POPULARITY
3 episodes with Dawn Penn
3 episodes with Dawn Penn
4 episodes with Dawn Penn
2 episodes with Dawn Penn
3 episodes with Dawn Penn
2 episodes with Dawn Penn
4 episodes with Dawn Penn
3 episodes with Dawn Penn
2 episodes with Dawn Penn
Anything Goes Mixshow featuring Yung Bredda, Kes, Kerwin Dubois, Voice, Nessa Preppa, Blaka Dan, Mical Teja, Bunji Garlin, Glorilla, Drake, Lil Wayne, Bossman Dlow, Ari Lennox, Lil Bow Wow, Ciara, Buju Banton, Dawn Penn, Dexta Daps, Ayra Starr + MORE!
Wake the town and tell the people! This week, Diallo and LUXXURY explore the cultural conversation between the U.S. and Jamaica through the lens of Dawn Penn's 1994 dancehall classic “You Don't Love Me (No, No, No). They trace the melody's origins in blues music, follow its evolution into reggae, and highlight why out of so many versions, it's Dawn Penn's rendition that makes you wanna wine up. Say goodbye to sticky notes and calendar confusion with the Skylight Calendar. Go to SkylightCal.com/OneSong today for $30 off your 15 inch calendar. Songs Discussed: "You Don't Love Me (No, No, No)" - Dawn Penn "Daughters of the Kaos" - Luscious Jackson "Freaks" - Vicious feat. Doug E. Fresh "Ring the Alarm" - Tenor Saw "Bam Bam" - Sister Nancy "Pose Off" - Red Fox feat. Screechy Dan "Simmer Down" - The Skatalites feat. Bob Marley and The Wailers "You Don't Love Me" - Willie Cobbs "She's Fine, She's Mine" - Bo Diddley "Fool For Love" - Prince Jazzbo "Concrete Jungle" - Big Youth "No, No, No" - K.C. White "For Health And Strength" - Triston Palmer "Fish Market" - Steely & Clevie "Wake The Town" - U-Roy "Girl I've Got a Date" - Alton Ellis "No No No" - Ghostface Killah "No, No, No" - Jae Millz "Yes, Yes, Yes (Jah Jah Loves Me)" - Dawn Penn "Cloud 909" - Lone One Song Spotify Playlist: https://open.spotify.com/playlist/40SIOpVROmrxTjOtH7Q1yw?si=2ddf2f1fcdd44d42 Learn more about your ad choices. Visit megaphone.fm/adchoices
Il live unplugged di "You Don't Love Me (No No No)" di Dawn Penn e il bello di trovar conforto tra "casi umani".See omnystudio.com/listener for privacy information.
ep 349 - Women in reggae Una selezione dedicata alle donne nella scena reggae, come tributo alla Calabash Crew! Si spazia da Marcia Griffith a Dawn Penn, da Tanya Stephens a Lady Saw, da Marina P a Mama Marjas e molte altre... #reggae #dancehall
Still buzzing from our Caribbean To Coventry night we're playing lots of ska and reggae this week. There's music from The Kingstonians, Dawn Penn and Tommy McCook as well as the brand new single from Australia's very own Sunny Coast Rude Boys.We'll also be mixing it up with tracks from The Jam, Otis Redding and Chairmen Of The Board. For more info and tracklisting, visit: https://thefaceradio.com/blow-up/Tune into new broadcasts of Blow-Up! Sundays from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Mix Name: DJ Johnny Mambo – Dancehall Fever Mixed on Vinyl Mixtape (2024) Website: https://www.iamlmp.com/ Instagram: https://www.instagram.com/iamlmp/ DJ Instagram: https://www.instagram.com/djjohnnymambo/ Download our DJ Music App Daily Mixes: https://linktr.ee/iamlmp ——— 1. Dawn Penn – You Don’t Know Me 2. Barrington Levy – Here I Come 3. Shabba Ranks Ft. Krystal – Twice My Age 4. Singing Sweet – When I See You Smile 5. Half Pint – Crazy 6. Barrington Levy – Too Experienced 7. Papa San – Strange 8. Tenor Saw – Ring The Alarm 9. Yami Bolo – When A Man’s In Love 10. Buju Banton Ft. Wayne Wonder – Bonafied Love 11. Wayne Wonder – Saddest Day 12. Wayne Wade – I Love You Too Much 13. Marcia Griffiths – The First Cut Is The Deepest 14. Sanchez – Missing You 15. Half Pint – I’m Not A Substitute Lover 16. Barrington Levy – Black Roses 17. Beres Hammond – Come Back Home 18. Garnett Silk – Hello Mama Africa 19. Foxy Brown – Sorry 20. Sanchez – I Can’t Wait 21. Ian Sweetness – Trying To Get To You 22. Beres Hammond – Tempted To Touch 23. John Holt – A Love I Can Feel 24. Sanchez – Wherever I Lay My Hat 25. Terror Fabulous – You Would Ah Bawl 26. Mad Cobra – Gundelero 27. Pinchers – Bandelero 28. Buju Banton – Love Me Browning 29. Courtney Melody – Modern Girl 30. Ini Kamoze – Hotstepper 31. Sanchez – Never Dis Di Man 32. Ed Robinson – Knocking On Heavens Door 33. Marcia Aitken – I’m Still In Love 34. Cocoa Tea – – Rikers Island 35. Ambelique – One Last Cry 36. Gregory Issacs Ft. Lady Saw – Night Nurse 37. Junior Tucker – Love Of A Lifetime 38. Buju Banton – Good Looking Gal 39. White Mice – True Love 40. Ini Kamoze – World A Music 41. Wayne Wonder – Heal The World 42. Buju Banton – How Massa God World A Run 43. Mad Cobra – Flex #dancehall #reggae #iamlmp
For record store day 2023 I broke out the vinyl for a spin and went genre skipping through reggae, hip-hop and funk. Featuring the likes of inni kamoze, arrested development, real thing, the winstons, kellis, freaks of nature, happy mondays, stereo MCs, skunkhour, maroon town, only child, soul 2 soul, finley quaye, Dave & Ansel collins, inner circle, super cat & Dawn Penn to name but a few
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Ahora toca siesta para "hacer la digestión" de tremendo banquete que se han metido las avispitas, no sin antes beberse un par de chupitos de licor de bayas. Shauna Rambo es de armas tomar y Thais ya solo le falta poner morritos cuando se mira al espejo. Misty y Frodo siguen jugando a los detectives para averiguar dónde está Natalie. En el camping de los lilos todo va ok y sin drogas alucinógenas, por eso, Nat está como que no le gustan las charlas TEDx de Lottie. Participan: Sergio Valencia y Yoc Edición: Yoc Música: Tom Tom, Dawn Penn, No Mercy Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg, is an American rapper and actor. One of the most iconic figures to emerge from the early-'90s G-funk era, Snoop Dogg evolved beyond his gangsta rap beginnings to become a lovable pop culture fixture with forays into television, movies, football coaching, and wrestling while expanding his musical reach far beyond his primary genre. Introduced through Dr. Dre's Top Five rap hit 'Deep Cover' (1992), Snoop quickly became one of the most famous stars in rap, partially due to his drawled, laconic rhyming, as well as the realistic violence implied in his lyrics. In 2012 Snoop converted to Rastafarianism and officially changed his stage name for the first time in 14 years to Snoop Lion. He released an album and a documentary under this name before changing his name once again only one year later in 2013. In this episode a playlist of songs created by Snoop during his Snoop Lion period, and published in a popular music streaming platform (that shall remain unnamed) between July 2012 and February 2013. Lineup: Snoop Lion, Peter Tosh, John Benitez, Bob Marley & The Wailers, Gregory Isaacs, Buju Banton, General Echo, Tenor Saw, Dawn Penn, The Abyssinians, Burning Spear, Black Uhuru
Saturday With The Stars With Michelle Featuring Dawn Penn 25th March 2023 On www.bootboyradio.netPlease Play Like Comment Follow Download & Share
This episode looks at the history and connections in the 90's including Shakespears Sister, Dawn Penn, Fatboy Slim and 2Pac.Wise Choice is an official Wise Music Group podcast celebrating 50 years of Wise Music and taking the opportunity to delve into the vast catalogue of incredible songs and artists that are part of the Wise family. The show is hosted by Wise Music songwriting and composing team Adam and Paula Pickering aka The Daydream Club. They asked the Wise Music teams from all over the world to choose their absolute favourite songs from the Wise Music catalogue (their Wise Choice). From this list Adam & Paula look into the history surrounding the songs and where the story leads them with connections to other notable versions, covers and samples.New episodes every other Wednesday.If you liked this you might also enjoy Composing Myself - an official Wise Music podcast featuring interviews with composers and songwriters, taking an in-depth look at their process.Tracklist:Stay - Shakespears SisterWith You - TouristStay (Ven A Mi) - Il DivoYou Don't Love Me (No, No, No) - Dawn PennYou Don't Love Me (No, No, No) (Original Version) - Dawn PennAmazing - Mary J. Blige feat. DJ KhaledSong for Lindy - Fatboy SlimBetter Days by Jimi PoloWest Coast Poplock - Ronnie Hudson & The Street PeopleCalifornia Love - 2Pac ft. Dr. Dre & Roger Troutman Hosted on Acast. See acast.com/privacy for more information.
Comment entreprendre sans finir complètement cramé·e ? Comment gérer les hauts et les bas du quotidien de l'entrepreneur·e ? Surtout quand on est seul·e à la barre et qu'on doit gérer de plein fouet toutes ces embûches ? Cette semaine, je reçois Manon Tournant dans le Board pour parler de la gestion émotionnelle de l'entrepreneur·e. Une mini-série qui va t'aider à : Gérer et apaiser ses émotions en tant qu'entrepreneur·e Vivre une aventure entrepreneuriale plus épanouissante Arriver à relativiser les hauts et les bas de son quotidien entrepreneurial Apprendre à être plus intentionnel·le, plus minimaliste Et plein d'autres surprises et défis pour t'aider à mieux vivre ce "grand huit" qu'est l'aventure entrepreneuriale ! Abonne-toi à la newsletter du podcast pour recevoir les bonus et le récap des conseils partagés dans ces épisodes!
