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On the Irish & Celtic Music Podcast #707. Subscribe now! Doolin', Austral, Fialla, Flook, The Friel Sisters, On The Lash, Brobdingnagian Bards, The Lilies of the Midwest, Robert Zielinski, Nathan Gourley, Joey Abarta, and Owen Marshall, Albannach,, David Mitchell, Drumspyder, Kevin Meehan GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:08 - Doolin' “Mary's Jigs” from Doolin' 4:34 - WELCOME 5:46 - Austral “Woodford Nights” from Thylacine 12:38 - Fialla “No Fear No Grace” from A Rare Thing 17:00 - Flook “Koady / The Burning Lion” from Sanju 21:10 - The Friel Sisters “The Queen of the Rushes/Scully Casey's/McGovern's Favourite (Jigs/Reel)” from Northern Sky 26:01 - FEEDBACK 28:29 - On The Lash “Dog in the Distance” from Fireside 32:23 - Brobdingnagian Bards “The Salmon of Knowledge” from Another Faire to Remember 36:59 - The Lilies of the Midwest “Rent Charlie's Cottage for a Fee” from Cat's Ceili 41:20 - Nathan Gourley, Joey Abarta, and Owen Marshall “Bonnie Prince Charlie / Return to Fingal” from Copley Street 2 45:15 - THANKS 47:57 - Robert Zielinski “The Yellow Heifer” from The Day Dawn 51:02 - Albannach “Bare Arsed Bandits” from Bareknuckle Pipes & Drums 55:03 - David Mitchell “Lathkill Dale” from Contours 58:01 - Drumspyder “The Oak and the Ash” from Oak and Ash 1:02:05 - CLOSING 1:02:55 - Kevin Meehan “Borve Castle” from Spanish Point 1:06:27 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Climate change is real, and we can fix it. Cutting waste, saving energy, and pushing for clean power all make a difference. Not convinced? What if you're wrong? A cleaner, safer world benefits everyone. Talk to someone today—our children are counting on you! Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and also host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic WHAT IS AN ALBUM PIN? An album pin is a lapel pin with artwork inspired by a specific album or song from an album. It could be the actual album artwork or it could be inspired by a specific track on the album. The best album pins stand out on their own. They appeal to more than just your fans. It is simple, bold, and visually engaging. However, what truly makes it an “album pin” is that the purchaser also gets a digital album with their pin. I have an entire blog on my website with details including templates for you to make your own album pin jacket.
Hoy os dejamos en la Gran Travesía un programa especial dedicado a lo mejor del año 1962,, donde podréis escuchar a Arthur Alexander, John Lee Hooker, Jerry Lee Lewis, Sam Cooke, Ketty Lester, Howlin´ Wolf, Tony Sheridan with The Beatles, The Contours, Little Eva, The Isley Brothers, Elvis Presley...y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con, Piri, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.
"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73
We chat with Flook about their new EP on the Irish & Celtic Music Podcast #703 . Subscribe now! Flook, Jigjam, Mac and Cheese, Austral, Mànran, Clare Sands, Aisling Urwin, Marc Gunn, The Secret Commonwealth, David Mitchell, Tuatha Dea, Willowgreen GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:10 - Jigjam "Red Paddy on the Ridge" from Phoenix 4:47 - WELCOME 7:54 - Mac and Cheese "Aberdeen Jig" from Big Fun 10:41 - Austral "Billy Gray" from Thylacine 14:52 - Mànran "Speybay Switch" from Mànran 20:44 - Clare Sands, Aisling Urwin "Ghost on the Waves" from Gormacha 24:58 - FEEDBACK / FLOOK INTERVIEW 33:18 - How Flook Got Started 39:26 - Flook "The Crystal Year / Foxes' Rock" from Ancora 44:35 - Flook's New EP 48:36 - Flook "The Farther Shore / Winter Flower" from Sanju 55:34 - Rapid Fire Questions 1:02:38 - Flook "Tie the Knot in Georgia / Ed's Big Five - O / Faqqua" from Sanju 1:08:37 - THANKS 1:10:48 - Marc Gunn "Peggy Gordon" from The Bridge 1:15:06 - The Secret Commonwealth "Mad Tom of Bedlam" from Licensed Beggars 1:19:03 - David Mitchell "Ward's Brae, Holmes' Fancy" from Contours 1:22:08 - Tuatha Dea "Irish Eyes" from Irish Eyes 1:27:31 - CLOSING 1:28:12 - Willowgreen "Johnny Teasie Weasle" from Willowgreen III 1:31:22 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and talk with others about climate change. What are you doing to combat climate change? Start a discussion with someone today. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic
durée : 00:02:46 - Le brief politique - Les candidats au poste de premier secrétaire du PS se multiplient, il sont désormais six. Mais ils pourraient bien finir par tous s'unir derrière un seul nom pour contrer l'actuel premier secrétaire du parti.
