Podcasts about Esther Phillips

Especial mensual dedicado a recordar singles que alcanzaron su puesto más alto en las listas de pop de EEUU en este mismo mes de hace 60 años.Playlist;(sintonía) BERT KAEMPFTER and HIS ORCHESTRA “Three o’clock in the morning” (top 33)THE SUPREMES “Back in my arms again” (top 1)THE FOUR TOPS “I Can't Help Myself (Sugar Pie Honey Bunch)” (top 1)THE BYRDS “Mr Tambourine man” (top 1)SAM THE SHAM and THE PHARAOHS “Wooly Bully” (top 2)TOM and JERRIO “Boo-ga-loo” (top 57)THE ANIMALS “Bring it all home to me” (top 32)FREDDIE and THE DREAMERS “Do the Freddie” (top 18)ESTHER PHILLIPS “And I love him” (top 54)THE BEAU BRUMMELS “Just a little” (top 8)BOBBY GOLDSBORO “Voodoo woman” (top 27)THE O’JAYS “Lipstick Traces (On A Cigarette)” (top 48)CHUCK JACKSON and MAXINE BROWN “Something you got” (top 55)FONTELLA BASS and BOBBY McCLURE “You'll Miss Me (When I'm Gone)” (top 91)GENE PITNEY “Last chance to turn around” (top 13)GENE CHANDLER “Nothing can stop me” (top 18)ROGER MILLER “Engine engine #9” (top 7)THE OVATIONS (featuring Louis Williams) “It’s wonderful to be in love” (top 61)THE RONETTES “Is this What I Get For Loving You?” (top 75)Escuchar audio

This week's Blues is the Truth is a celebration of deep grooves, killer guitar work, and soulful storytelling, with your host Ian McHugh guiding the journey as always. There's no shortage of legends and modern heroes on the playlist – from the powerhouse energy of the Paul Butterfield Blues Band to the unmistakable swagger of Freddie King and BB King. You'll hear soul-drenched cuts from Chad Strentz, Bobby Rush, and Esther Phillips, while the grit and fire come courtesy of Joanna Connor, Johnny Lang, and Matt Schofield. There's a killer collaboration between Joe Louis Walker, Bruce Katz and Giles Robson, some high-octane blues from Mondo Cortez and the Chicago Blues Angels, and tight grooves from Micke Bjorklof and Blue Strip. Robert Hokum brings the local flavour, while Howlin' Wolf, The Kinsey Report and John Mayall and the Bluesbreakers represent the deep blues roots. Also featured this week are Tad Robinson, Eugene Hideaway Bridges, Philipp Fankhauser, the Lachey Doley Group, Leeroy Parnell, The Too Bad Jims, Plas Johnson, and a standout track from rising star D.K. Harrell. It's a full-on ride through blues past, present, and future—don't miss a moment.

durée : 00:59:17 - Irrésistible Inconnu - par : Nathalie Piolé - Quitter ses repères pour se lancer dans l'inconnu ? Voilà un bon programme pour ce soir. - réalisé par : Fabien Fleurat

Hear the winning 2025 International Blues Challenge band performance by  Josh Hoyer & Soul Colossal on Edition 689 of Blues Radio International, with Little Esther Phillips and Tommy Castro and the Painkillers. Recorded at the Orpheum Theatre, Memphis, January 2025.Photograph by Jesse FinkelsteinFind more at BluesRadioInternational.net

Label: Lenox 5555Year: 1962Condition: M-Price: $22.00One of my personal all-time favorites: When "Little Esther" Phillips starts singing, I literally get goosebumps — the recording's that powerful! And what a voice! Note: This copy has nearly pristine-looking labels and Near Mint vinyl. The audio is close to Mint, with just a touch of surface noise.

 We're at it again! Excavations below the crust of some pretty simple-minded teenage pap that seemed to occupy the Billboard Top 100 in the year 1960. Marketers had found the right blend of country, rhythm, pop, sentimentality and rock and this led to a churning out of as much and as they could as fast was possible. The result was a mixed bag:  quantity over quality in most cases. We call it spit-balling these days. We'll dig into the substrate of popular music that did not make the Top 40, and in some cases, the Top 100. We'll hear from Wanda Jackson, Billy Bland, Donnie Brooks, Johnny Preston, Esther Phillips, and a few dozen others in this week's show. Not withstanding what we do here, we have to consistently remind ourselves of the classic Tony Soprano quote: “'Remember when' is the lowest form of conversation.” So, we're mining for the ones we don't necessarily remember. And the big news? It's a rare two-parts-over-two-weeks extravaganza. Hope you can join in 

