Widely sampled song by James Brown
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3 episodes with Funky Drummer
3 episodes with Funky Drummer
3 episodes with Funky Drummer
3 episodes with Funky Drummer
2 episodes with Funky Drummer
2 episodes with Funky Drummer
2 episodes with Funky Drummer
3 episodes with Funky Drummer
2 episodes with Funky Drummer
Hey, Lit listeners! It's old home week here at the podcast. Joining me are two Rock is Lit alumni who know a thing or two about chasing musical dreams and writing fiction that grooves with soul and grit: authors and musicians Peter McDade and Michael Amos Cody. In this special episode we're talking about their brand-new novels: Peter's ‘King Cal' and Michael's ‘Streets of Nashville'. Both of these fabulous novels ask what music costs, what it gives, and who gets to be heard. Also in the episode, we'll get to hear each author read from their books and maybe even settle the question Who makes the best frontman—or frontwoman—in rock history? *Trigger warning: We talk Taylor Swift in the last part of the episode. Swifties, listen with caution. PLAYLIST: Rock is Lit theme music Sixties 60's music (free to use) Acoustic Guitar instrumental [Non Copyrighted] Guitar arrangement for song “Funky Drummer” by James Brown “My Best Friend's Girl” by The Cars “Drive-Thru” by Tenacious D “Fast Food” by Jesse Welles “The Entertainer” by Billy Joel “Pop Singer” by John Mellencamp “Soulmates” by Michael Amos Cody “My Dear Friend, Mr. Heineken” by One Four Three/‘King Cal' soundtrack “Drowning in Mayo” by Lords of the Living/‘King Cal' soundtrack “Cover Me Up” by Jason Isbell “Game On!” by Aqours “Blank Space” by Taylor Swift “Free Man in Paris” by Joni Mitchell “Watching Mary Sleep” by King Cal/‘King Cal' soundtrack “Landscapes” by Michael Amos Cody Sixties 60's music (free to use) Rock is Lit theme music LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Peter McDade's website: peterjmcdade.com ‘King Cal' soundtrack on Bandcamp Peter McDade on Facebook: https://www.facebook.com/peter.j.mcdade Peter McDade on Instagram: https://www.instagram.com/peterjmc33/ Michael Amos Cody's website: michaelamoscody.com Michael Amos Cody on Instagram: https://www.instagram.com/michaelamoscody/ Michael Amos Cody on Facebook: https://www.facebook.com/michaelamoscody Michael Amos Cody on Bluesky: https://bsky.app/profile/michaelamoscody.bsky.social Peter on Rock is Lit EP15 and Peter on Rock is Lit EP36 Michael on Rock is Lit Christy Alexander Hallberg's website: www.christyalexanderhallberg.com Rock is Lit on Instagram & Bluesky: @rockislitpodcast Christy Alexander Hallberg on Instagram and YouTube: @christyhallberg Christy Alexander Hallberg on Facebook: @ChristyAlexanderHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices
Clyde Stubblefield deserves to be in the Rock and Roll Hall of Fame. Find out why as Jonathan and Kitty chat with Trevor Banks who is leading the charge to get the Funky Drummer in.
Mit dem Song "Nothing Compares 2 U" aus der Feder von Prince stürmte Sinéad O'Connor 1990 endgültig die Charts auf der ganzen Welt. Doch das dazugehörige Album "I Do Not Want What I Haven't Got" ist weit mehr als nur ein populärer Song – es ist eine schonungslose Auseinandersetzung mit Schmerz, Verlust und persönlicher Heilung und lässt auch 35 Jahre später niemanden unberührt. Mit über sieben Millionen verkauften Exemplaren und vier Grammys war das Album ein Erfolg, doch O'Connor lehnte die Auszeichnungen ab, da sie nicht für beeindruckende Zahlen, sondern für ihre Kunst anerkannt werden wollte. Ihr Gesang ist kraftvoll und emotional und das Album kombiniert eine Vielzahl von Musikstilen, von Hip-Hop über irische Klänge bis hin zu Rock und orchestralen Arrangements. Sinéad O'Connor: Eine rebellische Künstlerin mit eigener Vision Sinéad O'Connor begann schon als Schülerin mit Straßenmusik in Dublin und verließ mit 16 Jahren ohne Schulabschluss das katholische Internat, um Gesang und Klavier zu studieren. Sie zog nach London und hatte dort ihre erste eigene Band. Mit 17 erhielt sie bereits ihren ersten Plattenvertrag und zeigte früh ihre rebellische Haltung – so rasierte sie sich die Haare ab, um sich gegen die Erwartungen ihres Labelchefs an ihr weibliches Erscheinungsbild zu stellen – und das wird zu ihrem Markenzeichen. "Sie war als Künstlerin vor allem eins: Sie war sehr kompromisslos. Das war auch ihr Selbstverständnis als Musikerin. Sie hat immer gesagt, nur wenn man als Künstler authentisch ist, dann kann man erst andere berühren, und das ist ja das Ziel für jeden Musikerkünstler." (SWR1 Musikredakteurin Nina Waßmundt) Sinéad O'Connor – "I Do Not Want What I Haven't Got" Musikalisch kombinierte sie auf bereits ihrem ersten Album verschiedene Stile und auch ihr zweites Album "I Do Not Want What I Haven't Got" war von dieser Vielfalt geprägt und spiegelt ihre einzigartige Fähigkeit wider, scheinbar gegensätzliche Welten miteinander zu verbinden. Das Album reflektiert ihre inneren Kämpfe und die Schmerzlichkeit, die sie als Mensch und Künstlerin beeinflussten. Besonders das Verhältnis zu ihrer Mutter, das von Missbrauch und ambivalenten Gefühlen geprägt war, zieht sich wie ein roter Faden durch das Werk. Der bekannteste Song auf dem Album: "Nothing Compares 2 U" "Nothing Compares 2 U" ist der bekannteste Song des Albums. Er wurde zum weltweiten Erfolg und erreichte Platz 2 in den deutschen Jahres-Single-Charts. Die Geschichte hinter dem Song beginnt in Minneapolis, als Prince 1984 das Stück schrieb und es zunächst an seine Band "The Family" weitergab. Doch erst Sinéad O'Connors Stimme verlieh dem Song eine tiefere Bedeutung, die über die Melodie hinausging – sie drückt ihre eigene Trauer über den Verlust ihrer Mutter 1985 aus. Im Musikvideo zu "Nothing Compares 2 U" zeigt sich O'Connor in jeder Strophe in einer anderen emotionalen Verfassung, von Trauer und Wut bis hin zu Akzeptanz, so Musikredakteur Frank König. O'Connor selbst erklärte, dass sie bei diesem Song immer an ihre Mutter denke und sich in diesen Momenten mit ihr verbunden fühle. Mehr über Sinéads tragische Vergangenheit, das Albumcover und die gesamte Geschichte hinter dem Megahit "Nothing Compares 2 U", hört ihr im Podcast zu Sinéad O'Connor – "I Do Not Want What I Haven't Got". _______ Über diese Songs vom Album "I Do Not Want What I Haven't Got" wird im Podcast gesprochen (14:09) – "Feel So Different"(17:12) – "I Do Not Want What I Haven't Got"(27:00) – "I Am Stretched On Your Grave"(33:03) – "The Emperor's New Clothes"(37:58) – "Black Boys On Mopeds"(44:54) – "Nothing Compares 2 U" Über diese Songs wird außerdem im Podcast gesprochen (10:28) – "Mandinka" von Sinéad O'Connor(29:49) – "Funky Drummer" von James Brown(46:18) – "Nothing Compares 2 U" von Prince(47:27) – "Nothing Compares 2 U" von The Family__________ Alle Shownotes und weiterführenden Links zur Folge: https://1.ard.de/sinead-o-connor-i-do-not-want-what-i-havent-got Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de
Today in 1969, at a session for soul and funk icon James Brown, drummer Clyde Stubblefield laid down what's probably the most sampled beat of all time. Plus: today in 2021, the premiere of "Sooyii," the first movie filmed entirely in the Blackfoot language. Funky Drummer — pop history was made when James Brown hollered ‘Hit it!' (Financial Times) Film shot entirely in Blackfoot language, on tribal land to premiere (The Missoulian) Make it funky when you support our show on Patreon --- Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support
Originally released as episode #138 on 10/7/21, now tweaked and remastered for Summer Vacay 2024! "Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Lee's "Do The Right Thing," which put the group on the radar of a much wider audience. In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life! Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!! Take time to learn stuff about stuff you already know stuff about! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!" Learn more about your ad choices. Visit megaphone.fm/adchoices
Originally released as episode #138 on 10/7/21, now tweaked and remastered for Summer Vacay 2024! "Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Lee's "Do The Right Thing," which put the group on the radar of a much wider audience. In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life! Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!! Take time to learn stuff about stuff you already know stuff about! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!" Learn more about your ad choices. Visit megaphone.fm/adchoices
The Godfather of Soul's Legacy: James Brown and the Birth of Hip-HopWhen diving into the vast ocean of music history, there are certain figures that stand out not just for their talent but for the lasting impact they have had on shaping entire genres and movements. James Brown, the Godfather of Soul, is undeniably one of those trailblazing artists. His influence on early hip-hop is profound, with his innovative music paving the way for a whole new style of expression that would come to define an era. Join me as we unravel the intricate relationship between James Brown and the birth of hip-hop.James Brown's Musical Foundation: Laying the Groove for Hip-HopJames Brown's musical genius lies in his ability to craft infectious grooves that transcend generations. His songs were more than just music; they were experiences that encapsulated raw energy and soulful rhythms. Brown's music was inherently groovy, with minimal chords that left ample space for additional elements like vocals or horns to shine.Tracks like "Get on the Good Foot" exemplify the perfect marriage of rhythm and groove that made his music a goldmine for early hip-hop DJs. The syncopated drum beats, punctuated by Brown's dynamic vocals, set the stage for what would later evolve into rap music. His innovative style became the bedrock on which hip-hop would build its empire of rhythm and rhyme.Drum Breaks and Beats: The Essence of Early Hip-Hop and James Brown's RoleThe essence of early hip-hop can be traced back to the ingenious techniques of DJs like DJ Kool Herc and Grandmaster Flash. These pioneers extended drum breaks by looping records during parties, a practice known as 'digging in the crates.' This involved DJs scouring through obscure records in search of the perfect drum breaks to sample for their mixes.James Brown's music, with its infectious beats and impeccable timing, became a treasure trove for these DJs. The groove that permeated Brown's tracks provided the backbone for early hip-hop, with DJs layering vocals over these breaks to create a unique sound that would revolutionize the music scene.Sampling in Hip-Hop: James Brown's Unmatched InfluenceIn the 1970s and 80s, when access to music was limited, hip-hop DJs turned to the past for inspiration. They delved into old records, seeking out drum breaks that would breathe new life into their tracks. James Brown's "Funky Drummer," initially released in 1970, gained newfound popularity when reissued in 1986.The infectious drum groove of "Funky Drummer" made it a favorite among hip-hop artists looking to add an extra layer of rhythm to their beats. The track became one of the most sampled drum breaks in hip-hop history, solidifying James Brown's status as a legendary figure whose influence extended far beyond his own era.Diversification into Disco: James Brown's ExperimentDespite facing a decline in popularity in the mid-70s with the emergence of disco, James Brown refused to be confined by the shifting tides of the music industry. In an attempt to assert his influence on the disco genre, Brown released disco tracks and even claimed to have invented disco itself.His album "The Original Disco Man" marked a period of experimentation for Brown as he sought to carve out a space for himself in the evolving musical landscape. Though his attempts to rewrite disco history may have been met with skepticism, they showcased his unwavering determination to stay relevant and explore new avenues of expression.Solidifying a Legacy: James Brown in the Evolution of Hip-HopJames Brown's legacy extends far beyond his illustrious career as a musician. His strategic decision to reissue "Funky Drummer" in 1986 speaks volumes about his foresight and adaptability in an ever-changing industry. By attracting hip-hop DJs to sample his music, Brown ensured that his influence would continue to reverberate through the fabric of hip-hop culture.
