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, “Walking in the Rain”] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, “Just Walking in the Rain”] That’s a totally different song, of course — it’s a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia’s song tanked. They still didn’t have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called “Love is Strange”, and not got round to releasing it. Jody Williams, who was in Diddley’s band at the time, had played the lead guitar on the session, and he’d reused the licks he had used for “Billy’s Blues” on the song: [Excerpt: Bo Diddley, “Love is Strange”] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, “Wyatt Earp”] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play “Love is Strange” for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, “Love is Strange”] Now, Diddley claimed that what he told the song’s publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith’s name made the credits, Williams’ didn’t, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn’t surprise him that they’d missed Williams’ name off. We’ll never know for sure what was actually in Diddley’s contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn’t prove otherwise. Williams never believed him, and the two didn’t speak for decades. Meanwhile, two other people were credited as writers on the song — Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley’s demo and the finished song, which mostly amount to Baker’s lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, “Love is Strange”, spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, “Love is Strange” was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It’s one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, “Love is Strange”. All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, “Love is Strange”] And Paul McCartney and Wings: [Excerpt: Wings, “Love is Strange”] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, “probably the worst collection of talent in the history of the world”, and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as “Love is Strange”: [Excerpt: Mickey and Sylvia, “Dearest”] But even though that wasn’t a big hit record, it was a favourite of Buddy Holly — a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both “Love is Strange” and “Dearest” — demos which were released on singles after his death: [Excerpt: Buddy Holly, “Dearest”] But “Dearest” was so obscure that when Holly’s single came out, the song was titled “Umm Oh Yeah”, and credited to “unknown” for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit… as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called “It’s Gonna Work Out Fine”, and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat “King” Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool — who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn’t been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record — and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record — Sylvia played the lead guitar part, while Mickey did the spoken “Ike” vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren’t the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, “It’s Gonna Work Out Fine”] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia’s recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn’t want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: “South of France Blues”] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, “The Blues Suite”. Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can’t excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called “Mississippi Delta Dues”, released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he’d looked down on early on by performing their songs, along with some of his own in a similar style. It’s an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson’s “Terraplane Blues”: [Excerpt: McHouston Baker, “Terraplane Blues”] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he’s using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir’s “Alabama Blues”, rewritten as “Alabama March”, which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, “Alabama March”] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included “Shame Shame Shame” for Shirley and Company: [Excerpt: Shirley and Company, “Shame Shame Shame”] That’s the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called “Footstompin'”, into “Fame”. Sylvia also had a hit of her own, with a song called “Pillow Talk” that she’d written for Al Green, but which he’d turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, “Pillow Talk”] But I’m afraid we’re going to have to wait more than two years before we find out more about Sylvia’s biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband’s gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock’s cultural place.

Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at "Love is Strange" by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus episode available. This one's on "Ain't Nobody's Business" by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley's side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan. This double-CD set contains all of Mickey and Sylvia's releases as a duo, plus several Little Sylvia singles. And Mississippi Delta Dues is an album that all blues lovers should have. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we're going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won't properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history. Yet this is a song that's a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner. The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure -- a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart. Stewart, like many of the musicians we're looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer. There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like: [Excerpt: The Rainbows, "If You See Mary Lee"] Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, "Billy's Blues", featured both Diddley and Diddley's guitarist Jody Williams on guitar: [Billy Stewart, "Billy's Blues"] Williams came up with that guitar part, and that would lead to a lot of trouble in the future. And that trouble would come because of Mickey Baker. Mickey Baker's birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn't know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton: [Excerpt: Pee Wee Crayton: "Blues After Hours"] Or, more precisely, when he saw Crayton's Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, "I started bending strings. I was starving to death, and the blues was just a financial thing for me then." Baker became part of an informal group of people around Atlantic Records, centred around Doc Pomus, a blues songwriter who we will hear more about in the future, along with Big Joe Turner and the saxophone player King Curtis. They were playing sophisticated city blues and R&B, and rather looked down on the country bluesmen who are now much better known, as being comparatively unsophisticated musicians. Baker's comments about “bending strings” come from this attitude, that real good music involved horns and pianos and rhythmic sophistication, and that what the Delta bluesmen were doing was something anyone can do. Baker became one of the most sought-after studio guitarists in the R&B field, and for example played the staggering lead guitar on "Need Your Love So Bad" by Little Willie John: [Excerpt, Little Willie John, "Need Your Love So Bad"] That's some pretty good string-bending. He was also on a lot of other songs we've talked about in previous episodes. That's him on guitar on "Mama, He Treats Your Daughter Mean": [Excerpt: Ruth Brown, "Mama, He Treats Your Daughter Mean"] And "Shake, Rattle, and Roll": [Excerpt: Big Joe Turner, "Shake, Rattle, and Roll"] and "Money Honey" [Excerpt: Clyde McPhatter and the Drifters, "Money Honey"] And records by Louis Jordan, LaVern Baker, Ray Charles and more. Baker was also a guitar teacher, and one of his students was a young woman named Sylvia Vanterpool. Sylvia was, at the time, a singer who was just starting out in her career. She had recorded several unsuccessful tracks on Savoy and Jubilee records. A typical example is her version of "I Went to Your Wedding": [Excerpt: Little Sylvia, "I Went to Your Wedding"] Sylvia was only thirteen when she started her career, using the name "Little Sylvia" -- inspired by "Little Esther", who like her was making records for Savoy records -- and her early recordings are a strange mix of different styles. For every syrupy ballad like "I Went to Your Wedding" there was a hard R&B number, more in the Little Esther style, like "Drive, Daddy, Drive": [Excerpt: Little Sylvia, "Drive Daddy Drive"] That was the other side of the same single as "I Went to Your Wedding", and you can hear that while she had some vocal talent, she was not keeping to a coherent enough, distinctive enough, sound to make her into a star. By the time she was twenty, Sylvia was holding down a day job as a typist, trying and failing to earn enough money to live on as a singer. But she'd been taking guitar lessons from Mickey Baker and had got pretty good. But then Sylvia started dating a man named Joe Robinson. Joe Robinson was involved in some way with gangsters -- nobody has written enough detail for me to get an exact sense of what it was he did with the mob, but he had connections. And he decided he was going to become Sylvia's manager. While Sylvia's career was floundering, Joe thought he could beef it up. All that was needed was a gimmick. Different sources tell different stories about who thought of the idea, but eventually it was decided that Sylvia should join with her guitar teacher and form a duo. Some sources say that the duo was Joe Robinson's idea, and that it was inspired by the success of Gene and Eunice, Shirley and Lee, and the other vocal duos around the time. Other sources, on the other hand, talk about how Mickey Baker, who had started out as a jazz guitarist very much in the Les Paul mode, had wanted to form his own version of Les Paul and Mary Ford. Either way, the gimmick was a solid one -- a male/female duo, both of whom could sing and play the guitar, but playing that string-bending music that Mickey was making money from. And the two of them had chemistry -- at least on stage and on recordings. Off stage, they soon began to grate on each other. Mickey was a man who had no interest in stardom or financial success -- he was a rather studious, private, man who just wanted to make music and get better at his instrument, while Sylvia had a razor-sharp business mind, a huge amount of ambition, and a desire for stardom. But they worked well as a musical team, even if they were never going to be the best of friends. Originally, they signed with a label called Rainbow Records, a medium-sized indie label in New York, where they put out their first single, "I'm So Glad". It's not an especially good record, and it does seem to have a bit of Gene and Eunice to it, and almost none of the distinctive guitar that would characterise their later work -- just some stabbing punctuation on the middle eight and a rather perfunctory solo. The B-side, though, "Se De Boom Run Dun", while it's also far from a wonderful song, does have the semi-calypso rhythm that would later make them famous: [Excerpt: Mickey and Sylvia, "Se De Boom Run Dun"] Unsurprisingly, it didn't sell, and nor did the follow-ups. But the records did get some airplay in New York, if nowhere else, and that brought them to the attention of Bob Rolontz at Groove Records. Groove Records was a subsidiary of RCA, set up in 1953. At that time, the major record labels had a problem, which we've talked about before. For years, none of them had put out R&B records, and the small labels that did put out R&B had been locked out of the distribution networks that the major labels dominated. The result had been that a whole independent network of shops -- usually black-owned businesses selling to black customers -- had sprung up that only sold R&B records. Those shops had no interest in selling the records put out by the major labels -- their customers weren't interested in Doris Day or Frank Sinatra, they wanted Wynonie Harris and Johnny Otis, so why would the shop want to stock anything by Columbia or Decca or RCA, when there was Modern and Chess and Federal and King and Sun and RPM out there making the kind of records their customers liked? But, of course, the major labels still wanted to sell to those customers. After all, there was money out there in the pockets of people who weren't shareholders in RCA or Columbia, and in the eyes of those shareholders that was the greatest injustice in the world, and one that needed to be rectified forthwith. And so those labels set up their own mini-divisions, to sell to those shops. They had different labels, because the shops wouldn't buy from the majors, but they were wholly-owned subsidiaries. Fake indie labels. And Groove was one of them. Groove Records had had a minor hit in 1955 with the piano player Piano Red, and his "Jump Man Jump": [Excerpt: Piano Red, "Jump Man Jump"] They hadn't had a huge amount of commercial success since, but Rolontz thought that Mickey and Sylvia could be the ones to bring him that success. Rolontz put them together with the saxophonist and arranger King Curtis, who Mickey already knew from his work with Doc Pomus, and Curtis put together a team of the best R&B musicians in New York, many of them the same people who would play on most of Atlantic's sessions. Mickey and Sylvia's first single on Groove, "Walking in the Rain", had the potential to be a big hit in the eyes of the record company: [Excerpt: Mickey and Sylvia, "Walking in the Rain"] But unfortunately for them, Johnnie Ray put out this at around the same time: [Excerpt: Johnnie Ray, "Just Walking in the Rain"] That's a totally different song, of course -- it's a cover version of one of the first records ever released on Sun Records, a few years earlier, originally by a vocal group called the Prisonaires. But customers were understandably confused by the presence of two songs with almost identical titles in the market, and so Mickey and Sylvia's song tanked. They still didn't have that hit they needed. But at that point, fate intervened in the form of Bo Diddley. In May 1956, Diddley