Follow Me On Instagram @djelninolmp
UN VENT D'AILLEURS Cette semaine, Un Vent d'Ailleurs nordique souffle depuis la Norvège, avec le Forde Festivalen. Pour sa 32ᵉ édition (du 6 au 10 juillet), découvrez une carte postale sonore de Torill Faleide, membre de l'organisation.MUSIKACTUCette semaine, place au Jazz dans le Musikactu de Néo Géo, avec Maurin Auxéméry, directeur et co-programmateur du Festival International de Jazz de Montréal, dont la 42e édition débute le 30 juin et se termine le 9 juillet. D'ICI ET D'AILLEURS Le festival ougandais Nyege Nyege pose pour la première fois ses valises en France, avec une soirée le 16 juillet au Point-Fort d'Aubervilliers. COUP DE CŒUR Coup de Cœur cette semaine dans Néo Géo pour le “Summer Camp” du festival Banlieues Bleues. Durant un mois, dans treize villes de Seine-Saint-Denis, retrouvez des concerts gratuits, avec Seyni Camara, Ami Yerewolo ou encore BCUC.CLASSICO Cette semaine, Judah Roger revient sur le (long) chemin, de la musique “No no no” par la jamaïcaine Dawn Penn, récent disque d'or en Angleterre. Worldmix : la sélection “afromix” de Bintou Un worldmix “afro”, avec les dernières sélections de Bintou Simporé. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
**DJ Littlemans Beats International Show Replay On traxfm.org. This Week Littleman Gave Us Pop Classics/Reggae & Ska/Motown & Northern Soul,Boogie & RNB/Dance & Party Classics From Bad Manners, Marvin Gaye, All 4 One, Tavares, Tom Browne, Sandie Shaw, Lorna Bennett, Dawn Penn, The Trammps, Harold Melvin & The Bluenotes, Prince Phillip Mitchell, PM Dawn, Matthew Wilder, Raze, Sybil, Madness, The Jam, Oceanic & More DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time & 6PM Adelaide,Australia On traxfm.org #traxfm #pop #retro #reggae #ska #soul #party #boogie #RNB #motown Listen Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE : sbee.link/9yjqfaw3bn Free Trax FM Android App: sbee.link/9akben3qhx The Trax FM Facebook Page : sbee.link/pk3yv84d7t Trax FM Live On Hear This: sbee.link/3acxf6yuwv Tunerr: sbee.link/uf9dbt8yg4 Tune In Radio : sbee.link/paxg6r4dtu OnLine Radio Box: sbee.link/mhry9v4f6n Radio Deck: sbee.link/fqyceatwbv sbee.link/ut4nfd69ge: sbee.link/b3xchkavnr Stream Radio : sbee.link/pwtg6784qy Live Online Radio: sbee.link/vn7kurpq3b**
Dear Life Warriors, From a very young age, Christina was passionate about pursuing bigger dreams than her colleagues. After graduating from High School at an early age, Christina also known as her last name “Bogie” was given an opportunity to work with her fellow classmates on a Manhattan Public Access Tv Station called “Harlem Streets”. This is where her passion for Interviewing and the Music industry skyrocketed. At just 17 years old, Bogie started interviewing celebrities such as Grammy Winning Reggae artists, Beenie Man, Baby Cham, Actor Leon Robinson and Wu-Tang Clan. She then went on to establish Bogie Management LLC in 2010, where she managed and coordinated bookings for elite artists, dancers and producers within the Caribbean diaspora. Bogie's expertise in dancehall and interviewing was increasing awareness and gaining visibility. Bogie became a TV Guest Host for Shows on TVJ (Jamaica), Backyard TV, Tempo Tv, Dancehall Connect and Wicked Hype. Bogie covered numerous Major Dancehall Events in NY and Jamaica such as Jazz and Blues in Trelawny in Jamaica and Irie Jamboree in NY. Bogie had numerous interviews with icons such as Alicia Slick Ashley, Dawn Penn, Tessanne Chin, Damian Marley, and so many other. Bogie took a break from the entertainment industry to focus on her career and family. In 2022, Bogie received a Women's n Motion Award on behalf of the Young Gifted and Black and Live the best Life for you for her dedication and service to the Caribbean diaspora. She was presented a recognition award from New York's' Mayor Eric Adams and Senator Kevin S. Parker. Since then Bogie has connect with Bonita Jamaica and Eviziv Media covering Events for Jamaica's 60th Independence Anniversary. Bogie has interviewed Jamaica's Prime Minister, the most Honourable Andrew Holness, the Consul General Alison Wilson, Co Founder of VP Records, Ms Patricia Chin, Carol Maraj (Grammy Winning Artist Nicki Minaj's Mother), Cynthia Brown (Comedian & Actor Tracey Morgan's aunt) and so many more. Bogie believes in sticking to her passion that doors will eventually open if you put in the work and do it well. Purchase Char's Journal: https://www.amazon.com/30-DAYS-NEW-YOU-JOURNAL/dp/0578726572Subscribe to the show on YouTube: https://www.youtube.com/c/DearLifeWarriorsABOUT DEAR LIFE WARRIORS (DLW): Dear Life Warrior's mission is to empower people of color with unyielding tenacity to hang on until destiny is fulfilled. Our vision is that everyone that watches Dear Life Warriors will have a great understanding that the Journey of Life is a process, and if a process is to be fruitful it will take determination to reach completion.#dearlifewarriors #mentalhealthatwork #leadershipdevelopment #lifecoachingtips #lifecoach #softskillstraining #professionaldevelopment #softskillstrainer #corporatetraine
REGGAE MUSIC FREE, ogni Sabato dalle ore 20 alle 21,su Radio Music Free.Il Radioshow di musica Reggae, Roots, Dancehall, Ska, Dub;un viaggio settimanale nella musica giamaicana in levare,i grandi classici del Reggae mondiale, le novita' Reggaeinternazionali e nazionali, le Buone Vibrazioni presentate daDj Chemikangelo.Roots & Culture Playlist: Bob Marley & The Wailers, The Heptones, U Roy, Dennis Brown, Dawn Penn, Gregory Isaacs, Black Uhuru, The Mighty Diamonds, Groundation, Culture, Beating Souls, 24 Grana.
This weeks show features nothing but the women in reggae music as we shut the door on another Women's History Month. You will hear music from Queen Ifrica, Lila Ike, Kristine Alicia, Hempress Sativa, Aisha, Sister Nancy, Sister Carol, Judy Mowatt, Sharon Little, Dezarie, Reemah, Abiyah Yisrael, Zema, Marica Griffiths, Phylis Dilon, Dawn Penn, Janet Kay and Audrey Hall. New music this week comes from Ajah Fyah, Ms. Maurice, Jalifa, Soom T, Etana, Cedella Marley, Tasha T, and Treesha. In the Dub Zone this week we feature all extended dub mixes featuring ladies like Megumi Mesaku, Senya, Fabian, Odelyah, Jennifer Paulos, Awa Fall, Althea & Donna, and Rita Marley. Enjoy! Queen Ifrica - Four Women - Celebrating Nina: A Reggae Tribute To Nina Simone - Ghetto Youths International Lila Ike - Where I'm Coming From - The Experience - Indiggnation Collective/RCA Kristine Alicia - Hold Strong - Judah Scribe Music AjahFyah - Warning Warning - Ruffa Than Dem Riddim - Street Rockaz Family Hempress Sativa - Boom (Wah da da Deng) - Unconquerebel - Conquering Lion Records Hempress Sativa w/ Scientist & Paolo Baldini Dubfiles - Boom (Wah da da Deng) Dub - Scientist Meets Hempress Sativa In Dub - Conquering Lion Records Soul Revivers feat. Ms. Maurice - Look No Further - On The Grove - Acid Jazz Aisha - The Creator - Relaxing With Lovers: Vol. 8 - Ariwa Records Sister Nancy - I Am A Geddion - One Two - Techniques Sister Carol - Oh Jah (Mi Ready) - Black Cinderella - Heartbeat Records Sister Carol - Reggae Gone International - Jah Life 7” Joy White - Dread Out Deh - Eagle 7” Dawn & Christine - Holy Mount Zion - Burning Rockers: The 12” Mixes - Burning Sounds Judy Mowatt - Fly African Eagle - Sing Our Own Song - Shanachie Judy Mowatt - Get Up Chant - Sing Our Own Song - Shanachie Dhaima - Ina Jah Children - The Ladies At Joe Gibbs - VP Records Sharon Little - Don't Mash Up Creation w/version - One Love 12” Cedella Marley - Misunderstood - Celebrating Nina: A Reggae Tribute To Nina Simone - Ghetto Youths International Dezarie - Strengthen Your Mind - Gracious Mama Africa - Afrikan Roots Lab Reemah - Everbless - Rymshot Productions Abiyah Yisrael - Boxed In - ChaYah Studios Zema - Black Sheep/Black Sheep Dub - Black Sheep - Melchizedek Queen Ifrica - Times Like These - Reggae Gold 2011 - VP Records Marcia Griffiths - Fire Burning - What A Bam Bam Women In Reggae: Dancehall Queens - Shanachie Althea & Donna - Uptown Top Ranking - The Ladies At Joe Gibbs - VP Records Dawn Penn - No, No, No - Studio One Rockers - Soul Jazz Records Norma Frazer - First Cut Is The Deepest - Full Up: The Best Of Studio One Vol. 2 - Heartbeat Records Nora Dean - Barbwire - Treasure Isle Presents: Original Reggae: 40 Original Tighten Up Hits - Treasure Isle Phylis Dillon - Perfidia - Rocksteady Soul: The Original Cool Sound Of Duke Reid - Treasure Isle Nana McLean - Till I Kissed You - Rebel Disco - Studio One Janet Kay - Silly Games - Arawak The Love Joys - Stranger Get Up - Wackies 7” Audrey Hall - Groove Situation - Kebar 7” Phylis Dilon - Women Of The Ghetto - Treasure Isle Presents: Original Reggae: 40 Original Tighten Up Hits - Treasure Isle Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Megumi Mesaku - Megumi Special - Saxy Rocksteady - Mafia & Fluxy Senya & Aston Family Man Barrett - Children Of The Ghetto - Cobra Style: Productions From The Wailers Musical Director - Heartbeat Records Ta Teasha Love - Roots Man - Impact Fabian - Prophecy/Prophecy Version - Tribes Man Records Rorystonelove feat. Odelyah - War Inna Africa - Rasta Nuh Gangsta Deluxe - Black Dub Jalifa - Whereas/Whereas Dub - Incient Ras - Zion High Productions Jennifer Paulos & Woody Vibes - I Say No More/Amnesical Step - Revolution - Dubophonic Awa Fall & Bukka - Free Your Mind/Free Your Soul - Anaves Music Althea & Donna - Gone To Negril - Pressure Sounds 10” Rita Marley - One Draw - Tuff Gong 12” ====================================== Keida - Ganja Tea - Ebb and Flow - Great Whyte Entertainment Bella Blair - Gimmie A Light - Strictly The Best Vol. 61 - VP Records Marie Coke - So High - Bobby Digital Jah9 - Avocado - New Name - Rorystonelove Tasha T - Another Day - Zion Gold Riddim - Black Metro Records Soom T - Big Bad World - Good - X Ray Production Etana - Young Gifted & Black - Celebrating Nina: A Reggae Tribute To Nina Simone - Ghetto Youths International Treesha - Fu Manchu - Fu Manchu Riddim - Revolutionary Brothers Marcia Griffiths - Feel Like Jumping - Studio One Rockers - Soul Jazz Records Koffee - Toast (Dreadsquad Ska Remix) - Dreadsquad Tanya Stephens - Big Heavy Gal - Tanya Collection of Hits - VP Records Shelly Thunder - Kuff/Kuff Dub - Witty Aza Lineage - Sound System - King Jammys K. Vibes - Pull Up - I Love Sound Marcia Griffiths - Stepping Out Of Babylon - Penthouse Culture Center Vol. 1 - Penthouse Records
La orquesta estadounidense Boogaloo Assassins irrumpió en la escena musical con un estilo que rescata el sonido de la Salsa clásica de los 60 y 70; es así como en 2013 publicaron el álbum “Old love dies hard” del cual lograron posicionar en los primeros lugares la canción “No, no, no”. “No, no, no” de Boogaloo Assassins es en realidad una nueva versión de un viejo clásico de 1967, escrito y grabado por la jamaiquina Dawn Penn, originalmente en ritmo de Reggae bajo el título “You don't love me” (Tú no me amas). En 1994, la propia Dawn Penn relanzó la canción con un arreglo más moderno con el título “You don't love me (No, no, no)”. Así la escuché yo… ¿Y tú qué opinas de las diferentes versiones de esta canción? Autora: Dawn Penn (jamaiquina) - Versión Willie Cobbs & Elías McDaniel (estadounidenses) No, no, no - Boogaloo Assassins (2013) "Old love dies hard" álbum (2013) You don't love me - Dawn Penn (1967) single "You don't love me/Love me, girl" (1967) Dawn Penn (nombre real Dawn Pickering, jamaiquina) You don't love me (No, no, no) - Dawn Penn (1994) "No, no, no" álbum (1994) ___________________ “Así la escuché yo…” Temporada: 5 Episodio: 10 Sergio Productions Cali – Colombia
ep 243 - Ms Fat Booty and more - Ms Fat Booty, l'anthem di Mos Def del 1999, ritorna nella selezione di..Snippet, per approfondirne le origini e le influenze. Eh si, oltre al..sample più riconoscibile , cioè “One Step Ahead” di Aretha Franklin,..in scaletta c'è anche Gregory Isaac citato solo nella melodia dal..rapper. E poi un campionamento tira l'altro, e non mancano i brani di..: Dawn Penn, Seeed, Hocus Pocus, Brand Nubian...e molti altri.