Welcome to the Instant Trivia podcast episode 1138, where we ask the best trivia on the Internet. Round 1. Category: Did I Hear That Right? 1: "Saturday Night Live" editorialist Emily Litella wasn't sure why all the fuss about these "on television". Violins. 2: A coming-of-age novel by Bruce Ducker is titled "Lead Us Not Into" this NYC train depot. Penn Station. 3: (Hi, I'm Tony Danza) On "Friends", Lisa Kudrow was convinced that this man's song "Tiny Dancer" was really "Tony Danza". Elton John. 4: George W. Bush once referred to these 2 trade obstacles as "terriers and bariffs". Tariffs and barriers. 5: In a 2000 film, the idiomatically challenged "Trixie" speaks of "drinking yourself into" this South American country. Bolivia (instead of "oblivion"). Round 2. Category: You'Re Going In. With In in quotation marks 1: It's a polypeptide hormone produced by the beta cells of the islets of Langerhans. insulin. 2: Any of the 4 anterior teeth in the jaw used for cutting. incisors. 3: It's found after "Disco" in a Top 40 song and "Dante's" in story. inferno. 4: It's a 10-letter verb meaning to introduce into public use by some formal ceremony. inaugurate. 5: From the Latin for "deceitful", it means "stealthily treacherous". insidious. Round 3. Category: As You Like It. With As in quotation marks 1: A fibrous mineral formerly used to make fireproof articles. asbestos. 2: A paroxysmal, often allergic disorder of respiration characterized by bronchospasm and wheezing. asthma. 3: A village in Berkshire, England or a scarf with broad ends. an ascot. 4: In TV, this ratio of the width of an image to its height can be 4 to 3. an aspect ratio. 5: A secluded building, often the residence of a guru, used for the instruction of Hinduism. an ashram. Round 4. Category: Music Industry Terms 1: This is taking a snippet of one song and using it in another; "Funky Drummer" by James Brown is often used. a sample. 2: Incorporating part of an old song into a new song, or trying a free piece of cheese at the deli. sampling. 3: In digital music sales, this method used to be about 20% of purchases and downloads were 70%; now it's flipped. streaming. 4: A hit song from one genre of music that also achieves commercial success in another genre. a crossover. 5: Non-reserved general admission seating at a performance venue; it sounds like a celebration. festival seating. Round 5. Category: Completes The Movie Title 1: "Down and Out...". ...In Beverly Hills. 2: "Dog Day...". ...Afternoon. 3: "Kind Hearts and...". ...Coronets. 4: "Jim Thorpe...". ...All-American. 5: "Heaven Knows...". ...Mr. Allison. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
BANG! @southernvangard #radio Ep394! Back from a brief hiatus last week, we celebrate DJ JON DOE'S bday in exquisite fashion this week. Tons of WORLD EXCLUSIVES and a TWITCH ONLY set for the ages - there isn't much else to say other you need to in tune in NOW…and YOU WAAAAALCOME!!!!! #SmithsonianGrade #WeAreTheGard #YouWaaaaalcome // southernvangard.com // @southernvangard on all platforms #undergroundhiphop #boombap #DJ #mixshow #interview #podcast #ATL #WORLDWIDE #RIPCOMBATJACK ---------- Recorded live March 10, 2024 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks ---------- Pre-Game Beats - DJ Jon Doe Talk Break Inst - "O.G.W.A." - DJ Jon Doe "Play Amongst The Stars" - Flee Lord & Crisis "Szechuan" - Jay Royale ft. Ja'king The Divine "Down For Ours" - L.I.F.E. Long "The Way I Feel (Th3ory Hazit RMX)" - Artifacts "Gain Knowledge" - Nef ft. Wais P & The Musalini "Place I Rep" - Remy Banks "Oxtails" - Spit Gemz ft. Bub Styles Talk Break Inst. - "Untitled" - DJ Jon Doe "No Hands" - Enoch ft. Guilty Simpson & Fat Ray "Universal Soldier" - JUS-P "Kings of Rock" - Everliven Sound & Slimline Mutha ft. LC & Broadway "Stranger" - Maestro Fresh Wes ft. Saukrates "We Bang" - Blu & Shafiq Husayn ft. MED, Thurz & YaH-Ra "I'm Not Like Them" - Different Breed 860 & Dead Poetz ft. Tone Spliff "Live Life" - Str8 Bangaz ft. Masta Ace, Rasheed Chappell & Junii Talk Break Inst - "No Question" - DJ Jon Doe "Drum Mobb" - Flee Lord & Crisis ft. Conway The Machine "Rappin' A$$ John" - Stik Figa "Fix Your Own Plate" - Blueprint "Vinividivici" - Vada ft. Snotty "Pulled Pork" - Jay Royale ft. Bub Styles & Pro Dillinger "Just Touched Down" - Flee Lord & Crisis "Different Language" - Bernadette Price ft. Terror Van Poo Talk Break Inst - "No Me" - Jon Doe ** TWITCH ONLY SET ** RIP BIG ** "Who's Making Love?" - Lou Donaldson "One More Chance (Hip Hop Mix)" - The Notorious B.I.G. "Real Love (Remix)" - Mary J. Blige ft. The Notorious B.I.G. "I Got a Story to Tell" - The Notorious B.I.G. "Going Back to Cali" - The Notorious B.I.G. "Brooklyns Finest" - Jay-Z ft. The Notorious B.I.G. "Unbelievable" - The Notorious B.I.G. "Kick in the Door" - The Notorious B.I.G. "Ten Crack Commandments" - The Notorious B.I.G. "Rap Phenomenon" - The Notorious B.I.G. "Player's Anthem" - JUNIOR M.A.F.I.A. "Flava In Ya Ear (Remix)" - Craig Mack ft. The Notorious B.I.G., Rampage, LL Cool J & Busta Rhymes "Who Shot Ya?" - The Notorious B.I.G. ft. Faith Evans "Just Playing (Dreams)" - The Notorious B.I.G. "Blues & Pants" - James Brown "The Payback" - James Brown "Funky Drummer" - James Brown "Rebel Without A Pause" - Public Enemy
What role do drums play in Rock? Should that be keeping the beat or leading from the front? Who are some of the greatest drummers in rock music? The beat goes on as Jim DeRogatis and Greg Kot focus on the contributions of drummers to rock music with drummer Joe Wong. Wong also hosts a podcast on drummers called The Trap Set. There's also an interview with Bernard Purdie.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beatles, "Come Together," Abbey Road, Apple, 1969The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967James Brown, "Funky Drummer," Funky Drummer (single), King, 1970Wild Flag, "Romance," Wild Flag, Merge, 2011Little Richard And His Band, "Heeby-Jeebies," She's Got It (single), Specialty, 1956Michael Jackson, "Billie Jean," Thriller, Epic, 1982Earth Wind and Fire, "Can't Hide Love," Gratitude, Columbia, 1975Rush, "Tom Sawyer," Moving Pictures, Mercury, 1981Elvin Jones, "Agappe Love," Poly-Currents, Blue Note, 1970The Rolling Stones, "Paint It Black," Paint It Black (single), Decca, 1966Battles, "Atlas," Mirrored, Warp, 2007Can, "Paperhouse," Tago Mago, United Artists, 1971The Who, "Young Man Blues," Live at Leeds, Decca, 1970The Who, "I Can See For Miles," I Can See For Miles (single), Track, 1967Dennis Coffey, "Scorpio," Evolution, Sussex, 1971Queen, "Fat Bottomed Girls," Jazz, EMI, 1978Violent Femmes, "Blister In the Sun," Blister in the Sun (single), Slash, 1983Phil Collins, "In The Air Tonight," Face Value, Virgin, 1981Fela Kuti, "Zombie," Zombie, Coconut, 1976Aretha Franklin, "Rock Steady," Rock Steady (single), Atlantic, 1971Led Zeppelin, "Rock and Roll," Led Zepplin IV, Atlantic, 1971Led Zeppelin, "Dazed and Confused," Led Zeppelin, Atlantic, 1969Led Zeppelin, "Stairway To Heaven," Led Zepplin IV, Atlantic, 1971Public Image Ltd., "Under the House," The Flowers of Romance, Virgin, 1981Led Zeppelin, "When the Levee Breaks," Led Zeppelin IV, Atlantic, 1971Sleater-Kinney, "Youth Decay," All Hands on the Bad One, Kill Rock Stars, 