Visit: www.salty.com.au No ride here to the 50's, just one or two - but OMG it's cool! THE 58's is a genre hopping douse of goodness. Cuts from Mitch Ryder, Samantha Fish, Bob Lanza, Stormcellar, Southern Avenue, Little Feat, Lecia Louise, Steve Mondel, Watchhouse, Wareen Haynes, Richard Thompson, Neil Young, Nathan Beretta, Jen Mize, Lucinda Williams, Esther Phillips, Clayton Doley, Jason Isbell, Otis Namrell, Inspector Cluzo, 63 Deluxe, The Blow Out, Ian Siegal, Endless Boogie. ARTIST / TRACK / ALBUM ** Australia 1. Mitch Ryder / Lilli May / With Love 2. Samantha Fish / I'm Done Running' / Paper Doll 3. The Bob Lanza Blues Band / Upside of Lonely / Breadman's Blues 4. ** Stormcellar / A Little Too Much Is Never Enough / Basilisk 5. Southern Avenue / What Do I Do / Southern Avenue 6. Little Feat / Too High To Cut My Hair / Strike Up The Band 7. ** Lecia Louise / One Man / single release 8. ** Steve Mondel / Long-Haul Flights / Long-Haul Flights 9. Watchhouse / Belly of The Beast / Watchhouse 10. Warren Haynes / Day Of Reckoning / Million Voices Whisper 11. Richard Thompson / Persuasion / Celtschmerz (Live UK '98) 12. Neil Young / Star of Bethlehem / Homegrown 13. ** Nathan Beretta / Drinking Alone / Love Taxman 14. ** Jen Mize / My Buzz / Neon N Nothin' Else 15. Lucinda Williams / Joy / Car Wheels On A Gravel Road 16. Esther Phillips / Flesh, Blood and Bone / Release Me - The Best of Esther Phillips 17. ** Clayton Doley's Organ Donors / Return of the Prodigal Son / Tension! 18. Jason Isbell / Ride To Robert's / Foxes In The Snow 19. ** Otis Namrell / Hard To Breath / Otis Namrell Trio 20. The Inspector Cluzo / The Duck 'Guit' Blues / Gasconha Rocks 21. ** 63 Deluxe / My Favourite Hurricane / 63 Deluxe 22. ** The Blow Out / That Ain't Lovin' Me / Version of You 23. Ian Siegal / Won't Be Your Shotgun Rider / All The Rage 24. Endless Boogie / Occult Banker / Long Island

Andy kicks off this week with a cheeky one from Led Zeppelin before taking you on his two hour journey.There's some rare ones from the Motown label, some soulful takes on Dylan tracks from Esther Phillips, Nina Simone and Brook Benton and the three Northern Soul Stonkers got their spins at Blackpool Mecca plus he pays tribute to Marianne Faithfull who passed away this week.For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//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.

durée : 00:59:21 - Pas de problème - par : Nathalie Piolé -

**Jim Hughes & The Disco Direction Show Replay On traxfm.org. This Month Jim Featured A Brilliant Rare Groove Special. Featuring Latimore, LA Boppers, Barry White, Brooklyn Express, Hi Tension, Jean Carn, Esther Phillips, Lesette Wilson, Los Charlys Orchestra, Magic Disco Machine, Odyssey, Benny Golsen, Tata Vega, Faze O, Sweet Charles, The Jacksons, Walter Jackson & More. #originalpirates #danceclassics #70smusic #80smusic #disco #RetroCharts #boogie Catch Jim Hughes The First Tuesday Of Every Month From 9PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

There's a whole heap of soul featuring this week as Matt is joined by DJ Paul Freeman. He has tracks from Esther Phillips, The Holidays and The Montclairs, while Matt brings his usual mash up of genres including new music from Matt Berry, Jamie And The Numbers and Brisbane band The Trams.For more info and tracklisting, visit: https://thefaceradio.com/blow-up/Tune into new broadcasts of Blow-Up! Sundays from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Back live after a week off, Andy brings you another eclectic mix of Groovy tunes for you to while away two hours. Kicking off with a classic from Leroy Hutson, there's beauties from Esther Phillips, Tommy Hunt and Al Green; funkies from United 8, The Wild Magnolias and Paul Weller and the Northern Soul Stonkers are brought to you by three Jackie's!For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//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.

durée : 00:59:43 - Banzzaï du vendredi 30 août 2024 - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé.

A Groovy Soul packed with tunes this week including a number written by songwriter and recording artist Dan Penn; there's a touch of voodoo from Koko Taylor and Screamin' Jay Hawkins, the three Northern Soul Stonkers are chosen by Face listener Jamie Spencer and we start and finish with the vocal talents of Esther Phillips and Aretha Franklin.For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//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.

The Love Train is going full DISCO for this episode. Kicking off with les grande dames Esther Phillips, Bettye LaVette and Anita Ward, then Salsoul, Frankie Smith and more... with Hot Chocolate on top. All vinyl, mixed with love. Yum.Original air date Saturday 2.17.2024 at 1 pm (est) on WOZO-LP 103.9 FM Radio in Knoxville, TN and streamed online at wozoradio.com

Featuring:Melanie, The Kitchen Cinq,Goose Creek Symphony,Esther Phillips, Marbles,Patty Saturday, The Diamonds,Thomas and Richard Frost,The Four Shillings, White Duck,Colours, The Dickies,and more!Recorded live via 6160kc sw02-03-2024

De Sarah Vaughan aux Beatles, en passant doucement par Thomas Dutronc, Rod Stewart, Les Doubles Six, Esther Phillips, Beth Hart, Dakota Stanton, Billy Swan...

In September 2020, Barbados announced its decision to become a republic, removing the British monarchy as head of state. November 30th, 2021 marked not only the 57th anniversary of the nation's independence but a new beginning as a republic. Award-winning author Candice Brathwaite, explores Barbados' transition to a republic two years after the official declaration. Through interviews with poet laureate Esther Phillips, historian Dr Pedro Welch, artist Oneka Small, journalist Krystal-Penny Bowen and socio-economics expert Professor Don Marshall, she gains insights into the Island's evolving identity. With thanks to Barbados Today and Barbados' Prime Minister's Office.