Happy St Patrick's Day! We got carried with our 3 hour special. Instead you get 50 Celtic songs and tunes for you to enjoy for St Patrick's Day on the Irish & Celtic Music Podcast #701. Subscribe now! GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:15 - The Friel Sisters "My Love is in America/The Yellow Tinker/Old Cuffe Street (Reels)" from Northern Sky 3:35 - WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. If you are a Celtic musician and want your music featured on the show, please submit your band to be played on the podcast. You don't have to send in music or an EPK, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Just email follow@bestcelticmusic 5:32 - Nathan Gourley, Joey Abarta, and Owen Marshall "A Tailor I Am / The Shoemaker's Fancy / Donncha Ó Loinsigh's" from Copley Street 2 9:36 - Fialla "Dúlamán" from A Rare Thing 13:41 - W. Ed Harris "Arran Boat Song" from Family, Friends, Choices, & Memories 17:50 - Goitse "Green Fields of Canada" from Rosc 22:39 - Clay Babies "Dick Gossips / Dinky's Reel / Miss McLoud's" from Speechless Vol. 1: Sloppy Session in the Sticks 27:11 - The Irish Rovers "Drunken Sailor" from Drunken Sailor 30:04 - WHAT ARE YOU DOING FOR ST PATRICK'S DAY THIS YEAR? Ellen MacIsaac: Probably gigging. Lots of work for musicians at that time. Patrick Rieger: That's a Monday. I'll listen to some music at home. My favorite pub will be a madhouse so I will be avoiding the place. Jordan Reeder: Guinness and the Irish and Celtic music podcast for sure!
In this episode of the Contours podcast, host Caroline Rose and Tammy Palacios, senior analyst of New Lines' Priority Sustainable Counterterrorism portfolio, to discuss the history of the French involvement in the Sahel, the security implications of the French departure from the region, and how it affects U.S. security.
Watch This Episode On YouTubeI couldn't have loved CONTOURS (2025) more, Aisha Amin's film which screened at Slamdance, and that bled through into the conversation. The story is brilliantly written, wonderfully acted, and gorgeously shot, so it's no surprise Aisha is such a fascinating guest for the podcast.She comes to filmmaking from the perspective of a Pakistani-American filmmaker and it is clear she will continue to push boundaries of what's possible in independent filmmaking.In this episode, we talk about:how you decide to put a twist into a short film;how she got involved in filmmaking (and she made me feel better about asking a similar question every time) -- hat tip to the Straight 8 competition;her thoughts on film v. digital and why more people aren't funding short films;how CONTOURS, a deeply rich film about a couple fighting, came to be;what the process is like directing something you haven't written -- "you have to be really collaborative";how she feels about diversity initiatives, especially in this political climate;why Slamdance for her film;how she responds to questions about her first feature;the challenge of being pigeonholed as a young director;what's next for her -- she drops info about her first feature!the problems with screeners only viewable on laptops and publicists utilizing Zoom for their press days with filmmakers.Aisha's Indie Film Highlight: FOUL EVIL DEEDS (2024) dir. by Richard Hunter; NO OTHER LAND (2024) dir. by Rachel Szor; Yuval Abraham; Basel Adra; Hamdan Ballal; Pastel ProductionsLinks:Follow Contours On InstagramFollow Aisha Amin On InstagramFollow Aisha Amin On VimeoSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content
Nightlife is joined by the head of Oxfam in Australia, Lyn Morgain, and the head of a research team based in the Netherlands working on a project titled Contours of Non-Oligarchic Futures, Janosch Prinz, Assistant Professor in Social and Political Philosophy. Join Philip Clark as they discuss what can be done to change things, to redress the basic inequalities and lack of legality, and to ensure democracy persists.
