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Episode 196Series: On the Mission Field - 20In this installation of the Removing Barriers podcast, we head back to the mission field and talk to David Gates, missionary to Dearborn, MI. Dearborn is in southern Michigan and is a suburb of Detroit. It is famous as the hometown of Henry Ford and the Ford Motor Company, as well as for its status as the city with the largest Muslim population in the country. It also has the largest mosque in the nation. With these stats, we may be tempted to engage through fleshly predispositions. David Gates, however, explains in this interview how Dearborn is no different from any other U.S. city, and how a love for Christ and for souls will help us override those predispositions and see the lost souls behind the mosques, the hijabs, or the calls to prayer. Who are the people of Dearborn and how can we best witness to them? Join us on this episode to hear of the work God is doing on this mission field!Listen to the Removing Barriers Podcast here:Spotify: https://cutt.ly/Ega8YeI Apple Podcast: https://cutt.ly/Vga2SVdEdifi: https://cutt.ly/Meec7nsvYouTube: https://cutt.ly/mga8A77Podnews: https://podnews.net/podcast/i4jxoSee all our platforms: https://removingbarriers.netContact us:Email us: https://removingbarriers.net/contactFinancially support the show: https://removingbarriers.net/donateAffiliates:Book Shop: https://bookshop.org/shop/removingbarriersChristian Books . com: https://www.christianbook.com/Christian/Books/home?event=AFF&p=1236574See all our affiliates: https://removingbarriers.net/affiliatesNotes:Mission Board: https://www.mwbm.org/Website: https://gatesforarabs.com/
Listener suggestions are rated on the Yachtski Scale, with songs by David Gates, The Stylistics, and Boncana Maïga.
Label: Elektra 45720Year: 1971Condition: M-Last Price: $18.00. Not currently available for sale.I still think this is my favorite Bread track... the lyrics are hopelessly romantic, but that's just what you want when you're hopelessly in love. And the arrangement suits the mood perfectly. David Gates has concocted a perfect Pop confection that should not be dismissed merely because it is so. The sheer beauty of the music, song, voice, lyrics literally brings me to tears when I'm in a certain mood. The vision of my dear wife coming and "pouring herself on me" when I'm feeling down, and of our ultimately "flying away" from our worldly cares and woes together, evokes such poignancy for me that I feel it's happening... as the music plays. I finally found a copy of with audio good enough to record for my iTunes library, but when I began to make the mp3 "snippet" for Classic 45s, I simply could not find a reasonable place to edit this nearly perfect musical "poem," so I ended up including the entire 2:33 song as the snippet. If you are inclined to dismiss Bread and David Gates, do me a favor and listen to the entirety of the snippet. This level of creativity in Soft Rock definitely deserves our 2-star recommendation, and I hope you agree. Enjoy! Note: This beautiful copy comes in a Near Mint picture sleeve with no notable flaws. The labels look Mint, and the vinyl (styrene) looks almost Mint. Fortunately, this copy, while not perfect, is close enough to earn a rare (for this pressing) Near Mint audio rating. Have a listen to the snippet, and you'll agree you can imagine a more perfect rendition, but you have to admit this Mono mix is gorgeous!
Retired agent David Gates reviews the investigation of the November 2013 Terminal 3 active shooter incident at the Los Angeles International Airport (LAX). The shooting rampage resulted in the line of duty murder of Transportation Security Administration (TSA) Officer Gerardo Hernandez. Two other TSA officers were wounded, along with a passenger. This episode is dedicated to TSA Officer Gerardo Hernandez. David Gates served in the FBI for 21 years. Check out episode show notes, photos, and related articles: https://jerriwilliams.com/346-david-gates-fbi-at-lax-airport-active-shooter/ Buy me a coffee - https://www.buymeacoffee.com/JerriWilliams Join my Reader Team to get the FBI Reading Resource - Books about the FBI, written by FBI agents, the 20 clichés about the FBI Reality Checklist, and keep up to date on the FBI in books, TV, and movies via my monthly email. Join here. http://eepurl.com/dzCCmL Check out my FBI books, non-fiction and crime fiction, available as audiobooks, ebooks and paperbacks wherever books are sold. https://jerriwilliams.com/books/
Retired agent David Gates reviews two investigations involving sexual assaults committed on board airplanes. He also provides tips to identify and raise awareness of this safety issue on flights. David spent most of his Bureau career assigned to the Los Angeles International Airport (LAX). When he retired, he was considered one of the FBI's experts in crimes on board aircraft. David Gates served in the FBI for 21 years. Check out episode show notes, photos, and related articles: https://jerriwilliams.com/340-david-gates-fbi-at-lax-sexual-assault-on-board-aircraft/ Buy me a coffee - https://www.buymeacoffee.com/JerriWilliams Join my Reader Team to get the FBI Reading Resource - Books about the FBI, written by FBI agents, the 20 clichés about the FBI Reality Checklist, and keep up to date on the FBI in books, TV, and movies via my monthly email. Join here. http://eepurl.com/dzCCmL Check out my FBI books, non-fiction and crime fiction, available as audiobooks, ebooks and paperbacks wherever books are sold. https://jerriwilliams.com/books/
International mountain day. Entertainment from 1976. 1st penus transplant, Indiana became 19th state, Libertarian Party formed, Last issue with nude pics in Playboy. Todays birthdays - Big Mama Thornton, Rita Moreno, David Gates, Brenda Lee, Teri Garr, Jermaine Jackson, Nikki Sixx, Mo'nique, Hailee Steinfeld. Anne Rice died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I love the mountains - Super simple songs for kidsTonights the night - Rod StewartThinkin of a rendezvous - Johnny DuncanBirthday - The BeatlesBirthdays - In da club - 50 Cent http://50cent.com/Hound Dog - Big Mama ThorntonMake it with you - BreadRockin' around the christmas tree - Brenda LeeI'll be there - Jackson 5Kickstart my heart - Motley CrueStarvin - Hailee SteinfeldExit - In my dreams - Dokken http://dokken.net/
For the first time ever on the internet, hear bread machine. Sonic contributors to this bonus Lightnin' Licks Radio content include: Deon, Slaunchwise, Bread, and Bob Green & Jay Glysz as bread machine. Snippet taken from Lightnin' Licks Radio Bonus #23: Band Canyon, fake Zombies, and HHM. Tracklist: (1) introduction (2) Everything I Own (3) Guitar Man (4) If Tracks 2 and 4 written by David Gates. Track 3 written by Jerry Reed.
