American R&B singer
POPULARITY
3 episodes with Dee Dee Sharp
2 episodes with Dee Dee Sharp
3 episodes with Dee Dee Sharp
2 episodes with Dee Dee Sharp
6 episodes with Dee Dee Sharp
2 episodes with Dee Dee Sharp
This week, we had some brilliant selections from Black Sugar, Nino Ferrer, Steve Leach, Curtis Mayfield, The Bad Plus, Peter Evans, Rio 18, Leroy Hutson, Dee Dee Sharp, Dionne Warwick, Dominic Balchin, and more! For more info and tracklisting, visit: thefaceradio.com/the-rendezvous/.Tune into new broadcasts of The Rendezvous, LIVE, Sunday from 2 - 4 PM EST / 7 - 9 PM GMT on The Face Radio and Totally Wired Radio.Dig this show? Please consider supporting The Face Radio: support.thefaceradio.com.Connect: https://linktr.ee/kurtispowers 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.
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Dans l'épisode d'aujourd'hui nous allons parler de "The Loco-Motion" par Little Eva, et sur la façon dont une démo réalisée par la baby-sitter de Carole King est devenue l'un des plus grands succès des années soixante. Les plus chagrins d'entre vous trouveront surement qu'on est plus du côté de la pop que du rock ou de la soul….. c'est un peu vrai… Mais quelles compositions ! Et puis restez quand même parce qu'on parlera aussi de sado-masochisme mais…. Enfin…. Vous verrez. Little Eva, "The Loco-Motion" The Cookies, "In Paradise" The Cookies, "Passing Time" Big Joe Turner, "Lipstick, Powder and Paint" Chuck Willis, "It's Too Late" Ray Charles, "Lonely Avenue" Ray Charles, "The Right Time" Tony Orlando, "Halfway to Paradise" Neil Sedaka, "Breaking Up is Hard to Do" Dorothy Jones, "Taking That Long Walk Home" Nat Kendrick and the Swans, "(Do the) Mashed Potatoes" Dee Dee Sharp, "Mashed Potato Time" Bobby "Boris" Pickett and the Crypt-Kickers, "The Monster Mash" Little Eva, "The Loco-Motion" The Locomotions, "Little Eva" Big Dee Irwin, "Everybody's Got a Dance But Me" Carole King, "It Might as Well Rain Until September" The Everly Brothers, "Chains" The Cookies, "Chains" Little Eva, "Please Hurt Me" The Chiffons, "One Fine Day" Little Eva, "Keep Your Hands Off My Baby" The Cookies, "Don't Say Nothing Bad About My Baby" Idalia Boyd, "Hula Hoppin'" Big Dee Irwin, "Swinging on a Star" Earl-Jean, "I'm Into Something Good" Little Eva "Makin' With the Magilla" Grand Funk Railroad, "The Loco-Motion"
Retrocedemos 60 años en el tiempo para recordar algunas de las canciones que sonaban en las listas de éxitos del Billboard Hot 100 de EEUU en noviembre de 1963. (Fotos podcast; The Village Stompers, Nino Tempo y April Stevens) Playlist; (sintonía) THE VILLAGE STOMPERS “Washington Square” NINO TEMPO and APRIL STEVENS “Deep purple” GARNET MIMMS and THE ENCHANTERS “Cry baby” SAM COOKE “Little red rooster” RUFUS THOMAS “Walkin’ the dog” MARVIN GAYE “Can I get a witness” ELVIS PRESLEY with THE JORDANAIRES “Bossanova baby” RICKY NELSON “Fools rush in” THE DIXIEBELLES “(Down at) Papa’s Joe” BEACH BOYS “Be true to your school” ROBIN WARD “Wonderful summer” JACK NITZSCHE “Rumble” CHUBBY CHECKER “Loddy Lo” DEE DEE SHARP “Wild” LESLEY GORE “She’s a fool” BOBBY BARE “500 miles away from home” PETER PAUL and MARY “Don’t think twice it’s alright” DALE and GRACE “I’m leaving it up to you” Escuchar audio
In this episode, Darrell Bock and Milyce Pipkin (also known as talk show host Dee Dee Sharp), discuss her journey to faith as an African American woman faced with many challenges. Learn more about your ad choices. Visit podcastchoices.com/adchoices
The 60s was a fun and a unique experience. You had to be there to understand. Just talk to any baby boomer who was an adolescent during the 60s and they will tell you how fun and how fortunate they were to grow up in the 1960s. School dances and the dance crazes during that period were something else. I couldn't even begin to write about or even talk about what dances are popular today. I guess I possess a generation gap. I am lost in the 60s and 70s.The first dance craze I remember was "The Stroll." Of course it came out in the 50s but its popularity was still present in the 60s. You could stroll to almost any slow song. The Diamonds made the song famous in January 1958 and is still played today at many parties and weddings. It was close to being the first line dance. Girls on one side and boys on the other and the line moved up as each couple would meet one at a time in the center at the beginning of the line and stroll to the music down the line between the others and take their place at the end of the line.The Twist was a rock and roll dance popular in the early 1960s named after the song that originated it, The Twist. It was the first major international rock and roll dance style in which the couples did not have to touch each other while dancing. The dance was first popularized by Chubby Checker in 1960 with a hit cover of the 1959 minor hit "The Twist" written by Hank Ballard. Checker's single became a smash hit, reaching #1 on the US charts. The song set a record, being the only single to reach #1 in two different chart runs (as it reached #1 in 1960, and then resurfaced, reaching #1 again in 1962). This has never happened again in rock history. Faced with explaining to the youthful audience how to do the dance, a member of Checker's entourage came up with the following description:"It's like putting out a cigarette with both feet, and