had written and recorded a song called "Love is Strange", and not got round to releasing it. Jody Williams, who was in Diddley's band at the time, had played the lead guitar on the session, and he'd reused the licks he had used for "Billy's Blues" on the song: [Excerpt: Bo Diddley, "Love is Strange"] At the time, Diddley was friendly with Mickey Baker, and was using Baker as a session guitarist on outside recordings he was producing for other artists, including recordings with Billy Stewart and with the Marquees, a vocal group which featured a young singer named Marvin Gaye: [Excerpt: The Marquees, "Wyatt Earp"] As a result, Mickey and Sylvia ended up playing a few shows on the same bill as Diddley, and at one of the shows, Williams, who was attracted to Sylvia, decided to play "Love is Strange" for her. Sylvia liked the song, and Mickey and Sylvia decided to record it. [Excerpt: Mickey and Sylvia, "Love is Strange"] Now, Diddley claimed that what he told the song's publishers was that Jody Williams wrote the music, while he wrote the lyrics, but he asked that the credit for the lyrics be put in the name of his wife Ethel Smith. While Smith's name made the credits, Williams' didn't, and Williams blamed Diddley for the omission, while Diddley just said (with some evidence) that most of the people he signed contracts with were liars and thieves, and that it didn't surprise him that they'd missed Williams' name off. We'll never know for sure what was actually in Diddley's contracts because, again according to Diddley, just before he and Smith divorced she burned all his papers so she could claim that he never gave her any money and he couldn't prove otherwise. Williams never believed him, and the two didn't speak for decades. Meanwhile, two other people were credited as writers on the song -- Mickey and Sylvia themselves. This is presumably for the changes that were made between Diddley's demo and the finished song, which mostly amount to Baker's lead guitar part and to the famous spoken-word section of the song in the middle: [Excerpt: Mickey and Sylvia, "Love is Strange", spoken word section] According to Diddley, he also later sold his own share in the song to Sylvia, some time in the early sixties. This may well be the case, because Sylvia Vanterpool went on to become a very, very successful businesswoman, who made a lot of very wise business decisions. Either way, "Love is Strange" was a big hit. It went to number eleven in the pop charts and number one on the R&B chart. It's one of those records that everyone knows, and it went on to be covered by dozens upon dozens of performers, including The Maddox Brothers and Rose: [Excerpt: The Maddox Brothers and Rose, "Love is Strange". All very short excerpts here] The Everly Brothers: [Excerpt: The Everly Brothers, "Love is Strange"] And Paul McCartney and Wings: [Excerpt: Wings, "Love is Strange"] And Jody Williams never saw a penny from it. But after Groove Records had had this breakthrough big hit, RCA decided to close the label down, and move the acts on the label, and their producer Rolontz, to another subsidiary, Vik. Vik Records had, according to Rolontz, "probably the worst collection of talent in the history of the world", and was severely in debt. All the momentum for their career was gone. Mickey and Sylvia would release many more records, but they would have diminishing returns. Their next record went top ten R&B, but only number forty-seven on the pop charts, and the record after that did even worse, only reaching number eighty-five in the hot one hundred, even though it was another Bo Diddley ballad very much in the same vein as "Love is Strange": [Excerpt: Mickey and Sylvia, "Dearest"] But even though that wasn't a big hit record, it was a favourite of Buddy Holly -- a singer who at this time was just starting out in his own career. You can tell how much Holly liked Mickey and Sylvia, though, just by comparing the way he sings the word “baby” on many of his records to the way Sylvia sings it in “Love is Strange”, and he recorded his own home demos of both "Love is Strange" and "Dearest" -- demos which were released on singles after his death: [Excerpt: Buddy Holly, "Dearest"] But "Dearest" was so obscure that when Holly's single came out, the song was titled "Umm Oh Yeah", and credited to "unknown" for many years, because no-one at the record label had heard the earlier record. Mickey and Sylvia would have several more records in the hot one hundred, but the highest would only reach number forty-six. But while they had no more hits under their own names, they did have another hit... as Ike Turner. After Mickey and Sylvia were dropped along with the rest of the Vik artists, they split up temporarily, but then got back together to start their own company, Willow Records, to release their material. Ike Turner played on some of their records, and to return the favour they agreed to produce a record for Ike and Tina Turner. The song chosen was called "It's Gonna Work Out Fine", and it was co-written by the great R&B songwriter Rose Marie McCoy, who had written for Elvis, Nat "King" Cole, Nappy Brown, and many others. The other credited co-writer is one Sylvia McKinney, who some sources suggest is the same person as Sylvia Vanterpool -- who had by this point married Joe Robinson and changed her name to Sylvia Robinson. Whether she was the other co-writer or not, Mickey and Sylvia had recorded a version of the song for Vik Records, but it hadn't been released, and so they suggested to Ike that the song would work as an Ike and Tina Turner record -- and they would produce and arrange it for them. Indeed they did more than that. They *were* Ike Turner on the record -- Sylvia played the lead guitar part, while Mickey did the spoken "Ike" vocals, which Ike would do live. Sylvia also joined the Ikettes on backing vocals, and while Mickey and Sylvia aren't the credited producers, the end result is essentially a Mickey and Sylvia record with guest vocals from Tina Turner: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That record sold over a million copies, and got a Grammy nomination. However, Mickey and Sylvia's recordings under their own name were still having no success, and Mickey was also having problems because his then-wife was white, and with the particularly virulent form of racism the US was suffering through at the time, he didn't want to be in the country any more. He was also becoming more and more interested in the academic side of music. He had already, in 1955, written a book, the Complete Course in Jazz Guitar, which is still available today and highly regarded. So he moved to Europe, and went back into jazz, performing with people like Coleman Hawkins: [Excerpt: Mickey Baker and Coleman Hawkins: "South of France Blues"] But he did more than just jazz. He studied composition with Iannis Xennakis and started writing fugues and a concerto for guitar and orchestra, "The Blues Suite". Unfortunately, while some of that music was recorded, it only appears to have been released on now out of print and expensive vinyl which no-one has uploaded to the Internet, so I can't excerpt it for you here. What I *can* excerpt is a project he did in the mid-1970s, an album called "Mississippi Delta Dues", released under his birth name McHouston Baker, where he paid tribute to the country bluesmen he'd looked down on early on by performing their songs, along with some of his own in a similar style. It's an odd album, in which sometimes he does a straight soundalike, like this version of Robert Johnson's "Terraplane Blues": [Excerpt: McHouston Baker, "Terraplane Blues"] And sometimes he uses strings. Sometimes this is just as a standard pop-style string section, but sometimes he's using them in ways he learned from Xenakkis, like on this version of J.B. Lenoir's "Alabama Blues", rewritten as "Alabama March", which ends up sounding like nothing as much as Scott Walker: [Excerpt: McHouston Baker, "Alabama March"] Baker carried on performing music of all kinds around Europe until his death in 2011. He died massively respected for his contributions to blues, jazz, R&B, and the technical proficiency of generations of guitarists. Sylvia Robinson made even more of a contribution. After a few years off to have kids after the duo split up, she set up her own record label, All Platinum. For All Platinum she wrote and produced a number of proto-disco hits for other people in the late sixties and early seventies. Those included "Shame Shame Shame" for Shirley and Company: [Excerpt: Shirley and Company, "Shame Shame Shame"] That's the song that inspired David Bowie, John Lennon, and Carlos Alomar to rework a song Bowie and Alomar had been working on, called "Footstompin'", into "Fame". Sylvia also had a hit of her own, with a song called "Pillow Talk" that she'd written for Al Green, but which he'd turned down due to its blatant sexuality conflicting with his newfound religion: [Excerpt: Sylvia, "Pillow Talk"] But I'm afraid we're going to have to wait more than two years before we find out more about Sylvia's biggest contribution to music, because Sylvia Robinson, who had been Little Sylvia and the woman calling her lover-boy, became to hip-hop what Sam Phillips was to rock and roll, and when we get to 1979 we will be looking at how, with financing from her husband's gangster friend Morris Levy, someone from the first wave of rock and roll stars was more responsible than anyone for seeing commercial potential in the music that eventually took rock's cultural place.