Wednesday, September 18, 2024 The Dominant Duo – Total Dominance Hour -Bread - The Rolling Stones, Jim's leg is infected, 2014 Heupel OU Offense, BYU night game, Tennessee is healthy & Heupel's offense is fast and more. Follow the Sports Animal on Facebook, Instagram and X PLUS Jim Traber on Instagram, Berry Tramel on X and Dean Blevins on X Follow Tony Z on Instagram and Facebook Listen to past episodes HERE! Follow Total Dominance Podcasts on Apple, Google and SpotifySee omnystudio.com/listener for privacy information.
One of the great underappreciated singer-songwriters of the rock era was Tulsa, Oklahoma native Claude Russell Bridges, better known as Leon Russell. Russell was a musician and songwriter with records spanning rock, folk, country, gospel, bluegrass, and blues who began playing piano at the age of four. He went to the same high school as David Gates (from Bread), and the two collaborated as a group called The Fencemen early on. Russell went to Los Angeles and worked as a studio musician. The list of folks he worked with is huge, including Jan and Dean, the Beach Boys, George Harrison, Eric Clapton, the Byrds, Barbara Streisand, Bob Dylan, and the Rolling Stones. He was a big part of the group Delaney and Bonnie, and was a primary inspiration to a then-upcoming pianist who went by the name Elton John.Russell was born with cerebral palsy, which produced some paralysis on his right side. He walked with a limp, and he was bullied as a kid over it. He also developed a piano playing style that favored his left hand, and keyboardists will recognize that as unusual since the right hand typically plays the melody on songs.We are looking at the third solo studio album from Leon Russell called Carney. This is Russell's most successful album in the United States, and comes when he was at his height as both a musician and a performer. It went to number 2 on the Billboard Album chart. Carney is organized with a first side that tends toward folk or roots rock, and a side two that is more psychedelic. Russell was quite the start at this time, and he found that fame had some downsides. Carney contains observations about the rock star lifestyle, and compares it two the performers at a carnival midway. Russell's fame as a solo performer would fall off about three years after this album when he would trend in a more country direction. He remained a force in the studio and as a songwriter throughout his life. Leon Russell passed in his sleep in 2016 at home while recovering from heart surgery.Bruce presents this icon of the singer-songwriter era in today's podcast, as previous host Brian Dickhute sits in this week in Lynch's absence. Manhattan Island SerenadeWe're leading off with a deeper cut from the album. It's lyrics are told from the perspective of a guy broken down on the side of the road, thinking about a long lost love as the rain falls and the cars drive by.TightropeThis is the big hit off the album. It went to number 11 on the Billboard Hot 100. This song encapsulates the theme of the album well, comparing the rock performer to a tightrope walker, with all the risks and the joys of performing stunts in front of the crowd. If the Shoe FitsRussell takes on the groupies and hangers-on in this song. It's a little like Pink Floyd's “Have a Cigar,” but instead of focusing on managers taking advantage of the band, this song looks at the parasitical elements of the press and the fans. It maintains a light, satirical feel despite the pessimism embedded in the lyrics.This MasqueradeWhile never a hit for Russell, this song received some airplay as the B-side to “Tightrope.” It would also be covered by a number of artists including Helen Reddy and the Carpenters, but it's most successful cover iteration would be from George Benson on this “Breezin'” album. ENTERTAINMENT TRACK:Dueling Banjos (from the motion picture Deliverance)Burt Reynolds stars in this action/horror film about a group of rafters who encounter strange back woods locals while rafting in Georgia. STAFF PICKS:I Can See Clearly Now by Johnny NashWayne gets us rolling on the staff picks with an optimistic song which went to number 1 in 1972. The inspiration was an eye surgery that Nash had undergone which left him temporarily blind. The song reflects the hope and joy when he was able to see again, and inspires hope during times of adversity. You Don't Mess Around with Jim by Jim CroceRob brings us one of Croce's signature lyrical stories. Jim Walker was the baddest pool hustler around until Slim showed up at the pool hall and cut Jim to ribbons in a fight. “You don't tug on Superman's cape, you don't spit into the wind, you don't pull the mask of the old Lone Ranger, and you don't mess around with Jim.” Too Late to Turn Back Now by the Cornelius Brothers & Sister RoseBrian features a family soul singing group out of Florida formed in the 60's as a gospel group before adding Sister Rose in 1970. Carter, Eddie and Rose Cornelius released this single as a follow-up to their hit “Treat Her Like a Lady.” The follow-up was even more successful than the former hit, going to number 2 in the Billboard Hot 100, while the previous hit went to number 3. I Wanna Be Where You Are by Michael JacksonBruce's staff pick is the third single off MJ's debut solo album. It went to number 16 on the Billboard Hot 100. Leon Ware and Arthur “T-Boy” Ross wrote this song, and Arthur Ross is the brother of Diana Ross. Michael Jackson was producing solo work while continuing as a member of the Jackson 5, and his brothers are singing backup on this song. INSTRUMENTAL TRACK:Outta Space by Billy PrestonWe close out this week's podcast with a little sci-fi funk. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
A new MP3 sermon from Maranatha Baptist Church is now available on SermonAudio with the following details: Title: Missionary David Gates Speaker: David Gates Broadcaster: Maranatha Baptist Church Event: Sunday - PM Date: 4/28/2024 Bible: 1 Peter 2:1 Length: 47 min.
Audio from 1890, the symbolic power of pizza, blue suede shoes, thinking like a vulture, and more in our season roundup of favorite moments, with Nafis White, Chris Rush, Alexi Worth, Odili Donald Odita, Daron Hagen, Sam Lipsyte, Will Hermes, Lee Clay Johnson, David Gates, Brian Evenson, Ilana Boltvinik, Martha McPhee and Edgar Oliver.
