Podcasts about cause i love you

In a riveting conversation, The Madd Hatta engages with the legendary Lenny Williams, delving into the genesis of his iconic hit "Cause I Love You," his tenure with Tower of Power, and his embrace of Southern Soul. With a career spanning decades, Williams offers insights into his remarkable longevity in the music industry, shedding light on the factors that have propelled him forward as a revered figure in soul music.

Season 8 The Soul Cafe (Loving On Me Valentines Edition) Catch Chris Clay Mon - Fri 2p-6pm EST On www.soulcaferadio.com  Produced By Heather Whitley and C.Clay Hour 1 1995 - Cause I Love You (1895 Jazz Remix) Gladys Knight & The Pips - You're Number One  After 7 - Betcha By Golly Wow Glenn Jones feat Eric Nolan and Introducing Tony Exum Jr.-I Wanna Be Closer Shaun Milli - Blow My Mind Angela Winbush - My First Love Romeo Johnson - Til Tomorrow Chaka Khan - My Funny Valentine Common Kingz -  Fly October London - Lover's Interlude Chris Brown - Best Ever ft. Maeta John Legend - So High Jon B., Tank - Waiting On You Ledisi - Perfect Stranger (feat. Kenny Lattimore) Prince - Shhh     Hour 2 Tamika Scott - Greatest Gift Tamia - Stuck With Me  Eric Bellinger - La Perla Charlie Wilson - Let's Chill Luther Vandross - Martha Wash - I Who Have Nothing Babyface - You Make Me Feel Brand New Anita Baker - Lately  Carol Riddick-The Way You Say My Name Art Of Noise - Moments In Love Toni Braxton - The Art Of Love Adina Howard - T Shirt & My Panties On Aston Grey Project - Feel Like Making Love (230am Mix) Black Girl - Dont Go To Fast End Of Show 

Cet épisode… c'est l'histoire de l'enregistrement d'un groupe de musiciens qui jouera un rôle important dans le développement de la musique des années 1960, ainsi que sur les premières années de Stax Records, un label qui deviendra aussi important que Chess, Motown ou Sun. Aujourd'hui, nous nous penchons sur "Green Onions" de Booker T. and the MGs, et sur la façon dont un violoniste blanc a accidentellement donné le coup d'envoi au label le plus important de la musique soul (celle du sud) Booker T. and the MGs, "Green Onions" Hoyt Jackson, "Enie Meanie Minie Moe" Ray Scott, "Boppin' Wig Wam WIllie" Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)" Hank Locklin "It's a Little More Like Heaven" Johnny Cash, "You're the Nearest Thing to Heaven" Fred Byler, "Blue Roses" Don Willis, "Boppin' High School Baby" Warren Smith, "Rock and Roll Ruby" The Vel-Tones, "Fool in Love" Bill Black Combo : "Smokie (Part 2)" Rufus Thomas, "Bear Cat" Rufus and Carla Thomas, "'Cause I Love You" Carla Thomas, "Gee Whizz, Look at His Eyes" The Mar-Keys, "Last Night" The Mar-Keys, "The Morning After" [Excerpt: The Triumphs, “Burnt Biscuits” William Bell, "You Don't Miss Your Water" Nick Charles, "The Three Dogwoods" Billy Lee Riley et les Little Green Men, "Flyin' Saucers Rock 'n' Roll" Booker T and the MGs, "Behave Yourself" Booker T. and the MGs, "Green Onions" Johnny Jenkins, "Spunky" Otis Redding, "Hey Hey Baby" Otis Redding, "These Arms of Mine"

#PlatinumMediaNetwork​ #Global #Podcast S E A S O N #6 - E X C L U S I V E #Streetz989ATLTV​ - #LennyWilliams Welcomes on Wednesday, September 13th @ 8:30pm/est "LIVE" in the "Studio" for "'Southern Soul Industry Vibez" with Tha1stLady - EmCee' Jazz' & Singer, Songwriter, Musician, Soul, R&B, Jazz, Legendary Recording Artist - Lenny Williams - will join us to share his music, life and career with our audiences. “Lenny has been on the scene since 1972 as Lead Vocalist with "Tower of Power" - and Solo Artist "Mr. Cause I Love You" - he's back at it touring and doing some amazing things in his career - his latest release "Suga Daddy" is currently streaming on all platforms and in rotation from coast to coast.” Stream "LIVE" to hear more about Lenny as he indicates he is "Still In The Game." #SouthernSoulIndustryVibez #LennyWilliams #Soul #Blues #SouthernSoulMusic #CauseILoveYou #Tha1stLady #EmCeeJazz​ #SouthernSoulHistoric #BroadcastMedia​ #Mindset​ #Atlanta​ #Worldwide​ #OnDemand ​ #Streetz989ATL​ 24/7 --- Send in a voice message: https://podcasters.spotify.com/pod/show/streetz989atl/message

