Podcasts about ernie k doe

Today's show features music performed by Jabbo Smith's Rhythm Aces and Ernie K-Doe

562. This week we talk to Greta de Jong about civil rights in North Louisiana.  "Civil rights in North LA. Examining African Americans' struggles for freedom and justice in rural Louisiana during the Jim Crow and civil rights eras, Greta de Jong illuminates the connections between the informal strategies of resistance that black people pursued in the early twentieth century and the mass protests that emerged in the 1950s and 1960s. Using evidence drawn from oral histories and a wide range of other sources, she demonstrates that rural African Americans were politically aware and active long before civil rights organizers arrived in the region in the 1960s to encourage voter registration and demonstrations against segregation." "Greta de Jong is Associate Professor at the University of Nevada, Reno. Her research focuses on the connections between race and class and the ways that African Americans have fought for economic as well as political rights from the end of slavery through the twenty-first century. She is the author of A Different Day: African American Struggles for Justice in Rural Louisiana, 1900-1970 (2002)." This week in Louisiana history. February 24, 1843. Bossier Parish created out of Natchitoches District, named for Pierre E. Bossier.  This week in New Orleans history. "Ernest Kador, Jr, known by the stage name Ernie K-Doe (the self proclaimed "Emperor of the World") was born at Charity Hospital on February 22, 1936. He recorded as a member of the group the Blue Diamonds in 1954 before making his first solo recordings the following year. "Mother-in-Law",  his best known 1961 hit single, written by Allen Toussaint, was his first hit, and was #1 on both the Billboard pop and R&B charts."  “I'm not sure, but I'm almost positive that all music came from New Orleans.” This week in Louisiana. 4th Annual Bayou Terrebonne Boucherie (Pork BBQ) March 02, 2024 Downtown Houma 8043 Main Street Houma, LA Website "Join us downtown on March 2, 2024, at the fourth Annual Bayou Terrebonne Boucherie for a day of food, festivity, and teamwork. In addition to mounds of pork, there will be live music and the now-famous Cajun Cup (a series of bayou-themed competitions). Whether spectating or participating, it'll be a day of good Cajun fun for the whole family. C'mon out, and let's have a good time! Proceeds will go towards quality-of-life projects in Terrebonne Parish, making our home a better place to live." Postcards from Louisiana. Boardwalker & the 3 finger swingers sing at Bamboulas.  Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. The Louisiana Anthology Home Page. Like us on Facebook. 

Pete's back after week long break with another 2 hours of greta music, new and old. There are birthday celebrations for Ernie K Doe, Barbara Aclin and for Corrine Bailey Rae, whilst new tracks come from Thee Sinseers, Organ, Silver Skylarks, Brainstory and Thee Heart Tones. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///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.

Even in a city known for its eccentrics, Ernie K-Doe was in another dimension. The New Orleans musician always knew — and said, loudly — that he was special. And for one week in a life of wild ups and downs, he managed to pierce the national consciousness with a chart-topping hit: 1961's "Mother in Law."The man born Ernest Kador sometimes claimed he wrote "Mother-in-Law" — but he claimed a lot of things. In fact, Allen Toussaint composed and produced the song, and, after a few unsatisfactory takes, literally threw it away. It was rescued from oblivion by one of the backup singers at the session."He thought it was just a delightful song, and he took it out of the trash can when I took a short break, and went over to K-Doe and said, 'Look, try this again, man,'" Toussaint says. "K-Doe did just that, and I'm so glad he did."The song was dismissed as a danceable novelty. But Ben Sandmel, author of the new biography Ernie K-Doe: The R&B Emperor of New Orleans, says it was deeper than that: angry, and smoldering."In 1961, to say that your mother-in-law was 'sent from down below' was kind of pushing the standards, I guess, of what was considered to be acceptable," Sandmel says. "In a time of meaningless bubblegum lyrics, this one had an edge to it. And it was real."It was one of four songs that Toussaint and K-Doe recorded in one three-hour session."We certainly had a good time together. I wrote so much for him, and I was highly inspired," Toussaint says. "He was [good at] promoting himself. He would get out there; he wouldn't watch the grass grow."When Toussaint went into the army, K-Doe continued recording, without much success. The two got back together in the early 1970s, but none of the songs they produced became hits outside of New Orleans. Within their hometown, however, many of their tunes have become standards. Guitarist Ernie Vincent, who has played them in his own band and others, got to know K-Doe in the '70s."He was strictly positive about his self-ability," Vincent says. "He always said, 'I'm cocky, but I'm good.' And believe me, he was good."But he also had some tough times. The British invasion's version of R&B became more popular than homegrown music, and by the mid-'70s, K-Doe had pretty much dropped out. He drank a lot, and many people remember seeing the once-dapper musician living on the streets.K-Doe made a comeback in the 1980s on the New Orleans station WWOZ. David Freedman is now the station's general manager."You never knew what the next thing was going to be out of this guy's mouth. It was like he was in a trance state," Freedman says. "You had to kind of enter into it, and then as you began to enter into that crazy universe, you'd just kind of surrender to it [and] it all made sense."K-Doe's run on the radio ended in the late '80s, though cassette tapes of his shows continued to be collected and played around the world. In the early 1990s, his life took another turn when an old friend, Antoinette Dorsey Fox, took him in. They got married, and she created a new look for her husband, replete with capes, shiny suits and feathered hats. And she created the Mother-in-Law Lounge, where K-Doe would perform once again."I forget how many people it holds, but it used to be wall-to-wall — it was packed," says Eva Perry, who sang backup for K-Doe during that era. "He had people coming from everywhere to hear him, since he was back his second time around."Ernie K-Doe died in 2001 at the age of 65, but he didn't exactly leave: His wife commissioned a likeness, fashioned from a department-store mannequin, that she installed in the loung

Nueva entrega del coleccionable dedicado a rescatar canciones que dieron forma al pop de la primera mitad de los años 60. Playlist; (sintonía) HERB ALPERT and THE TIJUANA BRASS “Lonely bull” BO DIDDLEY “You can’t judge a book by its cover” THE PRETTY THINGS “Honey I need” THE EASYBEATS “She’s so fine” PAUL REVERE and THE RAIDERS “Just like me” DAVIE JONES with THE KING BEES “Louie Louie go home” EDDIE COCHRAN “Three steps to heaven” OTIS REDDING “Pain in my heart” ERNIE K DOE “Mother in law” AL HIRT “Java” ANN MARGRETT “I just don’t understand” ELVIS PRESLEY “C’mon everybody” TIMI YURO “What’s the matter baby (is it hurting you)” JOHNNY KIDD and THE PIRATES “Baby you’ve got what it takes” FABIAN “Kissin’ and twistin’” THE JORDANAIRES “I walk the line” PETER and GORDON “Lucille” BOBBY RYDELL “A world without love” BRENDA LEE “Emotions” Escuchar audio

Singles Going Around- Homesick WaltzFor this episode of the podcast, we created a mix for a homesick couple of friends..Eureka Brass Band- "Sing On"Professor Longhair- "Go To The Mardi Gras"Irma Thomas- "Hittin On Nothing"Bobby Charles- "See You Later Aligator"Stop, Inc- "Second Line Part One"Fats Domino- "Before I Grow Too Old"Myles & Dupont- "Loud Mouth Annie"Little Bob- "I Got Loaded"Al Johnson- "You Done Me Wrong"The Hawketts- "Mardi Gras Mambo"Lee Dorsey- "When I Meet My Baby"Sugarboy Crawford-"Jockomo"The Velvetiers- "Feelin Alright Saturday Night"Lenny Capello- "Tootles"Professor Longhair- "Big Chief Part Two"Ernie K- Doe- "'Taint It The Truth"Clarence Henry- "Country Boy"Eureka Brass Band- "Just A Closer Walk With Thee"* All selections taken from vinyl.

This week, after a 1979 Damned snippet: brand new Black Watch, Cowsills, Robyn Hitchcock, Proper, Off!, Fancy Logs in History, and Beremy Jets, plus Rolling Stones, Patsy Cline, Count Five, Walker Brothers, Fats Domino, Ernie K. Doe, and Benny Spellman...

Singles Going Around- Red Beans and RiceLink Wray- "Fat Back"Roy Orbison- "Domino"Booker T & The MG's- "Hip Hug- Her"The Rolling Stones- "Carol"Flying Burrito Brothers- "Christine's Tune"SugarBoy Crawford- "Jockomo"Leon Redbone- "Step It Up and Go"Andre Williams- "Bacon Fat"The Muff's- "I'm Here, I'm Not"Cookie & His Cupcakes- "All My Lovin"Johnny Cash- "Nobody"Irma Thomas- "You Ain't Hittin' On Nothin'"Jimmy Liggins- "Drunk"Elvis Presley- "Thats When Your Heartaches Begin"The Rolling Stones- "You Gotta Move"The Third Bardo- "I'm 5 Years Ahead Of My Time"John Lee Hooker- "Let's Talk It Over"Rod Bernard- "New Orleans Jail"Ernie K-Doe- "Taint It The Truth"Booker T & The MG's- "Red Beans & Rice"Woody Guthrie- "Ain't Got No Home In This World Anymore"*All selections taken from vinyl Lp's and 45's.Link Wray- "Fat Back"Roy Orbison- "Domino"Booker T & The MG's- "Hip Hug- Her"The Rolling Stones- "Carol"Flying Burrito Brothers- "Christine's Tune"SugarBoy Crawford- "Jockomo"Leon Redbone- "Step It Up and Go"Andre Williams- "Bacon Fat"The Muff's- "I'm Here, I'm Not"Cookie & His Cupcakes- "All My Lovin"Johnny Cash- "Nobody"Irma Thomas- "You Ain't Hittin' On Nothin'"Jimmy Liggins- "Drunk"Elvis Presley- "Thats When Your Heartaches Begin"The Rolling Stones- "You Gotta Move"The Third Bardo- "I'm 5 Years Ahead Of My Time"John Lee Hooker- "Let's Talk It Over"Rod Bernard- "New Orleans Jail"Ernie K-Doe- "Taint It The Truth"Booker T & The MG's- "Red Beans & Rice"Woody Guthrie- "Ain't Got No Home In This World Anymore"*All selections taken from vinyl Lp's and 45's.

"A diamond necklace played the pawnHand in hand some drummed along, ohTo a handsome man and batonA blind class aristocracyBack through the opera glass you seeThe pit and the pendulum drawnColuminated ruins dominoCanvass the town and brush the backdropAre you sleeping?"Surfs Up, so join me as we "Step Into The Liquid" and catch a set or two on the Sunday Edition of Whole 'Nuther Thing. Joining us will be the Mothers Of Invention, Batdorf & Rodney, David Bowie, Blood Sweat & Tears, Wings, Orleans, Loggins & Messina, Bob James, Simon & Garfunkel, ELO, The Shirelles, Beatles, Paul Simon, Jefferson Starship, Elton John, Rolling Stones, Sweet, America, Trevor Gordon Hall, Randy Newman, Fleetwood Mac, Ernie K Doe, Joe Walsh and The Beach Boys...