Mark , Lou and Perry discuss artist Roger Dean also rock band Cream and Felix Pappalardi plus newsfeed stories and random relish topics music trivia also a listen to David Gates with Glen Campbell and much more ! --- Send in a voice message: https://podcasters.spotify.com/pod/show/perry--dedovitch/message
By the end of 1970 Three Dog Night was in the middle of their most prolific and successful period of their career. The group would land 21 Billboard Top 40 hits between 1969 and 1975 with three of these taking the top slot. The group was formed by three vocalists in 1967 - Chuck Negron, Cory Wells, and Danny Hutton. The other members of the band for this album are Mike Allsup on guitar, Joe Schermie on bass, Jimmy Greenspoon on keyboards, and Floyd Sneed on drums. All of the instrumentalists in the band also provide backing vocals on at least one of the songs from the album.Naturally is the fifth album from the band and the second released in 1970. Three singles from the album entered the Billboard top 20, with "Joy to the World" topping the charts. As with contemporaries like the Beach Boys and Crosby, Stills, and Nash, you get an abundance of vocal harmonies with Three Dog Night. Given the origins with three vocalists, perhaps this is not surprising.Three Dog Night takes its name from the Australian Outback, and how the Aborigines would keep warm at night by sleeping with a dingo - dogs native to the continent. A very cold evening would be known as a three-dog night. While the group was inducted into the Vocal Group Hall of Fame in 2000, they have not yet been inducted to the Rock and Roll Hall of Fame. Much of their work was composed by others, and this has been used as an excuse for their lack of recognition.Three Dog Night continues to produce music today, though Danny Hutton is the only original member still with the group. Wayne takes us through this album for today's podcast. One Man BandThe first single released from the album went to number 19 on the Billboard charts. The lyrics describe a man who wants to be the only one for his lover - her one man band. There are great close harmonies and work on the Hammond organ in this one.Joy to the WorldThe big hit from the album went to number 1 on the Billboard charts and remained there for six weeks. It was not expected to be a hit, but was instead expected to just be a "filler" song for the album with nonsensical but catchy lyrics. Singer-songwriter, guitarist, and actor Hoyt Axton wrote the song. Chuck Negron is the lead singer on this hit.LiarRuss Ballard of Argent wrote this song, and released it as Argent's first single off their self-titled album. While that version did not chart, the Three Dog Night rendition went to number 7 on the Billboard charts, benefitting from its release after their number 1 hit with "Joy to the World." The haunting lyrics describe a relationship in trouble.I Can Hear You CallingThis song leads off the album and appears as the B-side to "Joy to the World," but was never released as a single itself. The funky grooves feature heavy use of the Hammond organ and a big drum beat. The lyrics reflect a person who keeps getting called on the phone by a lover he has left behind. ENTERTAINMENT TRACK:Main theme from the television series “H.R. Pufnstuf”This odd children's show from Sid and Marty Krofft left the airwaves in October 1970. STAFF PICKS:Fire and Rain by James TaylorRob starts off the staff picks with this soft rock hit. Taylor wrote the song after the suicide of a friend. It was the second single from Taylor's second album, "Sweet Baby James." It peaked at number 3 on the Billboard Hot 100.It Don't Matter to Me by BreadBruce brings us another soft hit. Bread was a soft rock group formed and fronted by David Gates, along with Jimmy Griffin and Rob Royer. Gates, a native of Tulsa, Oklahoma, ran in the same circles as Leon Russell in Tulsa bar bands before moving to California. The song reflects an openness in the singer's relationship, wanting only the best for his love.Knock Three Times by Dawn Lynch features a group which would later be known as Tony Orlando and Dawn. Orlando was working as an executive at April-Blackwood Music, and released the song without listing his name to protect his position from accusations of a conflict of interest. The song went to number 1. The lyrics reflect a secret romance between a man and his neighbor from the floor below.Let's Go, Let's Go, Let's Go by Bettye LaVetteWayne's staff pick is a bit of a James Brown song with a female voice. Bettye LaVette came out of Detroit but was signed by Atlantic Records rather than their competitors in Detroit, Motown Records. LaVette is a long time singer of blues, soul, and R&B starting in the early 60's and continuing today. This song is about letting loose and having a good time living in the moment. COMEDY TRACK:Bridget the Midget by Ray StevensWe wrap up the podcast with the comedy stylings of Ray Stevens singing about Bridget the Midget, the Queen of the Blues. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En esta edición estrenamos 'No Matter What', nuevo disco de Threestyle, el proyecto liderado por la saxofonista checa Magdalena Chovancova. Repasamos recientes lanzamientos en la música Smooth Jazz de Drew Davidsen, Streetwize, Luiz Millan, Kinga Glyk y Mark Winkler. En el bloque central rescatamos unas cuantas canciones de la discografía en solitario de David Gates, cantante y líder de Bread, una destacada formación de la década de los 70.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170
Originally from the Hudson Valley in New York State, artist Michael Johnathon moved to the border town of Laredo, TX to work at KLAR-AM. At the urging of folk singer Pete Seeger, he then moved to Mousie, Kentucky in the Appalachian mountains to learn folk tradition and music. He began his folk career performing at schools and fairs and touring with established artists including David Gates, Odetta, Janis Ian, Tom Paxton, Billy Dean and Judy Collins. Tune in to hear more about his musical journey, innovative ideas to help artists get paid, and overall advice as he sits down with Pam in this episode of Applaudable Perspectives. Photo Credit: Jason W. Ashcraft
International mountain day. Entertainment from 1994. 1st penus transplant, Indiana became 19th state, Libertarian Party formed, Last issue with nude pics in Playboy. Todays birthdays - Big Mama Thornton, Rita Moreno, David Gates, Brenda Lee, Teri Garr, Jermaine Jackson, Nikki Sixx, Mo'nique, Hailee Steinfeld. Anne Rice died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I love the mountains - Super simple songs for kidsOn bended knee - Boys II MenPick-up man - Joe DiffieBirthday - The BeatlesBirthdays - In da club - 50 Cent http://50cent.com/Hound Dog - Big Mama ThorntonMake it with you - BreadRockin' around the christmas tree - Brenda LeeI'll be there - Jackson 5Kickstart my heart - Motley CrueStarvin - Hailee SteinfeldExit - It's not love - Dokken http://dokken.net/
Astronomy Cast Ep. 694: Mission Roll Call Part 3: Sun, Mercury, and Venus by Fraser Cain & Dr. Pamela Gay Streamed live on Oct 16, 2023. Our journey through space missions continues. Now we move away from the Earth to the rest of the solar system. What's out there orbiting, roving and flying on other worlds and in interplanetary space. Today we look inward and we'll talk about the missions studying the Sun, Mercury and Venus. Thank you to all of our patrons who allow us to do this! This week I'd like to thank Jeremy Kerwin, Stuart Mills, Slug!, Harold Bardenhogan, Matthew Horstman, Kimberly Reich, Georgie Ianov, Scott Bieber, Jim Schooler. Marco Yarasi, David Gates, Alex Cohen, Justin Proctor, Claudia Mastriani, Scott Cohen, Disastrina, Kinsaya Pianflinko, Mathias Hayden, The Big Squish Squash!, Tim Garish, Gregory Singleton, Tim McMackin, Jeff Wilson Cooper, Paul D Disney, Benjamin Mueller, Ninja Nick, Kenneth Ryan, Eran Segev, Scott Briggs and Bruce Amazine. Thank you all so much!