Ireland's struggle for freedom on the Irish & Celtic Music Podcast #697 . Subscribe now! Sorcha, Mac and Cheese, Socks in the Frying Pan, David Mitchell, Kyle Carey, Celtic Conundrum, Katie Jane Band, Charlie O'Brien, Joseph Carmichael, Ryan Dunne, Juha Rossi, Blackwillow Starling, Drumspyder, Hounds of Finn, Santiago Molina GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:06 - Sorcha "LUX" from Storm the Gate / Lux 3:15 - WELCOME 4:43 - Mac and Cheese "Whiskey Before Breakfast" from Big Fun 7:25 - Socks in the Frying Pan "Ireland's Struggle" from Waiting for Inspiration 11:47 - David Mitchell "Ward's Brae, Holmes' Fancy" from Contours 14:53 - Kyle Carey "Nach Muladach, Muladach Duine Leis Fhèin" from The Last Bough 17:51 - FEEDBACK 21:46 - Marc Gunn “Lord of the Pounce” from Irish Drinking Songs for Cat Lovers 26:06 - Celtic Conundrum "Bean Nighe (Washer Woman)" from Lore 29:52 - Katie Jane Band "Highlands of Scotland / Jenny Dang the Weaver" from Wild One 33:09 - Charlie O'Brien "Donovan's Mount" from The Trackless Wild, Irish Song of the Pampa 36:05 - Joseph Carmichael "The Ghosts of Hilbert's Hotel" from Single 39:03 - Ryan Dunne "Marie's Wedding" from One Day By Your Side 44:31 - THANKS 47:50 - Juha Rossi "Mr O'Connor" from O'Carolan Tunes on Mandolin 50:24 - Blackwillow Starling "Matty Groves" from Blackwillow Starling 54:43 - Drumspyder "Strathspey Drummers" from Oak and Ash 58:48 - Hounds of Finn "Gravity Pulls" from Gravity Pulls 1:02:11 - CLOSING 1:03:25 - Santiago Molina "Pasodoble de Catoira" from single 1:05:59 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and talk with others about climate change. What are you doing to combat climate change? Start a discussion with someone today. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. If you are a Celtic musician and want your music featured on the show, please submit your band to be played on the podcast. You don't have to send in music or an EPK, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Just email follow@bestcelticmusic THANK YOU PATRONS OF THE PODCAST! I am in awe of your generosity. You are the heartbeat of this podcast—the reason I bring you fresh, captivating episodes every single week. And you make it all possible. Your support isn't just appreciated—it fuels everything. It covers our brilliant engineer, the talented graphic designer, the dedicated Celtic Music Magazine editor, and the promotion that helps this music reach more ears. Your kindness lets me buy the music you love, and it gives me the time to craft each episode just for you. And as a patron, you don't just support the show—you step into the heart of the music. You get exclusive, ad - free, music - only episodes before anyone else. You shape the Celtic Top 20 with your votes. You unlock free music downloads, sheet music, and your own private feed to listen your way—whether through Patreon or your favorite podcast app. All of this, for as little as $3 a month. Three dollars. That's less than a cup of coffee, yet it keeps the music alive. It keeps this community thriving. And it keeps you at the center of it all. Join us today. Let's make this music last forever. A special thanks to our new and continued Patrons of the Podcast: Richard, Kavan Kucko HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every month, $3, $12, $25. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Imagine stepping into a land where time slows down, where the whispers of ancient legends dance on the breeze, and every corner holds a story waiting to be discovered. This is Wexford, Ireland, your gateway to an unforgettable Celtic adventure in 2025. With Celtic Invasion Vacations, you won't rush from site to site like a typical tourist. Instead, you'll immerse yourself in the soul of Ireland, experiencing its music, history, and breathtaking landscapes like a true traveler. Why Wexford? Because it's where the past and present blend in a symphony of hauntingly beautiful coastlines, medieval castles, and hidden gems untouched by time. It's where you'll hear the melodies of Celtic legends come to life, taste the rich flavors of Irish culture, and feel the magic of a land that has enchanted hearts for centuries. Join a select group of like - minded explorers as we venture deep into Wexford's folklore, traditions, and music. Can't travel with us? You can still follow the journey through exclusive podcasts and videos, letting your senses drink in the magic from wherever you are. But don't wait. Spots are limited, and Wexford is calling. Will you answer? Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? I'd love to see a picture of what you're doing while listening. Is there a new Celtic CD or Celtic band that you heard of or saw? Send a picture. Email me at follow@bestcelticmusic. Davida emailed about Patreon: "Hi Marc, I have been a listener of your show for several years and really love it! You do such a fantastic job of bringing us varied and beautiful music, I can't thank you enough. I listen to it while I'm knitting old and new Scottish patterns. I don't think that I have any Irish or Celtic ancestry, but I've felt the music since I was a little girl. I have been supporting you on Patreon, but I just received a notice that they are changing the monthly donation to only one dollar. I remember hearing you say that donations could be made a different way and it would be more beneficial for you, so can you let me know how that would be? It doesn't make sense to me to give you less money! Thank you so much and again please know that you do a fantastic job." Sean Malloy of Band o'Brothers emailed photos from the studio: "Merry Christmas Marc! And thanks so much for including "Christmas Time Again" in Episode #690, "Light a Candle in the Window." We're honored to have our music played alongside all the wonderful musicians on your podcast. When I saw the title of this week's podcast I thought perhaps you had included our song "On Christmas Day," which begins with the line "We light a candle in the window for weary travelers to find their way." But I was pleasantly surprised to hear that you also have a tune featuring the Irish Christmas image of a candle in the window. I find it to be such a lovely symbol of hope, hospitality, and mindfulness of people who are not with us but hold important places in our hearts. We've been spending some time at Bonehead Studio in our hometown of Cheshire, CT lately (pictures attached) and we hope to have our new album ready by February - so new music in time for St. Patrick's Day. You'll be among the first to know when we release it. Thanks again and Merry Christmas," David Tustin had a song request: "Marc, You asked an interesting question. Don was a God loving person, loved his family and encouraged cat and dog rescues. He also enjoyed Scotch Whisky! The best song could be one of your cat drinking songs or maybe you know of something better for your podcast. Taing mhòr!