2000XTC, "Senses Working Overtime," English Settlement, Virgin, 1982James Brown, "I Got the Feelin'," I Got the Feelin', King, 1968Rolling Stones, "Honky Tonk Woman," Honky Tonk Woman (Single), Decca, 1969The Stairsteps, "O-o-h Child," O-o-h Child (single), Buddah, 1970Doris Troy, "Just One Look," Just One Look (single), Atlantic, 1963Gil Scott-Heron, "The Revolution Will Not Be Televised," The Revolution Will Not Be Televised, Flying Dutchman, 1974The Exciters, "Tell Him," Tell Him (single), United Artists, 1962Melvin Bliss, "Synthetic Substitution," Reward (single), Sunburst, 1973Public Enemy, "Don't Believe The Hype," It Takes a Nation Of Millions To Hold Us Back, Def Jam, 1988Ultra Magnetic M.C.s, "Ego Trippin'," Ego Trippin' (single), Next Plateau, 1986Naughty By Nature, "O.P.P. (instrumental version)," O.P.P. (single), Tommy Boy, 1991EPMD, "I'm Housin'," Strictly Business, Fresh, 1988Wale, "Lacefrontin'," The Eleven One Eleven Theory, Maybach Music, 2011Steely Dan, "Home At Last," Aja, ABC, 1977The MC5, "Kick Out the Jams," Kick Out the Jams, Elektra, 1969See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Cortney sits down with filmmaker Deborah Riley Draper to discuss her new documentary, James Brown: SAY IT LOUD. The pair speak about James Brown's role in the Black Power Movement of the 1960s and 1970s, Brown's iconic song “Say It Loud – I'm Black and I'm Proud,” slavery's influence on Black entertainment, the history of hip-hop, r&b, soul, and rock musicians sampling James Brown, and funk music's impact on contemporary genres. Cortney and Deborah also have a nuanced conversation about how to discuss artists with complicated pasts. Acting Up is all about Black Hollywood, who's making noise, who's making a difference, and how they're moving the needle regarding representation. Cortney Wills has forged deep connections with creatives, actors, directors, producers, writers, executives, and the real decision-makers who shape how our community is represented onscreen, giving Acting Up access to the inner workings of Hollywood. Music Courtesy of: Transitions Music Corporation, Black Ice Publishing, Reach Global Songs Media Clips Courtesy of: A + E NetworksSee omnystudio.com/listener for privacy information.
Recorded in August 2022 as an addendum to the main feed episode "Strong Grooves, Volume 1," special guest Russ Kleiner takes Kirk through the evolution of James Brown drummer Clyde Stubblefield's playing from 1967 to 1970.FEATURED/DISCUSSED:"Cold Sweat" (1967), "I Got The Feelin'" (1968), "Mother Popcorn" (1969), "Funky Drummer" (1970), all feat. Clyde Stubblefield on drums.SPECIAL GUEST: Russ KleinerRuss is one of Kirk's oldest friends, a drummer and percussionist who currently lives, teaches, and performs in Connecticut. He has frequently offered drum insights to Kirk for various episodes of Strong Songs, and has been overdue for an actual appearance on the show. Additional thanks to Nick D'Errico for his help recording and overseeing the drum session for this episode - find Nick online at https://www.nddrums.com.DRUM GROOVE QUIZ ANSWERS:----------------- are you ready ---------------1. Mother Popcorn2. I Got The Feelin'3. Cold Sweat4. Mother Popcorn5. Funky Drummer6. Cold Sweat7. I Got The Feelin'8. Mother Popcorn
Kirk climbs inside the machine-gun rhythms and unstoppable grooves of the legendary Oakland funk outfit Tower of Power.Written by: Doc Kupka and Emilio CastilloAlbum: Tower of Power (1973)Listen/Buy via SongwhipALSO DISCUSSED:"What is Hip?" "Squib Cakes" "Only So Much Oil in the Ground" "Don't Change Horses (In the Middle of a Stream)," "So Very Hard to Go," "Credit," all by Tower of Power"Saturday Night Live" theme by Howard Shore, feat. Lenny Pickett"Cold Sweat," "I Got the Feelin'," "Mother Popcorn," "Funky Drummer" by James Brown, 1967-70"Soul Vaccination" live from Soul Vaccination: Tower of Power Live, 1998Drum examples performed by Russ Kieiner, recorded by Nick D'Errico----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music--------------------AUGUST 2023 WHOLE-NOTE PATRONSCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryAshley HoagChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerJeanneret Manning Family FourDave SharpeSami SamhuriJeremy DawsonAccessViolationRyan TorvikElliot Jay O'NeillAndre BremerDave FloreyAUGUST 2023 HALF-NOTE PATRONSAbraham BenrubiChristopher BrunoPAUTNAChris KotarbaCallum WebbLynda MacNeilDick MorganZach WamplerBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Whit SidenerRobert Granatdave malloyTim RosenwongNick Gallowayjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonJulian RoleffDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJason ReitmanAilie FraserVonNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsVictoria YuBrad ClarkMark Boggsmino caposselaSteve PaquinEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistLinda DuffyEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonDamian BradyAngela LivingstoneDavid FriedmanSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerJules BaileyAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaArjun SharmaJames JohnsonKevin MorrellColin Hodo
Homer Steinweiss - Percussion Discussion - Episode 118 Joining me today is Homer Steinweiss, Homer is a drummer, writer and producer from New York, he has an enviable CV of both live and recording credits including - Sharon Jones & The Dap Kings, Fleet Foxes, Lady Ga Ga, Bruno Mars, Texas, Amy Winehouse, St Vincent, Michael Buble, Charles Bradley, Sheryl Crow, Rufus Wainright, Daniel Merriweather and literally hundreds more! Join Homer and myself as we talk about his quite remarkable career so far - we talk about his work with late Sharon Jones & The Dap Kings and the effort that went in to making those beautifully crafted and incredibly authentic sounding albums, including the approach of the producer, recording equipment and of course the vintage drums themselves, something Homer is very passionate about (as am i) We also talk about his work with the late great Charles Bradley and how his soulful style was the perfect fit with Homers beautiful and equally soulfull touch on the drums. Homer speaks at length about how he thinks drummers should recieve a writing credit for coming up with a drum part for a song, he explains that had this happened many years ago then the likes of the late Clyde Stubblefield could have had a much more comfortable lifestyle later in life as the composer of one of the most sampled drum beats in history "The Funky Drummer" We also talk about the sessions with Mark Ronson about the Amy Winehouse Back to Black sessions of which Homer played on half of the tracks on this iconic album, he lso tells about how Valerie was recorded live in the studio with Amy Winehouse singing! This conversation was nothing short of remarkable, Homers name deserves far more recognition than it presently has, an incredible drummer, writer & producer plus with a great head for business too.Homer kindly offered to let me use the beautiful playing that you hear over the titles totally free of charge, definitely more drummy and more in keeping with the nature of this podcast.www.homersteinweiss.comPlease rate and review this podcast if you are enjoying it - Thanks!