African-American Music Appreciation Month! Annual celebration of African-American music in the United States The ultimate soul crooner, Oakland, California native Lenny Williams possesses one of the most distinctive voices in contemporary music. With his rich, passionate vocal style, he is rightfully regarded as one of R&B's most influential soul men. Williams began his musical career by making records that have subsequently become R&B and Pop classics, tunes like the mega-hit “Cause I Love You” (recorded on his solo album) and “So Very Hard To Go,” which he recorded as the lead singer for Tower of Power. Lenny Williams' style has transcended into the new millennium, influencing many of today's newest R&B and Pop vocalists. Facebook: @ohohohLenny Twitter: @LennyWilliams Instagram: @ohohohLenny YouTube Channel: Lenny Williams

In this episode we have a little fun and then we get serious. Enjoli kicks us off with the classic ‘Cause I Love You' by Lenny Williams. Listen in as we discuss the cultural impact this song has had for decades. When the moment hits, check it out right HERE. Then, Demonte shares a very personal song about overcoming a very trying time.. In this song, titled ‘Amen,' he is transparent about battling both depression and anxiety and how music is therapeutic. This story is being shared in hopes to inspire others who are going through a tough time. Disclaimer. This episode was recorded on December 9, 2022. However, we dedicate this podcast in honor of Stephen ‘DJ tWitch' Boss. If you or someone is struggling or in crisis, call or text 988. Thank you for listening

In episode, Shanti and Antoinette reflect on their weekend together. We big up Black Fathers, and share multiple hot takes on Sade, Lizzo, and Jennifer Hudson. Antoinette deep dives into the women-led uprising in Iran and more politics as usual while Shanti laments on the current state of women in hip hop. Join us.Learn about coming events at https://conveauxandbuild.go.studio/do you have a question or comment you'd like to share with us? Call in! Leave a message!Hotline: (215) 948-2780 Email: aroundthewaycurls@gmail.com Patreon: www.patreon.com/aroundthewaycurls for exclusive videos & bonus episodes Shop ATWC Merch: https://www.aroundthewaycurls.com/collectionsSong credit: "Cause I Love You" by Lizzo

 | Take Me Away  | Melba Moore  | 2022 | Cause I Love You  | Michon Young  | 2022 | Put A Smile On Your Face  | E.J. & The Echoes  | 1967 | Worth  | J.Gabrielle  | 2022 | Are We So Far Apart (We Can't Talk Anymore) (12" Mix)  | Ronnie Dyson feat. Vicki Austin  | 1991 | I've Got To Keep On Loving You  | The Moments  | 1970 | I Hold The Key  | Nelson Sanders  | 1970 | Old School Lovin'  | Chante Moore  | 1994 | California Dreamin'  | Color Me Badd  | 2022 | Love Is The Light  | Smokey Robinson  | 1990 | Remember  | Pierre Anthony  | 2022 | Hold Me Accountable  | Gary Taylor  | 1993 | Waiting For Your Love (feat. Brendalynn McKinney)  | Raheem Devaughn  | 2022 | Win Or Lose  | Windy City  | 1977 | Trade Of Hearts  | Thee Sacred Souls  | 2022 | Mirrors Don't Ever Lie  | Uptights Band  | 1976 | Music  | Petawane  | 2022 | Don't Let Me Down  | The Velvet Touch  | 1989 | I Won't Remember Ever Loving You  | Walter Jackson  | 1978 | You Turned My World Around  | Ray, Goodman & Brown  | 1982 | It's Like Magic  | Blue Magic  | 1989 | Not Enough Love  | The Ethics  | 2003 | Never Gonna Leave You  | Eddie Kendricks  | 1976 | Girl Your Love's So Fine  | Mac Band feat. The McCampbell Brothers  | 1988 | Desire  | Nicole  | 1988 | Let Me Try  | Crosstown Express  | 1977 | Person To Person  | Vesta Williams  | 1991 | Helpless Man  | The True Reflection  | 1973