Quinta entrega de este coleccionable dedicado a las compilaciones “The Mod jazz Series” (Ace Records). Estos recopilatorios compilaron diferentes sonidos del jazz, o cercanos al jazz, favoritos entre los mods británicos de los años 50 y 60. Playlist; (sintonía) FREDDIE McCOY “Collard greens” RAY CHARLES “Get on the right track baby” GENE LUDWIG “Sticks and stones (part 1)” BILLIE POOLE and JUNIOR MANCE TRIO “Them blues” RAY BRYANT COMBO “Sack o Woe” ESTHER PHILLIPS “Fever” LAVERN BAKER and JIMMY RICKS “You’re the boss” MODERN JAZZ QUARTET with LAURINDO ALMEIDA “One note samba” BYRON LEE and THE SKA KINGS “Watermelon man” HERBIE MANN “It's a funky thing-right on (part 1)” TOMMY RIDGLEY “Jam up twist” GENE McDANIELS “Sweet lover no more” JOE SWIFTS INTERNATIONALS “Bell bottoms” KENNY RICE and LEO’S FIVE “Hold it” TIMMY THOMAS “Have some boogaloo” MARK III TRIO “Tres lobos” HANK JACOBS “East side” MOSE ALLISON “The foolkiller” EDDIE HARRIS “When a man loves a woman” Escuchar audio

This Saturday morning, Ball Hog Beats jumps on the live stream to sample "That's All Right with Me" by Esther Phillips. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ballhogbeats/message Support this podcast: https://podcasters.spotify.com/pod/show/ballhogbeats/support

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

https://ontargetpodcast.caThis week presents yet another exceptional blend, featuring a continuous stream of melodies sourced from the authentic depths of their original vinyl 45s. Immerse yourself in a reservoir of Soul, R&B, Northern Soul, Garage, Mod Beat, and an array of other captivating sounds.-----------------------------------------------The playlist is:"You Never Miss Your Water (Till The Well Runs Dry)"'Little' Esther Phillips & 'Big Al' Downing- Lenox"Lipstick, Powder, And Paint"Joe Turner- Atlantic"Big Legs, Tight Skirt"John Lee Hooker- Vee Jay"Leave It In The Hands Of Love"Fontella Bass- Checker"Lipstick Traces (On A Cigarette)"The O'Jays- Imperial"I Dont Wanna Fuss"Sugar Pie De Santo- Checker"Mony Mony"The Mohawks- Pama"Black Room"Jun Mayuzumi- Capitol"I Can See"The Gentrys- MGM"The Vibration"Sonny Harris & The Soul Reflections- San-El"Name It You Got It"Micky Moonshine- Decca"Tell It To The Rain"The Four Seasons- Philips"From Head To Toe"Chris Clark- Motown"Ain't No More Room"The Kittens- Chess"She Cried Just A Minute"Charles Spurling- King"Sha La La"Manfred Mann- Ascot"Loved For The Last Time"The Maydays- Flare"1, 2, 3, Red Light"1910 Fruitgum Co.- Pye"I Got To Handle It"The Capitols- Atco"Wiggle Wobble"Don Covay- Cameo"Dumplin'"Doc Bagby- Epic

G.C. CAMERON  GIVE ME YOUR LOVE.ANNETTE SNELL  I THINK I AM FALLING IN LOVE.JAMES BROWN  YOU TOOK MY HEART.THE KRASH BAND WITH EVELYN HOLDER  SO I CAN MAKE THIS CHANGE.MAYSA  HIS LOVE FEAT. FRANK MCCOMB.DOWN TO EARTH  IN THE SHADOWS OF THE NIGHT.TRISTAN  ANOTHER SEASON.DWAYNE SCIVALLY  LET ME SO.APHROSE  GOOD LOVE.CORNELL CC CARTER  IT'S SO NICE.HELEN BRUNER & TERRY JONES  I CAN'T CALL IT.RODNEY STITH  RIDE WITH ME.ESTHER PHILLIPS  BROTHER BROTHER.RUBY WILSON  LOVE HAS COME.THE GREEN BROTHERS  YOUR LOVE HAS LIFTED ME.QUEEN EMILY  THROW AWAY ME.MT JONES  I'D BE LYING.JOE LEAVY  DO IT AGAIN FEAT. ALTHEA RENEE.AVERY SUNSHINE  BOOMERANG.HIL ST. SOUL  LOVE AND FIRE.ROB SCOTT & LEEE JOHN  GOT TO GET OVER YOU.LYNN DAVIS  BEAUTIFUL YOU.HELEN BRUNER & TERRY JONES  EVER STOP TO THINK.NATASHA WATTS  I DO, I DID, I'M DONE.DWAYNE SCIVALLY  IS IT ME?FULL FLAVA FEAT. BEVERLEI BROWN  TAKE IT TO THE LIMIT.ANTIONE HUTCHINS  BE ALRIGHT.TYGRESSA  PILLOW TALK.RODNEY STITH  I CAN'T HELP MYSELF.WILL DOWNING  TILL WE MEET AGAIN.