ep 243 - Ms Fat Booty and more - Ms Fat Booty, l'anthem di Mos Def del 1999, ritorna nella selezione di..Snippet, per approfondirne le origini e le influenze. Eh si, oltre al..sample più riconoscibile , cioè “One Step Ahead” di Aretha Franklin,..in scaletta c'è anche Gregory Isaac citato solo nella melodia dal..rapper. E poi un campionamento tira l'altro, e non mancano i brani di..: Dawn Penn, Seeed, Hocus Pocus, Brand Nubian...e molti altri.
Come Go With Me | Teddy PendergrassMy Boo | UsherAlone | Trevor DanielBetter Off Alone | Alice DeejayBefore The Deal | Hotboy Wescrash the party | Roddy RicchStuck With Me | Birdman & YoungBoy Never Broke AgainRoger That | Lil PoppaShhh | Lil Wayne Ft. Rich The KidSUVs | Jack Harlow ft Pooh ShiestyWhat You Want | Belly ft The WeekndShine | Doja CatTrip | Ella MaiHealing | FLETCHERCheck On It | Beyonce ft Slim ThugNosebleed | Zak Downtown ft Donae'o, DJ Friction & Diego AveGoosebumps | Travis Scott ft Kendrick LamarUp | DJ JeffThe Way Life Goes | Lil Uzi VertLike I Used To | TinasheAMAZING | Mary J. Blige ft DJ KhaledYou Don't Love Me | Dawn Penn
(Show #136) 1hr + of Dancehall Reggae featuring: Beenie Man, Mr, Vegas, Kevin Lyttle, Chaka Demus & Pliers, Serani, Bounty Killer, Shabba Ranks, Cutty Ranks, Elephant Man, Lady Saw, Super Cat, Tenor Saw, Buju Banton, Sean Paul, Dawn Penn, Barrington Levy, Way Wonder and Baby Cham. Tips at cash app $djbenniejamesOr support at all levels at djbenniejames.com/podcastOne-time donations to https://djbenniejames.com/supportLicensed for digital streaming & play ASCAP 400009874 & BMI - 61044939THANKS as always to all my Supporters, Sponsors and Music Pool MembersVery Special Thanks to : Life Destiny SOULutions & the Gardner FamilySupport the show (https://djbenniejames.com/podcast)
**DJ Littlemans Beats International Show Replay On traxfm.org. This Week Littleman Gave Us Pop Classics/Reggae & Ska/Motown & Northern Soul,Boogie & RNB/Dance & Party Classics From Bad Manners, Dusty Springfield, Fontella Bass, The Temptations, The Beatles, Melba Moore, The Lambrettas, Dawn Penn, Beres Hammond, The Jam, Hot Chocolate & More DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time & 6PM Adelaide,Australia On traxfm.org #traxfm #pop #retro #reggae #ska #soul #party #boogie #RNB #motown Listen Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE : sbee.link/9yjqfaw3bn Free Trax FM Android App: sbee.link/9akben3qhx The Trax FM Facebook Page : sbee.link/pk3yv84d7t Trax FM Live On Hear This: sbee.link/3acxf6yuwv Tunerr: sbee.link/uf9dbt8yg4 Tune In Radio : sbee.link/paxg6r4dtu OnLine Radio Box: sbee.link/mhry9v4f6n Radio Deck: sbee.link/fqyceatwbv sbee.link/ut4nfd69ge: sbee.link/b3xchkavnr Stream Radio : sbee.link/pwtg6784qy Live Online Radio: sbee.link/vn7kurpq3b**
This first of two podcasts to come this weekend is a direct recording of a special Friday night edition of Sounds of the Caribbean heard on WPRB Princeton 103.3 FM. You will hear mega reggae hits and anthems from the likes of Marcia Griffiths, Black Uhuru, Third World, Toots and the Maytals, George Nooks, Jimmy Cliff, Junior Byles, The Abyssinians, Johnny Osbourne, Gregory Isaacs, The Mighty Diamonds, Bunny Wailer, Peter Tosh, Bob Marley, Beres Hammond, Dawn Penn, Tyrone Taylor, John Holt, and Dennis Brown. New music to be heard in this episode comes from Alton Ellis, Pachyman, Dub Proof, Taj Weekes, Keith Rowe, and Chronixx. Enjoy! Playlist for "Sounds of the Caribbean w/ Selecta Jerry" 9/10/21 Artist Song Release Request New Label I-Comet Fresh & Clean (Selecta Jerry Dub Plate Mix) Special N/A Ras Michael Zion Land Zion Land Culture Press Marcia Griffiths Stepping Out of Babylon Reggae Legends: Marcia Griffiths Jet Star Alton Ellis Road to Slavery Road to Slavery - EP Fashion Records Alton Ellis More Dub to Slavery (feat. Dub Organiser Quintet) Road to Slavery - EP Fashion Records Piper Street Sound Black Eyed Peace (feat. Andy Bassford) Black Eyed Peace (feat. Andy Bassford) - EP Piper Street Sound Black Uhuru Guess Who's Coming to Dinner Guess Who's Coming to Dinner Heartbeat Toots & The Maytals Three Little Birds (feat. Ziggy Marley) Got To Be Tough BMG Rights Management (US) LLC Rico Rodriguez Midnight In Ethiopia Roots to the Bone Universal-Island Records Ltd. Third World Try Jah Love Reggae Ambassadors: 20th Anniversary Collection Mercury Records George Nooks & Prince Weedy Tribal War/Jah Did It Joe Gibbs 12" Reggae Discomix Showcase, Vol. 2 VP Records Jimmy Cliff Bongo Man 20th Century Masters: The Millennium Collection - The Best of Jimmy Cliff Universal Music Enterprises The Abyssinians Satta Massagana Satta Massagana Jam Sounds Johnny Osbourne Truths & Rights Truths & Rights Studio One Junior Byles Fade Away Rockers Original Soundtrack Recording Island Records Pachyman El Benson The Return of Pachyman N ATO Records / Fontana North Dub Proof feat. Joe Harvard Summer Summer Summer Single N Dub Proof Records Marcus I Soul Warriors/Dub Warriors 7" N Happy People Records Bunny Wailer Rock and Groove Rock 'N' Groove Solomonic Tyrone Taylor Cottage In Negril 12" Love & Inity The Mighty Diamonds Pass the Kouchie Pass the Knowledge: Reggae Anthology VP Records Peter Tosh Ketchy Shuby Legalize It Columbia/Legacy Gregory Isaacs Soon Forward Gregory Isaacs Dub Versions: Vinyl Cut Tad's Record Inc. Taj Weekes March of the Silent Pause N Jatta Records Chronixx Freedom Fighter Freedom Fighter - Single N Soul Circle Music Cornell Campbell Black Man In A White World/Black Dub In A White World Time For Peace EP Jancro Natural Black Nice It Nice Far from Reality Greensleeves Marcia Aitken I'm Still In Love With You Reggae Anthology: Joe Gibbs - Scorchers from the Mighty Two VP Records Bob Marley & The Wailers Baby We've Got a Date (Rock It Baby) Catch a Fire Deluxe Edition Tuff Gong John Holt If I Were a Carpenter King Jammy's: Selector's Choice, Vol. 4 VP Records Sanchez Rearrange My Life The Best of Sanchez - Back At One VP Records Dawn Penn You Don't Love Me (No, No, No) [Extended Mix] No, No, No Rhino Atlantic Beres Hammond Rock Away Can't Stop a Man VP Records Keith Rowe & The Mighty Megatons Sound System Single N Aloe Vera Records Mighty Megatons feat Constant Jammin & Javier Martin Boix Easy Downbeat Single N Aloe Vera Records Dennis Brown If This World Were Mine (Extended Version) Satisfaction Feeling (Deluxe Edition) Tad's Record Inc. You received this email because a Spinitron user sent you this data from spinitron.com. © Spinitron LLC, 199 West Newton Street, Boston, MA 02116, USA
Ruth takes on Peter on the final PopMaster Podcast of the week with Ken Bruce.