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 210, Part 2 of 2: Celebrated and wonderfully distinctive singer-composer, Lenny Williams. Becoming a star with a string of 1970s hits as Tower of Power's lead vocalist, he has released new music under his own name in six decades, and continues to record and perform.  Classics featuring his one-of-a-kind voice include “So Very Hard to Go,” “What Is Hip,” “Don't Change Horses (in the Middle of the Stream),” “Only So Much Oil in the Ground,” “Shoo Doo Fu Fu Ooh!” “Choosing You,” “Midnight Girl,” “Cause I Love You,” “Doing the Loop De Loop” and “Don't Make Me Wait for Love.” The latter was with Kenny G, and among the others Williams has also worked with are Graham Central Station, Ben E. King and the Crusaders' Wilton Felder.  In 2020, he released an album titled Fine, and his newest single is called “Tonight.” RECORDED JULY 2021 LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 210, Part 1 of 2: Celebrated and wonderfully distinctive singer-composer, Lenny Williams. Becoming a star with a string of 1970s hits as Tower of Power's lead vocalist, he has released new music under his own name in six decades, and continues to record and perform.  Classics featuring his one-of-a-kind voice include “So Very Hard to Go,” “What Is Hip,” “Don't Change Horses (in the Middle of the Stream),” “Only So Much Oil in the Ground,” “Shoo Doo Fu Fu Ooh!” “Choosing You,” “Midnight Girl,” “Cause I Love You,” “Doing the Loop De Loop” and “Don't Make Me Wait for Love.” The latter was with Kenny G, and among the others Williams has also worked with are Graham Central Station, Ben E. King and the Crusaders' Wilton Felder.  In 2020, he released an album titled Fine, and his newest single is called “Tonight.” RECORDED JULY 2021 LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

www.LennyWilliams.com The ultimate soul crooner, Oakland, California native Lenny Williams possesses one of the most distinctive voices in contemporary music. With his rich, passionate vocal style, he is rightfully regarded as one of R & B’s most influential soul men. Williams began his musical career making records that have subsequently become R & B and Pop classics, tunes like the mega-hit “Cause I Love You” (recorded on his solo album) and “So Very Hard To Go,” which he recorded as the lead singer for Tower of Power. Lenny Williams' style has transcended into the new millennium, influencing many of today’s newest R & B and Pop vocalists. Lenny himself sounds better than ever as he continues to keep the focus on love. “Love is what has gotten me through all of these years. I look for love and I surround myself with it,” Lenny says. When it comes to singing love songs, one must “go there to know there,” and Lenny never left. He is able to take the listener to the heart of love with such soulful aplomb because love will never go out of style and no one does it better.

Legendary singer Lenny Williams chats with Shelley about his classic song "Cause I Love You," his new song "Southern Girls," and shares stories about how a college campus conversation with Huey Newton influenced him to start his singing career, how he ended up working with John Fogerty, Huey Lewis & Tower of Power before they all became megastars & that time he smoked with Jerry Garcia of the Grateful Dead & fell flat on his face.

Whew! On this weeks Episode Brandi discusses how messy the FBI is and their trifling use of Twitter and linking Casanova’s indictment to a wanted ad tweet… Sending love out in the air for Casanova. Brandi also delves into the lyrics of the Lenny Williams classic "‘Cause I Love You!”.Follow Brandi on Ig @BrandiChampSow into Brandi via shopping this link Or by visiting BrandiCHamp.comAlso leave a rating and review on The Apple Podcast App, please!Follow Tiffany on IG HERE @_7thHarmony