1 cumbia arabe los átomos de paramonga 03:33 cumbia arabe (obscure psych cumbia gems)2 01 - Glory Glory Claudelle Clarke 03:09 God Is A Mountain3 Morning in America Durand Jones & The Indications 03:52 American Love Call4 How Can I Put out the Flame Candi Staton 03:13 Evidence: The Complete Fame Record Masters (disc 1)5 Rocket Man The Flames 03:17 Sounds of 60's & 70's Reggae Hits6 The Matador Major Lance 02:26 Okeh Soul7 I'm Gonna Tear Your Playhouse Down Ann Peebles 02:55 Hi Times: The R&B Years Sampler8 Back Street Lover Ernie K. Doe 02:29 Ernie K. Doe '729 Everybody's Got A Little Devil In There Soul Tommie Young 03:41 Shreevport Soulstress10 Adios Senorita Edwin Starr 02:37 War & Peace11 Life Support DeRobert 03:15 City Bump 0212 Cheating in the Daylight Swamp Dogg 05:28 I Need a Job... So I Can Buy More Auto-Tune13 Keep On Keepin' On Shirley davis and The Silverbacks 04:13 14 Trouble Again King Kong 03:25 15 The World (Is Going Up In Flames) Charles Bradley 03:23 No Time For Dreaming16 Ain't No Such Thing As Superman Gil Scott-Heron 04:11 The First Minute Of New Day (Midnight Band)17 Nobody Knows You When You're Down And Out Leela James 03:53 Let's Do It Again18 Police & Thieves Zara McFarlane 06:57 If You Knew Her19 Liquidator Jazz Jamaica Allstars 08:34 Jazz Jamaica Allstars20 Artybonito Azuei 03:52 Artybonito21 I Want (feat. Sir Jean) Fanga, Sir Jean 06:05 Kaléidoscope22 Love Will Tear Us Apart Hot 8 Brass Band 03:37 Love Will Tear Us Apart23 Haboglabotribin' Bernard Wright 04:21 'Nard24 09 Girl Callin' Chocolate Milk 05:31 We're all in this together25 Funky Stuff Chuck Brown 04:42 26 Something Going on Dojo Cuts 04:57 Dojo Cuts Featuring Roxie Ray27 I Judge the Funk Black Ice 03:52 I Judge the Funk Lp28 Boomerang (feat. Justin Johnson) Bootsy Collins 03:05 World Wide Funk29 If You Don't Know Me By Now Zap Pow 03:11 Just My Imagination Vol 3

We enter December with hope. Join us for some sounds from the French Quarter and its environs. This Friday on Deeper Roots, tune in for a sweeping celebration taking the St. Charles trolley in time from Kid Ory and Louis Armstrong to the sounds of Tuba Fats, Mac Rebennack, Allen Toussaint and beyond. We'll also find some Big Easy rocking treats by the water:  Ernie K-Doe, Sugar Boy Crawford, Fats Domino, and Larry Darnell are also on the board from the Big Easy as well as sounds of piano pounders like Archibald, Champion Jack Dupree and Professor Longhair. KOWS radio's antenna is moving so we highly recommend that you stream us on the KOWS web site (or via the KOWS app) because the FM signal will be out of commission as the transmitter has found a new home out in the hills above Bodega Highway.

The Armed Forces Radio and Television Service broadcast of May 9, 1961 of "Rocketing Rhythms" with host Jack Brown and guest, singer Kay Starr. Show featured charting songs of the time. Playlist in order: Kay Starr: Fooling Around. Ernie K. Doe: Mother-In-Law. The Wanderers: For Your Love. Pat Boone: Moody River. Joe Barry: A Fool to Care. Bert Kaemfert: Tenderly. The Ventures: Lullaby of the Leaves. This track will be living in the "Variety-Comedy-Musical" Playlist

Welcome to the Instant Trivia podcast episode 272, where we ask the best trivia on the Internet. Round 1. Category: Can't Live With 'Em 1: This folklore figure killed 6 wives who went against his orders and entered a room he kept locked. Bluebeard. 2: Ernie K-Doe sang about her, "Every time I open my mouth she steps in and tries to put me out". "Mother-in-Law". Round 2. Category: Pitches From The Crypt 1: Known for introducing acts on his '50s variety show, he introduced the new Mercedes S.U.V. in 1997. Ed Sullivan. 2: The footage of Humphrey Bogart in this soda's commercial was shot decades before the soda's 1982 debut. Diet Coke. Thanks for listening! Come back tomorrow for more exciting trivia! Welcome to the Instant Trivia podcast episode 272, where we ask the best trivia on the Internet. Round 1. Category: Vilification 1: Rossini said of this "Ring" leader, "He has lovely moments but awful quarters of an hour". Richard Wagner. 2: Mario Puzo wrote that one of these men "with his briefcase can steal more than a hundred men with guns". a lawyer. 3: In 1984 Barbara Bush said of this woman, "I can't say it, but it rhymes with rich"; she later apologized. Geraldine Ferraro. 4: Dorothy Parker's comment on this actress, "She runs the gamut of emotions from A to B", was a joke. Katharine Hepburn. 5: Herman Mankiewicz said of this director, "There, but for the grace of God, goes God". Orson Welles. Round 2. Category: Antarctic Explorers 1: The last entry in this Briton's diary, dated March 29, 1912, ended, "For God's sake look after our people". Robert Scott. 2: His 1930 book "Little America" is an account of his flight to the South Pole. Richard Byrd. 3: On Dec. 17, 1911 he left the South Pole, leaving behind a tent and the Norwegian flag. Roald Amundsen. 4: An Antarctic sea and ice shelf are named for this man who discovered the North Magnetic Pole. James Ross. 5: In the 1950s this New Zealand mountaineer blazed a trail for Sir Vivian Fuchs, the first to cross Antarctica. Sir Edmund Hillary. Round 3. Category: Put Me In, Coach! 1: He had 9 very productive years coaching the Bulls, winning 6 NBA titles, before moving to the Lakers in 1999. Phil Jackson. 2: I can't believe the ref called one of these on our goalie for elbowing, but I'm ready to go to the box and serve it. a penalty. 3: Bob Kersee coached this woman, his wife, to 4 world championships, 2 in the heptathlon and 2 in the long jump. Jackie Joyner-Kersee. 4: Coach, we need rebounds. I can lead us to the promised land like this Hall of Fame Rockets and Sixers center. Moses Malone. 5: Put me in at this soccer position also called halfback--I can help on both offense and defense. midfielder. Round 4. Category: All That Jazz 1: This current "Tonight Show" bandleader appeared in the documentary "Bring on the Night" with Sting. Branford Marsalis. 2: At age 6, Wynton Marsalis received his first trumpet from this New Orleans trumpeter known for "Cotton Candy". Al Hirt. 3: His son Mercer played trumpet and E-flat horn in his band and once served as the band's tour manager. Duke Ellington. 4: This producer and composer has written the TV themes for "The Bill Cosby Show" and "Roots". Quincy Jones. 5: In 1977 this saxophonist for the Dave Brubeck Quartet was elected to the Downbeat Magazine hall of fame. Paul Desmond. Round 5. Category: Cit

The Rockin' Eddy Oldies Radio Show featuring Big Joe Turner - "Flip, Flop & Fly", Troy Shondell - "This Time", LaVern Baker - "Tweedle Dee", The Impressions - "It's All Right", Roy Orbison - "Blue Avenue" (Twin Spin) Ernie K. Doe - "Mother-in-law" (a-side) / "Wanted $10,000 Reward" (b-side), Marvin & Johnny - "Cherry Pie", The Platters - "If I Didn't Care", Mel Gadson - "Comin' Down With Love", Jim Lowe - "The Green Door", The Fascinators - "Oh Rosemarie", Simms Twins - "Soothe Me", Sarah Vaughan - "Smooth Operator", Ronnie & The Hi-Lights - "I Wish That We Were Married", Brook Benton - "Fools Rush In", Sal Mineo - "Start Movin' In My Direction", Ricky Nelson - "A Wonder Like You", The Royals feat. Hank Ballard - "Get It", Ruth Brown - "Teardrops From My Eyes", Dickey Lee - "Patches", Jack Jones - "Call Me Irresponsible."

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy rock 'n roll, Rythm 'n Blues y 60's 🎸 Tracklist: 1. Fats Domino – Ain’t That A Shame 2. LaVern Baker – Bumble Bee 3. Ernie K-Doe – Mother-in-law 4. The Chandeliers – She’s A Heartbreaker 5. Televisionarie – Charlotte Beach 6. Howlin’ Jaws – Heartbreaker 7. Howlin’ Wolf – Howlin’ For My Darling 8. The Specials – Freedom Highway 9. Baby Washington – Move On 10. Morine and The Zercons – Let a Woman Through 11. Greg Townson – The Locomotion 12. Greg Townson – Goin’ Wild 13. The Kongsmen – Chimpanzee 14. The Kingsmen – The Climb 15. Jolly Green Giants – Busy Body 16. Los Negativos – Graduado en Underground 17. Doctor Explosion – Chesterfield Childish Club 18. The Fleshtones – Mi engañaste bien 19. The Routes – Mesmerised 20. JuJus – I’m really Sorry 21. Shannon and The Clams – Year Of The Spider 22. Shannon and The Clams – All of My Cryin’

Label: Minit 623Year: 1961Condition: MPrice: $50.00This is an especially beautiful first-pressing copy on the orange Minit label (plays normally, at 45 rpm; collector nerd alert: a rare mis-pressing plays at 33 rpm)... the nicest I've yet had in the store since opening in 2001. Yes, "Mother-in-Law" deserves to be on Dave Marsh's list of the 1,001 greatest singles, and it's one of the late, great New Orleans musical genius Allen Toussaint's biggest hits as a songwriter (he produced it as well, but it's not credited on the record). But have a listen to the B side... over time, I gave it 5 stars in my iTunes library, where "Mother-in-Law", I see, has only 4 stars. It's a catchy song that swings more than "Mother" and veers toward the sort of proto-Soul Lloyd Price was doing at the time.* Note: This beautiful copy has Mint labels. The vinyl looks almost untouched, and the audio plays pristine Mint!* A 5-star rating in my iTunes library translates to a 2-star recommendation from us (yes, my wife gets to weigh in, too. :-) on Classic 45s; a 4-star, to a 1-star. Of course, our recommendations only show on a record's detailed page or in a search list for 45s that aren't already on one of the other lists we maintain — Dave Marsh, Kev Roberts, and Rolling Stone.