Featuring music by Dawn Penn, Bob Marley, SOS Band, Michael Jaskson, Slave, Midnight star, Chaka Khan, Cheryl Lynn Barry White, Lisa Stansfield and more
Episode 099 The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org Air date : February 19, 2021 -=-=-=-=-=-=-=-=-=- Hugo Montenegro, Touch Me, Moog Power Alojz Bouda, Reunited, Synthesizer Sound Hugo Montenegro, Touch Me, Moog Power James Last, Sing A Simple Song, Voodoo-Party Vânia Bastos, Tabu (The Sweetest Taboo), Onda De Amor: Synthesized Brazilian Hits That Never Were (1984-94) Fernanda Abreu, Luxo Pesado (Got To Be Real), Sla Radical Dance Disco Club Tarántulas, Saiba Ser Feliz (Don't Stop 'Til You Get Enough), A Música Não Pode Parar Sandy Kerr, (I'm) Billy Jean, (I'm) Billy Jean Psychemagik, El Modelo, Undercover Lovers Politrio, Psycho Killer, Psycho Killer The Tourists, Auf Weidersehn, Wishing You Were Here The Sweet, Paperback Writer, Paperback Writer Dan Lacksman Association, La Bamba, Flamenco Moog Claude Denjean & Synthesizer, Tight Rope, Open Circuit Birds & Brass, Theme From Shaft, Soundsational Disco Orchestral, Kojak, Soupa Disco Sounds Guy De Lo And His Orchestra, The Pink Panther '78, The Pink Panther Discostar Roboterwerke, The Lion Sleeps Tonight, The Lion Sleeps Tonight / High On Tech First Patrol, Theme From Rambo III (Ethno Dance Mix), Theme From Rambo III Marx & Spencer, Stay (Original Mix), Stay Asso, Do It Again, Do It Again / Don't Stop Nighthawk, Eye Of The Tiger (JAZ & Party Dad Edit), Eye Of The Tiger Club Shott, Steppin' Out With Maniac, Maniac ~ Steppin'Out (Medley) Patrick Cowley & Paul Parker, Pushin To Hard (featuring Paul Parker), Mind Warp Meco, Lapti Nek (from Return of the Jedi), Ewok Celebration Yuji Ohno And King Kong Hunters, Soul King Kong, Soul King Kong Black Harmony, Don't Let It Go To Your Head, Hustle ! Dawn Penn, Here Comes The Sun, Trojan Beatles Tribute Box Set [disc 3] Easy Star All-Stars, Speak To Me, Breathe (In The Air), Dub Side Of The Moon John Keating, The Sound Of Silence, Space Experience
**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Featured Party/Dance/Reggae/Soul Classics From The Whispers, Imagination, The Temptations, The Real Thing, Justin Timberlake, Yam Who Feat Brian Lucas, Dawn Penn, UB40, Marvin Gaye, Jackie Wilson, The Isley Brothers, Alison Limerick, Norman Doray Feat Darren Cook, Chaka Khan & More. DJ Littleman’s Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Mixcloud LIVE : mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **
**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Featured Party/Dance/Reggae/Soul Classics From The Whispers, Imagination, The Temptations, The Real Thing, Justin Timberlake, Yam Who Feat Brian Lucas, Dawn Penn, UB40, Marvin Gaye, Jackie Wilson, The Isley Brothers, Alison Limerick, Norman Doray Feat Darren Cook, Chaka Khan & More. DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Mixcloud LIVE : mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **
Live reggae mix with DJ Keef Featuring: Morgan Heritage, Imar Shephard, Bounty Killer, Busy Signal, Dawn Penn and More!Follow @KeefsLife on Instagram
Throughout Reggae's inundated history of untold covers, uncredited renditions and unwitting reprises, the blurred lines that form the musical bridge between the original cuts and local versions, have always set the stage for some of Jamaican music's best-untold moments in history.
Punk 4 The Homeless are back with the dozen-th installment! Join Eagle, Rachel, Alan and Alex for another attempt to enter the punk podcast charts! Excellent tuneage this episode thanks to: Wire, Sucking Grunts, track not found, Slow Faction, Dawn Penn, Tim Holehouse, Paul Carbuncle, Treason of the Monarchy, Cage The Elephant, Anna Vince, Cosmic Slop, Lucky Malice, Pete Shelley, Lee Scratch Perry, Lily Gaskell, Get The Fuck Outta Dodge, Siouxsie & the Banshees, Jerks, Born to Destruct, Bobby Funk, Flipper If you can please donate to Compass Children's Charity for their vital work with at-risk and street kids: https://www.compasschildrenscharity.org.uk/donation/ - In loving memory of Bob Booth RIP -
Tonight's show is a tribute to Bunny 'Striker' Lee, who passed away on 6th October 2020. Includes classic rocksteady and early reggae by Slim Smith, Pat Kelly, John Holt, Roy Shirley, Dawn Penn and Delroy Wilson
This weeks show starts off with classic selections from Ini Kamoze, Jacob Miller, Cornell Campbell, Ossie Dellimore, Max Romeo, Frankie Paul, Linval Thompson, Eek A Mouse, The Mighty Diamonds, U Roy, Bob Marley & The Wailers, Joseph Hill and The Soul Defenders, Junior Byles, and Burning Spear. New music this week comes from The Wailing Souls, Toots & The Maytals, Keith Poppin, Beres Hammond, Luciano, Nga Han, Danny Kalima, Tarrus Riley, Macka B, Shinehead, Protoje, Fyakin, Super Cat, Laury Webb, and Mungo's Hi Fi with Marina P, Tippa Irie, and Dennis Alcapone. Also this week we feature a Studio One Set with music from Jackie Bernard, Alf & Teep, Freddie McGregor, Ernest Ranglin, Horace Andy, Prince Jazzbo, Dawn Penn and more. In The Dub Zone this week you will hear dubs from Mad Professor, Nat Birchall and Al Breadwinner, Tommy McCook, Principal, Haze St. Dub, and Mafia & Fluxy. Extended dub mixes come from Freddie McKay, Johnny Clarke, Barrington Levy & Ranking Joe, Jah Mel, Tristan Palmer and Roots Radics, and Bunny Wailer. Enjoy! Ini Kamoze - Hail Mi Idren - Ini Kamoze - Taxi Ossie Dellimore - Time Has Come - Freedoms Journal - AB Records Wailing Souls - In The House Of Jah - Back A Yard - VP Records Jacob Miller - I’m A Natty - Reggae Anthology: Joe Gibbs Scorchers From The Mighty Two - VP Records Cornell Campbell - Forward Natty Dread - I Shall Not Remove 1975-1980 - Blood & Fire Max Romeo - Melt Away - Open The Iron Gate 1973-1977 - Blood & Fire Prince Far I - Back Weh - Kingston Shuffle: Funky Sounds & Beats From Kingston Jamaica - Pressure Sounds Frankie Paul - Music Is The Staff Of Life - Pass The Tu Sheng Peng/Tidal Wave - Greensleeves Cocoa Tea - Rocking Dolly - Rocking Dolly - Ras Records Linval Thompson - Long Long Dreadlocks - Ride On Dreadlocks 1975-1977 - Blood & Fire Eek A Mouse - For Hire & Removal 12” Mix - Reggae Anthology: Eek ology - VP Records The Mighty Diamonds - Right Time - Reggae Anthology: Pass The Knowledge - VP Records U Roy - Full Time - The Lost Album: Right Time Rockers - Ras Records Bob Marley & The Wailers - Africa Unite - Survival - Tuff Gong Joseph Hill & The Soul Defenders - Behold (Tk.3) - Studio First: From The Vaults Volume 2 - Studio One Junior Byles - Rasta No Pick Pocket - Beat Down Babylon - Doctor Bird Toots & The Maytals - Got To Be Tough - Got To Be Tough - Trojan Jamaica Keith Poppin - One More River To Cross - One More River To Cross - Keith Poppin Music Burning Spear - As it Is - Calling Rastafari - Heartbeat Records Burning Spear - Hit Dub - Living Dub Vol.5 - Burning Music Beres Hammond - Call To Duty - VP Records Luciano - Take Me To The Place - The Answer - Oneness Records Nga Han & Roots Unity - The Living Stream - Roots Unity Presents The Living Stream Chapter 1 - Roots Unity Danny Kalima feat. The Raw Rhythm Section - London Bridge - Roots Unity Productions Wailing Souls - Down In Trenchtown - Back A Yard - VP Records Buju Banton - Rising Up - Upside Down 2020 - Gargamel Music/ Roc Nation Tarrus Riley feat. Teejay & Dean Fraser - Babylon Warfare - Healing - Juke Boxx Productions Macka B & Ted Ganung - Stop It Idiot Ting - Deeper Vision Recordings Sound Dimension - Real Rock - Studio One Rockers - Soul Jazz Records Jackie Bernard - Torture & Flames - Studio First: From The Vaults Vol. 2 - Studio One Alf & Teep - Freedom, Justice Equality - Studio First: From The Vaults Vol. 2 - Studio One Freddie McGregor - Bobby Babylon - Studio One Rockers - Soul Jazz Records Ernest Ranglin - Surfin - Studio One Rockers - Soul Jazz Records Horace Andy - Skylarking - Studio One Rockers - Soul Jazz Records Prince Jazzbo - Crabwalking - Studio One Rockers - Soul Jazz Records Lennie Hibbert - Village Soul - Studio One Rockers - Soul Jazz Records Dawn Penn - No, No, No - Studio One Rockers - Soul Jazz Records Larry Marshall - I Need You Girl - Studio First: From The Vaults Vol. 2 - Studio One The Soul Vendors - Darker Shade Of Black - Studio First: From The Vaults Vol. 2 - Studio One Marcia Griffiths - Feel Like Jumping - Studio One Rockers - Soul Jazz Records Sound Dimension - Full Up - Full Up The Best Of Studio One Vol. 2 - Heartbeat Records Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Mad Professor - Kunte Kinte The African Warrior - Beyond The Realms Of Dub: Dub Me Crazy The Second Chater - Ariwa Nat Birchall Meets Al Breadwinner - Tribute to the Great Tommy McCook - Upright Living - Tradition Disc Tommy McCook - Grass Roots - Kingston Shuffle: Funky Sounds & Beats From Kingston Jamaica - Pressure Sounds Principal - Dubsteady - Treacherous Dub - Stereo Royal Haze St. Dub - Supernova - A New Beginning - Haze St. Studios Mafia & Fluxy feat. The Pharmacist - King Nah Bow - Mafia & Fluxy Remembers King Tubby: King Of Dub - Mafia and Fluxy Freddie McKay - Guide Us Jah Jah - Thompson Sound All Stars: Linval