Episode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “He’s So Fine” by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources I used three main books when creating this episode. Two were histories of Stax — Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.  Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs’ music. If the Erwin Records tracks here interest you, they’re all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It’s out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” — we’ve essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we’re looking at “Green Onions” by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, “Green Onions”] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label — it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”: [Excerpt: Hoyt Jackson, “Enie Meanie Minie Moe”] and “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single: [Excerpt: Ray Scott, “Boppin’ Wig Wam WIllie”] Ellis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. He told Stewart that you didn’t make money from the records themselves — small labels didn’t sell much — but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions — and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you’d already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay — and if you owned enough songs, then some of them might get covered by a big star, and then you’d get some real money. Hoyt Jackson, Ellis’ biggest act, hadn’t had any hits himself, but he’d written “It’s A Little More Like Heaven (Where You Are)”: [Excerpt: Hoyt Jackson, “It’s A Little More Like Heaven (Where You Are)”] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin “It’s a Little More Like Heaven”] And Johnny Cash had rewritten it a bit, as “You’re the Nearest Thing to Heaven”, and had also had a top five country hit with it: [Excerpt: Johnny Cash, “You’re the Nearest Thing to Heaven”] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song — the only song he’d ever write — Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim’s wife’s uncle’s garage. They came up with the name Satellite Records for their label — nobody liked it, but they couldn’t think of anything better, and satellites were in the news with the recent launch of Sputnik. “Blue Roses” by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, “Blue Roses”] The next record was more interesting — “Boppin’ High School Baby” by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said “hang on, isn’t that a bit much?”: [Excerpt: Don Willis, “Boppin’ High School Baby”] That also didn’t sell — Stewart and his partners knew nothing about the music business. They didn’t know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart’s wife’s uncle wanted to use his garage again and so wouldn’t let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart’s new barber was also interested in music — he had a daughter who he thought could sing, and he had a large storage space he wasn’t using, in Brunswick on the outskirts of the city. If they’d record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend’s guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who’d had a minor hit with “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Smith liked Moman’s playing, and offered him a job — Moman’s initial response was “doing what?” Moman had joined Smith’s band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time — though I’ve never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He’d then joined Gene Vincent’s Blue Caps, before being in an accident which had led him to come back to Memphis. He’d played guitar on the Don Willis session, and he’d essentially produced it, applying some of the techniques he’d learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop — so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber’s storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release — a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, “Fool in Love”] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn’t doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways — it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart’s barber’s daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably “Smokie (Part 2)” by the Bill Black Combo, the group that Elvis’ former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: “Smokie (Part 2)”] For their studio, Hi used an old cinema — a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there’d been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren’t exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle’s son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I’ve had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn’t have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I’m just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined — an all-white group who loved to play R&B — was called the Royal Spades. This was supposedly because of their love of playing cards, but there’s more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They’d laughed when he told them he’d only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they’d expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too — as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself — with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme — buy nine records and get a tenth record for free — which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she’d have sold you nineteen dollars’ worth of records before you left — she’d leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin’ circuit show in the area, and he was also a popular singer. He’d been the one to record the first hit on Sun Records, “Bear Cat”, the answer record to “Hound Dog” we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, “Bear Cat”] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you’ve got a record label, and a DJ wants to make a record with you, that’s a godsend — you’re guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who’d made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, “‘Cause I Love You”, with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session — Porter was skipping school so he could be in a real recording studio, even though he wasn’t going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. — Booker T. Jones — and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school’s music room, went back to the studio, and Jones played on “‘Cause I Love You” by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, “‘Cause I Love You”] “‘Cause I Love You” became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn’t really know anything about the business, but when Wexler explained to Stewart that he was the producer of “What’d I Say” by Ray Charles, Stewart knew that was someone he needed to work with — he’d recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company’s new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, “Gee Whizz, Look at His Eyes”. For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn’t turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn’t written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement — something string players normally never do — and ended up giving them directions like “just play donuts!”, meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, “Gee Whizz” went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, “Gee Whizz, Look at His Eyes”] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on “marquis” as in the noble title, and “keys” as in keyboards, as Estelle Axton thought — entirely correctly — that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who’d been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys’ name that the record was released. An instrumental, “Last Night”, was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players — Lewie Steinberg, Wilbur’s brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken “Ooh, last night!” that punctuated the record: [Excerpt: The Mar-Keys, “Last Night”] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential — and also believed in her son, who Stewart had little time for. Jim Stewart didn’t want his useless nephew’s band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister’s pressure, and agreed to release the record. There was only one problem — when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job — I *think* I can hear the splice, but if it’s where I think it is, it’s about the cleanest editing job on analogue tape I’ve ever heard. If I’m right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, “Last Night”] Did you hear it? The song’s authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he’d been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn’t contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying “Ooh last night” as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton’s surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single — which brought resentment from the Black session players, some of whom claim that during the session it hadn’t even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren’t getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis — he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band’s leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour — the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, “The Morning After”] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt — if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn’t seem like they were playing one label too much — and the first single on it was an instrumental that Chips Moman wrote, “Burnt Biscuits”, by a group consisting of Moman, Rufus Thomas’ son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, “Burnt Biscuits”] That wasn’t a hit, though Moman thought it had the potential to become as big as “Last Night”. It was released under the name “the Triumphs”, after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he’d make for Stax, when he produced “You Don’t Miss Your Water” by a new singer, William Bell, who had previously been one of the backing vocalists on “Gee Whiz”. That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ — by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn’t be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, “You Don’t Miss Your Water”] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander’s records, but it would be the last thing Moman would do at Stax. He’d not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I’m sure we’ll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like “The Three Dogwoods” by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, “The Three Dogwoods”] That was co-written by Cropper, which shows that even the man who co-wrote “In the Midnight Hour”, “Dock of the Bay” and “Knock on Wood” had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his “Flyin’ Saucers Rock ‘n’ Roll”: [Excerpt: Billy Lee Riley and the Little Green Men, “Flyin’ Saucers Rock ‘n’ Roll”] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one’s quite sure what he was using the studio for in early 1962 — some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians — Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell’s band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn’t want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player — Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, “Behave Yourself”] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he’d heard on the radio one day when he’d been driving with Booker — they’d both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one’s figured out what the song they’d heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, “Green Onions”] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became “Green Onions”. As the last instrumental they’d released with food as a title, “Burnt Biscuits”, had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn’t want to have a trademark lawsuit on their hands). “Green Onions” went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes — Booker T actually went off to university soon after recording “Green Onions”, so for a couple of years he could only play on weekends and during holidays — on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg’s looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax’s records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they’d had a few of those. Jenkins did eventually release a single on Stax, but it wasn’t particularly special, and didn’t have any success: [Excerpt: Johnny Jenkins, “Spunky”] The day of Jenkins’ first session was a flop, they’d not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins’ band — if he’d drive Jenkins to the studio, since Jenkins couldn’t drive, he’d try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins’ driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn’t particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, “Hey Hey Baby”] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, “These Arms of Mine”] Otis Redding would never again be thought of as just Johnny Jenkins’ driver, and Stax Records was about to hit the big time.  