Wutang & The JB's | Produced by Djaytiger Wutang over the production of Djaytiger's James Brown beats https://fullblastradio.bandcamp.com/album/wutang-the-jbs-produced-by-djaytiger Join the Fullblast Radio Channel Membership to Support: http://vip.fullblastradio.com/ ______________________________________________________________ To also support the channel you can donate here:
Wutang & The JB's | Produced by Djaytiger Wutang over the production of Djaytiger's James Brown beats https://fullblastradio.bandcamp.com/album/wutang-the-jbs-produced-by-djaytiger Join the Fullblast Radio Channel Membership to Support: http://vip.fullblastradio.com/ ______________________________________________________________ To also support the channel you can donate here:
James Brown était un chanteur et auteur-compositeur américain, qui est considéré comme le "Parrain de la Soul". Il était le musicien afro-américain le plus influent de son temps, intégrant la musique soul au funk et au disco. Brown a créé un nouveau son, qui a été facilement identifié avec les communautés afro-américaines pauvres dans lesquelles il a grandi. Son style a influencé des artistes dans tous les genres musicaux, du hip hop au rock en passant par la musique latine. James Brown était une figure centrale de la scène Black Music. Certains disent qu'ils sont nés en 1933, mais James Brown est l'un d'entre eux. Vérité ou pas, lui seul le sait ! Victime d'un vol à l'âge de 16 ans, il est incarcéré à l'Alto Reform School. Il y serait resté sans l'aide de son mentor et chanteur local Bobby Byrd, qui l'a aidé à sortir tôt en échange d'un peu d'aide dans une campagne électorale. Après que James ait commencé à construire sa musique gospel, il a ensuite rejoint son groupe, les Gospel Starlighters. Ils sont devenus plus tard les Flames ! En 1955, le jeune Ike et le reste des Kingsmen ont enregistré une démo de « Please Please Please », leur version originale de la chanson. Ralph Bass a signé le groupe pour jouer dans deux de ses salles locales, ce qui était une opportunité incroyable pour le groupe talentueux. La version originale de la chanson est sortie en avril 1955. Elle a été créditée à "James Brown And The Famous Flames", et elle a finalement atteint la 5e place du classement R&B américain. 1958 a été une année charnière pour le rock and roll. "Try Me" s'est hissé au numéro 1 des charts, devenant non seulement le personnage de merchandising le plus rentable, mais aussi le premier à percer dans la culture pop traditionnelle. Une fois de plus, Brown a eu du mal à maintenir ce niveau de succès, mais "I'll Go Crazy" et "Think" (tous deux en 1960) ont fourni une certaine stabilité de carrière. Jusqu'en 1977, les célibataires étaient presque toujours notés. Mais c'était un album : 'Live At The Apollo' (1962), qui a sans aucun doute établi le chanteur. Cette excellente collection a fait de Brown la voix de l'Amérique noire. 30 ans plus tard, cet album est considéré comme l'un des meilleurs sets live de tous les temps. La célébrité ne suffisait pas, ce qui l'a amené à signer avec Smash Records en 1995. Les poursuites judiciaires engagées par le nouveau point de vente n'ont fait qu'accroître la notoriété de "Out Of Sight". Le single a marqué le début d'un son plus petit et plus serré qui allait finalement restructurer la musique de danse. Brown est devenu bien connu dans les années 1960 avec des chansons qui ont brisé les frontières générationnelles, notamment "Papa's Got A Brand New Bag", "I Got You (I Feel Good)" et It's A Man's Man's Man's World. Le directeur musical du groupe, Nat Jones, a été remplacé par Alfred Ellis en 1968 et "Cold Sweat" a apporté de nouvelles perspectives à leur présentation musicale. Avec Clyde Stubblefield à la batterie, 'Say It Loud - I'm Black And I'm Proud' (1968), 'Mother Popcorn' (1969) et 'Get Up (I Feel Like Being A) Sex Machine' (1970) la voix du chanteur était exempte d'un riff musical persistant, ce qui lui permettait parfois de crier, parfois de mendier, mais toujours de transmettre l'urgence avec assurance. En 1971, Brown a déménagé chez Polydor Records et a créé un nouveau groupe d'accompagnement. On les appelait les JB. L'album a été dirigé par Fred Wesley, collaborateur de longue date de James Brown, et mettait en vedette des musiciens chevronnés tels que Maceo Parker et St. Clair Pinckney. Il présentait également une nouvelle génération de musiciens qui venaient juste de faire leur entrée sur la scène à l'époque. Ailleurs, Bootsy a fait défection avec d'autres anciens membres du Funkadelic de George Clinton Son succès a continué à être substantiel En 1974, il a eu trois numéros 1 successifs dans "The Payback", "My Thang" et "Papa Don't Take No Mess (Part 1)", ainsi que deux bandes originales, "Black Caesar". et « La grande escroquerie au massacre ». Au fil de la décennie, il a eu du mal à maintenir son niveau d'activité et sa popularité antérieurs. L'essor du Disco sonne le glas de son œuvre. Le moment était venu pour James de passer à autre chose en 1980, lorsqu'il a quitté Polydor Records. Son rôle de camée dans le film “The Blues Brothers”, où il a joué son propre personnage, était son dernier acte avec la compagnie avant de se lancer dans d'autres opportunités. Rolling Stone attribue aux sorties ultérieures de Wilson sur des labels plus petits comme TK, Augusta Sound et Backstreet un succès marginal. La rockstar James Brown est revenue sur la scène avec vengeance en 1986, cette fois en partenariat avec Sly & Robbie pour faire "Livin' In America", la chanson thème de la bande originale du film Rocky IV. Succès international, "How Do You Stop" a été suivi de deux tubes R&B, "I'm Real" et "How could You Hurt Me". Cette dernière chanson a inspiré un album du même nom, enregistré avec le groupe de soul Full Force. La résurrection de James Brown a été brutalement interrompue en 1998. Le chanteur a été impliqué dans une poursuite en voiture à grande vitesse et a été tué après avoir percuté un camion en stationnement. Il a été reconnu coupable de plusieurs infractions, dont la possession de drogue illégale et l'échec de la police. Cela l'a amené à purger 6,5 ans au State Park Correctional Center. Il a été libéré en 1991, après avoir écrit de nouveaux morceaux pendant son incarcération. L'influence de James Brown domine le paysage hip-hop depuis un certain temps déjà ; tout le monde connaît "The Godfather of Soul" grâce à ses efforts de pionnier dans le genre. Les nouveaux styles urbains doivent une grande partie de leur inspiration au funk brut d'artistes musicaux tels que "The Godfather of Soul", et James Brown, notamment avec "Funky Drummer" de Stubblefield, à partir des années 70, ils ont fortement échantillonné les voix hurlantes, les cris et les voix improvisées de Brown. Des artistes de tous les genres musicaux ont interprété des chansons de l'impressionnant catalogue de Brown. Il a continué à avoir des démêlés avec la justice et une toxicomanie infructueuse au cours des années 90. Il a été contraint de faire face à un tragique accident médical en 1995. Son ex-femme était décédée lors d'une opération de liposuccion. Pendant son hospitalisation, les craintes pour sa santé ont continué à planer. Son addiction aux analgésiques a été traitée, mais il risque toujours de rechuter. Après que la police a reçu un appel au sujet de coups de feu tirés dans la région, il a été retrouvé avec de la marijuana et une arme à feu non enregistrée. Contains samples of "Off the record interview with James Brown, 1988-05-19" by Smith, Joe (1928-) (Interviewer) and Brown, James (1933-2006) (Interviewee). Retrieved from Citizen DJ, Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.
My guest today is Matt Baxley, better known to the wider world as Moot Booxlé, a multi-instrumentalist, singer, producer, composer, synthesist, teacher, and funk connoisseur currently based in Fort Myers, Florida. Moot rose to prominence in the early days of YouTube with his videos demonstrating his abilities on the modular synthesizer and the talkbox, gaining millions of views and many followers. He played his first professional gig at the age of 16, playing drums in a production of the musical “Grease” in his hometown of Morristown, TN. He has played thousands of gigs since then on multiple instruments. He currently plays and sings nightly in several bands in Southwest Florida, producing records, playing on studio sessions, demonstrating musical equipment both live and on the internet and writing books. I stumbled on Moots Youtube channel surfing synth videos when I was checking out the new line of Behringer synths like the Poly D, Odyssey, MS-101, Crave, and Pro-1 where he does a great job of demoing all these. Moot also live streams from his studio where you can see walls of super cool new and vintage synths played with lots of funky skill. Plus he is from TN so… come on! Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://samplyaudio.com Use code RSR20 to get 20% off for the first 3 months https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off http://www.thetoyboxstudio.com https://www.sonarworks.com https://apiaudio.com http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/6S3k3p8gj3pChPT4dSvZpX?si=57a141b57b5a4976 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/348