wiping your bottom with a towel, to the beat of the music."In 1961, at the height of the Twist craze, patrons at New York's hot Peppermint Lounge on West 45th Street were twisting to the music of the house band, a local group from Jersey, Joey Dee and The Starliters. Their house song, "Peppermint Twist (Part 1)," became the number one song in the United States for three weeks in January 1962. We even had a Peppermint Lounge in Circleville, Ohio. Of course it wasn't as famous as the one in New York. The lounge closed after a short period of time.The Mashed Potato is a dance move which was a popular dance craze of 1962. It was danced to songs such as Dee Dee Sharp's Mashed Potato Time. Also referred to as "mash potato" or "mashed potatoes", the move vaguely resembles that of the twist, by Sharp's fellow Philadelphian, Chubby Checker.The dance begins by stepping backward with one foot with that heel tilted inward. The foot is positioned slightly behind the other (stationary) foot. With the weight on the ball of the starting foot, the heel is then swiveled outward. The same process is repeated with the other foot: step back and behind with heel inward, pivot heel out, and so on. The pattern is continued for as many repetitions as desired. The step may be incorporated in various dances either as a separate routine or as a styling of standard steps.James Brown had two Mashed Potato-related chart hits, "(Do the) Mashed Potatoes" (1960; released under a pseudonym and "Mashed Potatoes U.S.A." in 1962. Brown also featured the dance prominently in his live performances during the 50s and 60s. The dance was also referred to in Connie Francis' 1962 hit "V-A-C-A-T-I-O-N" ("...we'll Mashed Potato to a jukebox tune..."), "Do You Love Me" by The Contours, "Harry the Harry Ape" a 1963 Top-20 pop and R&B novelty hit by Ray Stevens, and "Land of 1000 Dances", a song made popular by Wilson Pickett.The Monster Mash came out around the same time that the song "The mashed potatoes" was popular ... and it was a vari
El garito subterráneo del verano vuelve a abrir sus puertas para un divertida sesión cocinada con los sabores del rocknroll de los primeros años 60.(Foto del podcast; The Marcels)Playlist;(sintonía) THE VENTURES “The savage”DARLENE LOVE “A fine fine boy”JIMMY SOUL “Twistin’ Matilda”THE COASTERS “Run red run”THE ROUTERS “Let’s go (pony)”ELVIS PRESLEY “Viva las Vegas”RAY CHARLES “Don’t set me free”FREDDY CANNON “Buzz buzz diddle it”HANK BALLARD and THE MIDNIGHTERS “Nothing but good”GARY US BONDS “Dear twist señora”THE MAR KEYS “Last night”BARRETT STRONG “Money (that’s what I want)”THE SUPREMES “Buttered popcorn”THE AVANTIS “Keep on dancing”THE ROCKIN’ REBELS “Wild weekend”HOLLYWOOD ARGYLES “Alley Oop”THE MARCELS “Heartaches”ETTA JAMES “Something’s got a hold on me”JAMES BROWN “This old heart”DEE DEE SHARP “Ride”MARY WELLS “You lost the sweetest boy”LITTLE STEVIE WONDER “Workout Stevie workout”THE CONTOURS “Shake Sherry”BUSTER BROWN “Fannie Mae” Escuchar audio
En este episodio de DiscoShow bailaremos en nuestra pista con grandes temas Disco de artista como Aretha Franklin, Patti LaBelle, ABBA, Barry White, Dee Dee Sharp, Sister Sledge, Marlena Shaw, Carrie Lucas, Eumir Deodato y muchos más… Esta es la playList de la sesión Disco: 01 What A Fool Believes – Aretha Franklin 02 Fate (WSM Compilation Edit) – Chaka Khan 03 Save The Last Dance For Me – Patti LaBelle (1978's DiscoHIT) 04 Only The Strong Survive – Billy Paul (1977's DiscoHIT) 05 Summer Night City – ABBA 06 You're The One I Need – Barry White (1979's DiscoHIT) 07 I'm Not In Love – Dee Dee Sharp (1976's SensualHIT) 08 You´re A Friend To Me – Sister Sledge (1979's SensualHIT) 09 Touch Me In The Morning – Marlena Shaw (1977's DiscoHIT) 10 Live It Up – Inner Life (1981's DiscoHIT) 11 Dance With You – Carrie Lucas 12 Keep On Movin' – Eumir Deodato Ya lo sabes si quieres bailar con nosotros en la pista de DiscoShow, escúchanos en nuestro podcast, disponible en las plataformas iVoox, TuneIn, myTuner, Podimo Podcasts, Apple Podcasts y Google Podcasts. Ahora también puedes bailar con nosotros en la plataforma Mixcloud accede a nuestro canal: discoshow_podcast Síguenos en nuestro perfil: https://mixcloud.com/discoshow_podcast Escucha nuestros episodios y muy pronto nuevo contenido en Mixcloud!!....... --------------------------------------------- ÚNTE A DISCOSHOW EN LAS REDES SOCIALES: Instagram: @discoshow_podcast Facebook: https://facebook.com/discoshowpodcast/ Telegram: Canal DiscoShow: https://t.me/discoshow_podcast Suscríbete a nuestro canal DiscoShow en Telegram y recibirás información sobre nuestros próximos episodios, primicias y nuestros próximos directos en Mixcloud. Si te apetece también nos puedes escuchar en la emisora de radio ONDA SELECCIÓN DISCO en Madrid a través de la 89.4 FM, recuérdalo escucha DiscoShow todos los sábados a partir de las 10 de la noche y los martes y viernes a partir de las 4 de la tarde en la emisora ONDA SELECCIÓN DISCO. Conecta con nuestro e-mail para cualquier consulta que desees o si quieres solicitar algún éxito Disco en especial. discoshowpodcast@gmail.com --------------------------------------------- ÚNETE A NUESTROS DIRECTOS EN MIXCLOUD SÍGUENOS EN INSTAGRAM Y EN TELEGRAM ENTÉRATE DE LAS PRÓXIMAS FECHAS DE NUESTROS DIRECTOS!!! https://mixcloud.com/live/discoshow_podcast Lo mejor de la música DISCO en INTERNET!!!..