Even if the 6G standardization is just beginning, the last five years of intensive research have illuminated the contours of the next-generation technology. In this episode, Emil Björnson and Erik G. Larsson discuss the recent paper “6G takes shape” written by leading researchers at UT Austin and Qualcomm. The conversation covers lessons learned from 5G, the potential role of new frequency bands and waveforms, and new coding schemes and forms of MIMO. The roles of machine learning and generative AI, as well as satellite integration and Open RAN, are also discussed. The original paper by Jeffrey G. Andrews, Todd E. Humphreys, and Tingfang Ji will appear in the IEEE BITS magazine, and the preprint is openly available: https://arxiv.org/abs/2411.18435 Music: On the Verge by Joseph McDade. Visit Erik's website https://liu.se/en/employee/erila39 and Emil's website https://ebjornson.com/
Well, well, well, what have we here? What's melting on the stove this week? And do you love me (now that I can drop and give you fifty)? We answer these questions and more as we reunite over Season 1, Episode 15 of Family Matters. Alex Diamond, David Kenny, and John McDaniel heard that the long-running network sitcom Family Matters ends with side character Steve Urkel going to space. And the best way to figure out how that happened - obviously - is to watch the last episode first and make our way backwards through nearly ten years of television.Join our countdown to number one (and our slow descent into madness) in all the places you expect internet people to be:Website: jumpingtheshuttle.spaceEmail: jumpingtheshuttle@gmail.comInstagram: @JumpingTheShuttle / @ThatAlexD / @dak577Twitter: @JumpingShuttle / @ThatAlexD / @dak577TikTok: @JumpingTheShuttle / @ThatAlexD / @dak577Brought to you by Smooth My Balls
We know you love us - but "Do You Love Me"? Berry Gordy got Motown started in 62 with The Contours and it might be a little revenge-romance fantasy. You will love Billy Gordon's vocal performance, the amazing backing vocal performance by FOUR other singers, to say nothing of The Funk Brothers. In '65, Paul Revere & The Raiders cranked out a version that's a lil bit ska, a lil bit surf. With palm muting - wild! The dawn of the 70s brought a strange, easy listening rendition by Essex's finest - Deep Feeling. Not far away, podcast faves Silicon Teens waxed the track in 79 and you know we love Daniel Miller's synth and soul (?) sounds ... The 80s got weird with Andy Fraser's attempt in 84 - the song is meh but the video is adorable. Finally, there's a version from 94 by Duke Baysee, and, true to the song, the dude is really working. Watch us now!
Israel and Hamas have agreed to pause fighting after 15 months of war. What's in the current ceasefire deal President Biden announced Wednesday, and how are people in Israel and Gaza reacting to it? Plus, Los Angeles has some of the strictest wildfire rules in the country. Why weren't they enough to prevent catastrophe?For more comprehensive analysis of the most important news of the day, plus a little fun? Subscribe to the Up First newsletter.Today's episode of Up First was edited by Neela Banerjee, Jerome Socolovsky, Ally Schweitzer and Lisa Thomson. It was produced by Ziad Buchh, Nia Dumas, Iman Ma'ani and Lilly Quiroz. We get engineering support from Neisha Heinis and our technical director is Zac Coleman.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy
Ce mercredi 15 janvier, la clarté des contours du budget après le discours de politique générale de François Bayrou, et son autre piste concernant les retraites, ont été abordées par François Ecalle, fondateur de FipEco.fr, Guillaume Dard, président de Montpensier Finance, et Patrick Artus, économiste et conseiller économique de la société de gestion Ossiam, dans l'émission Les Experts, présentée par Nicolas Doze sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.