411. Part 2 of our interview with Hardette Harris on North Louisiana Cooking. Chef Harris is originally from Minden, Louisiana and was recently named by Louisiana Life Magazine as a “2017 Louisianian of the Year.” She also has a recurring column called “Up North” in the Louisiana Kitchen & Culture magazine and is a recipe contributor to LOLA Magazine. As a private chef, Chef Harris has provided a number of services to private individuals, busy corporate VIPs and executives. “My love for home cooking and home cooks is my total inspiration,” said Chef Harris.  She is the owner of  Pure Louisiana Soul and has worked in Houston, San Antonio and now back in her native Louisiana. This week in Louisiana history. April 3, 1793. Pope Pius VI establishes the first Diocese of Louisiana and the Floridas. This week in New Orleans history. Ernie K-Doe hit the Billboard R&B charts on April 3, 1961 with his smash hit 'Mother-In-Law'. The tune went on to become #1 on the R&B charts. Born in New Orleans, K-Doe recorded as a member of the group the Blue Diamonds in 1954 before making his first solo recordings the following year. "Mother-in-Law," written by Allen Toussaint, was his first hit, and was #1 on both the Billboard pop and R&B charts. This week in Louisiana. Biking in Louisiana. Thousands of miles of biking trails loop their way across every region of Louisiana. Enjoy off-road bike rides through bayous of the south or explore the forests of the north. Go for a leisurely ride on the Mississippi River or take a ride down south Baton Rouge's River Road. Pack the mountain bikes for a camping weekend. Bring your bike or rent one for a ride along the 31-mile Tammany Trace rail trail. There are nice bike trails in every area of the state. The site has links to off-road trails, good roads for cycling, various routes, and biking events. Postcards from Louisiana. Maude Caillat and the Afrodiziacs at the Pythian Market, New Orleans.Listen on iTunes.Listen on Google Play.Listen on Google Podcasts.Listen on Spotify.Listen on Stitcher.Listen on TuneIn.The Louisiana Anthology Home Page.Like us on Facebook. 

Today’s show features music performed by Jabbo Smith’s Rhythm Aces and Ernie K-Doe

Filmmaker Eugene Kotlyarenko joins us this week to discuss his films A Wonderful Cloud (2015), Wobble Palace (2018), Spree (2020) and We Are (2020). We also talk about Eugene's various undercover viral marketing schemes, we discuss why we're all addicted to social media, and we remind Eugene that it's his dad's birthday. Check out Eugene's films and other work at everybodyloves.me! Music and links: James Ferraro - Linden Dollars Jack Wagner and Cam Tang's McDonalds Campaign Reaping What I Sow - Ernie K. Doe

Howdy Basementeers all over.... R U In love ??? well STOP!!!..... We have a show for everyone who just broke up with there no former lovers. Well we feel there's enough love in the air, so for the people who are single, here's a show for you. For anyone who is NOT in love, we picked some very special songs to post on this show of SFTB. Songs will be from: Z.Z. Hill / The Satisfactions / Irma Thomas / Eddie Hodges / Johnny Taylor and many more.... So maybe you'll find love later in the year, but for now here is our anti love show. Intro: Please Sunrise Please-Young, Holt Unlimited 1. Hard Time For Young Lovers-Eddie Hodges 2. I Can Do That-Tommy & Wanda Collins 3. Don't You Lie To Me-Johnny Fortune 4. Words Aren't Enough To Keep Me Happy-Bonnie Ferguson 5. Times Have Changed-Irma Thomas 6. Trying To Slip Away-Lloyd Price 7. What's The Use Of Breaking Up-Jerry Butler 8. Without Your Love-Charlie Ross 9. When The Lights Turned On-The Hollies 10. One Light, Two Lights-The Satisfactions 11. Who's Making Love-Johnny Taylor 12. Walk On By-Leroy Van Dyke 13. Cheating In The Next Room-Z.Z. Hill 14. Me & Mrs. Jones-The Dramatics 15. Stop Sneaking Around-Brenda & The Tabulations 16. The Cheater-Bobby De Soto 17. I'm Running Around-Win Henifee 18. The Love A Woman Should Give A Man-Patti Drew 19. Hertz Rent A Chic-Lorenzo & Oscar 20. Don't Monkey With Another Monkey's Monkey-Johnny Paycheck 21. The Spoiler-Eddie Purrell 22. Caught In The Act-The Facts Of Life 23. Dear Ralph-Audrey Meadows 24. You Broke My Heart At Walgreens & I Cried All The Way To Sears-Ruby Wright 25. I Was Married-Billy Paul 26. Late Last Night-Paul Anka 27. She Ain't Loving You-The Distant Cousins 28. It's All Over Paula- Paul 29. Down To My Last Teardrop-Tanya Tucker 30. I Cried My Last Tear-Ernie K. Doe 31. There Wont Be Anymore-Charlie Rich 32. Dirty Man-Laura Lee 33. Rip Off-Laura Lee 34. Picture Me Gone-Madeline Bell 35. Single Girl Again-Molly Bee 36. She's Everything She Wants To Be-Larry Weiss 37. Going To The River-Tony Romance 38. Cheshire Lane-Lee Silverton Outro: Cloe's Mood-Jr. Walker & The All Stars

This week's episode features three versions of the crazy, Allen Toussaint-penned semi-classic "A Certain Girl": Ernie K-Doe's inimitable New Orleans strut n' sass original (1:08), British beat combo First Gear's raved-up version with a roving spy movie bassline (32:05), and the Ne'er Do Wells seriously fun 90s rewrite titled "Carn't Tell Ya" (51:40). All this alongside the usual tangents & intern drama PLUS a wild 2020 remake by a mysterious figure named Erik K-Doe (1:17:03) with, of course, an unnnamed girl on backing vocals.

"THE RISE, FALL AND REDEMPTION OF ERNIE K. DOE":https://www.npr.org/2012/12/23/167879568/ernie-k-doe-a-one-hit-weirdos-rise-fall-and-redemption

Rockin' Eddy playing the Golden Age of American Rock & Roll featuring Larry Williams - "Dizzy Miss Lizzie", Tico & The Triumphs - "Motorcycle", Curtis Lee - "Beverly Jean", Joe & Ann - "Gee Baby", Eileen Rodgers - "Miracle Of Love", (Twin Spin) Ernie K. Doe - "Mother-in-Law" (A-side) / "Wanted, $10,000 Reward" (b-side), Frankie Ford - "Sea Cruise", Rufus Thomas - "Bear Cat", Les Cooper & The Soul Rockers - "Wiggle Wobble", Bo Diddley - "Cadillac", Patsy Cline - "When I Get Through With You", The Platters - "I'm Sorry", Joni James - "There Must Be A Way", Ted Self - "Little Angel Come Rock Me To Sleep", Somethin' Smith - "I Don't Want To Set The World On Fire", The Emanons - "Change Of Time", The Safaris - "Image Of A Girl", Jackie Wilson - "I'll Be Satisfied", Chubby Checker - "The Fly", Tommy Edwards - "Please Love Me Forever".

The Danny Lane Music Museum is for listening and remembering the great rock & roll music of the past. This museum is a global effort. We are available around the world and at any time you want. Ordinary museums have varying aims, ranging from serving researchers and specialists to serving the general public. We serve the world of Oldies But Goodies. Enjoy ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com - - - - You’ll hear: 1) Play Those Oldies, Mr. D.J. by Anthony & The Sophomores (1963) 2) Dream Lover by Bobby Darin (w/ Neil Sedaka on piano) (1959) 3) Blue Moon by The Marcels (1961) 4) First Name Initial by Annette Funicello (1959) 5) Tossin' And Turnin' by Bobby Lewis (1961) 6) Diana by Paul Anka (1957) 7) Hit The Road Jack by Ray Charles (1961) 8) Well, I Told You by The Chantels (An answer to the Ray Charles song "Hit the Road, Jack) (1961) 9) He's A Rebel by The Crystals [actually done by Darlene Love & The Blossoms] (1962) 10) One Summer Night by The Danleers (1958) 11) Surfin' Safari by The Beach Boys (1962) 12) Oh, Pretty Woman by Roy Orbison (1964) 13) Mona by Bo Diddley (1957) 14) Twistin' U.S.A. by Chubby Checker (1961) 15) Let's Dance by Chris Montez (1962) 16) Heart and Soul by The Cleftones (1961) 17) Mickey's Monkey by The Miracles (w/ Smokey Robinson) (1963) 18) Runaway by Del Shannon (1961) 19) Everybody's Somebody's Fool by Connie Francis (1960) 20) Betty Lou Got a New Pair of Shoes by Bobby Freeman (1958) 21) Calendar Girl by Neil Sedaka (1961) 22) Boys by The Shirelles (1960) 23) I Want to Be Wanted by Brenda Lee (1960) 24) Wild Weekend by The Rockin' Rebels (1962) 25) Runaround Sue by Dion (backed by The Del-Satins) (1961) 26) Lucille by Little Richard (1959) 27) New Orleans by Gary U.S. Bonds (1960) 28) Do You Love Me? By The Contours (1962) 29) Please Love Me Forever by Cathy Jean & The Roommates (1961) 30) Please Mr. Postman by The Marvelettes (1961) 31) There's A Moon Out Tonight by The Capris (1961) 32) Whole Lotta Shakin' Goin' On by Jerry Lee Lewis (1957) 33) Big Girls Don't Cry by The Four Seasons (1962) 34) Tallahassee Lassie by Freddy Cannon (1959) 35) Bristol Stomp by The Dovells (1961) 36) Everybody Loves To Cha Cha Cha by Sam Cooke (1962) 37) Sweets For My Sweet by The Drifters (w/ Charlie Thomas, lead) (1961) 38) What In The World's Come Over You by Jack Scott (1960) 39) You Really Got A Hold On Me by The Beatles (1964) 40) Town Without Pity by Gene Pitney (1961) 41) Why Do Fools Fall In Love by Frankie Lymon and The Teenagers (1956) 42) Tonight I Fell In Love by The Tokens (1961) 43) Mother-In-Law by Ernie K-Doe (w/ Benny Spellman) (1961) 44) Son-In-Law [Answer song to Mother-In-Law] by The Blossoms (1961) 45) Venus by Frankie Avalon (1959) 46) Bye Bye Love by The Everly Brothers (1957) 47) You're Sixteen (You're Beautiful And You're Mine) by Johnny Burnette (1960) 48) The Happy Organ by Dave "Baby" Cortez (1959) 49) My Boyfriend's Back by The Angels (1963) 50) I Can't Help Falling In Love With You by Elvis Presley & The Jordanaires (1961)

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at “You Better Move On”, and the sad story of Arthur Alexander. 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 “Mother-In-Law” by Ernie K-Doe. 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…)