1. REM 2. Louisiana Red 3. Joni Mitchell 4. boygenius 5. The Mitchell Twins 6. Traffic 7. Jimmy Cliff 8. John Lee Hooker 9. Vika & Linda 10. Ronnie Wood Band 11. Mutton Birds 12. Los Lobos 13. Dee Dee Sharp 14. Built To Spill 15. The Murder Capital 16. The Who
Nuevo viaje en el tiempo en busca de aquellas maravillosas canciones de distintos pelajes que dieron forma a la música popular de la primera mitad de los años 60. Playlist; (sintonía) THE VENTURES “Loco-Motion” LITTLE EVA “Lets turkey trot” DEE DEE SHARP “Breaking up is hard to do” NEIL SEDAKA “Little devil” THE SHIRELLES “Foolish little girl” HUGO MONTENEGRO and ORCHESTRA “Peter Gunn” DUANE EDDY “Dance with the guitar man” THE ASTRONAUTS “Baja” CLIFF RICHARD “Willie and the hand jive” JOHNNY OTIS “Mumbli’ mosie” BO DIDDLEY “Pills” BOB THOMPSON “Joie de vivre” JOE BROWN “Just like that” MISS X “Christine” BARRY McGUIRE “Greenback dollar” THE KINGSTON TRIO “You’re gonna miss me” ODETTA “Baby I’m in the mood” TOMMY ROE “Blue ghost” JENNY MOSS “Please don’t say goodbye” Escuchar audio
In classic Lover Me fashion, Alex flips the theme on its head by getting us to discuss "I'm Not in Love" by 10cc! Covers by: Dee Dee Sharp, Will To Power, Fausto Papetti, Olive, Bonnie Tyler Spotify playlist here
THE DELFONICS READY OR NOT HERE I COME (CAN'T HIDE LOVE).JERRY BUTLER MOODY WOMAN.HERB WARD HONEST TO GOODNESS.THE ORLONS SPINNIN' TOP.BARBARA & BRENDA NEVER LOVE A ROBIN.THE INTRUDERS SLOW DRAG.DEE DEE SHARP WHAT KIND OF LADY?THE O'JAYS ONE NIGHT AFFAIR.DEE DEE WARWICK IT'S NOT FAIR.ARCHIE BELL & THE DRELLS GIRL YOU'RE TOO YOUNG.JERRY BUTLER JUST BECAUSE I REALLY LOVE YOU.THE DELFONICS LOVING HIM.JOHNNY MOORE THANK YOU BABY.THE O'JAYS LOOKY, LOOKY (LOOK AT ME GIRL).LITTLE ANTHONY & THE IMPERIALS HELP ME FIND A WAY (TO SAY I LOVE YOU).BARBARA MASON IF YOU KNEW HIM LIKE I DO.ARCHIE BELL & THE DRELLS HERE I GO AGAIN.ODDS & ENDS LET ME TRY.NANCY WILSON JOE.THE STYLISTICS PEOPLE MAKE THE WORLD GO ROUND.GROVER MITCHELL WHAT HURTS.THE SPINNERS GHETTO CHILD.THE COURTSHIP IT'S THE SAME OLD LOVE.THE EBONYS YOU'RE THE REASON WHY.RONNIE DYSON ONE MAN BAND (PLAYS ALL ALONE).DIANA ROSS & MARVIN GAYE STOP, LOOK, LISTEN (TO YOUR HEART).CAROLYN FRANKLIN YOU ARE EVERYTHING.JOE SIMON DROWNING IN THE SEA OF LOVE.NEW YORK CITY QUICK, FAST IN A HURRY.LITTLE ANTHONY & THE IMPERIALS I WON'T HAVE TIME TO WORRY.THE STYLISTICS MAKE IT LAST.NANCY WILSON YOU'RE AS RIGHT AS RAIN.DIONNE WARWICK & THE SPINNERS THEN CAME YOU.FIRST CHOICE ONE STEP AWAY.RONNIE DYSON I THINK I'LL TELL HER.NEW YORK CITY DO YOU REMEMBER YESTERDAY?THE O'JAYS THIS TIME BABY.DIONNE WARWICK I FOUND SOMEONE ELSE.NORMAN CONNORS FEAT. ELEANORE MILLS YOU MAKE ME FEEL BRAND NEW.ELOISE LAWS IF I DON'T WATCH OUT.PHYLLIS HYMAN MAGIC MONA.TEDDY PENDERGRASS SET ME FREE.DEE DEE BRIDGEWATER LONELY DISCO DANCER.LOU RAWLS HEARTACHE (JUST WHEN YOU THINK YOU'RE LOVED).THE JONES GIRLS CHILDREN OF THE NIGHT.THE TEMPTATIONS READY, WILLING AND ABLE.DENIECE WILLIAMS IT'S YOUR CONSCIENCE.PHYLLIS HYMAN FIRST TIME TOGETHER.L.A. BOPPERS LA LA MEANS I LOVE YOU.TEDDY PENDERGRASS HEAVEN ONLY KNOWS.THE LOVELITES BETCHA BY GOLLY WOW.DENIECE WILLIAMS WAITING.THE SPINNERS I'LL BE AROUND.
Super excited to announce new guest, Quentin Jones, to The Story!Quentin Jones is a Hall of Fame guitarist who is endorsed by Gretsch Guitars. Quentin Jones has played and recorded guitar with some of the most important names in rock-and-roll history. Among them are Al Kooper, Graham Nash, Peter Noone and Herman's Hermits, Robert Gordon, Marshall Crenshaw, the Rockats, Linda Gail Lewis, Billy Burnett, Johnny Neel, Dee Dee Sharp, Kenny Aaronson, David Uosikkinen, Liberty Devitto, John Sebastian, and Charlie Gracie, who took Quentin on the road with him when he was the opening act for Van Morrison. Gracie talks about Jones's talent and musical abilities in the book about Gracie's life and career, Rock N Rolls Hidden Giant. Quentin has own unique style and sound. He has gained fame playing rock-n-roll, blues, surf, rockabilly and old-time country and western. Quentin is endorsed by Gretsch guitars and in 2016 he was enshrined in the Rockabilly Hall of Fame in Nashville Tennessee. Along with being one of today's top guitarists, Quentin is a well-known music producer and songwriter. His music appears in movies, network television shows, DVDs and has be recorded by some of the world's top artists. Quentin's music and projects have been covered by publications like Billboard Magazine, Mojo Magazine, Rolling Stone Magazine, Goldmine Magazine, The NY Daily News, the Philadelphia Inquirer...to name just a few. Quentin's musical achievements have gained him mentions in a number of books. Quentin was featured in the Sept 2021 issue of Guitar Player Magazine in an article about Robert Gordon and the guitar players who helped him resurrect rockabilly music.He is the founding member of the internationally known cult band the Reach Around Rodeo Clowns. The band has released six critically acclaimed albums that gained attention from fans, press and other artists, including some of rock's founding fathers, British Invasion bands and even author Stephen King! Today Quentin can be heard and seen singing and playing guitar with his band mates, drummer David Uosikkinen and bassist Kenny Aaronson, as QDK. These three legendary musicians have joined forces to keep rock-and-roll, electric blues, surf, and rockabilly music alive and well into the 21st century. The band is currently producing new music in the studio. You can find Quentin and his projects here:Website : https://quentinjonesguitar.com/homeSupport this podcast at — https://redcircle.com/the-story/donations
A sus 72 años recién cumplidos el teclista y organista Ronnie Foster acaba de publicar en Blue Note Records 'Reboot', su primer disco en más de tres décadas. Lo estrenamos y repasamos novedades de la música Smooth Jazz con los recientes trabajos de Zolbert, Ed Calle, Paul Brown, Avery Sunshine y Eric Darius. En los minutos para el recuerdo repasamos los tres discos que editó la vocalista Dee Dee Sharp para el sello Philadelphia International Records.