Whenever we reach certain watershed moments within ufology, a whole new contingent of interested parties tend to enter the fray, after some new public revelation has convinced them that there really is a “there there'” after all. This happened en masse after a groundbreaking article was published in the New York Times in 2017. Another influx came after the Luis Elizondo and David Grusch revelations/allegations respectively. One thing that each of these moments had in common, of course, is that they each had to do solely with the matter of UFOs and aliens - now rebranded UAP (unidentified anomalous phenomena) and NHI (non-human intelligence). In other words, the people tending to enter the conversation following these key inflection points, really had no idea what a gateway drug - if you will - that UFOs and aliens often end up proving to be. The gateway leads, of course, as all of you who've been on this journey with me for some time now know - to deeper matters having to do with not only who they - these Others are - but who we are, and indeed to the nature of reality itself. That is to say, the High Strangeness that is part and parcel of this phenomenon is, as they say, a feature, not a bug. Some have even ventured so far as to say that the phenomena themselves are manifesting as they do precisely to force us into new ways of thinking about all that's possible, and all that is. Of course, for those looking with a keen eye, this venture into new models of reality is not confined to ufology. Yes, the bizarre, perplexing, and sometimes even absurd nature of the UFO Phenomenon does lead people down some peculiar avenues in order to make sense of it, but as it turns out, empirical research being done in distinct but converging fields of research - fields such as physics, astronomy and neuroscience - is leading investigators in those fields into similar trains of thought. One notion that has arisen in light of the data that has been amassed by different researchers, across these different fields of inquiry, is that the “physical” reality we assume ourselves to be so comfortably placed within, may not actually be so “physical” after all. In fact, what has emerged over time is surprisingly compelling evidence suggesting that our waking state reality-scape may perhaps be better described as synthetic, and derived from a deeper structure altogether. A simulation you say? Well, sort of, but maybe not in the way you often hear described in popular discourse. But what is the nature of the evidence pointing in this direction, and, if it's as compelling as seems to be the case, what are the implications, not just for the matter of UAP and NHI, but for us, and for the context we find ourselves in; a context we've long taken for granted as settled, at least within Western civilization? These are precisely the matters we'll seek to explore, in this, the 111th episode of the Point of Convergence podcast.
Viajamos 60 años atrás en el tiempo en busca de singles que alcanzaron su puesto más alto en el Billboard Hot 100 en enero de 1965.(Foto del podcast por R. McPhedran; Petula Clark con el disco de oro por “Downtown”, 1965)Playlist;(sintonía) LEE MORGAN “The sidewinder part 1” (top 81)PETULA CLARK “Downtown” (top 1)SHIRLEY ELLIS “The name game” (top 3)MARTHA and THE VANDELLAS “Wild one” (top 3)THE MARVELETTES “Too many fish in the sea” (top 25)MARVIN GAYE “How sweet it is to be loved by you” (top 6)MARY WELLS “Use your head” (top 34)THE LARKS “The jerk” (top 7)THE CONTOURS “Can you jerk like me” (top 47)JAMES BROWN and THE FAMOUS FLAMES “Have mercy baby” (top 92)BROOK BENTON “Do it right” (top 67)JOE TEX “Hold what you got” (top 5)THE IMPRESSIONS “Amen” (top 7)RAY CHARLES “Makin’ whoope” (top 46)WILLIE MITCHELL “Percolatin’” (top 85)CANDY and THE KISSES “The 81” (top 51)THE EXCITERS “I want you to be my boy” (top 98)CHAD and JEREMY “Willow weep for me” (top 15)Escuchar audio
On this episode of the Contours podcast, host Tammy Palacios sits down with Paul N.K. Aborampah Mensah, senior program manager for Ghana's Center for Democratic Development. Through their talk, they hone in on the situation and challenges ahead of Ghana's 2024 elections, including the Vigilantism Law, approaches to civic education, and how civil society groups can improve their effectiveness.
Jaf rocks out with The Cats From Fresno, Alan Vega, Marvin Gaye, The Contours and takes a trip to Brazil via Jamaica, Detroit, London and all points north, south, east and west. You gotta stay young, you can never be old, it's the golden age of rock & roll!For more info and tracklisting, visit: https://thefaceradio.com/blues-and-grooves/Tune into new broadcasts of Blues & Grooves, Sundays from 4 - 5 PM EST / 9 - 10 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
(00:00:36) Vers une restructuration profonde de l'Etat fédéral américain (00:06:45) Ce qui attend l'Iran dans un deuxième mandat de Donald Trump (00:13:33) Le Premier ministre israélien «est peut-être la personne la plus heureuse du monde en ce moment» (00:16:52) A Lisbonne, le tourisme chasse les habitants parfois brutalement
As final vote totals continue to trickle in, some of the contours of the election are emerging from the numbers. Michael Pope is taking a look at the statewide candidates.