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at "You Better Move On", and the sad story of Arthur Alexander. 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 "Mother-In-Law" by Ernie K-Doe. 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 Mixcloud playlists with full versions of all the songs in the episode. This week it's been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander's Dot work. Much of the information in this episode comes from Richard Younger's biography of Alexander. It's unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we're going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we're going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties -- studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it's also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians -- there were jobs that weren't open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist -- many were very vocally opposed to racism -- but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we've looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we're going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we're going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we're going to look at Arthur Alexander, and at "You Better Move On": [Excerpt: Arthur Alexander, "You'd Better Move On"] Arthur Alexander's is one of the most tragic stories we'll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander's hit single "You Better Move On". He said to Harrison, "Did you know I played bass on that?" and Harrison replied, "If I phoned Paul up now, he'd come over and kiss your feet". That's how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it's hard to escape the fact that Alexander's music has an awful lot of elements of country music in it. This is something that Alexander would point out himself -- in interviews, he would talk about how he loved singing cowboys in films -- people like Roy Rogers and Gene Autry -- and about how when he was growing up the radio stations he would listen to would "play a Drifters record and maybe an Eddy Arnold record, and they didn't make no distinction. That's the way it was until much later". The first record he truly loved was Eddy Arnold's 1946 country hit "That's How Much I Love You": [Excerpt: Eddy Arnold, "That's How Much I Love You"] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place -- by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn't even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it's almost always the latter, so from this point on, I'll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander's music, but as we've seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander's father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as "June", for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it -- he forbade him from ever playing the guitar, saying that he'd never made a nickel as a player, and didn't want that life for his son. As Arthur was an obedient kid, he did as his father said -- he never in his life learned to play any musical instrument. But that didn't stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat "King" Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes -- though he wasn't satisfied by McPhatter's answer that "It's just there", thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song "One Mint Julep": [Excerpt: The Clovers, "One Mint Julep"] He formed a vocal group called the Heartstrings, who would perform songs like "Sixty Minute Man", and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn't need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening -- there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it -- W.C. Handy, Hank Williams, Sam Phillips, they'd all done truly great things, but they'd done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big -- making records of people's weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. "A Fallen Star" was done as cheaply as humanly possible -- it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time -- he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn't a hit, and was so unsuccessful that I've not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people -- Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn't understand his type of music -- but a circle of songwriters formed that would be important later. Jud Phillips, Sam's brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton's recordings were unsuccessful, but they started getting cover versions. Roy Orbison's first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, "Sweet and Innocent"] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I've been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a "reality-hacking poet", and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way -- and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I'm not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn't count. Others, like Dan Penn, have later claimed that they took an “I don't even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm's length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford's fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley's studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, "She Wanna Rock"] That record wasn't a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun's Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote "Stand By Your Man" with Tammy Wynette, and produced "He Stopped Loving Her Today" for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford's studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford's partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton's record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, "Sally Sue Brown"] It's a good record, but it didn't have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events -- his wife, Ann, had an ex who had tried to win her back once he'd found out she was dating Arthur. He took the song, "You Better Move On", to Stafford, who knew it would be a massive hit, but also knew that he couldn't produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King -- he would later say, "It was my conception that it should have a groove similar to 'Stand By Me', which was a big record at the time. But I didn't want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.": [Excerpt: Arthur Alexander, "You Better Move On"] For a B-side, they chose a song written by Terry Thompson, "A Shot of Rhythm and Blues", which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, "A Shot of Rhythm and Blues"] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on "You Better Move On", and who would go on to become one of the most successful session bass players and record producers in Nashville, later said "If it wasn't for Arthur Alexander, we'd all be at Reynolds" -- the local aluminium factory. But Arthur Alexander wouldn't record much at Muscle Shoals from that point on. His contracts were bought out -- allegedly, Stafford, a heavy drug user, was bought off with a case of codeine -- and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander's talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander's heart wasn't in it -- his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley's studio with top Nashville session players, the A-side, "Where Have You Been?" was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of "You Better Move On": [Excerpt: Arthur Alexander, "Where Have You Been?"] While the B-side, "Soldiers of Love" (and yes, it was called "Soldiers of Love" on the original label, rather than "Soldier"), was written by Buzz Cason and Tony Moon, two members of Brenda Lee's backing band, The Casuals: [Excerpt: Arthur Alexander, "Soldiers of Love"] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn't having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur's songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He'd started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he'd better write one himself, and he'd make it about the deterioration of his marriage to Ann -- though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, "Anna (Go To Him)"] Released with a cover version of Gene Autry's country classic "I Hang My Head and Cry" as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, "Go Home Girl", another attempt at a "You Better Move On" soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn't want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, "Every Day I Have To Cry"] He was throwing himself into his work at this point, to escape the problems in his personal life. He'd often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox's old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with "Snap Your Fingers": [Excerpt: Joe Henderson, "Snap Your Fingers"] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other's addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn't been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison's classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with "Raunchy" on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, "Baby For You": [Excerpt: Arthur Alexander, "Baby For You"] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life -- he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, "Johnny's Heartbreak": [Excerpt: Otis Redding, "Johnny's Heartbreak"] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur's plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him -- and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur's version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song "Every Day I Have To Cry", as "Every Day I Have To Cry Some", in a version which many people think likely inspired Bruce Springsteen's "Hungry Heart" a few years later: [Excerpt: Arthur Alexander, "Every Day I Have To Cry Some"] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn't chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland -- construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at “You Better Move On”, and the sad story of Arthur Alexander. 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 “Mother-In-Law” by Ernie K-Doe. 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 Mixcloud playlists with full versions of all the songs in the episode. This week it’s been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander’s Dot work. Much of the information in this episode comes from Richard Younger’s biography of Alexander. It’s unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we’re going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we’re going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties — studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it’s also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians — there were jobs that weren’t open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist — many were very vocally opposed to racism — but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we’ve looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we’re going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we’re going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we’re going to look at Arthur Alexander, and at “You Better Move On”: [Excerpt: Arthur Alexander, “You’d Better Move On”] Arthur Alexander’s is one of the most tragic stories we’ll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander’s hit single “You Better Move On”. He said to Harrison, “Did you know I played bass on that?” and Harrison replied, “If I phoned Paul up now, he’d come over and kiss your feet”. That’s how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it’s hard to escape the fact that Alexander’s music has an awful lot of elements of country music in it. This is something that Alexander would point out himself — in interviews, he would talk about how he loved singing cowboys in films — people like Roy Rogers and Gene Autry — and about how when he was growing up the radio stations he would listen to would “play a Drifters record and maybe an Eddy Arnold record, and they didn’t make no distinction. That’s the way it was until much later”. The first record he truly loved was Eddy Arnold’s 1946 country hit “That’s How Much I Love You”: [Excerpt: Eddy Arnold, “That’s How Much I Love You”] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place — by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn’t even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it’s almost always the latter, so from this point on, I’ll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander’s music, but as we’ve seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander’s father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as “June”, for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it — he forbade him from ever playing the guitar, saying that he’d never made a nickel as a player, and didn’t want that life for his son. As Arthur was an obedient kid, he did as his father said — he never in his life learned to play any musical instrument. But that didn’t stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat “King” Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes — though he wasn’t satisfied by McPhatter’s answer that “It’s just there”, thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song “One Mint Julep”: [Excerpt: The Clovers, “One Mint Julep”] He formed a vocal group called the Heartstrings, who would perform songs like “Sixty Minute Man”, and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn’t need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening — there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it — W.C. Handy, Hank Williams, Sam Phillips, they’d all done truly great things, but they’d done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big — making records of people’s weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. “A Fallen Star” was done as cheaply as humanly possible — it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time — he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn’t a hit, and was so unsuccessful that I’ve not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people — Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn’t understand his type of music — but a circle of songwriters formed that would be important later. Jud Phillips, Sam’s brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton’s recordings were unsuccessful, but they started getting cover versions. Roy Orbison’s first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, “Sweet and Innocent”] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I’ve been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a “reality-hacking poet”, and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way — and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I’m not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn’t count. Others, like Dan Penn, have later claimed that they took an “I don’t even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm’s length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford’s fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley’s studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, “She Wanna Rock”] That record wasn’t a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun’s Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote “Stand By Your Man” with Tammy Wynette, and produced “He Stopped Loving Her Today” for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford’s studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford’s partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton’s record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, “Sally Sue Brown”] It’s a good record, but it didn’t have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events — his wife, Ann, had an ex who had tried to win her back once he’d found out she was dating Arthur. He took the song, “You Better Move On”, to Stafford, who knew it would be a massive hit, but also knew that he couldn’t produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King — he would later say, “It was my conception that it should have a groove similar to ‘Stand By Me’, which was a big record at the time. But I didn’t want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.”: [Excerpt: Arthur Alexander, “You Better Move On”] For a B-side, they chose a song written by Terry Thompson, “A Shot of Rhythm and Blues”, which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, “A Shot of Rhythm and Blues”] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on “You Better Move On”, and who would go on to become one of the most successful session bass players and record producers in Nashville, later said “If it wasn’t for Arthur Alexander, we’d all be at Reynolds” — the local aluminium factory. But Arthur Alexander wouldn’t record much at Muscle Shoals from that point on. His contracts were bought out — allegedly, Stafford, a heavy drug user, was bought off with a case of codeine — and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander’s talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander’s heart wasn’t in it — his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley’s studio with top Nashville session players, the A-side, “Where Have You Been?” was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of “You Better Move On”: [Excerpt: Arthur Alexander, “Where Have You Been?”] While the B-side, “Soldiers of Love” (and yes, it was called “Soldiers of Love” on the original label, rather than “Soldier”), was written by Buzz Cason and Tony Moon, two members of Brenda Lee’s backing band, The Casuals: [Excerpt: Arthur Alexander, “Soldiers of Love”] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn’t having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur’s songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He’d started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he’d better write one himself, and he’d make it about the deterioration of his marriage to Ann — though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, “Anna (Go To Him)”] Released with a cover version of Gene Autry’s country classic “I Hang My Head and Cry” as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, “Go Home Girl”, another attempt at a “You Better Move On” soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn’t want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, “Every Day I Have To Cry”] He was throwing himself into his work at this point, to escape the problems in his personal life. He’d often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox’s old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with “Snap Your Fingers”: [Excerpt: Joe Henderson, “Snap Your Fingers”] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other’s addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn’t been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison’s classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with “Raunchy” on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, “Baby For You”: [Excerpt: Arthur Alexander, “Baby For You”] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life — he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, “Johnny’s Heartbreak”: [Excerpt: Otis Redding, “Johnny’s Heartbreak”] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur’s plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him — and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur’s version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song “Every Day I Have To Cry”, as “Every Day I Have To Cry Some”, in a version which many people think likely inspired Bruce Springsteen’s “Hungry Heart” a few years later: [Excerpt: Arthur Alexander, “Every Day I Have To Cry Some”] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn’t chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland — construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