Brothers and music partners Chris & Ryck Thompson are founding members of Street Brokers, a fresh hip-hop group based here in Grand Rapids. They're talented, raw, and funny as hell. Enjoy their story and all the music we could cram into this FUN conversation.STREET VALUE on iTunesSTREET VALUE on SpotifySTREET VALUE on SoundCloudSTREET BROKERS on HearNow@streetbrokersent on Instagram@chris_loves_rap on Instagram@ryk_rule on InstagramTrack Listing:1. "Did It Now" by Street Brokers2. "Thank You Yeezus" by Chris Loves Rap3. "Bring Da Ruckus" by Wu-Tang Clan4. "Invincible" by Capone-N-Noreaga5. "Lifestyle of the Rich Shameless" by The Lost Boyz6. "Slob on My Know" by Three 6 Mafia7. "Diamond in the Back" by Ludacris8. S"till D.R.E." by Dr. Dre, Snoop Dog9. "Ni**as in Paris" by JAY-Z, Kanye West10. "Change" by DJ Premier11. "To Get a Gun" by Prince Paul12. "Gritz" by RZA13. "I Can" by Nas14. "New Jack City" by M.O.P.15. "Choices (Yup)" by E-4016. "What is Hip?" by Tower of Power17. "'Cause I Love You" by Lenny Williams18. "Overnight Celebrity" by Twista, Kanye West19. "25 or 6 to 4" by Chicago20. "Smooth Operator" by Sade21. "Songbird" by Kenny G22. "All In" by Street Brokers23. Excerpt from "Do You Believe in Gosh?" by Mitch Hedberg24. "The Woo" by Pop Smoke feat. 50 Cent25. "Dope Boys Diary" by Tory Lanez26. "We Paid" by Lil Baby feat. 42 Dugg27. "Show Me the Meaning of Being Lonely" by Backstreet Boys28. "Already Told Ya" by Street Brokers29. "Work" by Street Brokers30. "Rumble" by Street BrokersA TALK IN THE ATTIC OFFICIAL SITEJoe Jenneman on SpotifyMichigan Podcasting Network on FacebookSupport the show (Https://www.patreon.com/atalkintheattic)

Sintonía: "Just-Test" - Byard Lancaster "Citizen" - Darkleaf; "Casa Forte" - Snowboy; "Cause I Love You" - Turner Brothers;"Green Means" - Nobody; "Things You Should Leave Alone" (Underwolves Rmx) - Puracane; "Operation Feed Yourself" (P´taah Rmx) - Sons & Daughters; "Syde Trips" - Nobody; "Take The High Road" - Longineu Parssons; "Caution" (Vocal Mix) - Mumbles and Cut Chemist featuring Dark Leaf Escuchar audio