The 365 Days of Astronomy, the daily podcast of the International Year of Astronomy 2009
https://www.youtube.com/watch?v=3sTwlc1ELTA Streamed live on Oct 16, 2023. Our journey through space missions continues. Now we move away from the Earth to the rest of the solar system. What's out there orbiting, roving and flying on other worlds and in interplanetary space. Today we look inward and we'll talk about the missions studying the Sun, Mercury and Venus. Thank you to all of our patrons who allow us to do this! This week I'd like to thank Jeremy Kerwin, Stuart Mills, Slug!, Harold Bardenhogan, Matthew Horstman, Kimberly Reich, Georgie Ianov, Scott Bieber, Jim Schooler. Marco Yarasi, David Gates, Alex Cohen, Justin Proctor, Claudia Mastriani, Scott Cohen, Disastrina, Kinsaya Pianflinko, Mathias Hayden, The Big Squish Squash!, Tim Garish, Gregory Singleton, Tim McMackin, Jeff Wilson Cooper, Paul D Disney, Benjamin Mueller, Ninja Nick, Kenneth Ryan, Eran Segev, Scott Briggs and Bruce Amazine. Thank you all so much! We've added a new way to donate to 365 Days of Astronomy to support editing, hosting, and production costs. Just visit: https://www.patreon.com/365DaysOfAstronomy and donate as much as you can! Share the podcast with your friends and send the Patreon link to them too! Every bit helps! Thank you! ------------------------------------ Do go visit http://www.redbubble.com/people/CosmoQuestX/shop for cool Astronomy Cast and CosmoQuest t-shirts, coffee mugs and other awesomeness! http://cosmoquest.org/Donate This show is made possible through your donations. Thank you! (Haven't donated? It's not too late! Just click!) ------------------------------------ The 365 Days of Astronomy Podcast is produced by the Planetary Science Institute. http://www.psi.edu Visit us on the web at 365DaysOfAstronomy.org or email us at info@365DaysOfAstronomy.org.
On the Black roots of the banjo, the godfather of bluegrass, novelist as bandleader, and more, with a trio of talented musicians and writers: Celebrated author, bass player and literary outlaw Lee Clay Johnson in conversation with the incomparable David Gates, powerhouse on guitar, vocals, pedal steel, and author of several works of knock-out fiction. PLUS: Preview the new documentary featuring supernova Rhiannon Giddens.
During the early '70s, Warren and his brother Bill formed The Ham Brothers Band and included Ira Wilkes on bass, Red Young on piano and organ and Dahrell Norris on drums. The group recorded for Texas producer Huey P. Meaux. Despite critical acclaim for the work, the album never made it in the marketplace. It was soon taken out of print. In 1978 The Ham Brothers band had replaced Wilkes and Young with Bob Parr and Ken Rarrick, both from the acclaimed jazz education program at the University of North Texas. Later that same year, David Gates, of Bread fame, hired the Ham Brothers to tour as part of Bread. The act was then billed as David Gates and Bread. A year later pop diva Cher secured the services of the same band. When Cher recorded the project album Black Rose, Warren joined the band for the recording and the subsequent supporting tour. In his early years, Ham was a vocalist and played the reeds for the Fort Worth, Texas based Bloodrock (1972–74). Ham appeared on the last two Bloodrock albums: Passage and Whirlwind Tongues. Warren Ham has also toured with Kansas in the John Elefante era (in 1982, played additional keyboards, flute, alto and soprano saxophones, harmonica and backing vocals), Toto (1986-1988, and since 2017), and Donna Summer (1983). He toured with Olivia Newton-John in 2006 as an instrumentalist and vocalist performing John Travolta's part with Newton-John on her No. 1 Grease hit, "You're The One That I Want", as well as backing vocals. When Kerry Livgren left Kansas to form his own Christian rock band AD, Ham went with him as the new band's lead singer. Ham appeared on the first, second and fourth of AD's four albums: 1) Timeline 2) Art of the State and 3) Prime Mover. Ham was a featured vocalist and instrumentalist for the Maranatha! Promise Band - the worship band for the Promise Keepers men's movement put together by Maranatha! Music from Promise Keepers' incarnation in 1993 to 1996. He appeared on their 1993 album, Face to Face with the song "This Is What I Believe", and on their 1996 album, Break Down the Walls, on the song "Send Me" along with Steven Jackson and Leonard Tucker. He was also a part of the live touring version of the Promise Band for the 1995 Promise Keepers conference season where he played harmonica, saxophone, trumpet, flute, and other wind instruments along with backup vocals. This was documented in the VHS video and CD "Live Worship With The Maranatha! Promise Band" where he most famously played an intro to "Man Of The Spirit, Man Of The Word". Since the demise of AD, he has released solo recordings in the contemporary Christian music genre "Come on Children" and is the author of Beginning Blues/Rock Harmonica (ISBN 0-8256-1154-7). From 1996 to 2000, Ham toured as part of Frankie Valli and The Four Seasons. Warren Ham also appeared as an integral member of Donna Summer's live band on her 2008 tour (having first appeared as part of her 1983 touring group) supporting her 2008 release Crayons. Warren Ham toured with Ringo Starr and His All-Starr Band in 2015, 2016, 2018, 2019, 2020, and 2022. In the mid-eighties and from 2017 on, he tours with Toto.
Duane Eddy, Lou Josie, Marty Cooper, David Gates, Al Schmitt, and me.
In this Sustainable Wine Roundtable podcast Tom Owtram speaks with David Gates, Senior VP of Vineyard Operations at Ridge Vineyards in California. Ridge Vineyards is the largest grower of organically certified grapes in Sonoma County and in the Santa Cruz Mountains appellation. David shares an overview of the winery's farming philosophy and why they decided to transition to organic farming in 2008. They discuss the key challenges in the conversion, the impact of climate change in the vineyards, and how Ridge is adapting to a warming climate.