Cerrar etapas y abrir otras nuevas. En eso consiste la vida, ¿no? Eduardo Cabra, en este punto de la vida necesita pocas introducciones, es una estrella de música latina, reconocido internacionalmente por su trayectoria con ‘Calle 13’ y por los 28 premios GRAMMY y Latin GRAMMY combinados que lleva a cuestas. Casi nada. Tal vez lo más “deep” de Trending Tropics es que cada una de sus canciones es el resultado de un taller de producción en el que han participado varios músicos, vocalistas e instrumentistas, entre ellos el legendario guitarrista de David Bowie, Carlos Alomar, Ziggy Marley, Pucho y Guille (miembros de Vetusta Morla), Ana Tijoux, Riccie Oriach, Li Saumet (Bomba Estéreo) iLe, Amayo (de Antibalas), Acentoho y Wiso G, entre otros.

TONIGHT ON RADAR RADIO USA. WE ARE PLEASED TO HAVE GLENN L. KIRSCHNER ON RADAR RADIO USA TO TALK ABOUT SO MANY ISSUES THAT HAVE TO DO WITH OUR CRIMINAL JUSTICE SYSTEM. YOU’RE ACTUALLY GUILTY UNTIL PROVEN INNOCENT!

TONIGHT ON RADAR RADIO USA. WE GET UP CLOSE AND PERSONAL WITH DJ PRINCE HAKIM WHO IS A RISING STAR AND THE SON OF ROBERT BELL OF LEGENDARY KOOL & THE GANG! WE TALKED ABOUT HIS LATEST PROJECT “ROYALTY” CO WRITTEN BY WALT ANDERSON. THE HIGHLIGHT OF THE NIGHT WAS OUR LIVE GUEST, SALON OWNER AND STYLIST, CHALLIS AUBRE FROM BALTIMORE WHO EDUCATED US ON WEAVES FOR MEN AND WOMEN AND THE PROS AND CONS OF MAINTAINING HEALTHY HAIR!

Trending Tropics es un taller de producción gestado y creado por el músico y productor Eduardo Cabra (Visitante); y el compositor dominicano Vicente García. En Trending Tropics, Visitante y Vicente García crean música proveniente de las tradiciones, culturas y ritmos Afro-Caribeños y Caribeños, entrelazados con los sonidos contemporáneos y técnicas de grabación experimentales. Trending Tropics forman parte de una foto que relaciona dos universos, la música orgánica y la electrónica; raíces y tecnología. Un proyecto que fluye alejándose del latin cliché; diverso, innovador y sin fórmula replicada. Deseando mantener el enfoque directamente en la creatividad musical en vez de una persona en particular, Trending Tropics se sumerge dentro de un universo artístico en 360º, con una riqueza multicultural trans-arte y con una puesta en escena vanguardista y sin precedentes. Así, conceptualmente el proyecto se distingue por la ausencia de una figura central y tiene como base la colaboración. Como un taller de producción, cuenta con voces diversas y colaboradores de otros proyectos musicales que han prestado su voz y rostro al personaje que servirá como carta de presentación —o front man— a la propuesta: Un robot llamado Elle. El robot Elle, no tiene género, tiene rostro de monitor y cuerpo de aluminio y tubos, intervenidos por una red de cables. En el escenario ocupa por momentos el espacio que le correspondería al personaje de la figura central, para dar paso a una experiencia estética que evoca la revolución tecnológica. Y es a través de esta figura que se integran e intersecan los diversos colaboradores del proyecto. Al neutralizar la figura central a través del filtro que provee el robot, se reproduce en el escenario la dinámica de interacción social tan propia de estos tiempos, hablamos sin tocarnos, nos conocemos sin vernos, somos sonidos e ideas abstractas antes que cuerpo Algunos de los músicos han colaborado a Visitante y Vicente para Trending Tropics incluyen al legendario guitarrista de David Bowie, Carlos Alomar, Ziggy Marley, Pucho y Guille (miembros de Vetusta Morla), Ana Tijoux, Riccie Oriach, PJ Sin Suela, Li Saumet (Bomba Estéreo), iLe, entre otros. Escucha la entrevista exclusiva con Visitante.