Leonard Charles Williams (born February 16, 1945)[1] is an American singer-songwriter and musician, best known for his work during the 1970s. Williams was the lead vocalist for R&B/Soul group Tower of Power. As a soloist, Williams made several hit recordings, including 1978's "Cause I Love You" and 1977's "Choosing You". Williams was born in Little Rock, Arkansas, and moved to Oakland, California, at a young age.[2] Learning to play the trumpet in elementary school fueled his interest in music; his skills as a vocalist were first nurtured by singing in gospel choirs and groups around the Bay Area. He worked with several notable artists, such as Sly Stone, Andraé Crouch, Billy Preston and members of the Hawkins family, Edwin, Walter and Tramaine. After winning several local talent contests, Williams signed his first recording contract with Fantasy Records. He cut two singles for the label, including "Lisa's Gone" and "Feelin Blue", written by John Fogerty of Creedence Clearwater Revival. In 1972, Williams joined the emerging funk band Tower of Power. A string of hits followed, including "So Very Hard to Go", "What Is Hip", "Don't Change Horses (In The Middle of the Stream)" and "Willing To Learn". During his two years with the group, Williams participated in three albums: Back To Oakland, Urban Renewal and the gold LP Tower of Power. Williams and Tower of Power toured throughout the United States, Europe and Asia. While still with Tower of Power, he recorded his first solo album Pray for the Lion for Warner Bros. Records in 1974. At the end of 1975, Williams left the band and returned to his solo projects. Initially signing with Motown Records in 1975, he later moved to ABC Records in 1977 (which was then purchased by MCA Records in 1979). With producer Frank Wilson at the helm and songwriters such as Judy Wieder, Clay Drayton, Terry McFadden, and John Footman, over the next four years, he scored ten chart hits, including "Shoo Doo FuFu Ooh", "Choosing You", "You Got Me Running", "Love Hurt Me Love Healed Me", "Here's to the Lady," and "Midnight Girl". Williams recorded four more albums from 1977 to 1980: Choosing You, his first gold LP; Spark of Love (contains the hits "You Got Me Running", and "Cause I Love You" as well as "Midnight Girl"); Love Current; "Taking Chances" and Let's Do It Today.After leaving MCA, Williams recorded for the independent record labels, Rockshire and Knobhill. In 1986, he was invited to sing vocals on "Don't Make Me Wait For Love", a track from Duotones, a multi-platinum recording by Kenny G. The song became a Top 20 Billboard Hot 100 and R&B hit the following year.His 1978 hit song "Cause I Love You" was sampled by Havoc of Mobb Deep for the track "Nothing Like Home", and by Kanye West for the songs "Overnight Celebrity" by Twista and "I Got A Love" by Jin. The track was sampled a fourth time in 2007 by Scarface for his single "Girl You Know" featuring Trey Songz & Young Jeezysampled "Let's Talk It Over" for his single "I Do" featuring Jay-Z and Andre 3000. His song "Half Past Love" was also sampled by The Coup for their 2006 single "My Favorite Mutiny" featuring Black Thought of The Roots and Talib Kweli of Black Star.Since that time, Williams has continued his solo career, touring the US, Europe and South Africa, and has also expanded his career to include acting, starring in several stage plays, including Love on Lay Away starring Deborah Cox, Mel Jackson and Martha Wash, What Men Don't Tell starring Kenny Lattimore, Chante Moore, and Dottie Peoples, and When A Woman's Fed Up. He is also one of the featured artists on Urbanland Music's DVD The Big Show, recorded at the Orpheum Theatre in Boston, Massachusetts, on November 29, 2002. Studio albums[edit]1974: Pray for the Lion (Warner Bros. Records)1975: Rise Sleeping Beauty (Motown Records)1977: Choosing You (ABC Records)1978: Spark of Love (ABC Records)1979: Love Current (MCA Records)1980: Let's Do It Today (MCA Records)1981: Taking Chances (MCA Records)1984: Changing (Rocshire Records)1986: New Episode (Knobhill Records)1989: Layin' In Wait (K-Tel Records)1994: Chill (Marathon Records & Bellmark Records)1996: Here's to the Lady (Universal Special Products)2000: Love Therapy (Volt Records)2004: My Way (Thump Records)2007: It Must Be Love (LenTom Records)2009: Unfinished Business (Lentom Records)2012: Still in the Game (Music Access Inc)Compilation albums[edit]1993: Ooh Child (MCA Special Products)2001: Ultimate Collection (Universal)2002: Ten Ways of Lovin' You (Volt Records)2008: You Won My Heart (Crush Records) See acast.com/privacy for privacy and opt-out information.