Much attention has been paid to the supply of illicit drugs in the Middle East and war-torn Syria, but little has been focused on the patterns and implications of drug consumption in the region. However, a recent MedGlobal report reveals insightful data about Syria's emerging addiction crisis. The report notes that drug consumption has increased 300% since the outbreak of Syria's civil war, with high addiction rates associated with illicit substances, including captagon, crystal meth, heroin, cannabis, and other volatile substances. In this episode of the Contours podcast, the New Lines Institute's Caroline Rose and Senior Non-Resident Fellow Dr. Karam Shaar discuss the report's findings with MedGlobal President Dr. Zaher Sahloul and talk about the future of drug demand in Syria and beyond.
For many people, and perhaps even for some of our listeners, the Bible elicits a very different response from one person to another. For some, it is a source of comfort and spiritual nourishment, even a great source of creative inspiration, while for others, it brings up difficult questions or even negative emotions and uncomfortable associations. But as we've talked this season about disenchantment and reclaiming wonder, I'm curious if taking a second look at this collection of stories, songs, and spiritual directives may be yet another unexpected doorway into wonder. My guest today is author and scholar Cheryl Bridges Johns. Cheryl is the author of four books including Re-enchanting The Text: Rediscovering the Bible As Sacred, Dangerous and Mysterious. In our conversation, we discuss the impact of looking at scripture solely from a didactic viewpoint and what may occur in the reader who instead approaches the Bible as a mystical text with the uncanny ability to change and transform, even re-enchant its reader with a renewed spiritual vitality and understanding of God and the human condition. Cheryl and I also discuss the importance of nature as God's second book and the role of imagination in creating the world around us. Patrons of the podcast can enjoy an additional interview segment with Cheryl offering several practices to unlock a renewed vision on your creative and spiritual life. Join our creative collectiveGive a one-time donationMusic in this episode by: Some Were At Sea
On the October 16 edition of the Music History Today podcast, Creedence breaks up, the Grand Ole Opry gets more diverse, & Little Richard records. Plus, it's John Mayer's birthday. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: * In 1951, Little Richard recorded for the first time. * In 1956, Elvis' film Love Me Tender premiered. * In 1962, Motown started their package concert tour with Mary Wells, Marvin Gaye, The Supremes, Little Stevie Wonder, & the Contours. * In 1965, singer and actress Leslie Uggams married her longtime friend Grahame Pratt. * In 1972, Creedence Clearwater Revival broke up. * In 1975, Bruce Springsteen performed at the Roxy in Los Angeles, which led to him getting noticed by the mainstream media. * In 1976, the disco novelty song by Los Angeles radio DJ Rick Dees, Disco Duck hit #1 on Billboard's hot 100 singles chart. * In 1976, Stevie Wonder hit #1 with the album Songs in the Key of Life. * In 1986, Chuck Berry held his 60th birthday concert, which was filmed for his film documentary Hail Hail Rock N Roll. * In 1986, Marie Osmond married her husband Brian Blosil. * In 1988, the Smile Jamaica charity concert to help Hurricane Gilbert victims was held in London. * In 1992, Sinead O'Connor was booed when she performed at the Bob Dylan tribute concert at Madison Square Garden in New York City. The audience was reacting to the incident on Saturday Night Live a couple of weeks earlier when she ripped up a photo of Pope John Paul II. * In 2003, Apple released the Windows version of the ITunes store. * In 2010, Nicki Minaj set a record for most songs to debut on the Billboard singles chart in the same week with 7, with Bottoms Up with Trey Songz debuting at #11. The record has since been shattered a number of times. * In 2011, singer-songwriter Paul McDonald married actress & screenwriter Nikki Reed. * In 2013, actress & singer Kristen Bell married actor Dax Shepard. * In 2017, Ed Sheeran broke his wrist & elbow in a biking accident, which made him cancel part of his Asian tour. In the world of classical music: * In 1942, Aaron Copland's ballet Rodeo premiered in NYC. In award ceremonies that were held on October 16: * In 2012, the Grand Ole Opry inducted only its third African American member, after DeFord Bailey & Charley Pride. It was Darius Rucker, lead singer of Hootie & the Blowfish and successful solo country music singer. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
Contours of Gospel Ministry (Titus 3-12-15)
In this episode of the Contours podcast, host Eugene Chausovsky sits down with Dr. Farid Shafiyev, the Chairman of the Baku-based Center of Analysis of International Relations and former Ambassador of Azerbaijan to Canada and the Czech Republic. Together, they take an in-depth look at Azerbaijan-Armenia relations and their impact on geopolitical dynamics throughout Eurasia and beyond.