NBC's Saturday Night puts together its most fun show yet! Hosted by Candice Bergen, with musical guest Esther Phillips, episode 4 is often credited as being where the show really starts to find itself. There are a lot of sketches in this one; ranging from classic (Jaws II) to "I never have to see that again."  Andy Kaufman returns (yeah!), as do The Muppets (ugh) and yet another film by Albert Brooks (eh.).   Luckily, all of it is anchored by Candice Bergen, who really throws herself into the show (and even a burlap sack) to make it a fun episode. Which begs the question - Does a fun episode mean it's a good episode? We dive in to find out! Plus, we attempt to coin a new phrase as things are starting to feel a little "Chevy heavy." Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

Esse é o AutoRadio Podcast. Under The Covers 80 - Especial The Beatles Powered by Wisdomtech http://www.wisdomtech.com.br

The Queens of the Blues podcast celebrates the prolific female blues music from the early 1920's to present times. This show, entitled “Double Crossing Blues,” is entirely about Esther Phillips.#estherphillips

Kris Kristofferson "Loving Her Was Easier (Than Anything I'll Ever Do Again)"Esther Phillips "Tonight I'll Be Staying Here with You"The Yardbirds "New York City Blues"Lucinda Williams "Honey Bee"Willie Nelson "Railroad Lady"Willie Dixon "Big Three Boogie"Elvis Costello "Sulphur to Sugarcane"Jimmy Buffett "Death of an Unpopular Poet"Marty Robbins "A White Sport Coat (And A Pink Carnation)"Lightnin' Hopkins "Sick Feelin' Blues"Lula Reed "Going Back to Mexico"Charlie Parr "Cheap Wine"Eilen Jewell "Walking with Frankie"The Yas Yas Girl (Merline Johnson) "Don't You Make Me High"Sam Cooke "Shake"Buffalo Tom "Sodajerk"Frankie Lee Sims "Lucy Mae Blues"Bonnie "Prince" Billy "Stablemate"Jessie Mae Hemphill "Run Get My Shotgun"The Harlem Hamfats "The Candy Man"Chisel "Red Haired Mary"Hayes Carll "It's a Shame"Precious Bryant "Dark Angel"Joel Paterson "Because"Dinosaur Jr. "Muck"Cleo Brown "Pinetop's Boogie Woogie"Freddie King "Lonesome Whistle Blues"Hank Williams "Settin' the Woods on Fire"David Grubbs "The Thicket"Bee Houston "Break Away"Superchunk "Package Thief"Bob Dylan "Dirt Road Blues"Mississippi Fred McDowell "Keep Your Lamps Trimmed and Burning (Remastered)"Billie Holiday "I Loves You, Porgy"The Black Keys "Stack Shot Billy"The Mountain Goats "Downtown Seoul"Bennie Moten's Kansas City Orchestra "Won't You Be My Baby?"Junior Kimbrough "Meet Me in the City"The Wandering "Mr. Spaceman"Les Paul & Mary Ford "I'm Sitting On Top Of The World"The White Stripes "The Nurse"Leo Kottke "Vaseline Machine Gun"Amos Milburn "Please Mr. Johnson"Buddy Holly "Dearest"Johnny Cash "Johnny 99"Bob Wills and his Texas Playboys "Beaumont Rag"John Lee Hooker "Waterfront"Bruce Springsteen "I Ain't Got No Home"the Fox Hunt "Lord, We Get High"

Drive-by Truckers "Dragon Pants"Fleetwood Mac "Like It This Way"Fats Domino "The Big Beat"Aerial M "Wedding Song No.2"Valerie June "You And I"Hound Dog Taylor & The HouseRockers "Give Me Back My Wig (Live)"AC/DC "Let There Be Rock"John Fahey "Uncloudy Day"Adia Victoria "Stuck In The South"Andrew Bird "Underlands"Elizabeth Cotten "Going Down the Road Feeling Bad"Craig Finn "God in Chicago"Ian Noe "Strip Job Blues 1984"Esther Phillips "Tonight I'll Be Staying Here with You"R.L. Burnside "Miss Maybelle"Hank Williams "I'm Sorry for You My Friend"Joan Shelley "Amberlit Morning (feat. Bill Callahan)"John R. Miller "Lookin' Over My Shoulder"Max Roach "Garvey's Ghost (feat. Carlos "Patato" Valdes & Carlos "Totico" Eugenio)"Ranie Burnette "Hungry Spell"Nina Nastasia "This Is Love"Thurston Harris "I Got Loaded (In Smokey Joe's Joint)"Folk Implosion "Sputnik's Down"Slim Harpo "I'm a King Bee"Wipers "Youth of America"The Scotty McKay Quintet "The Train Kept a-Rollin'"Mississippi John Hurt "Sliding Delta"Magnolia Electric Co. "Montgomery"Dr. John "Memories of Professor Longhair"Billie McKenzie "I'd Rather Drink Muddy Water"Little Walter "Juke"Elvis Presley "Trying to Get to You"Billie Jo Spears "Get Behind Me Satan And Push"Ray Charles "Georgia On My Mind"Freddy King "Hide Away"Furry Lewis "Old Blue"Billie Holiday "What a Little Moonlight Can Do"Bob Dylan "One More Cup of Coffee"The Primitives "How  Do Yu Feel"Ramones "Blitzkrieg Bop"Ruth Brown "Lucky Lips"Bonnie 'Prince' Billy "A Minor Place"Pearl Bailey "Frankie and Johnnie"fIREHOSE "In Memory Of Elizabeth Cotton"James Booker "On The Sunny Side Of The Street"Ray Price "The Same Old Me"Mississippi Fred McDowell "My Babe"The Replacements "Here Comes a Regular"