Bienvenidos a ERA Magazine, el podcast de la música independiente española. En el capítulo de hoy, las guitarras de Subterráneos nos sumergen en una propuesta cada vez más afianzada y sólida. Buenos días. Antes de comenzar comentar dos cositas rápidas. En primer lugar, los servicios de diseño web de ERA Magazine. Si visitas eramagazine.fm/web verás las tres opciones que te ofrecemos, con tienda online y sin tienda online, a unos precios muy asequibles. Y, sobre todo, te enseñamos a manejar tu propia web. Y en segundo lugar, la nueva opción que ha creado iVoox para apoyar a los creadores de podcast. Si visitas el perfil de ERA Magazine verás un pequeño botón que pone “Apoyo” y desde 1,49 euros al mes podrás ayudar a que sigamos descubriendo más propuestas emergentes. Sé un mecenas de ERA Magazine. Take a Ride es el segundo trabajo de Subterráneos, 13 canciones que nos sumergen en su particular mundo de distorsiones de guitarra, sus toques psicodélicos y garageros. Mónica Agudo y José Luis Muñoz han sabido construir un trabajo sólido con ecos oscuros a los Jesus & Mary Chain, pero también al rock independiente de la Costa Oeste americana y a los mejores ambientes noventeros. Comprobemos si todo lo bueno que dicen por ahí de este disco es verdad, aunque yo creo que sí. El mundo de Take a Ride # Mónica, J.Vega, bienvenidos al podcast de ERA Magazine. En primer lugar, contadme la historia de este Take a Ride. # Y musicalmente, ¿las guitarras y sus distorsiones son lo vuestro, no? # Turno de la primera canción de las cuatro que venís a presentar, “Junkie”. # Los dos discos los habéis grabado en el estudio de Paco Loco en el Puerto de Santa María. ¿Es la mejor persona para reflejar vuestro sonido? # ¿Y le dejáis meter mano o ya vais con las ideas muy claras? # ¿Y quién suele empezar las canciones y cómo incorporáis las ideas de ambos? # La segunda canción, “Cause I Love You”. # Mónica, tú tienes más protagonismo en la parte vocal. ¿Cómo os dividís esa parte, cómo elegís qué canción canta cada uno? # Y en cuanto a letras, ¿cada uno escribe las suyas? ¿Cómo os gusta hacerlo a cada uno? # Escuchamos ahora la tercera, “My Dark Side”. # ¿Tienes previsto tocar mucho este otoño? # Y una pregunta que me gusta hacer a los grupos, ¿os acordáis por qué os pusisteis Subterráneos? Buscando información vuestra me ha salido el grupo de Christina Rosenvinge, aquel que era Cristina y Los Subterráneos, supongo que no hay homenajes, ¿no? # La última canción que escucharemos, “A Tourist In Your Own Youth”. Con esta canción nos despedimos por hoy. También recuerda, que si quieres ayudar a este podcast, y seguir disfrutando de la música de muchos más grupos, visita el perfil de ERA Magazine en iVoox.com, dale al botón “Apoyo” y desde 1,49 euros al mes podrás ayudar a que sigamos descubriendo más propuestas emergentes. Sé un mecenas de ERA Magazine. Porque recuerda: a la gente le encanta la música indie, pero todavía no lo sabe. Adiós. Subterráneos Take a Ride (Autoeditado, 2018)Facebook | Twitter | YouTube | Bandcamp | Instagram La entrada #305 Subterráneos, guitarras, distorsión, música se publicó primero en ERA Magazine.

  he ultimate soul crooner, Oakland, California native Lenny Williams possesses one of the most distinctive voices in contemporary music. With his rich, passionate vocal style, he is rightfully regarded as one of R & B's most influential soul men. Williams began his musical career making records that have subsequently become R & B and Pop classics, tunes like the mega-hit “Cause I Love You” (recorded on his solo album) and “So Very Hard To Go,” which he recorded as the lead singer for Tower of Power. Lenny Williams' style has transcended into the new millennium, influencing many of today's newest R & B and Pop vocalists.  Lenny himself sounds better than ever as he continues to keep the focus on love. “Love is what has gotten me through all of these years. I look for love and I surround myself with it,” Lenny says. When it comes to singing love songs, one must “go there to know there,” and Lenny never left. He is able to take the listener to the heart of love with such soulful aplomb because love will never go out of style and no one does it better. Tune in to check out Mr. williams new project and talk about his journey with Dj Big Stew (A Show You Dont want To Miss)