Phil & Jake are joined by returning friend (and author) Eirinie Carson to rank the British Pop group Spice Girls, the outfits that the British call shell suits, and British food on the List of Every Damn Thing.Follow Eirinie on Instagram (@eirinieeee) and Twitter (@Eirineee), and read her columns on Mother Mag. Her upcoming book The Dead Are Gods will be published by Melville House. If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: The Spice Girls are, of course: Victoria Adams aka Victoria Beckham aka Posh Spice, Geri Halliwell aka Ginger Spice, Melanie C aka Sporty Spice, Mel B aka Scary Spice and Emma Bunton aka Baby Spice. Was there a sixth Spice Girl? Kind of. Michelle Stephenson was briefly part of the group that would go on to become the Spice Girls. At the time of this writing, we can't provide a link to Lady Camden from Ru Paul's Drag Race because it would risk spoiling the season finale for ourselves. Lucy Pinder is, as Wikipedia tells us, a British actress, TV personality and former glamour model. Shes also joins Eirinie for going on "holiday" (aka vacation). Phil at some point got it into his head that she was a right-wing ideologue and it broke the spell she had over him. It's probably for the best, even if it wasn't true! We talk about the Spice Girls songs “Wannabe” and “2 Become 1”. The video featuring them in leather outfits is for the song "Say You'll Be There". 2 Live Crew are filthy Miami rappers who legally laid the foundation for all filthy rappers that followed. Mogul did an excellent series about them. We get into a little Chubby Checker discussion, including his songs “The Twist” and “Let's Twist Again”. Phil tells us about Don't Knock the Twist , is a movie that features Checker with a lot of associated acts including Dee Dee Sharp, who sings Mashed Potato time, one of Phil's favorites. Phil likes anything where the song tells you "It's the latest" or "it's the greatest" and Mashed Potato time does both. Robbie Williams is the cheeky chappie from Stoke. Harry Styles is Hazza? Dolly Parton is the Backwoods Barbie. Hank Williams is the Hillbilly Shakespeare. Phil mentions the 2013 Morgan Spurlock 3-D documentary about One Direction, This Is Us but then gets confused as to whether it exists or not. It does. Phil mentions the youtube video "A Scouser Tries The Wigan Kebab and Smack Barm Pea Wet" in which a guy from Liverpool travels 17 miles to Wigan to enjoy Smack Barm Pea Wet which is a roll with a potato that's been batter dipped and deep fried, served with the liquid that peas sit in. Turkey Twizzlers were a UK meat product that used to be served to children at schools until celebrity chef Jamie Olive raised a fuss about them. Bovril is a beef broth concentrate, formerly known as Johnston's Fluid Beef. Phil remembers a guy saying it's served hot in a disposable cup. Kit-Kat is a candy that originates in England but really hit its stride in Japan where they make many variant flavors and generally appreciate the brand. Lucozade is a sports drink, roughly akin to Gatorade that was originally sold at pharmacies. Kebab stands are places where you can buy kebabs. Phil said we don't really have them in America but it's not really true. In his old neighborhood in Queens they were all over. Phil mentions a shocking ad for breakfast in a can he saw in a lad mag. He was unable to find images because when people are preserving and scanning lad mags, their priority is the photos of Lucy Pinder or Lucy Collett and then when that's done they'll eventually get around to the horrifying pictures of canned sausage and eggs. The product was probably Hunger Breaks' All Day Breakfast. ALSO DISCUSSED IN THIS EPISODE:fishing * Spice World * Destiny's Child * TLC * Jessica Rabbit * K-Pop * girl power * British politics * Margaret Thatcher * Britney Spears * Flat-Earthers * British Imperialism * spices * Simon Cowell * volcanoes * pickles * backpacking * “I'm Scum” by Idles * tracksuits * Tommy Bahama shirts * zipper jeans worn with no underwear * no-show socks * commandos * fast fashion * plastic straws * chip shop chips * English breakfast * bangers & mash * toad in the hole * bubble & squeak * haggis * Irn-Bru * burritos * pieBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool coffee - beverage Clement Street in San Francisco - location Prince - person It's-It - food Doctor Doom - fictional character Cher - person BOTTOM TEN:277. Hank Williams, Jr - person278. British Royal Family - institution279. Steven Seagal - person280. McRib - food281. Hoarders - TV show282. death - idea283. war - idea284. cigarettes - drug285. QAnon - idea286. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net.
In this episode, Dr. Darrell Bock and Milyce Pipkin (also known as talk show host Dee Dee Sharp), discuss her journey to faith as an African American woman faced with many challenges. Learn more about your ad choices. Visit podcastchoices.com/adchoices
RARE & SCRATCHY ROCK 'N ROLL_154 – “THE COMPLETE HIT SINGLES HISTORY OF CHUBBY CHECKER” This episode salutes a recording artist who popularized more teenage dance styles than any other performer in rock and roll history. He also recorded hits with novelty, surfing, folk, pop, Christmas and Christian-themed songs – Chubby Checker. We'll cover every Chubby Checker hit single – starting with his debut 45 in 1959 and continuing on to his last charted CD in 2013. Our presentation also includes the original versions of songs that Chubby Checker made famous. And we'll also spotlight some of his tuneful, but commercially failed attempts with psychedelic, soul, funk, and country songs. Then, there's also his numerous overseas-only releases performed with European-based bands. Along the way, we'll detail the derivation of Chubby Checker's stage name. Plus, his hit music connections with Dick Clark, Bobby Rydell, Dee Dee Sharp, and the Fat Boys, among others, as well as his major Hollywood motion picture with Dion.