Nat King Cole "The Christmas Song"Jon Spencer "Big Yule Log"Clarence Carter "Back Door Santa"Ella Fitzgerald "Let It Snow! Let It Snow! Let It Snow!"Mac McCaughan "Down We Go (Sledding Song)"Otis Gibbs "Color Wheel"Darlene Love "Marshmallow World (1963)"Count Basie "Good Morning Blues"Sufjan Stevens "We're Going to the Country!"Billy Briggs "North Pole Boogie"Charlie Parr "Slim Tall's Christmas On The Lam"Soltero "Songs of the Season"Esther Phillips "Far away christmas blues"Kermit Ruffins "Little Drummer Boy"Ted Hawkins "Golden Sun"She & Him "The Christmas Waltz"Lucinda Williams "Blue Christmas"Bonnie "Prince" Billy & Dawn McCarthy "Christmas Eve Can Kill You"John Fahey "Go I Will Send Thee (Instrumental)"JD McPherson "Hey Skinny Santa!"Squirrel Nut Zippers "Hanging Up My Stockings"Tom Waits "Silent Night"Willie Nelson "Pretty Paper"Valerie June "Winter Wonderland"Bessie Smith "At the Christmas Ball"Albert King "Santa Claus Wants Some Loving"Kitty Wells "Christmas Ain't Like Christmas Anymore"Brown Bird "The Old Church Bell"Phoebe Bridgers "7 O'Clock News / Silent Night"Huey 'Piano' Smith and The Clowns "'Twas the Night Before Christmas"Andrew Bird "Alabaster"John Prine "Christmas In Prison"The Both "Nothing Left to Do (Let's Make This Christmas Blue)"Kathleen Edwards "It's Christmastime (Let's Just Survive)"Buck Owens "Santa Looked A Lot Like Daddy"Les Paul & Mary Ford "Jungle Bells (Dingo-Dongo-Day) [Bonus Track]"The Staple Singers "No Room At the Inn"Hank Williams "At the First Fall of Snow"Louis Armstrong "'Zat You Santa Claus?"Merle Haggard "Daddy Won't Be Home Again For Christmas"Dinah Washington "Ole Santa - Single Version"Johnny Cash "The Ballad of the Harp Weaver"James Brown "Let's make christmas mean something this year pts. 1&2"Joel Paterson "Christmas Time Is Here"Nina Nastasia "Handmade Card"Vic Chesnutt "White Christmas"Low "Just Like Christmas"

durée : 00:59:50 - Les chats, on les croit - par : Nathalie Piolé -

Highlights from Season 8 Vol 1. Music only, no waffle.WARNING: Fragments of songs spliced together for the hell of it. Money For Nothing [Willie & The Bandits]It's A Long Way To The Top [Lucinda Williams]Vienna [Billy Joel]Chain Of Fools [Sidsel]Shine On You Crazy Diamond [Christy Moore]Telegraph Road [Dire Straits] Ruins [Cat Stevens]I Can See For Miles [Petra Haden]Rumours Of  War [Billy Bragg]It's Alright (Baby's Coming Back) [Ane Brun]Do Right Woman [Esther Phillips]Does Anybody Out There Even Care? [Lenny Kravitz]Jailbreak [Yothu Yindi]She's Always A Woman [Fyfe Dangerfield]See Emily Play [Martha Wainwright]18th Avenue [Cat Stevens]Won't Get Fooled Again [The Who]www.songsungnew.comJoin Stevie on Spotify and Instagram

Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"

Delusion is back at the historic Phillips Estate with a brand-new horror experience. Valley of Hollows, playing select nights through November 20th, explores American cults in the 1970s with a supernatural twist. The story concerns a cult called ‘The Hollows,' formed after the disappearance of Esther Phillips over twenty years ago. Fanatics worldwide have come to the Esther estate, driven by rumors of a gift beyond this life. Guests play the role of ‘Deprogrammers' – those meant to help rescue people from the influence of cults. Today, Manny from our team went on-location to the media night. First, you'll hear the opening remarks from John Braver, and then Manny will sit down with John for a one-on-one. Follow along to our Hauntathon: https://linktr.ee/hauntedattractionnetwork

Confession, originally broadcast August 2, 1953, 69 years ago, Esther Phillips. A housewife strikes up a relationship with a gambler at the racetrack, and leaves her husband. Unfortunately the man she hooks up with is a murderer. Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long time (as in more than half a century) fan and the heart of a forty year news man. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

Air Week: July 25-31, 2022 Little Esther Esther Mae Jones is one of the First Ladies of R&B, yet her 1950s output under the name Little Esther is sadly overlooked. Little Esther was discovered by bandleader Johnny Otis in 1949, when she was only 14 years old. Otis immediately added her to his musical ensemble. […]

MICHAEL HENDERSON  TAKE ME I'M YOURS.KENI BURKE  LOVE IS THE ANSWER.TOM GLIDE & THE LUV ALL STARS  I'M NOT THE SAME MAN.PATTI AUSTIN  FIRST TIME LOVE.MICHAEL HENDERSON  IN THE NIGHT TIME.ESTHER PHILLIPS  A TASTE OF HONEY.BOBBY TAYLOR  OH I'VE BEEN BLESSED.ANTOINIQUE  PHENOMENON.ALOE BLACC  GOOD THINGS.NORMAN CONNORS FEAT. MICHAEL HENDERSON & PHYLLIS HYMAN  WE BOTH NEED EACH OTHER.LUTHER INGRAM  IF LOVING YOU IS WRONG.NITEFLYTE  IF YOU WANT IT.MARJORIE INGRAM  ANOTHER WOMAN INVOLVED.NORMAN CONNORS FEAT. MICHAEL HENDERSON  YOU ARE MY STARSHIP. 