1 Evergreen Booker T 06:49 Evergreen 2 Keep on Pushing Mavis Staples 03:40 I Believe to My Soul - Session 01 3 Let It Shine Al Green 03:18 The Immortal Soul of Al Green - (Disc 4)=P&K 4 Livin' in Fear The Bagdads 02:54 Best Of 5 John Crow Skank Derrick Morgan 02:29 Straighten Up Volume 2 (Pama P 6 Too Weak To Fight Ella Washington 02:54 Sound Stage 7 ZS7 1507 7 Back Street Lover Ernie K. Doe 02:29 Ernie K. Doe '72 8 Dynamite Exploded Honey & The Bees 02:44 The Philly Soul Story, The Best of Philadelphia R&B, Soul & Rare Grooves 9 Throw The Switch Frederick Knight 02:49 Diggin' For Soul: Challenge/Dial/Hickory 10 Long Way Home Durand Jones & The Indications 03:22 American Love Call 11 Bluebeat & Ska Matumbi 03:08 Empire Road 12 Stoned Macy Gray 04:10 The Way 13 Willing Gil Scott-Heron 04:04 1980 14 Walk A Mile In My Shoes Syl Johnson 02:43 Is It Because I'm Black 15 Nobody Knows You When You're Down And Out Leela James 03:53 Let's Do It Again 16 04_Easier_(SD Master)01 Pieces of a Man 04:34 17 Stronger The Mighty Mocambos with JSwiss 03:15 18 Sorry Ain't Enough SAULT 05:00 UNTITLED (Black Is) 19 Concrete Things BANDCAMP Fold 04:02 20 A Chance to Give Mulatu Astatke + Black Jesus Experience 05:46 To Know Without Knowing 21 Tears Run Down feat. Sister Wynona Carr BSC 03:38 22 Vibracion Positive (feat. Randy Valentine & Anyilena) Mista Savona 05:25 Havana Meets Kingston 23 Papua Merdeka Keleketla! 06:42 Keleketla! 24 Lovin' Music Juna Serita 04:12 The Princess of Funk 25 Look No Further (feat. Najwa Ezzaher) Speedometer 03:15 Our Kind of Movement 26 Hollywood Swinging Brian Culbertson 04:10 Bringing Back The Funk 27 Chuck Baby Chuck Brown 03:58 Wèr'e about the business 28 Ain't That Peculiar (Feat. Sly Stone, El Debarge & The P-Funk All-Stars) George Clinton 04:36 George Clinton & His Gangsters Of Love 29 Gimme Some Love Gold 03:56 Gold 30 Take It Back (feat Doc Brown) Haggis Horns 03:34 Promo 31 You've Got My Mind Messed Up Quiet Elegance 02:53 Troubles, Heartaches & Sandness - Hi Records' Deep Soul Sisters (1966-1976)

Mod Marty is back from a week and a half on the road where he stopped at some select record shops and flea markets and came home with a clutch of records which he can’t wait to spin for you. FACEBOOK: facebook.com/ontargetpodcast INSTAGRAM: instagram.com/modmarty TWITTER: twitter.com/modmarty ----------------------------------------------- The Playlist Is: "Lean Lanky Daddy" Little Ann - Kent "Crying Man" Tony Washington - React "Jim Dandy" Lavern Baker - Quality "Jimmy's Blues" The Righteous Brothers - Verve "Combination" The Dukays - Vee Jay "S-W-I-M" Bobby Freeman - Autumn "Fun" The Peels - Karate "Now" Dave Berry - Decca "No More Baby" Bobby Loveless - HBR "Whats Wrong With Me Baby" The Invitations - DynoVoice "Love Don't Love Me" Benny Latimore - Dade "Dancing Man" Ernie K. Doe - Action "You Got Soul" Bill Johnson - Jocida ‎ "If I Catch You (Running Around)" Timmy Shaw - Wand "Better Tomorrow Than Today" Betty Everett - Uni "I Want You To Be My Baby" Billie Davis - Decca "Say Goodbye To Me" Canadian Downbeats - Soundaround "Goodtime Baby" 49th Parallel - Barry "Mama Said" Little Eva - Spring "Get Your Love Back" The Three Degrees - Philadelphia International "Sting-Ray" Mack Johnson - Solar

Providing freaky music since 1999. For those who wonder: What is The Brain? Listen this! 1. Introduction 2. The Brain - Générique 2010 - Unreleased - 2010 3. Cmyk - Maniac - Rather Interesting - 2005 4. Floppy - Helter Skelter - Pico Pop - 2006 5. Marcello Giombini - Seli Main Theme - gdm Music - 2001 6. B. Tikhomirov - Marathon - Melodia - 1985 7. Karaocake - it Doesn't Take a Whole Week - Clapping Music - 2010 8. Food and Shelter - Changing my Mind - Resistance Records - 1984 9. Dat Politics - Slastic Girl - Digital Idd - 2011 10. Ernie k. doe - Here Come the Girls - Janus Records - 1973 11. Karman - Chess - Genetic Music - 2004 12. Siriusmo - the Plasterer of Love - Monkeytown Records - 2010 13. Sophie Darel - un Ange Passe - Polydor - 1965 14. Dorothy's Magic bag - Linji - X-dump3 - 2001 15. The Sonics - Have Love Will Travel - Etiquette Records - 1965 16. Kate Bush - Suspended in Gaffa - Emi - 1982 17. My Disco Jacket - This is not Hardcore - Unreleased - 2011 18. Aksak Maboul / Veronique Vincent - Chez les Aborigènes - Crammed Disc - 2003 19. Monica m and the Sweet Rioters - Keepontruckin - Midinette Records - 2011 20. Christopher Scott - What's new Pussycat - Decca - 1969 21. Frederik Schikowski - Générique the Brain 1.3 - Unreleased - 2004 == Über The Brain The Brain ist eine DJ-Show gemischt aus Electro Broadcasts, Dissonanz-Pop, Rock'n'Roll, epileptischen Gesängen und vorindustriellen Robotik, Raumfahrt-Pop, vorsintflutlichen Vintage-Raritäten in Form von kinematischen Mini-Dada. Jede Sendung bietet einen epischen, akustischen, frischen Sound mit dem kindliche Euphorie in vollem Umfang nachgekommen wird. Let's Spock! * http://www.thebrainradio.com/

Ben Sandmel has literally written the book on iconic portions of Louisiana's unique music culture, from Zydeco to his opus on Ernie K-Doe. But we asked him to come on in his capacity as an admirer of the culture to discuss his feelings about life here during COVID and whether there's any reason to be optimistic. Ben also gets into his experience as a member and producer of the legendary Hackberry Ramblers. Meanwhile, post-George Floyd America is on fire and Joel and Andrew dig into their feelings about where we are as a society and what might come next. Remember - wherever you are - to stay safe, y'all, and keep ya distance.

1 Hold It Willie Mitchell 02:25 Sunrise Serenade/Hold It!!! Here's Willie Mitchell 2 Morning Train The Campbell Brothers 03:42 Sacred Steele [Disc 2] 3 We The People Staple Singers 03:53 Be Altitude: Respect Yourself 4 We'll Meet Roy Panton & Millie Small 02:33 ska at the jamaica playboy club 5 Tom Hark Millie Small 01:40 My Boy Lollipop 6 Keeping It in the Family Bobby Patterson 02:41 Soul Is My Music: The Best of Bobby Patterson Disc 2 7 gimme back my man Betty Wright 03:33 Hard To Stop 8 the road of love [duane allman version] clarence carter 02:57 this is clarence carter/the dynamic clarence carter 9 Mr Lucky Betty Wright 02:42 Rare Soul: Groove & Grind 1963-1973 10 Back Street Lover Ernie K. Doe 02:29 Ernie K. Doe '72 11 Billy Jack Junior English 05:09 Jack The Ripper 12 Old Songs Betty Wright & The Roots 05:40 Betty Wright: The Movie 13 Cracked Up Over You Don Bryant 03:10 You Make Me Feel 14 Goddamn (Strong Black Man) Mia Borders 03:14 Good Side Of Bad 15 Crazy Water Was (Not Was) 04:49 Boo! 16 Please Don't Go Stevie Wonder 04:09 Fulfillingsness' First Finale (AF) 17 I'm Thankful (Part 1) Spanky Wilson & The Quantic Soul Orchestra 04:04 I'm Thankful 18 Tassi Vaudou Game 05:17 Otodi 19 Wubit Mulatu Astatke & Black Jesus Experience 06:29 Cradle of Humanity 20 Everybody Turn Rasta Cymande 03:24 Cymande A Simple Act of Faith 21 Let Them Be Feat. Miss Glue DJ T-Rock & Squashy Nice 03:05 Back To The Essence 22 Celebrity Culture London Afrobeat Collective 03:51 Food Chain 23 Give Me The Night Hot 8 Brass Band 06:07 Give Me The Night 24 Get What You Deserve Sweet Pea Atkinson 04:01 Get What You Deserve 25 03 Suzi Traffic (feat John McCallum) Haggis horns 03:46 26 Golden Years Ed Meme feat Guests Of Nature 03:51 Advance 45 27 We_Play_the_Funk_Feat_Bootsy_Collins_ Five_Alarm_Funk_ 04:03 advance single 28 Checker Wrecker (Feat. Jungle Boogie & Big Tony) Lettuce 05:52 Resonate 29 Move Feast Featuring Mystikal And Mannie Fresh Galactic 03:10 Carivale Electricos 30 Cook With Me Mama Eddie Hinton 03:15 Cry and Moan

If there was a Jukebox exclusively for the soundtrack of the TV show American Bandstand, this would be it. In 1957, the ABC television network began airing American Bandstand nationally every afternoon just as schoolkids got home. In addition to the dancing, American Bandstand often introduced new record releases to the national following of avid fans. The show’s MC, Dick Clark, would often interview the teenagers about their opinions of the songs being played, most memorably through the "Rate-the-Record" segment. This gave rise to the phrase, “It's got a good beat and you can dance to it." The weekday program was broadcast live and by 1959, the show had a national audience of 20 million. Bandstand’s theme song was "Bandstand Boogie" by Larry Elgart's big-band. From 1977 to the end of its ABC run in 1987, the show opened and closed with Barry Manilow's version of "Bandstand Boogie." In 1993, Dick Clark was inducted into the Rock and Roll Hall of Fame. Enjoy … Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com In this episode you’ll hear: 1) Bandstand Boogie by Les Elgart And His Orchestra 2) Play Those Oldies, Mr. D.J. by Anthony & The Sophomores 3) Dream Lover by Bobby Darin (w/ Neil Sedaka on piano) 4) Blue Moon by The Marcels 5) First Name Initial by Annette Funicello 6) Tossin' and Turnin' by Bobby Lewis 7) Diana by Paul Anka 8) Hit The Road Jack by Ray Charles 9) Well, I Told You (An answer to the Ray Charles song "Hit the Road, Jack) by The Chantels 10) He's A Rebel by The Crystals [actually Darlene Love & The Blossoms] 11) One Summer Night by The Danleers 12) Surfin' Safari by The Beach Boys 13) I Want to Be Wanted by Brenda Lee 14) Oh, Pretty Woman by Roy Orbison 15) Twistin' U.S.A. by Chubby Checker 16) Let's Dance by Chris Montez 17) Heart and Soul by The Cleftones 18) Mickey's Monkey by The Miracles (w/ Smokey Robinson) 19) Runaway by Del Shannon 20) Everybody's Somebody's Fool by Connie Francis 21) Betty Lou Got a New Pair of Shoes by Bobby Freeman 22) Calendar Girl by Neil Sedaka 23) Boys by The Shirelles 24) Johnny B. Goode by Chuck Berry 25) Young World by Rick Nelson 26) Runaround Sue by Dion (backed by The Del-Satins) 27) New Orleans by Gary U.S. Bonds 28) Kissin' Time by Bobby Rydell 29) Do You Love Me? by The Contours 30) Please Love Me Forever by Cathy Jean & The Roommates 31) There's A Moon Out Tonight by The Capris 32) Whole Lotta Shakin' Goin' On by Jerry Lee Lewis 33) Please Mr. Postman by The Marvelettes 34) Big Girls Don't Cry by The Four Seasons 35) Tallahassee Lassie by Freddy Cannon 36) Bristol Stomp by The Dovells 37) Everybody Loves To Cha Cha Cha by Sam Cooke 38) Sweets For My Sweet by The Drifters (w/ Charlie Thomas, lead) 39) What In The World's Come Over You by Jack Scott 40) Town Without Pity by Gene Pitney 41) Lucille by Little Richard 42) Why Do Fools Fall In Love by Frankie Lymon and The Teenagers 43) Tonight I Fell In Love by The Tokens 44) Mother-In-Law by Ernie K-Doe (w/ Benny Spellman) 45) Venus by Frankie Avalon 46) Bony Moronie by Larry Williams 47) Bye Bye Love by The Everly Brothers 48) Baby Blue by The Echoes 49) My Boyfriend's Back by The Angels 50) I Can't Help Falling In Love With You by Elvis Presley & The Jordanaires