This week on Radar Radio USA. We are pleased to interview Kim Udeozoh, singer, songwriter for the Traci Braxton “On Earth” album and Executive Producer, Dave Lindsey with Soul World Ent. We also debuted the new “Ava Cherry’s dance single Right From The Heart”! Thanks to Soul World Entertainment. for all the support!

This week on Radar Radio USA. Damiko Starr joined the panel for a play by play of six of the dopest tracks on his new album. Bitter Sweet is a mature love story from a males perspective. The vocal arrangement is sick and the guy can sing his ass off. Great songs! Great interview!

This week on Radar Radio USA. We welcome Back by popular demand, Emcee, Actress, and Host, Neffy aka NEFERTIITII with brand new songs, new videos and new interview. Also on deck for the first time is producer and artist Aaron Etrnl! And our girl SuZOfficial kicked it off with Paisley Park Tour!

This week on episode #97 it was a power packed house with three of DC’s very own indie artist. Melissa V. Neal came and shut the house down with a live performance for a live studio audience! Amiss Omega, who has a new single with Snoop Dogg, Called “Diva Look” lit the panel with his dope new single and Neffy came with new music and a new video for her single “Motives”. The birth of Freestyle Friday’s! With Blake Holmes, Neffy, Melissa and Amiss!

This week on episode #94 we interview singing sensation Cindy Mizelle, who sang back-up the late great Luther Vandross. Also we had the honor and pleasure of speaking with bassist Tinkr Barfield who is the husband of Alfa Anderson and who has a new album titled, Blended.

Your chance to eaves-drop in on Rob + Marc trying to out-spot each other whilst discussing Bowie collaborations, Carlos Alomar, recreational drugs, the cut-up technique and an array of characters who made cameo appearances along the way.As well as continuing the podcast journey from A to Z you can also immerse yourself in more Bowie related interviews, quizzes, and filmed pieces at our exclusive members club called "Cheap Things", simply by following the link www.patreon.com/cheapthings See acast.com/privacy for privacy and opt-out information.

This week on episode #92 we had the pleasure of having KIMA come by the studio live and in person to promote her new single “LUV ME BACK” which dropped 2/28/2018. Carlos Dyson also stoped by with some new music and to let us know that the video is one the way. It was great hearing music from the nineties era and to simply reminisce with a legend. KIMA, thank for stopping by and blessing us. Hope everyone had a ball. We did!

This week on episode #91 Blake Holmes stops by to talk about the “I AM BLACK” project and we also got a chance to check out some of the tracks from “1993”. Also one of New Jersey’s major players Called in for an interview. Bash_Atlas talked about his journey in rap.

This week on episode #90 The Lovers Lounge was Lit with very special guest Damiko Starr, who has the voice of an angel and the singles to prove it and Jah Briscoe who is the new young face on 1133. We also enjoyed pop up calls from New York from “Fat Fly Freddie Alee, Juxx Diamondz & Korey Buckets. The PICASSO team was Lit in DC!

The Total Tutor Neil Haley will interview Director/Producer Francis Whately of HBO's DAVID BOWIE: THE LAST FIVE YEARS. In January 2016, David Bowie died at the age of 69, just days after he released the critically acclaimed Blackstar, a haunting album that explored questions of mortality. With intimate access to Bowie's friends and artistic collaborators, and a wealth of rare archival material, Francis Whately's insightful film examines the celebrated artist's remarkably creative final years, through the production of both Blackstar and its predecessor, The Next Day, as well as his stage musical, Lazarus. FEATURING | David Bowie, Tony Visconti, Ivo Van Hove, Toni Basil, Earl Slick, Gail Ann Dorsey, Gerry Leonard, Carlos Alomar, Catherine Russel, Sterling Campbell, Zachary Alford, David Torn, Enda Walsh, Donny McCaslin, Maria Schneider, Robert Fox Francis has been making films with the BBC for the last twenty years. He has worked on a wide variety of acclaimed films including documentaries on Mark Rothko and Jackson Pollock; a fashion film with the supermodel Kate Moss; A film with HRH the Duke of Edinburgh, to celebrate his 90th birthday and a hard hitting current affairs film on the state of women's rights around the world, with Hillary Clinton, Madeleine Albright and Condoleezza Rice.  Recently he made a tribute to British National treasure Dame Judi Dench, with Daniel Craig, Sir Ian McKellan and Piers Brosnan. His latest film is a feature length documentary entitled 'The Sidemen'. It discusses the role of some of the greatest unknown musicians who back stars like the Rolling Stones, Billy Joel, Prince, Otis Redding and David Bowie. It was released in July 2017.    

Hace diez años, entre el 19 de octubre y el 21 de diciembre de 2007 la gira Me verás volver comenzó y terminó en el Estadio Monumental de Buenos Aires, sumando un millón de espectadores. La emocionante reunión de Soda Stereo a una década de su separación, el último show de la banda que marca un hito en la historia del rock latinoamericano, rememorada por este especial de Contenidos. Sobre el escenario, en la ciudad de la furia Gustavo Cerati, Charly Alberti y Zeta Bosio, actual conductor del programa Audio por Nacional Rock que también brinda su testimonio. Acompañaron los músicos Tweety González, Leandro Fresco y Leo García, además de invitados especiales: Andrea Álvarez, Richard Coleman, Fabián Zorrito Von Quintiero, Carlos Alomar y Gillespi.    