As broadcast April 18, 2022 with plenty of extra candles for your podcast birthday cake. Tonight we wish a heartfelt although posthumous happy birthday to The Funky Drummer himself, Clyde Stubblefield. He and James Brown created a totally new sound that shook up the world back in the 1960's, although both were not musically trained! Rest In Power and Happy Birthday to a legend. After that, we had lots to go through from the previous weekend and week prior with Danno covering the entirety of the two hours. Great new cuts out from the likes of Phoebe Bridgers, Lizzo, G-Eazy, Faye Webster, and oh so many more!Tracklisting:Part I (00:00)James Brown – Cold SweatBoyish – I Think I Hate It HerePorridge Radio – The RipJordana – To The GroundPhoebe Bridgers – SidelinesMt. Joy – Orange BloodSaya Gray – Saving Grace Part II (32:13)Wet – Where Did The Day GoFaye Webster – Car TherapyGRAE – Don't Know How To GirlfriendBearcubs – EverydayTriathalon – SpinVancouver Sleep Clinic – The FloorTomberlin – sunstruck Part III (60:15)Sharon Van Etten & Angel Olsen – Like I Used ToLizzo – About Damn TimeConan Gray – MemoriesTeddy Swims – doseDeaton Chris Anthony feat beabadoobee – iScreamAnitta feat Chencho Corleone – GataSwedish House Mafia feat Connie Constance – Heaven Takes You HomePart IV (93:37)Alec Benjamin – SpeakersIngrid Andress – Good PersonG-Eazy – AngelWhy Don't We – Let Me Down Easy (Lie)Meshell Ndegeocello – Don't Disturb This GrooveIron & Wine – Flightless Bird, American MouthAndrew Bird – Manifest
Hello all! Every Wednesday you will be able to hear a segment (that for now) is called "Where Have I Heard This Before?" This is our segment that airs on KPFK.ORG 90.7 FM in Los Angeles, Ca and on KQBH 101.5 FM, also in Los Angeles, Ca. Stay tuned for more audio stories about Art and Culture. We have now changed our name to The Culture Lab: A Look Into How Art and Culture Changed The World. The Culture Lab is a place to study, dissect, and analyze how art and culture changed the world. Song: Bring the Noise by Public Enemy (1987) Samples: It's My Thing by Marva Whitney (1969) Fire & Fury Grass Roots Speech (Side Two)by Malcolm X (1965) Funky Drummer by James Brown (1970) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/theculturelab/message
What do George Michael, Nicki Minaj, Ed Sheeran, and the Powerpuff Girls have in common?The answer, as you'll learn on this episode, is a funk drumming legend named Clyde Stubblefield. We'll also talk about flipped drum beats, Sting's taste for syncopation, the differences between cheap and expensive musical instruments, how to tell a bridge from a prechorus, the power of a four-note motif, the unexpected places you can find songwriting inspiration, and Muse's subtle hat-tip to a George Michael classic.FEATURED ON THIS EPISODE:“Darling” by Real Estate from In Mind, 2017"Ghost Story" by Sting from Brand New Day, 1999“You Really Got Me” by The Kinks, 1964“Walking on Broken Glass” and "Little Bird" by Annie Lennox from Diva, 1992Skins theme by Segal, 2007“Kiss” by Prince from Parade, 1986"Beneath the Snow" by Kirk Hamilton from... well, it's never been published"Dig Down" by Muse from Simulation Theory, 2017“Freedom '90” by George Michael, 1990“Royals” by Lorde from Pure Heroine, 2013“Funky Drummer” by James Brown feat. Clyde Stubblefield, 1970“Fight the Power” by Public Enemy, 1989“Save Me” by Nicki Minaj, 2010“Shirtsleeves” by Ed Sheeran, 2014The Powerpuff Girls theme, by James L. Venable, 1998A complete list of songs that sample Clyde Stubblefield's drum break on “Funky Drummer”Ben Sisario's 2011 NYT feature on StubblefieldOUTRO SOLOIST: Mel CarrollMel Carroll is a saxophonist and music teacher based in Portland, OR, where she plays with bands like like Special Purpose and the all-women 90s cover band Sideboob. Her main music project is The Flat Nines, a chill jazz funk group with a new EP, "No Hate," coming in spring of 2022. You can find more at theflatnines.com.STRONG MERCHCheck out the Strong Songs merch store for some cool t-shirts, mugs, totes, and more: store.strongsongspodcast.comJOIN THE STRONG SONGS DISCORDThe Strong Songs Discord server is now open to everyone! Come join the conversation and get (or give) some music recs: https://discord.gg/GCvKqAM8SmKEEP IT SOCIALFollow Strong Songs on Twitter: @StrongSongsAnd find Kirk on Twitter @Kirkhamilton and on Instagram at @Kirk_HamiltonNEWSLETTER/MAILING LISTSign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://kirkhamilton.substack.com/subscribeSTRONG PLAYLISTSKirk has condensed his Strong Songs picks into a single new list, which you can find on Spotify and Apple Music, and YouTube Music.SUPPORT STRONG SONGS!Thank you to all of Strong Songs' Patreon supporters! You make this show happen. For more on how to support the creation of this show (and how to get some fun bonus episodes!), go here: https://Patreon.com/StrongSongsYou can also make a one-time Paypal donation here: https://www.paypal.com/paypalme/kirkhamiltonmusicJANUARY 2022 WHOLE-NOTE PATRONSRRPrince M. 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CunninghamKari KirkMark Boggsmino caposselaSteve PaquinMary SchoenmakerSarahDavid JoskeEmma SklarBernard KhooMarcDavid BlackmanRobert HeuerMatthew GoldenBrian MeldrumDavid NoahGeraldine ButlerRichard CambierMadeleine MaderTimothy DoughertyJason PrattStewart OakCaroline MillerAbbie BergSam NortonNicole SchleicherDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanBridget LyonsOlivia BishopJohn GisselquistElaine MartinKourothBonnie PrinsenSharon TreeBelinda Mcgrath-steerLiz SegerEoin de BurcaKevin PotterM Shane BordersPete SimmSusan PleinDallas HockleyJana JJason GerryNathan GouwensWill Dwyer Alethea LeeLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneJeffyThanadrosDavid FriedmanPhillip DaltonSarah SulanDiane HughesKenneth TiongJo SutherlandMichael CasnerMichael YorkBarb CourtneyDerek BenderJen SmallLowell MeyerEtele IllesStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCBrendan JubbClare HolbertonDiane TurnerTom ColemanTijs SoeteMark PerryDhu WikMelEric HelmJake RobertsBriony LeoBill FullerSteven MaronMichael FlahertyJarrod SchindlerZoe LittleCaro Fieldmichael bochnerDuncanNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerMatt GaskellJules BaileyEero WahlstedtAndrew FairBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJon O'KeefeJustin McElroyArjun SharmaJames JohnsonAndrew LeeKevin MorrellKevin PennyfeatherNicholas SchechterEmily Williams
Uno de los samples mas conocidos en toda la música mundial. Funky Drummer. De donde viene... Su historia... Su dueño... sirvalo
Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I'm a Fool" by Dino, Desi, and Billy. 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/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten, and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.
We're here, we're back. This week: The Cavs-era Shaq of podcasting, giving Diana Taurasi her flowers, Sarver gonna Sarver, four years late on doing your due diligence, workers compo scams, JR Dangerfield, can sports and politics journos jobswap, Kyrie's season predictions, Leeds trails, state-sponsored piracy, Baudi Barabia, no time for joyless Bonds, Beeso digs chicks, Australia gets caught, Dan Lebecky, Ben for Boban who says no, Spurs on hold, chasing the entire Northwest, Bones on the skins, a truck full of big bags, players union priorities, preseason form and a big offseason move. Next week: our annual NBA season preview/wins pool draft. BALLS and tripping balls are available on their own RSS feeds, as well as being found together on Omny Studio,Spotify and Apple Podcasts (feel free to subscribe, rate and review) - and we welcome your reckons via Twitter, Facebook and email. See omnystudio.com/listener for privacy information.
Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Jones' "Do The Right Thing," which put the group on the radar of a much wider audience.In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life!Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!!Take time to learn stuff about stuff you already know stuff about!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!
Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Jones' "Do The Right Thing," which put the group on the radar of a much wider audience.In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life!Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!!Take time to learn stuff about stuff you already know stuff about!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!
Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Jones' "Do The Right Thing," which put the group on the radar of a much wider audience. In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life! Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!! Take time to learn stuff about stuff you already know stuff about! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast! Learn more about your ad choices. Visit megaphone.fm/adchoices
Coming together out of the fertile environment of Adelphi University and its college radio station, Public Enemy burst forth with a wall of power, a collective that changed Hip-Hop and helped forge an unholy alliance with Metal! Their song, "Fight The Power" played an actual role in Spike Jones' "Do The Right Thing," which put the group on the radar of a much wider audience. In this week's adventure, we explore the band's roots as a loosely associated group of artists who converge via WBAU, coalescing as The Bomb Squad, with unreal "solid work" being set off. It's a rambling, veering off-kilter look at PE, who have been part of both Imbalanced Brothers' musical life! Hats off to the samplers, the DJs scratchin' it out, the MCs sayin' it! Give it up for The Funky Drummer!!! Take time to learn stuff about stuff you already know stuff about! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast! Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to the show BMS listeners. This episode crosses the avenues of Soul and Hip Hop. During the late '80s and throughout the '90s on what many call the golden age of hip hop. Many rappers dipped into their parent's old record collections and sourced classic and some not so classic records to use as samples on their own recordings. One of the bedrock loops was James Brown's ‘Funky Drummer'. We delve into James and his entourage as well as many other great soul artists; which became the inspiration for Eric B. & Rakim, Stetsasonic, Eric Sermon, Tribe Called Quest, Biggy Smalls, and others.This Episode will feature, Kool & The Gang, Curtis Mayfield, George McCrea, Marvin Gaye, and many others.Remember when music was Music!PLAYLIST1. WHO'S GONNA TAKE THE WEIGHT/ KOOL & THE GANG2. EXPANSIONS/ LONNIE LISTON SMITH3. GIVE ME YOUR LOVE/ CURTIS MAYFIELD4. PLAYING YOUR GAME/ BARRY WHITE5. I GET LIFTED/ GEORGE MCCRAE6. YOU'RE GOOD TO ME/ CURTIS MAYFIELD7. YOU'RE ALL I NEED TO GET BY/ MARVIN GAYE8. FUNKY PRESIDENT/ JAMES BROWN9. CROSS THE TRACKS/ MACEO & THE MACKS10. THINK/ LYNN COLLINS11. PASS THE PEAS /THE JB'S12. TRY A LITTLE TENDERNESS/ OTIS REDDING13. LOVE & HAPPINESS/ AL GREEN14. CLEAN UP WOMAN/ BETTY WRIGHT15. MR. BIG STUFF/ JEAN KNIGHT16. EXPRESS YOURSELF/ CHARLES WRIGHT17. YOU CAN'T TURN ME AWAY/ SYLVIA STRIPLAN18. TURN ON SOME MUSIC/ MARVIN GAYE19. RISE /HERB ALPERT
Lyd the SBW looks to funk to get her out of a c-word funk. She's pulling out the big guns, James Brown and Parliament. Ain't it funky?The SpaceTimeMusic theme music is a sample of the Ana-Tole x Jonah Christian Remix of Ready or Not by the Fugees.LINKS:A Sample, A Cover playlistIt's Alright playlistEp. 39 Swing Low, ChildrenFacebookMerchEmail: spacetimemusicpodcast@gmail.comSONG CREDITS:In order of appearanceCashmere TearsCashmere TearsKojey Radical2019Let Me RideThe ChronicDr. Dre1992Funky Drummer (Parts 1 & 2)In the Jungle GrooveJames Brown1970Mothership Connection (Star Child)Mothership ConnectionParliament1975Kissing My LoveStill BillBill Withers1972It's Alright, I Feel ItNuyorican SoulNuyorican Soul, Jocelyn Brown1997
My guest today is J.J. Blair a native Chicagoan, who came up playing in blues and reggae clubs as a teenager in his home town, before eventually moving to Los Angeles to begin his recording career. Known for taste, musicality and proficiency in a broad range of musical styles, J.J. has also amassed a great collection of vintage mics, outboard gear and instruments, which he draws on to make outstanding recordings and productions. My guest today is Wes Little one of Nashville's most adaptable and multi-faceted drummers, as well as a top flight arranger, producer and songwriter. Wes was trained in performance and composition at the Manhattan School of Music and shaped by years of studio and stage work with major acts. Currently a first call session drummer in Nashville, Wes has also performed or recorded with Chuck D, Stevie Wonder, Sting, Steven Tyler of Aerosmith, John Legend, Melissa Etheridge, Robben Ford, Michael and Randy Brecker, Tim McGraw and Faith Hill. He works in Nashville, where he lives and records daily in the studio. Some of his credits for recording or touring are with Robben Ford, Christopher Cross, Tim McGraw, Faith Hill, Trey Anastasio, Little River Band, Larry Carlton, Sting, Stevie Wonder, Alicia Keys, Beyonce, Joe Perry, Steven Tyler, John Legend, Jamie Fox, Melissa Etheridge, Jermaine Jackson, Mariah Carey, Public Enemy, Shakira, Busta Rhymes, Emmylou Harris, Mary J. Blige Anita Baker, Paul Shaffer, Dierks Bentley, Pam Tillis, Ashley Cleveland, Bootsy Collins, MC Lyte, KRS-One, Vernon Reid, Delbert McClinton, Big Daddy Kane, The Pointer Sisters, Emmylou Harris, Wynonna Judd, Pam Tillis, Lorrie Morgan, Luke Combs, Warren Haynes, Sonny Landreth, Little Big Town - Eric Johnson, Larry Carlton, Deena Carter, Paul Schaffer, and his own venture - The Big Greasy. On another note, Wes also played on Broadway. “I have made whip crack sounds for John Lithgow in "Dirty Rotten Scoundrels,” says Little. “I have played quite possibly the largest set up in the world of drums and percussion in the show BKLYN. I acted the part of a drummer that couldn't speak in the show "Once Around the Sun.” I also played in a big bang on stage for 3 months in a show of “Rat Pack, Live at the Sands." Thanks so much to Smith Curry for making our introduction Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://JZmic.com Use coupon ROCKSTARS to get 20% off The Pop Filter https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off https://carltatzdesign.com/Mixroom-Mentor http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/0hqhZgClYeAcIyaGeNo4OF?si=5315e957ddd04c87 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/309
From Roanoke VA with Ralph Berrier Jr of the Roanoke Times, Roddy Moore of the Ferrum College Blue Ridge Institute and the Dry Hill Draggers-- And, of course, Jim Packard, John Thulin, Jeff Hamann & The Funky Drummer, Clyde Stubblefield, Lyle Anderson, and me, I'm Michael Feldman--
After a lot of cataloging and shelf inventory, Adam's promise to choose an record we have all owned was delivered with Sinead O'Connor and the beautiful 1990 "IDNWWIHG" album. As she once said, "It's not for men to like; it's a woman's statement." Well, we don't like it. We LOVE it. Fitting that such a personal album resulted in the most personal moment we've recorded. Opening theme remixed by mashup legend DJ Riko. Please tell us how YOU would rank tonight's tunes on Instagram, Facebook and Twitter @wewillrankyoupod ! FILE UNDER/SPOILERS: Sinead O'Connor, "You Cause as Much Sorrow", Dublin, Andy Rourke, "I Do Not Want What I Haven't Got", Nellee Hooper, Margaret Thatcher, "Nothing Compares 2 U", Prince, "Three Babies" , Tori Amos, Saturday Night Live, "The Last Day of Our Acquaintance", John Reynolds, the Pope, "Jump in the River", Jud Jud, "Funky Drummer", "Feel So Different", Marco Pirroni, "Black Boys on Mopeds" , Mary J Blige, "The Emperor's New Clothes", Karl Wallinger, Jah Wobble, "I Am Stretched on Your Grave",1990 US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.com http://www.facebook.com/WeWillRankYouPod http://www.instagram.com/WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page) https://open.spotify.com/playlist/4OFTIda46Di4HkS0CDvM7L (Dan's top 100 songs of 2020) THEM: https://www.sineadoconnor.com https://twitter.com/MagdaDavitt77 END CREDITS SONG: I Would Die 4 U by SInéad O'Connor with Radio Riddler from Purple Reggae
There are some musicians who live in multiple universes at the same time. Clyde Stubblefield was one of those. From 1971 until his death in 2017, he lived and worked in Madison, Wisconsin. He was a local treasure, a celebrated adopted son of the midwest, and a legendary character. For those who had the chance to know him, to play with him and to see him in action, he was like a brother. At the same time, he has come to take on a kind of mythological status among funk musicians and enthusiasts, DJs, producers and fans. His recordings from the late 1960s with James Brown are considered to be some of the standard-bearers for funk drumming, “Funky Drummer” which by many accounts is the most sampled beat of all time, which is why Clyde is often called the most sampled drummer of all time. To me, he has always been both. I was born in Madison in the late 1970s and Clyde was a big part of the local scene, and someone who would regularly pass through my living room as well because he played often with my dad, Ben. He was my first drum teacher, and later on he would also be one of the first artists that I produced. On the occasion of what would have been his 78th birthday, I reflect on Clyde’s life and legacy from a personal point of view, revisit recorded conversations that my dad and I had with him over the years, and consider a series of live gigs and records with him going back to the early 1970s. A new sample collection of Clyde’s drumming, taken from his performances on the album Clyde Stubblefield: The Original was released this week by Yurt Rock. The tracks were originally recorded in 2001. And a new documentary film about Clyde’s life and legacy is also in the works. www.givethedrummersomefilm.com www.third-story.com www.patreon.com/thirdstorypodcast www.bensidran.com www.yurtrock.com
You may have heard of Clyde Stubblefield but you may not know the huge impact his work has had on the music business. Jonathan and Kitty chat with Trevor Banks who is making a documentary about Stubblefield's amazing contributions that many have overlooked. See omnystudio.com/listener for privacy information.
Jacqui Thompson - mother of The Roots co-founder, Questlove. See omnystudio.com/listener for privacy information.
Today in history: Elvis is drafted. James Brown releases 'Funky Drummer.' Louisiana Purchase cmpleted. First successful cotton mill in U.S. begins operating. Roger and Me opens. See omnystudio.com/listener for privacy information.
Hello Groovers, This week in the Liquid Sunshine discotheque we're sticking to floor stomping, booty shaking funk! Banging bass, syncopated beats and some sweet soul singing. It's funk on the One! Good times! Deejay Maarten Vlot QC Liquid Sunshine is a weekly radio show on 2XX FM in Australia, and The Face Radio in Brooklyn, USA, playing the best Deep Funk, Rare Groove, Disco & Beats - All The Good Stuff. We also re-edit, DJ out in the wild, and produce mighty boss tunes. Catch Liquid Sunshine with Maarten Vlot as a podcast, browse the socials, or get in contact via this link: linktr.ee/liquidsunshineradio or Stream live at https://thefaceradio.com every Tuesday from 10 PM – Midnight EST / 3 – 5 AM GMT / 12 - 2 PM AEST or Stream live at www.2xxfm.org.au every Thursday from 9:30 - 10:30PM AEST / 10:30 - 11:30 AM GMT or Tune in on 98.3 FM in Canberra 9:30 - 10:30 pm, every Thursday
Willie Graff & Darren Eboli - Ahisma Another Dj Edit By Mr. Turner https://hypeddit.com/track/equz7j Willie Graff & his musical partner Darren Eboli deliver another fantastic 4 tracker on Copenhagen’s Music For Dreams Label. Willie Graff splits his year between DJ residencies in New York and Ibiza (Pacha). In this second outing with studio partner Darren Eboli, the influence is, African, NY clubbing, World mixing Mediterranean and further afield. The duo finds its roots in the past, building a link between the soul of a song and the warmth of a melody then combining them with a contemporary sound. The opener “All Is Bliss” sits at the pinnacle of the underground – A powerful, Balearic, disco influenced club track full of Spanish guitar, handclaps, club synths sounds like it was made for Dj Harvey’s “Mercury Rising” at Pikes in Ibiza. “Ahimsa” is an outstanding track with funky breakbeat, weird Eastern samples, sneaking acid and Kraftwerk like arpeggios. “La Sirena” is a balearic beach styled mid tempo chugger with chopped up breaks, deep sub-bass, Compass Point styled keys, whispering voices saying “Let Your Mind Be Free” . If you are a Cafe Del Mar connoisseur and longing for that sunset moment “Bellatrix” does the trick featuring bits of Spanish Guitar, Flute, Oboe and floating warm pads creating that early 90ties vibe. Another winner from Willie and Darren - and hopefully an album soon
This James Brown song from 1969 made a very small splash at first, until it's beat was re-discovered in the 80's and changed the world of music forever. We take a deep dive learning everything about Clyde Stubblefield's Funky Drummer beat including how and where it was recorded, the gear he used, the impact on music, and Clyde's legacy. Dylan Wissing has created "sample replays" for artists such as Kanye West, Eminem, TI, John Legend and many more. Find out how he recreates drum beats like Funky Drummer for mega artists so they can legally get the sound of classic breakbeats. Check out Dylan at www.gettingthesound.com to learn directly from Dylan! You can also check out his website here: http://dylanwissing.com/ Check out Getting The Sound on Instagram at @gettingthesound and on facebook at https://www.facebook.com/GettingtheSound/ Thanks for listening to this funky episode! Find me on social media @drumhistory_podcast for daily drum videos and visit www.drumhistorypodcast.com to for more Drum History.