The A-list drummer has played and recorded with everyone from Willie Nelson, Gatemouth Brown, and Alison Krauss to Derek Trucks, Charlie Hunter, and Bobby Rush. Doug’s background as the son of a Lafayette session bass player and mentee of blues/zydeco master Lil’ Buck Sinegal fostered his roots inclinations, while mind-blowing exposure to jazz masters such as Johnny Vidacovich and Ricky Sebastian launched his love of that music. As he completes his documentary on New Orleans drumming and some of its top practitioners, “Street Beat: Drumming Below Sea Level,” he joins the Troubled Men in the Ring Room just before it all hits the fan. Topics include an injury, tax troubles, a proposition, a family legacy, church music, a first drum set, an all-night odyssey to New Orleans, Astral Project, Brian Blade, Dickie Taylor, advice from Ernie K-Doe, film production, Uganda Roberts, John Mooney, drummer impressions, a vast discography, Black music influences, Stryper, Anders Osborne, Jerry Douglas, Nashville post-Katrina, Steve Gadd, Rockin’ Dopsie, a Dylan session, a Stones visit, Congo Square, Grant St., career longevity, Willie Green, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “What’s Pho Lunch?” by Doug Belote from his album “Magazine St.”

The A-list drummer has played and recorded with everyone from Willie Nelson, Gatemouth Brown, and Alison Krauss to Derek Trucks, Charlie Hunter, and Bobby Rush. Doug's background as the son of a Lafayette session bass player and mentee of blues/zydeco master Lil' Buck Sinegal fostered his roots inclinations, while mind-blowing exposure to jazz masters such as Johnny Vidacovich and Ricky Sebastian launched his love of that music. As he completes his documentary on New Orleans drumming and some of its top practitioners, “Street Beat: Drumming Below Sea Level,” he joins the Troubled Men in the Ring Room just before it all hits the fan. Topics include an injury, tax troubles, a proposition, a family legacy, church music, a first drum set, an all-night odyssey to New Orleans, Astral Project, Brian Blade, Dickie Taylor, advice from Ernie K-Doe, film production, Uganda Roberts, John Mooney, drummer impressions, a vast discography, Black music influences, Stryper, Anders Osborne, Jerry Douglas, Nashville post-Katrina, Steve Gadd, Rockin' Dopsie, a Dylan session, a Stones visit, Congo Square, Grant St., career longevity, Willie Green, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “What's Pho Lunch?” by Doug Belote from his album “Magazine St.”

This Is A Basement Replay..... Well we know were 1 week behind but were going to play our Valentines day show anyway. Well not quite a VD show, we did a show of break-up's / Cheating on your lover ect... We also had a mishap in the Basement last week, Just when we were going record a new show, the heart of the Basement stopped...went kabloowee on us. Our mix board went to the scrapheap, but it's being looked at and we just might update in a week or two, so we might have to do some replays for a week or two, sorry kids... But OK for the Basementeers who have not heard this show, here you go. We will have songs from: Johnny Taylor / The Facts Of Life / Irma Thomas / Johnny Fortune and Eddie Hodges and more... So get out your Valentines Day candy and pretend it's last week, here we go again. Intro: Please Sunrise Please-Young, Holt Unlimited 1. Hard Times For Young Lovers-Eddie Hodges 2. I Can Do That-Tommy & Wanda Collins 3. Don't You Lie To Me-Johnny Fortune 4. Words Aren't Enough to Keep Me Happy Anymore-Bonnie Ferguson 5. Times Have Changes-Irma Thomas 6. Trying To Slip Away-Lloyd Price 7. What's The Use Of Breaking Up-Jerry Butler 8. Without Your Love-Charlie Ross 9. When The lights Go Out-The Hollies 10. One Light, Two Light-The Satisfactions 11. Who's Making Love-Johnny Taylor 12. Walk On By-Leroy Van Dyke 13. Cheating In The Next Room-Z.Z. Hill 14. Me & Mrs. Jones-The Dramatics 15. Stop Sneaking Around-Brenda & The Tabulations 16. The Cheater-Bobby De Soto 17. I'm Running Around-Winmenifee 18. The Love A Woman Should Give A Man-Patti Drew 19. Hertz Rent A Chic-Lonzo & Oscar 20. Don't Monkey With Another Monkey's Monkey-Johnny Paycheck 21. The Spoiler-Eddie Purrell 22. Caught In The Act-The facts Of Life 23. Dear Ralph-Audrey Meadows 24. You Broke My Heart At Walgreens & I Cried All The Way To Sears-Ruby Wright 25. I Was Married-Billy Paul 26. Late Last Night-Paul Anka 27. She Ain't Loving You-The Distant Cousins 28. It's all Over Paula-Paul from Paul & Paula 29. Down To My Last Teardrop-Tanya Tucker 30. I Cried My Last Tear-Ernie K. Doe 31. There Wont Be Anymore-Charlie Rich 32. Dirty Man-Laura Lee 33. Rip Off-Laura Lee 34. Picture Me Gone-Madeline Bell 35. Single Girl Again-Molly Bee 36. She's Everything She Doesn't Want To Be-Larry Weiss 37. Going To The River-Tony Romance 38. Cheshire Lane-Lee Silverton Outro: Cleo's Mood-Jr. Walker & The All Stars

He’s written books on New Orleans icon Ernie K-Doe and the Zydeco culture of south Louisiana. He spearheaded the career revival of the Hackberry Ramblers, producing and playing drums with the Cajun band for eighteen years culminating in their Grammy nomination after 70 years together. Ben is attracted to offbeat characters and cultural ephemera, so of course he winds up in the Ring Room with the Troubled Men. Topics include the Super Bowl, Tom Flores’ Hall of Fame snub, corrupt institutions, a Bible reading, a cyberattack, a book plug, a Christmas commercial, Rico Watts, “White Boy, Black Boy,” Clifton Chenier, “Jole Blon,” string bands, MTV Live, a neighborhood threat, disaster tourism, the Grand Ole Opry, a last road trip, a Beach Boys protest, liner notes, Chicago blues time, Sunnyland Slim, Jazz Fest interviews, losing peers, a false memory, publishing deals, false documents, a missing finger, and much more. Support the podcast by contributing to the Cocktail Fund in the show links. Subscribe, review, and rate (*****) on Apple Podcasts, Spotify, or most podcast aggregators. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “Bill’s Boogie Woogie” by Boogie Bill Webb and “Poor Hobo” by the Hackberry Ramblers from the album “Deep Water”

He's written books on New Orleans icon Ernie K-Doe and the Zydeco culture of south Louisiana. He spearheaded the career revival of the Hackberry Ramblers, producing and playing drums with the Cajun band for eighteen years culminating in their Grammy nomination after 70 years together. Ben is attracted to offbeat characters and cultural ephemera, so of course he winds up in the Ring Room with the Troubled Men. Topics include the Super Bowl, Tom Flores' Hall of Fame snub, corrupt institutions, a Bible reading, a cyberattack, a book plug, a Christmas commercial, Rico Watts, “White Boy, Black Boy,” Clifton Chenier, “Jole Blon,” string bands, MTV Live, a neighborhood threat, disaster tourism, the Grand Ole Opry, a last road trip, a Beach Boys protest, liner notes, Chicago blues time, Sunnyland Slim, Jazz Fest interviews, losing peers, a false memory, publishing deals, false documents, a missing finger, and much more. Support the podcast by contributing to the Cocktail Fund in the show links. Subscribe, review, and rate (*****) on Apple Podcasts, Spotify, or most podcast aggregators. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “Bill's Boogie Woogie” by Boogie Bill Webb and “Poor Hobo” by the Hackberry Ramblers from the album “Deep Water”

In this episode, I discuss Allen Toussaint's career in the 60's and 70's, specifically around his production work with Ernie K Doe, Labelle, The Pointer Sisters and Dr. John, among others. www.charlieshortmusic.com  

The artist, musician, and Euclid Records store manager has covered a lot of territory in his career. From making pizza and managing the Circle Bar, to restoring art and DJing for bounce superstars, there’s not much he hasn’t done. He’s never been on a podcast, until now. He joins the Troubled Men as they discuss social media, OJ, El Chapo, Squeaky Fromme, recording with Lynn Drury, Jacques DeLatour, poison Cheerios, DJ Shadow, early life, south central L.A., painting, art conservation, the Circle Bar mural, Kelly Keller, moving to town, Fireball Rocket, Ernie K-Doe, Chapel Hill, MTV, the Smashing Pumpkins interview, a nickname, a pizza allergy, the Tiger Theater, Mexican food, a blind man, Stevie Wonder, Dave Bartholomew, the Ponderosa Stomp, artistic and cultural fragility, the bounce revival, a name change, Michael Jackson, a random puncher, a cctv beatdown at Siberia, campaign management, a George Reinecke set, and much more. Please subscribe, review, and rate on your favorite podcast app. Follow and share on social media and spread the Troubled word. Intro music: Styler/Coman Outro music: The Ballad of the Lonely Lonely Knights by the Lonely Lonely Knights

The artist, musician, and Euclid Records store manager has covered a lot of territory in his career. From making pizza and managing the Circle Bar, to restoring art and DJing for bounce superstars, there's not much he hasn't done. He's never been on a podcast, until now. He joins the Troubled Men as they discuss social media, OJ, El Chapo, Squeaky Fromme, recording with Lynn Drury, Jacques DeLatour, poison Cheerios, DJ Shadow, early life, south central L.A., painting, art conservation, the Circle Bar mural, Kelly Keller, moving to town, Fireball Rocket, Ernie K-Doe, Chapel Hill, MTV, the Smashing Pumpkins interview, a nickname, a pizza allergy, the Tiger Theater, Mexican food, a blind man, Stevie Wonder, Dave Bartholomew, the Ponderosa Stomp, artistic and cultural fragility, the bounce revival, a name change, Michael Jackson, a random puncher, a cctv beatdown at Siberia, campaign management, a George Reinecke set, and much more. Please subscribe, review, and rate on your favorite podcast app. Follow and share on social media and spread the Troubled word. Intro music: Styler/Coman Outro music: The Ballad of the Lonely Lonely Knights by the Lonely Lonely Knights