This week on episode 81 the Music Boy Band RockStar came by with the Heat!! They gave us the dope interview and hot music! We also interviewed Mario Pope and the legendary Silky D! We also dedicated the song “CIRCLES” by Friends of Distinction to ROBIN CLARK and CARLOS ALOMAR on their 47th anniversary.

This week on the 79th episode of Radar Radio USA. we are delighted to have singer songwriter, JusPaul on to talk about his new projects. GRYD stopped by to talk about his new single and we also got a chance to chop it up Yves Kitchen and Vladimir Dor’e

Tonight on the #64 we welcome the legends! We sit down with the legendary guitarist Carlos Alomar has played on more David Bowie albums than you can imagine. We also chopped it up with New York actress and rapper Miriam A. Hyman aka Robyn Hood. Also, co hosting tonight with us is the original King of Comedy Chris "The Mayor" Thomas!

Carlos Alomar is a legend, plain and simple. Off and on for over 40 years, he was David Bowie's rhythm guitarist, musical director, collaborator, co-songwriter and friend. In the history of Bowie's music, there are fewer people more responsible for the sound than Carlos. Today he is a director at Stevens Institute of Technology and you can tell from this interview that teaching comes naturally to him. He also continues to collaborate with artists lucky enough to have him. He's lead an amazing, charmed life.  https://carlosalomar.wordpress.com/

Robin Clark might be best known for her time with Simple Minds during the height of their popularity in the mid-80s. She joined them for the Once Upon a Time album, singing on gigantic hits like "Alive and Kicking", "Sanctify Yourself" and "All the Things She Said" and touring the world for a couple years. What you may not have known is that she's been married to David Bowie's rhythm guitarist Carlos Alomar for 45 years and not only did she sing on some of Bowie's most iconic songs ("Young Americans", "Blue Jean"), but was close friends with David since the early 70s. In this conversation, she was gracious enough to allow me to ask her some questions about David and her experience with him. She sheds a unique light on David the man, versus David Bowie The Rock God. Of course we also get deep into Simple Minds, and her longtime friendships with Luther Vandross and Nile Rodgers. She's an amazing lady and this chat is unlike anything you've ever heard.   http://robinclarkmusic.com/

Parce qu’on tentera pas de dresser son portrait en vingt minutes, on a demandé à trois invités de venir présenter des épisodes marquants de la vie et de l’oeuvre de David Bowie, disparu le 10 janvier dernier. Un héritage toutes catégories évoqué par Christelle Oyiri, Benjamin Waxx et Joe Hume au micro de Mehdi Maizi.Animé par Mehdi Maizi avec Christelle Oyiri (@crystalmess, Noisey), Benjamin Waxx (@waxxgyver, Comité des Reprises) et Joe Hume (@Joe__Hume, Ouï FM)RÉFÉRENCES CITÉES DANS L'ÉMISSION :Blackstar (David Bowie, 2016), The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie, 1972), Transformer (Lou Reed, 1972), Hunkey Dory (David Bowie, 1971), Bob Dylan, Led Zeppelin, Guns N' Roses, The Rolling Stones, The Beatles, Elvis Presley, Crazy (Jean-Marc Vallée, 2006), KISS, Station to Station (David Bowie, 1976), Young Americans (David Bowie, 1975), Carlos Alomar, Mick Ronson, James Brown, Little Richard, Let's Dance (David Bowie, 1983), Patti LaBelle, Delfonics, Luther Vandross, John Lennon, James Brown, Justin Timberlake, Robin Thicke, Justin Bieber, Mothership Connection (George Clinton, 1975), Nile Rodgers, Michael Jackson, Prince, Public Enemy, Dr. Dre, Macklemore, P. Diddy, Kanye West, Kendrick Lamar, Queen, Furyo (Merry Christmas, Mr Lawrence - Nagisa Oshima, 1983), Ryuichi Sakamoto, Labyrinthe (Labyrinth - Jim Henson, 1986), Rebel Rebel (Chris O'Leary, Zero Books), COUPS DE COEUR :Christelle Oyiri : Rebel Rebel, All the songs of David Bowie from '64 to '76 (livre de Chris O'Leary, paru chez Zero Books) http://www.zero-books.net/books/rebel-rebelBenjamin Waxx : - dernière photo de David Bowie, prise par Jimmy King https://www.instagram.com/p/BARI1jTG91W/- cette interview de Bowie sur MTV https://www.youtube.com/watch?v=XZGiVzIr8QgJoe Hume : interviews des musiciens de David Bowie publiés sur Red Bull Dailyhttp://daily.redbullmusicacademy.com/2016/01/david-bowie-ripPLAYLIST DE L'ÉMISSIONhttps://www.youtube.com/playlist?list=PLGt4caHD8XavmJVJPgrzkcwYq_Wb-ac0FRETROUVEZ NOFUN SUR LES INTERNETS :https://soundcloud.com/nofunshow www.facebook.com/NoFunShow www.twitter.com/NoFunShow http://www.dailymotion.com/nofunshow www.youtube.com/channel/UCOQc7plmG6-MlPq7-CD3T7A www.mixcloud.com/NoFunShow/ www.deezer.com/show/13867 www.stitcher.com/podcast/nofun/ CRÉDITS :Enregistré le 15 janvier 2015 au Tank à Paris (11ème). Moyens techniques : Le Tank. Production : Joël Ronez - Iris Ollivault / TempsMachine.NET. Réalisation : Sébastien Salis. Générique : extrait de "Tyra Banks" de Nodey(Atrahasis EP) réalisé par Nodey. See acast.com/privacy for privacy and opt-out information.