Some people like to play with their food, some people like to take pictures of it, some people do things to their food that I can't and won't mention, and yet, there are those who just plain eat it. Well, today's episode id dedicated to all things food from bacon to to raisins with music by The Goblins, Weird Paul, Dee Dee Sharp, Couch Flambeau and more! Follow us on Instagram @ birp60406 Please send all complaints to blueislandradio@gmail.com
We're going rare and under-the-radar for the most part this Friday morning, taking time to peek our heads above the surface only a few times. This week we've got a collection of mostly unknown soul sounds from some of the classic labels as well as some rare gems from the vaults of labels like Prix and Cash. There will be some vocal powerhouse sounds from Dee Dee Warwick, Jean Wells, Madeline Bell and Darrel Banks. We'll also share some fun sixties sounds from The Olympics, a special pair of Barbara Lynn and Dee Dee Sharp gems from the Deeper Roots dusty digital bins. Join Dave Stroud on a Friday morning recorded live from the KOWS studios in the heart of downtown Santa Rosa
We are glad you could tune in with us to enjoy some of the best music from a classic era of sound. .. We are time traveling into the 50s60s era which is one of the best era's of music with artist who helped pioneer the source of great sound in the music industry. I would like to dedicate the show to Ms. Mary Wilson the Co-Founder of the Supremes. Motown girl group staring act extraordinaire of the 60s and one of the best groups that most often helped others to perfect and personify their methodology of stage performance and singing in girl group's. The original members of The Primettes, all from from the Brewster-Douglass public housing project in Detroit, were Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown. Tonight we honor the sound of the 50s and 60s with Motown artist and other artist that encompassed the era. Artist include: Diana Ross & Marvin Gaye, Tammi Terrell, Michael Jackson, Martha Reeves & The Vandellas, Mary Wells, Ike & Tina Turner, The Temptations, Smokey Robinson & The Miracles, The Supremes, The Shirelles, The Chiffons, Frankie Valli, Lou Rawls, Fabian, Dee Dee Sharp, The Larks, Aretha Franklin, Bobby Darin, Jackie Wilson, Ray Charles, Trini Lopez, Ben E King, Otis Redding, Fabian The Miracles. Groove with us today later tis week with some soft rock-rock-a little rnb & hip hop from the past. Thank you for joining us. 50s60s70s80s-Classic-Radio Episode 1
As the world rattles and shakes around us we ride the wave and, instead of fighting it, rock and roll in time with the motion. Here sits the soundtrack to this historic time in history; take it, absorb it and make it your own. Playing tracks by: Big Mabelle, The Sapphires, The Small Faces, Dee Dee Sharp, Zoot Money & His Big Roll Band, Archie Bell & The Drells and more. Full playlist available at https://umfm.com/programming/broadcast/on-target-299 ALL LINKS: linktr.ee/mod.marty
Chubby Checker's “The Twist” was a #1 song not once but twice — in 1960 and again in 1961. The song that started a worldwide dance phenomenon was a cover of an old Hank Ballard B-side. Chubby had more big hits with “Let's Twist Again” in 1961, “Slow Twistin'” (with Dee Dee Sharp) in 1962, and “Twist It Up” in 1963. Checker followed his success with with popular songs about other dances, including “The Hucklebuck,” “Pony Time,” “(Dance the) Mess Around,” “The Fly,” “Limbo Rock” and “Let's Limbo Some More.” You'll find them all on Dancin' Party: The Chubby Checker Collection (1960–1966) a reissue from Philadelphia-based Cameo-Parkway. "The Twist" spawned a host of hits including "Twistin' the Night Away" with Sam Cooke, "Peppermint Twist" featuring Joey Dee and the Starliters, "Dear Lady Twist" with Gary US Bonds and "Twist and Shout" with the Isley Brothers. In our interview, Chubby talks about his influences, the impact of The Twist, visiting Vancouver in the Sixties, his lasting success and his real name. Recorded at The Legends of Rock at EXPO 86 in Vancouver
Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at "The Loco-Motion" by Little Eva, and how a demo by Carole King's babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Duke of Earl" by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I've used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva's material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva's only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins -- there is some mention of domestic violence in this episode. If that's something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we're going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we're going to look at Little Eva and "The Loco-Motion", and the short history of Dimension Records: [Excerpt: Little Eva, "The Loco-Motion"] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We've mentioned the Cookies earlier, in the episode on "What'd I Say", but we didn't look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York -- Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we've looked at). They were seen at that contest by Jesse Stone, who gave them the name "The Cookies". He signed them to Aladdin Records, and produced and co-wrote their first single, "All-Night Mambo". That wasn't commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, "In Paradise", did chart, making number nine on the R&B chart: [Excerpt: The Cookies, "In Paradise"] But the B-side to that record would end up being more important to their career in the long run. "Passing Time" was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka's recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, "Passing Time"] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like "Lipstick, Powder, and Paint" by Big Joe Turner: [Excerpt: Big Joe Turner, "Lipstick, Powder and Paint"] "It's Too Late" by Chuck Willis: [Excerpt: Chuck Willis, "It's Too Late"] And "Lonely Avenue" by Ray Charles: [Excerpt: Ray Charles, "Lonely Avenue"] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies -- Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she'd rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles' new backing group, the Raelettes, and they would play a major part in the sound of Charles' records for the next few years. It's Margie, for example, who can be heard duetting with Charles on "The Right Time": [Excerpt: Ray Charles, "The Right Time"] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene's sister Earl-Jean into the group -- Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they're the same person -- and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah's before Margie had taken her place. This new version of the Cookies didn't really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they'd also become increasingly interested in record production after Carole had been involved in the making of "Will You Love Me Tomorrow?" Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. "Halfway to Paradise" by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, "Halfway to Paradise"] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters' records at this time, and would provide backing vocals for most of Atlantic's artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music -- as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, "Breaking Up is Hard to Do"] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, "Taking That Long Walk Home", a song that was very much "Will You Love Me Tomorrow?" part two: [Excerpt: Dorothy Jones, "Taking That Long Walk Home"] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth. They weren't the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one. And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn't also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance -- her friend's husband's sister -- had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean's acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial "fourth Cookie", and was soon in the studio on a regular basis too -- and when she was, that meant that Eva's sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner's attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn't always possible. Cameo-Parkway had, after the success they'd had with "The Twist", fully jumped on the dance-craze bandwagon, and they'd hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of "The Twist", Brown had had a hit with a song about it "(Do the) Mashed Potatoes", which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, "(Do the) Mashed Potatoes"] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit -- and in fact they'd mashed up, if you'll pardon the expression, two recent hits. In this case, they'd taken the sound of "Please Mr. Postman", slightly reworked the lyrics to be about Brown's dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, "Mashed Potato Time"] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like "The Monster Mash" by Bobby "Boris" Pickett: [Excerpt: Bobby "Boris" Pickett and the Crypt-Kickers, "The Monster Mash"] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like "Mashed Potato Time", and got Goffin and King to write one to submit to her. Unfortunately for him, he'd assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn't need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn't going to be recording Goffin and King's song. When he listened to the demo, Don Kirshner was astonished that they hadn't taken the song. It had "hit" written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva -- now renamed "Little Eva" -- had sung: [Excerpt: Little Eva, "The Loco-Motion"] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn't really question whether what she was doing counted as production too until much later -- and anyway, getting the sole credit was apparently important to Gerry. "The Loco-Motion" was such a big hit that it inspired its own knockoffs, including one song cheekily called "Little Eva" by a group called "The Locomotions" -- so the record label would say "Little Eva, The Locomotions", and people might buy it by mistake. You'll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, "Little Eva"] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn't keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out "Everybody's Got a Dance But Me" by Big Dee Irwin, a song that excerpted "The Loco-Motion", "Wah Watusi", "Hully Gully" and "Twist and Shout" among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, "Everybody's Got a Dance But Me"] That wasn't a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, "It Might as Well Rain Until September", which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, "It Might as Well Rain Until September"] Her solo performing career wouldn't properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called "Chains" for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, "Chains"] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, "Chains"] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it's not the only Goffin and King song from this period that does -- there's a 1964 B-side they wrote for Eva called "Please Hurt Me", which is fairly blatant: [Excerpt: Little Eva, "Please Hurt Me"] But the BDSM comparison has also been made -- wrongly, in my opinion -- about one of the most utterly misguided songs that Goffin and King ever wrote -- a song inspired by Little Eva telling them that her boyfriend beat her up. They'd asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write "He Hit Me (And It Felt Like A Kiss)", an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won't be excerpting that one here, though it's easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King's material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don't think that "He Hit Me" should be talked about in those terms. I don't want anything I've said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva's follow-up to "The Loco-Motion" was going to be "One Fine Day", another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn't come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King's piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, "One Fine Day"] Instead, Goffin and King gave Eva "Keep Your Hands Off My Baby". This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn't as big a hit as "The Loco-Motion": [Excerpt: Little Eva, "Keep Your Hands Off My Baby"] And Eva also appeared on another Cookies record, "Don't Say Nothing Bad About My Baby", which made the top ten: [Excerpt: The Cookies, "Don't Say Nothing Bad About My Baby"] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they'd made for other artists. This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva's sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, "Hula Hoppin'": [Excerpt: Idalia Boyd, "Hula Hoppin'"] For Eva's third single, Gerry Goffin and Jack Keller wrote a song called "Let's Turkey Trot", which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn't a problem -- no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark's Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of "Swinging on a Star" with Big Dee Irwin, though she wasn't credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, "Swinging on a Star"] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn't have destroyed the careers of Eva or the Cookies, who the Beatles admired -- they recorded a cover of "Chains", and they used to play "Keep Your Hands Off My Baby" in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, "I'm Into Something Good"] But then Herman's Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work -- most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva "Makin' With the Magilla"] But Dimension Records was not a priority for anyone -- Columbia already owned their own labels, and didn't need another one -- and the label was being wound down. And then Al Nevins, Don Kirshner's partner in Aldon, died. He'd always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money -- she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, "The Loco-Motion" was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, "The Loco-Motion"] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue's own successful pop career: [Excerpt: Kylie Minogue, "The Loco-Motion"] That record becoming a hit got a series of "where are they now?" articles written about Eva, and she was persuaded to come out of retirement and start performing again -- though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she'd left the contracts on her table for eight months before signing them -- but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.
Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at “The Loco-Motion” by Little Eva, and how a demo by Carole King’s babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Duke of Earl” by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I’ve used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King’s autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva’s material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva’s only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins — there is some mention of domestic violence in this episode. If that’s something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we’re going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we’re going to look at Little Eva and “The Loco-Motion”, and the short history of Dimension Records: [Excerpt: Little Eva, “The Loco-Motion”] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We’ve mentioned the Cookies earlier, in the episode on “What’d I Say”, but we didn’t look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York — Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we’ve looked at). They were seen at that contest by Jesse Stone, who gave them the name “The Cookies”. He signed them to Aladdin Records, and produced and co-wrote their first single, “All-Night Mambo”. That wasn’t commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, “In Paradise”, did chart, making number nine on the R&B chart: [Excerpt: The Cookies, “In Paradise”] But the B-side to that record would end up being more important to their career in the long run. “Passing Time” was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka’s recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, “Passing Time”] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like “Lipstick, Powder, and Paint” by Big Joe Turner: [Excerpt: Big Joe Turner, “Lipstick, Powder and Paint”] “It’s Too Late” by Chuck Willis: [Excerpt: Chuck Willis, “It’s Too Late”] And “Lonely Avenue” by Ray Charles: [Excerpt: Ray Charles, “Lonely Avenue”] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies — Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she’d rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles’ new backing group, the Raelettes, and they would play a major part in the sound of Charles’ records for the next few years. It’s Margie, for example, who can be heard duetting with Charles on “The Right Time”: [Excerpt: Ray Charles, “The Right Time”] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene’s sister Earl-Jean into the group — Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they’re the same person — and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah’s before Margie had taken her place. This new version of the Cookies didn’t really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they’d also become increasingly interested in record production after Carole had been involved in the making of “Will You Love Me Tomorrow?” Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. “Halfway to Paradise” by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, “Halfway to Paradise”] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters’ records at this time, and would provide backing vocals for most of Atlantic’s artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music — as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, “Breaking Up is Hard to Do”] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, “Taking That Long Walk Home”, a song that was very much “Will You Love Me Tomorrow?” part two: [Excerpt: Dorothy Jones, “Taking That Long Walk Home”] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth. They weren’t the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one. And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn’t also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance — her friend’s husband’s sister — had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean’s acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial “fourth Cookie”, and was soon in the studio on a regular basis too — and when she was, that meant that Eva’s sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner’s attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn’t always possible. Cameo-Parkway had, after the success they’d had with “The Twist”, fully jumped on the dance-craze bandwagon, and they’d hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of “The Twist”, Brown had had a hit with a song about it “(Do the) Mashed Potatoes”, which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, “(Do the) Mashed Potatoes”] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit — and in fact they’d mashed up, if you’ll pardon the expression, two recent hits. In this case, they’d taken the sound of “Please Mr. Postman”, slightly reworked the lyrics to be about Brown’s dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, “Mashed Potato Time”] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like “The Monster Mash” by Bobby “Boris” Pickett: [Excerpt: Bobby “Boris” Pickett and the Crypt-Kickers, “The Monster Mash”] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like “Mashed Potato Time”, and got Goffin and King to write one to submit to her. Unfortunately for him, he’d assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn’t need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn’t