The Rivals – It’s Gonna Work Out J.J. Barnes – I Think I Found a Love Marcia Griffiths – Don’t Let Me Down Sir Victor Uwaifo – Osalobua Rekpama Nancy Dupree – James Brown Ernie K. Doe – Beating Like a Tom Tom Lorne Greene – Oh! What A Town Abner Jay – Depression The 5 Royales – Standing in the Shadows Happy & Artie Traum – Going Down The Road To See Bessie

Ernie K-Doe [00:26] a side: "Real Man" b side: "Te-Ta-Te-Ta-Ta" Minit Records 627 1961 The genuine article and the man we can thank for "Mother in Law". Half Japanese [05:19] a side: "Refreshing" b side: "Do It Now" Joyful Noise Recordings JNR138 2014 A fine return to form with this 2014 release on Joyful Noise. Little River Band [11:25] a side: "Reminiscing" b side: "So Many Paths" Harvest Records 4605 1978 De rigeur on late 70s FM Gold programming, and revivified by Biz Markie (https://youtu.be/38vXZcuMZmU). The Album Leaf a side: "Reso" [19:20] Her Space Holiday b side: "Callinblue" [23:54] Better Looking Records BLR055-7 2004 Picked this up at the Moog Fest in San Francisco. Jesus + Mary Chain [29:56] a side: "Reverence" b side: "Heat" Blanco y Negro NEG 55 1992 Solidly J+MC. The lead single from Honey's Dead. Fleetwood Mac [36:42] a side: "Rhiannon (Will You Ever Win)" b side: "Sugar Daddy" Reprise Records RPS 1345 1976 Witchy goodness backed with McVie-an goodness. I used to have a crush on a girl in high school who drove a Camaro that had a license plate spelling Rhiannon. T. Rex [45:07] a side: "Ride a White Swan" b side: "Is It Love/Summertime Blues" Fly Records BUG-1 1970 Well, is this your new favorite T Rex song or what? Parliament [52:46] a side: "Ride On" b side: "Good Footin'" Casablanca Records NB 843 1975 Don't worry about being right, just be real. "Happiness Is..." by Perry Botkin Jr. and his Orchestra

Music from the Ed Skoog episode of The Steer, as heard on www.Dublab.com and KZUT 99.1 FM Los Angeles. Artists include The Dixie Cups, Aaron Neville, Ernie K-Doe and Irma Thomas, among others.

Je hoort muziek van Johnny Otis, Janis Martin, Rolling Stones, Ernie K-Doe, Love, The Skope, The Martys Brothers en Eric Burdon & The Animals

Featuring the Golden Era of American Rock & Roll. Our Twin Spin this week is Ernie K. Doe's A-side "Mother-in-law" and its B-side "$10,000 Reward".

Antoinette K-Doe was the widow of world renowned New Orleans musician, Ernie K-Doe, the self proclaimed "Emperor of the Universe". Antoinette spoke about Ernie's career and awards, described Ernie's challenges with alcohol, and explained how she built him back up. She also had some very good thoughts regarding race relations in New Orleans.

El programa más gumbo de la emisora llega a su cuarto programa, con la misma variedad y fórmula, tema tras tema tras la selección de The Reverend Hotfoot Jackson. Ahí va el tracklist de esta semana. TRACKLIST: 01. Kim Fowley - The Trip 02. Baker Knight - Hallucinations 03. Ernie K. Doe - Here Come The Girls 04. Irma Thomas - Breakaway 05. Jackie Wilson - Baby Workout 06. Charlie Rich - Midnite Blues 07. LaVern Baker - Hey Memphis 08. Arthur Conley - Shake, Rattle And Roll 09. Bobby Charles - Take It Easy, Greasy 10. Big Brown & The Gamblers - My Testament 11. Hootenanny Singers - Green Back Dollar 12. Hep Stars - Cadillac 13. Nat King Cole - Ay Cosita Linda 14. Perez Prado - Whistling Rock 15. Ron Haydock - Be-Bop-A Jean 16. Derrell Felts - It's A Great Big Day 17. Duane Eddy & Lee Hazlewood - The Girl On Death Row 18. Duane Eddy - Moovin' N' Groovin' 19. Lil Buck & The Top Cats - Cat Scream 20. Guitar Frank - Wild Track 21. Teddy "Mr. Bear" McRae - Hi' Fi' Baby 22. Claude McLin - Jambo El programa se emite cada lunes a las 19.00 horas en www.ipopfm.com, be rumbo my friend!

El programa más gumbo de la emisora llega a su cuarto programa, con la misma variedad y fórmula, tema tras tema tras la selección de The Reverend Hotfoot Jackson. Ahí va el tracklist de esta semana. TRACKLIST: 01. Kim Fowley - The Trip 02. Baker Knight - Hallucinations 03. Ernie K. Doe - Here Come The Girls 04. Irma Thomas - Breakaway 05. Jackie Wilson - Baby Workout 06. Charlie Rich - Midnite Blues 07. LaVern Baker - Hey Memphis 08. Arthur Conley - Shake, Rattle And Roll 09. Bobby Charles - Take It Easy, Greasy 10. Big Brown & The Gamblers - My Testament 11. Hootenanny Singers - Green Back Dollar 12. Hep Stars - Cadillac 13. Nat King Cole - Ay Cosita Linda 14. Perez Prado - Whistling Rock 15. Ron Haydock - Be-Bop-A Jean 16. Derrell Felts - It's A Great Big Day 17. Duane Eddy & Lee Hazlewood - The Girl On Death Row 18. Duane Eddy - Moovin' N' Groovin' 19. Lil Buck & The Top Cats - Cat Scream 20. Guitar Frank - Wild Track 21. Teddy "Mr. Bear" McRae - Hi' Fi' Baby 22. Claude McLin - Jambo El programa se emite cada lunes a las 19.00 horas en www.ipopfm.com, be rumbo my friend!

Om 22:00 uur Marc Stakenburg en Joost Verbunt met een nieuwe Music Trails op 40UP Radio. Muziek van Ernie K-Doe, Dan Auerbach, Jason Isbell, Stealers Wheel, Gregg Allman, Little Richard en Jane Morgan.

Om 22:00 uur Marc Stakenburg en Joost Verbunt met een nieuwe Music Trails op 40UP Radio. Muziek van Ernie K-Doe, Dan Auerbach, Jason Isbell, Stealers Wheel, Gregg Allman, Little Richard en Jane Morgan.

Om 22:00 uur Marc Stakenburg en Joost Verbunt met twee uur lang MusicTrails. Muziek van Bo Didley, Ernie K. Doe, Jonny Lang, Moreland & Arbuckle, The New Trocaderos en Jim Ford.

Om 22:00 uur Marc Stakenburg en Joost Verbunt met twee uur lang MusicTrails. Muziek van Bo Didley, Ernie K. Doe, Jonny Lang, Moreland & Arbuckle, The New Trocaderos en Jim Ford.

Geen betere manier om je zondagavond af te sluiten dan om 22:00 uur met MusicTrails met Marc Stakenburg en Joost Verbunt. Muziek van Betty Harris, Ernie K-Doe, Calvin Russell, Doris, Greg ‘Stackhouse’ Prevost, Richmond Fontaine en Lucinda Williams.

Geen betere manier om je zondagavond af te sluiten dan om 22:00 uur met MusicTrails met Marc Stakenburg en Joost Verbunt. Muziek van Betty Harris, Ernie K-Doe, Calvin Russell, Doris, Greg ‘Stackhouse’ Prevost, Richmond Fontaine en Lucinda Williams.

downloadon iTunesIt is my fault that our podcast disappeared, and now it is my fault again that it is back, and it is especially my fault that I have little recollection about what is in this episode of the podcast nor enough desire to rediscover what is in it before posting. What is known: Billy Ray Stupendous and I were joined by our roommate and lifelong New Orleans resident Kathleen O and th world-famous-in-New-Orleans DJ Pompeii (to whom you can tune in every Monday from noon to 2:00p Central on WTUL), to discuss the profound differences between being local and being a carpetbagger in America's greatest cityTable of contents:00:00:00  "Here Come the Girls" performed by Ernie K Doe00:02:58  ??????GOD ONLY KNOWS01:09:58  Bonus Track: America's greatest American

Self styled "Emperor of the Universe" entertainer Ernie K Doe used to say that besides New Orleans being the birthplace of jazz, he was pretty sure everything came from New Orleans. When you tell people that grocery giant Whole Foods started here in New Orleans on Esplanade Avenue you generally get the same response you d expect k Doe would have gotten with his wild claim. To support the Whole Foods creation story we get to hear it today first hand from one of its creators. John Elstrott was there on day one and today he is Chairman of Whole Foods Market. John tells Peter Ricchiuti the fascinating tale of the birth of the health food giant and the equally fascinating tales of what s ahead. Peter s other lunch guest today is also on track to become the stuff legends are made of. Michael Hecht is CEO of GNO Inc. In this role and in his previous tour of duty in post Katrina State Government in Baton Rouge, Michael Hecht is one of the most significant architects of Louisiana s recovery and New Orleans sensational business resurgence. Recorded over lunch at Commander s Palace this conversation is a true meeting of the minds. See omnystudio.com/listener for privacy information.