This James Brown song from 1969 made a very small splash at first, until it's beat was re-discovered in the 80's and changed the world of music forever. We take a deep dive learning everything about Clyde Stubblefield's Funky Drummer beat including how and where it was recorded, the gear he used, the impact on music, and Clyde's legacy. Dylan Wissing has created "sample replays" for artists such as Kanye West, Eminem, TI, John Legend and many more. Find out how he recreates drum beats like Funky Drummer for mega artists so they can legally get the sound of classic breakbeats. Check out Dylan at www.gettingthesound.com to learn directly from Dylan! You can also check out his website here: http://dylanwissing.com/ Check out Getting The Sound on Instagram at @gettingthesound and on facebook at https://www.facebook.com/GettingtheSound/ Thanks for listening to this funky episode! Find me on social media @drumhistory_podcast for daily drum videos and visit www.drumhistorypodcast.com to for more Drum History.
In Stormy (172) staat de Amerikaanse HipHop zanger Anderson Paak centraal. Vorig week werd bekend dat hij geboekt is voor Pink Pop 2020. Paak is een aanstekelijke zanger en musicus in de Los Angeles hiphop scene waar de samenwerking tussen musici maximaal is. Smokey Robinson zong mee op het laatste album ‘Ventura' van Paak; Kendrick Lamar speelt mee op verschillende tracks; Dr. Dré, rapper en producer is de bondgenoot van Paak die op zijn beurt weer producer is voor de zangeres Jhené Aiko. In de rubriek ‘music of my live’: James Brown, de grootvader van de HipHop, zijn nummer Funky Drummer wordt als de oergrammatica van de hiphop beschouwd.
In episode 7, Dr. Frank moves from the producers chair to the
Special edition featuring artists performing at Chicago’s Spring Awakening Music Festival and Tennessee’s Bonnaroo Music & Arts Festival. We share some honest thoughts about each and offer some helpful festival survival tips. TRACK LIST Dom Dolla – Take It Matroda, Kaleena Zanders – Another Day Dombresky – Futurmastic The Prince Karma, Benny Benassi – Later Bitches J.Worra, Kaleena Zanders – On The Run Oliver Heldens, Moguai – Cucumba Gene Farris, GAWP – Aphrodisiac ZHU, Sofi Tukker – Mi Rumba Shiba San, Green Velvet – Chance Chris Lake – Stay With Me CID – Werk Noizu, Tony Romera – 4 The People Malaa, Jacknife – Revolt AC Slater – Bass Inside Codes – 100% Skills Golf Clap, Dillon Nathaniel – Sick SNBRN, watt – Beat the Sunrise Gabriel & Dresden, Tinlicker – Underwater (Tinlicker Remix) Moksi, Feliciana – Stranger Latmun – Funky Drummer
Ghostface catch the blast of a hype verse! Wu-Tang Deeptalk is back! Wir haben fast fünf Stunden über Ghostface gesprochen, ausführlich, sehr ausführlich. Allerdings nur die ersten drei Alben geschafft. Teil 2 kommt also auf jeden Fall! Jetzt aber erst mal Folge 1 von Ironman über Supreme Clientele bis Bulletproof Wallets. Viel Spaß damit! All I See Is Blinkin' Lights All I See Is Blinkin' Lights - Anhören & Social Media Shownotes - Intro + Pre Ironman Ghostface Killah feat. Raekwon - Motherless Child (Music Video) Ghostface Killah - Motherless Child Instrumental vom eigentlichen Album Big L - Stretch & Bobbito 94 Freestyle auf den Motherless Child Beat Ghostface Killah feat. Masta Killa, U God, Raekwon, & Cappadonna - Winter Warz Cappadonna - Winter Warz (Music Video) Ghostface Killah feat. Streetlife and Method Man - Box In Hand (Unreleased Version) Ghostface Killah feat. Streetlife and Method Man - Box In Hand (Album Version) Shownotes - Ironman Wu-Tang Clan - Protect Ya Neck und das Sample "The J.B.'s - The Grunt" (nicht Funky Drummer wie im Podcast angesprochen aber trotzdem James Brown) Ghostface Killah - Iron Maiden Original Version ohne Cappa + 2 Ghostface Parts Bootcamp Click Freestyle Jamie Summers: Cilvaringz Leak Al Green - You Ought To Be With Me Audio88 & Yassin - Gnade feat. Nico K.I.Z (prod. Farhot) ("Die beste Reimkette ist und bleibt Casino...") Wu Will Survive (Instrumental) Cam'ron & Juelz Santana - Long Time Coming Cam'Ron - Long Time Coming (Diplomats Vol. 5 Original) Ghostface Killah feat. Raekwon, Cappadonna and RZA - Camay (Single Version) [Extended Instrumental Outro] Bubba Sparxxx & Timbaland - Ugly (Get Your Freak On Teaser) Bubba Sparxxx - Nowhere (Advanced Copy Version) Ghostface Killah - Daytona 500 (Music Video) Bob James - Nautilus Westside Gunn - Big L and Half a Mil Ghostface Killah feat. Mary J. Blidge - All That I Got Is You (Music Video) Ghostface Killah - All That I Got Is You (Live) (with Tekitha) Wu-Tang Clan, Shacronz, Suga Bang Bang - KB Ridin' Ghostface, RZA and Raekwon - Who's The Champion Shownotes - Supreme Clientele Supreme Clientele Review by Pitchfork (Ghostface Afrika Trip) Ghostface Killah in Africa nutmeg erster part sway radio freestyle Ghostface Killah - Nutmeg Wu-Tang Clan - Protect Ya Neck (The Jump Off) (Music Video) Supreme Clientele US Version Tracklist Supreme Clientele Canada Version Tracklist The Beatnuts feat. Big Pun & Cuban Link - Off The Books Wu-Tang Killa Bees - Bastards feat. Ruthless Bastards (Original Beat Ghost Deini) Ghostface Killah - Ghost Deini American Cream Team feat. Raekwon & RZA - It's Not A Game The Orphanage - Morning Lord Superb, Solomon Childs - Take Up Space Lord Superb feat. Intrigue - Spend Money Ghostface Killah - Ghost Deini Live The UMC's - Blue Cheese Ultramagnetic MC's (also UMC's) - Poppa Large breakbeats 1-3 Sunz of Man - Shining Star feat. Ol' Dirty Bastard & Earth, Wind & Fire majestic 12 (xavier label) Ralph Vargas & Carlos Bess - Funky Drummer Vol.1 (1993) - snippets Ralph Vargas & Carlos Bess - Funky Drummer Vol.2 (1994) - snippets Carlos Bess and DJ Choco - Da Wig Out (From: Carlos Bess & DJ Choco - Funky Drummer Vol. III 1994) J-Love - Hidden Darts Mixtape (Cherchez La Ghost Remix) Wu Syndicate feat. Ghostface Killah, MMo - Bust A Slug Remix 21 Savage, Offset & Metro Boomin - Ghostface Killers feat. Travis Scott Trettman & Megaloh - Ghostface Killah Ghostface Killah In The Rain/Wise The Dramatics - In The Rain Ghostface Killah, Stevie J, Mr. Dalvin - In The Rain (Unreleased Version) [Original Production] Shownotes - Bulletprood Wallets Ghostface Killah feat. Raekwon - Good Times Ghostface Killah - Good Times Pt. 2 Ghostface Jewelry Ghostface Jewelry 2 Ghostface - Flowers (Unreleased) Ghostface Killah Ft. Raekwon & Carl Thomas - Never be the same again (Unreleased) MOP feat. Kool G Rap - Legendary Street Team MOP feat. Kool G Rap - Legendary Street Team Remix The Alchemist - Cutting Room Floor Vol. 1 The Alchemist - Cutting Room Floor Vol. 2 The Alchemist - Cutting Room Floor Vol. 3 Jadakiss ft. Styles P - We gonna make it Jadakiss ft. Styles P - We gonna make it Remix ft. Eve Tekitha - Walking Through The Darkness (Ghost Dog Soundtrack) Ghostface Killah feat. Tekitha - Walking Through The Darkness Ghostface Killah - Ice Cam'ron Come Home with me (feat. Jim Jones & Juelz Santana) Heatmakerz (Rsonist) - Beat Making - Smack DVD - MPC2000xl Ghostface feat. Raekwon - The Watch Ghostface Killah feat. Raekwon, Slick Rick, RZA - The Sun (Original Version) Ghostface Killah feat. Raekwon, Slick Rick, RZA - The Sun (Mathematics Blend) [Extended RZA Verse] Ghostface Killah - Odd Couple Feat. Cappadonna (Produced By Ayatollah) Jennifer Lopez - Love Don't Cost A Thing Remix feat. Ghostface Killah (Unreleased)
The Album: James Brown: In the Jungle Groove (1986) This is the first of what will eventually be four episodes, released quarterly, that focus on the art of sampling. As Morgan explains in this episode, sampling isn't simply a key aesthetic within pop music styles, especially hip-hop, it's also an important way through which the past becomes present, allowing us to rediscover artists of yore. No artist in the 1980s benefitted more from this than James Brown. By the end of the decade, Brown's long funk discography had seemingly been mined thousands of ways over but if you had to trace things back to a ground zero, you'd find In the Jungle Groove, the 1986 compilation from Polydor that practically felt designed for sampling, especially by highlighting some of Brown's fiercest and funkiest tracks, complete with new edits and remixes, none more far-reaching than "Funky Drummer," a former 45-only jam that the comp not only released in its full form but also took Clyde Stubblefield's iconic breakbeat and looped it into its own standalone track. For our inaugural Art of Sampling episode, we revisit In the Jungle Groove and talk about both our favorite songs off the comp as well as our favorite uses of those various tracks. Listen to how we give it up and turn it loose. More on In the Jungle Groove Album reviews (Rolling Stone 500 and Pop Matters) Sampling database (WhoSampled) "The natural history of the 'Funky Drummer' break" Show Tracklisting (all songs from In the Jungle Groove unless indicated otherwise): Funky Drummer Digable Planets: Where I'm From N.W.A.: Fuck Tha Police Public Enemy: Fight the Power Funky Drummer Nas: Get Down The Incredible Bongo Band: Apache Nas: Made You Look Masta Ace Incorporated: Boom Bashin' George Michael: Waiting For That Day Skull Snaps: It's A New Day The Winstons: Amen Brother Public Enemy: Bring the Noise Funky Drummer Give It Up Or Turnit A Loose Talkin' Loud And Sayin' Nothing Keek and Qagee: Don't Say It, Sing It Give It Up Or Turnit A Loose Get Up, Get Into It, Get Involved Gang Starr: Gotch U CeCe Peniston: Finally (Remix) Full Force: Ain't My Type of Hype Get Up, Get Into It, Get Involved Hot Pants I Got To Move Showbiz and AG: Diggin' In The Crates Cypress Hill: How I Can Just Kill A Man (Blunted Remix) Funky Drummer Here is the Spotify playlist of as many songs as we can find on there. If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!