Thompson & Friends Vol. 1 - Thompson Sound Johnny Clarke - Roots Natty Congo - Creation Rebel - VP Records Johnny Clarke - Congo Natty Roots Dub - Dancehall Selection With Deejays & Dubs - Attack Barrington Levy & Ranking Joe- River Jordan (crucifixtion) /River Jordan - The Biggest Dancehall Anthems 1979-1982 - Greensleeves Jah Mel - Sinking Sand - Iroko Records 12” Tristan Palmer & Roots Radics - Time So Hard/Dubbing Time - Showcase: In a Roots Radics Drum & Bass - Abraham Bunny Wailer - Rule Dancehall/Rule Dancehall Version - Solomonic Singles 2: Rise & Shine 1977-1986 - Dub Store Records/Solomonic ======================================== Shinehead - Tribulation - Golden Cartel Protoje - Self Defense - In Search Of Lost Time - Indiggnation Collective/RCA Kumar feat. Agent Sasco - Grain of Sand - Kulture Walk - Kulture Walk Music Shabba Ranks - Heart Of A Lion - Reggae Anthology: Serious Times Bobby Digital - VP Records Arkaingelle feat. Kabaka Pyramid & Pressure Busspipe - Light Tha Torch - Zion High Productions Eljai - War - High Rise Riddim - Synthedicate Music Eesah - Kingston Town - Caribic Night Records Skip Marley - My World - Higher Place - Tuff Gong International Protoje - Same So - In Search Of Lost Time - Indiggnation Collective/RCA Anthony B - Easy Rocking - Juicy Empire Records Fyakin - Reggae Vibes - Real Don Dada Riddim - Nyle Banks Music Super Cat & Salaam Remi - Push Time - Louder Than Life Records Kabaka Pyramid - Nice Up The Dance - Dancehall Anthems - VP Records Pad Anthony - Shake Dem Down - Digital B -80’s Vol.1 - VP Records Toots & The Maytals - Struggle - Got To Be Tough - Trojan Jamaica Laury Webb - Gone Up - Lynsam Entertainment Mungo’s Hi Fi feat. Marina P, Tippa Irie & Dennis Alcapone - The Beat Goes Ska/Ivory Coast - Scotch Bonnet Records Luciano & Runkus - Use Jah Words - The Answer - Oneness Records
**The Chas Summers Throwback Show Replay on www.traxfm.org.** **If you missed the Chas Summers Throwback Show, then catch the replay here. On today's we drop TRAX from George Benson, Light of the World, Patrice Rushen, Shabba Ranks, Dawn Penn, Earth Wind & Fire, Ashford & Simpson & much more. We also have new music from Kenny Wellington, PrivatProjekt & Opolopo. Our Sun Night Slow Jam this week features Glenn Jones. And it’s the return of the listeners Throwback Top 3 which this week has been chosen by Simon Denney from Farnborough in Hampshire feature tracks from 702, Mary Mary & Kool & The Gang The Chas Summers Throwback Show Every Sunday From 5PM UK Time. The Station: traxfm.org #traxfm #chassummers #throwbackshow #soul #funk #boogie #remixes #80sGrooves #inthemix #90sR&B Listen Here: traxfm.org Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Like the Throwback Show Facebook page - facebook.com/sundaythrowbackshow OnLine Radio Box: onlineradiobox.com/uk/trax/?cs=uk.trax Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm# #traxfm #chassummers #throwbackshow #soul #funk #boogie #RnB #inthemix**
**The Chas Summers Throwback Show Replay on www.traxfm.org.** **If you missed the Chas Summers Throwback Show, then catch the replay here. On today's we drop TRAX from George Benson, Light of the World, Patrice Rushen, Shabba Ranks, Dawn Penn, Earth Wind & Fire, Ashford & Simpson & much more. We also have new music from Kenny Wellington, PrivatProjekt & Opolopo. Our Sun Night Slow Jam this week features Glenn Jones. And it's the return of the listeners Throwback Top 3 which this week has been chosen by Simon Denney from Farnborough in Hampshire feature tracks from 702, Mary Mary & Kool & The Gang The Chas Summers Throwback Show Every Sunday From 5PM UK Time. The Station: traxfm.org #traxfm #chassummers #throwbackshow #soul #funk #boogie #remixes #80sGrooves #inthemix #90sR&B Listen Here: traxfm.org Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Like the Throwback Show Facebook page - facebook.com/sundaythrowbackshow OnLine Radio Box: onlineradiobox.com/uk/trax/?cs=uk.trax Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm# #traxfm #chassummers #throwbackshow #soul #funk #boogie #RnB #inthemix**
In this episode, I interview Grammy-nominated artist Dawn Penn on the music industry, the challenges of fame and her iconic song ‘You Don't Love Me (No, No, No)'. Credit Host, Writer & Producer: Bryan Knight Twitter: @BryanKnight_ Twitter: @TellAFriendPod Instagram: Bryan Knight__ Instagram: @TellAFriendPod Music credit: No No No - Dawn Penn (WMG; CMRRA; BMI; Wise Music Group; Abramus Digita; LatinAutor; UMPI; The Royalty Network; LatinAutor - Warner Chappell; ARESA; PeerMusic; PEDL) [Theme Music Credit - Tha Silent Partner] ALL RIGHTS RESERVED BY HOST BRYAN KNIGHT. PERMISSION MUST BE SOUGHT BEFORE USING ANY UPLOADED CONTENT. NO REPRODUCTIONS ALLOWED. FULL ATTRIBUTION TO BRYAN KNIGHT IS MANDATORY FOR ALL USES.
Tom Varrall is a guitarist, bassist, musical director, producer, and teacher based in London. He currently tours and records with jazz/pop artist Jamie Cullum, drum and bass artist Wilkinson on his live shows, pop singer songwriter Alex Clare and with the Outlook Orchestra in its various projects including with legendary Reggae Broadcaster David Rodigan. Other artists Tom has worked with include Izzy Bizu (on Bass and Guitar), Submotion Orchestra (on Bass) Nao, Foreign Beggars, Eliza Doolittle, Pharoah Monche, Maverick Sabre, Cyantific, Horace Andy, Dawn Penn, Natalie Duncan and more. Equally comfortable working as a session guitarist and bassist or working as a musical director, Tom has excellent knowledge of Ableton and preparing backing tracks and has a vast contact list of musicians working across all genres. Support the show (http://www.prestomusic.com/jazz)
Episode 51 has been put together by Cheshire based DJ & Producer Lempo. Lempo’s released on labels such as strictly rhythm, SupaEarth Records as well as his own label Applique music. Has worked with the likes of Artful Dodger, Marshall Jefferson & Nancy Sinatra and produced remixes for Snoop Dogg, General Levy, and Dawn Penn. I think it goes without saying we’re really excited to have him on the blog. Catch our interview with Lempo over on the website: https://allmyfriendsmcr.com/2020/05/30/lempo/
This episode features classic #LoversRock songs from the 90's and 2000s, including hits by Sanchez, Wayne Wonder, Tony Curtis, Richie Stephens, Beres Hammond, Buju Banton, Barrington Levy, Dawn Penn and more.Follow/Subscribe to "The Undacover Mixtapes" on YouTube, ApplePodcast & GooglePlayMusicIG/FB/TW @DjUndacoverBookings/Email: djundacover@gmail.com
Bruce Sherry, DJ Tecklogix, Opolopo, Erik Rico, Local F, Mauro Venti, Johnny JC, Utopia Jackson Mark Gamble, Ralf Gum, Joseph Junior, Soul Deep Collective, Anthony Poteat, Gary Cumminings Mustafa, Lisa Millet, Beloved, Sheree Hicks, Jihad Muhammad, Layabouts, Tom Glide, Terisa Griffin DJ Tchok, Shaka, Carl H, DJ Man X, Josh Milan, Albert Sterling Menendez, Zodic, The Jinks, Jay Ward, Sam Beach, Bongoloverz, An-Tonic, Dawn Penn, Jeremy Sylvester, Tuff Vibes Marc Cotterel, Dawn Tallman, Jay Da'mour, Julio Garcia, This weeks banging artist..... stay safe guys.......
Billy Busch coming through with a smooth mix of reggae classics perfect for the pool side, Cookouts and late nights featuring classic tracks by Musical Youth, Dawn Penn, Buju Banton and many more. Billy is based in Connecticut and you can catch him mixing on Hot93.7 almost every day of the week and well as DJing all over the Northeast. Check the vibes and head to HeavyHits.com for full tracklisting.
Avui hem preparat un programa especial per al Dia de la Dona, dedicat a les veus femenines de la música jamaicana. Tracklist: – Dawn Penn “No, No, No” – Judy Mowatt “Black Woman” – Ebony Systers “Let Me Tell You … Continua llegint →
**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Had A Little House Party In Adelaide & Was Joined By His Big Brother Carl Amongst others Live In The Studio. Carl & Littleman Featured Tracks From Sounds Of Blackness, UB40, Teddy Pendergrass, Michael Jackson, Spandua Ballet & PM Dawn - Set Adrift On memory Bliss” & “True”, Kenny Thomas, Dawn Penn, The Contours, Jackie Wilson, Mary J Blige, The Specials, Bill Withers, Fun Boy Three, Dennis Brown, Tina Charles & More. DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time The Station: www.traxfm.org #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ The Beats International Facebook Page : https://www.facebook.com/TraxfmLittleman/ On Line Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**
Programme PHILIPPE CAM pour webSYNradio : Everything is fine. Avec les sons de Funky porcini, Pole, Rashad Becker, Jean Grae & Quelle Chris, Low, Kendrick Lamar, Busta rhymes & Michael Jackson, Jon Hopkins, Pan sonic, Alva Noto, Agf, Lil Peep, Wire, Curd Duca, Dasha Rush, Mark Pritchard & Gregory Whitehead, Coil & Nine inch nails, Andrew Pekler, Matmos, Duke Ellington & Alice Babs, Ken Nordine, Daniel Avery, Philippe Cam, Moderat, Boards of Canada, Rhythm & Sound, d.j spooky & Dawn Penn, Flying Lotus, Gil Scott-Heron, Buffalo Springfield.
Touching on a little lovers rock reggae, playing tracks from Carlene Davis, Dennis Brown, Dawn Penn and others.