Nobody went to Ernie K Doe s legendary Mother In Law Lounge to actually lounge. Except Tee Eva Perry. Tee Eva was K Doe s back up singer and dancer, and best friend of K Doe s wife, Antoinette. Some of Tee Eva s fondest memories are of the nights every night of the week they weren t performing spent lounging around in the back room of the club with Ernie, Antoinette, and "Mom" Antoinette s mom . Revealing a little know fact about life behind the scenes in the world of the self styled "Emperor of the Universe," Tee Eva tells Margo and guest host Poppy Tooker that each of them had their own couch to lounge on in the lounge. Not that Tee Eva has spent much of her life lounging. She s mostly a ball of kinetic energy, making up batches of pies and pralines in her current Uptown corner street front kitchen, or delivering the live Tee Eva experience. This comes in the form of regaling a never ending stream of tourists seeking a taste of home cooking and baking they ve seen on TV with tales from the rivers and bayous of childhood, or performing as a Baby Doll a tradition that according to Tee Eva dates back hundreds of years in which grown women parade around dressed as a baby s doll. Among the stories of fun, self professed declarations of being one of the world s greatest dancers, and the romantic tale of Katrina romance and marriage to her 1 guest, husband Lou Adams, are the tales of working in some of New Orleans famous restaurant kitchens and the disillusionment with the politics and economics of the restaurant business that prompted her to leave behind the security of a paycheck and launch out on her own. Though she can t compete with the hair and tattoos, Poppy does a fabulous job sitting in for Ray who, according to Poppy, will "be back next year."

show#53103.08.14                 Naw'linz Mardi Gras is EXTENDED to FAT SATURDAY!!!!!!!                                           TIP JAR!!!                                                               Dr. John - Big Chief from Dr. John's Gumbo 1972 (3:26)        Chris Spedding - Go to the Mardi Gras from One Step Ahead of the Blues 2002 (4:01)        Anders Osborne - Dive in the Gumbo from Bury the Hatchet 2002 (3:56)        Ernie K. Doe - Mother-In-Law from American R&B Hits Vol. 1 (Feelin' Good) 1961 (2:34)        Johnny Dyer - I'm Booked from Shake It! (Black Top, 1995) 1995 (2:20)        Gary Primich - Cold Hand in Mine from Company Man 1997 (3:41)        James Harman Band - Chumpman Blues from Mo' Na'kins, Please! 2000 (4:32)        John Mooney - Wibble Whim She When She Walk from Telephone King 1990 (4:17)        Andrew Forest - Beardo plug from Andrew Forest's Album 2011 (0:19)        Andy J. Forest - Mardi Gras Baby from Letter from Hell 1999 (5:19)        Sonny Landreth - Congo Square from South of I-10 1995 (6:24)        Professor Longhair - Hey Now Baby from Rock 'n Roll Gumbo 1977 (3:37)        Fat Harry & The Fuzzy Licks - No One Wants To Be The First To Cry from Hard Lovin' Man (CRS, 2012) 2012 (4:07)        Julian Sas - Blues For J from Light In The Dark 2003 (8:56)        Johnny Nocturne Band - At My Front Door from Wild & Cool (Bullseye, 1998) 1998 (4:19)        Kermit Ruffins - I Got a Treme' Woman from Happy Talk 2010 (5:44)        Tom Principato - Louisiana (Been Callin' Me) from Guitar Gumbo 2005 (5:07)        The Nighthawks - Louise from Hard Living 1991 (2:41)        Morblus - Better half of me from I can't go wrong (4:16)        Ian Siegal - Mortal Coil Shuffle from Swagger 2007 (7:04)        Juke Joints - Addicted to the blues from Going to Chicago (CRS, 2010) 2010 (3:17)        Chuck E. Weiss - Congo Square At Midnight from Old Souls And Wolf Tickets 2006 (4:31)        C.C. Adcock - Kissin' Kouzans from C.C. Adcock 1994 (3:56)        Tab Benoit - Voodoo on the Bayou from Nice & Warm 1992 (3:21)        Li'l Millet & his Creoles - Rich Woman from Creole Kings of New Orleans 1992 (2:37)        Brian Stoltz - Hoodoo Thing from East Of Rampart Street 2003 (3:43)        Neville Brothers - Voodoo from With God On Our Side (4:16)

What does the average American think of Britain? Zef's hit the streets of the U.S. to find out. This Email From America sees Zeff out on the street testing the average American's knowledge of all things British. Well, not all things it would appear - just the Royal Family and Downtown Abbey. You've heard the old saying "There's no such thing as a stupid question"? Well, one thing's for certain, there's definitely stupid questioners….. Music this e-mail from Wilco, A Tribe Called Quest, a classic from Ernie K. Doe, and new releases from Conway, and the Kings of Leon, and in his e-mail, Zeff's no longer calm about carrying on….. -- www.twitter.com/z1radio www.ZoneOneRadio.com www.facebook.com/ZoneOneRadio

New Orleans handlar om original och bisarra personligheter. Så har det alltid varit. Från Ernie K Doe - som lär ligga begraven bredvid sin elaka svärmor som han sjöng om i USA-ettan Mother-in-law - till hedonisten Lil Wayne. Det här är historien om den sistnämndes gamle vapendragare Louisianalegenden BG, som myntade begreppet Bling Bling, och som levererade fyra album innan han fyllt arton. Några år senare gick allt snett. Numera är han fånge nummer 31-96-90-34, dömd till 14 år bakom galler.

Ernie K-Doe biographer [Ben Sandmel][link1] meets singer Judy Spellman. [Kathleen Turpel][link2] meets Italian auto worker [Alessia Lepanto][link3]. [link1]: http://www.erniek-doebook.com [link2]: http://www.nonnamia.net [link3]: http://www.nonnamia.net/ See omnystudio.com/listener for privacy information.

Ernie K-Doe used to say, "I'm cocky, but I'm good." Designers [John Delgadillo][link1] and [Alicia Zenobia][link2] are outrageous, flamboyant, and outspoken. Peter gets physical with a [stock tip.][link3] [link1]: http://www.modelmayhem.com/1601034 [link2]: http://aliciazenobia.carbonmade.com/ [link3]: http://www.burkenroad.org/ See omnystudio.com/listener for privacy information.

Prior to a concert by Allen Toussaint and Henry Butler at the Library of Congress, Toussaint sat for an interview with Larry Appelbaum about his hit records, life in the recording studios, the New Orleans piano tradition, Professor Longhair, the challenges of songwriting and producing and the impact of Hurricane Katrina. Speaker Biography: Allen Toussaint (b. 1938) is an American musician, songwriter, record producer and one of most influential figures in New Orleans popular music. He has worked with a wide range of artists including Elvis Costello, Patti LaBelle, Dr. John, Paul McCartney, The Rolling Stones, Etta James, Aaron Neville and many others. Toussaint began his studio career supervising recordings for Minit Records and Instant Records in New Orleans, writing and producing hits for Ernie K-Doe, Irma Thomas, Art and Aaron Neville, Chris Kenner and Benny Spellman. His string of hits continued with the songs "Java" and "Whipped Cream" (Herb Alpert), "Yes, We Can Can" (Pointer Sisters), "Sneaking Sally Through The Alley" (Robert Palmer), "Lady Marmalade" (LaBelle) and "Southern Night" (Glen Campbell). Speaker Biography: Larry Appelbaum is a music specialist at the Library of Congress. For captions, transcript, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5343.

Dj Enki "A couple years ago, my friends Corey and Nicole at Lower Haters asked me to make a mixtape to be played at the big crawfish boil they do annually in San Francisco. My immediate though was: New Orleans funk time! So I put together a mix of classic New Orleans tunes from the likes of The Meters, Eddie Bo, Lee Dorsey, and Robert Parker. The mix went over so well that they asked me to do a sequel, and I had such a good time making the first mix that I was all too happy to make another one. For the second installment, I dug a little bit deeper and brought forth tracks by folks like Ernie K-Doe, Lloyd Price, The Gaturs, and Bo Dollis. While the mixes served as excellent accompaniment for chowing on plate after plate of crawfish, you certainly don't need to be eating some good Louisiana cuisine to enjoy them!" www.djenki.com / www.gershonisound.com

Antoinette K-Doe, widow of beloved New Orleans musician Ernie K-Doe, tells of her Katrina experiences and how Ernie K-Doe's Mother-in-Law Lounge fared. She describes her vision for New Orleans and New Orleans musicians. Antoinette also discusses how Ernie's last CD addresses the issue of race in New Orleans and how we must all work together to thrive.

The artist, musician, and Euclid Records store manager has covered a lot of territory in his career. From making pizza and managing the Circle Bar, to restoring art and DJing for bounce superstars, there's not much he hasn't done. He's never been on a podcast, until now. He joins the Troubled Men as they discuss social media, OJ, El Chapo, Squeaky Fromme, recording with Lynn Drury, Jacques DeLatour, poison Cheerios, DJ Shadow, early life, south central L.A., painting, art conservation, the Circle Bar mural, Kelly Keller, moving to town, Fireball Rocket, Ernie K-Doe, Chapel Hill, MTV, the Smashing Pumpkins interview, a nickname, a pizza allergy, the Tiger Theater, Mexican food, a blind man, Stevie Wonder, Dave Bartholomew, the Ponderosa Stomp, artistic and cultural fragility, the bounce revival, a name change, Michael Jackson, a random puncher, [a cctv beatdown at Siberia](http://www.youtube.com/watch?v=u9IGH-T9dxM), campaign management, a George Reinecke set, and much more. Please subscribe, review, and rate on your favorite podcast app. Follow and share on social media and spread the Troubled word. Intro music: Styler/Coman Outro music: The Ballad of the Lonely Lonely Knights by the Lonely Lonely Knights

The A-list drummer has played and recorded with everyone from Willie Nelson, Gatemouth Brown, and Alison Krauss to Derek Trucks, Charlie Hunter, and Bobby Rush. Doug's background as the son of a Lafayette session bass player and mentee of blues/zydeco master Lil' Buck Sinegal fostered his roots inclinations, while mind-blowing exposure to jazz masters such as Johnny Vidacovich and Ricky Sebastian launched his love of that music. As he completes his documentary on New Orleans drumming and some of its top practitioners, “Street Beat: Drumming Below Sea Level,” he joins the Troubled Men in the Ring Room just before it all hits the fan. Topics include an injury, tax troubles, a proposition, a family legacy, church music, a first drum set, an all-night odyssey to New Orleans, Astral Project, Brian Blade, Dickie Taylor, advice from Ernie K-Doe, film production, Uganda Roberts, John Mooney, drummer impressions, a vast discography, Black music influences, Stryper, Anders Osborne, Jerry Douglas, Nashville post-Katrina, Steve Gadd, Rockin' Dopsie, a Dylan session, a Stones visit, Congo Square, Grant St., career longevity, Willie Green, and much more. Support the podcast [here.](https://www.paypal.me/troubledmenpodcast) Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “What's Pho Lunch?” by Doug Belote from his album “Magazine St.”

He's written books on New Orleans icon Ernie K-Doe and the Zydeco culture of south Louisiana. He spearheaded the career revival of the Hackberry Ramblers, producing and playing drums with the Cajun band for eighteen years culminating in their Grammy nomination after 70 years together. Ben is attracted to offbeat characters and cultural ephemera, so of course he winds up in the Ring Room with the Troubled Men. Topics include the Super Bowl, Tom Flores' Hall of Fame snub, corrupt institutions, a Bible reading, a cyberattack, a book plug, a Christmas commercial, Rico Watts, “White Boy, Black Boy,” Clifton Chenier, “Jole Blon,” string bands, MTV Live, a neighborhood threat, disaster tourism, the Grand Ole Opry, a last road trip, a Beach Boys protest, liner notes, Chicago blues time, Sunnyland Slim, Jazz Fest interviews, losing peers, a false memory, publishing deals, false documents, a missing finger, and much more. Support the podcast by contributing [here](https://www.paypal.me/troubledmenpodcast) Subscribe, review, and rate(5 stars) on Apple Podcasts, Spotify, or most podcast aggregators. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Outro music: “Bill's Boogie Woogie” by Boogie Bill Webb and “Poor Hobo” by the Hackberry Ramblers from the album “Deep Water”