Fantasy Fiction lover turned historian David Gates is back on the podcast to discuss two English history books: The White Ship by Princess Diana's brother Charles Spencer and The Splendid and the Vile by journalist Erik Larson. The White Ship is an examination of the 1120 shipwreck that threw the future of the crown into question. The Splendid and the Vile is a riveting account of Winston Churchill and his first year in office when he is trying to keep the Germans at bay and get the Americans in his back pocket. Larson uses primary source documents to construct a very readable non fiction story that reads like a thriller.Books and Resources Discussed: The White Ship by Charles SpencerThe Splendid and the Vile by Erik LarsonThe Spy and the Traitor by Ben McintyreA Spy Among Friends by Ben McintyreColditz: Prisoners of the Castle by Ben McintyreCheck out a previous episode with David:The Kingdoms, Season 2, Episode 7Follow Red Fern Book Review:Website and to leave a voicemail: https://www.redfernbookreview.comInstagram: @redfernbookreviewFacebook: https://www.facebook.com/redfernbookreview/Newsletter: https://www.redfernbookreview.com/newsletter
The supergroup U.K. was founded by former King Crimson percussionist Bill Bruford (also a former founder of Yes) and bassist and vocalist John Wetton (also a former member of Uriah Heep, and Roxy Music). After failing to reform King Crimson, each of the two brought in a musician they thought would work well in the group. Wetton brought in Eddie Jobson, violinist and keyboardist from Frank Zappa's band. Bruford brought in Allan Holdsworth on guitars (who had worked on Bruford's prior solo project. Their self titled debut album was released in May, 1978. Although a couple of songs were edited for single release, the album U.K. is best known as a prog rock masterpiece, and is cited as inspirational to many musicians who followed in the prog rock genre. After an extensive tour supporting the album, Wetton and Jobson had a falling out with Holdsworth and fired him. Bill Bruford left at that time and was replaced by Terry Bozzio, another alumnus of Frank Zappa's band and a future founding member of Missing Persons. John Wetton would go on in the days after U.K. to be the front man for Asia.Rob brings us the prog rock monster-piece. In the Dead of NightThe track that leads off the album was one of two songs to be edited for release as a single. On the album it is the first of three songs which form a continuous suite on the first album side. The 7/4 time and the synthesizer - the Yamaha CS-80 had just been released - are prog rock hallmarks. The electric violin is an unusual addition.By the Light of DayThis track is the second movement of the "In the Dead of Night" suite. Rather than have a clear change in tracks, there is a slow transition via a "spacey" interlude into the new song of the suite. "Black clouds moving gray skies to thunder. Kinetic sunrise fever and flood. Fire and water element anger horizon melting to blood."Presto Vivace and RepriseThis is the third movement of the "In the Dead of Night suite. This is a much faster piece (as the term Vivace would suggest) before transitioning back into a reprise of "In the Dead of Night."Time to KillThe abrupt start to this song is due to the way the tracks drift into each other. The concept is that of boredom, of being stuck in a place. "Time to kill, going nowhere, killing time, staying where there's time to kill, going nowhere..." ENTERTAINMENT TRACK:That'll Be the Day by Buddy Holly (from the motion picture "The Buddy Holly Story") Gary Busey was nominated for the Oscar for his portrayal of early rocker Buddy Holly in this film. Busey would sing and play for the part. STAFF PICKS:Goodbye Girl by David Gates Bruce leads off the staff picks with a soft rock solo from former Bread front man David Gates. The song is from the Neil Simon movie "The Goodbye Girl," which would lead to Richard Dreyfuss becoming the youngest man to win an Oscar for Best Actor at the time. Lay Down Sally by Eric Clapton Brian presents a pop hit from Clapton's album Slowhand. It went to number 3 on the Billboard Hot 100. It was written by Clapton, George Terry (guitar), and Marcy Levy (who sings the female parts on the song). It was written in the country blues style of J.J. Cale, and hit number 26 on the Hot Country Songs chart, Clapton's best showing on that chart as a crossover.Ain't It Fun by Dead BoysWayne features a song from Cleveland's own Dead Boys. This song appears on their second studio album, "We Have Come for Your Children." They were known as one of the rowdiest bands on the punk scene. It hit number 8 on the Mainstream Rock charts, and is an ode to the punk rock lifestyle.With a Little Luck by WingsRob brings us Paul McCartney with a song recorded largely in the Virgin Islands on a yacht equipped with a 24-track mobile recording studio installed on it. This single from the album "London Town" hit number 1 on the pop charts. INSTRUMENTAL TRACK:Alaska by U.K. This instrumental lets us do some double dipping with the track that leads off side 2 of the U.K. album.
National mountain day. Pop culture from 2021. King Edward abdicates throne for Wallis Simpson, 1st penis transplant, Indiana beacame a state. Todays birthdays - Big Mama Thornton, Rita Moreno Brenda Lee, Jermaine Jackson, David Gates, Teri Garr, Nicki Sixx, Mo'nique, Hailee Steinfeld. Anne Rice died.
In this episode of Happy ½ Hour with an Entrepreneur, Brian has an insightful conversation with David Gates, President & Managing Director of Gates & Company. Started in 1999 as a management consulting firm, David shares how his company has evolved into a business-sale preparation & execution firm, working strictly with technology-driven businesses. David explains why business owners need to start thinking about the sale of their business well before they're actually ready to execute a sale, and Brian chimes in with a comparison that makes it easy to understand. Find out how David takes his bachelor's in computer science and electrical engineering, a master's in electrical engineering and an MBA from Wharton, to position Gates & Company as the go-to B2B firm to assess businesses to develop strategic plans for highest possible valuation at time of sale. Brian & David discuss the importance of being niche while differentiating your business. David reveals his approach to building a strong team so clients feel confident in hiring his company. Listen at the 11:06 mark to hear what David thinks is the biggest event that sets apart an actual entrepreneur from just a wannabe. If you are an entrepreneur, want to be one, or are thinking about selling your business one day, you won't want to miss this episode.There are so many valuable takeaways packed into this podcast. David goes over the common mistakes people make when it comes to selling their business. And he talks to Brian about the emotional side of selling a business and how he prepares his clients for the sometimes volatile sale process. HAPPY ½ HOUR DRINKS: Iron Hill Brewing Company - Galactic Stardust - Brian gave it a 4 out of 5: https://untappd.com/b/iron-hill-brewery-galactic-stardust-ipa/4814342 Read more about David: Gates & Company Website: Gatesandcompany.com Gates & Company LinkedIn: https://www.linkedin.com/company/gates-and-company/?trk=hb_tab_compy_id_82259 Learn more about Rivers Edge Advisors: riversedgeadvisors.com/ Connect with Brian Carney on Instagram @riversedgeadvisors_llc Connect with Brian on untappd.com - brcarney7 More episodes: happy-half-hour.com
Med særlig fokus David Gates - både som medlem af gruppen Bread, men også i fortolkning af Dolly Parton og Cilla Black. Vært: Jens Rasmussen.