Dj m33eka Soul-Ful of House Episode 8 Featuring the best in Soulful & Deep House Music Track from Atjazz, David Anthony, Amira, Scott Diaz, Dawn Penn, Martin Deep, Danny Clark, Moloko, Ross Couch, Daniele Baldi, Peter Brown, Angelo Ferreri, Block & Crown, Tuff Vibes
**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Featured Tracks From The Specials, Chaka Demus & Pliers, Dobie Gray, Chaka Khan, Taylor Dayne, China Black, BVSMP, Mel & Kim, Ce Ce Penistion, Coldcut, Clint Eastwood, Lorna Bennett, Dawn Penn, & More. DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time The Station: www.traxfm.org #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**
'A genre of one'Eugene Mirman, Dawn Penn, Daniel Kitson, David Byrne & Fat Boy Slim, Terry Hall, The Waterboys, Mahalia Jackson, Alabama 3, Anna St. Louis, Rilo Kiley, Jonathan Richman, Richard Hawley, Jan Beatty, Martin Stephenson & Shippy, Molly Burch, Simon Munnery
'A genre of one' Eugene Mirman, Dawn Penn, Daniel Kitson, David Byrne & Fat Boy Slim, Terry Hall, The Waterboys, Mahalia Jackson, Alabama 3, Anna St. Louis, Rilo Kiley, Jonathan Richman, Richard Hawley, Jan Beatty, Martin Stephenson & Shippy, Molly Burch, Simon Munnery
Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on "Bo Diddley" by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of "I Wish You Would" by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven't already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley's own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley's first six albums plus a bunch of non-album and live tracks, and has everything you're likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we're going to deal with someone who may even have been more important. One of the many injustices in copyright law -- and something that we'll have a lot of cause to mention during the course of this series -- is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture -- particularly *rich* white musical culture -- has stressed inventive melodies and harmonic movement -- think of, say, Burt Bacharach or George Gershwin -- it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else -- you'll notice that all the rhythmic innovations we've talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That's not, of course, to say that black musicians can't be melodically inventive or white musicians rhythmically -- I'm not here saying "black people have a great sense of rhythm" or any of that racist nonsense. I'm just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it's not been possible for them to have any intellectual property ownership in the result. You can't steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo... or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel's distinctive sound came about because he started performing so young that he couldn't gain entrance to clubs, and so he and his band had to play on street corners. But you can't cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He'd then use a brush on the sand, and the noise of the brushing would provide percussion -- at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend's neighbour Jerome Green as part of the act. We heard Jerome last week, playing on "Maybellene", but he's someone who there is astonishingly little information about. He doesn't even have a Wikipedia page, and you'll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley's classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry's, and on various other records by Willie Dixon, Otis Spann, the Moonglows... yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome's job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome's maracas weren't the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel's music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called "Uncle John", which had lyrics that went "Uncle John's got corn ain't never been shucked/Uncle John's got daughters ain't never been... to school"; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song "Hambone", which a few years earlier had become a novelty hit: [Excerpt: "Hambone", Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I'm talking about something that's from a different culture from my own, and my understanding of it is that of an outsider. To *me*, "Hambone" seems to be a unified thing that's part song, part dance, part game. But my understanding may be very, very flawed, and I don't want to pretend to knowledge I don't have. But this is my best understanding of what “Hambone” is. "Hambone", like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the "ring a ring a roses is about the bubonic plague" kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there's a very strong incentive to try to find things that could be a continuation of that. But that's the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song "Bo Diddley". There's a bit of misinformation that goes around in almost every article about Diddley, saying "the Bo Diddley beat is just the 'Hambone' beat", and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist -- to the point that when I first heard "Hambone" I was shocked, because I'd assumed that there must at least have been some slight similarity. There's no similarity at all. And that's not the only song where I've seen claims that there's a Bo Diddley beat where none exists. As a reminder, here's the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley's, mostly by people we've discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here's a couple of examples of the songs that thesis cites. Here's "Mardi Gras in New Orleans" by Fats Domino: [Excerpt: "Mardi Gras in New Orleans, Fats Domino] And here's "That's Your Last Boogie", by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, "That's Your Last Boogie"] As you can hear, they both have something that's *sort of* the Bo Diddley beat, but not really, among their other rhythms. It's most notable at the very start of "That's Your Last Boogie" [Intro: "That's Your Last Boogie"] That's what's called a clave beat -- it's sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That's not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it's generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it's not them, and nor is it the "shave and a haircut, two bits" rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters' version of Lord Invader's great calypso song, "Rum and Coca Cola", has the Bo Diddley beat: [Excerpt: "Rum and Coca Cola", the Andrews Sisters] Both records have maracas, but that's about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for "the Yankee dollar". But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley's beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We've talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn't expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry's "I've Got Spurs That Jingle Jangle Jingle". [excerpt, Gene Autry, "I've Got Spurs that Jingle Jangle Jingle"] No, I don't see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called "Have Guitar Will Travel" (named after the Western TV show "Have Gun Will Travel") and "Bo Diddley is a Gunslinger". Diddley's work is rooted in black folklore -- things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey -- but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It's also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again -- and certainly he did often return to the Bo Diddley beat -- but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in "I'm A Man" he took on another artist's style, beating Muddy Waters at his own game. "I'm A Man" was a response to Waters' earlier "Hoochie Coochie Man": [Excerpt: "Hoochie Coochie Man", Muddy Waters] "Hoochie Coochie Man" had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. "Hoochie Coochie Man" had managed to sum up everything about Waters' persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore -- the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to "make pretty women jump and shout". He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you've got a great riff, you don't *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon's song, and called it "I'm a Man". In his version, there was only the one chord: [Excerpt: Bo Diddley, "I'm a Man"] Willie Dixon guested on bass for that song, as it wasn't felt that Diddley's own bass player was getting the feeling right. There were also some changes made to the song in the studio -- as Diddley put it later: "They wanted me to spell 'man', but they weren't explaining it right. They couldn't get me to spell 'man'. I didn't understand what they were talking about!" But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of "I'm a Man", didn't. [Excerpt: Muddy Waters, "Mannish Boy"] And then there was Etta James' answer record, "W.O.M.A.N.", which once again has wild west references in it: [Excerpt: Etta James, "W.O.M.A.N."] And that… "inspired" Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, "I'm A Woman"] Of course, none of those records, except Muddy Waters', gave Bo Diddley a writing credit, just as Diddley didn't credit Dixon for his riff. At the same session as the single was recorded, Diddley's harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. "I'm Sweet on you Baby" wasn't released at the time, but it's a much more straightforward blues song, and more like Chess' normal releases. Chess were interested in making more records with Arnold, but we'll see that that didn't turn out well: [Excerpt: Billy Boy Arnold, "I'm Sweet on you Baby"] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song "Sixteen Tons" by Tennessee Ernie Ford was a big hit: [Excerpt: "Sixteen Tons", Tennessee Ernie Ford] Diddley liked the song -- enough that he would later record his own version of it: [Excerpt: Bo Diddley, "Sixteen Tons"] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing "Dr Jive", with all the confusion about what words he's using] When he got out on to the stage he saw the cue card saying "Bo Diddley Sixteen Tons", assumed it meant the song "Bo Diddley" followed by the song "Sixteen Tons", and so he launched into "Bo Diddley". After all, why would he go on the show to promote someone else's record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it's the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan's show again under any circumstances. After that first TV appearance, it would be seven years until Diddley's second. And unlike all his contemporaries he didn't even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn't have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn't getting any help from the media. Luckily, his records were great. Not only was Diddley's first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of "Diddley Daddy" dates back to one of the white cover versions of "Bo Diddley". Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets' first records: [Excerpt: Jean Dinning, "Bo Diddley"] And, as with Georgia Gibbs' version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn't get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley's drummer Clifton James (who sadly isn't the same Clifton James who played the bumbling sheriff in "Live and Let Die" and "Superman II", though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn't like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn't happy with him, and so Arnold decided to take a song he'd written, "Diddy Diddy Dum Dum", to another label rather than give it to Chess. He changed the lyrics around a bit, and called it "I Wish You Would": [Excerpt: Billy Boy Arnold, "I Wish You Would"] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley's second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley's session -- where Diddley started playing "Diddy Diddy Dum Dum". Leonard Chess suggested letting Arnold sing the song, but Arnold said "I can't -- I just recorded that for VeeJay", and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn't want to play harmonica on something so close to a record he'd just made, though he played on the B-side, and so Muddy Waters' harmonica player Little Walter filled in instead. The new song, entitled "Diddley Daddy", became another of Diddley's signature songs: [Excerpt: Bo Diddley, "Diddley Daddy"] but the B-side, "She's Fine, She's Mine", was the one that would truly become influential: [Excerpt: Bo Diddley, "She's Fine, She's Mine"] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, "You Don't Love Me"] That song was covered by pretty much every white guitar band of the late sixties -- the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper... the list goes on. But Cobbs' song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs' song, based on Bo Diddley's song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, "You Don't Love Me (No, No, No)"] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that's how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years' worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn't credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive -- his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we're going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people -- a song that would indirectly have massive effects on the whole of popular music.
Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important. One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly *rich* white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act. We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit: [Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To *me*, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is. “Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all. And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino: [Excerpt: “Mardi Gras in New Orleans, Fats Domino] And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, “That’s Your Last Boogie”] As you can hear, they both have something that’s *sort of* the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie” [Intro: “That’s Your Last Boogie”] That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat: [Excerpt: “Rum and Coca Cola”, the Andrews Sisters] Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”. But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”. [excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”] No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game. “I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”: [Excerpt: “Hoochie Coochie Man”, Muddy Waters] “Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. “Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord: [Excerpt: Bo Diddley, “I’m a Man”] Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!” But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t. [Excerpt: Muddy Waters, “Mannish Boy”] And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it: [Excerpt: Etta James, “W.O.M.A.N.”] And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, “I’m A Woman”] Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff. At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well: [Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit: [Excerpt: “Sixteen Tons”, Tennessee Ernie Ford] Diddley liked the song — enough that he would later record his own version of it: [Excerpt: Bo Diddley, “Sixteen Tons”] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using] When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second. And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media. Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records: [Excerpt: Jean Dinning, “Bo Diddley”] And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”: [Excerpt: Billy Boy Arnold, “I Wish You Would”] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs: [Excerpt: Bo Diddley, “Diddley Daddy”] but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential: [Excerpt: Bo Diddley, “She’s Fine, She’s Mine”] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, “You Don’t Love Me”] That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.
Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important. One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly *rich* white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act. We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit: [Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To *me*, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is. “Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all. And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino: [Excerpt: “Mardi Gras in New Orleans, Fats Domino] And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, “That’s Your Last Boogie”] As you can hear, they both have something that’s *sort of* the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie” [Intro: “That’s Your Last Boogie”] That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat: [Excerpt: “Rum and Coca Cola”, the Andrews Sisters] Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”. But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”. [excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”] No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game. “I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”: [Excerpt: “Hoochie Coochie Man”, Muddy Waters] “Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. “Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord: [Excerpt: Bo Diddley, “I’m a Man”] Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!” But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t. [Excerpt: Muddy Waters, “Mannish Boy”] And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it: [Excerpt: Etta James, “W.O.M.A.N.”] And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, “I’m A Woman”] Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff. At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well: [Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit: [Excerpt: “Sixteen Tons”, Tennessee Ernie Ford] Diddley liked the song — enough that he would later record his own version of it: [Excerpt: Bo Diddley, “Sixteen Tons”] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using] When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second. And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media. Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records: [Excerpt: Jean Dinning, “Bo Diddley”] And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”: [Excerpt: Billy Boy Arnold, “I Wish You Would”] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs: [Excerpt: Bo Diddley, “Diddley Daddy”] but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential: [Excerpt: Bo Diddley, “She’s Fine, She’s Mine”] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, “You Don’t Love Me”] That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.
I hope you are having a great and inspired start of the spring season work your way up to your dream. I have a very special guest for you today. One of the original queens of reggae, Dawn Penn. In this episode you will learn the following: How Dawn started her journey as a chorus singer while learning to play musical instruments such as violin and pianoHer decision of making Music her career while working several side jobs.How she writes songs while making sure to take notes of all her ideas as they come to her mindHow a simple idea can jumpstart your career the second time around.How to feel freedom in our daily lives that will impact our day-to-day activities.“Everybody has their own style and sequence of how they want to protect themselves and what to do. We are different colors and races. Everybody has their own gifts. We came on this planet to praise God and thank Him. ” - Dawn Penn Check out Dawn Penn’s links: https://www.dawnpenn.com/https://www.facebook.com/DawnPennMusic/ Let's officially Swagger then SwerveSwagger Swerve Links:Get in tune with your inner creativity with Swagger Swerve here: https://swaggerswerve.squarespace.comLet me know what you think as well by subscribing on social mediaYou can follow Geoff from Swagger Swerve at:Website: http://swaggerswerve.comInstagram: https://www.instagram.com/swaggerthenswerveFacebook: https://www.facebook.com/swaggerswerveGeoff's New Program on how to release one song a month for the next 12 months - Music GSD (Get S Done) https://swaggerswerve.squarespace.com/store
Rabbits Riddims - Episode 15! Pass Me The Dubplate! Reggae and Jungle is the Vibe so look alive and join in as we go from Mungos Hi-Fi all the way back to Dawn Penn plus many more old classics and new sounds. It's gunna be a spicy patty of meaty tunes! Roll up blaze up n tune in every Friday from Gibraltar to Nerja on 106 FM or online on www.radiomix106.com 10pm Local (9pm UK).
Lovers Rock and Conscious Reggae mix featuring music from Sanchez, Tarrus Riley, Sizzla, Chaka Demus, Buju Banton, Shaggy, Sean Paul, Sister Nancy, Dawn Penn, and more.