Author, funk drummer, and respected hip-hop figure J-Zone @jzone101 joins us this week to drop knowledge about the rap industry and promote his new Red Bull Music Academy series Give The Drummer Some, where he interviews and plays with legendary drummers. We are really happy with how this one turned out.
ep nr 131- “Funky Drummer” Mr James Brown..Per il sito whosampled, preziosa fonte di ispirazione di Snippet, la batteria di “Funky Drummer” (1970), incarnata da Clyde Stubblefield è stata campionata in 1489 brani… Senza questo brano non ci sarebbe stato l'hip-hop? Probabile! In scaletta solo pezzoni: dai Boogie Down Production ai Public Enemy, dai Beastie Boys a Jay-Z, da LL Cool J a Mos Def, con l'incursione pop di George Micheal e non solo…
ep nr 131- “Funky Drummer” Mr James Brown..Per il sito whosampled, preziosa fonte di ispirazione di Snippet, la batteria di “Funky Drummer” (1970), incarnata da Clyde Stubblefield è stata campionata in 1489 brani… Senza questo brano non ci sarebbe stato l’hip-hop? Probabile! In scaletta solo pezzoni: dai Boogie Down Production ai Public Enemy, dai Beastie Boys a Jay-Z, da LL Cool J a Mos Def, con l’incursione pop di George Micheal e non solo…
ep nr 131- “Funky Drummer” Mr James Brown..Per il sito whosampled, preziosa fonte di ispirazione di Snippet, la batteria di “Funky Drummer” (1970), incarnata da Clyde Stubblefield è stata campionata in 1489 brani… Senza questo brano non ci sarebbe stato l’hip-hop? Probabile! In scaletta solo pezzoni: dai Boogie Down Production ai Public Enemy, dai Beastie Boys a Jay-Z, da LL Cool J a Mos Def, con l’incursione pop di George Micheal e non solo…
Tracklist: Parliament "Let's Play House" The Whole Darn Family "Seven Minutes of Funk" Sylvia Striplin "You Can't Turn Me Away" Freddie Scott "You Got What I Need" The Charmels "As Long As I've Got You" The Heath Brothers "Smilin' Billy Suite Pt. II" James Brown "Funky Drummer" Leon Haywood "I Want'a Do Something Freaky To You" Ohio Players "Funky Worm" Isaac Hayes "A Few More Kisses To Go" Tarika Blue "Dreamflower" The Cyrkle "The Visit" Tom Scott & The California Dreamers "Today" Stan Getz feat. Luiz Bonfa "Saudade Vem Correndo" Labi Siffre "My Song" Esther Phillips "That's Alright With Me"
The Funky Drummer, Clyde Stubblefield tries and fails to make Michael Feldman funky, gives a lesson in drumming and demonstrates the popcorn polka on Whad'ya Know
No Sleep Til Sudbury takes a complete left turn in Episode 10 as my close pal Kent Bailey drops by to give me a tutorial on the history of Hip Hop. Even if he was a suburban white kid, dude knows his stuff. Listen along as Bailey discusses his traumatic introduction to music, his resemblance to Canadian rapper Kish, the Funky Drummer sampling phenomenon, and so much more. He even namechecks a Slayer band member! That's my boy. Bailey's playlist: The Beastie Boys - No Sleep Til Brooklyn Maestro Fresh Wes - Let Your Backbone Slide Slick Rick - I Shouldn't Have Done It MC Lyte - Cold Rock a Party NWA - Straight Outta Compton Wu Tang Clan - C.R.E.A.M. EPMD - Strictly Business A Tribe Called Quest - Award Tour Nas - Halftime Public Enemy - Welcome To The Terrordome
Larry kicks things off with a tribute to the highly influential, heavily sampled, and grossly under-compensated drummer Clyde Stubblefield, known for his time as James Brown's "Funky Drummer." After that he is joined by Dr. Jess and Autumn who get into the nuts and bolts of the BBC's newest take on the classic Arthur Conan Doyle character, Sherlock Holmes. Beware, here be SPOILERS! Visit gofundme.com and enter the name Clyde Stubblefield to learn how you can contribute to his memorial fund.
We explore live rig redundancy with Will Doggett and Multitracks.com, then Tatsuya the ace synth designer is leaving Korg, Electro Harmonix Synth9 pedal and celebrating Clyde Stubblefield - the Funky Drummer.
We explore live rig redundancy with Will Doggett and Multitracks.com, then Tatsuya the ace synth designer is leaving Korg, Electro Harmonix Synth9 pedal and celebrating Clyde Stubblefield - the Funky Drummer.
On this episode we talk about the Funky Drummer, a Danish resistance fighter, the Roe in Roe vs Wade and a repeat Pulitzer Prize winner.
As a member of James Brown’s band, Clyde Stubblefield created ingenious drum patterns that came to define the funk genre. Years later, Clyde became the most sampled drummer in history, powering hits by everyone from N.W.A. to Kenny G. Yet, despite his monumental contributions to music, Clyde’s name doesn’t even appear on the majority of the records on which he appears. He tells Joe about his time with James Brown, how he ended up as the house drummer on an NPR show, and why he hates the song “Funky Drummer”.
The Funky Drummer, Clyde Stubblefield tries and fails to make Michael Feldman funky, gives a lesson in drumming and demonstrates the popcorn polka on Whad'ya Know.
MUSIC! Du willst wissen wer oder was ist RanchRelax ? Dann müssen wir weit zurückgehen. Klaus Schulze. Ich sage nur Elektronik. Do you remember the second Sommer of Love? 1988 the Theme From S'Express Manchester Rave Music oder 1990 Italien , Discotheca Spleen Afro Music- Cosmic Music . Giorgio Moroder. Ja MUSIC!. Trommeln, Rhythmus, Space . The Incredible Bongo Band und the Funky Drummer von James Brown. Das sind die Essenzen. Ja und dann folgte bla bla bla . Ach ja Kid Paul Energy52, pure Trance just MUSIC!. Ambient und Mixmaster Morris, immer weiter. MUSIC! Hamburg, U-SITE. Und dann bla bla bla . MUSIC! Kennst Du Lärz? Seit 18 Jahren nun schon alle Jahre wieder. MUSIC! Techno, Techhouse , Deep Hypnotic MUSIC! Boah lange Zeit. Immerweiter. RanchRelax bla bla bla, MUSIC! mixed by: https://soundcloud.com/ranchrelax https://www.facebook.com/pages/RanchRelax/492354080812764
"Apollo Brown invokes the essense of the Funky Drummer on this Detroit street inspired hip hop soul record." - Dirt E. Dutch, IndieFeed (Apollo Brown ft. Diamond District on IndieFeed Hip Hop.)
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