Tous les matins à 7h20, les petits secrets de l'actualité, les infos que vous n'avez pas vues ailleurs. Les journalistes des rédactions de RMC et RMC Sports se mobilisent pour vous raconter les coulisses de l'actualité.
In today's episode of the Contours podcast, host Kelsey Quinn sits down with Middle East Affairs researcher Dr. Massaab Al-Aloosy. The pair discuss the increasing role China plays in the Middle East, the American response, and how regional powers are adapting to the changing dynamics.
In this episode, we discuss a heated X (Formally Twitter) discussion about sabbaticals and if it is tone deaf for pastors to want them. We also discuss a real life situation of a volunteer that committed adultery and is bouncing around from church to church and is serving on Worship Teams. Listen anywhere: https://practicallypastoring.com/ Join our Facebook Group: https://www.facebook.com/groups/practicallypastoring Follow us in Instagram: https://www.instagram.com/practicallypastoring Join our mailing list: https://bit.ly/3plt5so Practically Pastoring Conference 2025: https://practicallypastoringconference.com/ Hosts: Frank Gil - https://www.instagram.com/pastorfrankgil/ Jeff Simpson - https://www.instagram.com/jeffcsimpson/ Delmar Peet - https://instagram.com/delmarpeet/ Andrew Larsen - https://www.instagram.com/andrewjlarsen/ Timothy Miller - https://www.instagram.com/timothyamiller/ Links Mentioned In the Show: Transforming Conversion: Rethinking the Language and Contours of Christian Initiation - https://a.co/d/fER1JlO
There has been no shortage of the figures attesting to the cosmic transformation of the US Inflation Reduction Act (IRA) – the largest clean energy and climate legislation in US history since its passage in August 2022. Yet, two years on the IRA is at a critical juncture with the impending US elections potentially altering the contours of what has been a goldilocks era of clean energy regulation. To put this into perspective, Ehsan Khoman, Head of Research – Commodities, ESG and Emerging Markets (EMEA), delves into MUFG's latest ESG thought leadership report, titled, “US Inflation Reduction Act (IRA) two years on – How the US elections may alter the contours of the capex supercycle” (see here), in this week's podcast. Disclaimer: www.mufgresearch.com (PDF)
In this episode of the Contours podcast, host Eugene Chausovsky talks with Richard Giragosian, founding director of the Regional Studies Center. Together, they discuss the implications of a potential peace agreement between Armenia and Azerbaijan, the changing roles of foreign powers in the region, and what the future holds for connectivity throughout Eurasia.
The Contours of a Kamala Harris Campaign Emerges Contrasting the Felon With the Prosecutor Who Went After For-Profit College Ripoffs Like Trump University and Investigated Big Oil While Trump Invited Them to Bribe Him | Kamala Harris Campaigns in Wisconsin Today Which Trump Barely Won in 2016 and Biden in 2020 | Project 2025 Is More of a Corporate Wishlist Than a MAGA Manifesto and Trump and Vance Are Running Away From Its Unpopularity backgroundbriefing.org/donate twitter.com/ianmastersmedia facebook.com/ianmastersmedia
In this episode of the Contours podcast, Eugene Chausovsky, senior director of analytical development at the New Lines Institute, and Marie Mach, an independent researcher of Eurasian extremist ideology, discuss the evolution of extremist violence in Central Asia, the factors driving recent attacks, and the outlook for the region.
In today's episode of the Contours podcast, host Carolyn Morman talks with writer and New Lines contributor Abdulaziz Kilani. Together, they discuss how Israel's war in Gaza is affecting relations with its neighbors, the role America plays diplomatically in these changes, and how the Palestinian question may be addressed in the future.