Rebirth Jazz Band "Lord, Lord, Lord, You Sure Been Good To Me"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"Charlie Feathers "Can't Hardly Stand It"James Wayne "Junco Partner"Gillian Welch "Lowlands"Lonnie Johnson "Tomorrow Night"Otis Smith "Sunday School Woman"Adia Victoria "Devil Is A Lie"Superchunk "Endless Summer"Drag the River "Truth"Joan Shelley "Amberlit Morning"Louis Armstrong "Back O' Town Blues"Bonnie Raitt "Blame it On Me"Varetta Dillard "Mercy Mister Percy"Earl King "Come On (Part 1)"Buck Owens And The Buckaroos "Act Naturally"Queen "Stone Cold Crazy"Little Richard "Rip It up (8D)"The Maddox Brothers & Rose Maddox "Move It on Over"The Dixie Cups "All Grown Up"R.E.M. "Gardening At Night"Billie Holiday "It's Easy to Blame the Weather"Big Bill Broonzy "When Did You Leave Heaven"Songs: Ohia "Farewell Transmission"Esther Phillips "Better Beware"Hound Dog Taylor "Gonna Send You Back to Georgia"The Jim Carroll Band "People Who Died"Bob Dylan "False Prophet"Built To Spill "Kicked It in the Sun"Otis Redding "You Don't Miss Your Water"John Prine "Sweet Revenge"Roy Hawkins "The Thrill Is Gone"Ruth Brown with Budd Johnson's Orchestra "Teardrops From My Eyes"Elvis Presley "One Night"Andrew Bird "Lone Didion"Fats Waller "I wish I were Twins (05-16-34)"Howlin' Wolf "Evil"Hank Williams "Lovesick Blues"The Pogues "Down All the Days"Merle Haggard & The Strangers "The Bottle Let Me Down"The Mountain Goats "Wild Sage"Jelly Roll Morton "Don t you leave me here"Mississippi Fred McDowell "Louise"Cab Calloway and His Orchestra "Is That Religion'"Bo Diddley "Say Man, Back Again"Billy Joe Shaver "Hardworkin' Man"Valerie June "Keep the Bar Open"The Replacements "Here Comes a Regular"

LUTHER  FOLLOW MY LOVE.EARTH, WIND & FIRE  SUNSHINE.THE McCRARYS  LOVE ON A SUMMER NIGHTWILLIE HUTCH  SUNSHINE LADY.RAMP  EVERYBODY LOVES THE SUNSHINE.THE MAIN INGREDIENT  SUMMER BREEZE.THE STIMULATORS  WARM SUMMER LOVE.LOU RAWLS  SUMMERTIME.ESTHER PHILLIPS  THE GIRL FROM IPANEMA.ROY AYERS FEAT. SYLVIA COX  THIS SIDE OF SUNSHINE.B.B. KING  SUMMER IN THE CITY.AVERAGE WHITE BAND  ATLANTIC AVENUE.WILSON PICKETT  HELLO SUNSHINE.LEON WARE  WHY I CAME TO CALIFORNIA FEAT. JANIS SIEGEL.THE O'JAYS  '68 SUMMER NIGHTS.ADRIANA EVANS  SUMMERTIME.J.T. TAYLOR  LONG HOT SUMMER NIGHT.SOULFUSIONSEVEN  SUMMER BREEZE.RAUL MIDON WITH THE METROPOLE ORKEST  SUNSHINE (I CAN FLY).

An extended version of Culture File's conversation with Esther Phillips, recorded on the poet's back porch in the Parish of Christ Church on the Republic of Barbados, on an afternoon in May 2022.

Culture File sets sail for Barbados Celtic Festival and hears from among others, champion calypsonian, The Mighty Gabby; Mark O'Callaghan, son of To Hell or Barbados author, the late Sean O'Callaghan; and Barbados' Poet Laureate, Esther Phillips.

Barbados poet laureate, Esther Phillips reads and explores her new poem, My Ancestors Gifted Me Their Silence.

Barbados poet laureate, Esther Phillips on her new body of work questing for the real meanings of reparations.