Bombshell Radio Jazzamatazz Double Header Today 1pm-3pm EST 7pm-9pm BST 10am-12pm PDT bombshellradio.com Today's Bombshell (Bombshell Radio)Sing,dance or chill to the feelgood vibes of reggae artists & reggae/ska influenced hits & classics from throughout the decades. Vol.8 with tracks by Dawn Penn, Althea And Donna, Boris Gardiner, Gregory Isaacs, Lenny, Cornell Campbell, Freddie McGregor, Ken Boothe, Quench Aid, Bob Marley, John Holt, Bob Marley, Prince Lincoln Thompson, Lloydie & The Lowbites, Dave & Ansel Collins, Captain Barkey, Lady Shine, Sly & Robbie, Sugar Minott. Enjoy yourself :)#reggae, #reggaedancehall , #rootsreggae, #ska, #dancehall, #pop, #classics1 You Don't Love Me [No.No.No] Dawn Penn2 Uptown Top Ranking Althea And Donna3 I Wanna Wake Up with You Boris Gardiner4 Nobody Knows Gregory Isaacs5 I Want You Back Lenny6 Susan Cornell Campbell7 Lovers Rock Freddie McGregor8 Let's Get It On Ken Boothe9 Ram Dance Man Quench Aid10 Nice Time Bob Marley11 Why Do You Hurt Me So John Holt12 Soul Rebel Bob Marley13 They Know Not Jah Prince Lincoln Thompson14 Rough Rider Lloydie & The Lowbites15 Double Barrel Dave & Ansel Collins16 Miserable Woman Captain Barkey17 Condom Lady Shine18 Stick By Me Sly & Robbie19 Good Thing Going Sugar Minott
Recorded Way up in a Mile High, The day of Protoje's new album, A Matter Of Time releases we start off the show with Protoje speaking about his new album, along with hearing some of his new tracks off the album along with music from Dawn Penn, Kiko Bun, Shortboss, Holly Cook, Earthkry and More! A Matter of Time – Flames (feat. Chronixx) – Protoje Nah Sell Out Single– Nah Sell Out - Luciano Tuff Selection – Caution - Tony Tuff A Matter of Time – Mind of a King – Protoje Reggae Hits – Night and Day – Dawn Penn Pound for Pound – Spooky (feat. Hollie Cook) - The Nextmen & Gentleman's Dub Club They Have No Love Single– They Have No Love – Bertus & I-Wayne A Matter of Time – Camera Show – Protoje Too Good Single – Too Good – Shortboss Pound for Pound – County Line (feat. Kiko Bun)- The Nextmen & Gentleman's Dub Club A Matter of Time – Lessons – Protoje Survival - Praise Jah - Earthkry Kontraband – Reggae Music - Kabaka Pyramid Apollo Riddim – EP - Too Much (feat. Agent Sasco)- Dub Inc
This weeks KK Podcast is w SpiderJ ; collaborator with Bob Marley & The Wailers, Dawn Penn, Peter Tosh and long standing band Leader for Lee Scratch Perry. Writing alongside Stevie Wonder, UK Apache, Madness, Estelle, Dizzee Rascal, myself and his more recent involvement with BBC Introducing’s young guns kook. Subscribe the Killa Kela Podcast @ iTunes: itunes.apple.com/gb/podcast/killa…d1348068059?mt=2 Subscribe the Killa Kela Podcast @ Spotify: https://open.spotify.com/show/1OGLNJ6bVfWb7bU86U1gkc?si=zULCKgdzR-OVqx7zRUQ24w Watch this episode here: https://youtu.be/C9U2ku-vqW8 Support the Killa Kela Podcast by being a Podcast Patreon and receiving a mass of exclusives and bonus content https://www.patreon.com/killakelapodcast KILLA KELA Website: www.killakelaofficial.com Instagram: https://www.instagram.com/killakelaofficial/ Facebook: www.facebook.com/killakelaofficial Twitter: https://twitter.com/KillaKela
"I Can't Go for That" is a song by the American duo Hall & Oates. The song was released as the second single from their album, Private Eyes in 1981. The song became the fourth number-one hit single of their career on the Billboard Hot 100 "Daft Punk Is Playing at My House" is the fifth single from LCD Soundsystem, released on February 21, 2005. The track reached number one on the UK Dance Chart and was nominated for the 2006 Grammy Award for Best Dance Recording. No, No, No is sung by Jamaican singer Dawn Penn, rereleased in 1994. The song has been remade and reworked many times since the original 60’s version was pressed. See acast.com/privacy for privacy and opt-out information.
She's a legend of the game and she joins us on this week's Reggae Up Yo'self... it's Dawn Penn! See acast.com/privacy for privacy and opt-out information.
Heat up your summer with a new episode with plenty of jams from great artists like Kabaka Pyramid, Dre Island, Pressure, Capleton, Jr. Gong and Steven Marley's new jam, Jesse Royal, Luciano, Dawn Penn, Bounty Killer, more Frankie Paul and a ton a great artists and music.
I will be doing a live podcast every Tuesday at Open Mikes' Dub Party Jam Night. This is Vol.1 with special guests Christopher Neill Walker, Christian Moore, Travis Allan, Mike Della Cioppa, Dallas James, Steven Cotta, and special co-host Ryan Speer. Every week we will have rotating guests and co-hosts and such. It will be absolute chaos and I hope this doesn't make the end of my podcast. Music by: Scientist, Black Uhuru, The Wailers, Sister Nancy, Don Carlos, Dawn Penn, Devonte & Tanto Metro, Annie Lennox, and Slightly Stoopid.
À l'émission cette semaine, du reggae au garage en passant par le punk et l'électro-pop avec Dawn Penn, Luv'd Ones, Erasers, The She's, Men I Trust, Laura Savage, Lost Cherrees, Hagar The Bomb, Vice Squad, Hope Sandoval & The Warm Inventions...
À l'émission cette semaine, du reggae au garage en passant par le punk et l'électro-pop avec Dawn Penn, Luv'd Ones, Erasers, The She's, Men I Trust, Laura Savage, Lost Cherrees, Hagar The Bomb, Vice Squad, Hope Sandoval & The Warm Inventions...
Ultima settimana di programmazione per Stay Soul con Nina Zilli! Proseguiamo il nostro viaggio con Dawn Penn, Bluvertigo, Dionne Bromfield, Bob Dylan e tanti altri. E per la puntata odierna di Heat Parade, ci teletrasportiamo nella Giamaica degli anni '60!
![Ekacho [Jackin' Brothers]](https://ivyfm.s3.amazonaws.com/i320/287706.jpg)
Запись прямого эфира из радио-рубки 142800 в Sunshine cafe. 09.06.2015 Компиляция Базука (Jackin' Bro) Играет Ekacho (www.ekacho.com)www.mixcloud.com/Sunshinecafe 1. UNKNOWN 2. Shmooving by Electrosoul System 3. 2nd Page (feat Steo) by Beta 2 4. Paradox by Goodfield 5. UNKNOWN by UNKNOWN 6. Aurora by Liquitek 7. UNKNOWN by UNKNOWN 8. Dramatic by Phentix 9. More Than You'll Ever Know by Phil Tangent 10. World A Jungle Music by Rasta Vibes 11. My Spring (Implex & Zemine remix) by So Wha 12. Jungle On Broadway (original mix) by Unknown Artist 13. You Don't Love Me (No No No) (reel ii reel junglist mix) by Dawn Penn & Bounty Killer 14. UNKNOWN by UNKNOWN
The Celebrity Link: #1 songs by Jamaicans reaching UK Singles National Chart The incidence of Jamaican recordings reaching the United Kingdom charts and impacting British culture has become commonplace. Millie Small's 1964 remake of Barbie Gaye's 1957 R&B hit, My Boy Lollipop set the trend when it climbed to No. 2 on the British charts. It effectively opened the floodgates for a deluge of Jamaican recordings to flow incessantly onto the British charts. Earlier, others like Laurel Aitken and Dandy Livingstone created an initial impact, with Aitken's Boogie in My Bones and Little Sheila in 1957 becoming the first Jamaican-made recordings to be distributed in England. A couple years after Millie Small's hit, ska legend Prince Buster burst onto the UK music scene with the ultimate rude-boy song, Al capone Guns Don't Argue, which established his career in Britain. The year 1967 saw the biggest Jamaica-UK hit of that period, when Desmond Dekker's 007 (Shanty Town) found its way to the No. 14 slot on the charts. Dekker, who had ushered in a more conscious form of Jamaican rocksteady, revealed to the outside world, through the recording, the condition of ghetto dwellers and gun-toting hoodlums in a society going through a transition: Two years later, Dekker and the Aces would return to register Jamaica's greatest impact on the UK charts and the first Jamaican record to hit the No. 1 spot there — Israelites. Although few could understand its lyrics, it became a timeless masterpiece, merely on the strength of its intense reggae beat, reaching the top in April 1969.http://www.herald.co.zw/jamaican-music-rules-uk/ 661-467-2407 www.crsradio.com
Dawn Penn's earliest recordings were composed and written by Dawn Penn around 1966 using session musicians. In 1967 she recorded the rocksteady single, "You Don't Love Me" produced by Coxsone Dodd at Studio One.[1] She also recorded "Why Did You Leave" at Studio One, "Broke My Heart" for Bunny Lee, "I Let You Go Boy" and covers of "To Sir with Love" and "Here Comes the Sun".By 1970 Penn had left the music industry and had moved to the Virgin Islands.In 1987, however, she returned to Jamaica and to music. In the summer of 1992 she was invited to appear on stage at a Studio One anniversary show, where she performed the song "You Don't Love Me" with Steely & Clevie as backing musicians. The performance was a success, and she returned to the recording studio to re-record the song for the tribute album Steely & Clevie Play Studio One Vintage. It was released as the single "You Don't Love Me (No, No, No)" over a year later, reaching the charts in the U.S. and Europe, plus hitting #1 in her native Jamaica, and making #3 in the UK Singles Chart. Penn's next album, No, No, No, was released on Big Beat Records in 1994. Subsequently, "You Don't Love Me (No, No, No)" has been sampled and covered by the artists Kano, Hexstatic, Jae Millz, Ghostface Killah, Mims, Eve featuring Stephen Marley and Damian Jr. Gong Marley. Their versions were all renamed as "No, No, No", bar Ghostface's, which was named "New Splash". The song was performed by Blue King Brown on the Australian youth radio network Triple J programme "Like a Version" 2006. http://en.wikipedia.org/wiki/Dawn_Penn
David Madden - composing, arranging, singing, and playing the trumpet for.. Bob Marley & the Wailers, Ernie Ranglin, Freddie McGregor, Jimmy Cliff, Burning Spears, Bob Andy, Peter Tosh, Beres Hammond, Ziggy Marley, Dawn Penn's ' Dennis Brown, Sean Paul....David began playing the trumpet at Alpha Boys school. David teamed with saxophonist Cedric "Im" Brooks as the duo Im and David to record for the legendary producer Sir Coxon Dodd at the famous Studio One. Two significant compositions "Money Maker" and "Candy Eye" became smash hits landing at number one and number ten respectively on the charts.David penned another chart-topper "Mystic Mood" . "Tonight We Love", "Scandal Corner", "This is Reggae Music", and "Sweet Loving Love". David Madden, is on19 of Bob Marley's hit songs, His debut album, "Going Bananas", David solo titled "Chained", on his own Large, Medium and Small Music (LMS) label. David has recorded "reggae Trumpetaa", "Changing Times", and "Dance Haawan". With four albums to his credit, David then released his first CD, "Cyber-Charged Ska", which he took to Midem, France to introduce his cyber-ska to the audiences. He then went on to record the compilation set "Horny Reggae Horn: The Best of David Madden". On this restropective set, can be found David's work from the early 1980s. "Lonely People", the beautifully arranged "She She Mugae", "Mystic Mood", and the romantic "Love Light" are among the album's stand outs. Other CDs released are "Cybernetix Online" and "Long Live Reggae Music".In keeping with the times, his latest singles "Fast Lane Slow" and "Pon de Internet" are currently available on itune.