I'm of that generation, I experienced the "Starman" moment seeing David Bowie on Top Of The Pops with a shock of orange spikes, dressed in clothes that defied description, putting his arm around Mick Ronson in a way that seems so innocuous today but was extraordinary then. At school the following day it felt as though the world had rearranged itself overnight to accommodate this beguiling new presence, similarly when the news broke on Monday morning it was like losing one of the major coordinates of my world, I felt disorientated and adrift, this time in a bad way. David Bowie was just a phenomenal artist who defined the seventies, the decade belonged to him; from glam to soul to ambient, from straight up rock'n roll to new contours of sonic wizardry, Bowie took us on a helter-skelter ride reinventing himself again and again, and all with a consummate cool and a fiery creativity. I wouldn't pretend that Bowie made a telling contribution to black music, and Luther Vandross had quite enough talent to make it without a leg-up from the Thin White Duke, yet it's impossible to understand Bowie's oeuvre without looking at his relationship with it. From stealing Mingus titles "Wham Bam Thank You Ma'am" to taking inspiration from James Brown for Ziggy Stardust's "Rock 'n Roll Suicide".. the soulful side of Bowie is never far from the surface. Then in '74, riding the crest of a wave of his (glam) success, Bowie makes the kind of radical move that would go on to define his career, he makes a soul record. Recording at Philadelphia's Sigma Sound and bringing on board the likes of Vandross, Sly & The Family Stone drummer Andy Newmark, and guitarist Carlos Alomar, Young Americans is a record that stands both within and outside tradition. A lush, sensuous and emotive album that Bowie himself would describe as "plastic soul", self effacing as ever, as he was about his singing voice, Young Americans and several cuts from the following Station To Station are as good as it gets when it comes to a white artist making soul music in their own way.....after all "Fame" and "Golden Years" were good enough for U.S. tv's definitive Soul Train... But hey, I don't need to justify Bowie's brilliance, begrudge him and you can stand outside with the real weirdos!!!! Concentrating on this mid seventies period, when coincidentally Bowie was taking vast quantities of the old marching powder, and dipping into both preceding and subsequent phases, here's two hours of appreciation and celebration. Let's not lament too much, yes Bowie's is an irreplaceable talent, but we should be grateful for all he gave through those golden years. 1. 1984 2. Golden Years 3. Fascination 4. Luther Vandross - Funky Music (Is A Part Of Me) 5. Fat Larry's Band - Fascination 6. Look Back In Anger 7. Alladin Sane (live) 8. Changes 9. Robert Glasper ft. Bilal - Letter To Hermione 10. Sound and Vision 11. Ashes To Ashes 12. Young Americans 13. Fill Your Heart 14. Warszawa 15. Win 16. Sweet Thing/Kandidate (live) 17. Wild Is The Wind 18. Can You Hear Me? 19. New Career In A New Town 20. John I'm Only Dancing (Again) 21. Stay 22. Heroes (live) 23. Dollar Days

Hello AaA Fans and welcome to your weekly infusion of Amps and Axes. In this episode the guys begin with a heartfelt nod to the Artist, Actor and Innovator, one Mr David Robert Jones. Next there's a mention of a cool book that Jeff was honored to pen the forward to and then on to the guest. As a tribute to the loss of the incredible Artist called David Bowie, this week's episode is a re-run of the interview with Carlos Alomar, one of Bowie's long time guitarist and collaborators. He's a great interview, so if you haven't heard it, you need to and if you have, it's worth listening again. Enjoy! 