In this episode, we explore the world of gun culture with author David Yamane, who aims to bridge the divide between gun owners and skeptics. His book covers why guns resonate with their owners while addressing concerns about the risks they pose in some people's eyes. David highlights the efforts of Walk the Talk America and explores founder Michael Sodini's background growing up. Yamane's book speaks to gun enthusiasts, skeptics, and the curious alike. He encourages readers to embrace different perspectives and seek common ground. Join us as Yamane discusses what it has been like promoting his book, navigating criticism, and the importance of engaging in meaningful conversations about guns.About David Yamane: For the first 20 years of his academic career, Professor Yamane specialized in the sociology of religion, a field in which he authored, co-authored, or edited 6 books and 2 major scholarly journals.Since 2011, Professor Yamane has become a nationally recognized scholarly authority on guns in America, with a unique voice in our cacophonous debates on the subject, one that reaches audiences across the spectrum of opinion on guns. He especially seeks out opportunities to speak about and to the broad and deep middle of the American population whose views do not skew to the extreme in either direction. Recent publications include “Gun Culture 2.0: Evolution and Contours of Defensive Gun Ownership in America,” “Understanding and Misunderstanding American Gun Culture and Violence,” and Concealed Carry Revolution: Liberalizing the Right to Bear Arms in America. His book, Gun Curious: A Journey Inside America's Evolving Culture of Firearms, will be published by Exposit Books.Pre Order The Book
In this episode of “Examining the Context” podcast, Dr. Nerses Kopalyan talks about how Armenia must anticipate, mitigate and deter the Aliyev regime's threats and potential attacks by gauging its coercive credibility through a threat matrix.
For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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/ Resources Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost. Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”. Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…
Luke 18:9-14 What's the most common factor in marriages that dissolve? What's the acceptable, even justified, attitude to have towards your political opponents? What's so easy to see in other people, but tough to identify in yourself? Contempt. Despising or looking down on something about others. On Sunday, we'll explore the contours of contempt from Jesus' parable of the Pharisee and tax collector.
Join Pastor Eric and Pastor Trevor as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
Join Pastor Eric and Pastor Trevor as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
In this episode, Adam and Nina discuss the deterioration of relations between Czechia and Slovakia, the celebration of 25 years of NATO membership in Czechia, Hungary and Poland and the ongoing media crackdown in Azerbaijan. They continue to analyse the split in the Visegrád Group as Hungary's Viktor Orbán's met with Donald Trump while Poland's president and prime visited US President Joe Biden.For the main interview, Alexandra and Nina sat down with Eugene Chausovsky, the Senior Director for Analytical Development and Training at the New Lines Institute to get his insights on the upcoming Russian presidential elections. Eugene dives into Russian domestic politics but also looks at the election from a broader geopolitical perspective. This is the first of several collaborations that we will be conducting with analysts from the New Lines Institute.The New Lines Institute is based in Washington, DC and focuses on the intersection of US foreign policy and global geopolitics. Check out the New Lines Institute website and listen to their podcast: Contours. >>>Support us on Patreon: www.patreon.com/talkeasterneurope
Join Pastor Eric and Pastor Trevor as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
Join Pastor Trevor, Pastor Mike, and Pastor Kyle as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
Joe Selvaggi talks with U.S. Constitution scholar, Cato Institute’s Thomas Berry, about oral arguments at the Supreme Court in the NetChoice cases, exploring the First Amendment questions that affect both social media users and the platforms that curate their content. Thomas A. Berry is a research fellow in the Cato Institute's Robert A. Levy […]
Joe Selvaggi talks with U.S. Constitution scholar, Cato Institute's Thomas Berry, about oral arguments at the Supreme Court in the NetChoice cases, exploring the First Amendment questions that affect both social media users and the platforms that curate their content.
Join Pastor Trevor and Pastor Ben as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
Join Pastor Eric and Pastor Trevor as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
Join Pastor Eric and Pastor Trevor as we discuss the weekly message and material from our series, "Contours." To find other helpful resources, visit smccutah.org/resources. You can also find the SMCC Messages podcast by visiting smccutah.org/podcast. If you'd like to submit a question, please email us at smcc@smccutah.org.
For our final episode of 2023, a live audience recording from the spring, when we took part in the ICA 2023 Pre-conference, “20 Years of Podcasting: Mapping the Contours of Podcast Studies,” hosted May 24th and 25th at Toronto Metropolitan University. Entitled, “Independent Indigenous podcasting as knowledge production,” this four-person roundtable was a rare opportunity to bring folks together in one place—Rick Harp, Brock Pitawanakwat, Kim TallBear—along with Candis Callison, who joined us remotely. Here's the essence of our event: "Curious about podcasts as academic avenues, our discussion will explore both pragmatic and conceptual outcomes of independent Indigenous podcasting as a form of knowledge production, for both media and the academy… There is much overlap on [MI's] roundtable between media-makers and academics, many of whom are regularly asked for media commentary on current Indigenous topics. Several of us work(ed) within Indigenous and mainstream print and broadcast media. We will explore how producing for a primarily Indigenous audience compares to addressing a mass audience." // CREDITS: Our theme is 'nesting' by birocratic.
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