"Letting the days go by, let the water hold me downLetting the days go by, water flowing undergroundInto the blue again, into the silent waterUnder the rocks and stones, there is water undergroundLetting the days go by, let the water hold me downLetting the days go by, water flowing undergroundInto the blue again after the money's goneOnce in a lifetime, water flowing undergroundSame as it ever was, same as it ever was"In SoCal, water is perhaps our most precious commodity, please join me for a downpour of great tunes ".Joining us will be Danny & Dusty, Wishbone Ash, Dire Straits, The Regents, Chicago, Frank Sinatra, Soft Cell, Jan & Dean, Frankie Goes To Hollywood, The Shangri-Las, Dion & The Belmonts, Blondie, Dragon, David Gates, Spirit, Beach Boys, INXS, The Edsels, Donovan, Don Henley, The Exciters, Marcie Blaine, The Impalas, Run DMC, Stan Getz & Astrud Gilberto, The Chantels, The Cleftones and Talking Heads.
50 Episodes! In this milestone episode, I was chatting with Dave Gates, Head of Vineyard Operations and VP at Ridge Vineyards in Northern California. We discussed his interesting route into wine from his home farm in Central Minnesota, through agriculture in Southern California, to eventually Viticulture in UC Davis. Dave is now in his 34th year in Ridge and his encyclopaedic knowledge of vineyards, soils, climates, fruits and the wines they are able to produce is simply awe inspiring. I asked him about his favourite site (‘'like choosing children'') and what excites him about Zinfandel in particular, as it is the grape most associated with Ridge (65% of production). Of course, we mentioned the legendary Paul Draper, founder of Ridge, now in his mid-80's, who is still involved in some key events in the winery's calendar. we also talked about the challenges of water shortages, the old, engrafted zinfandel vines, his experience as a wine blender and as tradition of the podcast dictates, his Desert Island wines of choice. Enjoy!
Guateque playero a ritmo de 60’s rocknroll. Una sesión en donde bailaremos en la arena, cogeremos olas, tocaremos bongos, abriremos cervezas y nos deleitaremos observando músculos, bañadores o preciosos bikinis. Playlist; (sintonía) THE BEACHCOMBERS “The wheelie” ANNETE “Beach party” CITY SURFERS “Beach ball”” WAYNE HOLLERS “Dancing in the sand” RENE AND RAY “Surfboard” BIKINI BEACH CAST “Bikini beach” SPINNERS “Surfer monkey” SURFSIDERS “When I grow up” LARRY BRIGHT “Surfin’ queen” BRUCE JOHNSTON “Maztland” THE FOUR DIMENSIONS “Sand surfin’” THE GONZOS “Church key” THE BIKINIS “Bikini” RICKY DEAN “Bikini” HOUND DOGS “Beach girl” THE SURFETTES “Sammy the sidewalk surfer” THE BEACH BOYS and THE HONEYS “Runaway with me” THE BEACH BOYS “Alley oop” RONNIE AND THE DAYTRONAS “Beach Boy” THE SUPERSTOCKS “Muscle beach party” DAVID GATES “Okie surfer” BOB KEENE ORCHESTRA “Twist and freeze” RICKY DEAN “Little Betty limbo” CLIFF RICHARDS “On the beach” BOBBY DARIN with SHORTY LONG ORCHESTRA “Beachcomber” DAVE MYERS and the SURFTONES “Aquavelva” Escuchar audio
Peter Frampton is our Featured Artist this week! Frank Aust and I have a couple of terrific Download Discoveries too-- The Kinks and one from David Gates...and, find out which Monkees song David wrote in this segment! In the Best Instrumentals segment, we have one from Dire Straits and a pretty spooky one from Mike Oldfield. Thanks so much for your downloads!!
Bread a life source of food, why did God withhold it, or give it to the earth in abundance. Were we being punished for our sins, or debauchery?
Pocatello Fire Chief David Gates is set to retire late December. He answers questions about his career and his post-retirement plans.
David Gates, Dean Parks, and Mike Botts.
Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. 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 No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection. And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison, who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager. Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.
Phone interview with Peter Jonathan Robertson in 2001 Hosted on Acast. See acast.com/privacy for more information.