Patterson Hood "She's A Little Randy"The Bellrays "Love and Hard Times"JD McPherson "Just Around The Corner"Aretha Franklin "Do Right Woman Do Right Man"Marah "The Hustle"New Moon Jelly Roll Freedom Rockers "Come On Down To My House"Don Nix "Mary Louise"Don Nix "My Train's Done Come and Gone"Doris Duke "Feet Start Walking"Billy Bragg and Wilco "At My Window Sad and Lonely"Alabama Shakes "Hold On"Matt Woods "Lucero Song"Todd Farrell Jr. "Liner Notes"Esther Phillips "No Headstone on My Grave"Charlie Parr "817 Oakland Avenue"Col. Bruce Hampton & The Aquarium Rescue Unit "Yield Not To Temptation"Run The Jewels "JU$T"Miles Davis Quintet "Trane's Blues"Curtis Harding "I Won't Let You Down"Jolie Holland "Old Fashioned Morphine"Swamp Dogg "I Need a Job"Arrested Development "Never Had Your Back"Adia Victoria "Magnolia Blues"JD McPherson "Lust For Life / Sixteen"R.E.M. "Driver 8"Liz Phair "6'1""Big Star "O, My Soul"The Band "Smoke Signal"Nicole Atkins "Darkness Falls so Quiet"The Replacements "Achin' to Be"Two Cow Garage "Soundtrack to My Summer"Two Cow Garage "Lost On Youth"Old 97's "The One"Jason Isbell and the 400 Unit "Save It for Sunday"Marlena Shaw "California Soul"Art Blakey "Now's The Time"Sugar Pie DeSanto "Going Back Where I Belong"Precious Bryant "Broke And Ain't Got A Dime"John Moreland "East October"Jenny Lewis "Red Bull & Hennessy"

Tom Petty & The Heartbreakers "Supernatural Radio"Jake Xerxes Fussell "Love Farewell"Fiona Apple "Heavy Balloon"Little Richard "Long Tall Sally"Tom Waits "Long Way Home"Don Nix "Yazoo City Jail"Percy Sledge "Baby Help Me"Big Mama Thornton "Gimme A Penny"Outkast "Elevators (Me & You)"Cedric Burnside "We Made It"James Carr "To Love Somebody"Amanda Shires/Jason Isbell and the 400 Unit "Cross Bones Style"Esther Phillips "Use Me"Porter Wagoner "Better Move It on Home"Will Johnson "Just to Know What You've Been Dreaming"Taj Mahal "Lovin' in My Baby's Eyes"Lucero "A Dangerous Thing"Jim Dickinson "Nobody Wants You When You're Down And Out"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"Phoebe Bridgers "Graceland Too"Drive-By Truckers "The Opening Act"John Hammond, Jr. "Drop Down Mama"Grateful Dead "Me & Bobby McGee"The Rolling Stones "Monkey Man"Sam Cooke "Bring It On Home To Me"Otis Redding "Cigarettes and Coffee"Duane Allman "B.B. King Medley: Sweet Little Angel / It's My Own Fault / How Blue Can You Get"Neil Young "Unknown Legend"Bonnie 'Prince' Billy "New Memory Box"Charlie Parr "Louis Collins"The Staple Singers "Be What You Are"Aimee Mann "Suicide is Murder"Billy Joe Shaver "Get Thee Behind Me Satan"Sallie Ford "Coulda Been"Centro-matic "Supercar"Dave Van Ronk "Duncan and Brady"The Fox Hunt "We Know This Town"R.E.M. "New Test Leper"Waxahatchee "Under a Rock"

In this episode of Black Creative Handbook, we have Esther Phillips. Esther Phillips is also known as Jungel Queen is a creative designer who specializes in creative directing. Working on projects to empower people to become a better version of themself through visual arts and technology. 01:19 How would you describe your creative practice? 01:49 If you can describe your creative heritage in one word, what would it be? 02:14 Toast or Cereal? 02:27 Blue or Green? 02:42 Braids or Twists? 03:52 Tube or Bus? 04:29 Cushions or Pillows? 04:39 Android or Apple? 05:02 What advice would you give to your 20-year-old self? 05:54 What projects are you working on right now? 07:07 What do you mean by interior set designs? 08:33 What is the method/process you use in creating some of your creative direction? 10:13 What do you do next to get your idea into realization? 11:52 How can you make something on a limited budget? 13:34 How do you collaborate? 17:36 How do you describe your music and how do you get into it? 21:02 What is your process of turning things into a business? 25:29 Where do you think you're gonna be in 3 years' time? 26:29 How do you connect with your target market/audience? 30:14 When are you dropping your EP? 31:00 What comes first, the lyrics or the production? How does it work for you to create your EP? 31:29 Do you have a creative concept on how to style your album cover/physical stuff for your album? 32:52 Which do you think is your strongest skill set? 33:31 How do you visually produce mood boards/concept boards? 34:18 What is the biggest compliment/testimonial you received about your work? 35:33 How can people find all of your creative endeavors? Where is the best place to find you and connect with you? 36:17 Why the name Jungel Queen? Follow Esther on her Social Media accounts: Website: https://www.depop.com/estherphillipsjq/ Instagram: https://www.instagram.com/jungel_queen Thank you for listening!