going to be recording Goffin and King’s song. When he listened to the demo, Don Kirshner was astonished that they hadn’t taken the song. It had “hit” written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva — now renamed “Little Eva” — had sung: [Excerpt: Little Eva, “The Loco-Motion”] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn’t really question whether what she was doing counted as production too until much later — and anyway, getting the sole credit was apparently important to Gerry. “The Loco-Motion” was such a big hit that it inspired its own knockoffs, including one song cheekily called “Little Eva” by a group called “The Locomotions” — so the record label would say “Little Eva, The Locomotions”, and people might buy it by mistake. You’ll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, “Little Eva”] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn’t keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out “Everybody’s Got a Dance But Me” by Big Dee Irwin, a song that excerpted “The Loco-Motion”, “Wah Watusi”, “Hully Gully” and “Twist and Shout” among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, “Everybody’s Got a Dance But Me”] That wasn’t a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, “It Might as Well Rain Until September”, which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, “It Might as Well Rain Until September”] Her solo performing career wouldn’t properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called “Chains” for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, “Chains”] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, “Chains”] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it’s not the only Goffin and King song from this period that does — there’s a 1964 B-side they wrote for Eva called “Please Hurt Me”, which is fairly blatant: [Excerpt: Little Eva, “Please Hurt Me”] But the BDSM comparison has also been made — wrongly, in my opinion — about one of the most utterly misguided songs that Goffin and King ever wrote — a song inspired by Little Eva telling them that her boyfriend beat her up. They’d asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write “He Hit Me (And It Felt Like A Kiss)”, an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won’t be excerpting that one here, though it’s easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King’s material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don’t think that “He Hit Me” should be talked about in those terms. I don’t want anything I’ve said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva’s follow-up to “The Loco-Motion” was going to be “One Fine Day”, another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn’t come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King’s piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, “One Fine Day”] Instead, Goffin and King gave Eva “Keep Your Hands Off My Baby”. This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn’t as big a hit as “The Loco-Motion”: [Excerpt: Little Eva, “Keep Your Hands Off My Baby”] And Eva also appeared on another Cookies record, “Don’t Say Nothing Bad About My Baby”, which made the top ten: [Excerpt: The Cookies, “Don’t Say Nothing Bad About My Baby”] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they’d made for other artists. This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva’s sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, “Hula Hoppin'”: [Excerpt: Idalia Boyd, “Hula Hoppin'”] For Eva’s third single, Gerry Goffin and Jack Keller wrote a song called “Let’s Turkey Trot”, which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn’t a problem — no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark’s Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of “Swinging on a Star” with Big Dee Irwin, though she wasn’t credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, “Swinging on a Star”] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn’t have destroyed the careers of Eva or the Cookies, who the Beatles admired — they recorded a cover of “Chains”, and they used to play “Keep Your Hands Off My Baby” in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, “I’m Into Something Good”] But then Herman’s Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work — most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva “Makin’ With the Magilla”] But Dimension Records was not a priority for anyone — Columbia already owned their own labels, and didn’t need another one — and the label was being wound down. And then Al Nevins, Don Kirshner’s partner in Aldon, died. He’d always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money — she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, “The Loco-Motion” was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, “The Loco-Motion”] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue’s own successful pop career: [Excerpt: Kylie Minogue, “The Loco-Motion”] That record becoming a hit got a series of “where are they now?” articles written about Eva, and she was persuaded to come out of retirement and start performing again — though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she’d left the contracts on her table for eight months before signing them — but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.
Jessica and Caitlin spotlight two tremendous women this week; pioneering neurosurgeon Dr. Alexis Canady and lawyer, feminist, and civil rights activist Florynce Kennedy.Also, no pressure, but everyone should watch this amazing YouTube video with Dr. Alexis Canady being brilliantly interviewed by host Dee Dee Sharp.https://www.youtube.com/watch?v=rB2sD7mJbSM&t=1024s&app=desktop
On this episode of Special Lady Day, Jessica and Caitlin turn the spotlights on pioneering neurosurgeon Dr. Alexa Canady and American lawyer, feminist and civil rights activist, Florynce Kennedy. Also, Patti Smith is discussed and IT'S CAITLIN'S BIRTHDAY!!!!And, no pressure, but everyone should watch this YouTube video of Dr. Alexa Canady being brilliantly interviewed by host Dee Dee Sharp.https://www.youtube.com/watch?v=rB2sD7mJbSM&t=1024s&app=desktop
2019's Danny Boyle rom-cam featuring a Beatles subtext has inspired a lot of discussion among fans this year, given the pretext of a struggling English musician apparently being the only person on Earth who can remember existence of the group. Most of the chatter was about the film itself, but I thought there were even richer discussions to be had, using the film's core idea as a springboard. The idea for this show was prompted by an article by my guest, Noah Berlatsky (I would encourage listeners to check it out). He forwarded the notion that buying into the film's premise required universal agreement that 1) The Beatles were the greatest rock band ever and 2) that their music was so great that its inherent genius would be universally recognized no matter who was performing it, and when. We shall see.... There has never been a musically more diverse episode of SATB than this one: in addition to The Fabs, you will be hearing from artists ranging from Chuck Berry and Moon Mullican to R.D. Burman and Rhianna; Dee Dee Sharp and Elvis to Mobley and Nick Drake. Yet it all fits together: what it means to be a successful artist and what are the factors that result in our bestowing the term "genius" upon them.
2019's Danny Boyle rom-cam featuring a Beatles subtext has inspired a lot of discussion among fans this year, given the pretext of a struggling English musician apparently being the only person on Earth who can remember existence of the group. Most of the chatter was about the film itself, but I thought there were even richer discussions to be had, using the film's core idea as a springboard. The idea for this show was prompted by an article by my guest, Noah Berlatsky (I would encourage listeners to check it out). He forwarded the notion that buying into the film's premise required universal agreement that 1) The Beatles were the greatest rock band ever and 2) that their music was so great that its inherent genius would be universally recognized no matter who was performing it, and when. We shall see.... There has never been a musically more diverse episode of SATB than this one: in addition to The Fabs, you will be hearing from artists ranging from Chuck Berry and Moon Mullican to R.D. Burman and Rhianna; Dee Dee Sharp and Elvis to Mobley and Nick Drake. Yet it all fits together: what it means to be a successful artist and what are the factors that result in our bestowing the term "genius" upon them.
Het Album van de Week is "Sweet Release" van Reese Wynans and Friends. Rode draad is het album "Listen People [The Graham Gouldman Songbook 1961-2005]". met muziek van o.a. The Mocking Birds, The Mindbenders en Dee Dee Sharp.
Het Album van de Week is "Sweet Release" van Reese Wynans and Friends. Rode draad is het album "Listen People [The Graham Gouldman Songbook 1961-2005]". met muziek van o.a. The Mocking Birds, The Mindbenders en Dee Dee Sharp.
Het Album van de Week is "Sweet Release" van Reese Wynans and Friends. Rode draad is het album "Listen People [The Graham Gouldman Songbook 1961-2005]". met muziek van o.a. The Mocking Birds, The Mindbenders en Dee Dee Sharp.
A special episode to start the Christmas festivities. We travel back to the 80's just to convince Creamy that it wasn't quite as bad music wise as he sometimes thinks. Music from Patrice Rushen, Don Blackman, Soul II Soul, Spandau Ballet, De La Soul, Dee Dee Sharp, Loose Ends, Maze, Rose Royce, Joyce Sims, Fat Larry's Band, Michael Wycoff, Level 42, Prince & Fatback. Have a beautiful Christmas and remember to "Keep It On The One" You can find us at: Facebook - @creamyshouse Twitter - @CreamysHouse Drop us a tweet or email us at mark@choa.co.uk. We would love to hear from listeners, wherever you are and in particular in countries outside of England.
Je hoort Fontella Bass, Mary Wells, Aretha Franklin, Peggy March, Dee Dee Sharp en Lulu And The Lovers.