Big Tigger does Big Tings with a 60 MINUTE Reggae/Rockers mix filled wit big tune after big tune!!! True yard man, Born Jamericans, and casual reggae listeners will enjoy this killa sound featuring both new tunes and classics!!! FEATURED ARTISTS INCLUDE : Sizzla, Buju Banton, T.O.K., Beyonce, I Wayne, Morgan Heritage, Rihanna, Wayne Wonder, Beres Hammond, Dawn Penn, Trey Songz, Jah Cure, Bob Marley, Ini Kamoze, Tony Rebel, Sean Paul, Shabba Ranks, and more!!! PLEASE DONATE AT LEAST $1 IF YOU ENJOY THESE FREE PODCAST MIXES AT http://bigtiggershow.podomatic.com - THANX AND ENJOY!!
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial Ebriedad con Antoñito Gabardino, Alex, Dani y Concha. Hablamos sobre el mítico O Portiño y testamos el compuesto del momento: El Blue Light. Sonaron tonadas de The Third Wave, Laurie Anderson, Triste Janero, Dawn Penn y Ciëlo.Escucha este episodio completo y accede a todo el contenido exclusivo de Podcast El Programa de Sita Abellán. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-podcast-el-programa-sita-abellan_sq_f130132_1.html
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial Ebriedad con Antoñito Gabardino, Alex, Dani y Concha. Hablamos sobre el mítico O Portiño y testamos el compuesto del momento: El Blue Light. Sonaron tonadas de The Third Wave, Laurie Anderson, Triste Janero, Dawn Penn y Ciëlo.
Best of the 90's by DJ Chiney Release Date: 11/14/2009 Genre: 90's Dancehall, 90's Reggae 48 Tracks || 52 Minutes Download Tracked Mix Here: http://www.mediafire.com/?hjm2ahjjkyv Tracklist 01. Intro 02. Beenie Man - Troublemaker 03. Baby Cham – Man Ah Man 04. Capleton – Final Assassin 05. Zebra – Dem Unfair 06. Spragga Benz – Shotta 07. Mr. Vegas & Sean Paul – Hot Gyal 08. Capleton – Slew Dem 09. Ward 21 – Bloodstain 10. Elephant Man – P**y Watch Man 11. Wayne Wonder – Enemies 12. Elephant Man – Jamaica 13. Bounty Killer & Baby Cham – Another Level 14. Bounty Killer – Look Into My Eyes 15. Wayne Marshal – Keep Them Coming 16. Sean Paul – Infiltrate 17. Beenie Man – Sim Simma 18. Mr. Vegas – Hand Inna Di Air 19. Red Rat – Mi Want Har 20. Mr. Vegas – Heads High 21. Lady G – Ease Off, Breeze Off 22. General Degree – Traffic Blockin 23. Mr. Vegas – Girls Time 24. Beenie Man – Circumstances 25. Lexxus - Full Hundred 26. T.O.K – Ting Sing 27. Elephant Man – Truth Hurt 28. Red Rat – Tight Up Skirt 29. Ghost – Mix up Situation 30. Beenie Man – Bookshelf 31. Mr. Vegas – Jack It Up 32. Sean Paul – Deport Dem 33. Sasha – Dat Sexy Body 34. Tanto Metro & Devonte – Say Wooee 35. Tony Curtis – Faith 36. Mr. Vegas – Hands Up 37. Born Jamericans & Spragga Benz – Go Girl 38. Buju Banton – Batty Rider 39. Nardo Ranks – Coca Cola Shape 40. Terror Fabulous – Position 41. General Degree – Boom 42. Dawn Penn – You Don’t Love Me 43. Bitty McLean – Walk Away From Love 44. Junior Kelly – Love So Nice 45. Beres Hammond – Rock Away 46. Ghost – Do You Believe 47. Wayne Wonder – Love You Too Much 48. Outro Twitter: http://www.twitter.com/djchiney Facebook: http://on.fb.me/djchiney SoundCloud: http://www.soundcloud.com/djchiney MediaFire: http://www.mediafire.com/djchiney YouTube: http://www.youtube.com/djchiney1
We start this week off with some Norwegian beats and kazoo fun from Xploding Plastix and then drop right in to some experimental hiphop with the likes of Anti-pop Consortium and Non-Prophets. Bonobo chills us out as we head into part two featuring remixes of classic dub tracks. Starting with some seriously heavy bass remixes of Lee “Scratch” Perry we are then treated to Z-Trip's wicked remix of Dawn Penn back-to-back with DJ Spooky's take on the same track. We close with Laswell re-working Bob Marley's Exodus from his album of Bob Marley dub re-mixes Dreams of Freedom – a personal favourite. Tracklist: Xploding Plastix: Kissed By A Kisser Antipop Consortium: Angular Mad Rad: The Machine Non-Prophets: That Ain't Right Bonobo: The Plug Blue Sky Black Death: Sleeping Children Are Still Flying Horsepower Productions: Exercises Adrian Sherwood: Devil Dead Out Z-Trip: Soundclash DJ Spooky: No, no, no Bill Laswell: Exodus
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El Primer programa musical de EPSA. Con Alice Waddington y Miguel Agnes. Nos dedicamos a conversar y poner canciones bonitas de chicas revolucionarias, girl groups y demás periferias. Sonaron Françoise Hardy, The Daughters of Eva, Les Intrigantes, Dawn Penn, Rita Marley, Jacqueline Taieb, The Starlets, Kim Weston, The Murmaids, Shadow Morton, Darlene Love, Las Mosquitas, France Gall, The Lewis Sistera, The Shirelles, Corinna Cord, Ream Daranoi y muchas cosas más...Escucha este episodio completo y accede a todo el contenido exclusivo de Podcast El Programa de Sita Abellán. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-podcast-el-programa-sita-abellan_sq_f130132_1.html
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El Primer programa musical de EPSA. Con Alice Waddington y Miguel Agnes. Nos dedicamos a conversar y poner canciones bonitas de chicas revolucionarias, girl groups y demás periferias. Sonaron Françoise Hardy, The Daughters of Eva, Les Intrigantes, Dawn Penn, Rita Marley, Jacqueline Taieb, The Starlets, Kim Weston, The Murmaids, Shadow Morton, Darlene Love, Las Mosquitas, France Gall, The Lewis Sistera, The Shirelles, Corinna Cord, Ream Daranoi y muchas cosas más...
side a. 1. Intro - Jody Watley 2. "Hot Music" - Soho 3. "What Is Love? - Deee-lite 4. "Boogie Tonight" (Danny Krivit Re-Edit) - Tweet 5. "Dance Wiv Me" - Dizzee Rascal + Calvin Harris 6. "Rock Steady" (Danny Krivit Re-edit) - Aretha Franklin 7. "Wait A Minute" - Estelle 8. "Big Easy" - Raphael Saadiq 9. "Stuck To You" - Nikka Costa 10. "Would've Been The One" - Solange 11. "Fever" - La Lupe 12. "Mas Que Nada" - Sergio Mendes and Brazil 66 side 1 13. "You Don't Know Me" - Dawn Penn 14. "Hot Thang" - Talib Kweli 15. "Genius of Love" - Tom Tom Club 16. "Pull Up To My Bumper" - Grace Jones 17. "Shut Up and Let Me Go" - The Ting Tings 18. "She's Got Me Dancing" - Tommy Sparks 19. "Another One Bites The Dust" - Queen 20. "Need You Tonight" - INXS 21. "Cat and Mouse" - Nikki + Rich 22. "You Keep Me Hanging On" - Diana Ross and The Supremes 23. "Why Don't You Love Me?" - Beyoncé 24. outro - Jody Watley
Lovers Rock and Conscious Reggae mix featuring music from Sanchez, Tarrus Riley, Sizzla, Chaka Demus, Buju Banton, Shaggy, Sean Paul, Sister Nancy, Dawn Penn, and more.
Lovers Rock and Conscious Reggae mix featuring music from Sanchez, Tarrus Riley, Sizzla, Chaka Demus, Buju Banton, Shaggy, Sean Paul, Sister Nancy, Dawn Penn, and more.
I made this mix a couple years ago around when I first started having recording capabilities. I figured I would post it because it is not in my usual style, which is more of a one-drop, modern roots, conscious and cultural tunes. This has some of my favorite older dancehall riddims, such as the Bam Bam and Dawn Penn's ultra crucial classic, "No, No, No." Some of the new dancehall riddims were randomly selected during the mix, and some are riddims I like, have more conscious lyrics, or a combination of the latter two. Enjoy this more uptempo mix brought to you by DJ Green in an all vinyl record stylee, quality on purpose...
DJ Wade with Queen Majesty - July 2010DJ Wade with Queen Majesty - July 2010 DJ Wade alongside guest selector Queen Majesty from Deadly Dragon Sound. A wicked selection of women singers and deejays featuring Marcia Griffiths, Althea and Donna, Lady G, Dawn Penn, Tanya Stevens, Lady Saw, Cecile, Shelly Thunder and more selected by NYC's finest, Queen Majesty.
side a. 1. Intro - Jody Watley 2. "Hot Music" - Soho 3. "What Is Love? - Deee-lite 4. "Boogie Tonight" (Danny Krivit Re-Edit) - Tweet 5. "Dance Wiv Me" - Dizzee Rascal + Calvin Harris 6. "Rock Steady" (Danny Krivit Re-edit) - Aretha Franklin 7. "Wait A Minute" - Estelle 8. "Big Easy" - Raphael Saadiq 9. "Stuck To You" - Nikka Costa 10. "Would've Been The One" - Solange 11. "Fever" - La Lupe 12. "Mas Que Nada" - Sergio Mendes and Brazil 66 side 1 13. "You Don't Know Me" - Dawn Penn 14. "Hot Thang" - Talib Kweli 15. "Genius of Love" - Tom Tom Club 16. "Pull Up To My Bumper" - Grace Jones 17. "Shut Up and Let Me Go" - The Ting Tings 18. "She's Got Me Dancing" - Tommy Sparks 19. "Another One Bites The Dust" - Queen 20. "Need You Tonight" - INXS 21. "Cat and Mouse" - Nikki + Rich 22. "You Keep Me Hanging On" - Diana Ross and The Supremes 23. "Why Don't You Love Me?" - Beyoncé 24. outro - Jody Watley
© 2020-2025 Ivy Podcast Discovery LLC