Fantasy Fiction enthusiast David Gates joins Amy in a discussion about Natasha Pulley's The Kingdoms. This is the story of Joe Tournier who arrives in the city of Londres in the French Colony of England in 1898 with no memory of who he is and how he got there. When Joe steps off a train he has a postcard in his pocket written in forbidden English, with a postmark dated 1805 though it inexplicably bears the image of a recently-constructed lighthouse. Joe's search for his identity leads him to the Outer Hebrides and back and forth through stone portals that take him on a dangerous quest to reunite with his family without changing the course of history—or erasing his own existence. Amy and Dave discuss the pros and cons of audio books and when it is ok to throw in the towel on a book.Books and Resources discussed:The Kingdoms by Natasha PulleyThe Watchmaker of Filigree Street by Natasha PulleyThe Bedlam Stacks by Natasha PulleyThe Phantom Tollbooth by Norton JusterThe Chronicles of Narnia by C.S. LewisThe Lies of Locke Lamora by Scott LynchMunro's Books Store, Victoria, B.C.The Goblin Emperor by Katherine AddisonCloud Atlas by David MitchellN.K. Jeminsin, authorSuccession, HBOSchumacher, NetflixLuLaRich, AmazonAmy interviewed David's wife Jill Schmelke in Season 1, episode 4. To hear that interview click here: A Light in the DarkFollow Red Fern Book Review:Instagram: @redfernbookreviewFacebook: https://www.facebook.com/redfernbookreview/Newsletter: https://redfernwriting.com/newsletter
Sábado especial Pr. Richard Gates y Pr. David Gates --- Support this podcast: https://anchor.fm/delson-costa/support
Interview With A Bible Believer | Missionary David Gates Plenteous Redemption Podcast Missionary David Gates is serving the Lord in Dearborn, Michigan. His extensive work in Egypt greatly prepared him to reach the Arabs of America for Christ. Please pray for him and his family as they faithfully serve the Lord. David Gates is my personal friend. He has been a major influence in my life over the years, I thank the Lord for him and his family. I pray this interview will greatly encourage you! To learn more about the Gates family: David Gates | Gates Family (gatesforarabs.com) Plenteous Redemption Podcast: www.plenteousredemption.com www.plenteousredemption.media www.youtube.com/c/PlenteousRedemption www.facebook.com/plenteousredemption Missionary Thomas Irvin Plenteous Redemption Podcast
Ayer se despidieron de Radio 3 Julio Ruiz, José Miguel López y Javier Tolentino, parte de la historia de la radio y tres compañeros de la propia vida. Hoy hemos llevado nuestro porche hasta aquel pequeño estudio de la calle Juan Bravo 49 duplicado de Madrid en el que nació Disco Grande, el programa de Julio Ruiz que ha engrandecido durante 50 años la radio musical española. Ambos se han despedido ayer, pero no me lo creo... o no me lo quiero creer. Prefiero creer en esta especie de religión convertida en oficio. Han sido tantas y tantas experiencias compartidas con Julio. Los Castelar Brothers, también junto al inolvidable Vicente Cagiao, en programas como Tutti Frutti, En la Frontera, Supercaña (desde el escenario de la mítica discoteca MM de Madrid)… Los partidos de fútbol que hemos jugado juntos, aun siendo de equipos muy distintos. Los paseos nocturnos por el foro, las veces que nos hemos dado el relevo el uno al otro… La vida. Julio es mi hermano de la radio. Por su culpa, bendita culpa, yo me he dedicado a ella. Y es que fue él quien hizo que, por estas fechas de 1972, yo apareciera por primera vez ante un micrófono de Popular FM en un programa llamado, precisamente, Micro abierto que presentaba Javier García Pelayo (de los Pelayo de toda la vida, que se han movido, y lo siguen haciendo, entre la radio, la producción de discos, el cine, los casinos y varias cosas más). Les gustó lo que conté y empecé a trabajar en la radio. Y aquí andamos. Pero hoy es el momento de revivir algunos momentos especiales de Julio y su Disco Grande, escuchando algunas de sus canciones favoritas como "Girls Talk" de Dave Edmunds, discos que compartimos juntos con los oyentes como el primer álbum de J.D. Souther, el primer álbum de directo de Bob Dylan, grabado junto a The Band, la primera visita a España de los Flying Burrito Brothers o especiales dedicados a bandas emergentes de entonces de la categoría de la Pure Prairie League. También compartimos la visita con su primera maqueta en mano de nuevas formaciones del estilo de Milán & Bibiloni o Tos, que pasarían a ser Los Secretos. También hemos compartido nuestra debilidad conjunta por Gordon Lightfoot y un especial cariño hacia Sandy Denny. Todo ello he querido envolverlo con tres de las primitivas sintonías de Disco Grande, cuyo sonido estaba muy alejado del que casi todos recordarán al hablar de Julio y de su legendario programa. Fairport Convention, fueron los responsables de arreglar un tema tradicional como “Bridge Over The River Ash” para que fuera su primera sintonía. Luego llegó "Lorilee" de David Gates y más tarde "Freaks Fret". A pesar de la tristeza, me encantó leer a Julio Ruiz escribiendo en la presentación de su último podcast: “Ya veremos qué depara el futuro. De momento, Disco Grande cierra el libro”. Eso supone esperanza. Es lo que nos queda. Y en su despedida me emocioné al escucharle decir “No hay nada como la radio”. Julio Ruiz merece el respeto, la admiración y el agradecimiento, pero, sobre todo, el cariño que se ha ganado segundo a segundo. El cariño que vuelvo a enviarle. Escuchar audio
Label: Elektra 45720Year: 1971Condition: M-Last Price: $18.00. Not currently available for sale.I still think this is my favorite Bread track... the lyrics are hopelessly romantic, but that's just what you want when you're hopelessly in love. And the arrangement suits the mood perfectly. David Gates has concocted a perfect Pop confection that should not be dismissed merely because it is so. The sheer beauty of the music, song, voice, lyrics literally brings me to tears when I'm in a certain mood. The vision of my dear wife coming and "pouring herself on me" when I'm feeling down, and of our ultimately "flying away" from our worldly cares and woes together, evokes such poignancy for me that I feel it's happening... as the music plays. I finally found a copy of with audio good enough to record for my iTunes library, but when I began to make the mp3 "snippet" for Classic 45s, I simply could not find a reasonable place to edit this nearly perfect musical "poem," so I ended up including the entire 2:33 song as the snippet. If you are inclined to dismiss Bread and David Gates, do me a favor and listen to the entirety of the snippet. This level of creativity in Soft Rock definitely deserves our 2-star recommendation, and I hope you agree. Enjoy! Note: This copy comes in a nearly flawless picture sleeve. The labels look Mint, and the vinyl looks Near Mint with a couple of notable scuffs. Fortunately, this copy, while not perfect, is close enough to earn a rare (for this pressing) Mint audio rating.
Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul". Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show. But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes. But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course. For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap". But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime. The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used. Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US. In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him. Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot. So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK. But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists.