Everybody knows Thanksgiving is all about that gorgeous gravy. Get the gravy right, and you’ve not only won Thanksgiving dinner, you’ve also won the leftover game for days to come (gravy is what makes those leftovers possible, after all). For the feast, it warms and flavors the made-ahead turkey and feels glorious in your mouth. Later that night, sandwiches. The day after that, any gravy left makes for a silky turkey soup. (You can thank Chris Prosperi for that tip). Also this week: Kate McDermott, a phenomenal pie baker and pie teacher (she runs a Pie Camp!) takes all the anxiety out of making pie from scratch. She shares recipes from her new book, Art of the Pie, for Cranberry Pie—stunning!—and a nuanced Pumpkin Pie. Kate also shares her savory Sausage and Apple Pie recipe (Sunday dinner inspiration!). Alex Province offers up two beautiful wines at two price points, so you’ve got options for a host gift and the feast. Finally, Faith was inspired to create a side dish worthy of the holiday. Her Shaved Brussels Sprout Salad with Prosciutto goes with everything on your holiday table. That’s a promise. Aired: November 17, 2016 Photo: Copyright © 2015 by Andrew Scrivani CONTRIBUTORS AND GUESTS: • Chris Prosperi — chef/owner, Métro Bis in Simsbury, Conn. • Alex Province — wine expert • Kate McDermott — author of Art of the Pie MUSIC: • “Can’t Stop the Feeling,” Justin Timberlake • “Gravy,” Dee Dee Sharp • “Beans and Cornbread,” Louis Jordan and The Tympany Five • “Cutie Pie,” Boyz II Men • “Sweet Potato Pie,” Ray Charles and James Taylor • “Everybody Eats When They Come to My House,” Cab CallowaySupport the show: https://foodschmooze.org/donate/See omnystudio.com/listener for privacy information.
It’s our favorite time of year! Time to talk turkey, stuffing, mashed potatoes, and wines to go along with Thanksgiving dinner. What are your Thanksgiving food traditions? What do you do to freshen up your holiday meal every year? We’re sharing ideas and stealing tips from Chris Prosperi, a man who makes Thanksgiving dinner for hundreds of people every year. We’re big believers in stress-free holidays, so we’ve asked Lucinda Scala Quinn to share her “Straight-Talk Turkey” recipe, which is about the simplest bird you’ll ever roast. Plus, Faith offers up a make-ahead Shrimp and Pineapple Salsa Wrap to sub in for the rich appetizers you normally put out before the feast. Why overwhelm people? Recipes for Mediterranean Mashed Potatoes, Buttery Spice Poached Pears, an easy weeknight Trout, and a juicy $12 Pinot Noir to serve all through the holidays—all coming your way. Let’s get this holiday party started! Aired: November 3, 2016 Photo: Straight-Talk Turkey by Lucinda Scala Quinn, Photo by Jonathan Lovekin CONTRIBUTORS AND GUESTS: • Chris Prosperi — chef/owner, Métro Bis in Simsbury, Conn. • Alex Province — wine expert • Lucinda Scala Quinn, of Mad Hungry fame —author of Mad Hungry Family MUSIC: • “Can’t Stop the Feeling,” Justin Timberlake • “I Can Make Your Hands Clap,” Fitz and the Tantrums • “Mashed Potato Time,” Dee Dee Sharp • “Mashed Potatoes,” James Brown • “We Are Family,” Sister Sledge (Groove Version) • “Everybody Eats When They Come to My House,” Cab CallowaySupport the show: https://foodschmooze.org/donate/See omnystudio.com/listener for privacy information.
Meet Dan and Dan! Dan Reed, Music Director and Afternoon Host at WXPN/Philadelphia and Dan DeLuca, Music Critic and Columnist for the Philadelphia Inquirer sit down on a bi-weekly basis to talk MUSIC! Steve Ralbovsky is the founder of Canvasback Music and a true music industry veteran. For decades Steve has played an integral part in launching artists careers and his current label roster is home to Alt-J, Frightened Rabbit, Grouplove, The Orwells, and more. Steve talks in depth about his career and offers his perspective on the current state of the music industry. Also, our ‘Two Minute Drill’ reviews the current Rock and Roll Hall of Fame nominees, and the Dan’s pick their favorite songs about food!
Johan Derksen hoor je om 20:00 uur met drie uur lang Muziek Voor Volwassenen. Het Album van de Week is "Tell the Devil I'm Getting There as Fast as I Can” van Ray Wylie Hubbard en verder muziek van Dee Dee Sharp, Mink DeVille, Sam & Dave, Soul Clan, Emmylou Harris, Ottis Clay en Carl Hall.
Johan Derksen hoor je om 20:00 uur met drie uur lang Muziek Voor Volwassenen. Het Album van de Week is "Tell the Devil I'm Getting There as Fast as I Can” van Ray Wylie Hubbard en verder muziek van Dee Dee Sharp, Mink DeVille, Sam & Dave, Soul Clan, Emmylou Harris, Ottis Clay en Carl Hall.
Johan Derksen hoor je om 20:00 uur met drie uur lang Muziek Voor Volwassenen. Het Album van de Week is "Tell the Devil I'm Getting There as Fast as I Can” van Ray Wylie Hubbard en verder muziek van Dee Dee Sharp, Mink DeVille, Sam & Dave, Soul Clan, Emmylou Harris, Ottis Clay en Carl Hall.
On this special episode I read mindfulness writings from my Facebook page accompanied by brain rubbing music! The intro/outro music is I Really Love You by Dee Dee Sharp cory-allen.com/theastralhustle @_coryallen Cory Allen Facebook http://www.cory-allen.com/review
Gasten Willem van Kooten (discjockey-platenbaas, telefonisch, over de ontwikkeling van de popmuziek) Datum 5 maart 1986 (339 april 1985) Gasten Willem van Kooten (discjockey-platenbaas, telefonisch, over de ontwikkeling van de popmuziek) Met ondermeer en onder andere 00:00 De radio… 00:05 Plafond over de vloer (TV-tune) 03:05 Tune & Cor Galis 04:43 Dee Dee Sharp [...]
Happy Thanksgiving! As we take time to celebrate with our families (and we hope that you are doing the same)... we offer this new Turkey Day edition of ROBBRADIO. Please play it loud and enjoy it. It features more Dee Dee Sharp than any other podcast. Have a wondrous holiday. We'll see you Monday!Our Sponsors:* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com* Check out Uncommon Goods: https://uncommongoods.com/TMOSAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
New Adrian Quesada, Bonnie Raitt, Billy Ebeling, David Francis, BoDeans, Soccer Mommy + Imelda May, Dee Dee Sharp, Was (Not Was), Johnny Cash, Ace Of Cups, Casualties Of Jazz, Janis… Birthdays for Bobby Harrison, Dave Knights, Frankie Toler…
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