Ultimate soul crooner and Oakland native, Lenny Williams, possesses one of the most distinctive voices in contemporary music.  With his rich, passionate vocal style, he is rightfully regarded as one of R&B’s most influential soul men. Williams began his musical career making records that have become R&B and Pop classics (e.g. “Cause I Love You” (recorded on his solo album) and “So Very Hard To Go”, which he recorded as the lead singer of Tower of Power).  Lenny Williams’ style has transcended into the new millennium, influencing many of today’s most popular R&B and Hip Hop artists. Lenny sounds better than ever as he continues to keep the focus on love.  “Love is what has gotten me through all of these years.  I look for love and I surround myself with it”, Lenny says.  When it comes to singing love songs, one must “go there to know there” and Lenny never left.  He is able to take the listener to the heart of love with such soulful aplomb because love will never go out of style and no one does it better.

The Legendary Lenny Williams Debuts His New single " Hooked On You " Ultimate soul crooner and Oakland native, Lenny Williams, possesses one of the most distinctive voices in contemporary music.  With his rich, passionate vocal style, he is rightfully regarded as one of R&B's most influential soul men. Williams began his musical career making records that have become R&B and Pop classics (e.g. “Cause I Love You” (recorded on his solo album) and “So Very Hard To Go”, which he recorded as the lead singer of Tower of Power).  Lenny Williams' style has transcended into the new millennium, influencing many of today's most popular R&B and Hip Hop artists. Lenny sounds better than ever as he continues to keep the focus on love.  “Love is what has gotten me through all of these years.  I look for love and I surround myself with it”, Lenny says.  When it comes to singing love songs, one must “go there to know there” and Lenny never left.  He is able to take the listener to the heart of love with such soulful aplomb because love will never go out of style and no one does it better.

WBOKRADIO / Intro To Info - Is Proud To Interview Lenny WilliamsWe All Know The Popular song "Cause I Love You"Tune In Thursday June 11th At 6:00pm (eastern) As Host Mikeisha Best, Along With Co-Host Alaska McqueenSits Down With Lenny And Discusses His Upcoming Events .. And Premieres Some Of His Great Tracks.. You Can't Miss This!!! Live Link Will Be Posted Soon !!

WBOKRADIO / Intro To Info - Is Proud To Interview Lenny WilliamsWe All Know The Popular song "Cause I Love You"Tune In Thursday June 11th At 6:00pm (eastern) As Host Mikeisha Best, Along With Co-Host Alaska McqueenSits Down With Lenny And Discusses His Upcoming Events .. And Premieres Some Of His Great Tracks.. You Can't Miss This!!! Live Link Will Be Posted Soon !!

DISCLAMER: We, Roots Redemption, are not responsible for what happens after you press play. This mix will definitely warm up the room ;-) Playlist: 01. You’re All I Need To Get By – Marvin Gaye 02. For The Love Of You – Isley Brothers 03. Between The Sheets – Isley Brothers 04. Secret Lovers – Atlantic Starr 05. No Ordinary Love – Sade 06. Cheers 2 U – Playa 07. They Don’t Know – Jon B 08. Differences – Ginuwine 09. Beauty – Dru Hill 10. The Love Scene – Joe 11. Nice & Slow – Usher 12. One In A Million – Aaliyah 13. What Kind Of Man Would I Be – Mint Condition 14. This Woman’s Work – Maxwell 15. Roni – Bobby Brown 16. Rock Me Tonight – Freddie Jackson 17. Lover’s Rock – Sade 18. By Your Side – Sade 19. Rock Wit’cha – Bobby Brown 20. A Long Walk – Jill Scott 21. Knocks Me Off My Feet – Donell Jones 22. In Love With You – Erykah Badu ft. Stephen Marley 23. Do You Remember – Jill Scott 24. If Only You Knew – Patti Labelle 25. Cause I Love You – Lenny Williams

Louis Armstrong & Velma Middleton "Baby It's Cold Outside(Mulato Beat Remix)" Carla & Rufus Thomas "Cause I Love You" Sonny & Cher "I Got You Babe" Otis Redding & Carla Thomas "Knock On Wood" Luther Vandross & Beyonce "The Closer I Get To You" Jill Scott & Common "8 Minutes To Sunrise" James Brown & Mara Withney "Think" Queen Latifah & Monie Love "Ladies First" Ginger Baker & Tony Allen "Drum Solo"