Randy Mcgoffin, music historian of Tulsa shares a bit of the beautiful music history here in Tulsa. Randy Mcgoffin the son of a professional entertainer Jim Mcgoffin witnessed himself the jam sessions of the famous musicians at that time like David Gates and Russell Bridges. They usually gather at their house to play music and Randy even watches them play and tries to imitate them afterwards. Randy Mcgoffin still has a copy of the recording that happened at the Tulsa spotlight and the ring leader at that time was Ron Gates the brother of David Gates. Ron was a historian of Dixieland music and is very knowledgeable about the history, the tunes and the artists. Tulsa is really rich in lovely musical history. To schedule a FREE real estate specialists consultation please contact Darryl Baskin and Pamela Wright of Baskin Real Estate Specialists powered by eXp Realty. DARRYL BASKIN Baskin Real Estate Specialists, eXp Realty Email: darryl@darrylbaskin.com Tel: 918 258 2600 Tel: 918 740 0077 Thinking of Selling? Get your FREE Home Valuation complete with local comparables instantly. https://www.homeguidetulsa.com/sell.php Looking to Purchase? Search thousands of current listings directly from our local MLS. https://www.homeguidetulsa.com/index.php?advanced=1&display=&custombox=&types[]=1&beds=0&baths=0&min=0&max=100000000&rtype=map#rslac
Episode 017: Seventeen Miles to the SunThe Association - Never My Love (US 1967) A huge hit for these Los Angeles pop chart regulars and the paradigm for what would become the “soft rock” sound with its clear and minimal production that leaves room to emphasize the vocal. The laid back and dreamy quality of this massive single perfectly captures the feeling of being in love and sets a mood that is distinctly California. The Peppermint Trolley Co - Baby You Come Rolling Across My Mind (US 1968) A Redlands, CA band that cut the original version of the Brady Bunch theme, the Trolleys specialized in breezy sunshine pop as evidenced on this lovely heartfelt tune from their only LP. The Beach Boys - Feel Flows (US 1971) Brian Wilson and Co. never quite recovered from the media fiasco that was Smile, but arguably, they wrote and released their finest material during the band's decline in popularity in the 70's. Afforded recording technology only few in the world could claim to own, their 70's output sounds ahead of their time due to both the clarity of the production and their experiments with electronics and synthesizers, as can be heard on this stunning number - one that hundreds of rock bands would mimic in the 90's.Harpers Bizzare - Witchi Tai To (US 1969) Santa Cruz sunshine pop masters that found early success with a few hits under their belt and featured a young Ted Templeman, who would go on to be a producer of many iconic pop hits. This sweet version of a Jim Pepper tune shows off both their soaring harmonies and the hallmark psychedelic production of the time. The Mamas and the Papas - Step Out (US 1971) Taken from the last album these legendary hit-makers would produce, this light and funky tune features a heavy rhythm by LA's wrecking crew studio musicians that offsets the sugary vocals of the group. It makes one wonder what direction they would have pursued had they continued into the 70's.The Millennium - It's You (US 1968) The studio project of fearless pop experimentalist Curt Boettcher, these LA misfits featured a cast of songwriters and singers that could each hold their own as solo artists. This proto Buckingham-Nicks era Fleetwood Mac-esque stunner is taken from their only album which is a masterpiece of soft harmony laden pop-psych. Yes - Sweetness (UK 1969) The love affair between UK bands and the US west coast harmony pop bands proved a source of constant reciprocated inspiration for both camps. Before veering head first into prog territory, Yes dipped their toes into a more jammed out version of harmony pop as heard on this early original from their debut. More evidence can be heard on their lovely take on The Byrds I See You from the same LP. The Orange Bicycle - Carry That Weight (UK 1969) Another west coast sound obsessed UK outfit that turns this Beatles classic into a proto Eagles harmony jam, they released one in LP in 1970 after a three year run of fine pop-psych singles.Ian Matthew's Southern Comfort - Tonight (UK 1970) Mr. Matthews nailed the west coast harmony pop so perfectly that you'd think he was a Los Angeles native. This is no surprise, as his previous outfit The Fairport Convention arguably may be one of the first UK bands to take on the west coast sound as their own. This smooth number is years ahead of it's time and foreshadows a sound that he and so many would take less than a decade later.Bread - It Don't Matter to Me (US 1969) It's only fitting to end this episode with a band whose sound would loom large over the 70's. Bread's ballads were extra personal, heartfelt and tender and foreshadowed both the sensitive singer-songwriter movement and AOR soft rock that would dominate the decade. Though the band featured three songwriters, David Gates was responsible for all of their singles and hits.
Gatesy is on talking about his football life and personal life, The bravest episode so far.
The sale of any business is a complex endeavor that requires careful planning and many considerations. Your potential profit depends on the business structure, reasons for selling, company operations, timing, and more. Eric Lomurro of Lomurro Law and David Gates from Gates and Company join the Podcast to provide the crucial information you need to have when preparing to sell your business including financials, company valuation, succession planning and exit strategies, as well as legal aspects to consider.
Join me as I speak with Brother David Gates, missionary to Muslim people, as he tells us about an exciting adventure while sharing the Gospel outside of the big city. To Follow Their Story: christisworthy01@gmail.com or https://gatesforarabs.com/
This just may be the last on-location episode of The Comics Alternative conducted from Valhalla Games and Comics in Plano, TX. Derek is moving to North Carolina and will no longer be in the DFW area to do these shows. But customers of Valhalla and friends of the podcast, both long-timers and new listeners, come by the shop to say a fond farewell...and talk about comics. Joining Derek for this special episode are Craig, Matt, Jay, Tristan, and Kelly. Their interests are diverse, so the conversation reflects that. And they cover a lot of ground, so listen up! Partings are tough. But as David Gates once sang, "Goodbye doesn't mean forever."
BEST SHOW EVER??? (probably not...)We have no particular theme this time around, but we DO have a few surprises up our collective sleeves.In NOTES AND BOLTS: Marie talks about lyrical imagery and how to turn even the most mundane lines into "mental cinema" for your listeners.Steve shares a (former) guilty pleasure in LEGENDARY SONGWRITER SALUTE, discussing the career of BREAD singer/songwriter DAVID GATES.Marie gets "trucking mad" in WHAT THE !@#$%?Bread's "DIARY" goes UNDER THE MICROSCOPEIn a CSSP EXCLUSIVE "FIRST", we'll be playing a demo of Marie's song "LIQUOR STORE" as well as Steve's brief (iphone memo) take.We get knee-deep in "constructive (and not-so constructive) criticism" whilst exploring the MAILBAGA legendary "Music Row" songwriter hangout get a makeover and Marie is there to give her review for our LOCAL SCENE REPORTAnd last (but certainly not least!), our "SUPERFAN" Jimmy Anderson shares his song "HOMETOWN PROUD" with us all.This episode (having been recorded at Marie's home) once again features the aroma of OLE SMOKEY MOONSHINE... and lots of FLYING INSECTS! Steve RempisSteve Rempis SoundcloudMarie PerryJimmy Anderson
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