I am so lucky that I get to interview great musicians like Wendell Harrison. Wendell Harrison has a new album called, "Get Up Off Your Knees". We chatted for over an hour and it was so much fun. Wendell worked with Sun Ra, Esther Phillips, Art Pepper, and Grant Green...among others. Wendell is a Detroit Native and found his life and purpose in that city. This is the long form version, I totally recommend that Wendell documents his stories since he has lived a full life. If you want to hear the radio version i added the Itunes link, but it is available everywhere. https://podcasts.apple.com/us/podcast... So, the album is "Get Up Off Your Knees" Tom Gouker's Facebook: https://www.facebook.com/tomfunproduc... Also check out THE BEATLES COME TO AMERICA https://anchor.fm/thebeatlescometoame... --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Germany has one of the lowest vaccination rates in Western Europe. The country is now edging closer to mandatory vaccines for the coronavirus with lawmakers set to vote on the issue before the end of the year. And, five years ago, Colombia's government and the Revolutionary Armed Forces of Colombia (FARC) signed a peace agreement. Since then, deforestation has been on the rise as cattle ranchers, loggers, miners, subsistence farmers and criminal groups move into areas formerly controlled by them. Plus, at midnight, Barbados removed Queen Elizabeth II as the head of state and installed Governor General Sandra Mason as its first president. We hear from Barbados's poet laureate Esther Phillips about the Caribbean nation's efforts to grapple with its brutal colonial past. Every day, the reporters and producers at The World are hard at work providing you with relevant, fact-based and human-centered news from across the globe. From the initial pitch, to the chase, to interviews, to writing, to production, to broadcast, every story from The World requires careful input and touches from many different members of our nonprofit newsroom. The story you just read is available to read for free because thousands of listeners and readers like you generously support our nonprofit newsroom. Become one of 515 donors to make your gift of $130, or pledge $11 monthly before Nov. 30, and you'll help us unlock a matching gift of $67,000. We need your help now more than ever — give today!

Universal Studios Hollywood announced the return of Halloween Horror Nights on select nights September 9th - October 31st. The event will feature the new "The Haunting of Hill House" maze based on the popular Netflix series. Fans will encounter many of the show's sinister spirits including William Hill - The Tall Man, The Ghost in the Basement, and The Bent-Neck Lady. The Haunting of Hill House will also be featured at Orlando's Halloween Horror Nights as well. Tickets for the event at Universal Studios Hollywood will be available soon.Halloween celebrations return to Disneyland and Disney California Adventure Park September 3rd - October 31st, 2021. Haunted Mansion Holiday, the Main Street Pumpkin Festival, and the Halloween Screams fireworks spook-tacular will return to Disneyland, and guests will be able to meet Mickey and friends in their Halloween finest. At Disney California Adventure Park Radiator Springs will become "Radiator Screams" with Mater's Graveyard JamBooree and Luigi's Honkin' Haul-O-Ween, and Guardians of the Galaxy - Monsters After Dark will return to thrill guests each night. Oogie Boogie Bash is also set to return on select nights. The event will feature treat trails, Mickey's Trick & Treat stage show, the Frightfully Fun Parade, and Villains Grove. Tickets start at $114/person. Sales begin on July 13th. The interactive theater event, Delusion announced their 2021 theme and new Pomona, California location. Reapers Remorse will bring participants into the world of occultist Esther Phillips, "a solemn collector surrounded by artifacts that not only tell tales but carry the very souls they're tied to." Also new for 2021 is the "Her Private Collection: VIP Experience" upgrade which includes a secluded 2nd floor of terror experience with exclusive story threads, entrance to the "Dark Arts Bar & Lounge", and a limited edition poster signed by creator John Braver. Delusion opens September 16th. Tickets go on sale at 11:00 a.m. on July 15th, but fans who register in advance on the event's website are eligible for a special July 14th pre-sale.The owner of The Haunted Majestic floating barge haunted attraction has filed a lawsuit again the West Virginia State Fire Marshal's Office, arguing that they overreached when they forced the attraction to close after an inspection last year. The lawsuit states the defendants did not have the power to close the barges last year because they do not have regulatory authority to impose state law upon federally inspected commercial marine vessels. Instead, the U.S. Coast Guard is the overseeing agency of the vessel. The owner of the barge would like to reopen for the 2021 Halloween season and recoup an estimated $60,000 in lost revenue due to the closure.A proposed haunted attraction in the Town of Wilson, New York is drawing criticism from area residents who are concerned about noise, traffic, and even "lasting psychological harm to their children". Corey Quinn, co-owner of the property which The Haunted Forest hopes to occupy in the Fall of 2021, intends to dispel misconceptions surrounding the agritainment event. Haunted hayrides and Halloween events can help to supplement income and agricultural tourism to farms, and with proper precautions like adequate parking, low-decibel speakers, and crowd control fences & staff, the impact on neighboring properties can be minimized. A public hearing will take place at a later date. Quinn believes the Department of Agriculture and Markets will defend his right to operate his Halloween event.Beth Turner, co-owner of Haunted Hydro in Fremont Ohio, has opened the kayaking company, Ghoul Runnings. Guests can rent kayaks and canoes, and tours and kayaking lessons will be offered in the near future. The name was inspired by watching members of Haunted Hydro's cast & crew go kayaking after working on the haunt, some in full Halloween gear. As Turner recalls, "That's where the Ghoul Runnings came in because it was kind of like a bunch of ghouls going down the river.”Submit news: philip@hauntedattractionnetwork.comRead More: https://mailchi.mp/hauntedattractionnetwork.com/haunt-industry-news-july-10

Capt. Ganz & first mate Joe Carlisle discuss Bill Withers. Christopher Cross...special dedication. Nicolette Larson,Tom Scott feat. David Pack! Richard Torrance "Rio" Floats The Boat" Class Yacht 101 w Esther Phillips proto yacht! Joe Beck. Brecker Bros. New music from Bill Champlin! CWF We play a very yachty Greg Guidry. We are Jam packed! Climb aboard!

https://www.otrcat.com/p/confession