Bienvenidos a “Rocanrol Bumerang” Rock Hispanoamericano. Una historia que cuenta con más de cuatro décadas y muchísimos personajes, bandas y músicos que han hecho, que nuestras vidas sean más divertidas y llevaderas. Hoy un clásico del Rock Hispanoamericano, un álbum de se quedó grabado en el inconsciente colectivo apenas unos meses después de publicado. Soy Félix Sant-Jordi y Umberto Pérez me acompaña en la investigación, los invitamos a caminar entre los surcos del disco Doble Vida.Canción 1: Picnic en el 4°BDel álbum Doble Vida, de la disuelta agrupación argentina Soda Stereo, editado en 1988 escuchábamos el tema que abre el disco, Picnic en el 4°B, un tema que representa fielmente tanto el sonido de la banda como el sonido característico de los años ochenta, cargado de riffs ligeros de guitarra ambientados por sintetizadores y letras absolutamente hedonistas. Y es que, Picnic en el 4°B refleja también el momento por el que Soda Stereo atravesaba. Un par de años antes la banda había conquistado su país con los discos Nada Personal y Signos; y ahora se encaminaban a conquistar todo el territorio latinoamericano casi de forma impensada, así que para 1988 la tarea parecía cumplida. Canción 2: Día común-Doble vidaCanción 3: Corazón delatorEscuchábamos los clásicos Corazón delator precedido de Día común-Doble vida que enmarca el título álbum de Soda Stereo: Doble Vida. Si bien “Soda” comenzó su carrera local en 1982 y en 1984 ya habían grabado su primer disco; entre 1987 y 1988 la popularidad del grupo creció por toda Latinoamérica llegando a realizar conciertos en 17 ciudades de la región, consolidándola como la máxima agrupación de rock en Hispanoamérica durante los años ochenta. El sonido de la banda en directo durante esos años quedó registrado en el disco Ruido Blanco de 1987. Acerquémonos un poco a ese momento y de ese disco escuchemos Juego de seducción.Canción 4: Juego de seducciónEn Junio de 1988 después terminar en el estadio de Obras Sanitarias, en Buenos Aires, la exitosa gira de su disco Signos ante más de 25.000 personas, Gustavo Cerati, Zeta Bosio y Charly Alberti, se trasladan a la ciudad de Nueva York para grabar su siguiente disco que en principio se titularía “En la Ciudad de la Furia” un nombre bastante acertado para la ciudad donde se concibió el disco. La producción del disco estuvo a cargo del guitarrista Carlos Alomar, un magnífico músico de sesión que acompañó a David Bowie en álbumes como Young americans y Let’s dance, esta experiencia se vería reflejada en el sonido de Doble Vida.Canción 5: En la ciudad de la furiaEscuchábamos el clásico de Soda Stereo, En la ciudad de la furia. El disco Doble Vida está claramente influenciado por la presencia de Carlos Alomar y el característico sonido funk que por entonces reaparecía en la escena musical de los Estados Unidos en figuras tan portentosas como Prince y en los músicos de rap como Run DMC. De esta forma, los vientos adquieren un papel principal en la música de “Soda” y canciones como En el borde integran el rap a su estructura. Escuchemos entonces El ritmo de tus ojos una canción bastante funky seguida de En el borde.Canción 6: El ritmo de tus ojos Canción 7: En el bordeHoy en “Rocanrol Bumerang” un clásico en la discografía del Rock Hispanoamericano, el disco Doble Vida de Soda Stereo. Este disco es considerado como la cumbre de la madurez musical de la banda argentina; si bien el álbum está compuesto por clásicos definitivos, estos no se alejan del pop sofisticado que siempre caracterizó a Soda Stereo pero sí alcanzan un nivel compositivo nunca antes logrado por la banda. Escuchemos ahora la canción Mundo de quimeras que, aunque no hizo parte de Doble Vida, fue la canción inédita que acompañó la edición de un EP titulado Los Languis que contenía tres canciones del disco en cuestión. Canción 8: Mundo de quimerasCanción 9: Los languisEscuchábamos el tema Los languis del disco Doble Vida de Soda Stereo de 1988. La gira del disco convirtió, sin lugar a dudas, a “Soda” en la mejor agrupación de rock hispanoamericano durante los años ochenta y la primera mitad de los años noventa. El 27 de Diciembre de ese año la banda se presentó ante más de 150.000 personas en el corazón de Buenos Aires, la Avenida 9 de Julio, durante el marco del festival “Tres días por la democracia”, en el aniversario del regreso de la democracia a Argentina. En el festival participaron también Charly García, Spinetta y Fito Páez entre otros pero el año era de “Soda” y la multitud así lo dejó claro yendo a ver a Soda Stereo.Canción 10: Terapia de amor intensivaDel disco Doble Vida de Soda Stereo, escuchábamos Terapia de amor intensiva, la canción que cierra el disco. La armonía entre la música y las letras encuentra entonces en Doble Vida el disco de quiebre y de definitivo despegue artístico de Soda Stereo. Giras interminables por toda Latinoamérica y hordas de fanáticos aclamando al trío argentino después de Doble Vida, demostraron que la popularidad de la banda al igual que una bebida con soda subió hasta rebosar. Vinieron entonces discos espléndidos como Canción Animal, Dynamo, Sueño Stereo, Música para Volar y la despedida titulada El Último Concierto. Esta magnífica colección de álbumes confirmó que a diferencia de la espuma que rápidamente se deshace; la música de Soda Stereo subió para quedarse en el alma de miles de jóvenes latinoamericanos. Soy Félix Sant-Jordi y Umberto Pérez me acompaña en la investigación. Nos despedimos hoy con el clásico Lo que sangra (la cúpula). Hasta pronto.Canción 11: Lo que sangra (la cúpula)

Hello AaA Fans, here's this week's episode of your Amps and Axes Podcast. This week the guys begin by discussing the fact that our previous guest, Carlos Alomar, was a featured player on the new Mark Ronson hit, "Uptown Funk" featuring Bruno Mars. Then a few words about the WGS-12L guitar speaker and a comment about how a Japanese audience differs from an American. Then on to this week's guest. Builder of Acme Amps and guitar tech for Death Cab For Cutie, please welcome Mr Jesse Quitslund. Enjoy!

Merry Christmas AaA Fans! We hope the Holidays have brought you a few things you wanted, none the less of which is some time enjoyed with family and friends. They guys start this episode talking about the 10 year anniversary of the death of Dimebag Darrell, the great review received by Brubaker Guitars for their JXB bass and the arrival of a Warehouse Guitar Speaker  EVM 12L style speaker for audition. Then comes your guest for this week, and if you're a David Bowie fan, you're not gonna' wanna' miss this one! Ladies and Gents, please welcome Mr Carlos Alomar! Enjoy and Thanks for Listening.  

SETTIMA STAGIONE DI RETROPALCO - 22 OTTOBRE 2014 Alberto Fortis torna negli studi di RTR 99 per presentare il nuovo album "Do L'Anima" che vede la partecipazione di grandi artisti come Biagio Antonacci, Roberto Vecchioni e Carlos Alomar.

Produced, arranged and composed by David Bowie, Brian Eno and Carlos Alomar. ©1979 RCA Records Inc. Additional remix and production by SAMURI DJS (Uri & Samantha Dallal) © 2019 Samuri Traxx Music LLC (ASCAP). Contains elements of "DJ" by David Bowie. All rights reserved. For Promotional DJ Use Only. Not For Sale. Buy the original Kevin Clash version here: https://www.amazon.com/dp/B07929CW9Z/ref=cm_sw_r_tw_dp_U_x_20feDbJDVDM98 via